180 candidates are participating to the Final audition for the school year 2013-14. They have all been chosen at one of the 31 pre-selections (see separate article). While participation to a pre-selection costs 10 euro, the Final audition is free of charge. The goal of the Final audition is to offer all participants a solid and exciting learning experience, totally in line with the ambitions of the school. Regardless a candidate is (not) chosen as a student, the Final audition aims to be an event they will not slightly forget.
The Final audition opens with a welcome to all, and a presentation of teachers, jury members, staff and audition team, on Tuesday May 7, 9:30 am.
During the first round all the participants will have three sessions of 90 minutes each on learning phrase material of Anne Teresa De Keersmaeker’s Drumming (1998). The sessions are conducted by three Rosas dancers, who all have studied in PARTS in the 1990’s: Marta Coronado (joined Rosas in 1998 and is dancing Drumming until present), Clinton Stringer (2000-2009 with Rosas) and Taka Shamoto (1997-2007 with Rosas, later also Needcompany and Fieldworks).
Besides the dance classes there are three other tasks to be fulfilled:
By Friday afternoon the jury will make a first selection. The jury of the first round is composed of Anne-Linn Akselsen, Anne Teresa De Keersmaeker (director), Christine De Smedt, Libby Farr, Femke Gyselinck, Salva Sanchis, Gabriël Schenker, Jakub Truszkowski and Theo Van Rompay (president of the jury).
For the second round the remaining candidates are divided over four groups. All four groups have a long working session of four hours, starting late afternoon on Friday, May 10. The goal is to create a new one minute solo. Before the session starts everyone gets a personalised task. Each group will be coached by Anne-Linn Akselsen, Christine De Smedt, Salva Sanchis or Jakub Truszkowski. They will help the dancers to articulate their solo. All solos will be danced for the jury on Sunday May 12, as the last part of the Final audition.
Further there will be a new theatre session during the second round. Tiago Rodrigues will give short and sharp tasks, to be performed in front of the full jury. While in the first round the participants had to present a theatre text, which they had to learn by heart in the week before the Final audition, in the second round the focus is more on instant decision making and playing together.
In between the classes and rehearsals all the groups will have collective talks, moderated by the choreographers (and former PARTS students) Ula Sickle and Andros Zins-Browne.
The Final audition ends on Sunday May 12, 7 pm.
The results are communicated to the participants on Wednesday, May 15.
All participants can have an individual feedback on the Final audition, via a private phone conversation with a jury member, between May 20 and June 7, 2013.
(May 6, 2013)
In April, the PARTS students dive again into the New York dance scene, this time through two repertoire and reconstruction projects that go back to the Seventies.
A group of 12 students works on ‘Solo Olos’ by Trisha Brown, from 1975. The British dance historian Ramsay Burt gave a one-week seminar on the art historical context of Brown’s work in the 60s and 70s. Then Diane Madden comes to work on ‘Solo Olos’ with the dancers. The Trisha Brown repertoire is a regular part of the curriculum of the 3rd year, but it is only the second time we work with a different piece than the evergreen ‘Set and Reset’.
14 other students are involved in a workshop on ‘Continuous Project Altered Daily, a project by Yvonne Rainer from 1970. The project is directed by Christophe Wavelet and Xavier Le Roy, and it is organised in collaboration with the Brussels art school ERG. 10 young visual artists studying at ERG are also implied in the project. The workshop also has a number of remarkable guest lecturers, such as Dirk Snauwaert (Wiels), Babette Mangolte (film maker from New York), Philippe-Alain Michaux (curator at Centre Pompidou), Raphael Pirenne (art historian), Berno Odo Polzer (dramaturge and curator), Paul Sztulman (art historian), Camille Pageard (art historian ) and Catherine David (curator).
The results of the Yvonne Rainer workshop will be presented to the public during three informal showings at the Kaaitheaterstudios in Brussels, on Thursday May 2 (20.30), Friday May 3 (18.00) and Saturday May 4 (18.00).
In a few days, the students will return to Brussels, after a two months' stay in Senegal and America. They have had an inspiring, challenging and enriching time, which you can read all about on their blog www.partsacrosscontinents.blogspot.be.
Program students in New York and Vermont
Week 1 (7-11 January)
Throughout the academic year, P.A.R.T.S. will open its doors on certain Fridays for young dancers interested in participating in the auditions. On such days, the school shows its daily routine: one can see students and teachers working together in specific courses, and get information about the school and the auditions. You will be able to be present during the classes, but it is not possible to actively participate in the courses.
The amount of participants is limited, so make sure to register in advance!
An Open Friday starts, in the morning, with a short introduction. Until 12.50 you will be able to attend the technical classes (ballet and/or contemporary dance) of the Research Cycle. More details on timing and location will follow once you subscribed for the Open Friday of your choice.
It will, occasionally, also be possible to partly witness the afternoon workshops, but that will only shortly in advance be communicated to the people who registered for that day.
Attention: please make sure to be present on time! For practical reasons, it is not possible to admit people that arrive late.
You can send an e-mail to email@example.com to enroll. Do not forget to mention the date of your preference!
The Open Fridays will take place on the following days, with the following classes:
16 November: Studio Practice with Martin Kilvady
23 November: Studio Practice with Martin Kilvady – Classical with Libby Farr
15 March: Studio Practice with Rasmus Ölme - fully booked
22 March: Studio Practice with Rasmus Ölme - fully booked
12 April: Studio Practice with Salva Sanchis - fully booked
19 April: Studio Practice with Salva Sanchis
26 April: Studio Practice with Salva Sanchis
3 May: Studio Practice with Salva Sanchis
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.