Research Studios - general overview


Research Studios is a program for choreographers, performance makers and dramaturges, who wish to research and develop their choreographic language, ideas and skills. 

In this program, individual work and collective research are linked. The participants follow a common program with workshops, seminars and masterclasses, which take up approximately 40% of the working time. Next tot his, they have time and space to develop their own research and creation and get mentoring support.

Each edition of the Research Studios has a general theme, which is developed in three separate blocks of 4 months each, where a duo of coordinators formulates a research question and organizes a program around it with a series of international artists, researchers and scholars, who come to work with the participants for periods between 1 day and several consecutive weeks. 

The research topics are meant to feed the individual and collective artistic practice of the participants. These practices do not become artistic examples or applications of the research topics, but they will inevitably enter into dialogue with them.

Next to the common program, the participants can work on their own creations and research. In the weeks with common program, they can use studio time in the mornings, evenings and weekends, and during each block there are 4-5 weeks, which are completely dedicated to creation work. The coordinators are the main coaches for the development of the full artistic trajectories of the participants.

The program does not offer a separate track for dramaturges. The dramaturges are engaged in all the activities, but with their specific perspective and methodologies, except that they can collaborate with the choreographers in the creative work, rather than author their own performances. Research Studios is an environment that offers space for dramaturgical reflection and the development of dramaturgical practices.

The first full cycle of the REsearch Studios will run from February 2017 until December 2018. Auditions for this cycle will be organised in September-October 2016.



Research Studios will work with a group of 12 participants, 9-10 choreographers and performance makers and 2-3 dramaturges.  We aim at people who have an MA diploma in dance/choreography/performing arts /dramaturgy/performance studies and/or have started their professional career. 

PARTS is looking for people who value experimentation and collaboration, who are interested to associate their own research and questioning to the topic proposed and the research of the other participants.



The Research Studios pilot #2 takes place in three blocks of 4 months each, with 6-8 weeks time off in between the blocks. During these periods, it is a fulltime program with approximately 40% of masterclasses/ seminars/ workshops… (usually in the afternoons, 4,5h per day) and 60% of individual working time.

In the periods between blocks participants can continue working independently on their projects in the PARTS studios.??

The program does not include dance training classes, but participants can join the morning classes of the Training Cycle if they wish.



The study cost for Research Studios Pilot #2 amount to 8000€. This amount consists of  4000€ registration fee and 4000€ tuition fee, and is to be paid in four installments: 

- 4000€ registration fee by June 15, 2015,

- 1300€ tuition fee on October 1, 2015

- 1300€ tuition fee on February 1, 2016

- 1400€ tuition fee on June 1st, 2016.

PARTS graduates pay 6.125€.

A daily macrobiotic lunch at each working day (during the months the program is active) is included in the tuition fee.

The living expenses (accommodation, food, other) are estimated between 600€ (minimum) and 1000€ (more comfortable) per month, not including travel to and from Belgium.

Accommodation has to be sought on the private housing market in Brussels. Sharing an apartment with others is usually the most economic option.



A good number of scholarships are available. We might cover all of your (minimum) living conditions, during the months the program is active.

In order to qualify for a scholarship, a candidate must prove that s/he has searched for scholarships at other funding bodies. Hopefully this will help you to be totally or partially independent of our scholarship fund. Moreover, by searching a scholarship for your self, you will also support all other students! Because the more candidates find support in other places, the more those who need(s)a PARTS scholarship the most, can actually benefit from our scholarship fund. 

PARTS will accompany the candidates in this search. It is strongly advised to start searching for scholarships before the final audition!

If you need more clarity about the possibilities, relating to your individual situation, please contact Eva Vanhole.

The budget for the scholarships is provided through the [DNA] Departures and Arrivals project, with the support of the European Commission (Creative Europe program).


Research Studios Pilot #2: Choreography - performance - sound - music (August 24, 2015 -> December 15, 2016)

The program of pilot#2 consists of three clusters of 4 months each. Each cluster starts from a specific research question introduced by the coordinators, approaching the broad field of choreography and music from historical, compositional, metaphorical, philosophical or creative perspectives.

Each cluster consists of workshops, seminars, master classes and lectures by the coordinators and invited choreographers, theoreticians, composers etc., and provides ample studio time to develop choreographic practices close or less close to the research topic. Generally, every afternoon has 4,5 hours of workshop or seminar, while the rest of the day can be used for preparations, development of own work, etcetera. Each cluster has 4-5 weeks which are completely free for the development of personal work.

The final cluster will be concluded with public presentations of works created throughout the programme.

Cluster #1: Polyphony of voices, polyphony of spaces, polyphony of fields - conceived and guided by Alain Franco and deufert&plischke (August 24 - December 18, 2015)

Outline of cluster #1 - biographies of the team

Cluster #2: Time and rhythm - conceived and guided by Bojana Cvejić and Tom Engels (February 1 - May 27, 2016)

Outline of cluster #2 - biographies of the team

Cluster #3: On the musical body - conceived and guided by Tom Pauwels and Gabriel Schenker (August 22 - December 15, 2016), with the partiicpation of the students of the Advanced Master Contemporary Music of KASK, Ghent.

Outline of cluster #3 biographies of the team


Cluster #1: Polyphony of voices, polyphony of spaces, polyphony of fields

Every art domain has its History, its Historicity and its specificity, and the academic studies have been of course reflecting this evidence over the past decades for modern art forms as it has over the past centuries for the more established ones (f.i the concept of « Fine Arts »). 
When it comes to evocate Dance and Music though, we are dealing with a two-headed domain that has remain present, suggesting that there would be an invariant  of « Dance –Music relations » as it is called. 
A closer look on the matter learns in the first place to beware for invariants….
As a matter of fact, the Dance-Music field must be rather looked at as paradigmatic for staged time-space principles. Whereas Music can be defined in the first place as composed time, Dance can be as to composed space. Dancing on Music has a long tradition : a musical « drive » creates a texture involving ritornello and refrain principles, in most of the cases a stable rhitmic pattern, and creates therefore a « time landscape » where dance can deploy its own pace.

But as soon as we dig into the history of Music, we need to acknowledge developments that – to say it in one sentence – have put a question as to repetition and stability in the first place. 

The autonomisation of composition (i.e of Art altogether) has relaunched  many questions as to the heritage and the relevance of Fine Arts. I want therefore to focus primarily on the conditions of dance and music in the perspective of autonomy and mutual influence and this is by the way something that has been practiced intensively in music : it was called « counterpoint » and has been one of the essential tools to develop polyphony.I would like therefore to « recycle » that appellation and use it as a generic term for my seminar that would like to announce as follow : "Polyphony of voices, polyphony of spaces, polyphony of fields"

More information will be added later

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Cluster #2: Time and rhythm


Hit me with your rhythm stick / Hit me slowly, hit me quick./ Hit me… Hit me now…

The counterpart of the spatial dimension of figure in a geometrical approach to dance are time and rhythm, often foregrounded as the defining characteristics of dance in its dynamic dimension: the rhythmic pattern of the moving body. In the first place, dance owes its conception of rhythm to music: the organization of patterns comprising strong and weak beats within a pace of the flow of time (metric pulse, tempo). The exploration of rhythms and tempi from within time which is regulated by music is then composed with the biological sense of corporal rhythms (e.g. breathing in release technique, walking in pedestrian movement). While it traditionally harks back to the historical marriage between music and dance, rhythm affords an instrument for a study of the parameter of time in a broad, expanded and transdisciplinary sense of artistic practice and critical analysis. For the performing arts as time-based arts, rhythm and time are a matter of composing and manipulating attention and experience; they refer to the relative sensation of time accelerated, contracted or condensed, expanded or dilated, as if time in a metaphysical sense didn’t exist.   

Two additional lines of thought intersect in the problem of rhythm in a wider sense. Firstly, it is the ancient Greek etymology of rhuthmos as “a form of moving” together with the social anthropological perspective of “man as a rhythmic animal” (Marcel Mauss). Secondly, it is “the inextricable link between power and rhythm. What power imposes in the first place is a rhythm (rhythm of everything – life, time, thought, discourse)” (Roland Barthes). Thus, an investigation of rhythm from the viewpoint of bodily movement doesn’t stop at the aesthetic play of sensations in the creation and the spectator’s experience of a dancing body. It passes through all other domains in which the manner of flow – of bodies, language, images, events, noise and intensity – can be observed. Throughout the 20th century, a characteristic expression of homorhythmy has been registered as the blueprint of modern industrial capitalism, most prominently the rhythm of the “human machine” in Rudolph Laban’s study of effort after Taylorism, or the theory of managing workers’ movements on the assembly line. 

Today both performance and work are far from stomping unisono in the same rhythm and cadence. Working and performing in post-industrial post-Fordist society resembles more an attempt to dance ¬ex tempore and conceal a choreographic script or score in improvisation as a form of individuation. The virtuosity of multitasking and nomadism in life and work styles parallels the sophisticated forms of polyrhythmy in contemporary dance and performance. 

We don’t know enough about the rhythms in which we dance, produce, consume, or gather today. It takes a transdisciplinary effort from a heterogeneous set of perspectives to study temporality and develop rhythms beyond those we are familiar with. Therefore, the bloc TIME AND RHYTHM is conceived as an intensive period of research in theoretical study and practical experiment with artists and thinkers who have explored a variety of expressions and problems of time and rhythm in their work. It includes 

- seminars in the theories of time and rhythm: “time out of progress” (on labor and projective time, with Bojana Kunst, Giessen); social anthropology of rhythm (Pascal Michon); time in the philosophy of pop culture (Diderich Diderichsen); time-images in contemporary dance, performance and cinema (Bojana Cvejić, Brussels)

- workshops and  collective studio sessions with choreographers (Eszter Salamon, Nikolina and Goran Sergej Pristaš, Mårten Spångberg, composers (tba) and theatermakers (Tim Etchells)

- creation time of students (5 weeks without curated program)

…time accelerated anachronous circular contemporary contracted dead delayed diachronic dilated disrupted fragmented heterochronous historical hypersynchronized linear ontological organic out-of-joint projective psychological synchronous…

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Cluster #3: On the musical body

In recent decades various choreographers have become interested in musical notation as a means for developing new methodologies. In the opposite direction, composers within 'New Music’ have increasingly been engaging the music-making-body, incorporating physical movement as a material for composition. Given that we now that have a significant body of choreographic works engaging notation and likewise a significant body of music work engaging movement, we can now ask: what can musicians learn from the way choreographers approach notation, and what can dancers learn from the way musicians approach movement? And as choreographers/dancers and composers/musicians are often working together in creating interdisciplinary works, another question is: does the performance of such new works need a new type of performer with skill sets from both mediums? We will explore such issues, investigate a number of works and frameworks, which will serve as the starting point for the creation of new interdisciplinary work.

In his book 'Composing under the skin, The Music-making Body at the Composer's Desk'  (Orpheus Institute Series, 2014) Belgian composer Paul Craenen argues that in classical music the body of the musician, the music-making-body, finds expression through the instrument at the same time that it searches for the expression of the instrument itself; a double sort of expression. states: “The performative dimension of the classical music performance unfolds at the intersection of an expressive extension of the music-making body by means of an instrument, and a music-making body that seeks intimacy with the instrument: a body that wishes, as it were, to make the instrument itself resound optimally". Later on, and of particular interest to us, he writes: "If the performative aspect of playing music should indeed partly be sought in the tension described between expression and appropriation, the resistance of the instrument is no longer to be considered interference to be neutralised: on the contrary, it forms a basis that helps to inspire musical action and reaction." These are thoughts that emphasize the importance of musical performance for the development of compositional praxis insofar as they include a new dimension to the above mentioned double expression: the bodies of the performers.

Craenen’s book traces recent approaches to work focussing on the body within new music composition:
-Obstruction revealing a primitive body: works that constrain the performer (e.g. a keyboardist performing with garden gloves, as in Simon Loeffler’s 'September08' for distorted synthesiser.
-Extreme stimulation or 'overheating': works that radically heighten and extend performer virtuosity to generate a ‘possessed body’ (e.g. a pianist athletically performing with all four limbs, as in Hikari Kiyama’s Kabuki).
-Exhaustion: works that make an ‘unreasonable’ physical demand on a performer, drawing attention to the often increasingly sweaty and out of breath music making body (e.g. Franck Bedrossian’s It, where the musicians lose control as they become increasingly unable to fulfil the required task).
-Synchronisation: performers enacting both physical movement and sound-production to engagecross-arts dialogues (e.g. Matthew Shlomowitz’s Letter Pieces, which couple and decouple, synchronise and desynchronize, action/sound relationships.)
-Instrumental choreography: musical scores denoting the physical actions of a performer rather then an idealized sounding result (e.g. Simon Steen Anderson’s Study for String Instrument, which details the movements of the two hands and may be played on any single stringed instrument)
-Interfacing: works for new electronic instruments such as customised game- controllers, graphic interfaces used for sound-deign, sensors, with new instruments creating new types of virtuosity and music making bodies (e.g. Cedric Dambrain)

A vast array of contemporary choreographers have been producing work that questions anew the old relationship between choreography and music, between movement and sound. The approaches are extremely eclectic in kind and aesthetics. In Xavier Le Roy’s work on Helmut Lachenmann’s music, the musical performance becomes abstracted into a gestural one. In Thomas Hauert’s collaboration with composer Dick Van Der Harst, dance becomes the score for musical composition. In the work of Jonathan Burrows and Matteo Fargion, their bodies often perform in the edge between musicians and dancers bodies. Such choreographic approaches, in combination with approaches coming from new music, redefine the borders and open a new field of relations between movements of sounds and bodies.

This cluster will be developed in collaboration with the Advanced Master Contemporary Music of the Ghent Conservatory (KASK) - it is a joint trajectory for choreogrpahers, dramaturges, composers and musicians.

More information will be added later.

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Research Studios – first pilot program (February – June 2015)

0/ Context

From 2017 on, PARTS redefines its Research program into Research Studios, an advanced education project for young choreographers and dramaturges/theoreticians. In 2015-2016, the program will be split up in two independent pilot projects: Pilot #1 is a 4-month project on the study of the choreographic work of Anne Teresa De Keersmaeker (February – June 2015). Pilot #2 is a 12-month program investigating the possible relations between choreographic writing and music and the development of the personal work of the participants (August 2015 – November 2016).

Although they share a focus on choreographic composition and music, both pilot programs are independent. One can apply for both, but they have a separate selection process. The selection for pilot 1 happens in October-November 2014, for pilot 2 January – March 2015.

The PARTS Research Cycle under its previous definition was active between 2000 and 2014, as a program that connected directly to the PARTS Training Cycle (then 2 years), but also open to people who had obtained a BA degree elsewhere.

The new Research Studios program aims for participants who are already a few steps further in their development: they have finished their main studies on MA level or they want to deepen their creative tools in an educational program after having worked professionally for some time. Whereas the previous Research Cycle engaged both dancers/performers and choreographers/makers, the Research Studios program wants to focus on choreographers/makers, and also attracts a small number of dramaturges/theoreticians.


1/ Pilot #1 – study of the work of Anne Teresa De Keersmaeker

Belgian choreographer Anne Teresa De Keersmaeker, who is the founder and director of PARTS, has been active on the professional dance scene since 1982, when she debuted with Fase. Four movements to the music of Steve Reich, which is seen as one of the cornerstones of the then fresh genre of contemporary dance in Western Europe. She quickly broke through internationally, and has been touring the world with the Rosas company which she founded in 1983 (to produce her second piece Rosas Danst Rosas). More than thirty years later, her oeuvre counts almost 50 works, from solo to large-scale ensemble pieces. (for a full overview, see

Almost all of this work is built on a profound connection with and detailed study of music, ranging from the medieval Ars subtilior over classics such as Bach and Mozart to contemporary composers, and touching on pop music, jazz and Indian classical music. 

A second general trait of her work is the intricate and detailed composition of her choreographies – often in close connection to the musical composition it relates to, but also referring to many other compositional tools and systems.

Since 2012, Anne Teresa De Keersmaeker and Bojana Cvejic (dramturg, theorist, theory teacher at PARTS) have published three volumes in the book series ‘A Choreographer’s Score’. This is a book and dvd collection in which De Keersmaeker unfolds the composition and working methods of some of the key works in her career. The first book focuses on the Early Works from the 1980’s. A second book was published on En attendant/ Cesena, a diptych on medieval music created less than 5 years ago. The third book is published in September 2014 and dives into the major group pieces Drumming and Rain on the music of Steve Reich, created about 15 years ago.

Following the intention of this book series, the program of the Research Studios Pilot #1 seeks to give a detailed insight into a body of work, and to experiment with ways these tools can be activated/re-used/transformed in other artistic practices, other artistic visions. The Research Studios Pilot #1 program is not a repertoire project where one learns to perform the works. The Research Studios is a program which aims to do a detailed and critical study of the work of De Keersmaeker, with the intention to activate its tools in other contexts, so that they can feed the processes of the artists who participate in it.


2/ Program

The program of Pilot #1 will be divided in six blocks: four blocks revolve around the study of a certain cluster of Rosas works, a fifth one is a philosophical seminar that broadens the question of dance, history and creation, the final block is aimed to round off the personal transformations and inspirations of the participants.

The first three blocks will have a similar structure. Each block consists of  approx. 15 sessions. In each block, 5 sessions of each of the following perspectives are offered:  

- lecture and discussions on the compositional methods and their contexts as presented in the book series presentations 

- discussions and masterclasses related to the relevant music of the works studied, including study of the scores and contextualization

- studio sessions where a number of the compositional tools are put in practice and experimented with.

The fourth block has a similar structure, but takes as starting point the project Work – Travail – Arbeid, an exhibition project in which De Keersmaeker transposes the recent work Vortex Temporum to the museum space, which take place during the pilot project in the Wiels contemporary art center, very close to PARTS (see

In the fifth block, philosopher and dance researcher Franz Anton Cramer will lead a theoretical seminar tackling the questions of history, the archive, dance and performance today. Developing a theoretical background for the study of past work and how it can relate to contemporary and future creativity.

In the sixth block, the participants have time to pull together a number of threads they will have started developing during the previous sessions, and create a sketch of an artistic and of a theoretical work, which they will present and discuss in the final week.

Next to this program, there will also be one-off lectures, performance visits and discussion panels.

As an extra (not part of the curriculum), there is the opportunity to go to Paris in the last two weeks of June, where the Centre National de la Danse organizes a two-week gathering of students from different dance schools in Europe, where they share their work and thoughts about artistic practice.


3/ Invited artists and teachers

Most artists who will lead the sessions at the Research Studios are dancers, choreographers, composers and musicians who have a close and active relationship with the work of Anne Teresa De Keersmaeker and develop their own  artistic practice next to it. 

So far, the following people have confirmed their participation:
Theory: Bojana Cvejic, Franz Anton Cramer
Music: Thierry De Mey, Alain Franco, Björn Schmelzer, Georges-Elie Octors, Annelies Vanparys
Studio: Johanne Saunier, Ursula Robb, Gabriel Schenker, Mark Lorimer

Bios will be published soon on the teachers page.

New names will be added as they are confirmed.


4/ Working methods

The three main goals of the project are UNDERSTANDING – HANDLING – POSITIONING, and feature in different ways throughout the different workshops and seminars.

Understanding: developing knowledge of the concepts and practices at hand and their concepts
Handling: being able to use the concepts and tools, closer to and further from their original context
Postioning: developing an individual critical theoretical and artistic position towards the concepts and practices at hand.

The working sessions take the form of seminars, masterclasses, workshops and invididual work and group work. In most sessions, a certain preparation from the participants’ side will be assumed, and tasks will be given to develop for the next session (reading, writing, choreographic development).

The collective work sessions take place in the afternoon between 13.30 and 18.30. 

In the mornings, the participants have time to prepare for the afternoon sessions or work on tasks with a longer deadline or participate in the dance classes of the Training program.

In the last three weeks of the project, participants will work on finishing the tasks and developing a final presentation that weaves different threads together, putting the insights developed during the program at the service of their own artistic work. Because the creation period is short, the outcome might be sketches and models of performances, rather than full productions. 

In the final week, the results will be presented internally and discussed among the participants and the artistic team of Research Studios.

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Research Studios pilot #1 (February - June 2015)

For more information about pilot #1, go here.


Research Studios pilot #2 (August 2015 - December 2016)

For more information about pilot #2, go here


Auditions pilot #2 - Deadline for application March 20, 2015

For more information baout the application procedure, click here.

Biographies of the team of Research Studios Pilot #2

Cluster #1

Alain Franco

Alain Franco studied music at the conservatories of Brussels, Liège, Antwerp and achieved a DEA master in Music and Music history of the 20th century at the IRCAM-EHESS Institute in Paris. From 1989 until 1993 Franco was the permanent conductor of ensemble Champ d’Action and collaborated with Ensemble Modern (Frankfurt), Ictus (Brussels), the National Orchestra of Belgium, the Orchestra of Lyon’s Opera House and Ah Ton ensemble (Oldenburg), among others. He collaborated closely with composers such as Karel Goeyvaerts, Hugues Dufourt, Philippe Schoeller, Serge Verstockt, Kaija Saariaho, Heiner Goebbels, Jonathan Harvey, Enno Poppe, Benoît Mernier, Kris Defoort, Denis Bosse, Walter Hus... 

In addition to his opractice as a musician he developed an original reflection on theatrical issues regarding stage reresentation and practice, which lead him to collaborate with peformers, theatre directors and choreographers, such as Dito'Dito, De Parade, Needcompany, Anne Teresa De Keersmaeker, Meg stuart, Romeo Catellucci, Isabel Schad, Loïc Touzé, Etienne Guilloteau, Benajmin Vandewalle, deuffert@plischke and others. He co-authored the piece 'Zeitung' with Anne Teresa De Keersmaeker in 2007.

He has been teaching at the Akademie der Künste and HZT in Berlin and at PARTs in Brussels. 
In 2014-15, he works on a 5-part lecture performance series for the Volksbühne Berlin, the performance of the entirety of 'Das Wohltemperierte Klavier' of JS Bach, and different other projects in Brussels, Berlin and other places.



Kattrin Deufert and Thomas Plischke have been pursuing their goal of a new epic theatre since 2001. Their work as the artistwin deufert&plischke is equally at home in museums and other spaces as in theatres. Recent projects developed with artist and theorist friends include the »Anarchiv« series (2008-11 in varying locations, including Brussels, Hamburg and Vienna), »Emergence Rooms« (2010, in Vienna, Hasselt and Stuttgart amongst others) and »Entropisches Institut« (2012 in Berlin, Sofia, Mülheim and Hamburg). deufert&plischke have been lecturing at art academies in Germany and abroad for eleven years. They have been senior lecturers in Dance, Context, Choreography (B.A. course) at the Inter-University Centre for Dance Berlin (HZT) from 2010-2013.

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Cluster #2

Bojana Cvejic

Bojana Cvejić (Belgrade) is a performance theorist and performance maker based in Brussels. She is a co-founding member of TkH editorial collective ( with whom she has realized many projects and publications. 
Cvejić received her PhD in philosophy from the Centre for Research in Modern European Philosophy, London and MA and BA degrees in musicology and aesthetics from the Faculty of Music, University of the Arts, Belgrade. 
Her latest books are Choreographing Problems: Expressive Concepts in European Contemporary Dance and Performance (Palgrave, forthcoming), Drumming & Rain: A Choreographer’s Score, co-written with A.T.De Keersmaeker (Mercator, Brussels, 2014), Parallel Slalom: Lexicon of Nonaligned Poetics, co-edited with G. S. Pristaš (TkH/CDU, Belgrade/Zagreb, 2013) and Public Sphere by Performance, co-written with A. Vujanović (b_books, Berlin, 2012).
She has been (co-)author, dramaturge or performer in many dance and theater performances since 1996, with a.o. J. Ritsema (Verwantschappen; TODAYulysses; Pipelines, a construction; knowH2Ow; Cocos, Breeding, Brains and Beauty), X. Le Roy (Mouvements für Lachenmann, The Rite of Spring, More Mouvements für Lachenmann), E. Salamon (And Then; Tales of the Bodiless), M. Ingvartsen (It’s In The Air; The Artificial Nature Project, 69 Positions), C. De Smedt (Untitled [Four Choreographic Portraits]). She directed five experimental opera stagings, most notably Don Giovanni at BITEF, Belgrade, 2008. 
Cvejić teaches at various dance and performance programs in Europe and has been recently appointed as Professor of Philosophy of Art for the doctoral studies at Faculty for Media and Communication, University Singidunum in Belgrade. 
Her latest works are videos …in a non-wimpy way… and Yvonne Rainer’s WAR (in collaboration with Lennart Laberenz) for the exhibition Danse Guerre at CCN Rennes (she co-curated with Cosmin Costinas 2013) and Spatial Confessions at Tate Modern (2014), the program she curated and made choreography, conference and performance for (in collaboration with a.o. Christine De Smedt). 
Her current research topics are social choreography, technologies and performances of the self, and time and rhythm in performance poetics and Post-Fordist modes of production. 


Tom Engels

Tom Engels (BE) holds a Master’s degree in Art Science from the Department of Theatre, Performance and Media Studies of Ghent University and studied Choreography and Performance at the Institute for Applied Theatre Studies in Gießen. He worked for and with artists like Antonia Baehr, Eszter Salamon, Rodrigo Sobarzo, Sidney Leoni, An Kaler, Petra Sabisch, a.o. Since 2012 he is a member of the artistic board of Sarma, the Brussels-based laboratory for criticism, dramaturgy, research and creation, of which he became the artistic director in 2015. In collaboration with Trajal Harrell and Thibault Lac he is preparing the publication Twenty Looks or Paris is Burning at the Judson Church (XL). He is also a guest lecturer at the School of Arts (KASK) in Ghent. 

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Cluster #3: Tom Pauwels - Gabriel Schenker

Tom Pauwels (Bornem, Belgium, 1974) studied classical guitar in Brussels, Köln and Münster with Albert Sundermann, Hubert Käppel and Reinbert Evers respectively. 
In 1995, during his studies at the Brussels Conservatory, he was involved in the founding of Black Jackets Company, a Brussels collective of composers and performers. Ever since these early experiments he has been active in the field of contemporary music, both on classical and electric guitar. From 1999 until 2001 he was a regular member of Champ D’Action, the Antwerp-based ensemble for experimental music. Since 2002 he has worked as a performer and co-artistic leader for the new music ensemble ICTUS (Brussels). Project-wise, he performs with the Anglo-Belgian octet Plus-Minus, ‘Elastic 3’ and Letter Piece Company. He has recorded works by Craenen, Lachenmann, Shlomowitz, Van Eycken and for Cyprès (Ictus) works by Oehring, Harada, Romitelli and Aperghis. 
After a five year research project on new music for guitar he became a ‘Laureate of the Orpheus Institute’ with the thesis ‘De Echo van ‘t Saluut’. Since 2002 he has been in charge of teaching new music for guitar at the Conservatory of Gent where he has developed an advanced master program with emphasis on contemporary chamber music in collaboration with the Spectra ensemble and Ictus. This program is designed for musicians wishing to combine further specialization in performing contemporary solo & chamber music with developing their professional career (more info here). He is teaching guitar at the International Summer Courses in Darmstadt.
His broad interest in performance has recently led to collaborations with choreographers as Xavier Leroy (see ‘Mouvements für Lachenmann), Maud Le Pladec (see ‘Professor’ and 'Poetry') and Andros Zins-Browne (The Funerals)

Gabriel Schenker was born in Washington D.C., raised in Rio de Janeiro, and lives in Brussels for the past eleven years. Interested in movement and the arts from an early age, Gabriel practiced a variety of sports regularly, played instruments, and was brought by his parents to see theater, dance, concerts, and exhibitions. At the age of 14 he was fortunate to encounter dance through an invitation of a cousin that was participating in a group of Israeli Folk Dance. Gabriel fell in love with it and spent the next couple of years completely immersed in the world of folk dancing until deciding, at the age of sixteen that dance was what he wanted to do. After a year of taking classes on a variety of dance and circus styles, he joined the ‘Cia. Deborah Collker’ in Rio de Janeiro as an apprentice first, and later as a regular dancer.
After working with Deborah Colker for three years, Gabriel Schenker flew to Europe in search of an expansion of his artistic horizons. After a series of travels, classes, workshops, and auditions, he opted for studying at P.A.R.T.S. where the varied program including disciplines such as philosophy, shiatsu, as well as creative workshops, seemed like the perfect option. After four years at P.A.R.T.S. he co-founded the collective Busy Rocks with whom he created and performed a variety of works such as Dominos and Butterflies and Throwing Rocks with extensive touring up until 2014. Since leaving studies, Gabriel also has collaborated as a performer with a variety of choreographers such as Eleanor Bauer, Robin Jonsson, Doris Stelzer, and Alexandra Bachzetsis. More steadily, he has collaborated with two choreographers: Anne Teresa de Keersmaeker/Rosas, in the creation of Cesena, replacing in Zeitung, and the museum version of Vortex Temporum (2015); and Thomas Hauert/Zoo with the creation of You’ve Changed, Mono, and replacing in Accords. Next to those activities, Gabriel also engaged in a MA program at the European Graduate School which culminated in his philosophical dissertation Organic Texture: A Dialogue between Deleuze and Guattari, the Life Sciences, and Catherine Malabou. The dissertation was accepted ‘with distinction’ and has been published by Atropos Press. This philosophical work was developed in tandem with an artistic research that culminated with the development of a dance-speech score entitled Moving~Thinking.
In addition to his artistic and philosophical practices, Gabriel has been more and more involved with different pedagogical projects. He is a certified Pilates instructor and has taught Pilates at Rosas, Zoo, P.A.R.T.S., and Manufacture in Lausanne. He also taught dance classes, most notably an open workshop at the Raffinerie, and a workshop for the MA students of New Performative Practices at DOCH/Stockholm. More importantly, he has been assisting Thomas Hauert in the development and coordination of a new three-year BA in Contemporary Dance at the Manufacture/Lausanne, and has been collaborating with Alain Franco and Steven Debelder to develop a new two-year long pilot project at P.A.R.T.S. entitled Research Studios.


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