Ludo Abicht is a philosopher and writer. He has taught philosophy, German literature and European Studies at universities and insititutes for higher education in the United States and Belgium.  After his retirement he is still visiting professor at the universities of Antwerp and Ghent and at PARTS. He has published a lot on issues such as utopia, marxism, the Middle East and leftist nationalism. Top

Anne-Linn Akselsen is educated at the Royal Swedish Ballet School and is a graduate of the 5th generation of P.A.R.T.S. As a performer she has been a dancer with Rosas as well as working for choreographers such as Salva Sanchis, Jean Luc Ducourt among others.
Since graduating she has simultaneously choreographed her own work and started in 2009 the company Human Works, in collaboration with Adrián Minkowicz. She has choreographed several commission works, ao for the National Ballet of Norway, in addition to the work of the company. She has won several prizes for her work, including the Norwegian National Grant for Artists and 1st price at the Baltic Movement Contest for best solo choreography for the work “Sing me…”.
She teaches both classical ballet and contemporary dance to both school and companies around the world. From 2013 on she is part of the coordination team for the Training Cycle at P.A.R.T.S. and from 2015 she is also a senior lecturer in dance at the University of Stavanger. Top 

 Yoko Ando embarked on a  career as a dancer after meeting Kuniko Kisanuki in1989. While Choreographing and performing her on solo pieces since 1997, Ando also starred in an opera with Robert Lepage and conductor Seiji Ozawa, and in Ryuichi Sakamoto’s “LIFE”. In 2001, she was discovered by William Forsythe and joined the Ballet Frankfurt. Having performed 37 different pieces with the company, Ando now enjoys a worldwide reputation as a leading dancer and central member of at The Forsythe Company. She continues to work on her own projects while collaborating with other dance company as a guest performer or choreographer. Top

Laura Aris studied at the Institut el teatre in Barcelona. Between 1996 and 1999 she was part of Lanònima Imperial Dance Company, in Barcelona. She was also associated with General Electrica collective. Between 1999 and 2008 was a member of Ultima Vez/ Wim Vandekeybus for the creations and touring of: Inasmuch as life is borrowed, Scratching the Inner Fields, Blush, What a body does not remember, Sonic Boom, Puur , Spiegel, Menske . She also performed in several dance films directed by Wim Vandekeybus. She regularly teaches workshops related to the Ultima Vez dance vocabulary and contemporary technique lessons internationally. She set up a research project Ejercicios de Duelo, and made choreographies for theatres in Costa Rica and Mexico. Top



Florence Augendre studied ballet, African dance, tap dance and modern jazz, and followed an intensive education in Body Mind Centering. She has worked a lot for theater, opera, film, contemporary dan ce and visual arts, adding to each creative project a dimension that is rooted in physical culture and dance. She worked with theatre directors such as Louis and Xavier Bachelot, choreogrpahers such as Pascale Houbin, François Raffinot, Wes Howard, Andrew Degroat, Thierry Guedj, Christophe Haleb, Wim Vandekeybus, Meg Stuart, David Hernandez, Labor GRAS, Johanne Saunier/Jim Clayburgh, Brice Leroux, Lance Gries (N.Y.), Riina Saastamoinen, Alexander Baervoets, Label Cedana, Olga de Soto, Fabrice Ramalingom and Koen Augustijnen.
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Florence Augendre has taught workshops with Cie. Félicette Chazerand, Rosas and Les ballets C de la B.

Iñaki Azpillaga

My engagement to the dance world is mainly influenced by my feelings for music and my sportive character, often being involved in collective games. I first grew with the traditions & rituals of bask folk dances. Afterwards I came into the ballet circles until facing the hierarchical ballet company. I’m proud of having lived the growth of contemporary dance in Spain in the eighties, when the society was creating new references. One year of studies in New York marked my dance formation. The passage throughout professionalism it mostly happened by sharing friendship with choreographers and dancers of different places in Europe. 

I retired from the dance world looking for other realities away from it, but soon after I realized how much the vocation towards the scene was impregnated in me.  Since then I contribute to creativity in dance and performing as choreographic assistant & movement teacher. Animal instinct, movement analysis, absurd imaginary… are some of the terms funding my teaching. Top

BADco. is a collaborative performance collective based in Zagreb, Croatia. The artistic core of the collective are Ivana Ivković, Ana Kreitmeyer, Tomislav Medak, Goran Sergej Pristaš, Nikolina Pristaš, Lovro Rumiha and Zrinka Užbinec. As a combination of three choreographers / dancers, two dramaturges and one philosopher, plus the company production manager, since its beginning (2000), BADco. systematically focuses on the research of protocols of performing, presenting and observing by structuring its projects around diverse formal and perceptual relations and contexts. Reconfiguring established relations between performance and audience, challenging perspectival givens and architectonics of performance, problematizing of communicational structures – all of that makes BADco. an internationally significant artistic phenomenon and one of the most differentiated performance experiences.

Kuno Bakker 
at Theatre school of Arnhem, Netherlands (1989 – 1993). Founding of theatre collective Dood Paard, based in Amsterdam (1993) Creating ± 35 performances with Dood Paard, which were played in the Netherlands and Belgium and several other European countries. Working for television and film as an actor. Teaching at the theatre schools in Amsterdam and Antwerp and at PARTS, Brussels. Top

Michael Barel is born in Brussels in 1969 and is an Osteopath and Acupunctor. He begins his career as a Physiotherapist in 1992 (University of Brussels) with a specialization in sport. The holistic vision of the body is very important to him. That’s why he continues his formation with a Osteopathy Master. The global treatment of the body include a biomechanics vision but also a energy concept . This postulate leads him to formated in Chinese medicine and acupuncture and Reiki. The nutrition aspect of the health is also the baseline of all treatment. He follows his formation with a Master of nutrition. Michael Barel works in Brussels like an osteopath and treats a lot of dancers with the same philosophy of the school. He collaborates with P.A.R.T.S and gives anatomy and physiology course. Top



Baiba Bartkevica is classically trained singer, conductor originally from Latvia, Riga. She received her Bachelor’s degree in conducting at the Jāzeps Vītols Latvian Academy of Music. Her Bachelor’s degree for classical singing at the Royal Conservatory in The Hague and Master’s Program specialized in contemporary music repertoire as well as a Postgraduate study for early music singing. Presently she is involved in a special Music Master’s program for New Audiences and Innovative Performance Practice at the Royal Conservatoire in The Hague. Since 1997 Baiba lives in Western Europe and sings under internationally recognized conductors such as Frieder Bernius (Kammerchor Stuttgart), Philippe Herreweghe (Collegium Vocale Gent), Sigiswald Kuijken (La Petite Bande), Jos van Immerseel (Anima Aeterna), Reinhard Goebel and many others.  Her solo repertoire ranges from early Italian baroque cantata, high baroque opera, Viennese Classicism and Romanticism, German chamber music to contemporary, experimental music performances.

She has worked for different music theatre companies in Belgium (LOD, Transparant, Vlaamse opera), France, Latvia (National Opera in Latvia, National Drama theatre). She has sung in various international music and dance festivals and made concert tours throughout Europe, North and South America, and South East Asia, Japan. Her latest work is a performative presentation of Pierrot Lunaire of A.Schoenberg.

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Douglas Becker 
is a freelance 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 artist-in-residence at University North Carolina School of the Arts, Douglas Becker began as visiting master lecturer at The University of the Arts Philadelphia 2010-present, where he is also responsible for the dance departments international touring program.Top

Valeria Bertolotto is a swiss actress. She studied acting in Lausanne and french literature at the University of Geneva. She works since 1998 with several companies in Switzerland and collaborates as an actress with performers and writers on theatre creations. She also cooperates with the Manufacture theatre school in Lausanne, and recently contributed to theatre productions as a dramaturgist.

Meytal Blanaru was bortn in Israel and studied dance, Pilates, Shiatsu and Feldenkrais. In Israel, she worked with a.o. the Vertigo Dance company. Since 2009 she is based in Brussels, where she works as a dancer (with Roberto Olivan, Lisi Estaras, Damien Jalet, Samuel Lefeuvre…), choreographer and Feldenkrais practicioner.Top

Stephane Bourhis is a professional dancer. He studied at the Conservatoire National de Danse in Avignon (France). He started his career at the company Ballet du Théâtre de Lucerne where he stayed 4 years and he then moved to the Béjart Ballet Lausanne (Switzerland) where he danced for over 11 years. He is currently following the Yoga Teacher Training in Brussels in order to become certified in Yoga Iyengar for the Base II diploma. During this training, he regularly attends classes from Alexis Simon, Willy Bok and Rita Poolvoerde. He has actively participated to the Belgian National Conventions of Iyengar Yoga where he was trained by reknown teachers as Zubin Zarthoshtimanesh, Christian Pisano, Faeq Biria, Corine Biria, Abhijata Sridhar (B.K.S Iyengar's granddaughter) and Rita Keller. He also attends regularly the classes and workshops given by Usha Devi in her yoga study center in Rishikesh (India). He is currently teaching yoga for kids in primary school. Top

Jonathan Burrows started his career as a soloist with the Royal Ballet in London but formed the Jonathan Burrows Group in 1988 to present his own work. The company travelled widely and gained an international reputation with pieces such as ‘Stoics’, ‘Very’, ‘Our’, ‘The Stop Quartet’ and ‘Things I Don’t Know’. In 2001 he presented ‘Weak Dance Strong Questions’, a collaboration with Dutch theatre director Jan Ritsema. Since 2002 he has collaborated with the composer Matteo Fargion on a series of duets: 'Both Sitting Duet', 'The Quiet Dance', 'Speaking Dance' and ‘Cheap Lecture’. The duo have now given over 170 performances of this work in 25 countries, including winning a 2004 New York Dance And Performance "Bessie" Award.
 Other high profile collaborators include Sylvie Guillem’s performance of his choreography in Adam Robert’s film ‘Blue Yellow’ in 1996, and his invitation in 1997 to choreograph for William Forsythe’s Ballet Frankfurt. In 2008 he was Associate Director on Peter Handke's 'The Hour We Knew Nothing Of Each Other' for the National Theatre, London.
    He was an associate artist 1992- 2002 at Kunstencentrum Vooruit in Gent, Belgium, was Artist-In-Residence at London’s South Bank Centre 1998/9, and is currently 'Artist-In -Residence at Kaaitheater Brussels. In 2002 Jonathan was given an award by the Foundation for Contemporary Performance Arts In New York, in recognition for his ongoing contributions to contemporary dance. He is a visiting member of faculty at PARTS and is also a Visiting Professor for the Department of Drama and Theatre at Royal Holloway, University Of London. Top

Ramsay Burt is Professor of Dance History at De Montfort University, UK. His publications include The Male Dancer: Bodies, Spectacle, Sexualities (1995, revised 2007), Alien Bodies: Representations of Modernity, ‘Race’ and Nation in Early Modern Dance (1997), Judson Dance Theater: Performative Traces (2006), and with Valerie Briginshaw, Writing Dancing Together (2009). In 2013-2014, with Professor Christy Adair, he undertook a two year funded research project into British Dance and the African Diaspora which culminated in an exhibition at the International Slavery Museum in Liverpool. With Susan Foster, he is founder editor of Discourses in Dance. In 1999 he was Visiting Professor at the Department of Performance Studies, New York University. Since 2008 he has been a regular visiting teacher at PARTS in Brussels. In 2010 he was Professeur Invité at l’Université de Nice Sophia-Antipolis. Top

Katia Cheraneva was born in Moscow, Russia. She studied in Nikolai Ogryzskov`s Contemporary Dance School, Moscow and “University for Music and Performing Arts”, Classical and Contemporary Dance (Hochschule fuer Musik und Darstellende Kunst, ZuKT), Frankfurt am Main, Germany.  In between two studies she joined youth company in St.-Petersburg “Kannon Dance”for a year. During the study in Frankfurt she participated in number of theatre and music theatre performances. In 2009 she worked as a freelance dancer in Frankfurt am Main, where she participated in a residency project PET_3, supported by Tanzlabor_21, Mousonturm, Frankfurt am Main. In the same year she presented a work in collaboration with Claudia Voigt and Nina Vallon called “Fake Phrases. Part 1” on the festival Tanzpanorama, Frankfurt am Main. Since 2010 she is member of The Forsythe Company. Top

Marta Coronado, born in Spain, studied ballet technique and graduated as a ballet dancer from Escuela Oficial de Danza del Gobierno de Navarra. She was part of the contemporary dance company Yauzkari until she moved to Brussels. She attended the two years dance program of P.A.R.T.S. first cycle. In 1998, she became a member of Anne Teresa De Keersmaeker's company Rosas. She danced and participated in the creations of Rosas such as: Drumming, I said I, In real time, Rain, April me, Bitches Brew, Kassandra, Rain Raga and D' un soir un jour. In the season 2002 she was awarded a Bessie (New York Dance and Performance Award) for sustained achievement as a performer. She co-directed the Rosas repertory graduation projects at P.A.R.T.S. In 2011 and 2014 she teaches a Rosas repertory piece, Rain at the Paris Opéra. In 2015 she teaches Drumming at the Opera de Lyon. She had the opportunity to teach Rosas Repertory and composition workshops  worldwide. She has been invited as a guest choreographer to La Salle Singapore ,CDC Toulouse and Compañia Fueradeleje. She teaches technique at Rosas Company, Les ballet C. de la B. the Ballet de Marseille, P.A.R.T.S. Ultima vez company, ImPulsTanz, Charleroi Danses, Thor Company, La Raffinerie, Conservatorio superior de Madrid and Theater school Amsterdam. Nowadays she free lances for Rosas and is part of the new collective House of Bertha. Their first piece White Noise premiered in MDT Stockholm in 2011. Top

Paul Craenen is a composer, teacher, researcher and currently director of Musica, Impulse Centre for Music. As a composer and teacher of music, he links a classical training to work with the newest instruments and techniques. In his role as a researcher and director, he attempts to bridge the gap between existing music practice, scientific findings and the wider cultural context in which musical activity can unfurl. He earned his master’s degree in piano and chamber music from the Lemmensinstituut in Leuven, Belgium. Since then he has taught piano and experimental music at various music schools. He has designed several pioneering educational projects involving new music and the use of new media in music education.
He has been a composer and sound artist since the late 1990s. Several of his compositions have been performed in Belgium and abroad at a range of new music festivals. Conceptuality, the use of electronics and choreographic and audiovisual elements are characteristic elements in his work. Another recurring theme is  his attention to corporeal presence in music performance. He began postgraduate research into this subject at the Orpheus Institute in Ghent, later pursuing it through docARTES, a doctoral programme for practice-oriented research in the arts. He has been a member of various research groups and was a guest lecturer on intermediality at Amsterdam Conservatory for several years. On 29 March 2011 he received his doctorate from Leiden University with a musical portfolio and a thesis on ‘composed performers’. A translation has been published by Leuven University Press (2014)  under the title “Composing under the Skin. The music-making body at the composer’s desk”.
In 2012, he became artistic director of Musica, a major Flemish art organisation for art education, development and participation.

Bojana Cvejić (Belgrade) is a performance theorist and maker based in Brussels, and a co-founding member of the TkH editorial collective (http://www.tkh-generator.net). Cvejić holds degrees in musicology and philosophy (PhD, Centre for Research in Modern European Philosophy, London). Since 1996, she has (co-)authored and collaborated in many dance and theatre performances with J. Ritsema, X. Le Roy, E. Salamon, M. Ingvartsen, and E. Hrvatin. Her own performance work involves five independent opera productions, of which the latest was her staging of Don Giovanni at BITEF festival Belgrade (2008). Cvejić has published widely in philosophy, performance theory, and musicology, in magazines, peer-reviewed journals and edited volumes, and three single--authored and five co-authored/edited books. Her latest books are Choreographing Problems: Expressive Concepts in European Contemporary Dance and Performance (Palgrave, 2015), Drumming & Rain: A Choreographer’s Score, co-written with A. T. De Keersmaeker (Mercator, Brussels, 2014), Parallel Slalom: Lexicon of Nonaligned Poetics, co-edited with G. S. Pristaš (TkH/CDU, Belgrade/Zagreb, 2013), and Public Sphere by Performance, co-written with A. Vujanović (b_books, Berlin, 2012). Cvejić teaches at various dance and performance programmes throughout Europe (e.g. P.A.R.T.S. Brussels). Her latest works include the exhibition Danse Guerre at CCN Rennes (2013) and Spatial Confessions at Tate Modern (2014). She has been researcher and lecturer at Theater Studies, Utrecht University, 2009-2013 and currently holds the post of Associated Professor in Philosophy of Art at Faculty for Media and Communication, Singidunum University in Belgrade. Her field of research includes continental philosophy, contemporary performance, dance and theater, social choreography, and, most recently, performance of the self, individualism and rhythms of intensified work. Top

Lieven De Cauter is a Belgian philosopher, art historian, writer and activist. He teaches philosophy of culture in the Department and Faculty of Architecture of KULeuven and RITS, school of arts. He published some dozen books: on contemporary art, experience and modernity, on Walter Benjamin and more recently on architecture, the city and politics. Besides this he published poems, philosophical columns, statements, pamphlets and opinion pieces in newspapers and on online. His latest books in English: The Capsular Civilization. On the City in the Age of Fear (2004); Heterotopia and the City. Public space in a Postcivil Society (2008), co-edited with Michiel Dehaene, Art and Activism in the Age of Globalization, co-edited with Karel Vanhaesebrouck and Ruben De Roo (2011), and Entropic Empire. On the City of Man in the Age of Disaster (2012). He lives and works in Brussels.Top

Michel Debrulle is a percussionist who got his basic musical formation at the I.A.C.P. in Paris and at the Conservatoire Royal de Liège, where he studied also improvisation and Jazz. He took master classes at the Creative Music Studio in the USA with Trilok Gurtu (India), Nava Vasconcellos (Brazil) and Amadu Garre (Sierra Leone). A scholarship of the foundation S.P.E.S. gave him the opportunity to travel to India and Cuba to perfection his musical knowledge and skills. Active both as a musician and a pedagogue, Michel Debrulle toured extensively in Europe, USA, Canada, Marocco with various music ensembles, amongst which Trio Bravo, 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 and gives different types of rhythm classes and workshops to actors and dancers. In his pedagogical work he concentrates on the organic understanding and internalisation of the rhythm, privileging the relation between earth and air. Important element in this process is the practise of various oral rhythmical traditions linked to analysis of and improvisation on different approaches of time and space. 

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Thierry De Mey is a composer and filmmaker. A large proportion of his musical output is intended for dance productions and films. In working with choreographers Anne Teresa De Keersmaeker, Wim Vandekeybus and Michèle-Anne De Mey he was often more than a composer, but also provided invaluable help through the invention of ‘formal strategies’, to use one of its favourite expressions. 
His installations, in which music, dance, video and interactive processes work together, have been presented in events such as the Venice and Lyon biennials as well as in many museums. 
Thierry De Mey has seen his work rewarded by both national and international prizes, such as the Bessie Awards, Eve du Spectacle, and prize of the International Rostrum of Composers-UNESCO. Since 2005, he is co-artistic directeor of Charleroi Danses. Top

Marjan Medha De Schutter became a certified Sampoorna yoga teacher (Yoga Alliance 500h) at Shri Yogi Hari’s ashram (Miami) in 2011, and has continued to study with Shri Yogi Hari as well as with other teachers such as Joe Barnett (yin yoga). She holds a degree in Musicology and Music Theory/Writing, has taught at the Sampoorna Yoga Studio (Brussels) and is currently working as a music teacher and yoga teacher.Top

Deufert and plischke- Kattrin Deufert and Thomas Plischke have been pursuing their goal of a new epic theatre since 2001. Their work as the artistwin deufert&plischke is equally at home in museums and other spaces as in theatres. Recent projects developed with artist and theorist friends include the »Anarchiv« series (2008-11 in varying locations, including Brussels, Hamburg and Vienna), »Emergence Rooms« (2010, in Vienna, Hasselt and Stuttgart amongst others) and »Entropisches Institut« (2012 in Berlin, Sofia, Mülheim and Hamburg). deufert&plischke have been lecturing at art academies in Germany and abroad for eleven years. They have been senior lecturers in Dance, Context, Choreography (B.A. course) at the Inter-University Centre for Dance Berlin (HZT) from 2010-2013. Top

Diedrich Diederichsen. Born 1957 in Hamburg. In the 80s editor and/or publisher of music journals in Hamburg and Cologne (“Sounds”, “Spex”). Since the early 90s university teacher as guest professor in Stuttgart (Merz-Academy1992-98), Pasadena (Art Center 93-95, 97, 01), Offenbach (HfG, 95/96), Munich (Akademie der Bildenden Künste, 95/96), Gießen (Universität, 00), Weimar (Bauhaus-Universität, 97), St. Louis (Washington University, 06), Cologne (Universität, 04), Los Angeles (USC, 07, 09) and Gainesville, Fl. (University of Florida, 06), and guest lecturer at the Universities of Bremen (98/99) and Vienna (00/01) and the Städelschule Frankfurt (92). From 1998 to 2007 Professor for Aesthetic Theory/Cultural Studies at Merz-Akademie, Stuttgart. Since 2006 Professor for Theory, Practice, and Communication of Contemporary Art at the Institute for Art History & Cultural Studies at the Academy of Fine Art, Vienna. Author for several magazines, dailies and journals in the German speaking world (“Texte zur Kunst”, “Theater heute”, “Cargo”, “Spex”, “Die Zeit”, “tageszeitung”, “Süddeutsche Zeitung” and many others).

DD Dorvillier has been developing her work and practice in New York City since 1989. In 2010 she moved to France and has continued to elaborate her work internationally. Through her original works Dorvillier challenges pre-established definitions, including her own, of dance and choreography. By building works through physical, conceptual, and philosophical approaches Dorvillier addresses issues of spectatorship, translation, and meaningfulness. In 1991 she and dancer/choreographer Jennifer Monson created the Matzoh Factory in Brooklyn New York. For over a decade the studio was a grassroots site for wild experimentation where choreographers and artists congregated for low-tech/low-cost shows, rehearsals, parties, and readings. She has worked and collaborated with many different artists in different fields such as: Jennifer Monson, Zeena Parkins, Jennifer Lacey, Yvonne Meier, Sarah Michelson, Karen Finley, Pavol Lishka and Kelly Copper, Jefta Van Dinther, Fred Gies, Anne Juren, Annie Dorsen, Sébastien Roux, and many others. With her company human future dance corps Dorvillier has been presented and commissioned in New York and abroad. In 2014, Danspace Project commissioned Platform 2014: Diary of an Image by DD Dorvillier, a four week platform which focused on her history, work, and practice, including the premieres of two new projects.  On March 20, 2015 her new work, Extra Shapes premiers at EMPAC (NY) before continuing on an international tour to be announced soon. Top

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. In the same year, she steps into the concept “The complete works” from Nina Beier, for the Stuk festival in Leuven.

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Effi and Amir - Effi Weiss (born in Israel, 1971) and Amir Borenstein (born in Israel, 1969) are an artist duo who have worked together since 1999. As visual artists, their work shifts between different disciplines such as video, performance and partcipatory projects which they show in museums, contemporary art centers and festivals. As well as undertaking their own artistic projects, they collaborate with other artists as editors, cameramen and effects designers. They hold video workshops worldwide to diverse audiences. They live and work in Brussels. Top

Gabel Eiben is from Codorus, Pennsylvania in the US. He has been living in New York the last 10 years, and recently moved to Brussels. Gabel has been working with Kelly Copper and Pavol Liska for the american avant-garde theater company Nature Theater of Oklahoma since 2008 in Life and Times Episodes 1-4 and 6-9, Poetics: a ballet brut, and No Dice. With Nature Theater, he has also performed in and filmed many shorts and the feature length documentary The Great Nature Theater of Oklahoma is Calling You! He has also worked and studied with SITI Company in New York and performed in Radio Macbeth. He holds a BFA in acting from Shenandoah University. Top

Laia Escandell  “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 well as teaching it to groups and in private classes. 
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 well as teaching it to groups and in private classes.
In my classes, I teach Sivananda Hatha Yoga tradition: proper breathing, proper exercise, proper relaxation, positive thinking.”

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Matteo Fargion was born in Milan, Italy in 1961. 
 He studied composition with Kevin Volans at the University of Natal, South Africa, and later with Howard Skempton in London. He has written music for many dance pieces collaborating, among others, with Siobhan Davies, Russell Maliphant and Jeremy James. He met Jonathan Burrows in 1988, and has since written music for most of his  pieces, including ‘Dull Morning’, ‘Stoics’, ‘Very’, ‘Our’, ‘Hands’, ‘The Stop Quartet’ (with Kevin Volans) and ‘Things I Don't Know’, in which he also performed ‘Donna Che Beve’ for 3 amplified cardboard boxes. In 2000 they made Both Sitting Duet together, which has toured to 17 countries and won a Bessie Award in New York. In 2005 they premiered their next collaboration, The Quiet Dance, in Munich, which is currently touring. He and Jonathan are currently working on a third piece.  

Apart for concert music, Matteo has also written music for theatre including an oratorio (‘Das Kontingent’) commissioned by and performed at the Schaubühne Berlin and TAT Frankfurt, a chamber opera (‘Le Bellezze d’Hortensia’) at the Theaterhaus in Stuttgart, as well as incidental music for many productions at the Residenz Theater Munich and the Stuttgart Schauspielhaus.  In 2004 he wrote music for Thomas Ostermeier’s prize winning production of Jon Fosse's new play ‘The Girl on the Sofa’ shown at the Edinburgh International Festival, and in 2005 he collaborated and performed in Canadian choreographer Lynda Gaudreau’s ‘Document 4’ in Gent, Belgium.  His piece ‘Duets’, written in collaboration with Kevin Volans, is released on Black Box Records.  He is currently collaborating with Siobhan Davies on a piece which will open in her new building in May this year, and incidental music for a new Botho Strauss play starring Bruno Ganz.  Matteo also has taught 2nd year composition workshops at PARTS since 2000. Top



Elisabeth 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.Top

Alain Franco was Born in Antwerp. He did musical studies in Belgian conservatories and post-master studies in France. He worked as a musician (playing conducting) with orchestras and ensembles in Europe, both in Classical and Contemporary repertoire. He focused since a few years on collaborations with choreographers and performance artists.

 Recent projects include : « Figures de voisinage » (Jean-Luc Ducourt), « Zeitung » (Anne Teresa de Keersmaeker), « Tres Scripturae » ( Etienne Guilloteau), « Songs of Love and War » (Deufert+Plischke). Currently working with Meg Suart (Munich Kamerspiele , 2012) as well as with « Akademie der Künste » in Berlin.

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Jozef Frucek graduated from the Music and Drama Arts Academy of Bratislava, where he also completed his PhD. He is an independent artist and a dancer, from 1996 he performed in solo and in group projects as well. His creations and teaching are influenced in part by martial arts, that he actively practices. Between 2002- 2005 he performed with Flemish Ultima Vez Company/ Wim Vandekeybus (Blush, Blush Movie, Sonic Boom). He has been invited to teach in KVS Brussels, Ritz Academy Brussels, Jette Dance Studio Brussels, SEAD-Salzburg, Budapest State Dance School, DOT 504  Prague, ImPulsTanz Vienna, Dansa Deltebre, Dies De Dansa Barcelona, Academy of Music and Drama Arts Bratislava, Art Station Poznan, Le Lido Circus School Toulouse, Flik Circus School Torino, Doch-Stockholm . He is staff teacher at the Greek State School of Dance in Athens and Academy of Dramatic Arts Krakow. In 2006 together with Linda Kapetanea founded RootlessRoot company and created performances “Sudden Showers of Silence”, “Holdin' Fast”, “Burned Tree Visiting Athens before Next Summer”, “100 Wounded Tears” ”,“UNA unknown negative activity” and “Drawing A Tiger Like A Dog” and “Making of a Young Girl”, “Giving Birth To Thousand Years of Sorrow” , “Eyes In Colours of The Rain”. Top

Marie Goudot studied dance in the Rudra Béjart School in Lausanne. She joined the Béjart Ballet Lausanne in 1998 and left in 2000 to pursue a freelance career. She was introduced to contemporary and contact dance over a period of several years while working with Russell Maliphant in London and later with the Alias Company in Geneva. In 2005 she joined with Michaël Pomero and Julien Monty to found the Loge 22 collective, a space for choreographic research and collective creations. Loge 22 has already created a dozen or so dance productions, films and choreographies included. Loge 22 is a cofounder of Europe’s Spider Festival, with events in Slovenia, Croatia, Greece, France and Belgium. In 2010, Marie Goudot joined Rosas for Cesena and Vortex Temporum, as well as taking part in the Work/Travail/Arbeid project. Top



Lucy Grauman was first interested in theatre before training as a classical singer. Her present carrier encompasses a wide range of musical styles with a particular focus on contemporary music. She has sang in several vocal and instrumental ensembles and has created an important number of pieces. Contemporary vocal work involves breaking certain boundaries and pushes the singer to experiment with an “unorthodox” use of the voice. This research on sound and the relations with other forms of expression: theatrical elements, words, movements etc….appeal a lot to Lucy Grauman, who also works on improvisation. As a teacher she attempts to convey the playful aspects of vocal work, the curiosity, the joy, the physicality, special attention to mental and physical attitudes. She has regularly led workshops, sometimes in a partnership with a dancer, an instrumentalist, an actor or a visual artist encouraging artistic freedom and creativity.
A long lasting interest in people, words and thoughts have led her to develop a second carrier as a psychoanalytic therapist: she works part time in a social center in Brussels. Top

Lance Gries was a Bessie Award winning member of the Trisha Brown Dance Company from 1985-1992. Since then he has been choreographing, performing and teaching worldwide. His choreography has been presented at various venues in NYC, including three seasons at Danspace Project at St. Mark's Church, two at The Kitchen, as well as in festivals in many European and Australian cities. Lance is a renowned teacher, having taught workshops and classes around the globe. From 1995 to 2001 he was the "key teacher" and developer of the contemporary program at P.A.R.T.S. in Brussels, Belgium under the direction of Anne Teresa de Keersmaeker. He has also taught and directed various pieces of Trisha Brown's repertory to international companies, including: "Set and Reset," "Newark," and "Astral Convertible."

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Christian Grüny studied philosophy and linguistics in Bochum, Prague and Berlin, got his PhD in Bochum and his postdoctoral qualification at Witten/Herdecke. His background in the philosophy of Theodor W. Adorno and in phenomenology led him into two directions: on the one hand towards a phenomenology of pain and the problems of violence and torture, on the other hand towards aesthetics which remains his main field of research until today. The long collaboration with the composer Elmar Lampson at the University Witten/Herdecke led him to seriously pursue the philosophy of music without losing track of connections and boundaries to other artistic disciplines. Cooperations with the performing arts center PACT Zollverein in Essen, the NFS iconic criticism eikones in Basel, the Hartware Medien Kunst Verein in Dortmund and the Art academy in Düsseldorf provided important influences.  From 2011-2014 Christian Grüny was spokesman of the network "Kulturen der Leiblichkeit" (cultures of embodiment). Since October 2014 he is visiting scholar at the Max Planck Institute of empirical aesthetics pursuing the question what an empirical aesthetics could be. He one of the editors of Journal Phänomenologie und member of the editorial board of Musik & Ästhetik. In February 2015 he received the advancement award of the Hans und Gertrud Zender foundation. Besides research and teaching he is considering the performative aspects of thinking and its possible connections to work in the arts. He has to admit, however, that Cheap Lecture by Jonathan Burrows and Matteo Fargion sets a standard that is almost impossible to reach.Top

Julyen Hamilton has been making dances, directing and teaching for the past 30 years. Trained in a period of experimentation in London in the mid-70s , he has constantly made work from a radical point of view. His work, both in company and solo, develops dance for the theatre where dancers and light designer are directed to compose pieces instantly, a process of practising improvisation in rehearsal and in the moment of performance. Hamilton creates his own personal language where movement and text constantly intertwine and are passed amongst the performers as a way of manifesting the sharing of the imagination. He is also invited to play with musicians, to choreograph for other dancers and to collaborate with other directors. Since 1990 he has made more than 100 solos which have been seen all over the world. They are a highly original interplay between dance, live text and light. His solo Cell premiered in Barcelona on 2004 and has been performed regularly since then; his latest solo is entitled 'How It Is Made' and premiered in Paris in autumn 2007, before playing in Germny and Belgium. His teaching work comes straight from the stage experience; it goes deeply into the compositional aspects of creativity through the areas of the physical body, space, time, dramaturgy and voice.

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Ayman Aaron Harper was born in Clear Lake City, Texas, in 1979 and trained with Bay Area Houston Ballet And Theater, while attending Houston's High School for the Performing & Visual Arts. He danced with Hubbard Street's trainee program before joining Hubbard Street Dance Chicago. He then moved to Holland to join Nederlands Dans Theatre II and currently resides with The Forsythe Company, under the direction of William Forsythe. He has choreographed Bedfears;Dreampiles for Dominic Walsh Dance Theater as well as works for Nederlands Dans Theatre ll and Hubbard Street ll.

After his studies at the Rotterdam Dance Academy Thomas Hauert worked as a performer with Anne Teresa De Keersmaeker, Gonnie Heggen, David Zambrano and Pierre Droulers. Since 1998 he has been creating dance pieces (e.g. Cows in Space, Verosimile, Modify, Walking Oscar and Accords) with his own Brussels-based company ZOO (www.zoo-thomashauert.be). Their work has been shown in theaters and festivals all over the world. He has also choreographed pieces for Danças Na Cidade in Maputo/Mozambique, students of PARTS in Brussels and the Laban Center in London and is regularly teaching at PARTS as well as in many other places. Top

Milan Herich started his first dance steps in the Slovak traditional children dance company Dumbier, and studied at the Conservatory J.L. Bella in Banska Bystrica. After school, Milan continued his work in the professional company "Dance Studio", lead by Z. Hajkova (and collaborating with choreographers from Slovakia and abroad. In September 2002, he left the University of Arts in Bratislava to enter the international school P.A.R.T.S., headed by Anna Teresa de Keersmaeker in Brussels. Mino joined Ultima Vez company (Wim Vandekeybus) for Puur, creation in 2005 and in 2011 was assisting Wim Vandekeybus for performance IT. In 2007 he joins the company of Sidi Larbi Cherkaoui for creation Myth. He has been teaching for schools and companies in Ljubljana, Amsterdam, Brussels, Bratislava but also in Italy, Spain, Costa Rica, USA.
Since 2000, Milan assists David Zambrano's classes and workshops (Impulstanz Vienna and in other countries) and he is permanently collaborating at his work: 12 flies went out at noon, 3 flies went out at noon, Rabbit project, Soul Project and Holes.
Milan Herich is co-founder of Les SlovaKs Dance Collective. They created Opening Night in October 2007, Journey Home in November 2009 and in 2010 Les SlovaKs - The Koncert. From 2007 Les SlovaKs performed and toured in Europe, Africa, Middle and North America.
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David Hernandez David Hernandez was born in Miami, Florida where he studied 'studio music & jazz’ and opera at the University of Miami and dance at  'New World School of the Arts’. Subsequently he moved to New York to work as an apprentice with the Trisha Brown and company and begin researching with Meg Stuart. He left New York to follow Meg Stuart to Belgium to help begin the company Damaged Goods where he worked for almost seven years as a dancer and collaborator. David remained in Europe basing himself in Brussels where he continued creating his own work in the form of dance performances, installations, happenings and many other sorts of multidisciplinary projects for over twenty years.  Next to his own projects he continued  performing  and collaborating with many other artists  such as LaborGras, Brice Leroux, Anouk Van Dijk, Michel Debrulle as well as directing, performing and researching as an improviser with artists such as Steve Paxton & Katie Duck, among many others. He was one of the three initiators of the improvisation project 'Crash Landing' along with Christine Desmet and Meg Stuart. David participated in a choreographic collaboration with Anne Teresa De Keersmaeker for many years for projects including "Zeitung", "Keeping Still" and “D’un Soir un Jour" and danced and sang in the production “Cesena" which premiered at the Avignon Festival in 2011.
As a pedagogue, David gives classes and workshops worldwide while maintaining a position as a main teacher at PARTS since 1995.  Previously he developed and managed his own education program, 'PEP' (The Performance Education Program) for several years in the framework of Klapstuk festival in Leuven, Belgium where he was also in residence.
David continues to work as a singer and joined the early music vocal group Graindelavoix, led by Bjorn Smelzer and Reve d'Elephant Orchestra jazz band,  performing in concerts, recording discs and touring with several different projects as a musician.
David continues creating his own work within the organisation dh+, David Hernandez and collaborators, whose two most recent performances, “ For Movement’s Sake” and “Hullabaloo” are presently touring. Top

Mette Ingvartsen is a Danish choreographer and dancer. Her practice involves teaching, writing, making, performing and documenting work. From 1999 she studied in Amsterdam and Brussels where she in 2004 graduated from P.A.R.T.S. She is currently doing a practice based Ph.D in choreography at Stockholm University of the Arts (UNIARTS). In this context she is researching the relationship between artist writing and artistic practice, using her choreographic work as a way to experiment with these relations.
Questions of kinesthesia, perception, affect and sensation have been crucial in many of her work. Between 2009-2013 her performances evolved around thinking choreography as an extended practice. Starting with evaporated landscapes, a performance for foam, fog, light and sound, her interest led to a series of propositions that extended choreography into non-human materials. Momentarily she is occupied by how language can be a material for speculative choreography, creating imaginary and virtual extensions of the body. Her latest work 69 positions is the first in a new cycle dealing with the relation between sexuality and the public sphere. top

Vlad Ionescu is researcher at the Faculty of Architecture and Arts, University of Hasselt.
He has first read English literature and linguistics in Romania and then philosophy in Belgium where he completed a PhD in the philosophy of arts. He then worked as a lecturer at the Sint Lucas School of Architecture (Brussels / Gent) and at the Institute of Philosophy (Leiden). Vlad wrote on modern philosophy of art and architectural theory, contemporary music and art criticism. In his doctoral dissertation he has been interested in one fundamental question: how does the understanding of how an image works influence the writing of art history? This question motivated also his translation and co-editing of Jean-François Lyotard’s art criticism. Since he is convinced that genuine thinking needs constant experimentation, he enjoys learning from visual artist and performers and musicians. His writings can be found here. top

Linda Kapetanea graduated from the Greek State School of Dance in Athens and also studied at the Merce Cunningham Studio, Movement Research and Dance Space,New York. After she co-operated with several companies in Greece and abroad. In 2002, she was awarded by a Greek Ministry of Culture as “the best performer” of the season 02/03. Between 2002- 2005 she performed with Flemish Ultima Vez Company/ Wim Vandekeybus. During the last three years she has been frequently invited to teach in several schools and arts centers in Europe. She is staff teacher at the Greek State School of Dance in Athens. In 2006 together with Jozef Frucek founded RootlessRoot company and created several performances.

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Eva Karczag  is an independent dance artist. For the past four decades has practiced, taught, and advocated explorative methods of dance making. Performs solo and collaborative work internationally. She was a member of the Trisha Brown Dance Company (1979-85), received her MFA (Dance Research Fellow) from Bennington College, VT, and is a certified teacher of the Alexander Technique. Her performance work and her teaching are informed by dance improvisation and mindful body practices. 

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Martin Kilvady was born in 1974 in Banska Bystrica, Slovakia, where he graduated from secondary school. Subsequently, he enrolled in a program for teacher education in contemporary dance at the Comenius University in Bratislava, the School of Music and Dramatic Arts where he received his "Master of Arts".
Choreographers and teachers who most influenced his further development as a dancer are Jan Durovcik, Miroslava Kovarova and Libor Vaculik. From 1992 to 1996, he was a member of the Torzo Ballet Company in Bratislava and performed as a free lancer in several productions of the Slovak National Theatre from 1995 to 1996. In 1997 he joined the Magyar Fesztival Ballet in Budapest for one season.During the summer of 1997 he became a member of Anne Teresa de Keersmaeker's ROSAS dance company, in Brussels. He danced in "WOULD", in the reprise of "MIKROCOSMOS" and "ACHTERLAND", and contributed to the creation of "JUST BEFORE", "DRUMMING", "I SAID", and "IN REAL TIME". During these years with ROSAS, the teachings of David Zambrano and Chrysa Parkinson widened his dance horizons. Between 2001 and 2004, he collaborated with choreographer Roberto Olivan in the creation of "NATURAL STRANGE DAYS" and "DE FARRA". In the season 2002-2003, he worked with circus company Rital Brocante. Since 2003, he has been a member of Thomas Hauert's company ZOO, performing in "FIVE", "MODIFY", “MORE LESS SAID SONGS“, “WALKING OSCAR”, “PUZZLED” and "ACCORDS".
Martin started to teach dance classes in 1991 and since 2001 has been preparing training programs for dance companies ROSAS, Ultima Vez, and Charleroi Danse, guiding workshops at the schools of P.A.R.T.S, at DCJ – Dans Centrum Jette (Belgium) and CDC Toulouse, and teaching open classes at Impulstanz Festival Wien. He teaches regularly at Terpsichore, centrum voor Dans en Beweging (Belgium). Martin Kilvady is co-founder of Les SlovaKs Dance Collective

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Bojana Kunst is a philosopher, dramaturg and performance theoretician. She is a professor at the Institute for Applied Theater Studies in Justus Liebig University Giessen, where she is leading an international master program Choreography and Performance. She is a member ofthe editorial board of Maska Magazine, Amfiteater and Performance Research. Her essays have appeared in numerous journals and publications and she has thought and lectured extensively at the various universities in Europe. She published several publications, among them Impossible Body (Ljubljana, 1999) and Dangerous Connections: Body, Philosophy and Relation to the Artificial (Ljubljana, 2004), Processes of Work and Collaboration in Contemporary Performance (Ur)., Amfiteater, Maska, Ljubljana, 2006, Performance and Labour, Performance Research 18.1. (ed. with Gabriele Klein), Artist at Work, Zero Books,London, 2015.

Rudi Laermans is senior professor in social theory at the University of Leuven, Belgium. His recent academic publications are situated at the intersection of canonical sociological theory (esp. the Weberian tradition), social systems theory (esp. Luhmann) and post-Marxist critical theory (Negri & Hardt, Agamben,..). He regularly writes on culture & the arts, including contemporary dance. Top

Prue Lang graduated from the Victorian College of the Arts in Melbourne and joined Meryl Tankard's Australian Dance Theatre. In 1996 she moved to France working with Compagnie L'Esquisse CNDC Angers (Bouvier/Obadia), Compagnie Cre-Ange in Paris as well as her own independent projects with visual artists. In 1999 she began an important collaboration with William Forsythe as a leading soloist and choreographer of the Frankfurt Ballett. Since 2005 she has been working as an independent choreographer presenting her work in international festivals, theatres and museums throughout the world.  Her work often challenges formats for dance performance, embraces interdisciplinary collaboration and research, and incorporates real-time technology. Top

Mia Lawrence, originally from New York, currently works as the Coordinator of the First Cycle at PARTS, Brussels where she teaches alternatively yoga, contemporary and creative work. She spent eight years touring internationally as a member of the Stephen Petronio Company. She also danced with Michael Clark, Jeremy Nelson, Lucy Guerin, and others. In 1997 she began making her own work and teaching workshops in festival and schools in the U.S. and Europe.  In 1998, she received the prestigious New York Dance and Perfrormance Award or  “Besie”  for her first evening length solo “Kriyas”. She relocated to Munich in 2002 where she continued making pieces with the support of the Kulturreferat and other presenting institutions. She received the Förderpreis Tanz in 2005 form the city of Munich for her artistic achievement.   When she has time, Mia continues to create pieces utilizing movement, text, and sound.

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Xavier Le Roy studied molecular biology at the University of Montpellier and has worked as a dancer and choreographer since 1991. From 1997 to 2003 he was artist in residence at the Podewil, Berlin. He choreographed solo performances Self Unfinished (1998), Product of Circumstances (1999), was invited by Tanz im August Festival to work with Yvonne Rainer “Meetings” (2000), realized a piece from Jérôme Bel Xavier le Roy (2000); choreographed Giszelle (2001) in collaboration with Eszter Salamon; and Project (2003) a piece for 15 performers. He also staged Das Theater der Wiederholungen (2003) an opera from Bernhard Lang and Mouvements für Lachenmann (2005) an evening concert with music from Helmut Lachenmann.  With the Berliner Philharmoniker Educational Project he choreographed Ionisation from Edgar Varèse with 40 children.  Since 2004 he is involved in various educational programs. In 2007 he choreographed a solo on the music of Igor Stravinsky « Le Sacre du Printemps ». In 2008 he continues is research on musician gesture and creates More Mouvements für Lachenmann. In 2007-2008 he is “associated artist” at Centre Chorégraphique National de Montpellier, France where he co-direct the education program and together with 9 artists set up the project 6 months 1 location to explore specific working conditions.

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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. Linehan first studied dance in Seattle and then moved to New York in 2004. His work first came to public attention in 2004 with the solo Digested Noise, presented in Fresh Tracks at Dance Theater Workshop. In 2005 and 2006, he worked with a team of four other dancers to create The Sun Came and Human Content Pile. Linehan was a 2007-2008 Movement Research Artist-in-Residence. In 2007, Linehan premiered the solo Not About Everything, which has since been presented in over 75 venues internationally. In 2008, Linehan moved to Brussels where he completed the Research Cycle at P.A.R.T.S. His works created in Belgium include Montage for Three (2009), Being Together without any Voice (2010), Zombie Aporia (2011), Gaze is a Gap is a Ghost (2012), and The Karaoke Dialogues (2014). Top

Cynthia Loemij was born in Brielle in the Netherlands in 1969. She took a teacher-training course at the Rotterdam dance academy, where she obtained her diploma in 1991. Since then she has been a member of the full-time core of Rosas. She was involved in the creation of ERTS, Mozart/Concert Arias- un moto di gioia, Amor constante más allá de la muerte, Verklärte Nacht, Woud, Just Before, Drumming, Quartett (a duet with Frank Vercruyssen), In Real Time, Rain and Small hands (a duet with Anne Teresa De Keersmaeker), April me, Repertory Evening, Bitches Brew / Tacoma Narrows, Kassandra, the revival of Mozart / Concert Arias, Raga for the Rainy season / A Love Supreme, D'un soir un jour, Bartók / Beethoven / Schönberg Repertory Evening, Steve Reich Evening, Zeitung and En Atendant and Vortex. She danced in the revivals Achterland, Rosas danst Rosas, Elena’s Aria, Mikrokosmos and Drumming, and in the opera Bluebeard’s Castle and in the film versions of Achterland and Rosas danst Rosas. In 2006 she took part in Nusch, a play by theater company Stan. In 2009 she danced the duet Prélude à la Merwith Mark Lorimer, in the film of the same title by Thierry De Mey. She appeared in Kris Verdonck’sEnd and collaborated with Manon de Boer on the installations Dissonant and Mirror Modulation. With David Zambrano she created a duet, as part of the performance Holes. Cynthia Loemij taught at P.A.R.T.S. (Brussels), the Panetta Movement Centre and Movement Research (New York), Dance Works (Rotterdam) and for the opéra Garnier(reprise de Rain). In 2011 she sets up the company OVAAL with Mark Lorimer, to create the performance To Intimate and Dancesmith,Camel Weasel Whale.

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Mark Lorimer trained at LCDS (London) and has since worked with, among others, the Featherstonehaughs/ Lea Anderson, Cie. Michèle Anne De Mey, Bock and Vincenzi, Mia Lawrence, Deborah Hay, Jonathan Burrows and Boris Charmatz. From 1997, as a founding member of ZOO/Thomas Hauert, he participated in six group projects and choreographed Nylon Solution as part of “5”. With Rosas Lorimer has worked as both dancer and rehearsal director for several creations and reprises, as well as free-lancing in both roles. In 2006 he returned for the creation of D’un soir un jour. He danced in Bartok, Beethoven, Schoenberg - Repertory Evening, Steve Reich Evening, Zeitung, The Song and En Atendant. He also contributed to the creation of Vortex Temporum Teaching credits include ImpulsTanz Vienna, P.A.R.T.S., Laban Centre in London, and Movement Research in New York. He was involved in several pieces of Alix Eynaudi, and created two works together with Cynthia Loemij.

Based in NYC, Diane Madden has enjoyed a rich and varied career in dance as a performer, choreographer, director and teacher. During the 70’s, while at Hampshire College and in NY City, her traditional dance training took a left turn with the study of improvisation and release techniques, leading her to join the Trisha Brown Company in 1980. Thus began 35 years of contributing to the creation, performance and direction of Trisha Brown’s work. From 1984 to 2000, as Rehearsal Director, she trained dancers and cultivated the company’s repertory, returning to this role in January 2010. In the interim, she reconstructed of Brown’s work with the company as well as The Wooster Group, Paris Opera Ballet, Scottish National Ballet, NYU’s Tisch and other schools and organizations around the world.
Named Associate Artistic Director of the Trisha Brown Dance Company in 2013, she continues to perform, teach and lecture with the company.
Madden has presented her own, solo and collaborative, choreography at home and abroad. She’s worked with choreographers Polly Motley, Vicky Shick, Juliette Mapp, Cathy Weis and Lance Gries.
As a founding member of Channel Z, she collaborated with this notable improvisation ensemble in dance/film/video works from 1980-1985. Madden teaches her approach to dance, which weaves anatomically grounded technique with improvisation, composition and performance skills, in NY City and around the world. She teaches regularly at P.A.R.T.S. in Brussels and Tilt/Spazio Danza in Milan. Top

Ioannis Mandafounis studied dance at the National school of Athens and at the conservatoire de Paris. Before becoming a freelance choreographer, he was part of the Gothenburg Opera Ballet, the Nederlands Dans Theater II and in 2005 became a member of the Forsythe Company where he’s still a guest on a regular basis. In 2004 he formed the “Lemurius company” together with Katerina Skiada and Anastasis Gouliaris in Athens with whom he created the pieces “Provalondas tin Skia” (2005), “Anthropines diastasis” (2007), “Crosstalk” (2009) and “Yperparagogi” (2011), that have been presented in International Kalamata Dance Festival and in the Athens and Epidaurus Festival. Together with Fabrice Mazliah he co-created ”P.A.D.” (2007), commissioned by the Athens and Epidaurus Festival, and the group work “HUE” created for the Forsythe Company, in collaboration with six artists from the group at the Bockenheimer depot in Frankfurt. In 2009 he formed together with Fabrice Mazliah and May Zarhy the collaborative trio “mamaza” and created together “ZERO” (2009) and “Cover Up” (2011), which have been shown and co-produced by numerous venues and festivals, such as the Kunstenfestivaldesarts, kunstlerhaus mousonturm Frankfurt, The Forsythe Company, Les Rencontres Chorégraphiques Internationales de Seine-Saint-Denis, PACT Zollverein Essen etc. Parallel to his work as a choreographer Ioannis teaches improvisation workshops from the point of view of the ancient martial art Budo, as well as making choreographic works for other companies and schools like: Ballet Junior de Geneva, Palucca Schule Dresden, Hochschule für Musik und Darstellende Kunst Frankfurt and others. Top

Vera Mantero studied classical dance and danced in the Gulbenkian Ballet between 1984 and 1989. Mantero started choreographing in 1987 and, since 1991, has been presenting her solo and group work and performance installations all over Europe, Argentina, Brazil, Canada, Singapore, South Korea and the USA. Her artistic work has been recognized with institutional prizes such as the Prémio Almada (Ministry of Culture - 2002) or the Prémio Gulbenkian Arte for her career as creator and performer (2009). She has aslo collaborated as a performer with Tim Etchells/Forced Entertainment and in Boris Charmatz’ “20 Dancers for the 20th Century”. Vera Mantero participates regularly in international improvisation projects alongside improvisers and choreographers such as Lisa Nelson, Mark Tompkins, Meg Stuart and Steve Paxton. Since the year 2000 Vera Mantero has also been exploring vocal work, either singing the repertoire of different authors or co-creating experimental music projects. She regularly teaches composition and improvisation in Portugal and abroad. Top

Juliette Mapp is a dancer, teacher and choreographer based in New York City. Juliette has worked with many choreographers including Deborah Hay, John Jasperse, Vicky Shick, Jennifer Monson, Iréne Hultman, Neil Greenberg and Stephanie Skura. Juliette has taught and performed extensively throughout Europe, Asia, South America and the United States.  She has been on the faculty of The George Washington University, Hunter College, Fordham University and The New School, and Movement Research.  This year Juliette was guest curator at Danspace Project in New York City where she curated the "Back to New York City" platform.   Her choreography has been presented throughout New York and she has received two New York City Dance and Performance Awards, i.e. "Bessies".   The first was for her dancing with John Jasperse, and the second was for her choreography. Top

Fabrice Mazliah studies dance in his hometown Geneva, at The National School of Athens and in the Rudra Bejart Atelier in Lausanne. He is part of the Nederlands Dans Theater in Holland before joining in 1997 the Ballett Frankfurt that transitioned into the Forsythe Company which he is part of until summer 2015. In parallel he produces several works of his own, and in collaboration with other artists such as the chekroun/mazliah/san martin collectif, with Ioannis Mandafounis,and others. In 2010 a collaboration with Mandafounis and May Zarhi leads to the collective MAMAZA, touring through Europe, Israel and Africa.  In June 2015 he created the last evening of The Forsythe Company “ In Act and Thought” premiering in Dresden and Frankfurt. His latest work Telling Stories is created in December 2015 with and for the MD Collective from Koln. These pieces have been shown in numerous venues and Festivals internationally. Fabrice gives as well seminars, workshop and Ateliers internationally based on research and improvisation for amateurs, professionals and Master programs. Top

Kate McIntosh is an artist working across the boundaries of performance, theatre, video and installation. From New Zealand and originally trained in dance, she has performed internationally since 1995 - appearing in the work of directors such as Tim Etchells (UK), Wendy Houstoun (UK), Meryl Tankard Australian Dance Theatre,  Cie Michèle Anne de Mey (Belgium), Random Scream (Belgium), Simone Aughterlony (NZ/Switzerland). Since 2004 Kate focused on directing her own work - including the solos All Natural (2004), Loose Promise (2007), and All Ears (2013) and the larger performances Hair From the Throat (2006), Dark Matter (2009) and Untried Untested (2012). Her installation works include De-Placed (2008 with Eva Meyer-Keller), and the participatory installation Worktable (2011). In her own work she has enjoyed collaborations with Tim Etchells, Eva Meyer-Keller, Jo Randerson, Lilia Mestre, Charo Calvo, Diederik Peeters, and many more.
Kate has directed several short videos which have played at festivals and exhibitions the world over. She was a founding member of the Belgian performance collective and punkrock band Poni, and she holds an MRes in Performance and Creative Research from Roehampton University (UK). She is a founding member of SPIN: the artist-run production and research platform based in Brussels. Top

Pascal Michon is a French philosopher and historian. A graduate of the Ecole Normale Superieure de Saint-Cloud, he holds a Phd in History and another in Philosophy. He has taught at various universities abroad and in the Collège International de Philosophie. He is currently Professor in Classes préparatoires aux Grandes Ecoles at Lycée Claude Monet in Paris. He is also the creator and main contributor of the website and the publishing house RHUTHMOS, both dedicated to rhythmic studies. His work is concerned with four main topics: 1. The history of the subject and the individual in the West; 2. The forms of individuation and power in globalized capitalism; 3. The genealogy of the concept of rhythm in social and human science, philosophy and poetics; 4. The theory of language and literature.



 Martin Nachbar is dancer and choreogapher, and writes for several dance and theater magazines. He received his training at the School for New Dance Development (Amsterdam), in New York and at P.A.R.T.S. (Brussels). In 2010, he received a master’s degree at the Amsterdam Master of Choreography (AMCh). He is currently a PhD candidate at the HCU Hamburg. His collaborations include engagements with Les Ballets C. de la B. and Vera Mantero, shared works with Thomas Plischke, Jochen Roller and Martine Pisani, with composer Benjamin Schweitzer and with dramaturge Jeroen Peeters as well as a cooperation with visual artist Paul Hendrikse. He received several grants and prizes, among which the first Choreography Award Ludwigshafen 2006. His pieces, including “Repeater – Dance Piece with Father”, “Urheben Aufheben – Reconstructing Dore Hoyer” and “Animal Dances”, tour internationally. Martin Nachbar teaches regulary in improvisation, contact improvisation, choreography/composition and physical dramaturgy since 2001.

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After a career as a dancer Rasmus Ölme started making his own work in 2001. Until 2008 he produced and toured work throughout Europe, in particular between Belgium and Sweden. Since 2008 he´s doing a PhD in choreography at DOCH (Stockholm Sweden). The PhD is a practice based artistic research dealing with the relation between technique and choreography. Top

From a young age, Janet Panetta studied ballet with Margaret Craske,  Antony Tudor and Alfredo Corvino at the Metropolitan Opera Ballet School. At 14, she became Margaret Craske’s teaching assistant, which served as on-the-job training for her lifelong career in dance education. 
Janet joined American Ballet Theatre in 1968, and later began her foray into modern dance as a member of Paul Sanasardo’s company. She went on to work with Robert Kovich, Neil Greenberg, Susan Salinger, Peter Healey, and countless other modern companies, while continuing to teach. 
In the 1980s, she began working internationally, and in 1984 the French asked Janet to be the only ballet teacher at their newly created school for contemporary dancers. Her class consisted of twenty students, all of whom went on to professional careers, including the renowned choreographer Jerome Bel. 
In her 1989 New York Times article, “Why Certain Performers are a Breed Apart,” Jennifer Dunning of the New York Times called Janet’s performing, “Quietly indelible, intense and harply focused, with a smoky, smoldering aura.” She definitely got that right! 
Janet currently works with PARTS and with Pina Bausch Tanztheater Wupperthal. In addition, she teaches at Impulstanz in Vienna each summer, and maintains her own New York Studio, where she serves as artistic director of International Dance Dialogues, a program that hosts many European artists workshops and lectures.

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Chrysa Parkinson is a dancer living in Brussels and Berkeley, California. She lived in New York for many years and performed with Tere O'Connor Dance, Irene Hultman, Mia Lawrence, Jennifer Monson and Mark Dendy, among others. She began traveling to Belgium in 2000 to work on improvisational performance with Zoo/Thomas Hauert and David Zambrano. Since then she has also performed with: Veli Lehtovaara, Remy Heritier, Boris Charmatz, Andros Zins-Browne, Rosas/Anne Teresa De Keersmaeker, Jonathan Burrows, Mette Ingvartsen, Philip Gehmacher , Eszter Salomon , John Jasperse, Deborah Hay, Alix Euynadi , Meg Stuart and Joaquim Koester. She has taught in the US, Europe and Australia, and yearly at PARTS (be) since 1998. Chrysa's writing and films have been published and distributed internationally. Her most recent project, The Dancer as Agent Collection, is available at Oralsite.be. Chrysa is a Professor of Dance and Director of the New Performative Practices MFA program at DOCH in Stockholm. 


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Jean-Luc Plouvier was born in 1963. After he studied piano and chamber music at the Conservatoire de Mons, he concentrated on music of the twentieth (and twenty-first!) century exclusively. As a soloist he created works by Thierry De Mey, Brice Pauset and Philippe Boesmans. As a chamber musician, he worked with Bureau des Pianistes, in duo with Jean-Luc Fafchamps, and now with the Ictus Quartet and the Ictus Ensemble of which he is also artistic coordinator. Jean-Luc Plouvier is part of the crew of the Cinémathèque de Bruxelles, where he accompanies silent movies. He taughed "Music and Culture" at the Institut Marie Harp in the context of the formation to musicotherapy. He wrote music for the stage for choreographers such as Anne Teresa De Keersmaeker, Nicole Mossoux, Iztok Kovač and Johanne Saunier.

After graduating as an engineer, Stefan Prins started to study fulltime piano and composition at the Royal Flemish Conservatory in Antwerp, Belgium, where he obtained his Masters degree in Composition. Concurrently, he studied “Technology in Music“, “Sonology“, “Philosophy of Culture” and “Philosophy of Technology”. Since September 2011 he divides his time between Europe and the USA where he pursues a PhD in composition at Harvard University under the guidance of Chaya Czernowin.As a composer he received several important awards in Belgium and abroad. Stefan Prins is closely involved with the Nadar Ensemble, as a composer and member of the artistic board, and was, together with Thomas Olbrechts & Joachim Devillé one of the founders of the long-standing trio for improvised music “collectief reFLEXible”.His music has been played by a.o. Klangforum Wien, Nadar Ensemble, Ictus Ensemble, Nikel Ensemble, Ensemble Mosaik, Trio Accanto, Ensemble Dal Niente, Ensemble Recherche, Zwerm Electric Guitar Quartet, Champ d’Action on festivals such as the Donaueschinger Musiktage, the Darmstadt Ferienkurse, Wittener Tage für Neue Musik, Eclat, Musica Strasbourg, Wien Modern, Ars Musica, Novembermusic, Transit Festival, Tzlil Meudcan, Impuls Festival, Huddersfield Contemporary Music Festival & Ultima Festival.

Jan Ritsema (b. 1945) is a Dutch theater director, dancer and co-founder of PAF (Performing Arts Forum). Ritsema makes theatre that triggers these strange moments when thinking and performing meet each other. He directed and adapted works by Shakespeare, Koltès, Jelinek, Müller, Joyce, Woolf and Rilke; and collaborated to several pieces by Bojana Cvejìc (among others) that received critical acclaim throughout Europe in the 90s and 2000s. In 1978, Ritsema founded the International Theatre & Film Bookshop in Amsterdam and published more than 400 books. Ritsema is less interested in the big illusion and fiction machine through which theatre is often represented, than in the live presentation of bodies on stage that think (together) and provoke thinking. A choreographer and dancer, he has been teaching at PARTS dance school since 1995. Among his most recent productions: Wittgenstein Incorporated  (2008, French version); Ça, after a novel by Henry James (2010); Oidipous, my foot (2011-12). Since 2010 he has been dancing for Xavier Le Roy in Low Pieces and for Boris Charmatz’ Moments in 2012.
In 2006 he created the PerformingArtsForum (PAF), an alternative artists residency located in France near Reims, run by artists, in which every year some 700 international artists exchange their experiences and knowledge and create work. His engagements in the arts all boil down to reinforcing people’s strength in organizing life together and reclaiming back public space, following his favourite adage and leitmotive that people are much nicer and much smarter than they allow themselves to be treated. Apart from practicing this adage in PAF, Ritsema also wrote many articles about the perspective of liquidizing instead of fixating, propertizing ones material and mental properties. He is also a co-founder, board member and general-manager of Robin Hood Asset Management Cooperative.Top

Ursula Robb was born and raised in New Zealand and trained at the New Zealand School of Dance in Wellington. In 1995 she came to Europe and has worked and toured extensively with Wim Vandekeybus - ULTIMA VEZ, Anne Teresa De Keersmaeker - ROSAS,  and Thomas Hauert - ZOO. Most recently, Ursula performed with Shona McCullagh - THE NEW ZEALAND DANCE COMPANY in 2013. In addition to performing, Ursula teaches many workshops and technique classes for schools and companies throughout Europe, Australia and New Zeal and, has also worked as Rehearsal Director at Rosas and the Opera de Paris, and is currently the Subject Specialist for Contemporary Dance at the Danish National School of Performing Arts. 

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Tiago Rodrigues is a portuguese actor and playwriter. Works regularly with Belgian company Tg STAN. In Portugal, worked with several companies and started his own Mundo Perfeito in 2003, creating a dozen pieces presented in several countries and collaborating with many portuguese and foreign artists. He is also directing ESTUDIOS, an annual project of creation and meeting of artists in Lisbon, at Teatro Maria Matos. Worked also as a writer and actor for film and for television drama series. Besides PARTS, he was also an invited teacher at several theatre and dance schools in Portugal. Also wrote original plays for different theatres and companies. In cinema, he collaborates as a writer and actor with the foremost portuguese film director João Canijo.

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Thomas Ryckewaert is a Belgian director and actor. He studied biology and philosophy at the University of Leuven and Dramatic Arts at the Antwerp Conservatory. Thomas’ work balances on the borders between theatre, dance and installation. His most recent creations are Homo sapiens (2010), Portrait (2012) and Genesis (I, II, III) (2013). His work is characterized by a visual and ritual style that tends to explore the dramatic potential of everyday actions. He often works with a mix of actors, dancers and amateurs. As a freelance actor he frequently works for theatre, film and television. Top

Eszter Salamon is a choreographer and performer. Since 2001, she has been creating solo works and group works. Her works are presented throughout the world on a regular basis and she is frequently invited to perform in museums. Eszter Salamon’s work revolves around choreography, which she uses as a way of navigating between different media: video, sound, music, text, voice, movement and bodily actions. In her first works, the activation of the cognitive experience calls into question visual perception, sensation and kinesthesia. Since 2005, her interest in documentary and female autobiography has given rise to a multitude of formats, such as a dance lecture, a video choreography and a monodrama. Her exploration of speculation and fiction gave rise to TALES OF THE BODILESS, a futurist opera without a performer, which imagined the possible modes of existence after the disappearance of humans. Recently, Eszter Salamon has started work on a series of pieces exploring both the notion of monument and the practice of a rewriting of history.Top

Salva Sanchis is a Brussels based choreographer and dancer that graduated with the first generation of PARTS in 1998. He has been choreographing his own work since then and presenting it accross Europe. He co-choreographed with Anne Teresa De Keersmaeker the pieces "Desh" and "A Love Supreme”. He has been a teacher of contemporary dance technique at PARTS since 2002, and he has as well been a program coordinator of both the Research and the Training Cycles. Together with Marc Vanrunxt, he has been artistic director of the dance company Kunst/Werk since 2009. Radical Light, which premieres in March 2016, is Salva’s 20th production as a choreographer Top



Johanne Saunier, after dancing more then ten years in the ROSAS company directed by Anne Teresa De Keersmaeker founded in 1998 JOJI INC with Jim Clayburgh; this scenographic/choreographic partnership led to many performances. In 2000, she won the Bagnolet choreography award with Final Scene. Erase-E(X) a collaborative work with artists such as The Wooster Group from New York, Anne Teresa de Keesmaeker, Georges Aperghis composer, and a video artist Kurt d'Haeseleer. IM-agined (2007) in collaboration with the textile designer Anke Loh, is exploring the Lumalive technology created by Philips. Musée en chantier (2010) for voice and movement created with Cécile Goossens is based on Les Récitations by Aperghis. Johanne Saunier performs in contemporary operas by P. Boesmans and Luc Bondy, Guy Cassiers, Georges Aperghis with the Ictus Ensemble and IRCAM, A king, Lear by composer François Sarhan and the Quatuor Diotima, Line of Oblivion with the composer Arturo Fuentes based on the text of Carlos Fuentes. She choreographes singers for opera: LOLITA (2008) directed by Jim Clayburgh, music by Joshua Fineberg, Machinations from Georges Aperghis directed by the VocalLab, The man of La Mancha by with Sybille Wilson, Carmen and l'Incoronazione di Poppea, barber of Sevilla for the opera de Lille and La Traviata with Nathalie Dessay in Aix en Provence, directed by Jean François Sivadier. Her recents projects are Luna Park composed and staged by Georges Aperghis and Modern Dance in collaboration with Mathurin Bolze and Ballets Confidentiels with Ine Claes.

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Francesco Scavetta established the dance company Wee (Oslo/Norway), in the 1999, together with dancer Gry Kipperber. In the last years, Wee has been touring in more than 30 countries in Europe, South/North America and Middle/Far East, becoming one of the leading companies of the Norwegian scene. Francesco Scavetta’s personal way to tell stories, mixing together theatrical actions and dance, is transforming along a constant curiosity for different forms of art. His theatricality has often been associated with the atmosphere of a weird dream or to a playful world of a child: strange, funny, poetic and, at the same time, surprising. Since its formation in 1999, Wee's creations have changed in format and aesthetic, yet they have continuously tried to explore what theatre and performance can mean in contemporary life and what kind of dialogues they can open with an audience. 
    From the delicate early work “Daddy always wanted me to grow a pair of wings”, with it's ”circus like” atmosphere, and look of an old black and white movie found in the loft, to the complex use of technology for performances like ”Live*”, co-produced by the Biennale of Venice, to the purely physical work of ”Surprised body project”, that focus on choreographical issues. The core of the research has always been to deal with fragility and paradox, epiphany and dream, empathy and surprise, avoiding narrative and physical cliché, questioning reality and identity with humoristic disbelief.
Born in Salerno, Italy, Francesco Scavetta studied at National Academy of Dance of Rome, graduated in Theatre and Performing Arts and Post-graduated in Sciences of Communication. Along his artistical path, he regards as a particularly valuable his meetings with such choreographers, teachers and director as: Anne Theresa De Keersmaeker/Rosas, Giorgio Rossi/Sosta Palmizi, Dominique Dupuy, Adriana Borriello, Lans Gries/Trisha Brown and Bernardo Bertolucci. Top

Björn Schmelzer, born in 1975 in Antwerp, Belgium, is an ethnomusicologist and anthropologist. He combines both interests in his academic and artistic activity, which focuses primarily on the style and function of ornamentation in Mediterranean and Western music from the Middle Ages to the Renaissance and the Baroque. In 1999 he founded the ensemble graindelavoix, bringing together singers and musicians who are ready to experiment in the realm between performance and creation. Graindelavoix is fascinated by excentric voices whose qualities move beyond the world of communication, that no longer make a statement but are the pure expression of their origins: the grainy, the intense, the instinctual. The combination of notation and what escapes it another main reason for graindelavoix’s interest in early music: the higher awareness and ability that the performer brings to the piece (ornamentation, improvisation, gestures). The material includes Franco-Flemish polyphony, the art of the lament, and machicotage (French ornamentation of Gregorian chant) and other lost styles of ornamentation as well as a Mediterranean performance traditions, dynamics from late scholasticism, and much more. graindelavoix’s performances (concerts and music theater productions) are the result of an extensive process of work and research. For his work with graindelavoix, Schmelzer was named “Musician of the Year” in 2009 by the Belgian Music Press Association. Schmelzer regularly publishes essays, and is currently working with graindelavoix on a new piece that explores the dynamics and intensity of late Gothic music.
In 2011 Björn Schmelzer and graindelavoix collaborated with Anne Teresa De Keersmaeker and her Rosas dance company and created CESENA, an Avignon festival premiere and worldwide tour. End 2012 the first part of a trilogy around The Portfolio of Villard de Honnecourt was released. In 2013 graindelavoix is working on a recording of the Messe de Nostre Dame by Guillaume de Machaut and the songs of Hendrik Van Veldeke. top

Michael Schmid studied modern flute with Prof. Konrad Hampe (München), Prof. István Matuz (Budapest), Harrie Starreveld (Amsterdam) and traverso with Marten Root (Amsterdam). At the Conservatory of Amsterdam he successfully completed his 1st and 2nd phase study in flute and a Masters Degree in the Course “Contemporary Music through Non-Western Techniques”, specializing in complex rhythmic systems. A fixed member of the Ictus Ensemble (B) and freelancer he worked with conductors as P. Eötvös, M. Hamel, J. Hempel, H. Holliger, G:E: Octors, E. Pomarico, D. Porcelijn and H. Zender. He has been playing with the following ensembles on a regular basis: Musikfabrik (D), Ives Ensemble (NL), Nieuw Ensemble (NL) and has appeared as solist with the Radio Kamerorkest Hilversum (NL), the Nieuw Ensemble and the Ictus Ensemble. He performed in concerts for Arte, WDR, Deutschland Radio Berlin and Concert Zender and recorded several Cds.

Kerstin Schroth is a freelance curator and arts manager and lives in Berlin and Paris. She graduated in Cultural Studies at the University Hildesheim, Germany. During a period of 10 years, she worked as production manager for international festivals such as: Tanztheater International (Hannover), Tanz im August (Berlin), Poker im Osten and Context#3 – Learning by doing at Hebbel am Ufer (Berlin).  In 2006 she founded the annual sommer.bar under the festival Tanz im August and curated it for 6 years.  She has worked in long and short-term collaborations with performing artists such as: Lindy Annis, Paul Gazzola, Frauke Havemann, Sasha Waltz and Gérald Kurdian.  Since 2006 she has been working as the company manager of Great Investment, the company of the Danish choreographer Mette Ingvartsen. She  lectures  at  the  university  of  Gießen,  K3  Hamburg,  Sommerakademie  Berlin  and  the University  of  Dance  and  Circus  in  Stockholm.  Her  courses  include  curatorial  concepts, production  development,  distribution  and  tour  organization,  as  well  as  the  communication between  artists  and  curators.  In  2012  she  started  her  interview  project,  documenting conversations with curators and programmers around the question how to choose. In 2012 she was invited to curate artist talks for Tanznacht Berlin, which she turned into a thematic, continuous 12 hour talk.

French mezzo-soprano Fabienne Séveillac obtained a Masters in Performance Voice at the Brooklyn College Conservatory. During her studies there she performed the lead role in operas and premiered numerous pieces by young composers. In 2009 she was the recipient of the Robert Starr Award for the best interpretation of a living composer. She now devotes her time principally to the performance and teaching of 20th and 21st century music. After a Masters degree in Musicology focusing on György Kurtág and Samuel Beckett at the Tours University, whilst teaching piano and ear training, she began vocal studies in the ensemble Mikrokosmos then at the Centre de Formation pour Jeunes Chanteurs du Jeune Chœur de Paris at the Paris CRR, where she worked with Laurence Equilbey and other conductors such as John Nelson and Pierre Boulez. Since her return to Europe, she has been the singer and co-artistic director of soundinitiative, and in parallel cofounded HYOID (contemporary voices), now based in Brussels. She performed as a soloist and gave masterclasses in France, Belgium, Germany, Switzerland, Austria, Danemark, Canada, the USA, Singapore, Australia and New Zealand, in various festivals including the Darmstadt Summer Festival, the Bludenzer Tage zeitgemäßer Musik in Bludenz, What's Next / Ars Musica and "Les nuits " Botanique in Brussels, Blurred Edges in Hamburg, the Impuls Akademie in Graz, Klang in Copenhagen, the Brisbane festival and the Bendigo BIFEM festival.Top

Taka Shamoto (JP/BE) was born in 1975 in Sendai, Japan. At the age of three, she started dancing at the Sendai City Ballet School. For the next ten years, she was taught by Masako Ono. At sixteen, she entered the Balletschule der Hamburgischen Staatsoper John Neumeier in Germany, an education in which classical technique and composition work played a key role. After her three year education in Hamburg, Taka Shamoto focused on contemporary dance. In 1995 she joined the contemporary dance school P.A.R.T.S. and joined Rosas two years later. She danced in the revivals of Woud and Achterland and contributed to the creation of Just Before, Drumming, I said I, In Real Time, Rain, April me, Bitches Brew / Tacoma Narrows and Kassandra, and the revival of Mozart / Concert Arias. In 2007 she collaborated with Grace Ellen Barkey & Needcompany for The Porcelain Project. In 2010 she performed in Jan Decorte’s Tanzung. Currently she is performing in Avdal and Shinozaki’s projects Field Works-office, Borrowed Landscape, nothing’s for something and as if nothing has been spinning around for something to remember. Top

Noé Soulier graduated from PARTS – Brussels and received a master in philosophy at La Sorbonne University (Paris IV). He explores the ways we perceive and interpret movements through diverse projects: choreographies, installations, theoretical essays and performances. In Little Perceptions (first prize at the Danse Élargie competition, organized by Le Théâtre de la Ville in Paris and Le Musée de la Danse in 2010) and Movement on Movement (2013), he plays with the connection between speech and gestures in order to question how they collaborate in the elaboration of meaning. In Corps de ballet (2014), created with the CCN - Ballet de Lorraine, he tries to make visible the inner organisation of ballet vocabulary by disrupting its implicit logic. In Movement Materials (2014), the tension is located between the intention and the movement of the performer to make apparent how he engages himself in the action. He is currently working on Removing, a new creation that will premiere in October in the Festival d’Automne in Paris. top

Mårten Spångberg is a choreographer living and working in Stockholm and Brussels. His interest concerns choreography in the expanded field, something he has approached through experimental practices and creative processes in a multiplicity of formats and expressions. He has created more than 20 stage works, and has also been active in visual art, architecture and has a close relationship to theory. He has thorough experience in teaching both theory and practice, and has published extensively. In 2011 his first book Spangbergianism was published. Top

Davide Sportelli is a choreographer, performer and movement teacher active in Europe and overseas. After music and theatre, he studied dance in Rome and at the Accademia Isoladanza, Biennale of Venice, with choreographers and pedagogues such as Carolyn Carlson, Malou Airaudo, Raffaella Giordano, Nigel Charnock, Bill T. Jones, Iñaki Azpillaga, Frey Faust, Ivan Wolfe, Susanne Linke, David Zambrano. He has danced for Sasha Waltz, William Forsythe, Caterina Sagna, Ingo Reulecke, Michäel D’Auzon, Giorgio Rossi a.o.  Based in Berlin, he carries out his personal research on performance creation and on the craft of writing, as well as collaborating with sound and visual artists and other young choreographers.

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 his time 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.

Laurel Jenkins Tentindo is a choreographer and director creating new dance theater works in Los Angeles.  She was a member of the Trisha Brown Dance Company from 2007-2012, she created original roles in Brown's four final works.   After graduating from Sarah Lawrence College, she danced with the Liz Lerman Dance Exchange and was certified in the Skinner Releasing Technique.  She went on to dance with Vicky Shick, and Sara Rudner, to perform in plays directed by John Jesurun and Nick Olcott, and to choreograph for Elise Kermani's films.  She was a member of the Puppet Lab at St. Anne's Warehouse.  Her work has been shown in NY at: Danspace Project, Joyce SoHo, Judson Church, Dixon Place and the NY Fringe, and in LA at: Automata, Highways, Pieter, the Fowler Museum, and the Hammer Museum.  Internationally, she has been presented at the Prague Fringe, Decoda at Coventry University, U.K., and Improvisation Xchange, Berlin.  She is currently completing her MFA at UCLA in the Department of World Arts and Cultures/Dance. Visit www.laureltentindo.com Top

Anya Topolski is a postdoctoral fellow, funded by the Research Foundation of Flanders (FWO), at the Centre for Ethics, Social and Political Philosophy of the Higher Institute of Philosophy at the KU Leuven, Belgium. In 2008 she defended her PhD thesis entitled: A Political Ethics of Intersubjectivity: Between Hannah Arendt, Emmanuel Levinas and the Judaic (KU Leuven). Her thesis was awarded the 2009 Auschwitz Stichting prize and is being prepared for publication. Her current research involves the deconstruction of the discourse of Judeo-Christianity in relation to European identity formation and its symbolic role in propagating Islamophobia. Top

Jakub Truszkowski was born in 1977 in Poland. He started his dance training in 1987 at the National Ballet School in Gdansk, where he obtained his degree in 1996. In 1995 and 1996, he performed several classical pieces in the Opera House of Gdansk, as well as the choreography Step into darkness. Between 1996 and 1998 he followed several contemporary dance workshops and taught at the Youth Festival Kielce.In 1996 Jakub was admitted to Anne Teresa De Keersmaeker’s school P.A.R.T.S. In 1998, on the occasion of the Summer Stage of the City Theatre in Gdynia, he performed Solo for projector, a project that he had made at PARTS. He danced in Fixing Dust and Hypothetical Stream 3, performed by PARTS students in 1999 in Brussels, Antwerp, Gent, Lisbon, Nanterre, Amsterdam and Charleville.In January 2000 Jakub joined the company Rosas, dancing in the revival of Drumming and participating to the creation of In Real Time, Rain, April me and the Repertory Evening (2002), Bitches Brew / Tacoma Narrows and Kassandra, and the revival of Mozart / Concert Arias. In 2008 he joined Les Ballets C de la B to perform in Ashes and Import/Export by Koen Augustijnen.He teaches at PARTs, Theaterschool Amsterdam and Folkwang University Essen. As a rehearsal director, he participated in staging Rosas repertory projects at the Opéra de Paris, Opéra de Lyon, Compania National de Bailado (Lisbon) and PARTS. His personal creations include 4 pieces: Solo For The Projector,  Improvisation Solo, Bodyscapes and Memory Reset. He is co-founder and performer at the dance collective House of Bertha.Top

Trained in classical ballet, Cindy Van Acker first worked in the Flanders Royal Ballet, Belgium. After joining Geneva’s Grand Theatre, she began creating her own pieces in 1994, and launched her international career with «Corps 00:00» at the Geneva ADC in 2002. In 2003, Van Acker created two other solos, «Fractie» and «Balk 00:49». In 2005, Italian director Romeo Castellucci chose Van Acker to represent Switzerland at the Venice Biennal. Later Castellucci suggested that she create the choreographic part of his production of «Dante’s Inferno» for the Avignon Festival 2008 and for «Parsifal» at La Monnaie in 2011. In 2007, Kernel provided an opportunity for an unusual and stimulating collaboration with Finnish composer Mika Vainio of the Pan Sonic group, which created and played the performance’s musical score. This collaboration continued in the creation of the sound for three solos produced between 2008 and 2009, «Lanx», «Nixe» and «Obtus». «Obvie», «Antre» and «Nodal» completed this series of six solos and a series of six accompanying films directed by Orsola Valenti. Top

Annelies Van Parys studied composition with Luc Brewayes at the conservatory of Ghent. Her compositions have been performed by the leading Belgian ensembles (Spectra, Champ d'Action, Hermes, Ictus...) and many orchestras in Belgium and abroad. She writes for small and large ensembles. Since 2007 she is composer in residence at Muziektheater Transparant, creating works such as 'An index of memories', 'An Orestaia' and music theater pieces based on music by Schubert ('Ruhe')  and Debussy (Pelleas and Melisande). In  2015 she will finish her fist opera. top

Dancer and choreographer Marc Vanrunxt studied at the dance school of An Slootmaekers. In 1980 he started making his own work. He also danced in performances of other choreographers like Thierry Smits, Catherine Massin, Truus Bronkhorst and Jan Fabre. In the eighties and nineties Vanrunxt collaborated with composers Serge Verstockt and Thierry Genicot, with visual artists Anne-Mie Van Kerckhoven, Robert Cash and Danny Devos and with the dancer and costume designer Eric Raeves. In 2001 he founded Kunst/Werk, a structurally funded organisation for dance that produces and distributes the work of Marc Vanrunxt and choreographer Salva Sanchis. Gradually he concentrated more and more on extraordinary solos for extraordinary dancers such as Kitty Kortes Lynch, Suzanne Grooten, Etienne Guilloteau, Lu Marivoet, Eva Kamala Rodenburg, Rob Fordeyn, Igor Shyshko, Lise Vachon, Georgia Vardarou and Marie De Corte. The year 2013 was all about innovation because of meetings and collaborations with visual artist Katleen Vinck, dancer Sabina Holzer, actress Sara De Bosschere and choreographers Arco Renz and Jan Martens. Early 2015 Marc Vanrunxt created Real, So Real with Marie De Corte and mezzo-soprano Els Mondelaers, again on the music of Morton Feldman.  Later that year Vanrunxt was invited by 0090 & Europalia Turkey to work with four Istanbul based dancers.
Marc Vanrunxt is guest teacher at the Royal Conservatory Antwerp. He is regularly asked as coach or mentor by P.A.R.T.S. and other choreographers and theatre makers like Roy Peters, Bryssinck & Peeters, Ann Van den Broek, Geert Vaes, Jan Martens, Charlotte Vanden Eynde, Caroline d'Haese and Chantal Yzermans. Since the spring of 2014 he is a guest teacher at KASK DRAMA at the Royal Academy for Fine Arts in Gent.Top



A former performer, Christophe Wavelet has co-directed the activities of the Knust Project (1993-2001), a performance collective (1993-2001) focusing on artistic re- enactments, and appropiations, as well as  the publication of the french political journal Vacarme (1996-2000). He has collaborated to numerous international manifestations and exhibitions, conferences and publications, both as a curator, scholar and critic. Interested in projects whose priority is at once experimental and discursive, regardless of any medium specificity and within different cultural areas, he has operated as artistic director for LiFE, a cross-disciplinary and transnational contemporary art venue (2005-2010). A fellow of the Akademie Schloss Solitude in  2011-2013, he’s currently writing his first book and working on the french translation of the essays written by Brazilian artist Helio Oiticica. Top



Judith Wambacq works for the department the Arts at the University of Ghent since 2008. In 2007 she obtained her Ph.D with a thesis entitled ' Difference and immanence in the thought of Merleau-Ponty and Gilles Deleuze'. She publishes on phenomenology and poststructuralism, and  has a special interest in the contemmporary French philosopher Bernard Stiegler, whose book 'Passer à l'acte' she edited and translated into Dutch. Top

Katrina Thompson Warren is originally from Anchorage, Alaska.  She received a BFA in Dance from Cornish College of the Arts in Seattle,WA.  While in Seattle, Katrina worked with Wade Madsen and Dancers and Joanna Mendl Shaw.  Then in New York, she performed with Daniel Gwirtzman, Artichoke Dance Co., Michael Mao Dance, Mary Seidman and Dancers, American Dance Ensemble, and was a member of the Trisha Brown Dance Company from 1998-2006.  Katrina also acted as rehearsal director for TBDC in 2006, and assistant-directed the restaging of Ms. Brown's "L'Orfeo" in 2007.  She has also set Ms. Brown's work on the Pacific Northwest Ballet and Lyon Opera Ballet.  Katrina recently directed a "Set & Reset/reset" project at the University of Minnesota, and continues to teach masterclasses and workshops both nationally and internationally.Top

Carly Wijs graduated from the Maastricht Theatre Academy and subsequently worked as an actress in many plays at home and abroad, both in television, film and theatre. Besides working with directors like Guy Cassiers(Kaaitheater), Jan Lauwers(Needcompany) and Josse de Pauw(Kunstenfestivaldesarts) Carly Wijs has also co-created numerous performances with collectives like Stan and De Onderneming. Since 2005 she has written and directed her own work. Her latest performance Us/Them was selected for the Flemish theatre festival and is currently touring Belgium and France. For the past 5 years she has worked on a novel that will be published by Ambo Anthos publishers in Amsterdam. Release date 15th of May 2016. Top

Arkadi Zaides is an independent choreographer. He was born in the Soviet Union in 1979, and immigrated to Israel in 1990. Today he lives and works in Tel Aviv.  Since 2004 Arkadi has been working as a free-lance choreographer. His works have been shown in numerous international festivals in Israel, Switzerland, Italy, the Czech Republic, Holland, India, Hungary, Poland, Spain, Sweden, Romania, Germany, China, Taiwan, and Japan, amongst others. Embedded in Arkadi’s work is a belief that the role of art is to challenge and inspire viewers, while simultaneously it has a larger universal role to reach out and bring together different communities and different sectors of society. Arkadi is increasingly working in diverse communities, focusing primarily on the Arab sector in Israel. Arkadi Zaides is leading workshops on a regular basis. He focuses on the body as a source of authentic and original movement material. By offering triggers and exercises, intended to get rid of old habits, he is interested in discovering a simple and clear expression, in order to create a new rich and personal movement language. Also, since 2000 till 2009 Arkadi has been teaching ‘Gaga’, the movement language of choreographer Ohad Naharin.Top

For over 20 years, David Zambrano has been a monumental figure in the international dance community, and his passion for cultural exchange continues to influence his work. Living and making work in Amsterdam and teaching/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. Many of his projects have continuously influenced Zambrano’s pedagogic methods, keeping them fresh and interesting for the students from around the globe. Top

TRAINING CYCLE 2013-2016

The following artists will teach in PARTS:

Yoga
Stephane Bourhis, Laia Escandell, Marian De Schutter, Antonella Cusimano, Mia LawrenceTheodossia Stathi
Pilates:
Gabriel Schenker, Tarek Halaby
Feldenkrais: Meytal Blanaru
Anatomy Eva KarczagFlorence AugendreMichael Barel, Francis Weyts 

Classical: Elisabeth FarrJanet Panetta, Douglas BeckerFrancesca Caroti, Ioannis MandafounisAnne-Linn AkselsenBenoît Caussé, Marta Coronado

Contemporary: David Hernandez, Martin Kilvady, Juliette Mapp, Iñaki Azpillaga, Laura Aris, Jozef Frucek, Lance Gries, Rasmus Ölme, Martin Nachbar, Linda Kapetanea, Salva Sanchis, Laurel TentindoDiane Madden,  Dominique DuszynskiFrancesco Scavetta, David ZambranoMilan HerichNicholas Aphane, elena Demyanenko, Samuel Wentz, Davide Sportelli, Lise Vachon

Creative Week: Francesco Scavetta, Mette Ingvartsen, Julyen HamiltonDD Dorvillier, Kate McIntosh, Noé Soulier, Jérôme Bel, Vera Mantero

Composition: David Hernandez, Johanne Saunier, Matteo Fargion, Cynthia LoemijAyman Aaron Harper, Jonathan Burrows, Xavier Le Roy

Anne Teresa De Keersmaeker repertoire:  Marta CoronadoTaka ShamotoClinton StringerJakub Truszkowski, Marie Goudot
Pina Bausch repertoire: Dominique Duszynski
Trisha Brown Company repertoire: Laurel TentindoDiane Madden, Lance Gries
William Forsythe repertoire: Yokio Ando, Katia Cheraneva   

Improvisation: David HernandezPrue LangAyman HarperFabrice MazliahMartin NachbarDavid ZambranoMilan HerichNicholas Aphane

Guest choreographers:Cindy Van Acker, Fabrice Mazliah, Daniel Linehan, Marc Vanrunxt, Eszter Salamon, Vera Mantero, Marten Spangberg

Singing: Lucy Grauman, Baiba Bartkevica, Jori Klomp, Fabienne Séveillac
Rhythm: Michel Debrulle, Mike Schmid
Music analysis: Alain Franco, David Helbich

Theory: Rudi Laermans, Bojana Cvejić, Ludo Abicht, Alexander Vander Stichele, Ramsay Burt, Anya Topolski, Judith Wambacq, Vlad Ionescu
Management: Kerstin Schroth
Performance analysis: Christophe Wavelet 

Theatre: Kuno Bakker, Carly Wijs, Gabel Eiben, Jan RitsemaTiago RodriguesValeria Bertolotto, Thomas Ryckewaert

 

RESEARCH STUDIOS PILOT #1 2015

Theory: Bojana Cvejic, Fanz Anton Cramer

Music: Alain Franco, Thierry De Mey, Bjorn Schmelzer, Annelies Van Parys, Jean-Luc Plouvier

Studio: Johanne Saunier, Gabriel Schenker, Ursula Robb, Carlos Garbin, Mark Lorimer

 

Research Studios Pilot #2 2015-2016

Cluster 1: Alain Franco, deufert+plischke, Christian Grüny, Arkadi Zaides, Stefan Prins, Effi & Amir, Frédéric Pouillaude

Cluster 2: Bojana Cvejic, Tom Engels, BADco., Eszter Salamon, Pascal Michon, Bojana Kunst, Michael Schmid, Diedrich Diederichsen, Berno Odo Polzer, Jonas Rutgeers, Marten Spangberg

Cluster 3: Gabriel Schenker, Tom Pauwels, Paul Craenen, Rudi Laermans, Thomas Hauert, Fredy Vallejos, Myriam Van Imschoot, Marcus Bergner, Matteo Fargion, Simon Loeffler, Jeremy Runnels

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