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The programme is designed for dancers who already have a more in-depth encounter with contemporary dance, meaning that it is suited for those who follow classes on a regular basis. It will give the dancer the opportunity to explore the already known content and translate it to different forms. This programme is aimed at dancers who dance minimum 10 hours/week or follow a full-time programme. Dancers who are below the age of 18 who are part of a youth dance company can also participate in this programme.

Intermediate programme

The intermediate programme offers a full-day package including a yoga class, a technique class (ballet or contemporary) and Rosas repertory or workshop, and a morning package including a yoga class and a technique class (ballet or contemporary).

UPDATE 1/5: since all intermediate packages are sold out, a second series of packages is opened:

The extra intermediate programme only has a full-day package, not a morning package.

Class descriptions

> Yoga
> Ballet
> Contemporary
> Workshop
> Repertoire



Hugo Mega

Hatha yoga (in Week 4) is seen as one of the most traditional styles of yoga. This ancient practice focuses on balance, bringing the Yin and Yang, the Sun (Ha) and the Moon (Tha) together into the body. This slower passed, static practice focuses on building a strong foundation and understanding each posture. In this class you will explore the benefits of Pranayama, breathing exercises as a new relation to abdominal and lumbar support. When teaching this style Hugo emphasizes breath awareness while developing your alignment and building a safe practice. Vinyasa (Week 5) is the connection between movement and breath, a flow of energy. This dynamic style of yoga brings together the body, mind, and breath through postures and sequences. Each class is unique and each flow offers a completely new journey. When flowing you will focus on muscles responsible for stability and explore new relations to balance. You will challenge your reflexes and coordination while connecting deeply to your body. With this flow you will improve your practice with detailed alignment, building up your endurance and strength.

Laia Escandell – Unfold and Unlock your personal potential

During this time we will be introduced to Yoga as a holistic practice. The five points of the holistic system are: proper exercise (Asana), proper breathing (Pranayama), proper relaxation (Savasan), proper diet (vegetarian), positive thinking and meditation (Vedanta and Dhyana), although we will mainly work on the first 2-3 points.

This first class in the morning will be our moment to prepare for the day in a different way. To unfold and to unblock, first physiologically/anatomically and then into deeper levels of awareness. Identifying our unnecessary patterns and habits, letting go of them, balancing the body, increasing concentration and learning to listen. So that each individual student can be in tune with a deeper intelligence, expanding themselves as artists and humans, sharing it with the community as well as the world. I hope you all enjoy the process of unfolding yourselves. Om Namah Sivaya.

Lucia Thibault

The teacher proposes poses (asanas) in a sequence including progressive steps.
This allows each and every participant to move on according to her/his own rhythm, needs and abilities.
The teacher shows and explains each asana in all its details and follows each student’s progression in a personalised way. Asanas are organised by family type: Standing asanas, Sitting asanas, Forward-bends, Backbends, Inversions, Twists and each class ends up with a Relaxation asana aimed at deeply releasing physical and mental tensions.
Relaxation/recuperation asana sequences and breathing exercises allow for a deep physical and mental relaxation.

Stéphane Bourhis – Iyenghar Yoga

In our Yoga practice following the Iyengar® methodology, we will focus and explore precision, alignments, external and internal geometry of the body in several groups of yoga postures. The body is the starting point, the consciousness is the terminal point and the process between those two points is the reading of the body.


Douglas Becker

Douglas Becker proposes a ballet class as a collaborative setting where new information and knowledge, about the moving body in relationship to form and history happens in the moment. Barre and center are constructed to rigorously support the study of technique as studio practice accentuating somatic awareness and attention to the multiple perspectives on dynamics alongside varied spatial concerns. We will work on developing an agile relationship between the head, shoulders, arms and legs while also considering ballet as a system, and as "changeable architecture". Attention is given to interior mechanics driven by counterpoint. Throughout the class, attentiveness to the musicality of the form gives insight into the various understandings of tempi and interacting rhythms. Combinations and phrase work change depending on both age and desire within the group. We will move, together, to know.

Libby Farr

The ballet class evaluates and re-evaluates the dancer’s body and is built on the classical structure of a ballet class with the objective to focus on strengthening the dancer’s awareness of his or her own natural alignment and experience.The class is divided into two parts: the barre and the center practice. Exercises at the barre emphasize isolating and releasing the joints in order to strengthen the dancer's core awareness and to find where the movement begins in the body. By supporting the functional body placement, it becomes more natural and fluid, rather than stiff and held, allowing the movement to be less stressful. The second half of the ballet class, conducted in the center, continually challenges the dancer to use the newfound placement when having to shift weight and carry the body through space. Motivation, flow of movement, and momentum are key points to help the dancer to move from the core and inner muscles supporting a greater freedom of dynamic and expression. The dancer gains a stronger sense of confidence to take space and go beyond technique.


Clinton Stringer

From subtle shifts of weight to expansive movement with the whole body. Clinton Stringer will start the class with a few ‘body discoveries’, exploring weight, direction and alignment. This will be followed by a series of simple exercises which will take these discoveries into movement. The class will finish either with improvisational tasks or the learning of a dance phrase to get the blood pumping!

Dominique Duszynski – The Essence of Movement

Dominique Duszynski proposes a dynamic and fluid dance class made up of both, floor and standing work. The first priority is to open up and broaden each individual’s knowledge of the anatomical aspects of their dance. And so, isolating body parts, is an essential basis for the warming-up and development of the dance phrases. Geometry, alignment and supports are explored to encourage an awareness of a body that is both grounded and light. The relationship between movement and weight distribution is an ever-present element of the work. Energy, grounding and spatial awareness are all needed to cultivate and refine the subtleties and details of the body in motion. The goal is to access the essence of movement, to experience the lines and flow that pass through the body and may deepen the dancer’s sense of perception. The dance phrases are proposed according to the art of movement inspired by Pina Bausch and by the concepts of dynamics and space developed by Rudolf Laban.

Peter Savel - Letting Go

Peter Savel has been developing and evolving his classes since graduating from P.A.R.T.S, he sees this as an opportunity to go back to himself. Working more and more with non-dancers as well always being curious about the wider context of dance, he is not interested in dance techniques as such. He’d rather see movement and views dance as a mean to re-access his full potential. The questions he asks is simple “ where do we stand in our own way and what makes us hold back?”. By becoming aware of these patterns, believes, thoughts, fears or habits, Peter believes we can let go of them. Letting go refers to more than muscular tension and physical efficiency, though Peter uses these as the pragmatic and grounding elements in accessing the les graspable areas of thought, emotion and intuitions. In this class, he wants to come back to a space he believes we are all capable of reentering. This is a space of total creativity, which he believes is innate to all humans and can be used in any life situation and constellation. It is a state we all know and passed through during childhood. The simple difference between childhood and now is the awareness of a state and therefore the possibility to be in it consciously. More concrete, during the classes Peter works with methods, principles and exercises to go back to himself, through body and movement into the core of his body. In this process he strengthens his body and realigns it with his core. At the same time the experiences of accessing this space allows him to understand where he can expand, what he can let go and how, what he’s always been capable of, but for some reasons didn’t allow it to fully manifest. In other words, rather being busy with “doing right or well” it is “ doing the best that you can right now and learning from the observation of this process. Peter is very busy with his personal learning process but uses many methods ( verbal and non-verbal) to share this with a whole group at the same time. Learning from each other strategy and methods, breaking the illusion of being alone or even isolating his particular experiences.

David Hernandez – Dynamic Movement Systems

David Hernandez is interested in movement, training the body and expression through detailed and precise movement, without the loss of the dancer’s individual expression. he is 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, texture and the musicality of physical material. All parts of the body are used to gesture, often play 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 usable in other styles of work as well.

Ori Flomin

Ori's class encourages students to increase their movement possibilities and take risks in dancing by maximizing the benefits of the warmed-up body. The warm-up moves smoothly from floor to standing with a strong focus on anatomy to strengthen connections of correct alignment with an increase of fluidity in the joints.. Dancers will develop an understanding of the connections between their body and the floor, and will learn how to use momentum and breath to explore full dancing with the least amount of muscular tension. During phrase work, dancers will learn how to incorporate information from the warm-up to execute more complicated sequences, and attention will be paid to controlling the use of breath to maintain a strong center from which one can explode into the space. Ori is known to approach his class as a dialogue with the dancers and include the use of imagery and humor to allow the dancers to relate personally to the given material and find their own voice through the experience in class.

Rob Hayden

The objective of this class is in developing a strong basis for physical interpretation through exercises designed to strengthen contemporary technique. Through floor work, partner- and contact work, participants will explore and confront their own dynamic performance vocabulary. The tasks proposed in each class will deal with various levels of physical, psychological, and emotional risk. These tasks will challenge our individual limitations and invite us to go beyond them, thereby enhancing our ability to communicate through movement. The overriding emphasis is on committing oneself to what can be called the ‘total act’; a state wherein the performer completely embodies the action.


Alexander Vantournhout – Catabatics / (Danse-acrobatics)

The class starts with a focus on the mobility of the 6 extremities: neck, tailbone, feet and hands. These are often the first points of contact with the floor so we need to have strong understanding of them, and the are many things to consider before doing, for example, further stretching of the hamstrings, arches and folds.

We will start with improvisations and puzzles on all fours. Then we work on different falling strategies (Ukemi) and basic ‘catabatics’ which have nothing to do with karate, but literally means ‘low(er)-(acro)batics’. These include acrobatics such as cartwheels, stepovers, rainbows, mini rodeo’s, around the clock wheels etc. These (rather new) elements are all about coordination, rather than virtuosity, strength or flexibility.

Alexander teachers all the elements from the basics, how to do a cartwheel, arabian, macaco, etc. Then we will move on to details and finally progress to more advanced forms of catabatics and acrobatics.

For the participants: please be dressed with jogging pants and t-shirt (take also a long sleeves).

Anton Lachky – Puzzle Work

This is for every dancer who likes to be challenged, wants to learn, loves to move and is interested in discovering his/her physicality, ability and coordination skills. It opens endless doors of varieties where one can learn different combinations within his/her own movement possibilities. By playing, organising and reorganising movement in many different ways, simple yet complex, it will allow the dancer to stay playful at all times. Our body functions as we wish, or rather as we allow it to function. It is a never ending process, never ending game but only if we allow it to be so. Each body has its balance, logic and limitations. Anton has been discovering his balance and his own limitations. More so, he is continuously asking himself the question, how to transform and apply these new found discoveries in his dancing. Let us use a bike lock as an image, if one takes six different numbers the combinations of the bikelock will be endless and will keep our bike from getting stolen. We can apply this metaphor to dance, with six different movements our body game can be endless, just like the bike lock. But we are not a bike lock and have many different other factors to take into account. These being speedframe, scale, texture, intention, context and most importantly feeling. Therefore, questions such as: “How large can the scale of our movements be?” and “Do we ever have access to the full potential of our own speed?” will be dealt with during this week. One thing to keep in mind, the answer will and can only be, YES!

Mark Lorimer – Canon and on and on…

From Busby Berkeley's cinematic choreography to Bach's music, everyone has an idea of a canon. Choreographically it's probably less developed than in music and in this workshop I propose to look for new movement possibilities.

Canon is basically a tyranny and I want to liberate its potential by questioning the rigidity and playing with the elements of what, exactly, is in canon? Is it form? Is it the spatial pattern? Are melody and rhythm enough to read canon when the material is different? How much complexity is possible when improvising canon - also improvised canon of duets and trios (following one person whilst dancing with another)? Is it possible to create canon in a single body?

Canon is essentially the reproduction of something with a time shift, which speaks about leaders and followers, hierarchy and precision. But what if we shift time in a way that the leaders keep changing, accelerating, decelerating or changing the direction, and what if errors, ornamentation or transformation are included in the reproduction? From mutations to a deliberate hijacking of the canon.

I propose this week of research to play and explore how we can read canon differently, in the space, on our bodies and between bodies, and to look for choreographic responses to the many musical canons. We can work with short written phrases that I can propose and that are created by participants, as well as with improvisation.

Ori Flomin – The energetic body through dance and meridians

Our dancing body is charged with energy and its continuous flow is essential to maintain a balanced and a healthy state of being. In Eastern philosophy the energy is expressed through pathways known as meridians which are divided into five elements – Earth, Water, Wood, Metal and Fire. Each element is expressed through different qualities which we experience throughout our daily life.

In this workshop we will explore the different elements, their qualities and how they are being expressed through the dancing body. We will explore and follow the physical location of the meridians on the body and practice how to balance the energy through body work technique (shiatsu), partnering and stretching. We will continue to affect the energy through the moving body using imagery and improvisation as an integral part of the warm up leading us to explore full out dancing and build up into dance vocabulary.

This exploration will encourage dancers to discover the five elements within them and how to take advantage of those qualities through the awareness of the meridians. The goal is to find a sense of abundant in our dancing while feeling strong and balanced.

Roberto Olivan

Roberto Olivan forges dance from physicality, body power and technique, taking the body to extreme situations. His goal is to encourage loosing fear of moving in a specific context. The workshop is especially focused on generating dance material from our animal instincts and our own creativity. Moreover, it strengthens group confidence by building safe conclusions from difficult situations.

Moving efficiently becomes an important issue, but there are other important purposes too. Working with gravity, the consciousness of inner sensations, such as breathing, and the visualisation of energy released by movement. This consciousness of body unites mind and physical structure relating it to spatial energies, to others and to oneself.

In this sense, the body becomes a tool of projection for the physical and emotional flow. The force of mental images, such as lines and structures around and in the body, are used to define and help us better understand the body’s functionality.

Dominique Duszynski – Acting Body, Dancing Body

During this workshop, we will look at different ways of proposing: with the body and with dance, in solo composition and group work. Just like taking a breath, the consciousness moves in waves, swings, gets lost, follows different ideas, be they joyful or intense, in a fluid dance, invisible, making you forget your restless body. Small round trips and short circuits are taking place. The limit between the 'acting body' and the 'dancing body' will be explored within different contexts, from in-depth to essential, from subtleties to concrete details, from casual to superficial. We will combine gestures and dance to instigate new ways of questioning our being. While investigating a range of possible presences, we will use musical supports to create contrasts and oppositions. During this workshop, we will develop material for a new creation.


Rosas dans Rosas (1983)

In 1983, Anne Teresa De Keersmaeker had her international breakthrough with Rosas danst Rosas, a performance that has since become a benchmark in the history of postmodern dance. Rosas danst Rosas builds on the minimalism initiated in Fase (1982): abstract movements constitute the basis of a layered choreographic structure in which repetition plays the lead role. The fierceness of these movements is countered by small everyday gestures. Four dancers dance themselves, again and again. The exhaustion and perseverance that come with it create an emotional tension that contrasts sharply with the rigorous structure of the choreography. In this workshop, wee shall look at each part of the choreography, learning the basic phrase as well as its structure in order to dance some extracts. A truly stimulating experience to great music! (Please bring gym/ running shoes)

Week 5: Tale Dolven

Drumming (1998)

Drumming is undoubtedly one of Anne Teresa De Keersmaeker’s most fascinating choreographic works: a dazzling dance set to a powerful score for percussion by the American minimalist Steve Reich. In her choreography, Anne Teresa De Keersmaeker preserves the spirit of the score and at the same time enriches it: just as in the music, the complexity of the choreography arises out of a single phrase of movement to which endless variations in time and space are applied. It is only when the drums fall silent and the bodies come to a standstill that the spectator realizes what he has witnessed: a stunning journey, a wave of pure dance and pure sound, a vortex of life energy.

Week 2: Taka Shamoto
Week 4: Clinton Stringer

Zeitung (2008)

Zeitung is a choreography searching for an unstable combination between music and dance, choreography and improvisation, romance and disillusion - in harmony or difference, in unison or counterpoint. This workshop will offer you tools to create your own choreographic material based on improvisation connected it to their use in "Zeitung". The improvisations will be based on the initiation of movements along the spiral points of the head, shoulders and the pelvis helped initiated by the interaction with a partner. We will learn extracts from the performance, analyse their mathematics and geometry as another source for advanced choreographing.

Week 1: Taler Dolven
Week 5: Igor Shysko