NEW program Research Studios  - first pilot project February - June 2015

In September 2013, P.A.R.T.S. started an ambitious and fundamental re-organisation of its pedagogical structure: Training cycle will from now on last 3 years (previously 2 years) and Research cycle, still 2 years, will be organized from February to November (previously from September to June).
- The new Training program consists of the former 2 years of Training cycle, plus the first year of the previous 2 year Research Cycle. There is place in the Training program for around 50 dancers. Only once in three years auditions are organized. In September 2013 a group of 53 dancers started their 3 year Training program. A next group will start in September 2016.
- The new Research program, now called Research Studios, still consists of 2 years, but it offers a totally new program. There is place for only 12 participants. The new program will be fully operational from February 2017, and its first edition will run until November 2018. To prepare for the new Research program, PARTS will organize in 2015 and 2016 a pilot program of Research Studios.

From 2015 onwards, PARTS installs a new definition of its Research cycle, called RESEARCH STUDIOS.
RESEARCH STUDIOS is a research program which is destined towards choreographers who have obtained a Masterís degree and/or have some years of professional experience. Participants are interested to devote time to research and develop their choreographic language in an environment where reflection and studio experimentation, exchange and collaboration with other artists are the basic working formats. 
Each RESEARCH STUDIOS is composed of 4 blocks of 4 months. The blocks run from mid-February to mid-June, and from August to November. 
For every two-year session, starting with the first edition 2017-2018, there will be an overarching theme. 
Also the pilot version of Research Studios in 2015-2016 will focus on one theme, i.e. the relation between choreography and music.

The pilot edition of RESEARCH STUDIOS will be organized in two separate sections:
    *  Section 1: February 16 > June 12, 2015 : 'Study of the choreographic work of Anne Teresa De Keersmaeker'
    *  Section 2: August 17 > December 11, 2015;  February 15 > June 10, 2016; August 1 > November 25, 2016 : 'How to write dance on music?' 

Both sections of the pilot program can be combined. 
Registration for only one of the sections is possible.

The first section of the pilot project will run for 4 months. 
This first section will take as its starting point the choreographic work of Anne Teresa De Keersmaeker/Rosas, as filtered through the books series A Choreographerís Score. The goal is an intensive study and critical analysis of the compositional principles of the work of Rosas, the relations between music and choreography, an engagement with the broader context of choreography and music, and a strong thread of studio experimentation where the participants develop new ideas and practices taking the relation between choreographic and musical composition into their own work.

A Choreographerís Score #1 documents the Early Works of Anne Teresa De Keersmaeker: Fase (1982), Rosas danst Rosas (1983), Elena's Aria (1984) and Bartok's Fourth String Quartett (1986).
A Choreographerís Score #2 analyses the late choreographies En Atendant (2010) and Cesena (2011).
A Choreographerís Score #3 reflects on two major choreographies on Steve Reich music, i.e. Drumming (1998) and Rain (2001).
A fourth chapter of the first section of the pilot project will be the critical study of Work/Travail/Arbeid (2015), based on Vortex Temporum (2013): a nine week long 'exhibition' in the Centre for Contemporary Art WIELS during Spring 2015. 

We offer 12 positions in the first section of the pilot project. Focus is on persons with a strong choreographic interest. But also theoreticians, who prepare for a career as a dance dramaturge or a dance critic, can apply. We aim for 9 or 10 choreographers and 2 or 3 theoreticians.

Requirements:
- MA degree in dance or MA degree in dance or performance studies, OR similar professional experience
- good basic musical knowledge (minimum requirement: basic musical notation; good knowledge of music is an asset) - this will be tested during the audition
- minimum age 23, maximum age 35 (exceptions to this rule may be possible)
- very good skills in speaking and writing in English

The first section of the pilot project will run between February 16 and June 12, 2015.  
It is a fulltime program ñ 17 weeks, 5 days/week, min. 6 hours/day. The tuition fee amounts to 4.000 euro. PARTS graduates pay 3375 euro.
Deadline for application is October 10, 2014
Audition in Brussels will take place November 21-24, 2014
There is place for 12 participants.
More detailed information about the program is available at the page Curriculum Research.
 

How to apply?
Please send in by email or regular mail, before October 10, an application dossier composed in English of:
- a detailed cv
- a motivation letter
- a reference letter written by a senior artist
- video documentation of your own work (for choreographers - maximum 30', in at least one section you have to be on stage) or critical/anaytical texts (for dramaturges - max 20 pages, published or not)
Send it to PARTS/ Eva Vanhole, Van Volxemlaan 164, 1190 Brussels, Belgium, or email it to eva.vanhole@parts.be.


The second section of the pilot project will run for 3 x 4 months, taking place between August 2015 and November 2016. 
Concrete details about the program will be available from November 1, 2014.
The selection process will be organized in January-March 2015.
There is place for 12 participants. The tuition fee is 8.000 euro. PARTS graduates pay 6125 euro.

Director and Deputy director of RESEARCH STUDIOS : Anne Teresa De Keersmaeker and Theo van Rompay
Artistic co-ordination of RESEARCH STUDIOS : Steven De Belder, Alain Franco, Gabriel Schenker

 

Thibault Lac interviewed in Time Out New York

PARTS graduate Thibault Lac has been dancing with New York choreographer Trajall Harrell in different versions of his 'Twenty looks or Paris is Burning at the Judson Church'. On the occasion of a presentation of all these pieces at The Kitchen, Tim Out New York made a long interview with Thibault. He reflects back on his education in PARTS:

"Some people got to P.A.R.T.S. after a proper, professional dance education, but it was my first, so it was all very new. I had a great time. It was rich and people came from all over the world. What I was getting exposed to was all new—culturally and artistically. We were learning both vertically, from the teachers to the students—and we had experienced, amazing teachers from different kinds of backgrounds—and horizontally. The community of students was very vibrant. This thing of versatility that’s present in Trajal’s work, I think was already there—I was very attracted to being able to switch from one class with a Pina Bausch dancer to a class with a William Forsythe dancer. I was learning about dance history physically through the body, and I was also accepting those different identities, like, Oh, now I’m going to think about the body this way, and I’m going to approach movement this way."  

To read the whole interview, see http://www.timeout.com/newyork/dance/q-a-thibault-lac-talks-about-dancing-with-trajal-harrell

 

6, 7 and 8 September: Septemberfestival in Gaasbeek

‘De School van Gaasbeek’ is a new platform for artistic creation and residencies based in the former village school in Gaasbeek, just outside Brussels. The project was co-founded by Hugo Degreef who is the president of PARTS. This Spring the students of the 4th year were among the first to use the studios, for the creation of their graduation works.

On September 6-8, De School van Gaasbeek organises the September Festival, with which they open their doors to the general audience. They have invited a number of artists from different disciplines, people who have been or will be working in the studios, and also a number of artists who have a historical connection to the place – the legendary collective Radeis and the production structure Schaamte, who both played a pivotal role in the renewal of the Femish performing arts scene of the 1980’s, started their operations in the same building.

The festival invited PARTS to present work of the students – now graduated – who have been working there. On Sunday September 7 at 20.30,  Hagar Tenenbaum will perform the solo ‘Swimming room’, followed by the trio ‘Wednesday’ by Ben Van Buren. They share the program with Anne Teresa De Keersmaeker who will dance ’Violin Phase’.

Free entrance, but prior reservation is advised.

For more information, visit www.deschoolvangaasbeek.eu.

 

 

Graduation Tour 2014

In June, Generation X finishes its education at the Research Cycle in PARTS. As always, they end their last year with the creation of graduation works, for which the school provides three months of studio time and a budgets for production and coaching. After the creation they go on tour and present the work in different theatres and festivals – a final step between education and the professional field.
In 2014, there were two different options: repertoire or personal work. Guided by Sandy Williams and Eleanor Bauer, eleven students created a remake of Anne Teresa De Keersmaeker's 'The song' from 2009, retitled to 'Another Song'. Eleven others decided to make their own work, two trios, a duet and three solos.
These works form the basic programs of a tour that brings them to different venues in Belgium, The Netherlands, Germany, Turkey and Poland: 26 performances at 11 different locations. The graduation works have been divided in three basic programs: the repertoire and two evenings with personal work. In some places there are extra evenings with selections of older work.

The basic programs: 

RepertoireAnother Song by Anne Teresa De Keersmaeker, with Manuela Aranguibel Molano, Balázs Busa, András Déri, Erik Eriksson, Taha Ghauri, Kinga Jaczewska, Darko Radosavljev, Jason Respilieux, Krišjānis Sants, Roman Van Houtven and Thomas Vantuycom
Personal work 1Multiverse (beta) by James McGinn, Chatter, Clatter and Other Arrangements (previously called Scheme Arrangements) by Rósa Ómarsdóttir, Christoffer Schieche and Hagar Tenenbaum, Trans-lation by Tiran Willemse
Personal work 2Get out of the blue by Jeanne Colin, Slogan for modern times (Slugania) by Inga Huld Hákonardóttir and Kathryn Vickers, The Eternity Ship Question by Bryana Fritz, Alma Toaspern and Ben Van Buren

Tour dates:

STUK, Leuven (BE) – www.stuk.be
Wed May 21, 20h30: repertoire 

DE Studio, Antwerp (BE) – www.destudio.com
Tue June 3, 20h00:  repertoire
Wed June 4, 20h00: older work (1) 

PACT Zollverein – Choreographisches Zentrum NRW, Essen (DE) – www.pact-zollverein.de
Thu June 5, 20h00: selection from personal work 1+2
Fri June 6, 20h00:  repertoire

Monty, Antwerp (BE)  – www.monty.be
Fri June 6, 20h30: personal work 1
Sat June 7, 20h30: personal work 2

Kunstencentrum Vooruit, Ghent (BE)– www.vooruit.be
Thu June 12, 20h00: personal work 1
Fri June 13,  20h00 – personal work 2
Sat June 14, 20h00: repertoire

Kaaitheater, Brussels (BE) – www.kaaitheater.be
Thu June 19, 20h30: repertoire

Kaaitheaterstudio's, Brussels (BE) – www.kaaitheater.be
Tue June 17, 20h30: older work (1)
Wed June 18, 20h30: ouder werk (2)
Fri June 20, 20h30: ouder werk (3)
Tue June 24, 20h30: personal work 2
Wed June 25, 20h30: personal work 1
Thu June 26, 20h30: personal work 1
Fri June 27, 20h30: personal work 2

De Brakke Grond, Amsterdam (NL) – www.brakkegrond.nl
Tue June 17, 20h30: repertoire
Thu June 19, 20h30: personal work 2 (plus solo Tiran Willemse from progr. 1)
Sat June 21, 21h00: personal work 1 (minus solo Tiran Willemse)

Plac Wolnosci/ Malta Festival, Poznan (PL) – www.malta-festrival.pl
Fri June 27, 21h30: repertoire
Sat June 28, 21h30: selection personal work

Beach stage, Dansand festival, Ostend (BE)- www.vrijstaat-o.be
Sun July 6, time tbc: selection personal work

Mimar Sinan University Bomonti Campus, Istanbul (TR) – www.bimeras.org
Wed July 9: personal work 1
Thu July 10i: personal work 2
Fri July 11: repertoire
Sat July 12: extra performance in a park (details tbc)


X-week

This week is the X-week at PARTS. The regular program with its daily yoga, ballet and contemporary classes and workshops is interrupted to give carte blanche to three artists who each work with a third of the group of Training Students: Vera Mantero, Julyen Hamilton and Jérôme Bel. During one week, they will introduce their group into their work, artistic vision and creation processes. The work of Vera Mantero, Julyen Hamilton and Jérôme Bel is extremely different, but they represent three unique and individual voices that have had (and continue to have) a great influence  on contemporary dance today. You can read more about the artists underneath.

Jérôme Bel

Jérôme Bel lives in Paris and works worldwide. nom donné par l'auteur (1994) is a choreography of objects. Jérôme Bel (1995) is based on the total nudity of the performers. Shirtology (1997) presents an actor wearing many T-shirts. The last performance (1998) quotes a solo by the choreographer Susanne Linke, as well as Hamlet and André Agassi. Xavier Le Roy (2000) was claimed by Jérôme Bel as his own, but was actually choreographed by Xavier Le Roy. The show must go on (2001) brings toghether twenty performers, nineteen pop songs and one DJ. Véronique Doisneau (2004) is a solo on the work of the dancer Véronique Doisneau, from the Paris Opera. Isabel Torres (2005), for the ballet of the Teatro Municipal of Rio de Janeiro, is its Brazilian version. Pichet Klunchun and myself (2005) was created in Bangkok with the Thai traditional dancer Pichet Klunchun. Follows Cédric Andrieux (2009), dancer of Merce Cunningham. 3Abschied (2010) is a collaboration between Anne Teresa De Keersmaeker and Jérôme Bel based on The Song of the Earth by Gustav Malher. Disabled Theater (2012) is a piece with a Zurich-based company, Theater Hora, consisting of professional actors with learning disabilities. Cour d'honneur (2013) stages fourteen spectators of the Cour d'honneur of the Palais des Papes in Avignon.      

Julyen Hamilton

Julyen Hamilton was born in England, lived in Amsterdam and is currently living in Girona (northern Spain). His work, both in company and solo, develops dance for the theatre - a place where an atmosphere of transformation, insight and understanding is permitted without resort to thin conclusions. In this ambience dancers and light designer are directed to compose pieces instantly; they practise a process of improvisation in rehearsal and in the moment of performance.Since 1990 he has made more than 100 solos which have been seen all over the world. They are an original interplay between dance, live text, and decor. Each piece is made specifically for each venue thus harnessing the architecture and ambience of the performing arena as forces which support and amplify the inherent themes of the piece.
His present company is based in Brussels, named: 'Allen's Line'. As director of the group, Julyen develops a communal language where movement and text constantly intertwine as they are passed amongst the dancers; it is their way of manifesting a sharing of the imagination.
Hamilton has also been invited to choreograph for other dancers and to collaborate with other directors. HIs teaching work comes straight from the stage experience; it goes deeply into the compositional aspects of creativity through the areas of the physical body, space, time, dramaturgy and voice.

Vera Mantero

Vera Mantero was born in Lisbon in 1966. She studied classical dance until she was eighteen. She worked for five years in the Ballet Gulbenkian, in Lisbon. In New York and Paris she studied contemporary dance technique, voice and theatre, and by then she completely cut with her ballet origins. As a dancer she also worked in France with Catherine Diverrès. She started creating her own choreography in 1987 and since 1991 she has been showing her work in theatres and festivals in Europe, Brazil, USA, Canada and Singapore. In 1999 the Theatre Culturgest in Lisbon organized a retrospective of her work. She regularly participates in international improvisation projects and teaches workshops of creation/composition and improvisation. Since the year 2000 Vera Mantero is dedicating herself more and more to voice and other music projects. In 2002 Vera Mantero was awarded the Almada Prize (IPAE/Ministry of Culture) for her career as a performer and choreographer. She represented Portugal at the 26th Bienal of São Paulo 2004 together with the sculptor Rui Chafes with the co-creation Eating your heart out. In 2007 Vera Mantero co-directed together with Miguel Gonçalves Mendes and edited her version of the film Course of Silence.
For her, dance is not a given fact; she believes that the less she acquires it, the closer she will be to it; she uses dance and performance work to understand what she needs to understand; she sees less and less sense in a specialized performer (a dancer or an actor or a singer or a musician) and more and more sense in an especially trained total performer; she sees life as a terribly rich and complicated phenomena and work as a continuous fight against the spirits' impoverishment, hers' and the others', a fight which she considers essential at this point of history.

 

In memoriam Aldo Martinig (1958-2014)

In March, Aldo Martinig, pianist at PARTS since many years, passed away. On this page you find an in memoriam and a collection of reminiscences by teachers and former students.

 

PARTS & GAME - The Funerals

In the context of the festival Genoteerd!, PARTS & GAME were invited by Concertgebouw Brugge to create a new work that started from musical scores that use non-traditional forms of notation.

Directed by choreographer Andros Zins-browne and musician Tom Pauwels, 10 dancers of PARTS and six musicians of GAME (Ghent Advanced Master Ensemble, a post-master program in contemporary music coached by the Ictus ensemble) dove into scores by Francisco Filidei and Mauro Lanza and ended with a new choreographic-musical score for self-made instruments, The Funerals. They created instruments from found objects and developed a musical and performative practice for these instrument, searching for a common ground between movement, gestures, objects and sound.

Following this new creation, we composed a full-evening program, with also performances of compositions by Francisco Filidei and François Sarhan by GAME, and a duet of two PARTS students who take another perspective on the relation between movement and sound.

Premiere: Concertgebouw Bruges, Thursday 27/2 at 20h. Click here for tickets and information.
A second show will be in Bozar in Brussels, Wednesday 5/3 at 20h. Click here for tickets and information.

PARTS & WIELS - Museum Night Fever

On 22 February the 7th edition of the Museum Night Fever takes place. 24 different museums in Brussels open their doors from 19.00 to 01.00. PARTS will also participate, in the Contemporary Arts Centre Wiels. A group of students of the Training Cycle will make small choreographies with which they will activate objects of Franz Erhard Walther.

This influential German artist will have in WIELS his first Belgian exhibition, which will also be one of his larger solo exhibitions to date. Its focus is the tension between the object that is made up by the work of art and the manipulation and operation that can be performed with it. Thus Walther tries to question the conventional idea of the artwork as a static, unchangeable object. The PARTS students will work on 25 different objects and invite the spectator to also trigger their own imagination.

An impression of the opening of the exhibition, with work activiations by PARTS students:

Franz Erhard Walther at WIELS from Josete Huedo on Vimeo.

 

Presentation of Le Sacre du Printemps

On October 24 and 25 the students of the 4th year presented the results of the creation workshop with Daniel Linehan. Together with the TWIS Ensemble of the Brussels Conservatory, directed by Vincenzo Casale, they created a new choreogrpahy on Stravinsky's famous score.


Le Sacre du Printemps - photo Bart Grietens
Le Sacre du Printemps - photo Bart GrietensLe Sacre du Printemps - photo Bart Grietens
Le Sacre du Printemps - photo Bart GrietensLe Sacre du Printemps - photo Bart Grietens

 

Contact improvisation with Martin Nachbar - an impression

During the past three weeks, the Training students have been divided into three parallel groups, that each had another workshop: composition, improvisation technologies or contact improvisation. These workshops have been taught by Johanne Saunier (composition), Prue Lang (improvisation technologies) and Martin Nachbar (contact improvisation). Throughout the following weeks, they will all get to follow the three given workshops. Nachbar has just finished his first block of workshops with a group, and wrote about his experiences:

"I have just come out of teaching the first out of three groups of first year students at PARTS. We have had two very concentrated and productive weeks, in which the students worked very well on their skills in contact improvisation. Some of them had already quite some experience, others were entirely new to the form. They were all very keen on getting the information I had to give and worked with me and with each other very generously. I adapted the class to the ones who had no experience and so, we started from the floor and worked our way up through the mid-leves all the way to jumping and flying, never forgetting that one of the main things to do in contact improvisation is falling - towards your partner, towards the floor, sideways or upwards. The exercises I proposed, all evolved around the basic principles in this way of dancing: weight, touch, rolling and extending, communicating through sharing weight, falling, catching scooping... Some of the information tends to be rather technical and looks at how individuals cope with different kinds of situations. One of the students called this "fitting the key into the lock". At the same time, we looked for how we make decisions while dancing with a partner. In several 'round robbins' and in one 'contact jam' we played with the principles we had studied in the exercises, and often found a very concentrated kind of playfulness. And with the last session today we started to feel safe enough to be more daring and take some risks with each other. I am looking forwards to the next group in two weeks!"


Nachbar Contact 1Contact Nachbar 2Contact Nachbar 3

 

Re:Zeitung on tour

Zeitung was created by Rosas in 2008. In this production, together with the Rosas dancers, the choreographer Anne Teresa De Keersmaeker and pianist Alain Franco went in search of the unstable combination of music and dance, choreography and improvisation, romance and disillusion. In a broad historical gesture, Johann Sebastian Bach, Arnold Schönberg and Anton Webern traverse the geometrical principles and improvisational wild cards of the Rosas choreography. In harmony and difference, in unison or counterpoint. In Zeitung, music and dance do not meet on the basis of any similarity or parallel, but on the intersection of the two. 

In 2013 the P.A.R.T.S.FOUNDATION presents Re:Zeitung. This is a new initiative of P.A.R.T.S. through which young graduates of the school are offered a professional framework. Re:Zeitung refers clearly to the original Zeitung , but it is also a new version of this work, this time performed by a new generation of dancers: six young men from Brazilian, French, Moroccan and Tunisian origin.

In 2011, these six dancers already worked around Zeitung in the frame of the program of the 3rd year in P.A.R.T.S. Mark Lorimer led the workshop. The result of this workshop was so good that it was included as Zeitung/Fragments in the program of the biennial Graduation Tour of PARTS in 2012. José Paulo, Louis, Mohamed, Radouan, Renan and Youness successfully danced their forty minute Zeitung-version in several theaters in Belgium, but also in Amsterdam, Utrecht, Essen, Istanbul, Lisbon and Moscow.

After the very positive reception of Zeitung/Fragments, P.A.R.T.S. took the initiative to show the production again. The former student production is now titled Re:Zeitung. The production has become somewhat longer, a full-length evening performance of 70 minutes. New music was added to it, a.o. Charles Ives , Kurt Weill and Einstürzende Neubauten. Rehearsal director Moya Michael developed new material together with the dancers based on improvisation. The result is a very different production without betraying the original. Alain Franco is in charge for the musical dramaturgy and choreographer Anne Teresa De Keersmaeker retains overall responsibility.

The dancers graduated over a year ago. We could already see them at work in Charleroi Danses, Needcompany and Toneelhuis Antwerp. They are employed as professional dancers in this project as well.

With this project the P.A.R.T.S.FOUNDATION taps a new dance audience. The programming of Re:Zeitung is complementary to the Zeitung-tour of Rosas. Re:Zeitung is often featured in theaters where Rosas has never performed. Or otherwise the production will be danced for specific target groups, such as young people, or school performances. For that reason, a socio-educational program was created around the performances.

Re:Zeitung has a tour from September to December 2013. Any extension in the fall of 2014 is not excluded. For tourdates, check the agenda.

Concept: Anne Teresa De Keersmaeker en Alain Franco
Choreography: Anne Teresa De Keersmaeker
Dance vocabulary: David Hernandez
Rehearsal Director ‘Re:Zeitung’: Moya Michael, Muriel Hérault
Dance: Louis Combeaud, José Paulo Dos Santos, Youness Khoukhou, Renan Martins de Oliveira, Radouan Mriziga, Mohamed Toukabri
Dance 'Zeitung'  (Rosas, 2008): Bostjan Antoncic, Tale Dolven, Fumiyo Ikeda, Cynthia Loemij, Mark Lorimer, Moya Michael, Elizaveta Penkóva, Igor Shyshko, Sandy Williams
Rehearsal Director 'Zeitung/Fragments' (PARTS, 2011): Mark Lorimer, with assistance by Bostjan Antoncic, Tale Dolven, Alain Franco, Moya Michael, Elizaveta Penkova, Sandy Williams and Sue-Yeon Youn.
Music: Anton Webern, Arnold Schönberg, Charles Ives, Einstürzende Neubauten, Johann Sebastian Bach en Kurt Weill
Light and technique: Joris De Bolle 
Tour management: Annelies Van Assche

Production: P.A.R.T.S.FOUNDATION

Coproduction: De Munt/La Monnaie


The trailer: 

 

Performing Arts Training

Definition

With the three-year program Performing Arts Training PARTS offers an intensive education in contemporary dance.  The art of dance is seen as a collective
performing art. The individual education of the dance artist takes place in dialogue with the collective of students and with an audience. As performing arts, both music and theatre are the necessary references through which the relevance of dance can be completely realised. The art of dance develops in the world of today, with the knowledge of the past and a view on the future, which is why theoretical education is an important part of the training program.

 At the end of the three-year trajectory, there will be dancers and choreographers who can combine a very solid technical and physical capacity with the force of imagination and a personal and autonomous artistic voice. A student who graduates from the Performing Arts Training is ready to take his/her place in the labour market. But s/he also has the necessary theoretical and dance-technical capacities to continue with a research-based specialisation in dance.

 

Number of years, frequency, student population

The trajectory of the Training Cycle is extended from two to three years and is re-baptised as Performing Arts Training. This responds to a recommendation of the review committee (“The commission proposes to consider exploring whether the program can be spread over two cycles of respectively three and two (or one) years”, report visitation commission PARTS 2010, p 34 (p. 48 in the original Dutch version)

The trajectory will start only every three years. In any given year either only the first year Training, the second year Training or the third year Training will be active, after which the three-year cycle will be restarted.

Each school year starts beginning of September and is concluded by the end of June.

The three-year Training cycle will start with 50 students. The target group are students aged 18 to 22 at the start of the program. A specific prior dance education is not required but it will be a strong advantage to have one, especially in the perspective of the large number of candidates.

 

Structure of the three years

Each year of the program has a specific focus,respectively Tools (1eyear ), Process (2nd year) and Performance (3rd year).

Tools : in the first year, the technical foundations for a dance practice are developed. A regular morning block  starts with an hour of yoga, followed by technical classes in ballet and contemporary dance. Basic courses in improvisation, composition, repertoire
study, singing, rhythm and theatre are essential building blocks. General theory and art theory offer perspective and context.

Process : the second year adds an investigative attitude to the programme. By the end of the year, the student becomes more conscious of his/her own relation to the field of performance possibilities. Composition tasks, repertoire study,theatre a.o. make the dancer aware of and trust his/her facilities to steer the own processes.

Performance : the third year takes the step towards  the concrete application of the accumulated knowledge and research. By the end of the Performing Arts Training, the young artists will have reached a point where they can engage in professional productions with their own personal voice and can define research strategies which may be realised in a new phase of education.

 

Composition of the training programme

Ballet training: the current state of dance can only be fully
understood from its historical development. For the art of Western dance the historical frame of reference is ballet. Its strong structural coherence is of strong interest to us. It offers a good basis and building blocks for an integrated structural approach of dance training.

Contemporarydance techniques: the large volume of contemporary dance technique is built around the postmodern release technique,which is an important but little systematised pillar of both American and European postmodern dance. This broad term  ‘release based ‘ techniques refers to training approaches that investigate movement efficiency, structural and anatomical function in movement and the use of the bodies natural weight in fall and rebound to support and initate moving through space.   The purpose of these physical technologies is to increase the range of movement possibilities, bring greater clarity in line and form, and initiate a more personal movement vocabulary and expressivity.   Corresponding techniques
taught in the Training  program combine elements from martial arts training, developing a strong physical and energetic center from which the movement material can freely travel  sequentially through the rest of the body.  Many of the classes include physical explorations and improvisation as a part of the technical training  and deepen the experience  of the individual’s physical movement possibilities.  Others continue to investigate phrase material. Due to the limited systematisation of the release technique, the specific choice of teachers gains strongly in importance. The teachers offer a diversity of approaches. The school seeks to establish an organic balance between diversity and continuity.

Improvisation: the study of improvisation starts with the Improvisation Technologies, developed by William Forsythe. This method is spatially and conceptually oriented. Later on, a more organic, intuitive and impulsive method to create movement patterns is offered, as developed by David Zambrano. In other
workshops, including Contact Improvisation, students are confronted with dancing together, using touch and contact between two or more bodies.

Composition: the composition workshops start from the material developed by the student. First there is the establishment of a ‘vocabulary’, then the introduction of and experimentation with techniques to make variations in time and space with this basic material. Students investigate how the material that has been generated can be structured with techniques of construction and deconstruction. In a later phase, the focus is on the relation between dance and music.

The compositional knowledge can be fully applied in the creation of a solo and a duet.

In the final phase of the Training programme choreographer Jonathan Burrows will lead the composition workshop as an intensive self-research, which finds its way into the many personal works by the students.

Repertoire: the study of repertoire is a confrontation with an artistic vocabulary of a specific artist. PARTS makes maximal use of the opportunities to study the body of work of Anne Teresa De Keersmaeker. Next to this, also Trisha Brown’s repertory will be offered to each generation of PARTS students. Occasionally, also the work of Pina Bausch and William Forsythe and of a younger generation of choreographers can be included in the programme. It
is a challenge for the students to get involved with and express themselves in a strong, highly developed and appealing vocabulary.

Guest choreographers: through workshops with guest choreographers,the program touches a wide field of approaches, in which the technique, composition and dramaturgy of the invited artist are confronted with the personal position of the students.

Bodystudies: the daily yoga class is an important complement to the dance training. PARTS offers Hatha yoga. Together with workshops shiatsu and the anatomy classes this field offers an approach toward the body and mind that refers both to the theoretical and practical western approach and to the
holistic Eastern philosophies and traditions. The goal is to strengthen the physical and mental capacities and stamina of the dancers.

Music: each piece of music sets different challenges to the choreographer. Because dance and music often use similar structural mechanism, the study of music is a fundamental tool to activate the analytical thinking. The active practice of music is developed through singing and rhythm classes.

Theatre: in the theatre workshops the students learn to present the totality of their personality to the audience, without fear. Working with language, performing roles and the play with ‘the lie’ has a liberating effect. It enlarges the focus of their performing tools.

Theory: if the student wants to be a professionally active artist, s/he now needs to be much more than only the performer of somebody else’s ideas. Thinking must be trained as much as the body. The theory classes follow two main lines: on the one hand
‘a confrontation with the arts’, on the other ‘a history of thinking’. Our approach does not aim for a compendium of philosophy or sociology, and neither a chronological overview of theatre or visual art. The goal is to have the students taste what ‘theory’ can be, to offer them methods, perspectives, materials with which they can go to work themselves in reading and reflection.

Personal work: PARTS offers maximum space and guidance to investigate and develop one’s creative identity. This approach is integral to many classes and workshops, and becomes evident in the opportunities for individual coaching and the presentation of personal work to an audience. A
first cornerstone is the task to create a solo and a duet. In a second phase personal work is collective research work in small groups, autonomously defined by the students themselves. A mentor follows and comments the work process, but does not steer it.

Rehearsals and performances: The transition from a learning process to a public presentation is important. PARTS organises many performance moments, for small and large audiences, in the educational and the professional contexts, in Belgium and abroad.

 

Formats of work

Teaching hours: the vast majority of the regular study time is spent in contact hours. In the 1st year, the contact hours amount to approx 95% of the study time; in the 2nd year approx. 90%, in the 3rd year approx. 75%. The classes are taught to groups between min. 10 and max. 25 students.

Frequency: The morning classes are taught on a daily basis (yoga, technique classes). The afternoon programme is reserved for (dance) workshops, theory and music analysis. These are offered in concentrated blocks of one to five weeks. Only a few classes are offered with a weekly rhythm, in the morning or afternoon: singing, rhythm and anatomy.

Trajectories:  Because all classes and workshops are offered to several groups (between two and five groups), a course can have different teachers and also different content formats. This can lead to individually adapted study tracks.

Students cannot freely choose between different courses or teachers. The navigation between the different possibilities occurs under the supervision of the pedagogical coordinator, who takes into account the individual desires of the students and balances this with their different level of prior education.

Individual tasks: next to the volume of contact hours each student has to fulfil a large amount of personal tasks over the course of three years. These are part of the individual study track.

Portfolio: upon graduation, each student will have constructed a personal portfolio, which will consist of at least the following: a solo created with full artistic autonomy, a duet guided by mentors (where either the solo or the duet are accompanied by live music), the public performance of a repertoire work by Anne Teresa De Keersmaeker, participation in a creation by a guest choreographer, the participation in a collective creation with several other students.

 

Study load

Study load: the total amount of study time is approx. 1150 hours per year. Most of these are contact hours . There is also a limited
volume of facultative hours. If one adds up the time spent on tasks in the evenings and weekends, the total study load is approx 1600 hours per year.

 

Teachers and guidance

Teachers:
PARTS has no teachers with a permanent contract. The vast majority of teachers work as freelancers. They are from Belgium and mainly from abroad. They are not necessarily holders of a pedagogical diploma, but they can offer a rich experience as artists.

Since 1995 PARTS composes its team of teachers like a curator makes an exhibition, film festival or theatre season: looking for information which is relevant to the moment, with knowledge of the past and an eye for expected developments in the arts.

Based on 17 years of experience PARTS will start from 2013 onwards with a Faculty, i.e. a group of teachers who take responsibility during three years for the training of one specific generation. For instance, from September 2013: Generation XI will be for three years supervised by Faculty 2013-2016. Next to the Faculty there will be still place for many guest teachers, just as we have done during previous years.

The Faculty 2013-2016 will be announced by January 2013, together with the details of the 1st year program of the renewed Training cycle.

Guidance of students: the varied presence of a large amount of very diverse teachers puts a lot of responsibility on the side of the institution to guarantee the direction, cohesion and performance of the program. A pedagogical co-ordinator follows all the students on a daily basis, through the witnessing of classes, dialogue with teachers and students, and reporting to the evaluation commission.

Personal
mentors:
 for all the creative work (creation of solo, duet, collective personal work) the student can choose a mentor, who can be linked to the school or be external to it. Ideally the mentor is an artist who can offer contextualisation and push the student further in his/her investigation.

(July
2012)


 Book publication: P.A.R.TS. - Documenting ten years of contemporary dance education

posted 15/12/2007
In September 1995, the Performing Arts Research and Training Studios (P.A.R.T.S.) opened their doors in Brussels. It was the result of a dream shared by Anne Teresa De Keersmaeker (Rosas) and Bernard Foccroulle (De Munt/La Monnaie), a dream for an international school for contemporary dance that responded to the breakthroughs and challenges of the still-young contemporary dance scene in Belgium.

This book celebrates the 10th anniversary of PARTS. Teachers, students, former students and outsiders remember, recount and reflect on different aspects of the school: its mission, its program, its daily experience, its impact and its relation to the world. An extensive photo collection gives a view on students and teachers at work. The book finishes with an archive of facts and figures relating to 10 years of PARTS.

Edited by Steven De Belder and Theo Van Rompay
Published by PARTS in 2006.

The book was published with the support of VGC (Vlaamse Gemeenschapscommissie), Nationale Loterij and the network Départs, which is supported by the European Commission (Programme Culture 2000).

It is also available directly from PARTS: send an email to Jens Buysschaert to order it.
Price: 20 euros

New Research Studios program - first pilot project February - June 2015

Thibault Lac interviewed in Time Out New York

Septemberfestival in Gaasbeek

Open House

Graduation Tour 2014

X-Week

In memoriam Aldo Martinig

PARTS & GAME - The Funerals

Museum Night Fever

Presentation of Le Sacre du Printemps

Contact improvisation with Martin Nachbar - an impression

Re:Zeitung on tour

Performing Arts Training 

Book publication

Agenda 2013-2014

Click on the date for more details.

21, 22, 23 September
Re:Zeitung
Tanzhaus (nrw), Düsseldorf (DE) - www.tanzhaus-nrw.de

8,10,11,12 October
Re:Zeitung
De Munt, Brussels – www.demunt.be 

15 October
Vredeseilanden fundraising dinner
PARTS 

15,16,17,18,19 October
Re:Zeitung
Théâtre de la Bastille, Paris (FR) – www.theatre-bastille.com 

22 October
Re:Zeitung
CC Strombeek-Bever, Grimbergen – www.ccstrombeek.be 

24, 25 October
Presentation Le Sacre du Printemps
Rosas Performance Space 

24, 25 October
Re:Zeitung
De Studio, Antwerp – www.destudio.com 

28 October
Re:Zeitung
Kurtheater, Bad-Homburg (DE) – www.kurtheater-bad-homburg.de 

31 October
Re:Zeitung
CC Ter Dilft, Bornem – www.terdilft.be 

17 November
Re:Zeitung
CAMPO, Gent – www.campo.nu 

2 December
Re:Zeitung
Rotterdamse Schouwburg, Rotterdam (NL) – www.rotterdamseschouwburg.nl 

6 December
Re:Zeitung
CC Adelberg, Lommel – www.deadelberg.be 

7 December
Re:Zeitung
CC Strombeek-Bever, Grimbergen – www.ccstrombeek.be

12, 13 December
PARTS@Rennes
Musée de la Danse, Le Garage, Rennes (FR) 

13 December: 
Re:Zeitung
CC Den Blank, Overijse – www.denblank.be 

15 December
Re:Zeitung
CIRCa, auch (FR) – www.circa.auch.fr 

17 December
Re:Zeitung
Théâtre Jean Marmignon, Saint-Gaudens (FR) – www.stgo.fr 

19 December
Re:Zeitung
Scène Nationale, Albi (FR) – www.sn-albi.fr

1 February
Lectures and projections in BOZAR in collaboration with ERG - www.bozar.be

22 February
Museum Night Fever

27 February
PARTS & GAME - The Funerals

5 March
PARTS & GAME - The Funerals

15, 22 and 29 March
Student Performances Spring 2014

31 March - 4 April
X-week 

May 18
Open House

May 21
Graduation Tour
Stuk, Leuven (BE)

June 3-4
Graduation Tour
DE Studio, Antwerp (BE)

June 5-6
Graduation Tour
PACT Zollverein, Essen (DE)

June 6-7
Graduation Tour
Monty, Antwerp (BE)

June 12-14
Graduation Tour
Vooruit, Ghent (BE)

June 17, 18, 20, 24, 25, 26, 27
Graduation Tour
Kaaitheaterstudio's, Brussels (BE)

June 17, 19, 21
Graduation Tour
De Brakke Grond, amsterdam (NL)

June 19
Graduation Tour
Kaaitheater, Brussels (BE)

June 27, 28
Graduation Tour
Malta Festival, Poznan (PL)

July 6
Graduation Tour
Dansand Festival, Ostend (BE)

July 9-12
Graduation Tour
Mimar Sinan University Bomonti Campus, Isyanbul (TR) 

July 14 - August 15
SummerSchool 

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