Florence Delahaye
Legend of Dance
Why They Matter
Delahaye matters because her career treats aerial work as choreography rather than a detached circus trick. She carried music-hall timing, cancan attack and partnered dance into rope, hoop, fabric and trapeze, then translated that blend into courses and production coaching. Her legacy is therefore d
Styles Florence Delahaye shaped
Each one links to the style’s own page — its origins, music, tempo and video.
Biography
Florence Delahaye is a French aerial performer, choreographer and dance teacher who built her career at the intersection of Parisian music hall and contemporary aerial spectacle. Her documented professional story begins in 1977, when she took a contract in the music-hall revue at the Jardin des Champs-Élysées in Paris. There she met Pierre Bergam, whose influence added aerial practice to her work as a dancer—a pairing of dance phrasing with suspended apparatus that would define her entire career.
Delahaye subsequently worked across the French and Monegasque entertainment circuit, performing French-cancan solos, acrobatic pas de deux, smooth rope, hoop and fabric at venues including the Casino de Paris, Radio Monte Carlo's touring revue, the casinos of San Remo and Monte Carlo, Jean-Marie Rivière's Alcazar revue, the Folies Bergère, Bobino, the Élysée-Montmartre and the Cirque d'Hiver Bouglione.
In 1991 she began working as an aerial choreographer while continuing to perform. Her state diploma as a dance teacher and additional study in Feldenkrais practice, climbing, stunt work and acrobatics reflect an intentionally cross-disciplinary approach: dance supplied line and musical organization, while technical training addressed grip, load, orientation and risk. In 1997 she created a Paris course devoted to trapeze and smooth rope.
Delahaye's teaching became visible through the performers she trained. Aerialist Séverine Bellini studied trapeze with her, and performer Caroline Cottier credits Delahaye with the aerial choreography for *Tarzan, la Rencontre* at Disneyland Paris. From 2005 onward, Delahaye partnered professionally with Gabriel Dehu, a gymnast and hand-to-hand performer. Under the name FloGab they developed a method for training artists on aerial apparatus and performed together as Duo Requiem. By their own account, beginning in 2006 they trained more than 200 international artists in aerial disciplines and created choreography for commercial and theatrical producers. A 2015 report credited Delahaye with aerial choreography for Disneyland Paris's *La Forêt de l'Enchantement*, and into 2023 she and Dehu continued their work as aerial trainers and choreographers.
Career Highlights
Began a documented professional contract in the Jardin des Champs-Élysées music-hall revue in Paris and added aerial work to her dance practice after meeting Pierre Bergam. FloGab FloGab
Performed dance and aerial specialties across major music-hall, casino and circus venues in France, Monaco, Italy, Japan and the United States; exact seasons remain unverified. FloGab FloGab
Began working as an aerial choreographer while continuing her stage career. FloGab FloGab
Created a Paris course in trapeze and smooth rope. FloGab FloGab
Formed a professional teaching and performance partnership with Gabriel Dehu. FloGab FloGab
FloGab reports training more than 200 international artists in aerial disciplines; retain the first-party attribution when using the total. FloGab FloGab
A French Swimming Federation magazine interview identified Delahaye as the teacher of an aerial performer appearing as Jane in Disneyland Paris’s Tarzan show. Natation Magazine, May 2006 Natation Magazine, May 2006
Received the aerial-choreography credit reported for Disneyland Paris’s La Forêt de l’Enchantement. Radio Disney Club Radio Disney Club
A CIAM workshop biography continued to identify Delahaye and Dehu among the teachers of a specialist aerial-hoop artist, evidence of their pedagogical reach. Fréquence Sud Fréquence Sud
The FloGab professional site documented the pair’s continuing identity as aerial trainers and choreographers. FloGab FloGab
Legacy & Impact
Delahaye matters because her career treats aerial work as choreography rather than a detached circus trick. She carried music-hall timing, cancan attack and partnered dance into rope, hoop, fabric and trapeze, then translated that blend into courses and production coaching. Her legacy is distributed through performers and ensembles: the visible result is not only what she did in the air herself, but how she helped other artists make apparatus technique readable as dance.
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