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
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.
Florence Augendre has taught workshops with Cie. Félicette Chazerand, Rosas and Les ballets C de la B.
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
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
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 (prof. M. Acda, R.Dams, D. Forlano) and Master’s Program specialized in contemporary music repertoire as well as a Postgraduate study for early music singing (prof. J. Feldman, M. Chance). Presently she is involved in a special Music Master’s program for New Audiences and Innovative Performance Practice (Mentor Renee Jonker) 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 such as: Ruhrtriennale (Germany) Bachfest Leipzig (Germany), Oude Muziek Festival (Netherlands), La Chaise Dieu (France) the Biennale International de Danse in Charleroi (Belgium), ISCM (Belgium), Festival van Vlaanderen (Belgium), and many others. She has 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.
is a teacher, choreographer and first generation former dancer of William Forsythe’s Frankfurt Ballet; restages Forsythe Repertory and teaches Ballet; choreography has been presented on the stages of Belgium’s Royal Flemish Theatre, Switzerland’s Grand Theatre de Genève, and the Choreographic Centers of Grenoble and Nancy (France); guest faculty at PARTS Brussels, The National Conservatories of Lyon and Paris, New York University, and University of California Irvine, among others; his collaborative process of choreographic development improvises upon and utilizes dancers' individual talents and characteristics. A native of Dallas, Texas, he makes his home in Brussels, Belgium, and is returning resident artist in the Hollins University dance department and serving as the Hollins University European Dance coordinator for the program’s various international extended study projects. Top
Nordine Benchorf (France) danced with Marie-Jo Haas (Cie de l’Instant) before starting his dance studies at the CNDC in Angers. After a collaboration with Cie. Contre-Jour he became a member of Rosas, participating in the creation of ‘Ottone, Ottone’ (1988), ‘Achterland’ (1990), ‘Mozart – Concert Arias’ (1992) and the ‘Repertory Evening’ (2002). Later on, he worked with met Cie. Samuel Leborgue, Loïc Touzé, Needcompany, Ultima Vez/ Wim Vandekeybus, Catarina Sagna and the Amgod collective. He teaches workshops on the repertoire of Rosas and Ultima Vez.
Khosro Adibi is a multidisciplinary artist currently
working as a teacher, performer, director, video/ photographer, visual
artist and light/stage designer in different projects, theatre and dance
theatre productions. He graduated in fine arts from HKU (Hogeschool
voor de Kunsten Utrecht). He has studied dance at SNDO (School for New
Dance Development in Amsterdam) as well as in New York City.
facilitating workshops/laboratories with an interest in using his
knowledge to stimulate a more integrated process of creation for the
artist/performer. His aim is to encourage the performer to develop a
greater awareness of the external 'theatrical' space without losing
his/her connection and trust in the internal physical exploration.
2001 he founded Laster Studio (Center for Contemporary and Experimental
Dance and Music) in Brussels, I.P.L (International Performers Lab) in
2004, Les PesPis (Company) in 2005 And C.A.E (Children Art Education) in
Most recently, Khosro Adibi has been teaching, performing and
Exhibiting throughout Europe and Latin America, regularly trained the
Rosas Company in Brussels, Maguy Marin Company in Lyon and has been
performing with Les Ballets C. de la B. 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
Bojana Cvejić (Belgrade) is a performance theorist and performance maker based in Brussels. She is a co-founding member of TkH editorial collective (http://www.tkh-generator.net) with whom she has realized many projects and publications. Cvejić received her PhD in philosophy from the Centre for Research in Modern European Philosophy, London and MA and BA degrees in musicology and aesthetics from the Faculty of Music, University of the Arts, Belgrade.
Her latest books are Choreographing Problems: Expressive Concepts in European Contemporary Dance and Performance (Palgrave, forthcoming), 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).
She has been (co-)author, dramaturge or performer in many dance and theater performances since 1996, with a.o. J. Ritsema (Verwantschappen; TODAYulysses; Pipelines, a construction; knowH2Ow; Cocos, Breeding, Brains and Beauty), X. Le Roy (Mouvements für Lachenmann, The Rite of Spring, More Mouvements für Lachenmann), E. Salamon (And Then; Tales of the Bodiless), M. Ingvartsen (It’s In The Air; The Artificial Nature Project, 69 Positions), C. De Smedt (Untitled [Four Choreographic Portraits]). She directed five experimental opera stagings, most notably Don Giovanni at BITEF, Belgrade, 2008.
Cvejić teaches at various dance and performance programs in Europe and has been recently appointed as Professor of Philosophy of Art for the doctoral studies at Faculty for Media and Communication, University Singidunum in Belgrade.
Her latest works are videos …in a non-wimpy way… and Yvonne Rainer’s WAR (in collaboration with Lennart Laberenz) for the exhibition Danse Guerre at CCN Rennes (she co-curated with Cosmin Costinas 2013) and Spatial Confessions at Tate Modern (2014), the program she curated and made choreography, conference and performance for (in collaboration with a.o. Christine De Smedt). Her current research topics are social choreography, technologies and performances of the self, and time and rhythm in performance poetics and Post-Fordist modes of production. Top
Steven De Belder studied philosophy and theatre studies in Antwerp and Ghent. Between 1999 and 2003 he work as research assistant at the department of Theatre Studies in Antwerp. He started working at PARTS in 2003 and is currently coordinator of the Research Cycle and coordinator of the Départs network. He was member and president ad interim of the Flemish Dance Council (2001-2003) and is on the board of directors of several Flemish dance companies.
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.
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 Theresa 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
DD Dorvillier Puerto Rico, 1967. Choreographer and performer 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. Honors include The Doris Duke Performing Arts Award (2013), a Creative Capital grant (2013), multiple MAP Fund grants, a Guggenheim Fellowship (2011), and a Foundation for Contemporary Arts grant (2007), as well as Bessies for the choreography and creation of Dressed for Floating (2002) and her performance in Parades & Changes, replays (2008).
With her company human future dance corps Dorvillier has been presented and commissioned in New York and abroad by PS 122, The Kitchen, New York Live Arts, Danspace Project, and Movement Research, ImPulsTanz, Kaaitheater, and Rencontres Internationales Chorégraphiques de Seine St Denis, among others. She has had residencies at New York Live Arts, Movement Research, Lower Manhattan Cultural Council, MANCC in Tallahassee Florida, C.N.D.C. Angers, PACT Zollverein, STUK Kunstencentrum, La Ménagerie de Verre, L'Atélier de Paris/Carolyn Carlson, and others. 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: Diary of an Image (with music by Zeena Parkins and lighting design by Thomas Dunn) and A catalogue of steps. Scholar and writer Jenn Joy was the Danspace Project writer-in-residence during this period as well as a co-curator of the platform and an integral partner with Dorvillier in the conception and development of the project. In addition to this Danspace Project published Diary of an Image a collection of writings and images co-edited by Dorvillier and Joy, as well as other invited scholars, and artists connected to her work. 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.
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.
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.”
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.
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.
Davis Freeman is an actor, dancer, director, and performance artist who worked with Forced Entertainment (Bloody Mess, The World in Pictures), Meg Stuart (Highway 101, Alibi), Hans van den Broeck ( They feed we eat eat eat) and Stephan Pucher (Kirshgarten, Snapshots). He started the company Random Scream in 2001 with Lilia Mestre and they have created work together and alone which has toured internationally. The work is extremely eclectic from dance pieces, and installations to even lounge acts. His latest works including Investment, 7 promises, and Expanding Energy are seen as devious political theatre or Docu-performances. Top
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
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 Theresa 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."
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.
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
David Hernandez studied studio music & jazz, opera and dance in Miami. He worked as an apprentice for a time with the Trisha Brown Company. He moved to Europe with Meg Stuart to help her start Damaged Goods in Belgium, working as a performer, collaborator, training the company and often assistant to Stuart.
He left the company to return to building his own body of work in Brussels under the name Edwardvzw. He has created several pieces including the solos 'Love letters', the quartet “the essence of its going"(98) and the sextet ‘Blueprint’ (2002). He frequently collaborates as choreographer, dancer, composer, pedagogue and dramaturge with Brice Leroux (France), Labor Gras (Berlin), Rebecca Murgi (Italy), Abnouk Van Dijk (Amsterdam) and Rosas (Brussels).
He developed , in collaboration with Meg Stuart & Christine De Smet, the improvisation project CrashLanding(1996-1999) which crashed down in such locations as Leuven, Vienna, Paris, Lisbon and Moscow in major festivals and houses, and did improvisations for several other festivals, with many wonderful artists such as Katie Duck, Steve Paxton, Vera Mantero among others.
He created several multi-media projects and happenings such as ‘Filter’, ‘Innersections’ and ‘Performance Hotel’ in visual arts spaces and theatres.
He developed and directed The Performance Education Program (PEP) in Leuven in residence at the Klapstuk festival. He teaches regularly in Belgium and internationally and has been a core professor at PARTS, teaching technique, composition and improvisation, rhythm and dance and repertory projects.
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.
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.
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
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
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.
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.
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.
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.
Since 2006, Madden has been greatly influenced by her study of Aikido with Fuminori Onuma.
The Princess Grace Foundation has recognized her with two awards, in 1986 and again in 1994 for sustained achievement. She also received a New York Dance and Performance Award (Bessie) in 1989.
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
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.
For further information about her work please see www.spinspin.be Top
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.
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.
Chrysa Parkinson is a performer and teacher living in Brussels. She teaches regularly at P.A.R.T.S/Rosas and works as a mentor/coordinatorfor the 2nd cycle students. She also teaches regularly at Dancentrum Jette in Brussels, Panetta Movement Center in New York, and atImpulstanz in Vienna. She is a member of ZOO/Thomas Hauert, and has also worked with Jonathan Burrows, Deborah Hay, John Jasperse, Meg Stuart, and David Zambrano. She was a member of Tere O’Connor Dance for many years in New York where she also performed with Irene Hultman, and Jennifer Monson, among other artists. During that time she taught at Movement Research and at NYU. She was awarded a Bessie for sustained achievement as a performer in 1996.
In 2008 Chrysa worked as a teacher researching performance practices in Montpellier with 6M1L and Ex.e.r.c.e. From her work in Montpellier she is writing and recording audio essays on practice. In 2009/10 she is also working as a performer on creations with Jonathan Burrows, Mette Ingvartsen, and Rosas.
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.
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.
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.
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" and has been a guest choreographer for the Rosas company. He is also a guest teacher of dance technique and improvisation, as well as research coordinator for the second cycle of PARTS, and teaches dance technique in several other schools and companies in Belgium and abroad. Salva's new piece, "Objects in mirror are closer than they appear", which premiered in November 2008, was his 15th 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.
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
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
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
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
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
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. In April she will start working with choreographer Wim Vandekeybus on his new performance that will premiere in July 2011. In 2004 she founded Exiles in order to produce her own work. Her most recent creation under Exiles is F = ma. 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