Who can participate?
Jos Baker (UK) - Physicology (week 3; basic level)
This workshop uses imagery and spacial geometry as tools for creating and understanding dance material in improvisation and also in phrase creation. Inspired by the methodologies of Rudolf Laban and their later development by William Forsythe, the workshop also incorporates elements of Popping and David Zambrano's Passing Through to create new ways of improvising as individuals and as a group.
Claire Croizé (FR) - Choreography and music (week 5; basic level)
During this workshop, I would like to share the different approaches I use in relation to music when I make dance pieces. In particular I would like to focus on the confrontation between the body and music in order to explore and generate dance material.
Music is at the core of my artistic work. It can be a great source of inspiration but it can also be a problem, a difficulty, something that challenges a response. It can also be a model of writing and composing dance material. We will work on the idea of the musical body: the body in relation to music, silence and also to affect. I would like to propose for each day a different focus, moving from a sensitive and empathetic approach towards music to a much more analytical one. We will work, among others, on Bach’s music, on the post-romantic compositions of Mahler and on the modernist music composed by Schoenberg, Webern, Ligeti and Stravinsky.
Finding your own musicality whilst dancing in silence will also be one of the goals of this workshop. Working on rhythm and contrast will allow us to develop a clear musicality in our movements, enabling us to communicate musically through the body, creating a strong and readable dance material for the viewer.
Michel Debrulle (BE) - Rhythm (week 2 and 3; all levels)
These workshops are an extension of the approach offered by the «Rhythm Without Instruments» workshops. They are aimed at both professional and non-professional dancers.
After having learned organically (by singing, clapping, stamping...) rhythmic structure of varying origins (African, Afro-Cuban, Indian, Contemporary...), the participants try to put this into movement in order to confront new bodily patterns, with the architecture of the rhythm determining that of the body. Here, the phrasing comes from the rhythm, not from the movement.
At a later date, participants plan to naturally develop an intimate relationship with musical material which will lead them past ideas of auditory décor or dramatic stimuli. Then they will be able to play with time and space: expanding or compressing, playing around or with... without cheating, and therefore, access a personal interpretation on the basis of an organic and mental inner nature, a source of great freedom.
Dominique Duszynski (BE) - The acting body and the dancing body (week 4; advanced level)
During this workshop we will look at different ways of proposing: with the body and with dance, in solo composition and group work. Just like taking a breath, the consciousness moves in waves, swings, gets lost, follows different ideas, be they joyful or intense, in a fluid dance, invisible, making you forget your restless body. Small round trips and short circuits are taking place. The limit between the 'acting body' and the 'dancing body' will be explored within different contexts, from in-depth to essential, from subtleties to concrete details, from casual to superficial . We will combine gestures and dance in order to investigate new ways of questioning our being. While investigating a range of possible presences, we will use musical supports to create contrasts and oppositions.
Femke & Lander Gyselinck (BE) - Snip it (week 1; all levels)
Snip it. - the use of a short phrase (of a recording) as an element in a new piece (of music). During 1 week we will start working from a musical composition made by Lander Gyselinck. This composition will be ‘a snippet version’ made of 5 totally different pieces all rooted in the same song ‘Portrait of Tracy’ by Jaco Pastorius. By analyzing the different versions of the song (jazz, R&B, Hip Hop, contemporary music) and by improvising we will develop a diverse movement language. This movement material will be used to finalize a choreography to the musical composition.
Tarek Halaby (US) - Queereography (week 1 and 2; basic level)
Simply put, Queereography is a workshop that will focus on Queer Choreography. What is Queer Choreography? That’s what we’re going to explore together. If you’re interested in Queer Theory, if you’re interested in Politics, if you’re interested in Movement, if you’re interested in Conflict Resolution, if you’re interested in Activism and Equality, if you’re interested in Feminism, if you’re interested in the Collective Body and Collective Spirit, if you’re interested in Queering/Blurring the lines of Choreography and Performance, if you’re interested in Cabaret, Drag, Multisexual-Multigender dancing, stripping, dressing up, creating characters, writing and reading texts, singing songs… then maybe this is the workshop for you. You don’t have to identify as queer to participate in this workshop, but you have to be willing to work along side others without any competitiveness and help create an environment of support. If you are interested in making work, you can take this as an opportunity to show the work you are busy with to the workshop group. We as a group will watch and give feedback in a constructive way, share ideas and suggestions, talk about structure and construction, talk about dramaturgy, talk about different aspects of what it is to perform. If you do not have work that you want to share or show, then we can take this workshop time to practice making and performing the ideas you are interested in. Who knows, maybe by the end of the two weeks we’ll have a fun performance to share with others. These are all points of interest that I want to explore as an extension of performances I’ve been doing since 2011 called “Performing for the first time”. Within this series of performances, I was simply busy with generating material that I could quickly throw together and ‘perform for the first time’. Anything and everything was possible, as long as I felt I could put together a captivating performance for audiences to sit through.
David Hernandez (US) Visual polyphony (week 3; advanced level); Touch dancing (week 4, intermediate level)
Visual Polyphony - A mover’s guide to music (week 3)
In my choreographic research I use many tools garnered from music. I see my work as a kind of visual polyphony, independent yet collaborative weaving melody lines. Each dancer not only becomes an important collaborator in the process through the building and interpretation of their particular melody line but becomes a voice in an optical fugue. For this workshop I would like to expose the participants to several of the compositional processes that I use when I create. I plan to do work to establish a basic group understanding and use of rhythm as a description of time. The participants will also be exposed to some basic material from my repertory with which to play, with the intention of creating interaction between the different dancers/melody lines. We will also approach a score from some early polyphony and use it as a compositional tool. We will investigate the subject of musicality of movement with a playful and curious spirit and explore the role of interpretation.
Touch dancing (week 4)
For this workshop we will dive into an investigation on the various ways of exploring the element of touch and partner relationships. We will start by introducing and practicing elements of contact to create a base of information and skills for the group in order to facilitate this investigation. From this common base we will move into various areas of exploration concerning touch from more investigative, improvisational or research based uses to more thematic, choreographic or even theatrical uses. This lab is about exploring what touch and physical contact can offer as a choreographic or explorative tool.
Daniel Linehan (US) - Practices and materials (week 2; intermediate level)
In this workshop, I will share a selection of dance practices that I’ve been working on over the past five years. Together with the participants we will explore different methods of working with these practices in order to generate performance materials. My approach is to welcome a diversity in the types of materials produced; I consider open-ended scores and strictly defined structures as equally valid tools for building a choreography. We will pass freely between multiple registers of performance, working on games, actions, improvisations, memorized movements, vocal scores, and rhythmic compositions.
Daniel Linehan’s choreographic work is intent on softly obscuring the line that separates dance from everything else. He approaches performance-making from the point of view of a curious amateur, testing various interactions between dance and non-dance forms, searching for unlikely conjunctions, juxtapositions, and parallels between texts, movements, images, songs, videos, and rhythms.
Sandy Williams(CA) & Julien Monty (FR) Moving Information Workshop (week 1; intermediate level)
This workshop will be a research in to the creative and performative possibilities of moving information in choreography, dance and writing. Moving information signifies both the act of pushing information around as well as the act of being emotionally moved by that process. To sift, to accumulate, to deem worthy, to rearrange; to be a creator is to celebrate the originality of context over content and transformation over authorship. In this workshop we will establish movement and writing practices around ideas of reframing, re-contextualizing and transforming the boundaries between dance and language and investigate how the evaluation of each can inform and enrich the other. We aspire to establish a fluid feedback loop between the practice of writing and movement and in doing so create hybrids and mutants; works that reflect a dynamic encounter between language, body and witness; each mirroring and exposing the other.
Andros Zins-Browne (US) - Speed scores (week 5; intermediate level)
In this workshop, participants will work on several 'speed scores' which organize movement in terms of a constantly fluid flux of speeds. What is the relationship between speed and tension and how can the relationship between the two be de-coupled, mixed and matched? How can group 'flocks' be organized by time rather than by space- where some of the group's speeding up causes others' slowing down and vice versa. What are the extremes of speed which can be used with simple materials like walking, standing, and running and which can be used to abstract embodied dance material? This workshop will approach these questions through a combination of technical training and various tasks, improvisations, and performance scores.
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Die Grosse Füge (1992) - Nordine Benchorf (week 3&4, advanced level)
Die Grosse Füge was created in 1992 as part of Erts and returned in Kinok and several repertoire evenings. It is achoreography on
Ludvig van Beethoven’s last string quartet, which is meticulously translated into the choreography. Beethoven sets out two follow these transformations in their movements. The choreographer’s writing is fitted so precisely to the score, every note and step so precisely counted, that an unprecedented and fascinating duality arises between what one sees and hears. (For this workshop it’s helpful to bring kneepads.)
Elena’s Aria (1984) - Nadine Ganase (week 1&2; intermediate level)
This choreography is a very feminine piece danced with high heel shoes in a setting with nothing but some thirty or so chairs. The choreography is as fine and intricate as lacework, rich in contrasting dynamics (quick and light, slow and grounded), lyrical but with sharp punctuations, round and angular in its form. Dancing with chairs is a fantastic prop for developing movement and dynamics. The high heels will challenge your centre of gravity – great fun!(Please bring high-heel shoes (not too high!), pumps, tango/ flamenco shoes).
Rosas danst Rosas (1983) - Nadine Ganase (week 3, advanced level)
30 years ago, the Rosas company put itself on the map with the production Rosas danst Rosas. This choreography continues to be staged all over the world. The piece is made up of five chapters, full of intense physical energy. The drive in this body machine is tempered by a series of ‘very familiar and everyday movements’. We shall look at each part, learning the basic phrase as well as its structure in order to dance some extracts. A truly stimulating experience to great music! (Please bring gym/ running shoes).
“My talking is my dancing” - Femke Gyselinck (week 2; intermediate level)
This workshop will focus on the principle “My talking is my dancing” that Anne Teresa De Keersmaeker/Rosas has been investigating since more recent work like En Atendant (2011), Cesena (2012), Partita 2 (2013), Golden Hours (2015) . It is based on creating a dimension of communication between dancers through movement, often foregrounding arms and hands. This approach to text as an underlying anchor that inspire dancers beyond formal-structural patterns, increasing the sense of meaningfulness without explicit meaning will be the core subject of this workshop. “My listening is my dancing” is inseparably related to “my talking is my dancing” so we will also research on how to embody listening. “My listening is my dancing” is a quest for embodying the reception and mute reaction to another one’s “talking as dancing.”
Drumming (1998) Fumiyo Ikeda, Clinton Stringer, Igor Shysko (week 2&3; advanced level / week 4, intermediate level/ week 4&5, basic level)
Drumming (1998) is one of the most fascinating choreographies that Anne Teresa De Keersmaeker/Rosas created. The piece is a complex formal construction using a single basic phrase which is transformed in many ways. We will work on the basic materials and tools of Drumming, including the techniques of accumulation, retro, face shifting, choreographic translation and others. With this material you will make a personnel transformation and composition in the same way as we did with the company. We will also try to make something new with your own material.
Bartok/ Aantekeningen (1986) - Johanne Saunier (week 1; advanced level)
This class will focus on the teaching of the piece Bartok/ Aantekeningen. This piece is one of the memorable piece of Anne Teresa de Keersmaeker for the strong statement it made: four distinctive dancers dancing in unison to the music of the hungarian composer Belà Bartok. Its esthetic (black skirt, boots and white underwear) created collaterally what was considered for a long time the Rosas look. The choreography is quite physical, precise and playful. The performer is pushed to develop a great sense of awareness to the others, to the space, to the music. But most of all, he is experiencing to be extremely personal within a tightly form choreographic symmetry. Through the years Bartok remains a strong and challenging piece for the students and a real pleasure to perform it. Students need shoes with leather soles.
Zeitung (2008) - Igor Shysko (week 5; intermediate level)
This workshop will offer you tools to create your own choreographic material based on improvisation and connect it to their use in "Zeitung" a performance by Anne Teresa De Keersmaeker. Improvisation will be based on the initiation of movements along the spiral points of head, shoulders and pelvis helped by the interaction with a partner. We will learn extracts from performance as one example of it, analyse mathematics and geometry as another source for advanced choreographies.
Rain (2001) - Clinton Stringer (week 3, week 5, intermediate level in week 3, advancled level in week 5)
This Rosas repertory workshop will focus on the "men's material" of Rain. This material is mostly danced by the men in the original version, but by no means exclusively. It is dynamic with lots of organic floor work. After learning the phrase material, we will create new choreographies based on the compositional structures used in Rain. These structures range from the more free creative (manipulations, partnering) to the more mathematical (like any true Rosas creation, metronomes will be involved). Structure is a fundamental element of Anne Teresa De Keermaeker's work and it is most often rooted in the music - in this case, the emotive minimalist composition of Steve Reich's Music for Eighteen Musicians. The challenge for any performer is to be able to "live" within the structure.
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Stéphane Bourhis (FR) (week 4 and 5; 60' class; all levels)
Why Yoga and Dance? Yoga is complementary and supplementary to dance. Practice of yoga develops a keen mind, alert eyes, proportionate division of limbs and good voice. It bring agility, swiftness and elegance in movement, repose and reflection. In our Yoga practice following the Iyengar® methodology, we will focus on the precision of the movement and the alignment of the body to develop its intelligence.
Laia Puig Escandell (ES) (week 1, 2 and 3; 60' class; all levels)
Unfold & unlock your personal potential. During this time we will be introduced to Yoga as a holistic practice. The five points of the holistic system are: proper exercise (Asana), proper breathing (Pranayama), proper relaxation (Savasan), proper diet (vegetarian), positive thinking and meditation (Vedanta and Dhyana), although we will mainly work the first 2-3 points.
This first class in the morning will be our moment to prepare for the day in a different way, to unfold and to unblock, first physiologically/anatomically and then into deeper levels of awareness, identifying our unnecessary patterns and habits, and letting go of them, balancing the body, increasing concentration and learning to listen so that each student as individual can be in tune with a deeper intelligence, expanding themselves as artists and sharing it with the community and the world. I hope you all enjoy the process of unfolding yourselves. Om Namah Sivaya.
Douglas Becker (US) (week 1, 2 and 3 at 9.30; 90' class; intermediate level)
I propose class as an environment to research new ideas about Ballet. Barre and center are constructed so as to rigorously support technique and practice by accentuating correct posture and at the same time becoming more conscious of differentiated dynamics, awareness of space, clarity of focus, and a supple, fluid relationship between the head, shoulders, arms, hips, and legs. Combinations are not complicated; but that can change depending on both age and ability within the group. We will study Ballet as architecture, and as language driven by counterpoint and specificity in design. Simultaneously, throughout the class, special importance is given to the attentiveness of the music and a more insightful understanding of distinctive tempi and interacting rhythms. Linking the dancers muscle memory messages to physical execution fatigue is decreased and motor reflexes will be improved. Class is not static, you will move.
Benoit Caussé (FR) (week 1, 2 and 3 at 11.15; 120' class; advanced level)
I propose an open work based on the classical technique, called academic. It seems to me important to keep an opening, a permeability between techniques in relation to each other, including the link between ballet and contemporary dance to prepare the body for movement whatsoever. For this, the proposed work is focused on sensation seeking, so that everyone can discover its possibilities and its limitations and not just reproduce a form but integrate sensations that lead to the form. Also I prefer the accuracy and understanding of the "placement". He must be legible and felt, it is the foundation, the basis of the technique suggesting a deep and constant readjustment of the body in motion. These concepts will be used to address the classical technique with ease and freedom, subverting constrained by creativity.
Libby Farr (US) (week 4 and 5, 9.30; 90' class; intermediate level)
The ballet class re-evaluates and builds on classical technique, focusing on strengthening the dancers awareness of his or her own natural alignment. The class is divided into two parts: the barre and the center. Exercises at the barre emphasize isolating and releasing the joints in order to strengthen the dancers center and support proper body placement. Body placement becomes functional and fluid, rather than stiff and held, making movement easier and more natural. The second half of the ballet class, conducted in the center, continually challenges the dancer to use the placement and release discovered at the barre as a source of strength and individual dynamics. Training in the center relies on shift of weight, motivation and flow of movement, and momentum to help the dancer to move from the center and inner muscles to support a greater freedom movement and expression. The dancer that gains a stronger sense of confidence to take space and go beyond technique.
Contemporary dance / Technique class
Jos Baker (UK) (week 3; 90' class; basic level)
This class looks at ways of using gravity and momentum to find ways of moving into and across the floor. It also explores different ways to connect or isolate the body whilst finding a deeper connection with the floor. It is fast paced and challenging with a spirit of exploration and risk taking, both physically and performatively. Expect to sweat.
Dominique Duszynski (BE) (week 5; 120' class; advanced level)
Dominique Duszynski proposes a dynamic and fluid dance made up of floor work and standing work. The first topic is to open the conscious of anatomical knowledge in dancing. Therefore, constructing and deconstructing body parts take an important place in the warming-up and in the building up of the dancing. Geometry, alignments, supports are developed in a high conscious of “grounding” but in the same time of “lightening” the body. Breathing, 3 dimensions, volume are developing space referring to Laban’s concepts. The relationship to the movement of the weight is always present, opening to musicality and instinct. The dance is proposed according to the art of movement inspired by Pina Bausch and by the elements of dynamic and space developed by Rudolf Laban. Energy, grounding, space are the base in order to develop details and subtleties through the body and the dancing. Opening contact, articulating the body are important elements. Going to the essence of the body is the aim. Lines and flow pass through the body, revealing deep perceptions
Tarek Halaby (US) (week 1 and 2; 90'class; basic level)
First, I think it’s important to state that I will not be teaching a dance technique class/contemporary dance class. Rather, I will be leading a warm-up class for dancers. I have been a certified instructor of the Pilates Method for the last 14 years, teaching in pilates studios in New York City and Brussels, with an emphasis on rehabilitation. In recent years, I have focused more on giving class to dance companies, at dance conservatories, as well as in the departments of dance in universities and open community classes. These classes have developed into a mixture of exercises influenced from pilates, yoga, and feldenkrais methods – working on alignment, strengthening and creating space to prepare a dancing body to move with ease and efficiency. If we dance in this class, the movement will serve the purpose of continuing to warm up our bodies, assessing our alignment, feeling the effects of the exercises we do and examining our awareness of our bodies as we move together.
Milan Herich (SK) (week 4; 90' class; intermediate level)
Milan Herich leads a very physical (but playful) technique class that challenges the individual and coordinates the collective group. Through repetition we will build the skills and awareness to move with speed and efficiency. The aim is to alternate between arches and spirals of the body in all directions possibly imagined. The class will start with exercises in which we will work on using the range of the body to discover different movement possibilities, developing into sequences based on the exercises. A full body warm up will begin on the floor and continue through sitting and squatting material. We will then continue by walking, running and spiraling, as well as phrases that focus on moving you across, around and in and out of the floor.
David Hernandez (US) (week 3 and 4; 120' class; intermediate level in week 3; advanced level in week 4)
Tímea Maday (HU) (week 5; 90' class; intermediate level)
My approach to my contemporary class is the same as my approach to my choreographic work. Explore it in terms of movement and transition. For this to happen, there needs to be a level of energy and a level of the body present. It is like learning how to swim- There has to be enough momentum to keep it going. Learning to use our capacity to transform from a place of stillness, needs to have the right energy and momentum behind the intention for it to work. This involves risk and the willingness to accept the fact that it could fall. I focus on building up a strong base using basic exercices, using the floor and our body weight to move across space and time fitting it into the geometry in space, using coordinated movement, by lenghtening and sequening our body in an organic and anatomical way. For me it is important to work with our limits which could be physical or mental, but without looking for it it could never be deepen and could not be reached at maximum level. In this matter the movements the use of space and weight will be in focus helping to integratet the sensation into the „form” that has been given.
Renan Martins (BR) (week 4; 90' class; basic level)
The intention of the class is to question form, as such. How can we let it be a result of intention instead of pure manifestation of a technical body? My aim is to focus on the body as a channel for communication, storage of memories, emotions and energy. This body has different centers of gravity that can work separately from each other in rhythm and quality creating then new logics for movement. My hope is to challenge the dancer's personal vocabulary by having different physical sensations triggered either by a partner and/or by imagination. My class is very much inspired by the work of Meg Stuart, with whom I have been working since 2013.
Clinton Stringer (ZA) (week 5; 90' class; basic level)
Movement - from subtle shifts of weight to expansive movement with the whole body. Clinton Stringer (ex. Rosas) will guide this class for beginners. We will start with a few “body discoveries”, exploring weight, direction and alignment. This will be followed by a series of simple exercises which will take these discoveries into movement. The class will finish either with improvisational tasks or the learning of a dance phrase to get the blood pumping!
Sandy Williams (CA) (week 1 and 2; 90' class; basic level)
This class is a fiercely physical daily practice that combines technical movement, strength and precision training with notions of presence, authorship and performance.
Each day we will create and add on to an ever expanding movement score; repeating and performing it for the duration of the week. The daily score will become a daily choreography; an investigation, research, evaluation, critique, multiplication, personification and exemplification of movement, blurring the lines between practice, rehearsal and performance.
David Zambrano (VE) (week 2; 120' class; intermediate level)
The Flying Low
dance technique created and developed by David Zambrano, focuses
mainly on the dancer's relationship with the floor. The class
utilizes simple movement patterns that involve breathing, speed and
the release of energy throughout the body in order to activate the
relationship between the center and the joints, moving in and out of
the ground more efficiently by maintaining a centered state. There is
a focus on the skeletal structure and the senses that will help to
improve the dancers physical perception and alertness.
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Bios of the teachers
Jos Baker (UK)
Jos Baker trained at The Laban Centre and then at PARTS (Performing Arts Research and Training Studios). He then went on to work for Peeping Tom as a creator/performer for many years, principally for 32 Rue Vandenbranden which was nominated for an Olivier Award in 2015,and A Louer. Since then he worked for DV8 Physical Theatre on the production process of John, then began directing and performing in the promotional events for Petit Bateau’s Cedric Charlier collection and creating a solo projectcalled Of No Fixed Abode. His other work includes choreographing and performing in the music video for Forgot to live by Ay Wing, acting as creator/performer for In the process of… by Zoi Dimitriou. He has also createdseveral of his own works, including: Afla, Creature Man Don’t Tell Me and Feedback. Jos has performed for various other works on screen and stage and also teaches dance and performance for professional dancers in many institutions around Europe.
Douglas Becker (US)
Douglas Becker, based in Brussels Belgium is afreelance choreographer and teacher working in many idioms. A former dancer with the Joffrey Ballet New York, The National Ballet of Canada, The Dallas Ballet and The Frankfurt Ballet under the direction of William Forsythe of which he has reconstructed numerous works by the choreographer for professional companies, festivals, and educational institutions across the globe. In Ballet he was taught by Nathalia Krassovska, Stanley Hall, Marjorie Mussman, Maggie Black, David Howard, and Melissa Hayden; thus, carrying a broad resume teaching Ballet, improvisation, composition, and repertory. His choreography has been featured on the stages of Belgium’s Royal Flemish Theatre, Switzerland’s Grand Theatre de Genève, and the Choreographic Centers of Grenoble and Nancy in France, and has been visiting faculty for P.A.R.T.S. Brussels, New York University, The University of California Irvine, and the national conservatories of Paris and Lyon among many others. Mr. Becker's collaborative process of choreographic development improvises upon and utilizes dancers' individual talents and characteristics. Between 2007 and 2011 Douglas Becker founded the Hollins University Masters of Fine Arts international extended study abroad program, under the direction of Donna Faye Burchfield; introducing students to new ways of imagining their research, advancing their abilities to realize their work in a larger context, and supporting their participation in dialogues that move across geographies as well as disciplines. A 2012/13 visiting artist-in-residence at University North Carolina School of the Arts, Douglas Becker began as master lecturer at The University of the Arts Philadelphia 2010-present, where he is also responsible for the dance departments international touring program.
Nordine Benchorf (FR)
Born in Belfort, Nordine Benchorf began dancing with Marie-Jo Haas (Instant Co.) for several street interventions and Elle dans l’île. He finished his training at the CNDC Angers and joined Cie.Contre-Jour. Later he joined the company Rosas to dance in Ottone Ottone,Achterland, Mozart/Concert Arias and the Soirée Répertoire 2002. He danced as well in Ah les Beaux Jours (Cie. Samuel Leborgue) and La Confession deslâchetés (Cie. Loïc Touzé). He then worked for Needcompany and Ultima Vez (WimVandekeybus), in 7 for a secret never to be told and In spite of wishing and wanting and Caterina Sagna in Sorreline. Within the collective Amgod he created What do you want. Nordine gives workshops around the Rosas repertoire and Ultima Vez in the dance school PARTS in Brussels.
Stéphane Bourhis (FR)
Stéphane Bourhis is a professional dancer. He studied at the Conservatoire National de Danse in Avignon (France). He startedhis career at the Lucerner Ballet Company and worked as a solist dancer in theBéjart Ballet Lausanne, both in Switzerland. Since 2013, Stéphane is a certified Iyengar® Yoga teacher. He's teaching Iyengar® yoga at ROSAS, P.A.R.T.S and in schoolsfor children in primary classes.He is constantly learning, researching and deepening into the Iyengar® Yoga method participating in conventions and workshops with advance teachers in India and in Europe.
Benoît Caussé (FR)
Benoit Caussé began dancing at the CNR of Grenoble, and then perfected in Paris CNSMD in ballet. In 1999, after graduating, he participated in the creation of a young Madrid company, Compania National de danza II, directed by Nacho Duato. Eager to expand his knowledge, in 2001 he joined the Ballet de l’Opéra National de Lyon in which he reachs the work of many choreographers Mats Ek, William Forsyth, Jiri Kylian, Maguy Marin, or Anne Teresa de Keersmaeker Boris Charmatz and Jerome Bel. He Participated in the creation of Mathilde Monnier, Ralph Lemon and Odile Duboc, and through the repertoire of the company by addressing several techniques such as Trisha Brown, or Merce Cunningham. Since the transmission of knowledge has emerged as a clear necessity. It gets the state dance teacher degree in 2012 and taught in structures such as PARTS, CCN Roubaix, CCN Rennes, centre National de la danse Lyon/Paris, the Lyon Conservatory or Charleroi Danses.
Claire Croizé (FR)
Claire Croizé (France, 1979) graduated from P.A.R.T.S. in 2000. During her final year of study she created the group piece Donne-moi quelque chose qui ne meure pas. Her first solo creation, Blowing up was one of the highlights in Monty’s 2002 Young talent festival. The group piece Affected (2006), initiated a period of work based on the relationship between dance and music. Claire has had the chance to work with a live orchestra for The Farewell (2009) set to Mahler’s Song of the earth; Vor deinem Thron (2010) set to Bach’s Musical Offering and The Art of the Fugue and Mouvement pour quatuor (2012), set to Webern’s Movement for quatuor.She won the Prix Jardin d’Europe with her solo The Farewell (2009).
In 2012, Claire chose to work on modernist music from Viennese composers such as Schoenberg, Berg and Webern for the creation of the group piece Chant éloigné.Her most recent piece Primitive (2014), on thecontrary, takes its source from the movement itself. In another departure it was also designed as an open air performance.
Claire Croizé together with Nada Gambier and Etienne Guilloteau co-founded the structure Action Scénique. Since 2013 the company has received structural funding from the Flemish Ministry. She regularly collaborates with Etienne Guilloteau and has danced for among others Caterina Sagna, Jean-Luc Ducourt and Kris Verdonck.
Michel Debrulle (BE)
Michel Debrulle is a percussionist who is active both as a musician and a pedagogue. He toured extensively in Europe, USA, Canada, Africa and Asia with various music ensembles, amongst which TrioBravo, La Grande Formation, Tous Dehors Big Band, Trio Grande, Rêve d’Eléphant Orchestra… and contributed to many CD registrations.
He is involved as a musician in theatre and dance performances with Thomas Hauert, David Hernandez, M-C Villa Lobos, David Zambrano and gives different types of rhythm classes and workshops to actors and dancers: P.A.R.T.S (Brussels), Conservatory of Liège (drama section), Rosas (Brussels), Impulstanz festival (Vienna), MDT (Stockholm), O Rumo do Fumo (Lisbonne)…
Dominique Duszynski (BE)
Dominique Duszynski has been dancing with Pina Bausch’s dance theatre from 1983 till 1992. She has been working on creations and mythical pieces such as: The Rite of spring, Kontakhof, Blaubart, Nelken,Arien, 1980, The 7 Deadly Sins, Auf Dem Gebirge, Two Cigarettes in the Dark, Viktor, Ahnen, Kommt tanz mit mir, Renate wandert aus, Walzer, Bandoneon, Iphigenie, Orphée...Since 1988, she teaches for institutions and companies in Europe and abroad. In 92, she started her own research and collaboration with dancers and actors on the creation of a lot of pieces. She has been also performing for JF Duroure and Pippo Delbono. She took part to the film “Die Klage der Kaiserin” from Pina Bausch and, “Berlin-Jérusalem” and “Golem” from Amos Gitai. She teaches at PARTS (Brussels) since the school was founded in 1995. In 2007, she creates her solo “Fuga” and in 2008, dances in the trio “Barroco” that travelled from Lyon to Brazil including Brussel, Italy and Germany. In 2009, she composes a new solo “Luz”, for the 9th festival “Voix de femmes” in Belgium. In 2010, in collaboration with the light designer I.Corten, she proposes a street project along the river in Liège “Sous les ponts”. In the same year, she steps into the concept “The complete works” from Nina Beier, that she performed in the Stuk festival in Leuven. In November 2011, she presents her duo “Riff” for the 10th Festival “Voix de Femmes” in Liège, Belgium, then in November 2012, in Brussels and, in June 2013, in Rio and Sao Paulo, Brazil. In November 13, she performed in the piece « Si je meurs » from R.Hoghe in Liège. During the summer 2014, she creates a short piece “Walkabout”, in 9 days with 9 dancers, performed in Belgium and in Holland. Beside her own work, she collaborates artistically with the choreographer M.Noiret since 2007.
Laia Puig Escandell (ES)
I was introduced to yoga as a parallel practice of my dance career in 1998. However, it wasn’t until I took a Sivananda Yoga Teachers Training in 2008 in South India that my real initiation into Yoga started, with growing passion. Since then, I have been practicing regularly asanas, pranayama and meditation, reading the yogic philosophy and trying to understand and apply all that in my daily life, as I continue to take trainings. I learn a lot from joining the Sivananda organization to translate Teachers Trainings or to do service in their Ashrams.
I teach Yoga classes in regular basis at Parts and around Brussels to all levels, and parallel to that I give Ayurvedic massages and treatments, Yoga retreats and workshops
Elisabeth Farr (US)
Libby Farr began her training in Texas and then continued her education at Ballet West in Colorado and School of American Ballet in New York. She performed in several Companies including San Diego Ballet, Los Angeles Ballet, Dallas Ballet, in America and Zurich Ballet and Deutsche Oper Berlin in Europe.
After the birth of her son she joined Theater des Westens in Berlin and Tanz Theater Skoronel as well as teaching in several schools and directing the dance department at Die Etage in Berlin. She then became training director and dancer at Deutsches Nationaltheater Weimar for 2 years and there after ballet mistress and assistant to Amanda Millers Ballet Pretty Ugly. She has been a regular guest teacher in P.A.R.T.S in Belgium and SEAD in Austria as well as teaching companies throughout Europe. She is also a certified Gyrokinesis teacher.
Nadine Ganase (BE)
Nadine Ganase was trained in England at the London Contemporary School - The Place - and later with Peter Goss in Paris. In 1983 she joined the Rosas Company of Anne-Teresa de Keersmaeker, for a period of 7 years and performed in Rosas danst Rosas, Elena’s Aria, Bartok Aantekening , Ottone Ottone. She participated in the following films of the Company - Hoppla and Ottone Ottone, Rosas danst Rosas, Répétitions. Nadine Ganase is a permanent contemporary and composition teacher at the Dance Humanities in Louvain-la-Neuve, Belgium. At present, she teaches dance for actors at the Performing Arts School - INSAS in Brussels. In the past she has taught for: RITS-Brussels (flemish school for acting and cinema), le C.N.D.C.d’Angers (Centre National de la Danse Contemporaine),, France, Koninklijke Balletschool, Anvers, Hoger Instituut voor Dans, Lier. Nadine Ganase has been choreographing works for her company and various institutions for the last 20 years.
Femke Gyselinck (BE)
Femke Gyselinck (°1983) studied at PARTS and graduated in 2006. She has worked as a dancer with Eleanor Bauer, Andros Zins-Browne, and Esther Venrooij. She started to work with Rosas as an assitant on The Song and worked as the rehearsal director for En Atendant , Cesena, Partita 2 and Vortex Temporum. She obtained a degree in dance teaching in 2009 and taught technique class, workshops in performance technique, and Rosas masterclasses. In collaboration with Romina Lischka, she created a dance to Lachrimae or Seven Teares by John Dowland, that premiered together with Hathor Consort in December 2012 and is still going to be performed in 2015. A second piece 'L'echo du Danube', again in collaboration with Romina Lischka premiered in September 2014 on the music of Johannes Schenck.
Lander Gyselinck (BE)
Drummer_composer_improviser - Lander Gyselinck has transformed from an emerging young talent to an established and respected name on the Belgian jazz and improvisation scene in a relatively short space of time. He derives his inspiration, not only behind the drums but also as a composer for his own bands LABtrio and STUFF., from contemporary electronic music. His inventive and exploratory drumming style has accorded him a broad and individual sound palette that is appreciated by a wide range of musical fields. This means he thrives in very diverse artistic environments ranging from jazz, contemporary electronics to experimental improvised music. He is a member of the Kris Defoort Trio, Jazz Plays Europe 2010 and Network of Stoppages. In 2010 he won the Toots Thielemans Jazz Award and in 2012 he received the SABAM Youth and Music Award at the Ghent Jazz Festival.https://landergyselinck.wordpress.com/about/
Tarek Halaby (US)
Born 1980 in Riyadh, Saudi Arabia, Tarek Halaby is of Palestinian and American descent. He started dancing in Chicago and is a graduate of The University of Iowa with his Bachelor of Fine Arts in Dance Performance. From 2001, Tarek was a founding member of the New York City based company Miguel Gutierrez and the Powerful People, with which he received a 2010 New York Dance and Performance Bessie Award as a collaborator and performer in “Last Meadow”. 2006 marked the completion of the 2-year advanced research cycle at P.A.R.T.S. in Brussels and the beginning of his own work as a freelance artist and performer. Through the support of WpZimmer in Antwerp, Tarek has traveled extensively throughout Europe, Scandinavia, North America, South America and the Middle East with his own solo and duet performances. Since living in Brussels, he has also been performing in the works of Salva Sanchis (Brussels),Zimmermann & de Perrot (Zurich), and on their most recent “Shaking The Habitual” album tour, Tarek was the opening act for the Swedish electronic band The Knife (Stockholm). As a year of new creations, 2014 projects included “Golden Hours” with Rosas, as well as acting in the film adaptation of the novel “Problemski Hotel” (D. Verhulst), directed by the documentary filmmaker Manu Riche. Spring and Summer 2015 include the European and Asian tour of “Drumming” by Rosas, and a new creation with performer/choreographer Mia Habib in Oslo,Norway.
Milan Herich (SK)
Born in 1980, Milan started his first dance steps in the Slovak traditional children dance company Dumbier, where he stood 12 years. Graduated in 2000, his studies at the Conservatory J.L.Bella in Banska Bystrica. After school,Milan continued his work in the professional company “Dance Studio”, leadby Z.Hajkova. In September 2002, he left the University of Arts in Bratislava to enter the international school P.A.R.T.S., headed by Anne Teresa De Keersmaeker in Brussels. Milan joined Ultima Vez and Wim Vandekeybus for Puur, creation 2005.In 2007 he joins Sidi Larbi Cherkaoui company to create performance “Myth”.Since 2000, Milan assists David Zambrano’s classes and workshops (ImpulstanzVienna) and he is permanently collaborating at his work: “12 flies went out at noon”, “3flies went out at noon”, “Rabbit project”, “Soul Project”, ”Holes”. Milan Herich is co-founder of Les SlovaKsDance Collective. They created “OpeningNight” in October 2007 and “Journey Home” in November 2009,”The Concert”-live concert of traditional music and singing created in 2010, in March 2013 their last show ”Fragments”.In March 2013 Milan joined the company of Anton Lachky for creation:”Mind A Gap” After 8 years(2013) Milan joined the company of UltimaVez in performance:”Booting Looting”In 2014 Milan created for first time him solo called” Solo for Mr.Folk-directed by David Zambrano.
David Hernandez (US)
Fumiyo Ikeda (JP)
In 1979, Fumiyo Ikeda entered MUDRA, Maurice Béjart’s dance school, where she met Anne Teresa De Keersmaeker. In 1983 she joined the newly-founded company rosas. Between 1983 and 2008 she contributed to the creation of and danced in almost all the productions: Rosas danst Rosas, Elena’s Aria, Bartók / Aantekeningen, Mikrokosmos, Ottone,Ottone, Stella, Achterland, Toccata, Just Before, Drumming, I said I, In Real Time,Rain, April me, the Repertory Evening, Bitches Brew / Taco- ma Narrows, Kassandra, Raga for the Rainy Season, D’un soir un jour, Zeitung and the revivals of Mozart / Concert Arias and Woud. Fumiyo also contributed to several of rosas’ films and videos: Repetitions, Hoppla!,Monoloog van Fumiyo Ikeda op het einde van Ottone Ottone, Ottone Ottone I & II, Achterland, CounterPhrases and Rosa directed by Peter Greenaway. Alongside her activity within Rosas, Fumiyo Ikeda also worked with Steve Paxton, Needcompany, Josse De Pauw and Tom Jansen. She has participated in several films and theatre plays. In 2007 shecreated Nine Finger with Benjamin Verdonck and Alain Platel. This performance was selected for the Festival d’Avignon 2007. She appeared in the production in pieces, a collaboration with the British playwright and director Tim Etchells that premiered in june 2009. She performed in Life and Times, Episode 2, a performance in collaboration with Nature Theater of Oklahoma (2010). Since last season, she is the rehearsal director of Rosas danst Rosas. In 2013 she created amness with the Japanese dancer Un Yamada.
Daniel Linehan (US)
From 2004-2008, Linehan lived and worked in New York where he created numerous solos, duets, and group dances. From 2007-2008 Linehan was a Movement Research Artist-in-Residence. In 2007, Linehan premiered the solo Not About Everything, which has since been presented in over 50 venues internationally. In 2008, Linehan moved to Brussels where he completed the Research Cycle at P.A.R.T.S. His more recent works include Zombie Aporia (2011), Gaze is a Gap is a Ghost (2012), The Karaoke Dialogues (2014), and Un Sacre du Printemps (2015). He has also created a book (A No Can Make Space), and a workshop-performance for 40 unemployed individuals (Vita Activa).
Tímea Maday (HU)
Tímea Maday Kinga was born in Budapest Hungary, studied different dance styles from folk dance to balett, contemporary as well as music, theater, clowing and performing art. She is an independent choreographer, dancer, performer,educator who has developed her work in various contemporary techniques working with different choreographers such as Anne Teresa De Keersmaeker, David Hernandez, Hofesh Shechter, Martino Muller, József Hámor, Kláry Pataky and many others. After graduating P.A.R.T.S. in 2006 she freelanced at Rosas company, danced and worked with Hofesh Shechter Company, Cirque du Soleil, Gangaray Dance Company, ect. From 2010 she is based in Budapest, and choreographed winning awarded pieces for many different companies like Central Europe Dance Theater, Gangaray Dance Company, ect. Since 2012 she has founded her own education program Gangaray Trambulin, helping young artist to find their way in the contemporary field in the national and international scene.
Renan Martins (BR)
Renan Martins started his education in Rio de Janeiro at Deborah Colker Movement Center at the age of 16, and one year later won a full scholarship to study at SEAD in Salzburg, Austria. In 2010 he joined P.A.R.T.S. (Performing Arts Research and Training Studios) to be part of the Research Cycle where he focused more intensively on choreography and started developing his own work. He has performed his pieces in Brazil, Austria, Slovenia, Germany, Holland, Portugal, Russia, Belgium and Croatia. Along with his choreographic practice he has also been an interpreter for Iztok Kovac, Marysia Stoklosa and Pierre Droulers. He has been an active teacher in the last couple of years giving workshops and master classes at DanseCentrumJette and Cie Thor Studio in Brussels, SIBA in Salzburg, Theatre de La Bastille in Paris, Codarts in Rotterdam, Munich's University of Drama, ME-SA in Prague, DOCH in Stockholm and Artesis/Conservatory of Antwerp where he has been also a jury member of the committee. Renan was a performer in Re:Zeitung, a project by Anne Teresa de Keersmaeker and Alain Franco together with P.A.R.T.S. Foundation and is currently a member of Meg Stuart/Damaged Goods Company as performer in Violet. This year he is directing a creation in collaboration with ME-SA Company in Prague. And as of September 2014 Renan joined the team of SeventySeven together with other artists such as Les Slovaks, Anton Lachky, Moya Michael, Meytal Blanaru and Peter Jasko, where his work is represented.
Julien Monty (FR)
After graduating from the Conservatoire national supérieur de musique et de danse in Paris in 1997, Julien Monty joined the ballet company at the opera house in Nice. Eager for a different experience, he left the world of ballet to join the Norwegiandance and theater group B-Valiente Kompani. He met several choreographers, including Jo Strømgren, and joined the Nye Carte Blanche contemporary dance company, whose director was Karen Foss. Upon returning to France, he joined the Ballet Preljocaj for two seasons, after which he worked in the ballet company at the opera house in Lyon, where he encountered the work of such choreographers as Mathilde Monnier, William Forsythe, and Philippe Decouflé. Since 2001 he has worked very closely with François Laroche-Valière, participating in all of his projects. It was during that time that he co-founded the Loge 22 collective in Lyon with Marie Goudot and Michaël Pomero, where he works as a choreographer.
Johanne Saunier (BE)
Johanne Saunier danced with the Rosas Cie of Anne Teresa De Keersmaker for 12 years. In 1998, she founded JOJI INC with Jim Clayburgh. They were awarded in 2000 the Bagnolet price. Her renowned 4 years project Erase-E (X) is in collaboration with diverse artists: The Wooster Group (NY), Anne Teresa De Keersmaeker, Georges Aperghis, Kurt d’Haeseleer, Isabella Soupart toured for 4 years. With French director Jean Francois Sivadier she worked on 4 classical operas staging singer such as Nathalie Dessay. Her work with voice is in different contemporary operas with Guy Cassiers Lear, Francois Sarhan and the Diotima Quartet, Line of Oblivion with Arturo Fuentes, Luna Park with Ictus Ensemble, Aperghis in IRCAM and Musée en Chantier for JOJI INC.Modern Dance is in collaboration with the circus artist Mathurin Bolze. The Confidentiels Ballets are her last dance pieces performed mostly outside of theaters.
Igor Shyshko (BY)
Igor Shyshko studied ballet and modern dance at the University of Culture of Minsk between 1993 and 1997, then moved to Brussels to become a student at P.A.R.T.S.; he graduated in June 2000. At P.A.R.T.S., Shyshko performed in Donne-moi quelque chose qui ne meure pas by Claire Croizé, Milky Way by Thomas Hauert, and Selfwriting by Jonathan Burrows. In 1998, he worked as a trainee with Anne Teresa De Keersmaeker and Rosas during the creation of Drumming. In 2000, he contributed as a dancer to the creation of Rush, a choreography by Akram Khan. That same year, he became a member of Rosas, dancing in the revival of Drumming. He also contributed to the creation of Rain, April Me, The Repertory Evening, Bitches Brew/Tacoma Narrows, Kassandra, Zeitung, and The Song, and to the revivals of Mozart/Concert Arias, Raga for the Rainy Season/A Love Supreme, D’un soir un jour, Bartók/Beethoven/Schönberg: Repertory Evening, and Steve Reich Evening. In 2010 he created a piece with Michèle Noiret, Minutes opportunes. In the same year he worked with Arco Renz for the Palais des Beaux-Arts in Kaaitheater. In 2011 he contributed as a dancer to the creation of Zeit by Marc Vanrunxt, and to the creation of Dust by Arco Renz.
Clinton Stringer (ZA)
Clinton Stringer was born and raised in South Africa. After studying for an Arts Degree there, he moved to Belgium to attend P.A.R.T.S. where he spent two years. He left the school to work for Joachim Schlömer on the production La Guerra d’Amore in Basel. In 2000, Clinton joined Rosas (Anne Teresa De Keersmaeker). Over the course of nine years he was involved in many creations and restagings of repertoire pieces including Rain, Drumming, April Me, Raga for the Rainy Season, Mozart Concert Arias, Bitches Brew… He left the company to study graphic design at Sint-Lukas (Brussels). Since graduating, he has divided histime between freelancing as a graphic designer and contemporary dancer. In 2011 and 2014, he was involved in the re-staging of Rain at the Opéra de Paris. He was also involved in the re-staging of Die Grosse Fugue for the Opéra de Lyon and Companhia Nacional de Bailado (Portugal). Freelance dance projects include Dancesmith (2013) with Mark Lorimer and Cynthia Loemij, and Volcano (2014) with Liz Kinoshita.
Sandy Williams (CA)Originally from Calgary, Canada, Sandy Williams attended the University of Calgary and Concordia University before relocating to Brussels in 2002 to attend P.A.R.T.S. After completing the Training Cycle he went on to create his own works (The Kansas City Shuffle) and collaborations with Jan Ritsema ("Blindspot", "KnowH2ow"), Lynda Gaudreau ("Document 4"), Andros Zins-Brown ("Day In / Day Out", "Limewire") Michéle Anne De Mey ("Sinfonia Eroica") and Deborah Hay ("I'll Crane For You").From 2007-2012 Sandy worked with Anne Teresa de Keersmaeker's Rosas participating in the creations of Zeitung, The Song, En Attendent and Cesena among others. Currently, he is creating a new piece entitled Everything Happens So Much and is engaged in projects with the French collective Loge22 (Konkretheit), Andros Zins-Browne (The Middle Ages).
Sandy writes a monthly column in the Flemish arts and culture magazine Rekto:Verso entitled The Last Kind Words and is the host of the monthly podcast BeursRadio in collaboration with Beursshowburg Theatre in Brussels.
David Zambrano (VE)
For over 32 years, David Zambrano has been a monumental figure in the international dance community, and his passion for cultural exchange continues to influence his work. Teaching and performing internationally, Zambrano is an ambassador and liaison across many borders, bringing together artists from all over the planet for his projects. An inspiring teacher, thrilling performer, and innovative choreographer, Zambrano has contributed generously to the field of dance in ways that have influenced many and impacted the dance world from several angles. His development of the “Flying Low” and “Passing Through” techniques are among his recent innovations that have helped to lead improvisational dance into an exciting future
Andros Zins-Brown (US)
Born in New York (US, 1981), Andros Zins-Browne, began practicing ballet at an early age at the Joffrey Ballet School. After completing a degree in Art Semiotics at Brown University (US,1998-2002), he moved to Brussels in 2002 to study at the Performing Arts Research and Training Studios P.A.R.T.S (BE, 2002-2006). He later pursued a research program at the Jan van Eyck Academie, Maastricht (NL, 2010-2011) to work on his research project Immaterial Bodies, Embodied Materials. This work spawned his creation, Welcome To The Jungle which developed themes of climate change, "global weirding", and how to consider choreography not only in terms of bodies but in terms of space and the seemingly inanimate as well. Aside from his performances as a dancer with Jonathan Burrows, Mette Ingvartsen, Tino Sehgal, and Maria Hassabi, Zins-Browne’s own creations, in which he often collaborates with visual artists, have been produced and/or presented across Europe including the Stedelijk Museum in Amsterdam, Centre Pompidou in Paris, Dance Umbrella in London, HAU in Berlin, PACT Zollverein in Essen, MDT in Stockholm, Vooruit in Gent, De Singel in Antwerp, Kaaitheater in Brussels and the Theater Festival Impulse, Düsseldorf where he received the Goethe Institute Award for The Host. From 2007-2014, Andros was an associated artist with wp Zimmer in Antwerp. Since 2014, he is represented by Hiros, an alternative management company in Brussels. In March 2015, he will premiere his new production, The Middle Ages, at the Vooruit in Gent.
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