NOTE: ce texte n'est disponible qu'en anglais
note: the text below is a general description of the principles of the
curriculum of the Training Cycle 2013-2016. The program of 2016-2019
will be redefined, but many of the principles described below will
Number of students: 53 (1st year 2013-14), 48 (2nd year 2014-15), 35 (3rd year 2015-16)
General aims and methodology
basic cycle 'Training' aims to help the student gain insight in the
technical foundations of contemporary dance and the specific PARTS
approach, characterised by the combination of ballet and release
technique, a focus on physical awareness, theatre and musical abilities,
creative development and theoretical reflection.
cycle is aimed at students aged between 18-25, who want to become a
professional dancer and or choreographer. The school aims to strengthen
and enrich their dance skills in the broadest sense, to expose them to
professional working practice under the guidance of experienced artists
and teachers, and to support and nurture their creative voices. Key
considerations are to teach and encourage students to think, to
research, and to communicate; and to develop an open mind and a caring
The Training cycle does not offer separate sub-programs
for dancers and choreographers. Both ‘technical information’ and
‘conceptual content’ (if one can make such general distinctions) are
important for future dancers and choreographers alike, and it is up to
the student, with the school’s help, to work out an individual pathway
that is tailor-made to reflect both his current needs and his
A PARTS graduate can go on to be either a
dancer, a choreographer or a dance maker. They may end up in a company,
in a temporary project, or working alone. They may be in permanent
employment, or be a nomadic freelancer. But whatever path they decide to
take, they will need a clear personal profile, based on professional
knowledge and skills, as well as on the choices that they make from a
wealth of opportunities.
For a very large part of the program, all
students follow the same trajectory (often different teachers work in
parallel groups on the same topics). At the end of the 2nd year and in
the 3rd year, some periods offer divergent parallel options, allowing
students to choose what suits their interests and development best .
Since all teachers at PARTS are guest teachers, their teaching takes place in blocks of 2-8 weeks, 4 or 5 sessions per week.
For biographies of the teachers, please check the Teachers page
classical technique presents a clear and functional architecture for
the body. The classes focus on the form and functionality of classical
ballet, and disregard its stylistic and hierarchical aspects. This open
approach, focused on the functionality of movement, makes ballet
appropriate for a wider range of body types. The stress on
functionality, mechanics and organic movement also make a strong
connection to the release approach in the contemporary classes.
classes focus on developing a correct basic position, endurance and
speed, coordination, musicality, differentiation of movement qualities,
transitions between diverse movements, and the use of weight.
1st year: 29 weeks / 4 days a week /90’ class/ 189 hours /2 or 3 parallel groups
2nd year: 25 weeks/ 4 days a week/90’ class/ approx. 150 hours/ 2 or 3 parallel groups
3rd year: 25 weeks/ 4 days a week /90’ class/ approx. 150 hours/ 2 parallel groups
1st year: Anne-Linn Akselsen, Douglas Becker, Francesca Caroti, Benoît
Caussé, Elisabeth Farr, Ioannis Mandafounis, Janet Panetta
Teachers 2nd year: Elisabeth Farr, Janet Panetta, Douglas Becker
Teachers 3rd year: Elisabeth Farr, Janet Panetta, Marta Coronado
the daily contemporary classes, the student builds up knowledge of
movement principles, learns to integrate them into dynamic combinations
and to apply them in repertory fragments. The student learns to know
his/her body and its way of functioning, and to use it in a respectful,
efficient and personal way. During the technique classes, a basis is
developed for open experiment, releasing patterns and trusting the
Many technique classes focus on ‘release based
technique’, which does not represent a formal ‘school’ but rather a set
of very individual practices which have a number of premises in common:
an analytical approach to the body, working on the conscience of
individual movement patterns, and bending patterns which do not serve
the efficient use of the body.
Because release technique is not
bound to a coded or copyrighted technique or to a specific set of
aesthetics, the individual experience and direction of the teacher
becomes very important, resulting in the strong diversity inside the
programme. Some teachers also work with a certain distance to the
In the 3rd year, the contemporary dance classes
are more linked to the idea of personal, artistic and dance technical
research. The teachers develop explicit links between technique and
creativity, between physical exploration and thinking: improvisation,
movement scores, composition, performativity, bodywork. Teaching
technique is a way to help students find and refine their own approach
of ‘technique’, which they will have to continue doing during their
professional career – and usually all by themselves.
1st year: 36 weeks/ 5 days a week/ 90’ classes/ 242 hours/ 2 or 3 parallel groups
2nd year: 34 weeks/ 5 days a week/ 90’ classes/ approx. 280 hours/2 or 3 parallel groups
3rd year: 27 weeks/ 5days a week/ 90’, 120’ or 180’ classes/ approx. 245 hours/ 2 or 3 parallel groups
1st year: Nicholas Aphane, Laura Aris, Inaki Azpillaga, Elena
Demyanenko, Dominique Duszynski, Milan Herich, David Hernandez, Martin
Kilvady, Juliette Mapp, Rasmus Olme, Francesco Scavetta, Davide
Sportelli, Samuel Wentz, David Zambrano
Teachers 2nd year: Laura
Aris, Inaki Azpillaga, Jozef Frucek, Lance Gries, David Hernandez, Linda
Kapetanea, Martin Kilvady, Juliette Mapp, Martin Nachbar, Rasmus Olme,
Salva Sanchis, Laurel Tentindo
Teachers 3rd year: Laura Aris, Inaki Azpillaga, David Hernandez, Martin Kilvady, plus 2 others to be confirmed
3/ Independent technical work (ITW)
is reserved for the 3rd year. It’s an optional choice as part of the
morning programme, usually as an option against the ballet class that
takes place at the same time. Students can use this time to process the
information from different technique classes at their own pace, and to
develop a personal practice which would be helpful for them in the
3rd year: ITW is an optional
possibility during the mornings. Number of hours to be decided by the
student in dialogue with the pedagogical staff.
improvisation workshops are extensions of the technical classes. The
often playful and open forms help the dancer to break through fixed
patterns, and be surprised and pushed forward by the events in the
group. The necessary alertness sharpens the senses and teaches how to
deal with a group.
The Improvisation technologies (as
developed by William Forsythe) is a method that is mostly spatially and
conceptually oriented (a.o. on the basis of Laban’s system of body
directions). Through techniques of deconstruction and recombination,
parts of the body are isolated and movement phrases are developed for
them. The relation between improvised material and fixed movement
phrases, both in the creation process as in a performance situation, are
an important field of research.
1st year: 3 weeks/ 5 days a week/ 3h classes/ 42 hours/ 3 groups
Teachers: Ayman Harper, Prue Lang, Fabrice Mazliah
Passing through has
been developed by David Zambrano and is taught by himself and others he
has trained. Zambrano’s approach offers a more organic, intuitive and
impulsive method to create movement patters. The focus is on the
development of a sensorial sensitivity: which relations can be developed
with the ‘world’ (space, people) around you. Movement is considered as
interaction with that world.
1st year: 4 weeks/ 5 days a week/ 3h classes/ 59 hours/ 3 groups
Teachers: Nicholas Aphane, Milan Herich, David Zambrano
In the workshop Contact Improvisation students
are confronted with the pure basis of dancing together, the contact
between two or more bodies. The dancers learn to recognise, discern
different types of shared weight, and to work with them. An individual
dancer must learn to release his grip and to surrender to the momentum
of the movement with a partner.
1st year: 2 weeks/ 5 days a week/ 3h classes/ 30 hours/ 3 groups
2nd year: 6 weeks/ 5 days a week/ 90’ classes/ 45 hours/ 2 groups (integrated in the contemporary technique classes)
Teacher: Martin Nachbar
the 2nd year, there is an additional workshop improvisation, focusing
on improvisation as reserach tool and as performance tool for
2nd year, 2 weeks, 5 days a week/ 120' classes / 2 group
Teacher: David Hernandez
The main goals of our composition classes are:
. to develop a ‘tool box’ with a variety of composition skills, developed through experimentation
. to guide students in the development of their own approach towards composition;
. to stimulate their capacities to analyse and to articulate constructive feedback to others;
. to stimulate students to process feedback in the development of their own work;
to learn how to bridge the gap between the idea and the realisation of
the idea, and to develop a work that is visibly communicating their
. to exercise working in groups and guiding or leading a group;
. to provide a creative and stimulating context to develop and discuss the student’s ideas on composition.
is divided in several workshops given by different teachers. In the 1st
year, the focus is on a general introduction of the toolbox. In the 2nd
year, there are three different workshops. One starts from the
compositional methods of Anne Teresa De Keersmaeker, as explained in the
book series ‘A choreographer’s score’. Students study the principles
and work on applying them to their own ideas and materials. A second
workshop presents a very different approach coming from different
principles in music composition. A third workshop digs deeper into the
compositional methods of specific artists such as Anne Teresa De
Keersmaeker, William Forsythe, Jonathan Burrows and Xavier Le Roy.
the 3rd year, the focus is on the creation of group work by the
students themselves, starting from scores and materials handed over by
1st year: 3 weeks/ 5 days a week/ 3h classes/ 42 hours/ 3 groups
2nd year: workshop 1: 6 weeks/ 5 days a week/ 90’ classes/ 45 hours/ 3 parallel groups
workshop 2: 2 weeks/ 5 days a week/ 90’ classes/ 22 hours/ 3 parallel groups
workshop 3: 4 weeks/ 5 days a week/ 3h classes/ 60 hours/ students choose 1 out of 4 repertoire and composition workshops
3rd year: 5 weeks/ 5 days a week/ 3h classes/ approx.. 75 hours/ 4 parallel groups
Teachers 1st year: David Hernandez, Johanne Saunier
2nd year: Cynthia Loemij, Johanne Saunier (workshop 1), Matteo Fargion
(workshop 2), Ayman Harper, Jonathan Burrows, Xavier Le Roy, Marie
Goudot (workshop 3)
Teachers 3rd year: personal work, guided by the coordination team
study of repertoire is a confrontation with the vocabulary of a
specific artist. The aim is to offer insight into how a work is
constructed and structured, not through analysis from a distance but by
putting it in practice. In some workshops, the focus is on a clear and
correct interpretation; in others, new versions are made based on the
basic framework of the original. Both approaches challenge the students
to express themselves in a strong, highly developed and imaginative
The repertoire workshops stimulate the choreographic
thinking of the students, introduce new ways to generate and structure
material, to handle patterns, complex sequences, ideas of space,
multitasking and dancing in groups.
The repertoire focuses on the
main artistic cornerstones of the PARTS program: Anne Teresa De
Keersmaeker, Trisha Brown, William Forsythe and Pina Bausch.
repertoire of Anne Teresa De Keersmaeker is featured in the 1st and 3rd
year. Both classic and more recent work can be tackled – in the past
years students have been working on Rosas danst Rosas (1984), Rain
(2001) and Drumming (1998). But also Quatuor N°4 Bartok (1984), Die
grosse Füge (1992), Achterland (1990), The Song (2009) and Zeitung
Trisha Brown’s work is studied in the 2nd and 3rd year. In
recent years, students have worked on Solo Olos (1976), Opal Loop (1980)
and fragments of the Early Works (1966-1979).
work is studied in the 3rd year. In the past, the workshop treated
pieces such as Vile Parody of Address (1988), The Scott Work (19986) and
Pina Bausch’s work is studied in the 2nd year, in 2015 this will be fragments of Nelken and other pieces.
1st year: repertoire Anne Teresa De Keersmaeker (Drumming): 5 weeks/ 5 days a week/ 3h classes/ 75 hours/ 3 parallel groups
year: repertoire Trisha Brown (fragments of Set and Reset, Newark,
Astral Convertible, Early Works and others): 5 weeks/ 5 days a week / 3h
classes/ approx. 75 hours/ variable groups
Bausch (fragments of Nelken): 4 weeks/ 5 days a week/ 3h classes/ 60
hours/ 1 group / students choose 1 out of 4 repertoire and composition
3rd year: repertoire Anne Teresa De Keersmaeker
(Vortex Temporum, 2013) 5 weeks/ 5 days a week/ 3h classes/ approx. 75
hours/ 2 groups
repertoire Trisha Brown (Newark, 1987) 5 weeks/ 5 days a week/ 3h classes/ approx. 75 hours/ 2 groups
repertoire William Forsythe (Clouds after Cranach, 2005) 5 weeks/ 5 days a week/ 3h classes/ approx. 75 hours/ 1 group
students choose 1 out of 3 repertoire workshops
1st year: Marta Coronado, Taka Shamoto, Clinton Stringer, Jakub Truzskowski (Rosas)
2nd year: Dominique Duszynski (Pina Bausch), Lance Gries, Laurel Tentindo, Diane Madden (Trisha Brown)
year: Lance Gries, Katrina Warren, Diane Madden (Trisha Brown), Katia
Cheraneva, Yoko Ando (William Forsythe), Marie Goudot (Rosas)
working with a choreographer on a creation, students are confronted in
the most direct way with the thinking and working methods of
professional artists. In most cases, such processes also create a lot of
space for the individual contributions of the participating students –
the ‘authoritarian’ model of authorship has become a rarity in the
professional field, and students show little enthusiasm for taking up a
mere ‘executing’ role.
In the 2nd year, the workshop with invited choreographer focuses on composition and methodologies (see composition).
the 3rd year, invited choreographers make a short piece with the
students, which is shown during a tour in theatres in Belgium. This is
the final work of the Training Cycle.
2nd year: 4 weeks/ 5 days a week/ 3h classes/ 60 hours /students choose 1 out 4 offered in repertoire or composition
3rd year: 8 weeks/ 5 days a week / 4,5h classes/ 190 hours/ students choose 1 out of 5 creations
Teachers 2nd year: Xavier Le Roy, Jonathan Burrows
Teachers 3rd year: Daniel Linehan, Marc Vanrunxt, Eszter Salamon, Fabrice Mazliah, Vera Mantero
to choreograph is first of all a matter of having time, space,
opportunities and freedom to experiment, and to look for a working
method, content, dramaturgy and form. PARTS does not presuppose specific
aesthetics, methodologies or definitions of authorship, but provides
coaching and feedback by teachers and invited artists.
the 1st year, all students create a solo, to be presented at the end of
the year. Students organise themselves, feedback and coaching is
provided through working groups, where students develop peer-to-peer
support and feedback, guided by an experienced coach.
Duet: in the
2nd year, all students create a duet, which is framed as a specific
task: to develop a work relating to a specific musical composition, to
be chosen from a pre-defined list. Students also collaborate with
musicians who perform the music in the presentations. In 2014, the
musicians were students from the post-master program Contemporary music
from KASK, Ghent.
Group work: in the 3rd year, students work in
larger groups to create new work, guided by one or more from their peers
or as a collective creation.
Enacted practices: a 3-week
studio-based workshop where the different artistic, practical and
ehtical aspects of practicing dance and choreographyare investigated and
Individual personal work: in the 3rd year, students
can propose personal work projects instead of specific workshops, for
research and/or creation in small or larger groups. Each group can
benefit form the support of a mentor.
1st year: solo: outside the regular curriculum
2nd year: duet: 4 weeks/ 5 days a week/ 2h sessions/ approx. 40 hours
group work: 5 weeks/ 5 days a week/ 3h sessions/ 75 hours/ 4 groups
personal work: 75 hours, to be planned individually in dialogue with the pedagogical team
Enacted practices: 3 weeks/ 5 days a week/ 2h sessions/ 30 hours / 2 groups
Teacher 3rd year (Enacted practices): Chrysa Parkinson
courses offer a theoretical and practical reflection on the study of
the body; these practices are not less artistic in themselves but serve
to reinforce the artistic practice. The body is the main instrument of
the dancer, and by learning to know it well and use it well, a dancer
can work better with it and prevent injuries.
4-days a week ,the day
starts with a session of yoga, pilates or Feldenkrais. The other
courses are offered in workshop formats.
teachers work with Do-Zen, based on Oki yoga and Iyengar yoga, adapted
towards the needs of dancers. The main goal is to offer a better insight
in and knowledge of the body, at the same time as the full body is
strengthened and made more supple. It aims to create an open state.
Other teachers work with Hatha yoga, in which specific combinations of
physical postures and breathing exercises bring quietness for the mind,
warm up the body and raise the consciousness of the alignment of the
body, and bring power into the limbs and joints.
The yoga class
increases the consciousness of the individual body and the limitations
that can be worked on. For the students, it is also a warm-up an
anchoring point. When practiced consistently for a long time, it is an
important factor in injury prevention.
1st year: 36 weeks/ 4 days a week/ 1h class/125 hours/ 2 parallel groups
2nd year: 21 weeks/ 4 days a week/ 1h class/ 84 hours/ 2 parallel groups
3rd year: 21 weeks/ 4 days a week/ 1h class/ approx. 84 hours/ 2 parallel groups
Teachers 1st year: Mia Lawrence, Stéphane Bourhis, Laia Puig Escandell, Theodossia Stathi, Nienke Reehorst
Teachers 2nd year: Laia Puig Escandell, Stéphane Bourhis, Antonella Cusimano, Marjan De Schutter
Teachers 3rd year: Laia Puig Escandell, Maria Clara Villa Lobos, Antonella Cusimano, Nienke Reehorst
shiatsu workshop takes place in the 3rd year. The study of shiatsu
offers a different perspective for understanding the functions and
movement dynamics of the body. The classes focus on a.o. concept of hara
(body center), the concept of yin and yang, the relation between
movement and breathing, the dynamics of food and its effect on the
physical and mental conditions.
Shiatsu helps the students gain more insight into their mental and physical condition, to support the demanding dance training.
3rd year: 9 weeks/ 1 day a week/ 4h class/ 36 hours/ 1 group (5 weeks are common, 4 weeks are optional),
Teacher 3rd year: Palle Dyrvall
3/ Pilates, Feldenkrais
to the intensive yoga training, PARTS introduces a limited number of
different physical training practices. Diversity can be enriching and
produce additional experiences in the development of physical and
movement knowledge. Different body types can need different approaches
of physical and movement research. This diversity helps the students to
make an informed choice of what is best for heir body.
2nd year: 12 weeks/ 4 days a week/ 1h class/ 48 hours/ 2 groups
3rd year: 5 weeks/ 4 days a week/ 1h class/ 20 hours /1 group
Teachers 2nd year: Gabriel Schenker, Tarek Halaby, Einat Tuchman (Pilates), Meytal Blanaru (Feldenkrais)
Teachers 3rd year: Gabriel Schenker (Pilates)
classes are organised in the 1st and 2nd year. The classes provide a
global insight into the skeletal, muscular, visceral and neurological
systems of the human body. Special attention is given to the
interactions between these systems, especially those that are important
for dancers. Another focus is on anatomical knowledge that can help
After a series of theoretical classes, this
knowledge is practiced in the Experiential Anatomy classes, which work
with observation, directed touch and imagery to clarify each student’s
understanding of their unique physical structure and patterns of moving.
This research uses principles from mindful physical practices, such as
the Alexander Technique, Ideokinesis, Anatomical Release Technique and
Body Mind Centering: slow sensory investigations leading into
full-bodied dancing where new embodied awareness and insight can be
applied within improvisational tasks.
1st year: theoretical anatomy: 4 weeks/ 8 hours/ 2 hours a day/ 2 groups
experiential anatomy: 2 weeks/ 4 or 5 days a week/ (2h or 3h classes/ 38 hours
2nd year: 3 weeks/ 5 days a week/ 2h classes/ approx. 30 hours
Teachers 1st year: Michael Barel (theory), Eva Karczag, Florence Augendre (experiential)
Teachers 2nd year: Eva Karczag, Florence Augendre (experiential)
concentrating intensively on a different performing art, one feeds the
relation with one’s own art. The confrontation with texts and theatrical
presence can help the student become a more creative, inventive,
autonomous or shortly better dancer.
Different teachers use very
different approaches: some work with existing plays, classic or
contemporary, others with montages of texts or material written by the
students. Sometimes the process is inherently collective; sometimes it
starts more from the individual participants. But all approaches stress
on the quality of acting, the ‘credible’ performance of texts and
finding an open relation between character and performer.
1st year, the aim is to let the student find calm and security is saying
texts on stage. The student feels the gaze of the audience, but there
is no way out through dancing, there is only text. In the 2nd year, the
workshop builds further on the achievements of the previous year, but
the material becomes more complex and challenging for the personality of
1st year: 5 weeks/ 5 days a week / 4h classes/ 100 hours/ 5 parallel groups
2nd year: 5 weeks/ 5 days a week / 4h classes/ 100 hours/ 4 parallel groups
Teachers 1st year: Kuno Bakker, Valeria Bertolotti, Carly Wys, Tiago Rodrigues, Thomas Ryckewaert
Teachers 2nd year: Kuno Bakker, Carly Wys, Gabel Eiben, Jan Ritsema
1/ Music analysis
central aim of the course is to develop a personal discourse about
one’s musical experience. This happens through listening sessions on
specific themes (classical, jazz, opera) in which one speaks about the
main parameters of music, its performance and listening experiences in a
general terminology, rather than in musical jargon.
The course is
constructed over two years. In the 2nd year, the class is linked to the
duet task (see personal work): students select a piece of music from a
list of possibilities to make their choreography. The music analysis
classes study and contextualise these works.
1st year: 3 weeks, 5 days a week (2h), 30 hours (2 or 3 parallel groups)
2nd year: 4 weeks, 5 days a week (1,5h), 30 hours (
Teachers 1st year: David Helbich
Teacher 2nd year: Alain Franco
the 1st and 2nd year, there is a weekly collective singing class (75
minutes. The classes train the individual voice and breathing, group
singing, the experience of producing music.
A first approach
focuses on relaxation and breathing, letting the voice vibrate through
the body and the head, letting the voice be felt as a physical
instrument. This makes a strong connection with the approaches of the
body during the dance classes. A second approach is in the experience of
singing though improvisational techniques (rhythmic, modal, words)
which steer away from the pressure to sing ‘correctly’. A last approach
focuses on the singing of polyphonic repertoire.
In the 3rd year,
there are optional classes where students work in very small groups of
three, outside the regular class time. Here, they can focus on the
individual level of the student and work on improving it.
1st year: 19 weeks, 1 day (1h15), 24 hours, 3 parallel groups
2nd year: 18 weeks, 1 day (1h15), 22 hours
3rd year: 10 weeks, 1 day (1h), 10 hours, 11 parallel groups
Teachers 1st year: Lucy Grauman, Jori Klomp
Teachers 2nd year: Lucy Grauman, Baiba Bartkevica
Teachers 3rd year: Lucy Grauman, Baiba Bartkevica
the 1st and 2nd year, every week a rhythm class is organised. The class
starts with building up a basis for a common approach of rhythm. With
the help of the body, clapping, breathing, voice an a syllabic system
(all organic approaches), several parameters are constructed: divisions
of time, cycles, ternary and binary rhythms, oral traditions, collective
games, polyrhythms, relation between ‘up’ and ‘down’ and its
transcription in the western system of solfeggio.
From there on,
the class continues with more complex structures from Indian, African
and Afro-Cuban traditions, jazz, European folk music and contemporary
classical music (Steve Reich, Olivier Messiaen). Rhythm is linked
explicitly to the physical experience of space and time.
1st year: 20 weeks, 1 day a week (1h15), 25 hours , 3 parallel groups
2nd year: 20 weeks, 1 day a week (1h15), 25 hours, 3 parallel groups
3rd year: 1 week (optional), 5 days a week (3h), 15 hours, 1 group
Teacher 1st year: Michel Debrulle
Teacher 2nd year: Michel Debrulle
Teacher 3rd year: Michael Schmid
autonomous artist must be able to reflect autonomously, to use his/her
critical capacities. The theory classes offer information about art,
performance, social and cultural theories. How can concepts help to get a
grip on basic issues such as communication, theatricality and
performance, subjectivity, the relation between art and society? The
classes aim to stimulate reflection about one’s current and future
practice on the one hand, and the place of art/dance in our culture and
society on the other.
1/ Dance history
course treats the main paradigms of the history of theatrical dance.
Within each period, a number of historical cases (choreographers, forms,
styles) are unfolded with the help of theoretical notions such as body,
figure, spectacle, avant-garde, the sublime, expression, ritual,
simulacrum, musicality and dance, thinking-concept-movement,
spectatorship and participation.
In the 2nd year an additional
seminar is spent on contextualising the early work of Anne Teresa De
Keersmaeker, linked to the composition workshop that works on this
theme. In addition to the Trisha Brown repertory workshop, there is also
a short seminar contextualising her work.
1st year: 2 weeks, 5 days a week (3h), 30 hours, 3 parallel groups
2nd year: 5 weeks, 5 days a week (1,5 or 3h), 50 hours, 2 or 3 parallel groups
Teacher 1st year: Bojana Cvejic
Teacher 2nd year: Bojana Cvejic, Ramsay Burt
philosophy classes do not aim at offering a compendium or encyclopaedic
overview of the history and main topics of philosophy, but start from a
specific topic that is in the heart of the research of the teachers.
Through the discussion of this topic, links to the history and
structures of philosophy are naturally made. Topics range form
aesthetics to political philosophy.
Next to the classes, students also have the task to write a paper, with every year a different stage in its development.
1st year: 2 weeks, 5 days a week (3h), 30 hours
2nd year: 14 weeks on Saturday (2h), 28 hours
3rd year: 2 weeks, 2 days a week (3h), 15 hours, 2 parallel groups
Teacher 1st year: Judith Wambacq
Teacher 2nd year: Ludo Abicht
Teachers 3rd year: Vlad Ionescu
the 1st year, the introduction discusses basic concepts such as class,
role, social ritual, institution, institutional differentiation,
rationalisation, and also refers to classical sociological approaches
and topics, such as the individual and consciousness as a black box, or
theories of globalisation.
In the 2nd year, the sociology course
focuses on the cultural field, through an institutional analysis of the
structure and evolution of the Western art system. Another course in the
2nd year focuses on gender theories.
1st year: 1 week, 15 hours
2nd year: 3 weeks, approx. 30 hours
3rd year: 2 weeks, 5 days a week (3h), 30 hours optional
Teacher 1st year: Rudi Laermans
Teachers 2nd year: Rudi Laermans, Alexander Vander Stichele, Anya Topolski
4/ Performance analysis
the performance analysis classes, students develop a vocabulary to
discuss performances they have seen live or on video. The goal is to
refine their reflection and discussion of art works, to go resolutely
beyond ‘liking’ or ‘not-liking’ as the start of an analysis of an
2nd year: 6 weeks, 1 days a week (2h), 12 hours, 2 parallel groups
3rd year: 11 weeks, 1 day a week (2h), 22 hours, 2 parallel groups
Teacher 2nd year: Christophe Wavelet
Teacher 3rd year: Christophe Wavelet
5/ Topical seminars
the 3rd year, theory becomes even more a practice of reading, thinking
and discussing. Theory is approach as theory, but the content of the
seminars can be very diverse, ranging from very abstract concepts to
concrete political or social issues, from themes that are very far from
the arts to topics that deal with the relation between art and society.
In 2015-16, seminars deal with topics such as artistic a versus
political activism, methodologies of making work, queer theory, the
bible, technologies of the self…
3rd year: 4 weeks, 5 days a week (3h), students choose 2-4 seminars of 1 week from 6 options
Teachers 3rd year: Bojana Cvejic, Rudi Laermans, Lieven De Cauter, Anya Topolski, Ludo Abicht
the ‘management’ course, students learn to know and discuss about
important elements of the organisation of professional life, such as
production, organisation, touring, co-production, partnerships and
curating, but also about time management, public funding.
3rd year: 1 week, 5 days a week (3h), 15h
Teacher 3rd year: Kerstin Schroth
an X-Week, the normal operation modus of the school is suspended. The
invited teacher can work with the students from morning until evening,
five days long. The teacher can work in the school or outside school.
The subject may be composition or improvisation, but also politics or
visit to museums and exhibitions. We ask the artist to unveil their way
of approaching art towards the students.
1st year: 1 week (30 hours)
2nd year: 2 weeks (60 hours)
Teachers 1st year: Julyen Hamilton, Jérôme Bel, Vera Mantero
Teachers 2nd year: Francesco Scavetta, Mette Ingvartsen, Julyen Hamilton, DD Dorvillier, Kate McIntosh, Noé Soulier
2/ External project
the external project, the PARTS students leave the safety of their
dance studios in order to encounter very different dance traditions and
cultural environments. For a period of 7 weeks, a group of students are
heading to Senegal (Ecole de Sables in a village near Dakar), while
another one is going to India (Pondicherry, in the South East). In both
locations, they will collaborate closely with a group of young dancers
from that region, learning traditional and contemporary dance forms from
the local and Western traditions, improvising together, collaborating
on the creation of new work, and discovering the cultural landscape of
the environment. The group is coached by teachers from India/Senegal and
Another group stays in Brussels to embark on a 6-week work process with choreographer Mårten Spångberg.
3rd year: 6-7 weeks
an internship in a professional environment is possible in the 3rd
year, in the period of the external project. The students who are
interested take the initiative to look for a temporary position in a
company, as dancer or artistic assistant.
4/ Other projects
The program can contain other special projects, either as integral part of the curriculum or as an optional extra.
2013-14, choreographer Cindy Van Acker created a site-specific work for
the 53 students in Ostend, as part of the Dansand festival. Students
worked with choreographer Femke Gyselinck and musician Lander Gyselinck
on a structured improvisation performance on the occasion of the
national Kids’ Arts Day. Students were also involved in the Museum Night
Fever at the Wiels Contemporary Arts Center, working with visual artist
Franz Erhard Walther.
Students at PARTS have different opportunities to perform the work they make in the school, either class work or their own work.
and theatre workshops and curricular personal work (solos, duets…)
usually end with a final presentation for the school community.
*In Informal showings, students show each other work and work-in-progress they make in their own time.
@ WORK studio presentations offer an informal context for presentations
of class work and personal work, for small audiences.
Performances are organised once or twice a year, and are a formal
performance program curated by the staff, with a selection of class work
and personal work.
*At the end of the 3rd year, the students embark
on a Graduation Tour in professional venues, presenting their final
works. Occasionally, there are other opportunities to perform class work
or personal work outside the school.