An-Laurence Higgins (2020- 2022)

It gives me great plea­sure to get involved on the board of direc­tors of the Cana­di­an New Music Net­work as the rep­re­sen­ta­tive of Que­bec. I am very hap­py to be able to con­tribute to the func­tion­ing of an orga­ni­za­tion that works to bring togeth­er new music artists across the coun­try despite the immense dis­tance that sep­a­rates us. I admire the work CNMN does topro­vide a plat­form for artists, espe­cial­ly dur­ing the Forums, to encour­age the emer­gence of the next gen­er­a­tion (Con­neX­ions) and to address impor­tant issues that have been ignored for too long in our com­mu­ni­ty with the series Con­ver­sa­tions on Decolonization.

An-Lau­rence Hig­gins is a Mon­tre­al-based new music per­former as well as a mul­ti­me­dia artist address­ing top­ics such as transna­tion­al iden­ti­ty and rela­tion­ships.
As a musi­cian, An-Lau­rence has per­formed as a gui­tar soloist, cham­ber musi­cian and impro­vis­er across Que­bec and Ontario since 2016. In 2019, she inde­pen­dent­ly pro­duced and direct­ed the project “Émer­gences (”, com­mis­sion­ing 5 news works by emerg­ing women com­posers and cul­mi­nat­ing in per­for­mances in Mon­tre­al and Toron­to. As a mul­ti­me­dia artist, An-Lau­rence has explored her transna­tion­al iden­ti­ty as an adoptee of Chi­nese ori­gin through the mul­ti­me­dia instal­la­tion “Con­fi­dences en trois temps” and the inter­ac­tive per­for­mance “Come Clos­er, I’ll tell you what I for­got”.
An-Lau­rence is an avid col­lab­o­ra­tor and believes the act of cre­ation is one of shar­ing and car­ing. A dar­ing per­former, she has col­lab­o­rat­ed with artists from var­i­ous dis­ci­plines (visu­al arts, cin­e­ma, dance) and thrives in set­tings that stretch the lim­its of tra­di­tion­al music per­for­mance. Com­mit­ted to her com­mu­ni­ty, An-Lau­rence has been a co-orga­niz­er of the Mon­tre­al Con­tem­po­rary Music Lab peer-men­tor­ship pro­gram since 2017, and recent­ly joined the Board of direc­tors of the new music con­cert series Codes d’accès.
Pho­to: Car­los Riobo