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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.
Laura Aris studied at the Institut el teatre in Barcelona. Between 1996 and 1999 she was part of Lanònima Imperial Dance Company, in Barcelona. She was also associated with General Electrica collective. Between 1999 and 2008 was a member of Ultima Vez/ Wim Vandekeybus for the creations and touring of: Inasmuch as life is borrowed, Scratching the Inner Fields, Blush, What a body does not remember, Sonic Boom, Puur , Spiegel, Menske . She also performed in several dance films directed by Wim Vandekeybus. She regularly teaches workshops related to the Ultima Vez dance vocabulary and contemporary technique lessons internationally. She set up a research project Ejercicios de Duelo, and made choreographies for theatres in Costa Rica and Mexico. Top
Florence Augendre studied ballet, African dance, tap dance and modern jazz, and followed an intensive education in Body Mind Centering. She has worked a lot for theater, opera, film, contemporary dan ce and visual arts, adding to each creative project a dimension that is rooted in physical culture and dance. She worked with theatre directors such as Louis and Xavier Bachelot, choreogrpahers such as Pascale Houbin, François Raffinot, Wes Howard, Andrew Degroat, Thierry Guedj, Christophe Haleb, Wim Vandekeybus, Meg Stuart, David Hernandez, Labor GRAS, Johanne Saunier/Jim Clayburgh, Brice Leroux, Lance Gries (N.Y.), Riina Saastamoinen, Alexander Baervoets, Label Cedana, Olga de Soto, Fabrice Ramalingom and Koen Augustijnen.
Kuno Bakker studied at the Theatre school of Arnhem, Netherlands (1989 – 1993). Founding of theatre collective Dood Paard, based in Amsterdam (1993) Creating ± 35 performances with Dood Paard, which were played in the Netherlands and Belgium and several other European countries. Working for television and film as an actor. Teaching at the theatre schools in Amsterdam and Antwerp and at PARTS, Brussels. Top
Cyril Baldy studied in Paris at the Conservatoire National Superieur. He worked with The Jeune Ballet de France, Nederlands Dans Theater (NDT) II and NDT I before joining Ballett Frankfurt in 2002. He was member of The Forsythe Company from 2005 until 2014. Since 2014, alongside teaching internationally, choreographing and staging William Forsythe's repertoire, he co-created his own art direction company named Sad.Top
Douglas Becker is a freelance choreographer and teacher working in many idioms. A former dancer with the Joffrey Ballet New York, The National Ballet of Canada, The Dallas Ballet and The Frankfurt Ballet under the direction of William Forsythe of which he has reconstructed numerous works by the choreographer for professional companies, festivals, and educational institutions across the globe. In Ballet he was taught by Nathalia Krassovska, Stanley Hall, Marjorie Mussman, Maggie Black, David Howard, and Melissa Hayden; thus, carrying a broad resume teaching Ballet, improvisation, composition, and repertory. His choreography has been featured on the stages of Belgium’s Royal Flemish Theatre, Switzerland’s Grand Theatre de Genève, and the Choreographic Centers of Grenoble and Nancy in France, and has been visiting faculty for P.A.R.T.S. Brussels, New York University, The University of California Irvine, and the national conservatories of Paris and Lyon among many others. Mr. Becker's collaborative process of choreographic development improvises upon and utilizes dancers' individual talents and characteristics. Between 2007 and 2011 Douglas Becker founded the Hollins University Masters of Fine Arts international extended study abroad program, under the direction of Donna Faye Burchfield; introducing students to new ways of imagining their research, advancing their abilities to realize their work in a larger context, and supporting their participation in dialogues that move across geographies as well as disciplines. A 2012/13 artist-in-residence at University North Carolina School of the Arts, Douglas Becker began as visiting master lecturer at The University of the Arts Philadelphia 2010-present, where he is also responsible for the dance departments international touring program.Top
A reoccurring focus to much of Marcus Bergner’s artworks and related research has been in shifting and rethinking points of intersection that operate between/within the worlds of visual art, literature, art history, film, and performance. As part of these investigations he has made over 25 experimental films that have been exhibited in solo and group exhibitions/screenings in museums, galleries and cinemas across Australia, Europe and North America. These films are divided into three distinct lines of production: language/poetry, spatial/performance, and visual art areas. Between 1985 and 2000 as a member of the Australian sound poetry group Arf Arf, Bergner performed extensively throughout Australia and Europe. In 2010 he completed a PhD research project (University of Melbourne) that considers experimental film in light of changing approaches to the discipline of art history. Since 2009 he has conducted on-going experimental film and performance workshops at the Czech Film Academy in Prague (FAMU), as well as lecturing on media history at the University of New York, also in Prague. In 2013 he was invited to take part in the unique exhibition/performance event ‘Words Live’ in Amsterdam and Rotterdam. He will premiere a major new film and performance work commissioned by the Akademie Schloss Solitude in Stuttgart early 2017. Presently he lives and works between Australia and Europe and is completing a series of essayistic pieces that demonstrate and explore the noetic and conspiratorial necessity of instigating forms of ‘incomprehensible art criticism.’Top
Stephane Bourhis is a professional dancer. He studied at the Conservatoire National de Danse in Avignon (France). He started his career at the company Ballet du Théâtre de Lucerne where he stayed 4 years and he then moved to the Béjart Ballet Lausanne (Switzerland) where he danced for over 11 years. He is currently following the Yoga Teacher Training in Brussels in order to become certified in Yoga Iyengar for the Base II diploma. During this training, he regularly attends classes from Alexis Simon, Willy Bok and Rita Poolvoerde. He has actively participated to the Belgian National Conventions of Iyengar Yoga where he was trained by reknown teachers as Zubin Zarthoshtimanesh, Christian Pisano, Faeq Biria, Corine Biria, Abhijata Sridhar (B.K.S Iyengar's granddaughter) and Rita Keller. He also attends regularly the classes and workshops given by Usha Devi in her yoga study center in Rishikesh (India). He is currently teaching yoga for kids in primary school. Top
François Chamaraux studied physics and mathematics in France. He played the piano as an amateur. In 2005 he moved to Brussels after receiving a PhD in physics. Since then, he shares his professional life between science and music. On the scientific side, he teaches mathematics and physics in secondary school and university. Through writing papers about science news and guiding naturalist tours around Brussels, he contributes to the popularisation of science. As a musician, he plays piano in various circumstances : accompaniment of silent movies (cinematek), dance classes (PARTS and other schools), choirs, theater, singers - and sometimes concerts solo with a more « classical » repertoire, from Bach to Messiaen. He also plays accordion and violin in various performances, mainly around traditional dance and music of Europe.Top
Dancer and choreographer Boris Charmatz (b. 1973) was a table tennis player before studying dance at the École de Danse in Paris and continuing his studies at the Conservatoire National Supérieur de Musique et de Danse in Lyon. In 1992, he founded Association Edna, together with Dimitri Chamblas. In 1993, they made their debut with the duet À bras-le-corps. From 1997, Charmatz started to develop various projects within the Association Edna, ranging from improvisational projects and installations to films, exhibitions and excursions. In 2008, he was appointed artistic director of the CCNRB (Centre Chorégraphique National de Rennes et de Bretagne), which he transformed into a Museum of Dance (www.museedeladanse.org) a year later. One of the projects he set up at the museum was expo zéro, an exhibition without any objects: no photographs, sculptures, installations or videos; only artists with their bodies, gestures, movements and dance.
Marta Coronado, born in Spain, studied ballet technique and graduated as a ballet dancer from Escuela Oficial de Danza del Gobierno de Navarra. She was part of the contemporary dance company Yauzkari until she moved to Brussels. She attended the two years dance program of P.A.R.T.S. first cycle. In 1998, she became a member of Anne Teresa De Keersmaeker's company Rosas. She danced and participated in the creations of Rosas such as: Drumming, I said I, In real time, Rain, April me, Bitches Brew, Kassandra, Rain Raga and D' un soir un jour. In the season 2002 she was awarded a Bessie (New York Dance and Performance Award) for sustained achievement as a performer. She co-directed the Rosas repertory graduation projects at P.A.R.T.S. In 2011 and 2014 she teaches a Rosas repertory piece, Rain at the Paris Opéra. In 2015 she teaches Drumming at the Opera de Lyon. She had the opportunity to teach Rosas Repertory and composition workshops worldwide. She has been invited as a guest choreographer to La Salle Singapore ,CDC Toulouse and Compañia Fueradeleje. She teaches technique at Rosas Company, Les ballet C. de la B. the Ballet de Marseille, P.A.R.T.S. Ultima vez company, ImPulsTanz, Charleroi Danses, Thor Company, La Raffinerie, Conservatorio superior de Madrid and Theater school Amsterdam. Nowadays she free lances for Rosas and is part of the new collective House of Bertha. Their first piece White Noise premiered in MDT Stockholm in 2011. Top
Paul Craenen is a composer, teacher, researcher and currently director of Musica, Impulse Centre for Music. As a composer and teacher of music, he links a classical training to work with the newest instruments and techniques. In his role as a researcher and director, he attempts to bridge the gap between existing music practice, scientific findings and the wider cultural context in which musical activity can unfurl. He earned his master’s degree in piano and chamber music from the Lemmensinstituut in Leuven, Belgium. Since then he has taught piano and experimental music at various music schools. He has designed several pioneering educational projects involving new music and the use of new media in music education.
Bojana Cvejić (Belgrade) is a performance theorist and maker based in Brussels, and a co-founding member of the TkH editorial collective (http://www.tkh-generator.net). Cvejić holds degrees in musicology and philosophy (PhD, Centre for Research in Modern European Philosophy, London). Since 1996, she has (co-)authored and collaborated in many dance and theatre performances with J. Ritsema, X. Le Roy, E. Salamon, M. Ingvartsen, and E. Hrvatin. Her own performance work involves five independent opera productions, of which the latest was her staging of Don Giovanni at BITEF festival Belgrade (2008). Cvejić has published widely in philosophy, performance theory, and musicology, in magazines, peer-reviewed journals and edited volumes, and three single--authored and five co-authored/edited books. Her latest books are Choreographing Problems: Expressive Concepts in European Contemporary Dance and Performance (Palgrave, 2015), Drumming & Rain: A Choreographer’s Score, co-written with A. T. De Keersmaeker (Mercator, Brussels, 2014), Parallel Slalom: Lexicon of Nonaligned Poetics, co-edited with G. S. Pristaš (TkH/CDU, Belgrade/Zagreb, 2013), and Public Sphere by Performance, co-written with A. Vujanović (b_books, Berlin, 2012). Cvejić teaches at various dance and performance programmes throughout Europe (e.g. P.A.R.T.S. Brussels). Her latest works include the exhibition Danse Guerre at CCN Rennes (2013) and Spatial Confessions at Tate Modern (2014). She has been researcher and lecturer at Theater Studies, Utrecht University, 2009-2013 and currently holds the post of Associated Professor in Philosophy of Art at Faculty for Media and Communication, Singidunum University in Belgrade. Her field of research includes continental philosophy, contemporary performance, dance and theater, social choreography, and, most recently, performance of the self, individualism and rhythms of intensified work. Top
Michel Debrulle is a percussionist who got his basic musical formation at the I.A.C.P. in Paris and at the Conservatoire Royal de Liège, where he studied also improvisation and Jazz. He took master classes at the Creative Music Studio in the USA with Trilok Gurtu (India), Nava Vasconcellos (Brazil) and Amadu Garre (Sierra Leone). A scholarship of the foundation S.P.E.S. gave him the opportunity to travel to India and Cuba to perfection his musical knowledge and skills. Active both as a musician and a pedagogue, Michel Debrulle toured extensively in Europe, USA, Canada, Marocco with various music ensembles, amongst which Trio Bravo, La Grande Formation, Tous Dehors Big Band, Trio Grande, Rêve d’Eléphant Orchestra and contributed to many CD registrations. He is involved as a musician in theatre and dance performances and gives different types of rhythm classes and workshops to actors and dancers. In his pedagogical work he concentrates on the organic understanding and internalisation of the rhythm, privileging the relation between earth and air. Important element in this process is the practise of various oral rhythmical traditions linked to analysis of and improvisation on different approaches of time and space. Top
The artistic work of Christine De Smedt is situated between dancing/performing, choreographing, coordinating, organizing and curating artistic projects. Being a member of the company Les Ballets C. de la B. (Gent, Belgium) from 1991 until 2012, she created her own work since 1993, a solo, La force fait l’union, fait la force; a travelling project in the Balkans, Escape Velocity (1998) and a large scale mass choreography, 9x9 (2000-2005). In 2012 she premiered a series of performed portraits of different artists, titled Four Choreographic Portraits (‘I would leave a signature’, The son of a priest, A woman with a diamond and Self-reliance) .
Qualified shiatsu practitioner and certified teacher of the European Iokaï Shiatsu Association, Palle Dyrvall teaches Iokaï shiatsu in Brussels and assists Thierry Camagie, vice-president of EISA, for level 2 et 3 en Belgium. Before dedicating himself to shiatsu Palle managed a career as a dancer, during which he practiced several somatic techniques such as Release Technique, Alexander Technique and Body Mind Centering, which allowed him to develop a deep knowledge of the human body and its energetic system, and to acquire empirical as well as intuitive knowledge. In parallel, he is practicing since twenty years oriental arts of health like Do-In, Qi Gong and Yoga. He is also a graduate of the Yoseido Shiatsu Academy (Master Yuichi Kawada).Top
Gabel Eiben is from Codorus, Pennsylvania in the US. He has been living in New York the last 10 years, and recently moved to Brussels. Gabel has been working with Kelly Copper and Pavol Liska for the american avant-garde theater company Nature Theater of Oklahoma since 2008 in Life and Times Episodes 1-4 and 6-9, Poetics: a ballet brut, and No Dice. With Nature Theater, he has also performed in and filmed many shorts and the feature length documentary The Great Nature Theater of Oklahoma is Calling You! He has also worked and studied with SITI Company in New York and performed in Radio Macbeth. He holds a BFA in acting from Shenandoah University. Top
Laia Escandell “I was introduced to yoga as a parallel practice of my dance career in 1998.However, it wasn’t until I took a Sivananda Yoga Teachers Training in 2008 in South India that my real initiation into Yoga started, with growing passion. Since then, I have been practicing regularly asanas, pranayama and meditation, reading the yogic philosophy and trying to understand and apply all that in my daily life; as well as teaching it to groups and in private classes.
I was introduced to yoga as a parallel practice of my dance career in 1998. However, it wasn’t until I took a Sivananda Yoga Teachers Training in 2008 in South India that my real initiation into Yoga started, with growing passion. Since then, I have been practicing regularly asanas, pranayama and meditation, reading the yogic philosophy and trying to understand and apply all that in my daily life; as well as teaching it to groups and in private classes.
Elisabeth Flynn has been a piano accompanist for dancers for 40 years. She began playing for children and gradually worked her way up to professionals, working at Les Grands Ballets Canadiens, The Royal Winnipeg Ballet, The Finnish National Ballet, The Royal Ballet of Flanders, Charleroi Danses, and now PARTS. She also teaches piano and theory lessons, coach singers and choirs, accompany singers and instrumentalists, arrange music for jazz ensembles, and produce musical events, mostly for charity. She also loves to cook and garden, and enjoys fitness activities such as running, cycling, and going to the gym.Top
Femke Gyselinck works since 2010 as artistic assistant of Anne Teresa De Keersmaeker/Rosas. She teaches workshops about the principles that are used during the creation process of the performances of Rosas. Together with her brother Lander Gyselinck (STUFF.,Labtrio)she is working on the performance Flamer that will premiere in Vooruit in may 2017. In collaboration with Romina Lischka she created a piece to ‘Lachrimae or Seven Teares’ of John Dowland, performed live by Hathor Consort. To the music of Johannes Schenck they made the performance ‘L’echo du Danube’. Both pieces are currently touring. ‘Fictional european field recordings’ is a piece she is making together with musicians Fulco Ottervanger and Lander Gyselinck that will also premiere in Vooruit in may 2017. She started studying at P.A.R.T.S in 2002 and graduated in 2006. She obtained a degree in dance teaching in 2009 at the conservatory in Antwerp. She worked as a dancer with Eleanor Bauer, Andros Zinsbrowne and Esther Venrooij. She worked with visual artist Kelly Schacht.Top
Lucy Grauman trained as a classical singer after having had some experience in theater and singing jazz. Her eclectic career has mainly focused on contemporary music, as a soloist and in ensembles.She has practiced free improvisation with electronics as well as singing classical recitals. In the past ten years she has developed as a choir conductor. Se presently leads a children’s choir ‘Shanti! Shanti!’ and conducts and composes for a women’s ensemble ‘Ik zeg adieu’ (Music-Theater creation in 2016 with director Marijs Boulogne). Since 2009 she has been gathering songs, taught to her by people from all over, and particularly from asylum seekers. She has been arranging these songs for amateur groups that perform regularly (Voix de Voyageurs, Stemagnifique). As a teacher she has been coaching actors and dancers for many years and has been teaching at Parts since the beginning. Top
David Hernandez David Hernandez was born in Miami, Florida where he studied 'studio music & jazz’ and opera at the University of Miami and dance at 'New World School of the Arts’. Subsequently he moved to New York to work as an apprentice with the Trisha Brown and company and begin researching with Meg Stuart. He left New York to follow Meg Stuart to Belgium to help begin the company Damaged Goods where he worked for almost seven years as a dancer and collaborator. David remained in Europe basing himself in Brussels where he continued creating his own work in the form of dance performances, installations, happenings and many other sorts of multidisciplinary projects for over twenty years. Next to his own projects he continued performing and collaborating with many other artists such as LaborGras, Brice Leroux, Anouk Van Dijk, Michel Debrulle as well as directing, performing and researching as an improviser with artists such as Steve Paxton & Katie Duck, among many others. He was one of the three initiators of the improvisation project 'Crash Landing' along with Christine Desmet and Meg Stuart. David participated in a choreographic collaboration with Anne Teresa De Keersmaeker for many years for projects including "Zeitung", "Keeping Still" and “D’un Soir un Jour" and danced and sang in the production “Cesena" which premiered at the Avignon Festival in 2011.
Anneleen Keppens graduated from the Royal Ballet School of Antwerp in 2005 and continued her studies at P.A.R.T.S. 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).Top
Martin Kilvady was born in 1974 in Banska Bystrica, Slovakia, where he graduated from secondary school. Subsequently, he enrolled in a program for teacher education in contemporary dance at the Comenius University in Bratislava, the School of Music and Dramatic Arts where he received his "Master of Arts".
Rudi Laermans is senior professor in social theory at the University of Leuven, Belgium. His recent academic publications are situated at the intersection of canonical sociological theory (esp. the Weberian tradition), social systems theory (esp. Luhmann) and post-Marxist critical theory (Negri & Hardt, Agamben,..). He regularly writes on culture & the arts, including contemporary dance. Top
Daniel Linehan’s choreographic work is intent on softly obscuring the line that separates dance from everything else. He approaches performance-making from the point of view of a curious amateur, testing various interactions between dance and non-dance forms, searching for unlikely conjunctions, juxtapositions, and parallels between texts, movements, images, songs, videos, and rhythms. Linehan first studied dance in Seattle and then moved to New York in 2004. His work first came to public attention in 2004 with the solo Digested Noise, presented in Fresh Tracks at Dance Theater Workshop. In 2005 and 2006, he worked with a team of four other dancers to create The Sun Came and Human Content Pile. Linehan was a 2007-2008 Movement Research Artist-in-Residence. In 2007, Linehan premiered the solo Not About Everything, which has since been presented in over 75 venues internationally. In 2008, Linehan moved to Brussels where he completed the Research Cycle at P.A.R.T.S. His works created in Belgium include Montage for Three (2009), Being Together without any Voice (2010), Zombie Aporia (2011), Gaze is a Gap is a Ghost (2012), and The Karaoke Dialogues (2014). Top
Since graduating from the London School of Contemporary Dance in 1991, Mark Lorimer has worked as dancer, choreographer, teacher and rehearsal director.His main collaborations as a dancer have been with Rosas/Anne-Teresa De Keersmaeker (1994 - present) and with ZOO/Thomas Hauert (1997- 2005). Alongside these he has worked on many projects with (among others) The Featherstonehaughs/Lea Anderson, Bock & Vincenzi, Mia Lawrence, Jonathan Burrows, Deborah Hay, Alix Eynaudi and Boris Charmatz. As a choreographer he has made two full-length evening works "To Intimate" with cellist Thomas Luks and fellow Rosas mainstay Cynthia Loemij, and "Dancesmith - Camel, Weasel, Whale" again with Cynthia plus graphic artist and dancer Clinton Stringer. In March of 2016 he made a piece for Bodhi Project SEAD, Salzburg - “Darwin’s Gypsy Dance” that is currently touring. He has also made works with students of the Laban Centre, London, and a duet with Chrysa Parkinson - "Nylon Solution". As a rehearsal director he has worked on several creations with Rosas and continues to tour with "Vortex Temporum" while dancing in Boris Charmatz's "Manger" and the second collaboration with Alix Eynaudi - “Edelweiss”. Future projects include assisting and performing for new work with Anne-Teresa De Keersmaeker/Rosas, a solo with musician George Van Dam and video artist Manon De Boer, a new work of Alix Eynaudi “Chesterfield”, a short project with theatre-makers Marlene Saldana & Jonathan Drillet “The Rite of Arab Spring”, a collaboration with artist Juergen Staack for a gallery piece in Toulouse, and a reprise of Alain Buffard’s “Les Inconsolés”. Last summer 2015 Mark was a member of the collective DanceWeb leadership at Impulstanz in Vienna alongside teaching and performing in the festival. He teaches regularly at PARTS, Manufacture, Lausanne (generating personal material and musical choreographic writing), CDC - Toulouse, and for other institutions and independent dance organisations.Top
Fabrice Mazliah studies dance in his hometown Geneva, at The National School of Athens and in the Rudra Bejart Atelier in Lausanne. He is part of the Nederlands Dans Theater in Holland before joining in 1997 the Ballett Frankfurt that transitioned into the Forsythe Company which he is part of until summer 2015. In parallel he produces several works of his own, and in collaboration with other artists such as the chekroun/mazliah/san martin collectif, with Ioannis Mandafounis,and others. In 2010 a collaboration with Mandafounis and May Zarhi leads to the collective MAMAZA, touring through Europe, Israel and Africa. In June 2015 he created the last evening of The Forsythe Company “ In Act and Thought” premiering in Dresden and Frankfurt. His latest work Telling Stories is created in December 2015 with and for the MD Collective from Koln. These pieces have been shown in numerous venues and Festivals internationally. Fabrice gives as well seminars, workshop and Ateliers internationally based on research and improvisation for amateurs, professionals and Master programs. Top
Roberta Mosca, choreographer, dancer, performer, studied and worked at the School of Dance Teatro alla Scala Milan, John Skull Schule Stuttgart, Vienna State Opera, Leipzig Opera, Aterballetto, Maggio Fiorentino, and danced for many years with the Frankfurt Ballet and the Forsythe Company. Recently she has also collaborated as a free-lance with dance groups including MAMAZA, mk, espz and choreographers as Laurent Chetouane. In 2003 she created in collaboration with Cora Bos Kroese Biarteca an interdisciplinary festival at Valle Cervo (BI), which in 2014 reached its XI edition. Top
Viviana Mucci studied Medical Physiology and obtained MSC in space Physiology and Health. She is currently pursuing a PhD in Vestibular Pathologies. She has a long background in ballet and rhythmical gymnastics, and works as a personal trainer and sport nutritionist.Top
Martin Nachbar is dancer and choreographer, and writes for several dance and theater magazines. He received his training at the School for New Dance Development (Amsterdam), in New York and at P.A.R.T.S. (Brussels). In 2010, he received a master’s degree at the Amsterdam Master of Choreography (AMCh). He is currently a PhD candidate at the HCU Hamburg. His collaborations include engagements with Les Ballets C. de la B. and Vera Mantero, shared works with Thomas Plischke, Jochen Roller and Martine Pisani, with composer Benjamin Schweitzer and with dramaturge Jeroen Peeters as well as a cooperation with visual artist Paul Hendrikse. He received several grants and prizes, among which the first Choreography Award Ludwigshafen 2006. His pieces, including “Repeater – Dance Piece with Father”, “Urheben Aufheben – Reconstructing Dore Hoyer” and “Animal Dances”, tour internationally. Martin Nachbar teaches regulary in improvisation, contact improvisation, choreography/composition and physical dramaturgy since 2001. Top
From a young age, Janet Panetta studied ballet with Margaret Craske, Antony Tudor and Alfredo Corvino at the Metropolitan Opera Ballet School. At 14, she became Margaret Craske’s teaching assistant, which served as on-the-job training for her lifelong career in dance education. Janet joined American Ballet Theatre in 1968, and later began her foray into modern dance as a member of Paul Sanasardo’s company. She went on to work with Robert Kovich, Neil Greenberg, Susan Salinger, Peter Healey, and countless other modern companies, while continuing to teach. In the 1980s, she began working internationally, and in 1984 the French asked Janet to be the only ballet teacher at their newly created school for contemporary dancers. Her class consisted of twenty students, all of whom went on to professional careers, including the renowned choreographer Jerome Bel. In her 1989 New York Times article, “Why Certain Performers are a Breed Apart,” Jennifer Dunning of the New York Times called Janet’s performing, “Quietly indelible, intense and sharply focused, with a smoky, smoldering aura.” She definitely got that right! Janet currently works with PARTS and with Pina Bausch Tanztheater Wupperthal. In addition, she teaches at Impulstanz in Vienna each summer, and maintains her own New York Studio, where she serves as artistic director of International Dance Dialogues, a program that hosts many European artists workshops and lectures. Top
Chrysa Parkinson is a dancer living in Brussels and Berkeley, California. She lived in New York for many years and performed with Tere O'Connor Dance, Irene Hultman, Mia Lawrence, Jennifer Monson and Mark Dendy, among others. She began traveling to Belgium in 2000 to work on improvisational performance with Zoo/Thomas Hauert and David Zambrano. Since then she has also performed with: Veli Lehtovaara, Remy Heritier, Boris Charmatz, Andros Zins-Browne, Rosas/Anne Teresa De Keersmaeker, Jonathan Burrows, Mette Ingvartsen, Philip Gehmacher , Eszter Salomon , John Jasperse, Deborah Hay, Alix Euynadi , Meg Stuart and Joaquim Koester. She has taught in the US, Europe and Australia, and yearly at PARTS (be) since 1998. Chrysa's writing and films have been published and distributed internationally. Her most recent project, The Dancer as Agent Collection, is available at Oralsite.be. Chrysa is a Professor of Dance and Director of the New Performative Practices MFA program at DOCH in Stockholm. Top
Tom Pauwels studied classical guitar in Brussels, Köln and Münster with Albert Sundermann, Hubert Käppel and Reinbert Evers respectively. In 1995, during his studies at the Brussels Conservatory, he was involved in the founding of Black Jackets Company, a Brussels collective of composers and performers. Ever since these early experiments he has been active in the field of contemporary music, both on classical and electric guitar. From 1999 until 2001 he was a regular member of Champ D’Action, the Antwerp-based ensemble for experimental music. Since 2002 he has worked as a performer and co-artistic leader for the new music ensemble ICTUS (Brussels). Project-wise, he performs with the Anglo-Belgian octet Plus-Minus, ‘Elastic 3’ and Letter Piece Company. He has recorded works by Craenen, Lachenmann, Shlomowitz, Van Eycken and for Cyprès (Ictus) works by Oehring, Harada, Romitelli and Aperghis. After a five year research project on new music for guitar he became a ‘Laureate of the Orpheus Institute’ with the thesis ‘De Echo van ‘t Saluut’. Since 2002 he has been in charge of teaching new music for guitar at the Conservatory of Gent where he has developed an advanced master program with emphasis on contemporary chamber music in collaboration with the Spectra ensemble and Ictus. This program is designed for musicians wishing to combine further specialization in performing contemporary solo & chamber music with developing their professional career (more info here). He is teaching guitar at the International Summer Courses in Darmstadt. His broad interest in performance has recently led to collaborations with choreographers as Xavier Leroy (see ‘Mouvements für Lachenmann), Maud Le Pladec (see ‘Professor’ and 'Poetry') and Andros Zins-Browne (The Funerals)
Thomas Ryckewaert is a Belgian director and actor. He studied biology and philosophy at the University of Leuven and Dramatic Arts at the Antwerp Conservatory. Thomas’ work balances on the borders between theatre, dance and installation. His most recent creations are Homo sapiens (2010), Portrait (2012) and Genesis (I, II, III) (2013). His work is characterized by a visual and ritual style that tends to explore the dramatic potential of everyday actions. He often works with a mix of actors, dancers and amateurs. As a freelance actor he frequently works for theatre, film and television. Top
Gabriel Schenker was born in Washington D.C., raised in Rio de Janeiro, and lives in Brussels for the past twelve years. He started his professional career with ‘Cia. Deborah Collker’ in Rio de Janeiro, before studying in PARTS between 2004-2008. After four years at P.A.R.T.S. he co-founded the collective Busy Rocks with whom he created and performed a variety of works such as Dominos and Butterflies and Throwing Rocks. Since leaving studies, Gabriel also has collaborated as a performer with a variety of choreographers such as Eleanor Bauer, Robin Jonsson, Doris Stelzer, and Alexandra Bachzetsis. More steadily, he has collaborated with Anne Teresa de Keersmaeker/Rosas, in the creation of Cesena, performing in Zeitung, and Work/Travail/Arbeid; and Thomas Hauert/Zoo with the creation of You’ve Changed, Mono, replacing in Accords, and Inaudible. He has also authored two pieces on the last years: Moving~Thinking, an artistic research that culminated with the development of a dance-speech score exploring the relations and divergences between different modes of thinking, and Pulse Constellations, exploring the multi-layered complexity of John McGuire's electronic piece of music.
French mezzo-soprano Fabienne Séveillac obtained a Masters in Performance Voice at the Brooklyn College Conservatory. During her studies there she performed the lead role in operas and premiered numerous pieces by young composers. In 2009 she was the recipient of the Robert Starr Award for the best interpretation of a living composer. She now devotes her time principally to the performance and teaching of 20th and 21st century music. After a Masters degree in Musicology focusing on György Kurtág and Samuel Beckett at the Tours University, whilst teaching piano and ear training, she began vocal studies in the ensemble Mikrokosmos then at the Centre de Formation pour Jeunes Chanteurs du Jeune Chœur de Paris at the Paris CRR, where she worked with Laurence Equilbey and other conductors such as John Nelson and Pierre Boulez. Since her return to Europe, she has been the singer and co-artistic director of soundinitiative, and in parallel cofounded HYOID (contemporary voices), now based in Brussels. She performed as a soloist and gave masterclasses in France, Belgium, Germany, Switzerland, Austria, Danemark, Canada, the USA, Singapore, Australia and New Zealand, in various festivals including the Darmstadt Summer Festival, the Bludenzer Tage zeitgemäßer Musik in Bludenz, What's Next / Ars Musica and "Les nuits " Botanique in Brussels, Blurred Edges in Hamburg, the Impuls Akademie in Graz, Klang in Copenhagen, the Brisbane festival and the Bendigo BIFEM festival.Top
Taka Shamoto (JP/BE) was born in 1975 in Sendai, Japan. At the age of three, she started dancing at the Sendai City Ballet School. For the next ten years, she was taught by Masako Ono. At sixteen, she entered the Balletschule der Hamburgischen Staatsoper John Neumeier in Germany, an education in which classical technique and composition work played a key role. After her three year education in Hamburg, Taka Shamoto focused on contemporary dance. In 1995 she joined the contemporary dance school P.A.R.T.S. and joined Rosas two years later. She danced in the revivals of Woud and Achterland and contributed to the creation of Just Before, Drumming, I said I, In Real Time, Rain, April me, Bitches Brew / Tacoma Narrows and Kassandra, and the revival of Mozart / Concert Arias. In 2007 she collaborated with Grace Ellen Barkey & Needcompany for The Porcelain Project. In 2010 she performed in Jan Decorte’s Tanzung. Currently she is performing in Avdal and Shinozaki’s projects Field Works-office, Borrowed Landscape, nothing’s for something and as if nothing has been spinning around for something to remember. Top
Pieter Smout was born in 1979 in Mechelen, Belgium. From 1997 to 2003 he studied classical piano and free improvisation in the Royal Conservatory in Brussels with Jan Michiels and Kris Defoort. Since 2003 he has been working as a pianist and accompanist, mainly for musical theatre, improvisation, dance, choir, jazz, pop and entertainment. As a freelancer he worked with Rosas, Royal Ballet School Antwerp, Musichall, Joop van de Ende, Brussels Philharmonic, Blindman, Lod and the Belgian Improvisation Liga. Currently he works in Brussels as a musical theatre director at the Royal Conservatory and the Kunsthumaniora. As a ballet accompanist he plays regularly in PARTS and the Academy of Arts in Zaventem.Top
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.Top
Alejandra Theus is a Flemish-Colombian actress. She graduated from the Toneelacademie Maastricht in 2008. She has performed with many ensembles in Belgium and Holland, including Het Huis van Bourgondië, Theater Artemis, Oostpool, Toneelschuurproducties Haarlem, Theater Het Amsterdamse Bos, RoTheater, NTGent, Orkater and Het Gevolg/Martha!Tentatief. She also participated in several television series on Flemish channels.
Paul Tucker was an instructor in the British Army Physical Training Corps and responsible for unit physical fitness and physical education of Physical Training Instructors at the Army School of Physical Training. Currently he is the owner of the Paul Tucker Personal Training Studio in Brussels, and teaches defence courses, courses training.Top
Fredy Vallejos was born in Colombia, where he studied music and computer engineering between 1994 and 1996. He continued his musical studies at the Conservatory Maria Valencia in Cali where he graduated with a master’s degree in percussion. He played percussion in different orchestras and bands in Valle del Cauca and contributed to several recording projects. Between 2003 and 2006, he studied percussion and chamber music at the ENM in Villeurbanne in France, in 2006 he studied at the Conservatory of Lyon and between 2007 and 2009 at the Conservatory of Blanc-Mesnil, specialising in instrumental and electro-acoustic composition and musicology. He was also a resident at the Cité internationale des Arts and IRCAM in Paris. At IRCAM jhe collaborated with choreographer Thomas Hauert, who invited him to write music for his production MONO. His music has been performed in different countries (Colombia, Ecuador, France, Switzerland, Belgium, Spain.Top
Robin Vanbesien lives and works in Brussels. Vanbesien earned his master’s degree in History at the University of Ghent. He subsequently studied Visual Arts at the Gerrit Rietveld Academy and De Ateliers in Amsterdam. His most recent solo and group exhibitions include ‘OMONIA’, 5th Athens Biennial (Athens, 2016), ’Foreign Places’, WIELS (Brussels, 2016); ’citizen without qualities’, Drop City (Newcastle Upon Tyne - Düsseldorf – Brussels, 2016); ‘Gravidade’, Lumiar Cité (Lisbon, 2015). He is the author of the short films ‘Gravidade’ (2015) and ‘assembly for an Oresteia’ (2016), while currently preparing the mid-length film ‘vision for a citizen’, due for completion in Spring 2017.Top
Mattijs Van Damme , composer, was born in 1975 in Bruges (B). After taking classes in piano and chamber music at the Stedelijk Conservatorium Brugge, he undertook advanced studies in piano, music theory (harmony, counterpoint and fugue) and composition at the Royal Conservatory of Brussels. Among his professors you find pianist Jan Michiels and composers Jean and Franklin Gyselynck. During several international summer academies, such as Centre Acanthes in Avignon (France) and Bartòk Seminar in Szombathély (Hungary), Mattijs Van Damme had meaningful encounters with such composers as Jonathan Harvey, Helmut Lachenmann and Michael Jarrell, who were a major influence on his further evolution as a young composer. ‘Nescio’ for eleven strings, premiered by the Kamerorkest Koninklijk Conservatorium Brussel and later, ‘Interview’ for violin solo, commissioned by the Handelsbeurs Gent and premiered by Patricia Kopatchinskaya, was as a debute enthusiastically received by the audience and the press: “...Interview sounded most convincing as this creation – with its webernian balance of musical means – fitted perfectly in the context of this refined concert...” (Knack magazine). Other commissions folowed for Transitfestival (Festival van Vlaanderen, Vlaams-Brabant), Holland Festival (Amsterdam) and Concertgebouw Brugge. Mattijs Van Damme lives and works in the city of Ghent (B) and is associated to Stedelijk Conservatorium Brugge as a teacher of piano and music theory.
Myriam Van Imschoot is based in Brussels where she works across media as performance and video. She has a background in dance and literature. From 2007 her work as a sound and performance artist has been presented in Europe, Australia and the United States. In a first cycle of works (2007-2011) Myriam Van Imschoot used archives as her medium. The duet Pick-up Voices 2007 with Christine De Smedt, Fax Film (2008) and the juke box sound installation Black Box 2009 showed an interest in the performative potential of archival documents and the construction of alternative historiographies through them. Her solo Living Archive 2011 was a personal testimony of what could be any 'girl living next-door with a passion for mixed tapes'. The interest in sonic archival materials led Myriam Van Imschoot from 2010 to engage her own vocal and gesturing body, as it is inhabited by multiform sonic realities of the past and present. Voice became a main vehicle for performances that investigate techniques (internal) and their applications in urban, rural, theater spaces and various social constellations. Fascinated by phenomena of long-distance communication, she studied yodelling and made pieces that involve crying, waving and bird calls. Myriam Van Imschoot switches between works that are made in situ and those that can tour, between small occasion pieces or bigger productions, with an ongoing interest to explore and traverse contexts. In parallel to the performance work Van Imschoot develops a series of films that link with themes in the performance and installation work, like landscape, architecture, archive, folklore and broken voices. In Brussels she has been crucial in curating contexts for research and exchange amongst artists coming from different fields, for example, through the Voicelabs, Soirée Paroles and other events that she curated for the workplace Sarma, an organisation for discursive practice founded by her in 2001. After a sabbatical she founded with Oral Site a new branch within Sarma for multimodal artist publications on the net Oral Site (2012-now) based on new software Olga, especially designed for this purpose. In October 2015 Van Imschoot launched Volume SP, a compilation series for sound poetry. Upcoming in 2016 is an Online Gallery that she co-curates for one year with Kristien Van den Brande, including temporary and permanent contributions by artists. Through all these activities Van Imschoot occupies an idiosyncratic place in the larger art field. Her approach cuts through media, nurtured by her careful attention for overlooked gestures, phenomena and voices.Top
Alexander Vander Stichele studied psychology and obtained a PhD in sociology. He mainly reseraches in the field of the sociology of culture, investigating participation to culture and the arts, cultural socialisation, the formation of cultural taste and processes of cultural classification. Since 2009, he works for FARO, the Flemish support institute for cultural heritage. He also teahes at the Erasmus university in Rotterdam. Top
A former performer, Christophe Wavelet has co-directed the activities of the Knust Project (1993-2001), a performance collective (1993-2001) focusing on artistic re- enactments, and appropiations, as well as the publication of the french political journal Vacarme (1996-2000). He has collaborated to numerous international manifestations and exhibitions, conferences and publications, both as a curator, scholar and critic. Interested in projects whose priority is at once experimental and discursive, regardless of any medium specificity and within different cultural areas, he has operated as artistic director for LiFE, a cross-disciplinary and transnational contemporary art venue (2005-2010). A fellow of the Akademie Schloss Solitude in 2011-2013, he’s currently writing his first book and working on the french translation of the essays written by Brazilian artist Helio Oiticica. Top