Founded in 2002 by Victor Quijada, RUBBERBAND immediately imposed itself in Canada and abroad as an explosive one-of-a-kind troupe. In its very first year of activity, RUBBERBAND brought well-honed forms that deconstructed several principles of urban dance to the stage of Tangente. The company’s work quickly won over audiences and critics: in its end-of-season review, the Montreal daily Le Devoir included both Tender Loving Care and Hasta La Próxima in its pick of the five best dance productions of the year. A second creation cycle followed in 2003 when the company presented Reflections on Movement Particles with the support of Théâtre de L’L in Brussels and the MAI in Montreal. The same year, RUBBERBAND presented Elastic Perspective, a grouping of pieces which highlighted the choreographer’s ability to exploit the rebellious aspect of Hip Hop and the richness of narrative movement. This work toured for six years and was performed more than a hundred times.

In 2004, Usine C hosted Quijada and his dancers in a residency which resulted in Slicing Static, a work that was named best dance production of the year by the Montreal cultural weekly, Hour (now Cult MTL). The following year, Anne Plamondon joined Quijada as artistic co-director and occupied this position until 2015. Also in 2005, the company performed in Japan, representing Canada at Expo 2005. RBDG’s renown continued to increase after that and touring opportunities multiplied, with as many performances in the United States as in Canada, along with frequent tours to Holland, Belgium, and England, where, among other works, sHip sHop Shape Shifting (2005) was presented.

From 2007 to 2011, the Cinquième Salle of Place des Arts hosted RUBBERBAND in a residency. Four new works were created during that period: Punto Ciego (2008), AV Input/Output (2008), Loan Sharking (2009), and Gravity of Center (2011). During this period, the company gave an average of 40 performances annually. Lecture-demonstrations were developed and instituted as cultural mediation activities following the presentation of each new work. The sessions have been highly successful among presenters who take advantage of this tool to develop their audiences. In parallel, the company supports the emerging generation of dancers by mentoring and through initiatives such as the Post-Hip-Hop Project, which, in its three successive editions, gave some twenty young artists from the hip-hop scene a first experience of creation and dissemination in a professional framework. 

In 2013, RUBBERBAND presented Empirical Quotient, giving six dancers the opportunity to prove themselves in a complex, very physically demanding choreography — a demonstrable culmination of the RUBBERBAND Method. In 2016, the company brought Vic’s Mix to the stage, a work composed of highlights from its repertoire, a kind of “best-of” encapsulating the organization’s sizzling trajectory from its beginnings. 

Along with its many short pieces and special projects, RUBBERBAND has staged 14 full-length productions, tours intensively in Quebec and the rest of Canada, and presents its works on a regular basis in several European countries, Mexico, and the U.S.A. Since 2017, the troupe has comprised 10 dancers from diverse backgrounds. Currently, RUBBERBAND is touring locally and internationally with Vic’s Mix and is adapting City Threads, its outdoor ambulatory piece for 40 dancers, for presentation in a number of cities. Since 2018, the company is also touring Ever So Slightly, its first production for a vast performance space, with a battalion of ten dancers and 2 live musicians.