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to resist and parody contemporaneous dance practices. It was around the same time as their meeting that
Toronto developed its own official art scene. Coincidentally, it was the Queen Street West area that budded with potential and style - associated with not only music and visual arts, but also theatre, design, fashion, and dancing. Clive Robertson wrote, "it can be argued that the birth of the Clichettes coincided with the birth, or public emergence of Toronto's recent progressive cultural scene." The Clichettes made their debut at the Tele-Performance Festival in 1978, an event themed in response to television as content and technology. Dressed in kitsch-60's good girls outfits, the trio
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252:, a move for the group to expand beyond dance and into satirical theatre. The 1981 production featured a narrative casting The Clichettes as aliens who could kill by speaking, thus establishing a narrative purpose for lip-sync. The trio of aliens begins to live the facade of 1960's good-girls but eventually become entangled in the problematic dynamics of this life. The cabaret show was a hit in Toronto, with productions that followed in Ottawa and Vancouver. Their next stage endeavour was more ambitious:
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218:. Householder admiringly stated that "Lou was the model for quitting". She was motivated by an interest in performative dance, but was dissatisfied with traditional ballet and modern choreography. Later, she studied dance with Gail Mazur in Toronto, where she found her interest in dancing. Garfield was briefly enrolled at
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As a feminist performance group, The
Clichettes' contested gender stereotypes through the use of pop culture cliches and brash humour. Their brand of camp media parody exemplified the blurring between high art and entertainment occurring in the 1970s. This style of non-detached and ironic pop-culture
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conferences in which they developed and observed each other's individual practices. It was there that they discovered their shared vision to explore a witty, humorous, and feminist approach to performance. Their gravitation towards one another was the result of a mutual admiration of style and desire
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The
Clichettes' impact on the practices of Canadian dance, performance and feminist art is extensive. The success of their performances proved that cultural criticism could also be fun, rather than strictly moralistic; and control of the means of representation could be a playful engagement with the
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where she studied choreography, Householder relocated to
Toronto where she continued her art and writing practice. Householder describes her initial study of dance as an attempt to learn a medium in order to reject it. Householder has assisted in founding Danceworks and the Women's Cultural Building
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were an all-women feminist performance art group formed in
Toronto, Canada in 1977. They were known for their feminist performance art. The three performers initially worked using lip sync and choreography as their tools to satirize pop culture depictions of femininity and later expanded their
106:. The Clichettes formed in Toronto and were active in North America from the mid 1970s through 1990s. Their subversive practice was typified by an exaggeration of the hallmarks of contemporaneous female performing groups as well as camp references to
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appropriation enabled them to be critical without alienating their audience. By 1981, the trio's lip-sync performances had begun to expand to include increasing theatricality, and influences were drawn from more subversive sources.
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bands. By spoofing the gestures of those musicians and lip-syncing their lyrics, the
Clichettes were denouncing the contrived affectations of male stars. The height of their lip-sync career came in 1984, when they travelled to
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222:, which was another meeting place for the three members. Louise Garfield was the executive director at Arts Etobicoke for 13 years since 2004 before retiring, and has been a producer of films including
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saw the group adopt anatomically correct male bodysuits as a means to expand their critique to the stereotypes of masculinity. Armed with fake guitars, they parodied the macho posturing of
260:. As the Clichettes' acclaim increased throughout the 1980s, their performances started to poke fun at more than just mass-market depictions of girls. Their 1985 production
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is a trained dancer, choreographer and television producer. She was notorious for dropping out of several institutions prior to the formation of The
Clichettes, including
298:(1985) lip-sync performance as a feature. The trio's enduring impact on Canadian dance is evident in that several Clichettes performances are frequently recreated by
204:. An important aspect of Hladki's practice was to combine dance with a feminist consciousness. She is currently an associate professor in theatre and film studies at
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anniversary. The exhibit showcased works that have shaped or changed the country's history over the past century and a half and selected The
Clichette's famous
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practice by including elements from science fiction and theatre in their performances. The group had three choreographers:
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that is held biannually in
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Janice Hladki studied at Queens
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581:"Meet the Clichettes — the feminist punk pioneers of Canadian performance art"
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A picture of the Clichettes in the 1980s performing Up Against the Wallpaper.
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282:"oppressor". In 2017, the group was commemorated in a virtual exhibition,
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458:"URBAN HERO: Louise Garfield was face of Arts Etobicoke for 14 years"
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Caught In The Act: An Anthology of Performance Art by Canadian Women
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Caught In The Act: An Anthology of Performance Art by Canadian Women
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A photograph of The Clichettes performing in She Devils of Niagara.
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Radical Gestures: Feminism and Performance in Art in North America
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184:7a*11d International Festival of Performance Art
345:"Welcome to the Art Gallery of York University"
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682:Arts organizations disestablished in 1992
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383:. Toronto: YYZ Books. pp. 160, 162.
330:. Toronto: YYZ Books. pp. 160, 162.
531:"Janice Hladki and Johanna Householder"
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410:"HOUSEHOLDER, Johanna | 7a*11d"
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