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Descriptions cours de danse (en anglais)
Descriptions ateliers (en anglais)
Descriptions repertoire (en anglais)
Bios des enseignants (en anglais)
Descriptions cours de danse
Stéphane Bourhis (FR) (week 4 and 5 - all levels)
Why Yoga and Dance? In order to initiate your body to your own spatiality. In our Yoga practice following the Iyengar® methodology, we will focus on the precision in the fluidity of the movement by the alignment of the body to develop its intelligence and coordination.
Laia Puig Escandell (ES) (week 1, 2 & 3 - all levels)
Unfold & unlock your personal potential During this time we will be introduced to Yoga as a holistic practice. The five points of the holistic system are: proper exercise (Asana), proper breathing (Pranayama), proper relaxation (Savasan), proper diet (vegetarian), positive thinking and meditation (Vedanta and Dhyana), although we will mainly work on the first 2-3 points. This first class in the morning will be our moment to prepare for the day in a different way, to unfold and to unblock, first physiologically/anatomically and then into deeper levels of awareness, identifying our unnecessary patterns and habits, and letting go of them, balancing the body, increasing concentration and learning to listen so that each student as individual can be in tune with a deeper intelligence, expanding themselves as artists and sharing it with the community and the world. I hope you all enjoy the process of unfolding yourselves. Om Namah Sivaya.
Anne-Linn Akselsen (NO) (week 2 & 3, intermediate level)
This ballet class aims to reveal the functionality ballet technique, both within its own tradition as well as for any kind of dance.
It emphasizes the importance of joy in dancing and focuses on anatomical awareness and functional alignment. The class will give students access to a larger range of movement, focusing on the applicability of ballet in order to develop technical skills such as speed, strength, fluidity, musicality and a clear understanding of architectural form and formal balletic structure.
The class, which works simultaneously with the aesthetics and mechanics of ballet, is a good fit for both ballet and contemporary dancers.
Douglas Becker (US)(week 1, intermediate level, week 2 & 3 advanced level)
I propose ballet class as a collaborative setting where new information, and knowledge, about the moving body in relationship to form and history happens in the moment.
Barre and center are constructed to rigorously support the study of technique as studio practice accentuating somatic awareness and attention to the multiple perspectives on dynamics alongside varied spatial concerns. We will work on developing an agile relationship between the head, shoulders, arms, and legs while also considering ballet as a system, and as "changeable architecture". Attention is given to interior mechanics driven by counterpoint. Throughout the class, attentiveness to the musicality of the form gives insight into the various understandings of tempi and interacting rhythms. Combinations and phrase work change depending on both age and desire within the group. We will move, together, to know.
Libby Farr (US) (week 4 & 5, intermediate level)
The ballet class evaluates and re-evaluate the dancer’s body and is built on the classical structure of a ballet class with the objective to focus on strengthening the dancers awareness of his or her own natural alignment and experience.
The class is divided into two parts: the barre and the center practice. Exercises at the barre emphasize isolating and releasing the joints in order to strengthen the dancer's core awareness and to find were the movement begins in the body to support functional body placement. Body placement becomes more natural and fluid, rather than stiff and held, allowing the movement to be less stressful. The second half of the ballet class, conducted in the center, continually challenges the dancer to use the newfound placement when having to shift weight and carry the body through space. Motivation, flow of movement, and momentum are key points to help the dancer to move from the core and inner muscles to support a greater freedom of dynamic and expression. The dancer gains a stronger sense of confidence to take space and go beyond technique.
Eleanor Bauer (US) (week 4, intermediate level)
Dancing, Not The Dancer. Through a handful of practice-based choreographic scores, will work on how to get out of the way of our own dancing, allowing ourselves to be the medium for a dance to appear, rather than having dance be a medium for ourselves to appear. Starting with a practice score called "Dancing, not the Dancer" and moving through related practices, we ask how to learn from our own dancing, how to individually each be our own best audience members and performers at the same time, how to strike the balance between making it happen and letting it happen. Exercising a breadth of technical, artistic, expressive and performance skills, we work towards activating our embodied knowledge in a way that is synthetic and intuitive. Dancing not the Dancer is about using everything we know and don't yet know to construct and maintain a horizon of continuously unfolding potential for movement and its actualization.
Dominique Duszynski (BE) (week 1, intermediate level)
Dominique Duszynski proposes a dynamic and fluid dance made up of floor work and standing work. The first topic is to open the conscious of anatomical knowledge in dancing. Therefore, constructing and deconstructing body parts take an important place in the warming-up and in the building up of the dancing. Geometry, alignments, supports are developed in a high conscious of “grounding” but in the same time of “lightening” the body. Breathing, 3 dimensions, volume are developing space referring to Laban’s concepts. The relationship to the movement of the weight is always present, opening to musicality and instinct. The dance is proposed according to the art of movement inspired by Pina Bausch and by the elements of dynamic and space developed by Rudolf Laban. Energy, grounding, space are the base in order to develop details and subtleties through the body and the dancing. Opening contact, articulating the body are important elements. Going to the essence of the body is the aim. Lines and flow pass through the body, revealing deep perceptions
David Hernandez (US) (week 1, 2 & 3, advanced level)
week 1 and 3 (120' class): Movercraft I am interested in movement and training the body to express through movement in a detailed and precise way but without the loss of the individual expression. I am developing an approach to dance technique and movement vocabulary that embraces physicality, craft and approaches the body as an instrument. The class is highly physical with an emphasis on detail. We concentrate on establishing a clear, efficient body alignment as a base to move from while making gravity our partner through discovering the notion of falling and redirected weight. There is an exposure to very specific, dynamic movement vocabulary that concentrates on moving weight, density and texture and the musicality of physical material. All parts of the body are used to gesture, often playing against each other like contrapuntal melody lines. The form is clear and provides a partition in which the dancers can challenge themselves against its rigor while finding a personal approach to the material. Each individual and individual body is different, therefore the material must be translated by each person in their own unique way while honing and crafting the material on their particular body. The class gives the keys to do this while providing tools and skills useable in other styles of work as well.
week 2 (90' class): Bust a move is an all inclusive physical experience. Drawing on my beginnings as a HipHopper, go-go boy and social dancer I developed an aerobic non- stop dance session that gets the heart rate going while working rhythm and opening the body through moving. I serve as the guide through this hour plus process as we improvise around simple yet specific modules that I will teach and explain beforehand to some great beats from today and yesteryear. We take the energy of a night out in the club and fuse it with some contemporary dance know how to create an experience that is both fun and works the body in specific and beneficial ways. We will pull from the roots of social dances ranging from HipHop, Pop and Lock, Salsa, African, et al and borrow qualities each can offer! The main rules - don't stop til you get enough and enjoy!
Anton Lachky (SK) (week 4 & 5, advanced level)
It’s a class of high complexity, coordination and full control of all body parts while dancing. How to be practical while decorate the body the way you wish. Work with complexity of musicality. Most of all working with speed, speed itself and its illusion become slow only that way you can speed up again.
Colas Lucot (FR) (week 3, basic level)
The class will put an emphasis on finding efficiency and clear direction in the body and movement. There are so many elements that we can play with such as gravity, weight, momentum… the idea is to know how to organize yourself with those elements and instead of fighting them, play with them in a useful and efficient way.
Through a series of exercices, we will concentrate on different physical concepts asking the dancer to feel, consider, adapt and practice followed by exposing them to very physical dance material.
The goal of this class is to build bridges between the different exercices and the dance phrases, and to know what the aim is and how to get there.
Renan Martins De Oliveira (BR) (week 4 & 5, basic level)
The intention of the class is to question form, as such. How can we let it be a result of intention as opposed to pure manifestation of a technical body? How can we be present in the Now by experiencing it as a timeless “moment” of full consciousness. The detachment from the mind and full comprehension of self.
I want to propose the body as channel for communication, storage of memories, emotions and energy. This body has different centers of gravity that can work separately from each other in rhythm and quality creating then new logics for movement. My hope is to challenge the dancer's personal vocabulary by having different physical sensations triggered either by a partner and/or by imagination.
Sandy Williams (CA) (week 1 & 2, basic level)
SHOW TIME: This class is a fiercely physical daily practice that combines technical movement, strength and precision training with notions of presence, authorship and performance. Each day we will create and add on to an ever expanding movement score; repeating and performing it for the duration of the week. The daily score will become a daily choreography; an investigation, research, evaluation, critique, multiplication, personification and exemplification of movement, blurring the lines between practice, rehearsal and performance.
David Zambrano (VE) (week 5, advanced level)(2-hour class)
Flying Low: This dance technique created and developed by David Zambrano, focuses mainly on the dancer's relationship with the floor. The class utilizes simple movement patterns that involve breathing, speed and the release of energy throughout the body in order to activate the relationship between the center and the joints, moving in and out of the ground more efficiently by maintaining a centered state. There is a focus on the skeletal structure and the senses that will help to improve the dancers physical perception and alertness.
Anne-Linn Akselsen (NO) - “The art of dancing together” (week 3, intermediate level)
The main focus of this workshop is a research into the possibility of, and potential in, dance as something we do together with others. Simple rules of physical interaction allow for a whole world of physical and sensorial experiences to take place, both within one self and between the people involved. Dance is a process of physical thinking, in mind and body, and is inherently a collaborative process. We will explore different modes of dancing together, through touch, leading and following, acquiring tools of manipulation, guiding, listening and introducing original improvisational techniques such as “folding” and “connecting mechanics” developed through different choreographic processes.
Eleanor Bauer (US) CHOREO | GRAPHY (l'ecriture danseuse) (Week of July 11-15) (week 1, advanced level)
(good level in English required!) Working on the relation between the nature of thinking in dance/movement and the nature of thinking in language/speech, and thinking about "choreo-graphy" as the "writing-of-dance" or "dance-writing," we will do an equal amount of moving and writing in this workshop, so the products and effects of the work will be in both text and dance. We will work on writing from and through the dancing body to think how an affected, bodily, and danced relation to language could help us re-think dance and choreography, as well as how an affected, bodily and danced relation to language could help us re-think our relation to words and logocentricity in general. What kinds of pre-lingual, extra-lingual, super-lingual, or proto-lingual modes of thought take place in dancing, and how can we find ways to talk and write about them, or talk and write through and from them? This workshop is not on embodying language, but rather on how to embod-ify language itself.
Eleanor Bauer (US) The Future - dancing and performing (week 4, intermediate level)
In this workshop we will work on a selection of scores that address (and imagine) the future in dance, through dancing. Working on skills such as anticipation, prediction, clairvoyance, fantasy, imagination, and interpretation, we will work on a number of scores collected from Bauer's existing repertoire, from her own pieces and practices as well as from other choreographers and colleagues that she has worked with, or inherited otherwise. We may also create new scores, invent new futures, and propose together new experiments in relation to the idea of how dance relates to the future and the unknown.
Anne-Laure Dogot (BE) The GYROKINESIS® Method (week 5, basic level - 2 hour workshop!)
The GYROKINESIS® method is a movement method that gently works the entire body, opening energy pathways, stimulating the nervous system, increasing range of motion, and creating functional strength through rhythmic, flowing movement sequences and through the awareness and engagement of the center. It is an original, and unique movement method, that works with the coordination of the breath and has qualities similar to those found in Yoga, Tai Chi and dance.
Each class begins on a chair with a gentle warm up sequence to awaken the senses, and stimulate the nervous system. This is followed by a series of fluid spinal motions which increase range of motion, and prepare the body to explore more complex movements with agility, and ease. The class continues with exercices on a mat on the floor to expand more spinal motions and focusing more on hips, shoulders and feet. And it all ends standing to reintegrate the space and the moment.
GYROKINESIS® Exercise- Or how to move from the center and free the spirit. GYROKINESIS® is a registered trademark of GYROTONIC® Sales Corp and is used with their permission.
Michel Debrulle (BE) - Rhythm & Movement workshop (week 2, all levels)
This workshop is open for everyone. It will not be about dancing, nor will it be about choreography, but more on working on the existing and incorporated rhythm in your body, in order to put this into movement. After having learned organically (by singing, clapping, stamping…) rhythmic structure of varying origins (African, Afro-Cuban, Indian, Contemporary…), the participants try to put this into movement in order to confront new bodily patterns, with the architecture of the rhythm determining that of the body. Here, the phrasing comes from the rhythm, not from the movement. Participants plan to naturally develop an intimate relationship with musical material which will lead them past ideas of auditory décor or dramatic stimuli. Then they will be able to play with time and space: expanding or compressing, playing around or with… without cheating, and therefore, access a personal interpretation on the basis of an organic and mental inner nature, a source of great freedom.
Michel Debrulle (Be) Rhythm & Movement Stravinsky & Messiaen (week 3, all levels)
On specific parts of The Rite Of Spring- Le Sacre du Printemps by Igor Stravinsky and the Quatuor pour la fin du Temps by Olivier Messiaen. This workshop is open for everyone. It will not be about dancing, nor will it be about choreography, but more on working on the existing and incorporated rhythm in your body, in order to put this into movement. After having learned organically (by singing, clapping, stamping…) rhythmic structure of Igor Stravinsky and Olivier Messiaen , the participants try to put this into movement in order to confront new bodily patterns, with the architecture of the rhythm determining that of the body. Here, the phrasing comes from the rhythm, not from the movement. Participants plan to naturally develop an intimate relationship with musical material which will lead them past ideas of auditory décor or dramatic stimuli. Then they will be able to play with time and space: expanding or compressing, playing around or with… without cheating, and therefore, access a personal interpretation on the basis of an organic and mental inner nature, a source of great freedom.
David Hernandez (US) Group dancing - Hullaballoo (week 1, intermediate level)
We will explore working in a larger group by pulling from the dh+ repertory, specifically the show Hullabaloo, to dive into collaborating in groups of 7 to 10 people. It is a very particular experience to move in a larger group of people and requires a certain set of skills wherein one must tow your individual line while maintaining an awareness that you are in a co-dependent relationship with the rest of the group. This kind of work requires a very particular skill set. Using certain sections of the repertory as a base for this exploration, we will learn the base material and how to manipulate it eventually combining this into a group choreography that provides the experience of collaborating with others as a unit to create something bigger than any one individual.
David Hernandez (US) Out of the pocket- Improvisation (week 2, intermediate level)
For this workshop we will explore spontaneous composition, or improvisation as a performance form. Our work will be centered around how to compose in the moment with others and make it readable and enjoyable for the viewer. It is not about jamming but addresses how to propose and develop ideas in an performative improvisational format. In this interest we will explore both scored and wide open improvisations with an emphasis on consequence and readability and work to develop the tools and imagination necessary to accomplish this.
David Hernandez (US) Building Movement- Composition (week 3, intermediate level)
A guided composition lab using a syllabus for creating movement that has a step by step evolving format. It is a guided approach that helps us to hone in on the basics for composing movement and creating development as we explore our personal movement and individual tendencies while transcribing that into a readable format. The work is centered on movement creation and invention as well as development and approaching movement as a language. A big part of this work will be developing supportive yet critical dialogue in the group through feedback sessions as we split our time between developing our own research and being a useful collaborator as an outside eye for our colleagues.
Anneleen Keppens - Creating phrases and composing (week 3, basic level)
In this workshop each person will develop throughout the week a collection of dance phrases. These phrases will be created through the use of imagery and visualization techniques. Each body contains in fact a multitude of bodies. By using visualizations we will be able to tap into these different bodies and discover how they dance. Then we will look at how formal composition can be applied to these very personal phrases. How can the personal be shared, how can these phrases become an experience for an audience?
Anton Lachky (SK) week 4, advanced level; week 5, intermediate level)
Both his work and his class are based on pleasure from dance, excitement. Working with coordination, including the overall body and pushing the limits of speed. Isolate: On entering the dance space with a phrase, do not forget any part of your body and try to speed up. Joy: Have pleasure in what you do, but don’t forget about the work part while having fun. Get excited, but don´t let excitement run over your technique.
Roberto Olivan (ES) (week 5, intermediate level)
By learning and using many different kinds of dance techniques Roberto Olivan discovered their limitations for artistic expression. Whilst accepting the necessity for these conventional techniques, he knows that using them exclusively curtails freedom in the dance and the dancers. So he is embarked on a constant quest for the freedom that creates new forms; refining his technique to develop a unique language which can be recognized as his own style. A language centered on speed and precision. Moving efficiently becomes an important issue. There are other important goals like working with gravity; consciousness of inner sensations such as breathing and the visualization of energy, released by movement. This consciousness of body unites mind and physical structure and relates it to spatial energies, to others and one self. In this sense the body becomes a tool of projection for the physical and emotional flow. The force of mental images such as lines and structures around and in the body are used to define and help us to understand the body’s functionality better. The goal of this workshop is to support and to encourage on loosing fear to move in a specific context. We will specially focus on generating dance material from our animal instincts and our own creativity in order to develop and discover the infinite possibilities of movement. We will also strength the confidence through the group building safe conclusions from difficult situations.
Peter Savel (SK) - "Letting go - to listen to my body behind the mind" (week 4, basic level)
In this workshop I will look with you at the different approaches to our body and its perceptions. At how movement and vocabulary might arise from a state of awareness. We will consciously - in a playful and relaxed environment - start recognizing fear based habits and patterns, in order to become aware and present in the actual experiences of the body. To be able to listen, respond, react in a more actual and accurate way to where we are - and that is right here and right now. You are already perfect, it's just a matter of allowing yourself to see it. In such manner, we will lead our selves to a spacious expressive range, where the body can become our expression and our expression becomes our dance.
Benjamin Vandewalle (BE) Dancing/drawing - Drawing/dancing(week 2, basic level)
In this workshop we will focus on the practice of trans-creation. This particular work is based on the process of shifting from one media to the other. Translating our dancing into a drawing and visa versa. Dance is executed in a 3 dimensional space, is fleeting, is never really the same, happens in and is perceived from within the body. Drawing takes place is a 2 dimensional space, is solid, once done stays the same, happens in front of us and we see it eventually from the same point of view as the spectator. Yet at the same time the both involve the body, deal with shapes, deal with space, take place in the visual sphere, etc... Sliding from one art form to the other and moving through this act of translation gives rise to many different opportunity's to reflect on our dancing and drawing aswel as the act of creation in itself. For example we have to bring a certain sense of understanding of our dancing into being before we are able to then transmit it into a drawing. There is a gap between these two media's and the question is how do I bridge that gap and what “do I” and “can I” take with me on that bridge. Another interesting element is how the different skills required for drawing get transmitted to the dancing and the other way around as they start to infiltrate and inform one another. Your drawing becomes a dance and your dance a drawing.
No specific drawing skills are needed its the act of trans creation itself that is most important. Next to that it will also be an interesting challenge how you can apply your dance technique into the act of drawing as they are very closely linked.
What to bring: Many big sheets of paper like A2 or even A1. It should be a rough texture so we can use charcoal / Charcoal for drawing ( different sizes ) / Eraser/rubber for charcoal / Paper tape/ Your own preferred drawing equipment
Sandy Williams (CA) - REALIST MAGIC: Who’s there?
– Shakespeare, Hamlet (week 1, basic level)
This workshop will be a research for performers and makers in to the creative and possibilities of moving information in choreography and performance. Moving information signifies both the act of pushing information around as well as the act of being emotionally moved by that process. To sift, to accumulate, to deem worthy, to rearrange; to be a creator is to celebrate the originality of context over content and transformation over authorship. In this workshop we will start to question how and why we know what we know; where the who we are is as fluid and changeable as when and where. If I imagine all movements as being possible, and in that way imagine all movements as having been “done”, how may I imagine combining? With what do I stitch these movements? Where on earth do they belong? Surely, the world’s a stage?
Can the featureless be exaggerated? Through length? Amplification? Variation? Repetition? Would it make a difference? Restore, rearrange, reassemble, revamp, renovate, revise, recover, redesign, return, redo; we will aim to re- the verbs in order to produce a provision, a possibility.
Andros Zins-Browne (US) - Already Unmade (week 2, intermediate level)
Already Unmade is a workshop on techniques of 'unmaking' existing choreographies. Students are asked to arrive with several excerpts of dances which they have already performed and know well. Through processes of extending, overlapping, modulating and remixing these dances, the goal will be to create a durational, group choreography that moves between pre-existing dances and through various transformations, into new ones.
Nadine Ganase (BE)- Elena’s Aria (1984) (week 5, advanced level)
This choreography is a very feminine piece danced with high heel shoes in a setting with nothing but some thirty or so chairs. The choreography is as fine and intricate as lacework, rich in contrasting dynamics (quick and light, slow and grounded), lyrical but with sharp punctuations, round and angular in its form. Dancing with chairs is a fantastic prop for developing movement and dynamics. The high heels will challenge your centre of gravity – great fun!
(Please bring high-heel shoes (not too high!), pumps, tango/ flamenco shoes).
Fumiyo Ikeda (JP) - Drumming (1998) (3-week Workshop: weeks 1-3, advanced level)
Drumming (1998) is one of the most fascinating choreographies that Anne Teresa De Keersmaeker/Rosas created. We will work on the seven basic materials of Drumming and with this material you will make a personnel transformation and composition in the same way as we did with the company. We will also try to make something new with your own material.
Fumiyo Ikeda (JP) - Rosas danst Rosas (creation 1983) (2-week workshop: weeks 4-5, intermediate level)
33 years ago, the Rosas company put itself on the map with the production Rosas danst Rosas. This choreography continues to be staged all over the world. The piece is made up of five chapters, full of intense physical energy. The drive in this body machine is tempered by a series of ‘very familiar and everyday movements’. We shall look at each part, learning the basic phrase as well as its structure in order to dance some extracts. A truly stimulating experience to great music! (Please bring gym/ running shoes).
Igor Shyshko (BY) - Drumming (1998) (week 2, intermediate level)
The workshop of "Drumming" will teach you one elementary choreographic dance phrase of Anne Teresa de Keersmaeker and a set of her choreographic tools Those tools ,employed by her in the performance ,include the techniques of accumulation, retro, face shifting, choreographic translation and others. On the common basis of the phrase and using those techniques we can find variations on the performance by all workshop participants at the end of the two weeks.
Clinton Stringer (ZA) Rain (2001) (week 4, advanced level)
This Rosas repertory workshop will focus on the "men's material" of Rain. In the original material, this material is mostly danced by the men, but by no means exclusively. It is dynamic with lots of organic floor work. After learning the phrase material, we will create new choreographies based on the compositional structures used in Rain. These structures range from the more free creative (manipulations, partnering) to the more mathematical (like any true Rosas creation, metronomes will be involved). Structure is a fundamental element of Anne Teresa De Keersmaeker's work and it is most often rooted in the music - in this case, the emotive minimalist composition of Steve Reich's Music for Eighteen Musicians. The challenge for any performer is to be able to "live" within the structure.
Clinton Stringer (ZA) - Drumming (1998) (week 5, intermediate level)
Drumming is based on the music of the minimalist composer Steve Reich. The piece is a complex formal construction using a single basic phrase, which is transformed in many ways. In the workshop, I will teach the phrase material and we will explore the principles, which were used to construct it. The students will then make their own transformations of the phrase following the ideas used during the creation. In this way, we will work with retrograde, phase shifts and partnering all starting from the same basic phrase but resulting in new and varied transformations.
Bios des enseignants
Anne-Linn Akselsen (NO)
Anne)Linn Akselsen is educated at the Royal Swedish Ballet School and is a graduate of the 5th generation of P.A.R.T.S. As a performer she has been a dancer with Rosas as well as working for choreographers such as Salva Sanchis, Jean Luc Ducourt among others.
Since graduating she has simultaneously choreographed her own work and started in 2009 the company Human Works, in collaboration with Adrián Minkowicz. She has choreographed several commission works, ao for the National Ballet of Norway, in addition to the work of the company. She has won several prizes for her work, including the Norwegian National Grant for Artists and 1st price at the Baltic Movement Contest for best solo choreography for the work “Sing me…”.
She teaches both classical ballet and contemporary dance to both school and companies around the world. From 2013 on she is part of the coordination team for the Training Cycle at P.A.R.T.S. and from 2015 she is also a senior lecturer in dance at the University of Stavanger
Eleanor Bauer (US)
Eleanor Bauer is a performer and performance-maker based in Brussels, Belgium. She works at the intersections of choreography, dance, writing, music, and performance art. Her pieces range in scale and media towards challenging categories, methods of producing, and ways of thinking performance.
Originally from Santa Fe, New Mexico, she studied dance, choreography, and performance at New York University's Tisch School of the Arts (BFA, Dance) and P.A.R.T.S. (Performing Arts Research and Training Studios, Brussels). Bauer has been an artist in residence at Kaaitheater in Brussels from 2013-2016. Her versatile works such as ELEANOR!, At Large, The Heather Lang Show by Eleanor Bauer and Vice Versa, (BIG GIRLS DO BIG THINGS), A Dance for the Newest Age (the triangle piece), Tentative Assembly (the tent piece), Midday & Eternity (the time piece), and BAUER HOUR have toured internationally to critical acclaim. In 2016 she premieres Meyoucycle, a new concert-performance in collaboration with Chris Peck and Ictus contemporary music ensemble.
Along side making her own work, Bauer has worked as a performer with Xavier Le Roy, Anne Teresa de Keersmaeker/Rosas, Boris Charmatz, Emily Roysdon, Matthew Barney, Mette Ingvartsen, David Zambrano, Trisha Brown, Ictus, The Knife, and others. Bauer also frequently teaches, mentors, and writes about dance and performance. (For more information and full CV, visitwww.goodmove.be)
Douglas Becker (US)
Douglas Becker, based in Brussels Belgium is a freelance choreographer and teacher working in many idioms. A former dancer with the Joffrey Ballet New York, The National Ballet of Canada, The Dallas Ballet and The Frankfurt Ballet under the direction of William Forsythe of which he has reconstructed numerous works by the choreographer for professional companies, festivals, and educational institutions across the globe. In Ballet he was taught by Nathalia Krassovska, Stanley Hall, Marjorie Mussman, Maggie Black, David Howard, and Melissa Hayden; thus, carrying a broad resume teaching Ballet, improvisation, composition, and repertory. His choreography has been featured on the stages of Belgium’s Royal Flemish Theatre, Switzerland’s Grand Theatre de Genève, and the Choreographic Centers of Grenoble and Nancy in France, and has been visiting faculty for P.A.R.T.S. Brussels, New York University, The University of California Irvine, and the national conservatories of Paris and Lyon among many others. Mr. Becker's collaborative process of choreographic development improvises upon and utilizes dancers' individual talents and characteristics. Between 2007 and 2011 Douglas Becker founded the Hollins University Masters of Fine Arts international extended study abroad program, under the direction of Donna Faye Burchfield; introducing students to new ways of imagining their research, advancing their abilities to realize their work in a larger context, and supporting their participation in dialogues that move across geographies as well as disciplines. A 2012/13 visiting artist-in-residence at University North Carolina School of the Arts, Douglas Becker began as master lecturer at The University of the Arts Philadelphia 2010-present, where he is also responsible for the dance departments international touring program.
Stéphane Bourhis (FR)
Stéphane Bourhis is a professional dancer. He studied at the Conservatoire National de Danse in Avignon (France). He started his career at the Lucerner Ballet Company and worked as a solist dancer in the Béjart Ballet Lausanne, both in Switzerland. Since 2013, Stéphane is a certified Iyengar® Yoga teacher. He's teaching Iyengar® yoga at ROSAS, P.A.R.T.S,in schools for children in primary classes and in the Iyengar Yoga Study Centre Brussels. He is constantly learning, researching and deepening into the Iyengar® Yoga method participating in conventions and workshops with advance teachers in India and in Europe.
Michel Debrulle (BE)
Michel Debrulle is a percussionist/drummer and artistic director of Collectif du Lion since 1989. He has collaborated with dancers/choreographers such as Thomas Hauert, David Hernandez, M-C Villa Lobos, David Zambrano… He teaches rhythm without instrument classes at P.A.R.T.S. since 2000, and many other workshops in Vienna, Lisbon, Berlin, Paris, … He is active as a musician on scene in Trio Grande, Rêve d’éléphant Orchestra, Tout est Joli/All is pretty, SilverRat Band, Amis Terriens. Up until this day, he has recorded more then 25 cd’s with different formations and played in Europe, Asia, Africa, the US and Canada.
Anne-Laure Dogot (BE)
Anne-Laure Dogot (Belgium, 1988), professional dancer and dance teacher, started dancing at the age of five. She started at Danses & Cie in Tournai where she received an excellent base knowledge in ballet and contemporary. In 2006 Anne-Laure was accepted at S.E.A.D, the Salzburg Experimental Academy of Dance, in Austria where she followed a three years professional dance education. She became a member of the company’s school, Bodhi Project, immediately after. In 2011-2012, she has worked as a guest dancer with Renan Martins (Brazil) for the Graduation Tour with P.A.R.T.S. (Brussels) and toured extensively throughout Europe. At the meantime, she started teaching dance in different schools in Belgium. She also worked on different dance projects with the choreographer Xavier Gossuin (Belgium), Luc Petit (Belgium) among others. She is currently a freelance dancer and a dance teacher in Danses&Cie in Tournai (Belgium) as well as a high school contemporary dance teacher (recognized by the Fédération Wallonie-Bruxelles) at I.P.E.S in Tournai since 2012. Anne-Laure is also a certified GYROKINESIS® teacher trained by Kelly McKinnon at the Corpus Studios in Brussels and is currently teaching there, too.
Dominique Duszynski (BE)
Dominique DUSZYNSKI has been dancing with Pina Bausch’s dance theatre from 1983 till 1992. She has been working on creations and mythical pieces such as: The Rite of spring, Kontakhof, Blaubart, Nelken, Arien, 1980, The 7 Deadly Sins, Auf Dem Gebirge, Two Cigarettes in the Dark, Viktor, Ahnen, Kommt tanz mit mir, Renate wandert aus, Walzer, Bandoneon, Iphigenie, Orphée...Since 1988, she teaches for institutions and companies in Europe and abroad. In 92, she started her own research and collaboration with dancers and actors on the creation of a lot of pieces. She has been also performing for JF Duroure and Pippo Delbono. She took part to the film “Die Klage der Kaiserin” from Pina Bausch and, “Berlin-Jérusalem” and “Golem” from Amos Gitai. She teaches at PARTS (Brussels) since the school was founded in 1995. In 2007, she creates her solo “Fuga” and in 2008, dances in the trio “Barroco” that travelled from Lyon to Brazil including Brussel, Italy and Germany. In 2009, she composes a new solo “Luz”, for the 9th festival “Voix de femmes” in Belgium. In 2010, in collaboration with the light designer I.Corten, she proposes a street project along the river in Liège “Sous les ponts”. In the same year, she steps into the concept “The complete works” from Nina Beier, that she performed in the Stuk festival in Leuven. In November 2011, she presents her duo “Riff” for the 10th Festival “Voix de Femmes” in Liège, Belgium, then in November 2012, in Brussels and, in June 2013, in Rio and Sao Paulo, Brazil. In November 13, she performed in the piece « Si je meurs » from R.Hoghe in Liège. During the summer 2014, she creates a short piece “Walkabout”, in 9 days with 9 dancers, performed in Belgium and in Holland. Beside her own work, she collaborates artistically with several choreographers.
Laia Puig Escandell (ES)
I was introduced to yoga as a parallel practice of my dance career in 1998. However, it wasn’t until I took a Sivananda Yoga Teachers Training in 2008 in South India that my real initiation into Yoga started, with growing passion. Since then, I have been practicing regularly asanas, pranayama and meditation, reading the yogic philosophy and trying to understand and apply all that in my daily life, as I continue to take trainings. I learn a lot from joining the Sivananda organization to translate Teachers Trainings or to do service in their Ashrams. I teach Yoga classes at PARTS, Rosas and around Brussels to all levels, and parallel to that I give Ayurvedic massages and treatments, Yoga retreats and workshops.
Libby Farr (US)
Libby Farr began her training in Texas and then continued her education at Ballet West in Colorado and School of American Ballet in New York. She performed in several Companies including San Diego Ballet, Los Angeles Ballet, Dallas Ballet in America, then Zurich Ballet and Deutsche Oper Berlin in Europe. Afterwards 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 became training director and dancer at Deutsches National theater Weimar for 2 years and there after ballet mistress and assistant to Amanda Millers Ballet Pretty Ugly. She has been a regular guest teacher in P.A.R.T.S in Belgium and SEAD in Austria as well as teaching companies throughout Europe. She is also a certified Gyrokinesis teacher.
Nadine Ganase (BE)
Nadine Ganase was trained in England at the London Contemporary School - The Place - and later with Peter Goss in Paris. In 1983 she joined the Rosas Company of Anne-Teresa de Keersmaeker, for a period of 7 years and performed in Rosas danst Rosas, Elena’s Aria, Bartok Aantekening , Ottone Ottone. She participated in the following films of the Company - Hoppla and Ottone Ottone, Rosas danst Rosas, Répétitions. Nadine Ganase is a permanent contemporary and composition teacher at the Dance Humanities in Louvain-la-Neuve, Belgium. At present, she teaches dance for actors at the Performing Arts School - INSAS in Brussels. In the past she has taught for: RITS-Brussels (flemish school for acting and cinema), le C.N.D.C.d’Angers (Centre National de la Danse Contemporaine), France, Koninklijke Balletschool, Anvers, Hoger Instituut voor Dans, Lier. She is a certified Pilates teacher. Nadine Ganase has been choreographing works for her company and various institutions for the last 20 years.
David Hernandez (US)
David Hernandez was born in Miami, Florida where he studied 'studio music & jazz’ and opera at the University of Miami and dance at 'New World School of the Arts’. Subsequently he moved to New York to work as an apprentice with the Trisha Brown and company and begin researching with Meg Stuart. He left New York to follow Meg Stuart to Belgium to help begin the company Damaged Goods where he worked for almost seven years as a dancer and collaborator.
David remained in Europe basing himself in Brussels where he continued creating his own work in the form of dance performances, installations, happenings and many other sorts of multidisciplinary projects for over twenty years. Next to his own projects he continued performing and collaborating with many other artists such as LaborGras, Brice Leroux, Anouk Van Dijk, Michel Debrulle as well as directing, performing and researching as an improviser with artists such as Steve Paxton & Katie Duck, among many others. He was one of the three initiators of the improvisation project 'Crash Landing' along with Christine Desmet and Meg Stuart.
David participated in a choreographic collaboration with Anne Teresa De Keersmaeker for many years for projects including "Zeitung", "Keeping Still" and “D’un Soir un Jour" and danced and sang in the production “Cesena" which premiered at the Avignon Festival in 2011.
As a pedagogue, David gives classes and workshops worldwide while maintaining a position as a main teacher at PARTS since 1995. Previously he developed and managed his own education program, 'PEP' (The Performance Education Program) for several years in the framework of Klapstuk festival in Leuven, Belgium where he was also in residence.
David continues to work as a singer and joined the early music vocal group Graindelavoix, led by Bjorn Smelzer and Reve d'Elephant Orchestra jazz band, performing in concerts, recording discs and touring with several different projects as a musician.
David continues creating his own work within the organisation dh+, David Hernandez and collaborators, whose two most recent performances, “ For Movement’s Sake” and “Hullabaloo” are presently touring.
Fumiyo Ikeda (JP)
In 1979, she entered MUDRA, Maurice Béjart’s dance school in Brussels, where she met Anne Teresa De Keersmaeker. In 1983 she was one of the founding members/dancers of Rosas. Between 1983 and 2008 she contributed to the creation of and danced in almost all the productions, and defined the face of Rosas. She has also contributed to several of Rosas’ films and videos. Since 2007, Fumiyo develops her own artistic parcours. In 2007 she created ‘Nine Finger’ with Benjamin Verdonck and Alain Platel. This performance was selected for the Festival d’Avignon 2007, and knew an extended international tour. Her next step was the solo ‘In pieces’, a collaboration with the British theatre writer and frontman of Force Entertainment, Tim Etchells. She performed in ‘Life and Times, Episode 2’, a performance in collaboration with Nature Theater of Oklahoma (2010). In 2013 she created along with the Japanese choreographer Un Yamada ‘amness’. In 2014 she created ‘Cross Grip’ with three Japanese dancers and the percussionist Kuniko Kato. In the same year she created ‘Gay songs of lesbian mothers’ with the students of KASK. In 2015 she choreographed and performed ‘Absence’ with Frank Focketyn, directed by Peter Vehrelst (NTGent) and Eric Joris (CREW). In 2016 the choreographed and performed ‘De Sleutel’ directed by Josse De Pauw. In this piece she performed with Taka Shamoto and Frieda Pittoors, accompanied by the music of Kunito Kato. Besides choreographing and dancing, she teaches numerous workshops for Rosas and her own work.
Anneleen Keppens (BE)
Anneleen Keppens (Belgium, 1986) graduated from the Royal Ballet School of Antwerp in 2005 and continued her studies at PARTS from 2006 till 2010. Since then Anneleen mainly works as a dancer for Daniel Linehan (US). She danced in his productions Gaze is a Gap is a Ghost, The Sun Came, The Karaoke Dialogues and DBDDBB. In December 2013 she performed a duet with Linehan in the Tate Live Performance Room in Tate Modern, London. She also assisted Linehan several times in the social-artistic project Vita Activa. In 2014 she danced for Xavier le Roy (FR) in Rétrospective par Xavier le Roy in Centre Pompidou, Paris. Between 2014 and 2016 she dances in Drumming, a repertory piece from Rosas (BE). Anneleen has taught technique classes and improvisation/composition classes in places like Artesis Hogeschool Antwerp and Kunsthumaniora Brussel. In 2016 she initiated her own research project and started studying Body Mind Centering in SOMA (FR) and EMA (UK).
Anton Lachky (SK)
Born in 1982, Anton started to dance at the age of 5, in the folk dance company Maly Vtácnik. He continued his dance education at the J.L.Bellu Conservatory in Banská Bystrica, where he collaborated with friends and also participated in M.A.P.A. (Moving Academy for Performing Arts). From there he went on to train at the University of Bratislava in 2001, followed by further training at P.A.R.T.S., headed by Anne Teresa de Keersmaeker (Belgium). Anton became member of Akram Khan Company in March 2004 and followed long international tour of "MA" (48 countries all over the world) for two years. His teaching activities are wide ranging, he has been invited in most of the european countries and has been teaching in Asia and North and South America too. Anton Lachky is co-founder of Les SlovaKs Dance Collective. They created their first piece "Opening Night" in 2006 and premiered it in October 2007. As a choreographer, Anton Lachky created different pieces. "Mind a Gap" (2013) was his first autonomous creationand it toured all over the world. As a guest choreographer he made "Softandhard" - Helsinki City Theater, "Heaven is the place" - Prague DOT 504, "Perfect Day To Dream" (which won best choreography of 2012 in Iceland) - Iceland Dance Company, "Kids in a play" (nominated for the best choreography) - Zagreb, "Sens Interdit" - Bodhi Project (SEAD), "Magical Road" - St-Gallen. In 2014 he will create "wonderland" for the Gottenborg Ballet and choreographies for the Biennale of Venice, and for the Scotish dance theater, He is currently preparing his next creation "It's all about the pills" which will premiere in April 2015.
Colas Lucot (FR)
Colas Lucot studied ballet and contemporary dance in France in the CNSMD of Lyon. After his studies, he joined the CCN Nantes, directed by Claude Brumachon for a short time before being part of the company of Angelin Preljocaj in Aix-en-Provence for the reprise of Snow White and for touring worldwide. Six years ago, he moved to Bruxelles and began to work with David Hernandez. Since then, he has been collaborating with David for several creations inside and outside the company : Thirst, For Movement’s Sake, Hullabaloo, Passage… He also has been assisting David for several workshops and classes in many schools, events and festivals : PARTS, DOCH, Impulstanz, Folkwang, Coline… In 2012, Colas worked with Akram Khan and took part of the opening ceremony of the Olympic games in London. He also has been involved in other dance projects, mostly in Germany and England. Since 2013, Colas has been teaching in several venues and established studios in Belgium and abroad.
Renan Martins De Oliveira (BR)
Renan Martins started his education in Rio de Janeiro at Deborah Colker Movement Center at the age of 16, and one year later won a full scholarship to study at SEAD in Salzburg, Austria. In 2010 he joined P.A.R.T.S. (Performing Arts Research and Training Studios) to be part of the Research Cycle where he focused more intensively on choreography and started developing his own work. He has performed his pieces in different venues in Brazil, Austria, Slovenia, Germany, Holland, Portugal, Russia, Belgium, Croatia, France, Czech Republic and Slovakia. Along with his choreographic practice he has also been a performer for Iztok Kovac, Marysia Stoklosa, Pierre Droulers, Anne Teresa de Keersmaeker, Alexandra Waeirstall and Meg Stuart. He has been an active teacher in the last couple of years giving workshops and master classes at Signsix, DansCentrumJette, PARTS Summer School and Cie Thor Studio in Brussels, SIBA in Salzburg, Theatre de La Bastille in Paris, Codarts in Rotterdam, Munich's University of Drama, ME-SA in Prague, DOCH in Stockholm and Artesis/Conservatory of Antwerp where he has also been a jury member of the committee. And as of September 2014 Renan joined the team of SeventySeven vzw together with other artists such as Les Slovaks, Anton Lachky, Moya Michael, Meytal Blanaru and Peter Jasko, where his work is represented.
This year Renan joins Aerowaves as one of the top 20 promising choreographers for 2016 with the piece Let Me Die In My Footsteps.
Roberto Olivan (ES)
Roberto Olivan is the Catalan choreographer and Director of ROBERTO OLIVAN PERFORMING ARTS. He lives and works internationally binding together all those seemingly opposing influences from each country and culture he steps in, using a mix of artistic languages to create primeval, organic physical theatre full of wonderful contradictions. It is rooted firmly in his own origins and experience, and colored by those of the performers with whom he creates.
Although well educated in many forms, in the art of control and precision, Olivan works not only with the intellect, the head, but with emotion, physicality and love. He seeks to make his work accessible to audiences, combining the power and energy of circus with the harsh reality of the world in which we live. The result is a genuinely stimulating celebration, fantastical yet somehow heartfelt and down to earth.
He trained in the Institut del Teatre of Barcelona and in P.A.R.T.S. school in Belgium, where he founded his own company in 2001. He has had a long and intense career. He has performed under the direction of prestigious creators such as Anne Teresa de Keersmaeker, Robert Wilson, Tom Jansen or Josse de Pauw, and he has created pieces for many other dance companies and institutions in many different countries. He has received several awards like the FAD d’ARTS PARATEATRALS Award 2012, Ciutat de Barcelona Award 2013 and the National Culture and the Arts Award 2014 in Spain. He is founder and artistic director of Festival DELTEBRE DANSA from 2004.
Peter Savel (SK)
Peter has a BA in dance pedagogy from the Academy of Music and Performing Arts in Bratislava. He finished his further studies at P.A.R.T.S. in summer 2010. He is recently based in Brussels. He is since than working in Belgium (Pierre Doulers, Salva Sanchis, Mark Vanrunxt...) and creating his works and teaching around Europe. Since 2014, Peter is the Artiste in residence at Charleroi Danses.
Peter is since the beginning of his career interested in the connection between the social and the artistic. Researching movement not only as a pure mean of artistic expression, but in connection to social structures and anthropological origins. All this with a passionate contradictory character of his own. Combining a poet with a scientist, a disciplined craftsmen with a naive playful child, a pragmatic researcher with a dreaming explorer. His world is one combining emotion with structure, the known with the forgotten, the rational with the surreal.
"Creating is playing, because to create is to remember - once again - that everything is possible! That even if what we do at the moment is of the most utter importance to us, it is just a game, which rules can be changed at any given moment."
His work - just like his personality - combines humor and seriousness, mathematical composition and its expressive impact, musicality and dance. But he never stops at the formal level. His work is filled with an urge to explore something human, the essence hidden behind the socially constructed structures.
Recognizing a social phenomenon and translating it into a purely physical language, he looks for ways to share with his public and students an actual experience. We can all recognize it`s archetypal origin, and yet through the physical abstraction are invited to connect to it through our personal history, knowledge, point of view.
Igor Shyshko (BY)
Igor Shyshko studied ballet and modern dance at the University of Culture of Minsk between 1993 and 1997, then moved toBrussels to become a student at P.A.R.T.S.; he graduated in June 2000. At P.A.R.T.S., Shyshko performed in ‘Donne-moi quelque chose qui ne meure pas’ by Claire Croizé, Milky Way by Thomas Hauert, and Selfwriting by Jonathan Burrows. In 1998, he worked as a trainee with Anne Teresa De Keersmaeker and Rosas during the creation of Drumming. In 2000, he contributed as a dancer to the creation of Rush, a choreography by Akram Khan. That same year, he became a member of Rosas, dancing in the revival of Drumming. He also contributed to the creation of Rain, April Me, The Repertory Evening, Bitches Brew/Tacoma Narrows, Kassandra, Zeitung, and The Song, and to the revivals of Mozart/Concert Arias, Raga for the Rainy Season/A Love Supreme, D’un soir un jour, Bartók/Beethoven/Schönberg: Repertory Evening, and Steve Reich Evening. In 2010 he created a piece with Michèle Noiret, Minutes opportunes. In the same year he worked with Arco Renz for the Palais des Beaux-Arts in Kaaitheater. In 2011 he contributed as a dancer to the creation of Zeit by Marc Vanrunxt, and to the creation of Dust by Arco Renz.
Clinton Stringer (ZA)
Clinton Stringer was born and raised in South Africa. After studying for an Arts Degree there, he moved to Belgium to attend P.A.R.T.S. where he spent two years. He left the school to work for Joachim Schlömer on the production La Guerra d’Amore in Basel. In 2000, Clinton joined Rosas (Anne Teresa De Keersmaeker). Over the course of nine years he was involved in many creations and restagings of repertoire pieces including Rain, Drumming, April Me, Raga for the Rainy Season, Mozart Concert Arias, Bitches Brew… He left the company to study graphic design at Sint-Lukas (Brussels). Since graduating, he has divided his time between freelancing as a graphic designer and contemporary dancer. In 2011 and 2014, he was involved in the re-staging of Rain at the Opéra de Paris. He was also involved in the re-staging of Die Grosse Fugue for the Opéra de Lyon and Companhia Nacional de Bailado (Portugal). Freelance dance projects include Dancesmith (2013) with Mark Lorimer and Cynthia Loemij, and Volcano (2014) with Liz Kinoshita.
Benjamin Vandewalle (BE)
will be published soon.
Sandy Williams (CA)
Originally from Calgary, Canada, Sandy Williams attended the University of Calgary and Concordia University before relocating to Brussels in 2002 to attend P.A.R.T.S. After completing the Training Cycle he went on to create his own works (The Kansas City Shuffle, Everything Happens So Much) and collaborations with Jan Ritsema ("Blindspot", "KnowH2ow"), Andros Zins-Brown ("Day In / Day Out", "Limewire") and Deborah Hay ("I'll Crane For You").
From 2007-2012 Sandy worked with Anne Teresa de Keersmaeker's Rosas participating in the creations of Zeitung, The Song, En Attendent and Cesena among others.
Currently, he is creating a new piece entitled Everything Happens So Much and is engaged in projects with the French collective Loge22 (Konkretheit), Andros Zins-Browne (The Middle Ages).
David Zambrano (VE)
For over 33 years, David Zambrano has been a monumental figure in the international dance community, and his passion for cultural exchange continues to influence his work. Teaching and performing internationally, Zambrano is an ambassador and liaison across many borders, bringing together artists from all over the planet for his projects. An inspiring teacher, thrilling performer, and innovative choreographer, Zambrano has contributed generously to the field of dance in ways that have influenced many and impacted the dance world from several angles. His development of the “Flying Low” and “Passing Through” techniques are among his recent innovations that have helped to lead improvisational dance into an exciting future
Andros Zins-Browne (US)
Andros Zins-Browne (New York City, 1981) is an American choreographer who lives and works in Brussels. His work consists of "dance performances and hybrid environments at the intersection between installation, performance and conceptual dance...They explore the way in which the human body, movement and matter can interact until a certain melting point is reached and the diverse media appear to take on each other's properties." (Catalogue from Beyond Imagination, Stedelijk Museum, Amsterdam)
After completing a degree in Art Semiotics at Brown University (US, 1998-2002), Andros moved to Brussels in 2002 to study at the Performing Arts Research and Training Studios, P.A.R.T.S (BE, 2002-2006). He later pursued a research program in the Fine Arts department at the Jan van Eyck Academie, Maastricht (NL, 2010-2011).
Andros' works have been presented internationally including the Centre Pompidou in Paris, Dance Umbrella and the ICA in London, Het Stedelijk Museum in Amsterdam, HAU in Berlin, De Singel in Antwerp, Vooruit in Gent, Next Festival in Kortrijk, MDT in Stockholm, Kaaitheater in Brussels and the Theater Festival Impulse, Düsseldorf where he received the Goethe Institute Award in 2011 for The Host.