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David Zambrano- Improvisation for Performance (week 1, intermediate level)
Improvisation on stage involves the use of conscious choices in order to create an environment in which to dance. Students will be encouraged to find their own creative thoughts, integrating body and mind, space and time. Learning to dance with a flexible mind. Thus we will create material for structuring solos, duets or group situations. "Dancing is perfect when a relationship of totality exists. The coming together of heaven/dancer/earth, past/present/future, and feminine/masculine results in a dance experience that is orgasmic for both dancers and audience."
Mark Lorimer - Darwin’s Dance (week 1, advanced level)
In Darwin's Dance the aim is to first develop a very short movement loop - our simplest dance organism - and transform this, through various clear choreographic procedures, to evolve into an infinitely more complex creature. With the combination of a range of mutations created by any one task, plus our (not entirely) 'natural' selection, we will at each new task choose the new mutation to be carried on throughout.
Where 'theme and variation' usually refer back to their starting point or theme, here each change or variation will organise a constantly forward-moving development - each change creates the new material for the next change.
My interest recently has been in analysing, seperating and focusing on the transformation of various aspects inherent within movement, but I hope, in addition, that we can work together to develop other new choreographic processes.
What happens if you attempt to desynchronise or alter the time, space, dynamic, mechanic or coordination inherent in any movement phrase whilst maintaining the rest? What sort of sophisticated mutants or hybrids can we create?
The workshop is aimed at advanced students based on the physical complexity that I hope we will arrive at, but perhaps more important will be a lively interest in movement investigation and detailed precision.
Martin Nachbar - Contact improvisation (week 1, basic level)
In my contact improvisation class, I focus on tuning into a sense of weight, how it relates to the joints, and how the muscles around the body’s center and around the spine can help guide the body in a contact dance. Touch will be explored as an informative sense that can help guide dancing with a partner, and the reflexes will be tuned to protect the body when falling by extending from the center towards the ground. At the same time, the class embraces playfulness, spontaneity and instinct in duet dancing.
Nicholas Aphane - Improvisation (week 2 - basic level)
A quality that makes something seem removed from everyday life. A
particular way of doing or executing dance! I am strongly influence by
David Zambrano in way of practicing spontaneity. Also a great influence
of my cultural background as mostly appear in myrhythms. I have learned
to watch and practice not from a language but from observing. The
biggest question is that how can you make the inner voice, the inner
child to be amplified thru dance?
Michel Debrulle - Rhythm (week 2, all levels)
These workshops are an extension of the approach offered by the «Rhythm Without Instruments» workshops. They are aimed at both professional and non-professional dancers.
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.
At a later date, 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.
Eleanor Bauer - Open workshop (week 3, all levels)
#dancingnotthedancer #performinganything #howtodowhateveryouwant #youarethefuture #thefutureisnow #thefutureispasse #historyisyourcatapult #themiddle #nowandnotlater #asap #wecandowhateverwewant #ignorantschoolmaster #letsmakeapieceinfivedays #letsmakefivepiecesperday #danceparty #thoughtsorgy #choreography #performance #watching #findthewordsthatdothetrick #thexfactor #planningisforbeurocrats #theparkisnextdoor #makingitup #today #autonomy #love #sweat #summerinbrusselsneverlookedsogood
Khosro Adibi - Floor work & Improvisation (week 3, intermediate level)
Floor work classes will start with exercises; rolling low on the floor and gradually develop it self farther till we are on our feet jumping. This work focuses on the strengthening the centre, use of our body-weight in relation to the force of gravity as well as sufficient tension and relaxation in our muscles while we are moving. We often going to us our hands and arms in relation to the floor, working with spirals, oppositions, momentum in the movement, use of boon stricture and space in the joints.
Focus of improvisation is to give the freedom to our body and search for our personal movement vocabulary. Through the exercises I try to encourage participants to find their personal way of moving, listening to their body and widening their movement vocabulary.
We are going to work on the specific points in the improvisation during instant composition: relation of performer with space and time in solo as well as in relation to the group.
Imagination, physical reflex and musicality in the movement going to be few attention points that we are going to work on.
Our process will finish with an open presentation.
Julyen Hamilton - ‘INVOLVING TIME’ (week 3 - advanced level)
Time and space are two of the central issues facing the performing dance maker. Both to be able to handle them compositionally but also to be able to have an intimate knowledge of them in performance. In this course the subject is TIME. It deals with our ability to use time as we move create and communicate on stage. We will be studying the handling of temporality through actions in context of performance. How the performer listens to the element of time and how she/he uses it to direct work in front of a public is both a compositional and a performing concern. How we perceive ourselves in time and how we might harness its qualities to expose and share our material in performance, will be the main thread of the workshop.
David Hernandez - Composition: Building movement syllabus (week 4, basic 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.
Mårten Spångberg “-I was just dancing” - Choreographing Practice / Practicing Choreography (week 4+5, intermediate level, 4 hours a day)
“When I dance I dance and there’s nothing more to it”, said Merce Cunningham, proposing that dance both as activity and expression has autonomy. “What’s really unique with dance, is that it allows me, the dancer, to for moment not be him or her self. Paradoxically, dance is the most impersonal of the artforms”, proposed Lucinda Childs in an interview confirming Cunningham’s thought.
This workshop centers on strategies for creation and production in contemporary dance. Procedures, participation, attention, concept production, systematic imagination, counter productive navigation etc. will be examined and exemplified. Over the two weeks the group will produce a shared full-night dance performance, a process that will involve intense dancing and body practices focusing on identifying choreographic tools and strategies developed over the last 25 years, at the same time the group will map the aesthetic landscape that the art-form has both developed and is trapped by.
The process further envisions to identify the specificity of dance, connecting it with contemporary modes of perception, chilling-out, internet, esoteric practices and multitasking in favour of a dance that needs no justification but can just be dancing.
Mark Lorimer - Space (week 4, advanced level)
In this workshop we aim to treat space as the central (and possibly only) choreographic concern. We will draw on various sources including Rosas/Anne-Teresa De Keersmaeker and ZOO/Thomas Hauert, my own ideas around spatial patterns and ways of organising movement through it's relationship to space, as well as devising our own spatial tasks.
In the hierarchy - movement vocabulary, time, and space - the latter is often the least considered or under-explored element where in my experience of working with both choreographers mentioned, plus others, I consider it to be an extremely dynamic element. We will treat the space - floor patterns, space between/around/over/under, plus the environment we dance in, as the primary choreographic stimuli during this week-long workshop.
While the workshop will be mostly practical, there will also be an element of visiting repertory - either through drawings/designs or DVD - from this perspective.
The workshop is open to intermediate and advanced level students but perhaps more than formal dance training, this workshop requires a strong desire and skill in working with structure and form as well as an imagination for developing ideas in this vein.
Francesco Scavetta - “A surprised body” 8# Brussels (week 5, basic level)
Already as a title, “A surprised body” defines, for me, a metaphorical space. The image of a body in a constant alert, able to surprise itself, by escaping from the comfort zone of a habitual daily body.
The physical training aims at triggering our awareness, creating occasions for discoveries. The basic class concentrates on centering and gravity. Activating the center, we will aim in letting the movement cross freely, throughout the body, with isolation in the limbs.
The workshop, after a first part dedicated to ground the principals of the work, will articulate through a series of investigations on the movement and structured improvisations, intended as a conceptual, but also physical and mental, challenge and connected with the process of the performance "Surprised body project".
The teaching project “A surprised body” started in the 2005, in Norway, and continued with workshops in 33 countries (Italy, Croatia, Serbia, Cuba, France, Colombia, Venezuela, Estonia, Latvia, Lithuania, Argentina, UK, Holland, Republic of San Marino, Austria, Finland, India, Belgium, Russia, Canada, Brazil, Chile, Ukraine, Lebanon, Palestine, Spain, Albania, Romania, Iceland, Japan, Slovenia, Senegal and Germany).
David Hernandez - Improvisation: Imagination as a motor (week 5, advanced level)
Imagination is the interior personal playground of each individual.For this workshop I would like work on developing imagination as a motor for composing in the moment. In the first case developing and accessing our own imagination and secondly acting upon it. I believe this is something we can train as a tool for improvisation & spontaneous creation, as imagination has been an integral force in my work as a creator and dancer.
Elena’s Aria (1984) - Nadine Ganase (week 1 advanced level, week 2 intermediate level)
Elena’s Aria was the third creation of Anne Teresa De Keersmaeker, revived for the first time in 2011. In this piece, she introduced a new perspective, leading the characteristics of her earlier works into new challenges. 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.
!Due to the nature of the work only female dancers can participate in this workshop
Die Grosse Füge (1992) - Nordine Benchorf (week 2, advanced level)
Die Grosse Füge was created in 1992 as part of Erts and returned in Kinok and several repertoire evenings. It is achoreography on
Ludvig van Beethoven’s last string quartet, whichi is meticulously translated into the choreography. Beethoven sets out two follow these transformations in their movements. The choreographer’s writing is fitted so precisely to the score, every note and step so precisely counted, that an unprecedented and fascinating duality arises between what one sees and hears.
The Song (2008) - Sandy Williams (week 3, intermediate level)
A choreography that goes back to its origins, the question of what still makes you move, what are the essential building blocks and principles behind the moving of individuals or flocking birds. ‘The Song’ is about a world that is rushing ahead of itself, dashing at an ever faster tempo. A world whose acceleration is increasing to the extent that standstill seems inevitable. As ever, at the heart of this whirlwind of change stands the body, at the eye of the storm. As a sounding board in a reality that is chaotically transforming.
This workshop will focus on the improvisational and choreographic tasks used in the creation of the material of 'The Song'. We will then reconstruct a section of the piece employing floor patterns, complex counterpoint and precise unison. Come ready to run!
Drumming (1998) - Roberto Olivan (week 4, intermediate level)
Drumming was created in August 1998 to a composition of Steve Reich. The compelling rhythmicality of the music propels the dancers into a choreography that appears complex and at the same time insidiously simple. Just like the music, the dance proceeds from a single motion phrase, explored exhaustively and unremittingly for an hour through endless combinations, variations and transformations, by reversing it, speeding it up and slowing it down.
Rain (2001) - Marta Coronado (week 5, advanced level)
In Rain, the choreography engages in a complex relationship with the music of Steve Reich’s 'Music for 18 musicians', a work in which Reich combines the strict rhythmicality of percussion and piano with the freer rhythm of voices and wind instruments. Likewise, the choreography links mathematical precision and a strong expressivity of the dancers. One single basic phrase is endlessly turned around, split up and transformed, in an infinite caleidoscope of contrasts, between active and passive, female and male, yin and yang, accelaration and deceleration, dance and music…
Laia Puig Escandell - Yoga for dancers - unlock your personal potential (week 1)
During this time we will be introduced to Yoga as a wholistic 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 with the firsts two points, the aim is to build up consciousness and awareness during the practice, through the sequences of asanas -coordinated with the breath- and the specific breathing exercises -pranayama-, and the potential of mind, unblocking and 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.
Stéphane Bourhis (week 2, 3)
In our Yoga practice following the Iyengar® methodology, we will focus on the precision of the movement and the alignment of the body to develop its intelligence.
Maria Clara Villa Lobos (week 4)
The class will be Iyengar yoga based, which is focusing on precision in action, alignment of the body and the connection to breath as a means of spreading consciousness throughout the whole body to keep the mind steady. During the week, we will go through the different types of postures or « asanas »: standing postures, sitting postures, twists, inverted postures and forward bends and back bends…experiencing how the different types of asanas affect body and mind and help us to balance our energy.
Antonella Cusimano - Iyengar Yoga class (week 5)
The yoga classes comprise of a series of asanas (physical postures), usually sustained for some time so that the body and its necessary actions can be observed within the posture.
Iyengar yoga was developed through the pioneering work of B.K.S. Iyengar, who freed the classical yoga asanas from their Indian mystique and with the use of props made them suitable for Westerners, who want to have a clear understanding of what happens in a yoga posture. A typical Iyengar yoga class focuses on precision of movement, correct alignment, and the study of the ‘muscle and mind’ actions and resistance necessary to enter a state of concentration. Breathing awareness is emphasized in every asana in order to deepen the experience. Through consistent practise the student overcomes physical and mental/emotional limits and develops a deep awareness of the body, power, control, patience and physical and mental harmony.
Eleanor Bauer (contemporary, week 1 and 2, all levels, 90')
When I teach, I guide the participants through scores and structures that are designed to create a practice-oriented way to identify and deepen individual interests, heighten awareness and build a stronger relationship to one's own skill-set. Using different methods to tease out physical and creative desires, capacities, and potentials, what is discovered in class can be continued and applied in a wide array of situations thereafter. The work is on becoming self-sufficient as a practitioner when the vast world of classes and projects constantly offer and demand different kinds of physicality and performance. Studying how to develop and feed one's own interests and skills within a shifting framework is a large part of how I teach and think about being a professional dancer and artist. We will work in a variety of approaches towards holistic and uninhibited dancing, while creating a platform for supporting one's orientation, direction, perspective, technique, discipline, and desire within the volatile professional field.
Libby Farr (ballet, intermediate, week 1 and 5, 90')
The ballet class re-evaluates and builds on classical technique, focusing on strengthening the dancers awareness of his or her own natural alignment. The class is divided into two parts: the barre and the center. Exercises at the barre emphasize isolating and releasing the joints in order to strengthen the dancers center and support proper body placement. Body placement becomes functional and fluid, rather than stiff and held, making movement easier and more natural. The second half of the ballet class, conducted in the center, continually challenges the dancer to use the placement and release discovered at the barre as a source of strength and individual dynamics. Training in the center relies on shift of weight, motivation and flow of movement, and momentum to help the dancer to move from the center and inner muscles to support a greater freedom movement and expression. The dancer that gains a stronger sense of confidence to take space and go beyond technique.
David Zambrano - Flying Low (contemporary, week 1, advanced, 120')
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.
Benoît Caussé (ballet, advanced level week 2, intermediate level week 3, 120')
I propose an open work based on the classical technique, called academic. It seems to me important to keep an opening, a permeability between techniques in relation to each other, including the link between ballet and contemporary dance to prepare the body for movement whatsoever. For this, the proposed work is focused on sensation seeking, so that everyone can discover its possibilities and its limitations and not just reproduce a form but integrate sensations that lead to the form. Also I prefer the accuracy and understanding of the "placement". He must be legible and felt, it is the foundation, the basis of the technique suggesting a deep and constant readjustment of the body in motion. These concepts will be used to address the classical technique with ease and freedom, subverting constrained by creativity.
Sandy Williams (contemporary, week 2, 3, basic level, 90')
We are the , object and author of our performance. In performance, we are the evolution of sensation to impression and the involution of concept to conception. Performing is a practice of fundamental inclusion; as a place where we evaluate, critique, multiply, personify and exemplify. It proposes performance as an interplay of speed and distance between bodies who carry with them an inevitable accident. It is performance as a radically physical phenomenon that desires only relation and rarely finds understanding. It is the performance of relativity. This class aims to provide tools for the organization of perception and performance. Drawing on my work with Rosas, Deborah Hay and Loge22 we will explore movement generation and choreographic methods essential to both dancer and maker.
David Hernandez (contemporary, week 4 basic level 90', week 5 advanced level 120')
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.
Dominique Duszynski “Soft floor, fluid space” (contemporary, week 4, advanced level, 90')
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.
Florence Augendre (contemporary, week 4, advanced level, 120')
During these morning sessions, Florence Augendre will propose to apply Fasciapulsology and Body-Mind Centering to movement and dance practice. Fasciapulsology concerns a method which focuses mainly on the soft touch and examines the mobility of the connective tissues. Through this practice we will explore our perceptions as a key of awareness and better understanding of the alert activity of the nervous system. Our research on diverse physiological systems and our own experiences will be implemented into physical movement exploration, enhancing the various qualities of our presence, revealing the strength of physiological functions and a more conscious expression of our dance.Within this frame of mind, the voice will be experienced as an expansion of the respiration. This class is addressed to performers, dancers, actors- amateurs, advanced and professional
Davide Sportelli (contemporary, week 5, basic level, 90')
The training I propose for this week of work will proceed through guided explorations, improvisational scores, movement sequences. Such materials are meant to be integrative tools to: connect to our anatomy and body systems;engage an open dialogue with and within the space; find the most immediate transition from sensing to moving and from moving into structuring.
How can we enlarge and deepen the terrain of our action? How to access a state of fertile permeability to a given environment? Our physical and mental presence will be urged to include as much information as possible, witnessing the birth of an intention and articulating it into a coherent flow.
Khosro Adibi (IR)
Khosro Adibi is a multidisciplinary artist currently working as a educator, stage and visual artist in different projects, theatre and dance theatre productions. Khosro Adibi graduated in fine arts from HKU/ Utrecht. He has studied dance at SNDO in Amsterdam as well as in New York City. Most recently, Khosro Adibi has been teaching throughout Europe and Latin America, regularly trained Rosas Company in Brussels, Cullberg Ballet in Stockholm, Maguy Marin Company in Lyon and performed with Les Ballets C. de la B.
Nicholas Tiishang Aphane (ZA)
A performer and maker, born and raised South Africa (Johannesburg). He started at the Dance Factory age of 12 as a student then moved to become a technician while he was in school. Straight after school he went in to a dance company. FATC (Forgotten Angel Theatre Collaboration) Directed and choreography by PJ Sabbage for two years. During his second year he audition for PARTS (Performing Art Research and Training Studios) which he was accepted to feather his studies. After four years he graduated from PARTS in 2010. During his studies he did several works within and outside the curriculum. Outside the curriculum he work with a Choreographer and a dance teacher David Zambrano in 2009 and he did 50 days in Costa Rica where Zambrano was sharing his way of teaching. He participated in several works which where then taken on a tour. A collaboration duet with Steve Michil. On the several works something that is constantly visible is rhythm and it is a way of executing movement or a language. He then went back to Forgotten Angels Theatre Collaboration. He then created a solo for Argentina Tour in 2011. Lately he’s a freelance artist, dance teacher, composer and a technician. Working for various companies, individuals and festival.
Florence Augendre (FR)
Florence Augendre is an independent choreographic artist, author, researcher, performer who has developed her work in various artistic fields such as theater, cinema, contemporary dance, opera and visual fine-arts. Her work engages creativity as one's own experience, discovering the deep self and the layering of our physical constitution. Her research pursues on how those two aspects of conscious are able to meet and somehow converge in order to trigger creativity, empower expressivity or simply acknowledge the inner motioning of life- span momentum... On a longer run, her artistic aim is to explore knowledge as a shared experience, and how the imaginary and body qualities can define and bridge metaphors into framed performances.
Between 1991 en 2004, Florence studied Body-Mind Centering (BMC) with Vera Orlock and encountered Bonnie Bainbridge-Cohen through a series of Masterclasses.
In 1993, she moved to Brussels, and has worked since then- with many various artists- among them, Wim Vandekeybus, Meg Stuart, David Hernandez, Austrian- German group Labor GRAS, Johanne Saunier/Jim Clayburgh, Brice Leroux, Lance Gries (N.Y.), Steve Paxton, Lisa Nelson, Label Cedana, Olga de Soto, Fabrice Ramalingom, Félicette Chazerand, Koen Augustijnen, Les Ballets C de la B, Michèle Noiret, François Brice, Quanta Art/Project and collective Les Ineluctables, Belgium team documentary collective IDOCDE. Florence is also certificated as Fasciapulsology practitionner (Christian Carini).
Eleanor Bauer (US)
Eleanor Bauer, born in Santa Fe, New Mexico, is a choreographer, dancer and performer based in Brussels, Belgium, where she is an artist in residence at Kaaitheater from 2013-2016. Bauer studied Dance and Choreography at Idyllwild Arts Academy, New York University's Tisch School of the Arts and P.A.R.T.S.. Her performances 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. As a performer, Bauer has worked for David Zambrano, Mette Ingvartsen, Trisha Brown, Xavier Le Roy, Anne Teresa de Keersmaeker/Rosas, Boris Charmatz, Matthew Barney, Emily Roysdon, and Ictus Contemporary Music Ensemble, among others. Bauer's writing on dance has been published in New York's Movement Research Performance Journal, The Swedish Dance History volumes 1-4, The Paper (Melbourne), Maska (Ljubjana), NDT by Contredanse (Brussels), Sarma (www.sarma.be), everybodys (www.everybodystoolboxnet), A Togetherness Manual (Wade, Berlin), and Synchronous Objects: Degrees of Unison (Shaw, Ohio), among other publications. For more information visit www.goodmove.be.
Nordine Benchorf (FR)
Born in Belfort, Nordine Benchorf began dancing with Marie-Jo Haas (Instant Co.) for several street interventions and Elle dans l’île. He finished his training at the CNDC Angers and joined Cie. Contre-Jour. Later he joined the company Rosas to dance in Ottone Ottone, Achterland, Mozart/Concert Arias and the Soirée Répertoire 2002. He danced as well in Ah les Beaux Jours (Cie. Samuel Leborgue) and La Confession des lâchetés (Cie. Loïc Touzé). He then worked for Needcompany and Ultima Vez (Wim Vandekeybus), in 7 for a secret never to be told and In spite of wishing and wanting and Caterina Sagna in Sorreline. Within the collective Amgod he created What do you want. Nordine gives workshops around the Rosas repertoire and Ultima Vez in the dance school PARTS in Brussels.
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 his own yoga studio, at P.A.R.T.S and in schools for children in primary classes.
He is constantly learning, researching and deepening into the Iyengar® Yoga method participating in conventions and workshops with senior teachers in India and in Europe.
Benoît Caussé (FR)
Benoit Caussé, began dancing at the CNR of Grenoble, and then perfected in Paris CNSMD in ballet. In 1999, after graduating, he participated in the creation of a young Madrid company, Compania National de danza II, directed by Nacho Duato.
Eager to expand his knowledge, in 2001 he joined the Ballet de l’Opéra National de Lyon in which he reachs the work of many choreographers Mats Ek, William Forsyth, Jiri Kylian, Maguy Marin, or Anne Teresa de Keersmaeker Boris Charmatz and Jerome Bel. He participated in the creation of Mathilde Monnier, Ralph Lemon and Odile Duboc, and through the repertoire of the company by addressing several techniques such as Trisha Brown, or Merce Cunningham.
Since the transmission of knowledge has emerged as a clear necessity. It gets the state dance teacher degree in 2012 and taught in structures such as PARTS, CCN Roubaix, CCN Rennes, centre National de la danse Lyon/Paris, the Lyon Conservatory or Charleroi Danses.
Marta Coronado (ES)
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 dances and contributes to the creation of Rosas pieces for more than a decade. Among them; Drumming, I said I, In real time, Rain, April me, Bitches Brew,Kassandra, Mozart concert Arias, Rain Raga, D' un soir un jour and Steve Reigh evening. In the season 2002 she was awarded a Bessie (New York Dance and Performance Award) for sustained achievement as a performer.
From 2008 she co-directs the Rosas repertory graduation projects at P.A.R.T.S In 2011 she teaches a Rosas repertory piece, Rain at the Paris Opéra. 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 Ballet technique for Rosas Company, Les ballet C. de la B. the Ballet de Marseille, Ultima vez company and P.A.R.T.S Additionally she teaches Release technique for ImPulsTanz, Charleroi Danses, Thor Company, La Raffinerie, Conservatorio superior de Madrid and Theater school Amsterdam.
Nowadays she dances in the reprise of Drumming Live and is part of the new dance collective House of Bertha. Their first piece: White Noise premiered in MDT Stockholm in 2011.
Antonella Cusimano (IT)
Antonella originally studied Physical Education in Italy, her native country, and thereafter worked as a professional contemporary dancer/performer with various companies in Italy (QDG, AIEP Ariella Vidach), Belgium (Ultima Vez / Les Ballet C de la B), England (Ted Stoffer), Slovenia (Iztoc Kovatch). During her travels in Thailand, she learned Traditional Thai Massage at Wat Po in Bangkok and has been a practitioner since 2003. She also studied sculpture and video in Belgium, but she's now an abstract drawing artist (www.antonellacusimano.com). In 2000 Antonella embarked on her yoga path studying the Iyengar yoga method, in which she is a certified teacher (Intermediate Junior I). She has studied with various Senior Iyengar yoga teachers such as Cle Souren, Charles Hond, Annemieke Post, Willy Bok, Rita Poelvoorde, Alexis Simon, Berber Schonholzer, Corine Biria, Zubin Zartostimanesh, Ramanand Patel, Christian Pisano, Rita Keller, and Devki Desai.
Antonella has been teaching Iyengar yoga in Belgium (Brussels, Antwerpen, Leuven, Gent), and also in workshops in Greece, Spain, Germany, and Italy, since 2004. She loves to help students find their own expression and freedom in the limited space of an asana (pose). She is interested in exploring and deepening the integration between the induced peaceful state of mind that yoga and meditation bring, and the creativity and excitement which flow and express themselves through human artistic expression that come as its consequence.
Michel Debrulle (BE)
Michel Debrulle is a percussionist who is active both as a musician and a pedagogue. He toured extensively in Europe, USA, Canada, Africa and Asia 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 with Thomas Hauert, David Hernandez, M-C Villa Lobos, David Zambrano and gives different types of rhythm classes and workshops to actors and dancers: P.A.R.T.S (Brussels), Conservatory of Liège (drama section), Rosas (Brussels), Impulstanz festival (Vienna), MDT (Stockholm), O Rumo do Fumo (Lisbonne)…
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 since 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 last duo “Riff” for the10th Festival “Voix de Femmes” in Liège, Belgium, then in November 2012, in Brussels and, in June 2013, in Rio and Sao Paulo, Brazil.
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 well as teaching it to groups and in private classes
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 and Zurich Ballet and Deutsche Oper Berlin in Europe.
After the birth of her son she joined Theater des Westens in Berlin and Tanz Theater Skoronel as well as teaching in several schools and directing the dance department at Die Etage in Berlin. She then became training director and dancer at Deutsches Nationaltheater Weimar for 2 years and there after ballet mistress and assistant to Amanda Millers Ballet Pretty Ugly. She has been a regular guest teacher in P.A.R.T.S in Belgium and SEAD in Austria as well as teaching companies throughout Europe. She is also a certified Gyrokinesis teacher.
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, le C.N.D.C. Angers, Koninklijke Balletschool Antwerpen & Hoger Instituut voor Dans, Lier.
Nadine Ganase has been choreographing works for her company and various institutions for the last 20 years.
Julyen Hamilton (UK)
Julyen Hamilton is a dancer / choreographer / poet and teacher. He has been making dances for over 35 years performing dance work throughout the world. He trained at the London School of Contemporary Dance and went on to be briefly in the London Contemporary Dance Theatre.
His work is mostly improvised : he composes dance pieces instantly as well as the texts which often accompany them. When choreographing with his company 'Allen's Line' he directs dancers and lighting designers to make and perform work through this same immediacy.
He is well respected for his teaching which reflects his research and development into efficient ways in which improvisational creativity can evolve and technique skills might be imparted. He is regularly invited to teach in major training centres throughout the world, his pedagogy centering around the elements of space, time, voice and dramaturgy.
He is at present presenting the solos 'How It Is Made' and 'The Immaterial World' / performing duos with bass players Barre Phillips and Jean-Claude Jones (France+Israel) / Ritsche Koch - live painting, dance and music, Berlin. His label ‘BLUE DOG DVDs’ produces videos of his performances on DVD. A CD of his music and poetry ('The Edge of Letters') was released in 2011.
David Hernandez (US)
David Hernandez, born in Miami FL., studied music, jazz and opera, at the University of Miami and dance at the New world School of the Arts. After producing several of his own works in Miami, David moved to New York where he apprenticed with the Trisha Brown Company before migrating to Europe with Meg Stuart to help her start the Damaged Goods company, where he worked for about 5 years. David based himself in Brussels and created many acclaimed performances, installations and events supported by grants from the Flemish community and co-productions with various international partners for years under the company name of Edward.
As a pedagogue he has taught at PARTS for more than 17 years and gives workshops and creates guest choreographies on companies and schools internationally. He developed and ran his own education program, P.E.P. for several years within the Klapstuk festival. David has a longterm collaboration with LaborGras in Berlin and Michel DeBrulle, Liege, in addition to other collaborations with artists such as Brice Leroux and Anouk VanDijk. In recent years David collaborated choreographically on several projects with Anne Teresa De Keersmaeker including "Zeitung", "Keeping Still" and "D'un Soir un Jour" and dances and sings in the Rosas production "Cesena". He was one of the three initiators of the Crash Landing improvisation project along with Christine DeSmet and Meg Stuart, and was partner for many in years in the workspace DanscentrumJette . David recently inaugurated a new group for his work and projects called DH+ or David Hernandez and collaborators which recently premiered the new performance “ For Movement’s Sake” to the music of Dietrich Buxtehude and will premiere the sextet “Hullabaloo” with live music by Michel Debrulle in January 2015. In addition to his work in dance, David performs as a singer as a member of the early music ensemble Graindelavoix and guest with Reve D’elephant Orchestre, performing in concerts and recordings.
Mark Lorimer (UK)
Mark Lorimer (United Kingdom, 1969) is trained at LCDS (London) and has since worked with, among others, the Featherstonehaughs/ Lea Anderson, Cie. Michèle Anne De Mey, Bock and Vincenzi, Mia Lawrence, Deborah Hay and Jonathan Burrows. From 1997, as a founding member of ZOO/Thomas Hauert, he participated in six group projects and choreographed Nylon Solution as part of “5”.
With Rosas, Lorimer has worked as both dancer and rehearsal director for several creations and reprises, as well as free-lancing in both roles since 1994. Amor Constante Mas Alla De La Muerte, Kinok , Verlärte Nacht, Woud, Mikrokosmos (reprise), Un Moto Di Gioia - Mozart Concert Arias (reprise), In Real Time, Rain, Drumming (reprise), Repertory Evening (20th Anniversary), D'Un Soir Un Jour, Bartok-Beethoven-Schönberg Soirée Répertoire, Steve Reich Evening , Zeitung, The Song, En Atendant, Vortex Temporum.
Teaching credits include ImpulsTanz Vienna, P.A.R.T.S., Laban Centre in London, and Movement Research/International Dance Dialogues in New York.
In 2011, together with Cynthia Loemij, Mark created a duet "To Intimate" with live music from cellist Thomas Luks. In 2012 he collaborated on another duet with Alix Eynaudi - "Monique" and last year Cynthia and Mark continued their work together working with graphic designer Clinton Stringer, Dancesmith - "Camel, Weasel, Whale".
Mark is currently working with Boris Charmatz on a group piece for September - "Manger".
Martin Nachbar (DE)
Martin Nachbar is dancer and choreogapher, and writes for several dance and theater magazines. He received his training at the School for New Dance Development (Amsterdam), in New York and at P.A.R.T.S. (Brussels). In 2010, he received a master’s degree at the Amsterdam Master of Choreography (AMCh). He is currently a PhD candidate at the HCU Hamburg. His collaborations include engagements with Les Ballets C. de la B. and Vera Mantero, shared works with Thomas Plischke, Jochen Roller and Martine Pisani, with composer Benjamin Schweitzer and with dramaturge Jeroen Peeters as well as a cooperation with visual artist Paul Hendrikse. He received several grants and prizes, among which the first Choreography Award Ludwigshafen 2006. His pieces, including “Repeater – Dance Piece with Father”, “Urheben Aufheben – Reconstructing Dore Hoyer” and “Animal Dances”, tour internationally. Martin Nachbar teaches regulary in improvisation, contact improvisation, choreography/composition and physical dramaturgy since 2001.
Roberto Olivan de la Iglesia (ES)
Spanish by origin, he studied at the Institut del Teatre in Barcelona and P.A.R.T.S. (Performing Arts Research and Training Studios) in Belgium. Roberto performed under the direction of renowned directors such as Robert Wilson, Anne Teresa de Keersmaeker, Josse de Pauw or Tom Jansen.
In 2001 he formed his own company, the ENCLAVE Dance Company, to continue his research in the arts movement. ENCLAVE produced among others “Natural Strange Days” (SACD prize in Belgium in 2001), the acclaimed “Homeland”, “De Farra” and “Mermaid’s Call”, his latest production. Since the very beginning, what is reflected in the creations of Roberto Olivan is its singular vision of dance and the need to establish a dialogue with other artistic disciplines (…) ”
He has created works for the National University of Arts in Seoul South Korea (KNUA), the Ensemble Walpurgis in Belgium, the company Vertigo Dance Company of Israel, the Iceland Dance Company, the Galician Choreographic Centre, ESAC and (Ecole Superiore des Arts du Cirque, Belgium) and obtained coproductions from CAER (Centre for Performing Arts of Reus) and Mercat de les Flors in Barcelona among others. He is also the artistic director of DELTEBRE DANSA FESTIVAL created in 2004.
Francesco Scavetta (IT)
Choreographer and dancer Francesco Scavetta established the dance company Wee (Oslo/Norway), in the 1999, together with dancer Gry Kipperberg. In the last years, Wee has been touring in more than 30 countries in Europe, South/North America and Middle/Far East, becoming one of the leading companies of the Norwegian scene.
Francesco Scavetta’s personal way to tell stories, mixing together theatrical actions and dance, is transforming along a constant curiosity for different forms of art. His theatricality has often been associated with the atmosphere of a weird dream or to a playful world of a child: strange, funny, poetic and, at the same time, surprising.
Since its formation in 1999, Wee's creations have changed in format and aesthetic, yet they have continuously tried to explore what theatre and performance can mean in contemporary life and what kind of dialogues they can open with an audience. From the delicate early work “Daddy always wanted me to grow a pair of wings”, with it's ”circus like” atmosphere, and look of an old black and white movie found in the loft, to the complex use of technology for performances like ”Live*”, co-produced by the Biennale of Venice, to the purely physical work of ”Surprised body project”, that focus on choreographical issues.
Mårten Spångberg (SE)
Mårten Spångberg is a choreographer living and working in Stockholm. His interests concern choreography in an expanded field, something that he has approached through experimental practices and creative process in multiplicity of formats and expressions. He has been active on stage as performer and creator since '94, and has since '99 created his own choreographies, from solos to larger scale works, which has toured internationally. Under the label International Festival he collaborated with the architect Tor Lindstrand he engaged in social and expanded choreography. From 1996 – 2005 Spångberg organized and curated festivals in Sweden and internationally. He initiated the network organization INPEX in 2006, has thorough experience in teaching both theory and practice and was director for the MA program in choreography at the Univ. of Dance in Stockholm 2008 - 2012. In 2011 his first book Spangbergianism was published.
Davide Sportelli (IT)
Davide Sportelli (Italy, 1976) is a choreographer, performer and movement teacher active in Europe and overseas. After music and theatre, he studied dance in Rome and at the Accademia Isoladanza, Biennale of Venice, with choreographers and pedagogues such as Carolyn Carlson, Malou Airaudo, Raffaella Giordano, Nigel Charnock, Bill T. Jones, Iñaki Azpillaga, Frey Faust, Ivan Wolfe, Susanne Linke, David Zambrano. He has danced for Sasha Waltz, William Forsythe, Caterina Sagna, Ingo Reulecke, Michäel D’Auzon, Giorgio Rossi a.o. Based in Berlin, he carries out his personal research on performance creation and on the craft of writing, as well as collaborating with sound and visual artists and other young choreographers.
Maria Clara Villa-Lobos (BR)
Maria Clara Villa-Lobos was born in Brasilia, Brazil in 1972. Her father being a diplomat, she had a very “international lifestyle”, living in different countries and continents from the age of three. As a dancer and collaborator she has worked with different choreographers such as Rui Horta, David Hernandez, Willi Dorner, Christine De Smedt, Sasha Waltz, Thomas Lehmen, Tino Sehgal. She has been based in Brussels since 1995 and set up her own company “ XL Productions”, in 2002. She has since then been mainly active as a choreographer and has created and directed several pieces/ performances of different scales, both solos and group works, amongst which is the trilogy “M”,”XL” and and ”XXL”, as well as several choreographies for the ”Bal Moderne”, using a hybrid language that mixes dance, theatre and video.In 2008 she initiated the Iyengar Yoga teacher training with Willy Bok in Brussels, from which she graduated in 2010. She has since then been teaching yoga to both adults and children in the frame of Dancing Kids since 3 years, next to Willy Bok’s studio, Charleroi-danses, Rits theatre school and Rosas.
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) and collaborations with Jan Ritsema (Blindspot, KnowH2ow), Lynda Gaudreau (Document 4), Andros Zins-Browne (Day In / Day Out, Limewire), Michèle Anne De Mey (Sinfonia Eroica) 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 engaged in projects with the French collective Loge22 (Konkretheit) and is producing a new work of his own entitled The Singularity Is Near.
David Zambrano (VE)
For over 31 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