|news & activities||Research Studios||former students||summer projects||archive|
Since August 2015, a group of 9 choreographers have been working in the Research Studios program of PARTS, investigating relations between choreography and music through seminars, workshops and studio work. At the end of their trajectory, they show the results of their research and creation work, both finished pieces and works-in-progress. Several works were made in collaboration with musicians and composers from the advanced master Contemporary Music of KASK & Conservatory - School of Arts Ghent, with whom they followed a common programme during the past semester.
PARTS @ WORK 4: Saturday 10/12 at 20.00 in PARTS
PARTS: Avenue Van Volxem 164 1190 Brussels
PARTS @ WORK 7/ SMOG N. 15: Friday16/12 at 20.30 in Project(ion) room
On December 14, there will be another presentation at the Miry concert hall of the Conservatory/ School of Arts in Ghent
More fresh work? Parallel to PARTS @ WORK you can discover new try-outs & performances at Working Title Festival by workspacebrussels
In PARTS @ WORK 3, the students of the Training cycle present works they made during the composition workshop led by choreographer Daniel Linehan.
At PARTS, every ballet class has live accompaniment. The musician is always present but not always visible, even if he or she has a very important function in the class. This year, three people accompany the classes in PARTs: François Chamaraux, Elisabeth Flynn and Pieter Smout. François Chamaraux sent us some reflections about his job:
"Music schools and conservatories, even at high levels, often prepare to play piano as a solo or solitary practice. In comparison, accompaniment is a quite different art, requiring an additional set of skills. The main difference is essentially to listen to and to be permanently aware of what the others artists are doing. If necessary the accompanist has to be flexible and has to adapt to various ways of playing. It is this interaction with other artists that I find interesting. It gives the feeling that my art is serving another.
Moreover, accompanying dancers has an even more exciting dimension because improvisation, free arrangements and invention can take place. Even in cases where parameters are strictly imposed such as in a ballet class (tempo, number of bars, etc.) spontaneity is still possible. Improvisation is something I like very much, since I began learning piano – inventing melodies, find harmonisations, etc. Improvisation is rarely to be found in « non-jazz » piano practise, and dance accompaniment is precisely an excellent opportunity to work in this direction.
Something specific to dance accompaniment that I also find in different kinds of dances (contemporary and classic, but also traditional dances of Europe) is the special link between the musician and the dancer. When I play for dancers, I have to sustain them, not to play over them. I have to transmit the energy of my music into their movements, to give them the envy of dancing in diverse ways. This is a very exciting and pleasant challenge every time I accompany a class. The link between dancers and musician is invisible, sometimes very discrete, but always present for me, especially at PARTS, where I play for the same group of young, enthusiastic students from the whole world. Week after week, I get to know more about each of them. I’m very grateful to life circumstances, which have brought me to Brussels, a place of opportunities for developing my interests, among them at PARTS."
The third and final cluster of the Research Studios deals with ‘The musical body’: How can music and Choreography influence each other, beyond the ‘classical’ relationship in which the musicians only take care of the musical score? It is not a new tendency for musicians and choreographs to dig into each other’s field: the body and the movements of the musician became essential parameters in music; musical processes and methods inspired choreographers already for several decades.
During 4 months the Research-Students collaborate with 13 musicians, students of the Manama Contemporary music at the School of Arts in Ghent. Together they follow a trajectory of seminars and workshops; and in their search for different hybrids and possibilities they develop new work. Thomas Hauert (choreographer), Myriam Van Imschoot (Performer), Paul Cranen (theorist), Rudi Laermans (theorist), Matteo Fargion (composer), Simon Loeffler (composer), Jeremiah Runnels (composer), and Fredy Vallejos (composer) mentor and guide the group. The general programme is led by Gabriel Schenker (Performer and Choreographer) and Tom Pauwels (Musician).
This is already the third collaboration between PARTS and the Manama of contemporary music, which is strongly linked to the Ictus-group, located at the PARTS-Campus. In 2013-2014 dancers and musicians developed a new creation led by Tom Pauwels (musician) and Andros Zins-Browne (Choreographer). One year later, in 2014-2015 they musically accompanied the duets of the Training Cycle Students.
In December the results of the latest collaboration will be presented to the public in Brussels and Ghent. More details on these performances will be available in November.
In its Jahrbuch 2016, Tanz magazine has awarded Anne Teresa De Keersmaeker the title of ‘Choreographer of the year’.
Many of her former students also do well in the poll! No less than 14 former PARTS students have been nominated in the different categories. That’s a lot of people for a single school!
Most of these artists were also portrayed in the book P.A.R.T.S. – Twenty Years, 50 Portraits, which was published in 2016 and can be bought in bookstores or from the PARTS website (see below)
On the 29th of August we welcomed the 12th generation of Training Cycle students into the school. 46 young dancers from all over the world have converged on PARTS and were received by director Anne Teresa De Keersmaeker and the rest of the PARTS and Rosas team; eager to begin their three year tenure.
Students from Senegal, Japan, Brazil, New Zealand, France, Spain, Portugal, Belgium, Tahiti, Norway, Austria, Lithuania, Israel, South Korea, Australia, Taiwan, Colombia, Hungary, the Philippines, Morocco, Mozambique and the UK were all present after being selected through a rigorous audition process involving almost 1200 applicants.
Ex-PARTS student Radouan Mriziga performed his solo 55 followed by a reception in the PARTS cantine.
Over the next three years, the students will train intensively in technical dance classes, sharpen their choreographic visions in composition and repertory classes, discover their voices in theatre workshops, and expand their thinking through philosophy and sociology classes.
We are all very excited to be working with such a diverse and talented group of artists and look forward to our journey together!
Anne Teresa De Keersmaeker invited the students from Generation XI to participate in a workshop during the performative exhibition Work/Travail/Arbeid at the Turbine Hall of Tate Modern in London. Located on the terrace outside the entrance to the Switch House, the workshop sessions elaborated the artistic principles developed by De Keersmaeker in.
Laura-Maria Poletti and Theo Livesey, two dancers from Generation XI, were asked to write a short comment and review on their experience:
Laura-Maria Poletti - London Calling
To conclude and maybe in a way celebrate the end of three years of learning, sweating, eating macrobiotic, dancing, designing big theories and creating together, Anne Teresa invited generation XI (although we were missing some people due to visa and schedule issues) to be part of the Vortex Temporum's exhibition in the Tate museum in London last July. It consisted in a workshop (four times 1,30h/2h) that she gave in front of the recently acquired building of the Tate Modern museum. Based on the basic choreographic principles that she used for Vortex Temporum, Anne Teresa first passed on to us the basic phrase she had designed for that piece and explained how from this first choreographic seed, she, the dancers and the musicians from ictus were able to grow an intricate score alongside Grisey's already complex musical score. We were then invited to create our own material according to the previously mentioned principles. It led to great moments of sharing materials, being again puzzled and triggered by each one of us' very specific way of considering movement, dance and architecture. Indeed, to be surrounded by Tate's massive construction and brand new buildings of London's south bank probably influenced or at least in my perspective, how we played with organic and non organic lines, shapes and movements. It was probably also interesting for an audience to be given the opportunity to witness this crucial moment of building material, an often hidden and kept secret process. We also explored improvising altogether, sometimes even collaborating with London's moody weather. These were our last days as PARTS students. However this experience opened up potential new ways of dancing, working, discussing, practicing together as forever members of generation XI.
As part of the Work/Travail/Arbeid exhibition in the Turbine Hall of the Tate Modern, the p.a.r.t.s students of Generation XI took part in a workshop led by Anne Teresa, focusing on the fundamental principles of the work, which began as Vortex Temporum.
There is something voyeuristic about experiencing the methodology behind a piece of work in the same day as seeing the performance itself. One gets the sensation that you see not only the work, but simultaneously delve into the studio. An analogy could be seeing a painting hanging in a gallery, whilst also seeing each layer of pigment and the process' required to constitute the work.
As an end to our studies it was somewhat surreal, as though being reminded to stay engaged with the process of art-making, and that there is always material to be found in simple tools and methodologies. As we continue on our many and varied trajectories into the professional world, we remember fondly dancing from our kidneys in the rain.
Book publication P.A.R.T.S. 20 years - 50 portraits
In celebration of the twentieth anniversary of PARTS, the book “20 years – 50 portraits” was created. In this book the school looks back, portraying fifty former students, who each narrate their unique story about what dance means to them and the role of PARTS in their life. The portraits are preceded by an interview with Anne Teresa De Keersmaeker. One hundred images of the school conclude the book, together with an overview of all the students, teachers and collaborators, who have over the past twenty years contributed to the making of PARTS.
The book contains interviews with: Anne Teresa De Keersmaeker, Thomas Plischke, Saskia Hölbling, Arco Renz, Roberto Olivan de la Iglesia, Erna Omarsdottir, Cristian Duarte, Cédric Charron, Salva Sanchis, Clinton Stringer, Taka Shamoto, Charlotte vanden Eynde, Moya Michaël, Sidi Larbi Cherkaoui, Claire Croizé & Etienne Guilloteau, Sung-im Her, Barbara Meneses, Alix Eynaudi, Lisbeth Gruwez, Jakub Truszkowski, Jurij Konjar, Ula Sickle, Marlene Monteiro Freitas, Mette Ingvartsen, Tale Dolven, Fabian Barbá, Pieter Ampe, Frauke Mariën, Daniel Linehan, Manon Santkin, Femke Gyselinck, Eleanor Bauer, Liz Kinoshita, Gabriel Schenker, Mikael Marklund, Benjamin Vandewalle, Andros Zins-Browne, Olga Dukhovnaya, Bára Sigfúsdóttir, Dada Masilo, Nestor Garcia Diaz, Radouan Mriziga, Cecilia Lisa Eliceche, Salka Ardal Rosengren, Noé Soulier, Thibault Lac, Alexander Vantournhout, Thomas Vantuycom, Bryana Fritz, Sara Tan, Michiel Vandevelde, George Khumalo (The 51st portrait)
The book is available for €34,50, shipping costs excluded. A copy can be ordered via email@example.com.
You can download the interview with Salva Sanchis from the book here, to have a peek on the look and feel of the book!