In December, the students of the 4th year are heading off to the French city of Rennes. Musée de la Danse, the choreographic center directed by Boris Charmatz, invited them for a residency of two weeks.
On December 12 and 13, the students present two programs with their own creations at Le Garage.
Bal Moderne 22 November
On 22 November the Bal Moderne celebrates its 20th anniversary in La tentation in Brussels. This community dancep orjects, which has had a strong bazse in Brussels for many years, brings contmeprary dance to large groups of entohusiasrtic dancers. For the 20th anniversary a group of 20 PARTS students is involved, teaching new dances from foremr PARTS students eleanor Bauer and José Paulo dos santos (with Nanaya Eslava) to the partiicpants, next to an older dance form Sidi Larbi Cherkaoui and Damien Jalet which was never presented before in Belgium.
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.
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:
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
Coproduction: De Munt/La Monnaie
The end of the summer of 2013 has put the cultural world in Belgium in a state of mourning, after the death of two sharp and authentic thinkers and writers. Dirk Lauwaert died August 10, and Marianne Van Kerkhoven passed away September 4.
Both were theory teachers in PARTS during its first years of existence.
Their classes in PARTS were just a brief moment in an hyper-active and rich life, characterized by a permanent questioning and description of the arts and the world in which art is developing.
For many years, Dirk Lauwaert was a professor at the Brussels art schools Sint-Lukas and RITS. He published thousands of articles on a wide range of topics such as photography, film, the city, the mining area, fashion and visual arts. A fearless, uncompromising writer, averse to convention, Lauwaert paved his own road, motivating his choices by content and an unremitting curiosity. With Dirk Lauwaert we lose a man who stood for a decisive and uncompromising intellectual life.
Marianne Van Kerkhoven was the founder of the political theatre company Het Trojaanse Paard (1970), cofounded the theatre magazine Etcetera (1983) and worked more than 25 years for the Kaaitheater in Brussels (1985). She collaborated as dramaturge with artists such as Anne Teresa De Keersmaeker, Jan Lauwers, Josse De Pauw, Guy Cassiers, Jan Decorte, Jan Ritsema, Kris Verdonck, Pieter De Buysser, Kate McIntosch, and many others. Marianne always chose to stay in the shadow, but her influence on several generations of artists can hardly be overestimated. She was the ‘conscience of theatre’ in Flanders. She wrote many texts and articles, which can be read as a directory for the way an artist of today looks at himself, his art and the world.
For PARTS, Dirk Lauwaert and Marianne Van Kerkhoven will remain two examples of the seriousness, lucidity and intellectual power with which we want to fulfil our mission.
Marianne wrote on her role in our school: ‘I consider my work in PARTS first and foremost as helping young artists in their search for ‘a method of their own’. Developing a creative method is a very intimate and personal affair. As a teacher, one can only offer materials, matters for reflection, not recipes or acquired positions. Pedagogy should not be seen as one-directional traffic. The best pedagogy is one that ‘forgets itself’, in which both parties – teacher and student – are just ‘doing something together’.”
There is no better way to honour Dirk and Marianne than to take these words as a guide for our actions.
The program in September and October
No less than 53 new students started the first year of the renewed Training cycle on September 2nd. During the first two months, they have their daily dance classes with Libby Farr, Anne-Linn Akselsen, Benoît Caussé (ballet), David Hernandez, Martin Kilvady, Juliette Mapp and Dominique Duszynski (contemporary), a mix of teachers who have been at PARTS for a very long time and younger names. The students also start their daily yoga classes with Mia Lawrence, Theodossia Stathi and Stephane Bourhis, and their weekly music classes with Lucy Grauman (singing) and Michel Debrulle (rhythm).
In the afternoons, the students follow classes in philosophy with Judith Wambacq and dance history with Bojana Cvejic. There is a new music analysis course with composer David Helbich and a new approach of anatomy with Michael Barel (theory) and Eva Karczag (experiential anatomy). William Forsythe’s Improvisation technologies has been on the program of he 1st year for a long time, but is taught this year by mostly new teachers, all former dancers of Forsythe’s company: Prue Lang, Ayman Harper and Fabrice Mazliah. The composition workshop is taught by Johanne Saunier and David Hernandez, and Martin Nachbar teachers a workshop contact improvisation.
The students of the 4th year have dance classes with Martin Kilvady and Juliette Mapp, and yoga with Theodossia Stathi and Mia Lawrence. They start their workshop program with two short and intensive workshops: Jonathan Burrows and Jan Ritsema collaborate for the first time in almost ten years and guide the students through a process of reflection and collective experimentation. The young film makers Elias Grootaers and Gerard-Jan Claes organise a seminar on documentary film. In October, PARTS contributes to the 100th anniversary of Stravinsky’s ‘Sacre du Printemps’ with a creation led by Daniel Linehan in collaboration with dramaturge Alain Franco and with an orchestra from the Brussels Conservatory, directed by Vincenzo Casale. In the same period a group of students work on their own creations. There are also a number of theoretical seminars, on visuals arts with Jeroen Laureyns and on dance and performing arts with Bojana Cvejic and Christophe Wavelet.
Opening ceremony September 2
On September 2, the new school year at PARTS opened with a ceremony. Deputy director Theo Van Rompay welcomed the 53 new students of het Training cycle and the 24 students who enter their final year of the Research cycle, with a.o. a brief history of the school. A remarkable fact is that the youngest among the new students were only born after PARTS was founded, shedding a whole new light on the history and the future of the school! In the freshly renovated surroundings of the PARTS studios director Anne Teresa De Keersmaeker held a beautiful speech, musing about the quest and the process of learning art through a series of contrasts and paradoxes to which a young artist will need to relate him- or herself.
Jean-Luc Plouvier of the Ictus ensemble provided a musical intermezzo, playing three short pieces by John Cage for prepared piano ('The Perilous Night', 'A Room for Piano', en 'Seven Haiku'), which were part of the Rosas piece ‘Just before’ back in 1997. Afterwards, all students, teachers, staff members and dancers of PARTS and Rosas introduced themselves to one another. The ceremony was closed with a reception and a delicious lunch prepared by the new kitchen team directed by Arnaud Tabary.
Since Spring 2013, the P.A.R.T.S. building has been under construction. We are now in the final phase of the works, and to show you all a little bit of the way things look around here, we posted some pictures here.
Holidays are over, P.A.R.T.S. is getting ready to return to its normal routine, and to welcome 53 new students!
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
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
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
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
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
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
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
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
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
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: the total amount of study time is approx. 1150 hours per year. Most of these are contact hours . There is also a limited
Teachers and guidance
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.