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.
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.
He is 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.
In 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 2008.
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.
Anne-Linn Akselsen has danced with Rosas, Jean Luc Ducourt and Salva Sanchis a.o. She choreographs her own work and is the co-founder of the company Human Works. She has her education from The Royal Swedish Ballet School and P.A.R.T.S.
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.
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.
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.
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.
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.
Stéphane 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.
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.
Ramsay Burt is professor of dance history at deMontfort University in Leicester. He initially studied Fine Art at Leeds University. While teaching Art History at art colleges, he began writing dance criticism for The Yorkshire Post and for specialist dance magazines. His first book The Male Dancer (1995), based on his PhD thesis, became the standard work on the subject and is still in print. In 1999 he was visiting Professor at New York University, and in 2002, with Professor Susan Foster, he founded the journal Discourses in Dance.
Shannon Cooney, Canadian choreographer and dancer based in Berlin, Germany, received a B.F.A honours/dance at York University, Toronto in 1992. Her choreographic work began in 1993 and her solo and group pieces have been presented in Canada, Europe the in the U.K. She danced with Toronto-based Dancemakers (1994-2006), artistic director Serge Bennathan, which toured extensively nationally and internationally. She has worked with several choreographers including; Benoît Lachambre, Kim Itoh, Peter Chin, Marie-Joseé Chartier, Peggy Baker, and Louise Bedard. Shannon performed in installation works of Visual artists Marla Hlady (CA), Signe Theill (DE), Jan Komarek (CH) and performed in numerous events of performance improvisations with musicians/performers and artists. She has worked as an artistic advisor, choreogrpaher and rehearsal director for circus artists.
Marta Coronado was born in Spain. She studied ballet technique and graduated as a ballet dancer in El Real Conservatorio de Pamplona. Marta was part of the contemporary dance company Yauzkari till she moved to Brussels. She went to study at PARTS and met teachers like Lance Gries (Trisha Brown), Dominique Duszynski (Pina Bausch), Fumiyo Ikeda (Rosas) Chrysa Parkinson and David Zambrano who inspired her fully.
After PARTS, in 1998, she became a member of Anne Teresa De Keersmaeker’s Rosas. In 2002 she was awarded a Bessie ( New York Dance and Performance Award) for sustained achievement as a performer.She has been dancing and contributing to the creation of Rosas pieces for a decade and nowadays she is still freelancing for it.
She had the opportunity to teach Rosas repertory workshops and technique class in places like: Buenos Aires, Singapore, Sao Paolo, Caracas, Honk Kong, South Africa, Rotterdam. She has also been invited as a guest choreographer in La Salle Singapore, CDC Toulouse and Hong Kong Academy of Arts and in companies like C de la B. Since three years she teaches Ballet technique and Rosas repertory for PARTS and Rosas on regular basis.
Bojana Cvejić is performer and performance theorist, currently researching for PhD degree on the performance art and performative practices in contemporary music and intermedia (Belgrade University of the Arts). She directed several independent music theatre performances in Belgrade and was a co-founder and member of Walking Theory performance group (YU).
Since 2000 she has been collaborating with Jan Ritsema with whom she made and performed the Kaaitheater productions Verwantschappen (2000) and TODAYulysses (international tour 2001-2003).
Teaches performing arts theory in the Center for Contemporary Theatre and Dance (PATS) and Faculty of Music in Belgrade and publishes reviews and essays in magazines Walking Theory (member of editorial board), Maska, Frakcija International Magazine for Music New Sound, Musical Wave (member of editorial board) etc.
Currently working on the performance projects: COLLECT-IF (E. Hrvatin, Maska, Troubleyn), and PIPELINES (with J. Ritsema, Kaaitheater-Rotterdamse Schouwburg).
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.
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.
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.”
Nadia Fadil is a Postdoctoral Research Fellow at the Sociology Department of the Catholic University of Leuven (KULeuven). Her research interests revolve around questions of subjectivity and embodiment, secular governmentality, liberalism and multiculturalism focused on the presence of Muslims in Europe.
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.
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.
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.
Kathleen Fisher is a dancer, bodyworker, improvisor, mother and teacher. She has worked for and collaborated closely with distinguished choreographers Trisha Brown(1992-2002), Jane Comfort(2003-2006), and Bebe Miller(2003-2008). With Trisha Brown Company, she performed in more than 20 countries as soloist and ensemble dancer. She has taught extensively nationally and internationally. Her ongoing self-education and performance work includes forays into theater and film as well as a fifteen year study and practice of somatics and healing arts; she is a Certified Kripalu Bodyworker, Nationally Certified Massage Therapist and practitioner of Craniosacral Therapy. Her teaching is very much influenced by these practices; she uses touch, bodywork, improvisation, and vocabulary based challenges to craft a forum in which dancers experience heightened awareness in action. Currently, she lives in the US and Bimini, Bahamas where she observes and joins the amazing dance of the resident wild spotted dolphins. 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.
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.
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”.
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
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."
Etienne Guilloteau discovered dance in highschool in 1995. After a couple of years at the conservartory of Poitiers he joined the school P.A.R.T.S. in 1998 until 2002. Collabrating with wpZimmer, he has created several works, in the past years focusing mainly on the dramaturgical relation between dance, music and light. In spring 2010 Guilloteau premiered his piece “Tres Scripturae” in the Kunstenfestivaldesarts, created for three dancers, one pianist and one light-technician also present on stage. Next to this, he has been working as a dramaturgic assistant to the work of Claire Croizé, and danced for Vincent Runoyer, Rosas, Charlotte van den Eynde and especially Claire Croizé and Marc Vanrunxt. Since 2009, Etienne is part of the structure Action Scénique which produces the artistic work of Nada Gambier, Claire Croizé and Etienne Guilloteau.
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.
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.
Becky Hilton is a Melbourne based performer, teacher, choreographer and director. She has performed in and contributed to the work of a range of artists including Russell Dumas, Stephen Petronio,Mathew Barney, Michael Clark, Tere O’Connor, Mia Lawrence, Jennifer Monson, John Jasperse, Margie Medlin, Lucy Guerin among others. She has a committed teaching practice and teaches in training institutions, for festivals and for dance companies locally, nationally and internationally. Becky generates work in a variety of situations including collaborative community events,choreographies for tertiary institutions and commissioned work for companies. In 2011/12 she will be choreographing a solo series for the Mexican dance company La Lagrima to feature in the 2012 Mexico Festival, masterminding a large screen community dance project involving Federation Square (Melbourne) and NABI (Seoul) and further pursuing a writing project about dance, dancers and dancing. She is the 2010/11 recipient of a Fellowship from the Dance Board of the Australia Council.
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.
Matej Kejzar studied in Amsterdam and Brussels and works as dancer, improviser and choreographer. He teaches technique and improvisation at different schools and companies in Europe, worked as a dancer with a.o. Maja Delak, Katie Duck and anne Teresa De Keersmaeker. His own work has been presented across Europe.
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
Nini Kossen, licensed physiotherapist and acupuncturist. Nini is an experienced Shiatsu teacher. She studied Iokai Shiatsu intensively with Katsunori Sasaki Sensei. She is teaching Shiatsu and Do-In at the Kushi Institute of Europe for many years. At the Amsterdam School for Iokai Shiatsu she has been teaching western medical basic knowledge. Nini has a master in Cultural Anthropology and is a trained coach and consultant
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.
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.
Sara Ludi was born in Switzerland in 1971. She worked during four years for Rosas (Anne Teresa De Keersmaeker). During this period she participated in the creations Kinok (1994), Amor Constante más allá de la Muerte (1994), Woud (1995), the revival of Rosas danst Rosas,Bartok Quatuor N°4, Mozart/Concert Arias - un moto di gioia (1996), )and Duke Blue-beard's castle(1998). She also danced in the film of Rosas danst Rosas. Since 1998, Sara Ludi works with Thomas Hauert and participated in almost all of ZOO’s group projects: Cows in Space (1998),Pop-up song book (1999),Jetzt (2000),Verosimile (2002), 5 (2003),Modify (2004), More or less sad songs (2005),Walking Oscar (2006) and Accords in 2008.
Anna Luyten is a journalist and studied philosophy, literature and theatre studies. For the Blegian national tv Canvas she interviewed many artists for shows such as Spraakmakers, Rubriek 700, Oude Meesters. Between 2000 and 2006 she was the president of the jury of De Gouden Uil, an important literay prize. Since almost six years she is one of the main panelists at 'Uitgelezen', a live book show run by the daily newspaper De Morgen and arts center Vooruit, commenting on recently published books. She also writs texts on theatre and collaborated on a social-artistic project in the Brussels borough Anneessens. As a journalist, she has worked for the daily newspapers De Morgen and De Standaard, and currently for the weekly magazine Knack.
Diane Madden originally trained in ballet, jazz and modern techniques. During the 70’s, at Hampshire College and in NY City, she began studying improvisation and release techniques, leading her to join the Trisha Brown Company in 1980. As well as creating work and performing internationally, from 1984 to 2000, she acted as company Rehearsal Director, cultivating the repertory and continues to enjoy working on company projects. Diane was a founding member of Channel Z, collaborating with this group in dance/film/video works from 1980-1985.
She has presented her own mostly solo and collaborative choreography at home and abroad. She has taught her approach to dance, incorporating anatomically informed technique with improvisation, composition and addressing performance skills, extensively in New York City and around the world. 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.
Recently she’s enjoyed working with Cathy Weis, teaching at NYU’s ETW and at P.A.R.T.S. She is currently working with Vicky Shick on their second project towards performances in Budapest and New York City.
Raimundas Malašauskas, born in Vilnius, is a curator and writer. From 1995 to 2006, he worked at the Contemporary Art Centre in Vilnius, where he produced the first two seasons of the weekly television show CAC TV, an experimental merger of commercial television and contemporary art that ran under the slogan "Every program is a pilot, every program is the final episode." He curated "Black Market Worlds," the IX Baltic Triennial, at CAC Vilnius in 2005. From 2007 to 2008, he was a visiting curator at California College of the Arts, San Francisco, and, until recently, a curator-at-large of Artists Space, New York. In 2007, he co-wrote the libretto of Gellar Door, an opera by Loris Gréaud produced in Paris. Malašauskas curated exhibitions at the David Roberts Art Foundation, London, Museo Rufino Tamayo, Mexico City (2010), and Centre Georges Pompidou, Paris (2010). Currently he works as one of the agents of dOCUMENTA 13. His other recent projects: Satellite 4 series at Jeu de Paume Museum, Paris, Hypnotic Show and Clifford Irving Show, are ongoing.
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.
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.
Jeremy Nelson was a dancer with The Stephen Petronio Dance Company in New York from 1984-1992, and n 1991, he won a New York Dance and Performance (“Bessie”) Award for outstanding performance with that company. He is a member of the teaching faculty at Movement Research in New York and a guest artist at Connecticut College.
For the last eighteen years, he has been teaching classes and workshops all over the world at studios and festivals. He has been presenting his choreography since 1994, at various venues in New York such as Lincoln Center Out-of-Doors, Danspace Project at St Mark’s Church, PS 122 and Dance Theater Workshop as well as in various countries, including Venezuela, England, New Zealand, Germany, Chile and Spain. He has created commissioned works on companiesin Venezuela (1993), Greece (1995), New Zealand (1998), and England (1999), and was also commissioned in 2002 to create a new work for Phoenix Dance Company in Leeds.
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.
Herman Parret studied at the University of Leuven where he obtained a licentiate in Romance Philology and a Ph.D. in Philosophy. He studied at the Ecole des Hautes Etudes en Sciences Sociales in Paris, at M.I.T., Cambridge, Mass., at the University of California at Berkeley and at Stanford University. He was Director of Research (Directeur de Recherches) at the Belgian National Fund for Scientific Research and at the same time Professor at the University of Antwerp (till 1997) and Full Professor at the University of Leuven where he taught philosophy of language and philosophical aesthetics at the Institute of Philosophy and at the Department of Art Sciences. He became Full Professor Emeritus in 2004. He is also affiliated at the Università degli Studi di Siena. He has been Invited Professor at the Universities of Campinas and Sao Paulo (Brasil), Tel Aviv, the University of California at San Diego, and he delivered innumerable lectures and papers at various foreign universities. He has also been professor at the Institut Universitaire de France and associated director at the Ecole des Hautes Etudes en Sciences Sociales. He occupied the (Belgian) Francqui Chair 1988-89 at the Université Libre de Bruxelles, the Peter Paul Rubens Chair at the University of California at Berkeley in 1990-91 and again the Francqui Chair at the Université de Liège in 1997-98. He received a Doctorate Honoris Causa at the University of Timisoara (Romania), at the Universidad de Lima (Peru) and at the Université de Limoges (France). He published more than 230 articles in French, in English and in Dutch in the fields of the philosophy of language, semiotics and aesthetics. His work was translated in Italian, Spanish, Portuguese, Romanian, Russian, Korean, Turkish and Japanese.
Tom Paulus teaches film studies in the department of Theatre and Film Studies at the University of Antwerp. He is the former curator of film and digital media at the Museum for Contemporary art (MuHKA) and former editor of the media journal AS/Andere Sinema. He has published on issues of genre and film style in such journals as Film International. His essays on pictorial style in the films of John Ford were published in three edited collections, John Ford in Focus (Stoehr & Connolly eds.) from McFarland, Westerns: Movies from Hollywood and Paperback Westerns (Paul Varner ed.) from Cambridge Scholars Press, and New Perspectives on The Quiet Man from the Liffey Press. His edited collection (with Rob King) Slapstick Symposium: Essays on Silent Comedy was published by Routledge in the American Film Institute Film Readers series. He is currently preparing a book on contemporary long-take cinema.
Rita Poelvoorde graduated from the Royal Ballet school of Antwerp, Belgium, winning a silver medal at the International Ballet Competition in Varna, Bulgaria. She was part of the N.D.T. Dance Company in the Netherlands and for 13 years she was a soloist at the Ballet of the 20th Century, of Maurice Béjart. She studied yoga at the Iyengar Yoga Institute in Pune, India and is a certified teacher of the Iyengar style.
She has been teaching Ballet and Yoga in France, Italy and Belgium. She is currently teaching at P.A.R.T.S., ROSAS, E.S.A.C. (École Superieure des Arts du Cirque), in Brussels and the Royal Ballet school of Antwerp.
Antony Rizzi, an Italian American coming from Boston, was from 1985 to 2003 a principal dancer and artistic advisor to William Forsythe at the Ballett Frankfurt. He has been teaching Classical Ballet and Improvisation since 1987, first at The Boston Ballet and over the years at various companies like, Wuppertal Dancetheatre, Munich Ballet, La Scala Ballet, Pennsylvania Ballet , Ballet Theatre Munich, Ballett Frankfurt and others. He has been creating works as well since 1984 for various companies like The Royal Ballet, The Boston Ballet, The Ballett Frankfurt and the Scapino Ballet.
In addition he created works for his own company, MOVING PRODUCTIONS including "Snowman Sinking", "Judy was angry", "The Role I Should Have Done", "1 2 3 you and me", "Being Human Being" and most recently "Some of my best friends are trash". Rizzi also works as an actor, with the Forsythe Company, Jan Fabre and most recently at the Deutsche Oper am Rhein in the Opera THE FASHION directed by Micheal Simon.
Ursula Robb entered the New Zealand School of Dance in 1986, graduating with a Degree in Contemporary Dance. From 1990 to 1995 she danced with the Royal New Zealand Ballet, Douglas Wright Dance Company, and Shona McCullagh. In 1995 Ursula Robb won a scholarship from the Queen Elizabeth II Arts Council of New Zealand and travelled to Vienna to participate in the workshops of Susanne Linke and Wim Vandekeybus during the Wiener Tanzwochen. After the workshop she joined Vandekeybus’ company Ultima Vez, contributing to the creation of Bereft of a Blissful Union and dancing in the revivals of What the body does not remember and Mountains made of barking.
In 1997 Ursula Robb joined Rosas, dancing in the revivals of Woud, Achterland and Mozart and contributing to the creation of Just Before, Drumming, I said I, In Real Time, Rain and April me. She then joined Thomas Hauert and cie Zoo for the creation of Modify and returned briefly to Rosas as rehearsal director for the Repertoire evening in 2006. Since then, Ursula has spent her time between Ireland and New Zealand where she has been teaching dance and having babies!
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.
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.
Tino Sehgal studied dance and political economy, his works are live situations that can be encountered during the entire opening hours of galeries and museums. These constructed situations can develop differently depending on the comportment of the visitor, thereby integrating an element of participation into the works own structure. As it is a central aim of Sehgal to not produce anything material, there are no filmic or photographic recordings of these works.
In 2005 he represented Germany at the German Pavillon in Venice, in 2010 he had a mongraphic exhibition at the Guggenheim museum in New York, among others his works are in the collection of the Centre Pompidou, the Tate and Moma
Johan Thielemans studied Germanic languages at the University of Ghent. He has taught English at the Hogeschool Gent, department of translators. Currently he is guest teacher Theatre history at the Antwerp Conservatory. He has published on a.o. Hugo Claus and Gerard Mortier. He is president of the flemish Arts Council. He was co-founder of the theatre magazine Etcetera, and publishes in Documenta and TM (Amtserdam). He worked freelance for the national radio BRT-3 and presented a talkshow on the arts on the Flemish televsion. He also wrote two libretti.
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.
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 apropiations, 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.
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.
Samantha van Wissen was born in 1970 in Roermond in the Netherlands. After training at the Rotterdam Dance Academy, she danced for Rosas under Anne Teresa De Keersmaeker. She participates in many creations such as ERTS, Mozart Concert Arias, Un moto di gioa (1996), Amor Constante mas alla de la muerte (1994), Verklärte Nacht (1995) and Woud (1996). She also danced in the performances and films of Achterland (1994)and Rosas danst Rosas (1997) as well as in the revival of Mikrokosmos, Achterland, Rosas danst Rosas and Rain. Since 1997, she is a member of ZOO/THOMAS HAUERT. She played in the childrenspiece 'Drie Zusters' directed by Inne Goris (Seven). She gives workshops at P.A.R.T.S and for other training programs.
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.
Abigail Yager was a member of the Trisha Brown Company from 1995–2002 and also danced with Donna Uchizono, Sungsoo Ahn, and JoAnna Mendl Shaw among others. As a steward of Ms. Brown’s work, she has worked with the Lyon Opera Ballet, at La Monnaie National Opera of Belgium, Le Festival International d’Art Lyrique, and has directed reconstruction projects at the Taipei National University of the Arts, Five College Dance Department, The Ohio State University, and at the American Dance Festival. Ms. Yager has taught at universities, festivals, and studios worldwide, including the Korean National University of the Arts, and Le Centre Choréographique National de Rennes et de Bretagne. Her teaching reflects her ongoing studies of Yoga, Qi Gong, and Alexander Techniques. She currently serves as Visiting Associate Professor at The Ohio State University, Mentor for the Hollins University/American Dance Festival MFA Program, and has been a returning member of the faculty at the American Dance Festival since 2003.
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.
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
The following artists will teach in PARTS in 2013-2014:
Yoga: Mia Lawrence, Theodossia Stathi, Stéphane Bourhis, Laia Escandell
Classical: Elisabeth Farr, Anne-Linn Akselsen, Benoît Caussé, Janet Panetta, Douglas Becker, Francesca Caroti, Ioannis Mandafounis
Contemporary: David Hernandez, Martin Kilvady, Juliette Mapp, Dominique Duszynski, Iñaki Azpillaga, Francesco Scavetta, Laura Aris, David zambrano, Milan Herich, Nicholas Aphane, Jozef Frucek, Lance Gries,
Composition: David Hernandez, Johanne Saunier, Matteo Fargion, Cynthia Loemij,
Improvisation: Prue Lang, Ayman Harper, Fabrice Mazliah, Martin Nachbar, David Zambrano, Nicholas Aphane, Milan Herich
Repertoire Anne Teresa De Keersmaeker: Marta coronado, Taka Shamoto, Clinton Stringer, Jakub Truszkowski
Singing: Lucy Grauman, Baiba Bartkevica
Rhythm: Michel Debrulle
Music analysis: David Helbich, Alain Franco
Anatomy: Michael Barel, Eva Karczag, Florence Augendre
Theory: Judith Wambacq, Rudi Laermans, Bojana Cvejić, Ludo Abicht, Steven De Belder
Theatre: Kuno Bakker, Tiago Rodrigues,
Khosro Adibi, Florence Augendre, Nordince Benchorf, Jonathan Burrows, Ramsay Burt, Shannon Cooney, Marta Coronado, Thierry De Mey, Nadia Fadil, Kathleen Fisher, Davis Freeman, Etienne Guilloteau, Julyen Hamilton, Ayman Aaron Harper, Becky Hilton, Linda Kapetanea, Matej Kejzar, Nini Kossen, Xavier Le Roy, Sara Ludi, Anna Luyten, Diana Madden, Raimundas Malašauskas, Jeremy Nelson, Chrysa Parkinson,
Herman Parret, Tom Paulus, Rita Poelvoorde, Antony Rizzi, Ursula Robb,
Yoga: Mia Lawrence, Theodossia Stathi, Stefane Bourhis
Tai chi: Thierry Bae
Classical: Benoît Caussé, Elisabeth Farr
Contemporary: Martin Kilvady, Juliette Mapp, Inaki Azpillaga, Salva Sanchis, Chrysa Parkinson
Composition: Jonathan Burrows, Jan Ritsema
Choreography: Daniel Linehan, Alain Franco, Andros Zins-Browne
Repertoire Anne Teresa De Keersmaeker: Sandy Williams, Eleanor Bauer, Mark Lorimer
Film: Elias Grootaers, Gerard-Jan Claes
Theory: Rudi Laermans, Bojana Cvejic, Anya Topolski, Christophe Wavelet
The follwoing artists taught also 2012-2013 in the Research Cycle:
Yoga: Mia Lawrence, Rita Poelvoorde
Tai chi: Thierry Bae, Marion Bae
Ballet: Elisabeth Farr
Contemporary-: Lance Gries, Martin Kilvady, Chrysa Parkinson, Francesco Scavetta, Rasmus Olme, Salva Sanchis, Shannon Cooney, Josef Frucek, Linda Kapetanea, Benoît Lachambre, Shannon Cooney
Repertoire Rosas: Johanne Saunier, Nordine Benchorf, Salva Sanchis, Bojana Cvejic, Anne Teresa De Keersmaeker
Repertoire Trisha Brown: Diane Madden
Improvisation: Thomas Hauert, Sara Ludi
Performance: Davis Freeman
Choreography: Marten Spangberg, Christophe Wavelet, Xavier Le Roy, Robert Steijn
Theory: Bojana Cvejic, Ludo Abicht, Rudi Laermans, Christophe Wavelet
Singing: Lucy Grauman