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NEW program Research Studios - first pilot project February - June 2015
How to apply?
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.
The basic programs:
Repertoire: Another 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
STUK, Leuven (BE) – www.stuk.be
DE Studio, Antwerp (BE) – www.destudio.com
PACT Zollverein – Choreographisches Zentrum NRW, Essen (DE) – www.pact-zollverein.de
Monty, Antwerp (BE) – www.monty.be
Kunstencentrum Vooruit, Ghent (BE)– www.vooruit.be
Kaaitheater, Brussels (BE) – www.kaaitheater.be
Kaaitheaterstudio's, Brussels (BE) – www.kaaitheater.be
De Brakke Grond, Amsterdam (NL) – www.brakkegrond.nl
Plac Wolnosci/ Malta Festival, Poznan (PL) – www.malta-festrival.pl
Beach stage, Dansand festival, Ostend (BE)- www.vrijstaat-o.be
Mimar Sinan University Bomonti Campus, Istanbul (TR) – www.bimeras.org
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 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 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.
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.
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.
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.
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:
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
Performing Arts Training
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.