photo credits at page bottom

Montréal based performance artist, dancer, choreographer, writer, teacher George Stamos is known for trans-disciplinary creations that are both physically dynamic and thought provoking. Over the past decade his works GoGo Condition, Schatje, White Man Dancing, Monday, croque monsieur, Reservoir- Pneumatic, Husk, and Liklik Pik have received the acclaim of audiences and critics alike. Gender politics and the mind / body dichotomy have been underlying themes in his artistic research and creations.

George is a graduate of Amsterdam’s School For New Dance Development, a leading academy in the world of contemporary dance and performance research. In the 2012 / 2013 season George was selected to be a resident artist at Agora de la Danse, he became a faculty member at Concordia University in Montréal, and received the prestigious McKnight Fellowship for International Choreographers Award.

Over the past 15 years George has regularly been a guest artist performing in the work of prominent choreographers. Since 2011 he has worked as a dancer exclusively with world renowned specialist in Contemporary Central African dance, choreographer and educator Zab Maboungou as a member of her company Nyata Nyata.

Stamos' articles and reviews have been published online and in print for Canada’s leading dance magazine The Dance Current regularly since January 2013.

Notable organizations who have presented Stamos’ work in Canada include Queer Arts Festival, Agora de la Danse, Neighborhood Dance Works, Studio 303, Theatre D’Aujourd’hui, Live Art Productions, The Canada Dance Festival, The Fluid Festival, Tangente, Dancemakers Center For Creation, Dancing on the Edge Festival, Vancouver International Dance Festival, Harbourfront Centre, in Europe Amsterdam’s International Ness Festival, in the context of Par B.L.EUX’s project 100 Rencontres the Festival Antipods, Kunst Festival amongst others, and in the United States The Baryshnikov Center For The Arts, Ps122, and more.

George is currently teaching and setting a piece on students in the Dance Department of the Université du Québec à Montréal.


Currently in Creation


(a group work for male dancers) 

Situations will be performed at l'Agora de la danse in September 2015.

Situations explores how men occupy the spaces they create and how they interact with space and each other. Through dance and physical engagement, this new sextet activates modes of masculine togetherness that open a dialogue on gender, responsibility, and power in a global context.

As the plurality of the title suggests, the inspiration for Situations is many fold. As well as the focus on male creation and occupation of space, this work comes from an interest in addressing the act of performance as the convergence of a new situation each time it is performed. The piece is also inspired by Stamos’ interest in The Situationist International, a European avant-garde group of politically minded artists that existed mostly in France and Belgium from 1957-1972. The Situationist International advocated alternatives to capitalism and experimented with the “construction of situations,” as art happenings. 

In the process of creating Situations, Stamos approaches choreography as a somatic blueprint for movement architecture that must be continually rebuilt by groups of men from one moment to the next through tasks, choice, posture, series of movements, and gesture. This process is also focused on defining what aspects of maleness contribute to a collective process spread out through various cites at various times? 

While it is intended to be a sextet, an international extended “family” of male dancers (9 in Canada and 6 in the U.S. thus far) will collaborate in the creation of this project in 2013 / 2014. Various combinations of these men along with local guest performers may also perform in future trio, quartet, quintet, and larger group variations of the work.

Minneapolis-based composer, dancer and musician Ryan Dean will collaborate with Stamos on the creation of the sound for Situations. Dean’s strengths in visual art, dance and music comprise a trifecta of complimentary art forms from which he draws his unique inspirations.  Ryan occasionally DJ's at music venues and has composed numerous pieces for his own and others' choreographic works using found sounds, metals, electronics, live vocalization, and turntables.

The Situations process has received support from The Canada Council For the Arts, The McKnight Foundation, l'Agora de la danse and le Conseil des arts et des lettres du Québec. 


Every body carries intelligence and power.

Nunounon is an exploration of female power and represents one vision of what it could mean in the context of contemporary Queer culture. Nunounon is performed by Anouk Thériault and Gabrielle Surprenant Lacasse and choreographed by George Stamos. The piece is created in collaboration and within nonhierarchical strategies.

Nunounon's creation process was initiated by Gabrielle Surprenant-Lacasse and Anouk Thériault  and has received support from Jeunes Volontaires. The creation process will be completed in winter/spring 2014.

As young female dancers entering the professional contemporary dance milieu Gabrielle Surprenant-Lacasse and Anouk Thériault are questioning the ways the female body is presented in contemporary dance. While doing this they felt the need to deepen their understanding of how feminism can inform a dance practice and be implicated in a creative process. They also wanted to explore how feminism influences a collaborative work between two female dancers and a male choreographer.

Most Recent Creations



The hypnotic effect of Reel and the durational aspect of the piece challenge basic assumptions about the possibilities of the human body. Once the viewer passes through a period of disbelief over the possibility to spin for great lengths of time without experiencing instability, the mind begins to open new avenues of sensorial possibilities.

The perpetual spinning in Reel evokes an overlap between ritual and childhood play. This overlap between the playground and the temple proposes new modes of public togetherness and possible futures where every body carries value and power.

Reel is a call to move beyond the hierarchy of theatrical and religious structures and to simultaneously dissolve the notion that mind and body are separate. A call to realize we are each entirely one thing with interconnected parts throughout, a multidirectional merging of the concrete with the ephemeral. A proclamation that every body is deserving of respect and autonomy from the tribes we call societies.

From Linda Carter’s Wonder Woman to the Persian Whirling Dervishes, the act of spinning is a cross-cultural ritual that has evoked modes of transformation in both profound and superficial ways. With Reel Stamos takes a uniquely queer approach to the spectacle of spinning by locating it in public spaces and removing the theatrical frame.

In Reel Stamos exits the usual social context of public space, cloaked in black with an scrolling LED screen installed in his shroud he spins perpetually on a small moving platform at an accelerated pace for periods of up to 60 min at a time. Spectators are free to come and go as they discover and rediscover the turning ritual.

The perpetual spinning works to open the space to new possibilities and the masked LED screen invites the viewer further into Reel.  Failed attempts to decipher the fleeting text as it rotates engage the viewer in a state of active viewing as they simultaneously receive the kinaesthetic transmission of spinning. The encounter with the public is direct, in common space, hypnotic and evokes a capacity for everyday moments to transcend expectations of normalcy.

The first edition of Reel is being performed under the title 360 Degrees as part of the Et si les robots mangeaient des pommes? exhibition at the Salle Alfred-Pellan in the Maison des arts de Laval at the below dates.

1er décembre 2013: Vernissage / performance vers 14h40
3 décembre 2013: Parcours danse / performance vers 13h30
8 décembre 2013: Après le spectacle de Clip (public famille) / performance vers 15h15
24 janvier 2014 : Journée sur la médiation culturelle (Société des musées québécois) / performance vers 10h15
26 janvier 2014: Visite guidée avec commissaire/ performance vers midi ET vers 14h00

Liklik Pik 

Liklik Pik remixes fraternal gestures and animal impulses in a dynamic trans-disciplinary duo. Playfully evoking the pig as a totem animal – the little piggy of fairy tales and its alter ego, the dirty, nasty swine. George Stamos and his dance partner Dany Desjardins constantly play with these multiple facets, combining references to pets, food fetishes, and male stereotypes. Through clever role-play and an intensely physical somatic score Liklik Pik presents humans in a new light allowing for a free and loose approach to the male body.

LikLik Pik favors a collage of situations and absurd humor that is audacious, and deceptively light.

 These guys are pigs.......

Liklik Pik premiered at Dancemakers Center For Creation in Toronto in January 2012 at the TWOBYFOUR Festival, was performed at the 2012 Canada Dance Festival in Ottawa, The OFFTA in Montreal, and will tour across Canada in 2013. Liklik Pik received support from Nyata Nyata, Oboro Gallery, The Canada Council for the Arts, Conseil des arts et des lettres du Québec and is a co-production with l’Agora de la Danse.

Knowing Not Knowing 

Workshop with George Stamos

Teaching my interpretations of techniques and methods that have been passed down to me by the master teachers I have worked with is at the core of my artistic practice. In helping artists realize their goals I am inspired towards mine as well. My approach is a balance between a practice of disseminating information versus providing a context for workshop participants to share and polish their own skills and ideas.

The way I teach movement is designed to develop the critical eye and awareness of methods for creating spontaneous mindfulness in motion. This includes teaching performers how to auto tune their senses and engage their intellect and body systems without disappearing into automatic dancing. The workshop will also expose the students to techniques for generating spontaneous movement compositions with objects and rhythm.

I am committed to providing a workshop environment that is a safe, mature, place to learn skills and strengthen abilities. My interest is in empowering fellow artists and assisting them as they expand their own creative potential.

Photo credits-

top of page- George Stamos photo by Susan Moss

second from top- Ryan Dean, Robert Haarman, Patrick Jeffrey, Eben Knowler, Justin Leaf, Nic Lincon in Situations by George Stamos, photo courtesy of the McKnights Foundation

third from top- Gabrielle Surprenant-Lacasse and Anouk Thériault in Nunounon by George Stamos. photo by Mathieu Doyon

fourth from top- George Stamos in Reel photo courtesy of La danse sur les routes du Québec 

fifth from top- Dany Desjardins and George Stamos, photo by Belle Ancell

sixth from top- George Stamos, photo by Jerome Abramovitch 

bottom of page- Sarah Williams, photo by Jerome Abramovitch 

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