Alain Franco was born in Antwerp. He did musical studies in Belgian conservatories and post-master studies in France. He worked as a musician (playing conducting) with orchestras and ensembles in Europe, both in Classical and Contemporary repertoire. He focused since a few years on collaborations with choreographers and performance artists. Recent projects include: 'Figures de voisinage' (Jean-Luc Ducourt), 'Zeitung' (Anne Teresa de Keersmaeker), 'Tres Scripturae' (Etienne Guilloteau), 'Songs of Love and War' (Deufert+Plischke). Currently working with Meg Suart (Munich Kamerspiele , 2012) as well as with 'Akademie der Künste' in Berlin.

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.

Performer, choreographer, teacher, Alesandra Seutin was born in Harare, raised in Brussels and trained in London where she has made her residence. Her work has toured nationally and internationally and she is progressively emerging as an artist making marks across continents.

Alesandra has been running Vocab Dance Company since 2007. She combines African traditional dance with contemporary dance and Hip Hop to create distinctly Afro-European dance. As an independent choreographer she has created work for Phoenix Dance Theatre, 12º North Dance and most recently State of Emergency’s 2014 tour. She has also acted as Movement Director for two plays at Theatre Centre.

Alesandra was one of 17 artists, and the only UK based artist, selected by iconic dance artist Germaine Acogny to take part in Acogny technique transmission project at the international dance centre, École des Sables in Senegal.

Vocab Dance Company is supported by Greenwich Dance, ADAD (Association of Dance from the African Diaspora) & Ecole des Sables/Jant-Bi

In 2014 Alesandra become a ADAD Trailblazers Champion.

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.

Alix Eynaudi lives and works in Vienna. She was trained as a ballet dancer in the Opéra of Paris. She worked in various ballet companies before entering PARTS when the school first opened. In 1996, Alix joined Anne-Teresa De Keersmaeker’s company Rosas where she worked for 7 years.

Since 2005 Alix has been creating her own pieces: Crystalll, in collaboration with Alice Chauchat (2005), Supernaturel (2007), Long Long Short Long Short (2009), in collaboration with Agata Maszkiewicz. In 2011, she leads, together with Kris Verdonck, a research on the benefits of sleep and rest, which will turn into Exit (2011), a solo in which she puts the audience to sleep. In 2012, she creates Monique, a dance duet with Mark Lorimer, which finds its inspiration in bondage. In 2015 she premieres a group piece, Edelweiss, a danced rebus that oscillates between abstract and figurative art. She is currently developing two different projects, one is a collaboration with Alice Chauchat, Anne Juren, and Mårten Spanberg, Nature’s Nature, and the other a group piece, Chesterfield (dance, leather & poetry).

Besides creating her own work, Alix makes a point of continuing to develop projects with other artists, both as a collaborator and a performer. She took part in pieces by a.e.: Superamas, Kris Verdonck, Anne Juren, Boris Charmatz, Noé Soulier, Jennifer Lacey.

Alix’s artistic practice also involves teaching workshops a.o.in PARTS, Brussels, ImPulsTanz, Vienna, Reykjavik, Panetta Movement Centre, New York, Skolen for Moderne Dans / The Danish National School of Contemporary Dance and SEAD, Salzburg.

Ana Vujanović (Berlin / Belgrade) is a cultural worker: researcher, writer, dramaturge and lecturer, focused on bringing together critical theory and contemporary art. She holds Ph.D. in Humanities – Theatre Studies.

She has lectured at various universities and educational programs throughout Europe, was a visiting professor at the Performance Studies Dpt. of the University Hamburg, and occasionally teaches at HZT Berlin. Since 2016 she is a team member and mentor of fourth year students at SNDO – School for New Dance Development in Amsterdam. She was a member of the editorial collective of TkH [Walking Theory], a Belgrade-based theoretical-artistic platform, and editor-in-chief of the TkH Journal for Performing Arts Theory (2001-2017). She collaborates on artworks in the fields of performance, theatre, dance and video/film, as a dramaturge and co-author, with artists such as Marta Popivoda, Eszter Salamon, Christine de Smedt, Dragana Bulut etc. She published a number of articles in journals and collections and authored four books, most recently Public Sphere by Performance, with B. Cvejić (Berlin: b_books, 2012 / 2015). Currently she researches on transindividuality and landscape dramaturgy, edits the collection Live Gathering: Performance and Politics with L. A. Piazza, and works on the documentary Freedom Landscapes, directed by M. Popivoda.

Andros Zins-Browne is an American choreographer who lives and works in Brussels. His work consists of dance performances and hybrid environments at the intersection between installation, performance and conceptual dance, and explores the ways in which the human body, movement and matter can interact until they appear to take on each other’s properties. Zins-Browne’s performances, which cross regularly between stage and fine art contexts have been presented mainly across Europe including the Centre Pompidou Paris, Dance Umbrella London, HAU Berlin, MDT Stockholm, Het Stedelijk Museum Amsterdam, The Whitney Museum of American Art in New York, Bozar Museum in Brussels, De Singel Antwerp, Kaaitheater Brussels and the Impulse Festival, Düsseldorf where he received the Goethe Institute Award for his performance The Host. At The Villa Empain in Brussels, Already Unmade was presented as a series of solo performances by four dancers, throughout the duration of the exhibition. His most recent performance Atlas Revisited, a collaboration with visual artist Karthik Pandian, was produced and premiered at EMPAC in Troy, NY in 2016. In 2013, Andros founded his own association for artistic research and production, The Great Indoors.

In 1980, after studying dance at Mudra School in Brussels and Tisch School of the Arts in New York, Anne Teresa De Keersmaeker (b. 1960) created Asch, her first choreographic work. Two years later came the premiere of Fase, Four Movements to the Music of Steve Reich. De Keersmaeker established the dance company Rosas in Brussels in 1983, while creating the work Rosas danst Rosas. Since these breakthrough pieces, her choreography has been grounded in a rigorous and prolific exploration of the relationship between dance and music. She has created with Rosas a wide-ranging body of work engaging the musical structures and scores of several periods, from early music to contemporary and popular idioms. Her choreographic practice also draws formal principles from geometry, numerical patterns, the natural world, and social structures to offer a unique perspective on the body’s articulation in space and time.

Anne-Linn Akselsen is educated at the Royal Swedish Ballet School and is a graduate of P.A.R.T.S. of the 5th generation. 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.

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).

Anya Topolski is an assistant professor in political theory and philosophy at the Radboud University Nijmegen. She obtained her PhD in Philosophy at the KU Leuven, for which she was awarded the Auschwitz Foundation Stichting Prize, with a focus on the political thought of Hannah Arendt and the ethics of Emmanuel Levinas and contemporary Jewish thought. In 2009, she joined an NWO project as a post-doctoral researcher to consider the application of her theory of relationality in the field of military ethics where she engaged in post-Srebrenica research on responsibility and judgment. In 2012 her research on European Identity and Exclusion, antisemitism and islamophobia, was funded by FWO – Flanders.

Arco Renz works as choreographer, director, dancer, actor, curator, dramaturge, and teacher. As artistic director of Brussels based dance company Kobalt Works since 2001, Arco Renz creates choreographies in Europe and Asia, as well as commissioned works for Opera Houses and institutional companies around the world. An important aspect of Arco Renz’ activities is his engagement in projects promoting the development of research and exchange between European and Asian artists: Between 2011-2016, Arco Renz engaged in collaborative performance projects of very different nature in Cambodia (CRACK), Indonesia (solid.states + KRIS IS), Vietnam (Hanoi Stardust), the Philippines(COKE), Singapore/Thailand (ALPHA), Hong Kong/Korea (EAST). Monsoon, a series of research and collaboration platforms bringing together Asian and European artists is an on-going project with editions in Europe, Asia and Australia. A central focus within aRco’s specific choreographic idiom is the comparative study of various body practices originating in Asia and Europe. He continues to teach dance, choreography and Taiji Chuan in numerous institutions around the world. Arco Renz studied dance, theatre, and literature in Berlin and Paris before joining the first generation of P.A.R.T.S. in Brussels.

Ben Woodard is an independent scholar living in Germany. His work focuses on the relationship between naturalism and idealism during the long nineteenth century.

He is currently preparing a monograph on the relation of naturalism and formalism in the life sciences. His book Schelling’s Naturalism was published in 2019 by Edinburgh University Press.

Benjamin Vandewalle studied at the Royal Ballet School of Antwerp and graduated at P.A.R.T.S. in Brussels in 2006. Since early on, the central theme in his work is perception. He creates movement – not only in the performer’s body but also in the spectator’s. His work is about sharing new experiences and perspectives with a large audience .

For the performances Birdwatching (2009) and One/Zero (2011), he worked closely with visual artist and scenographer Erki De Vries. In 2012, he stepped out of the black box into the public space. His mobile performance Birdwatching 4x4 was a festival favorite amongst audience and critics and toured for several seasons. Later on, he created new works for the black box such as Point of view (2013) and Common ground with platform-K (2018) which got selected for the theaterfestival. Another work that he created worth mentioning is HEAR (2016) which is a sound choreography performed by a choir of 30 volunteers for a blind folded audience. At this moment Benjamin is touring with his traveling art-fair called Studio Cité (2019) which is a collection of 8 performative installations for the public space which he has been creating the past 6 years.

Benjamin Vandewalle is interested in dance education and is a dedicated teacher for children, amateurs, students as well as professionals. He was guest teacher at the KASK and MUDA and also created a guest choreography for Passerelle (Kortrijk, BE). He collaborated with the dance school Nyakaza in South Africa, launched the project Comfusao in Mozambique and accompanied on two occasions a group of P.A.R.T.S. dance students during an exchange project in Senegal. Together with philosopher Jan Knops and a group of school children from Molenbeek (Brussels) he made the documentaries (un)usual and Movements.

Benjamin Vandewalle is Artist in Residence at Kaaitheater from 2017 to 2021.

Dancer, choreographer and percussionist, Bertrand Saky Tchébé was born in Yopougon. He was at first a dancer with the National Ballet of Cote d’Ivoire starting from 1993, he was later member and toured in western Africa with the Company AfriKa Bikonda, managed by Cameroonian director Jean-Jacques Yem aka Nlomkop Dikoa starting from 1996. He is the choreographer of the Company Sparks since 1997, then he became a member of the Company 1er Temps of Andreya Ouamba (prize-winner of the Rencontres chorégraphiques in Paris) from 2003 to 2004. He has deepened his knowledge in traditional and contemporary dances of Africa and Europe at the Ecole des Sables, Toubab Dialaw, Senegal. He is a member of the Company Jant-bi and tours all over the world with its creations Waxtaan and Fagaala since 2004. In 2011, he joined the CND (Center National de Danse de Paris) to attend the training courses for the state diploma of professor of dance, within the framework of the convention between the Ecole des Sables and the CND. He lives and works in Dakar and teaches regularly at the Ecole des Sables.

With the Company Premier Temps, he participated as a professor in the dance workshop organized by the Festival KaayFecc in Dakar and he danced in Sale, Morocco during the Karacena festival. In his journey through dance, he collaborated with various choreographers such as Susanne Linke (Le Coq est mort), Kota Yamazaki (Fagaala) and Patrick Acogny (Waxtaan). He participated in the performance The scales of the memory, a collaboration creation between Germaine Acogny and Jawole Willa jo Zollar, founder of the Company Urban Bush Women. In 2005, he met Pierre Doussaint (Les Acharnés, Apparitions and Les Naufrageurs) and in 2010, meeting Laurent Gachet, the former manager of the company Fratellini (Danse avec les Fous, Le délicieux vertige d’une page blanche) and Jean-Yves Penafiel (Metamorphoses de Madame M.).

Bojana Cvejić is a performance theorist and maker based in Brussels, and a co-founding member of the TkH editorial collective. 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.

Dancer and choreographer Boris Charmatz (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 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.

In all of his works, Boris Charmatz has always concentrated on the body. Even in works in which this very feature is denied and hidden, the quality and the presence of a human body in relation to dance is always central. Charmatz always maintains a strict framework within which movement can be developed. These structures serve to produce new forms of dance, to share them and reflect on them. A good example of this approach is 50 years of dance, his fast-moving, kaleidoscopic exploration of dance grandmaster Merce Cunningham's oeuvre. Associate artist of the 2011 Festival d'Avignon, Boris Charmatz was invited at MoMA (New York) in 2013 and at Tate Modern (London) in 2012 and 2015.

He is also the co-author of ‘undertraining / On A Contemporary Dance’ written with Isabelle Launay, ‘Je suis une école’ and ‘Emails 2009-2010’ cosigned with Jérôme Bel. In recent works, he raised some uncomfortable questions about the vulnerability of children and the complex relation between man and machine, in enfant, a piece performed by 26 children, 9 adults, 1 musician and 3 machines. In his latest work manger, Charmatz explores the choreographic possibilities of one of the most basic human actions: eating. The performance premiered in 2014 at the Ruhrtriennale in Bochum.

Carly Wijs graduated from the Toneelacademie Maastricht as an actress and soon after school she started to create her own stage productions. She collaborated with collectives such as De onderneming, tgStan, de Roovers and directors such as Guy Cassiers, Josse de Pauw and Peter van Kraaij.

Carly also directs and writes for theatre. Wij/Zij en Show are two of her youth theatre productions. In the summer of 2020 she will write and direct a new production in Sweden for Teateri: He or She.

In 2016 her debut novel appeared: Het twijfelexperiment. For this novel she was nominated for the Bronzen uil.

Since 2009 she teaches at the drama department of RITCS and since 2012 she teaches at P.A.R.T.S.

Charlotte Vanden Eynde (°1975, Belgium) is a dancer and choreographer, based in Ghent. In 1999, she graduated from P.A.R.T.S. Since 1997 she has been creating highly personal choreographies and performances, focusing on the body with a strong sculptural and imaginative sensibility. Her early works Benenbreken, Zij Ogen and Vrouwenvouwen revolved around vulnerability, intimacy and femininity. In Lijfstof (2000) she explored the body as object/matter and in MAP ME (2003) video images were projected on the body as on a canvas. She pursued her movement research in the group piece Beginnings/Endings (2005), the solo’s I’m Sorry It’s (Not) A Story (2009) and Shapeless (2011), and in various dance improvisations on location. Her last work Deceptive Bodies (2014) explores the iconography of the theatrical body and is also shown in exhibition spaces. She has collaborated with musicians (Christian Mendoza, Nicolas Rombouts) and theatre makers (Jan Decorte, De Roovers, Dolores Bouckaert) and danced in pieces by Marc Vanrunxt and Ugo Dehaes. As a movement coach she gives advice to other artists and conducts workshops based on her own artistic practice.

Chloe Chignell is a dancer and choreographer based in Brussels working across text and choreography. In 2019 she opened rile* a bookshop and project space for practices moving between publication and performance, with Sven Dehens. In 2018 she finished the P.A.R.T.S research cycle where she developed her research into poetry and choreography. In 2019 she continued this research through WorkspaceBrussels, BUDA Kortrijk, La Balsamine and Batard Festival on her new work Poems and Other Emergencies. Chloe has a Bachelor in Dance from Victorian College of the Arts, (Melbourne). She was a DanceWEB recipient for Impulz Tanz 2015. In 2017 She studied a writing and residency program at DOCH (Stockholm). As a choreographer Chloe has been commissioned by the Keir Choreographic Award for the creation of Deep Shine (Melbourne) touring to Japan for The Awaji Art Festival. She presented a short work forever in both directions for the Venice Biennale’s Biennale of Dance College Program (2017). As a dancer Chloe has worked for Adriano Wilfert Jensen, Ingrid Berger Myhre, Anna Gaiotti, Gry Tingskog, Atlanta Eke, Ellen Söderhult, Marten Spångberg, Phoebe Berglund and James Bachelor performing in Australia and across Europe. Chloe is also editor of This Container magazine, developed in Stockholm with Maia Means. Her writing has been published by Indigo Dance Magazine (PAF) and Realtime (Australia). She has developed choreographic writing and reading formats hosted by Kottinspektionen (Stockholm), PraxisFestivalen (Oslo), PAF (France) Scene:Bluss (Norway). She is co-initiator of PO$$E a dance and reading group based in Stockholm.

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).

A former performer, Christophe Wavelet has co-directed the activities of the Kunst Project (1993-2001), a performance collective (1993-2001) focusing on artistic re-enactments, and appropriations, 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.

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 P.A.R.T.S. 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.

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.

Cristian Duarte is a choreographer, director and dancer who lives and works in São Paulo. His work as a choreographer is presented internationally and has been recognized by important dance awards in Brazil. His artistic practice involves the creation of shared work environments and experimentation in dance, such as the artistic residence Lote, which has been a fundamental cosmos for the continuity of his choreographic action.

Cynthia Loemij was born in Brielle in the Netherlands in 1969. She took a teacher-training course at the Rotterdam dance academy, where she obtained her diploma in 1991. Since then she has been a member of the full-time core of Rosas. She was involved in the creation of ERTS, Mozart/Concert Arias- un moto di gioia, Amor constante más allá de la muerte, Verklärte Nacht, Woud, Just Before, Drumming, Quartett (a duet with Frank Vercruyssen), In Real Time, Rain and Small hands (a duet with Anne Teresa De Keersmaeker), April me, Repertory Evening, Bitches Brew / Tacoma Narrows, Kassandra, the revival of Mozart / Concert Arias, Raga for the Rainy season / A Love Supreme, D'un soir un jour, Bartók / Beethoven / Schönberg Repertory Evening, Steve Reich Evening, Zeitung, En Atendant, Vortex Temporum, Work/Travail/Arbeid, The Six Brandenburg Concertos and Così fan tutte. She danced in the revivals Achterland, Rosas danst Rosas, Elena’s Aria, Mikrokosmos and Drumming, and in the opera Bluebeard’s Castle and in the film versions of Achterlandand Rosas danst Rosas. In 2006 she took part in Nusch, a play by theater company Stan. In 2009 she danced the duet Prélude à la Mer with Mark Lorimer, in the film of the same title by Thierry De Mey. She appeared in Kris Verdonck’s End and collaborated with Manon de Boer on the installations Dissonant and Mirror Modulation. With David Zambrano she created a duet, as part of the performance Holes. Cynthia Loemij taught at P.A.R.T.S. (Brussels), the Panetta Movement Centre and Movement Research (New York), Dance Works (Rotterdam) for the opéra Garnier (retake of Rain) and the Lisbon ballet. In 2011 she founded the company OVAAL with Mark Lorimer, and created the performance To Intimate and Dancesmith – Camel, Weasel, Whale.

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.

Daniel Blanga Gubbay is a Brussels-based curator in performance arts and researcher. He is the initiator and curator of Aleppo, a platform for public programs through theory and artistic interventions. Among the curated programs: The Second Nature (Riga, 2017); W.E. (Brussels 2017); Nature (Brussels 2016); Black Market (Brussels 2016); The School of Exceptions (Santarcangelo 2016). He works as programmer for the Kunstenfestivaldesarts in Brussels. He is part of the curatorial board for LiveWorks (Centrale Fies). He teaches at the Académie Royale de Beaux Arts in Brussels, directing the performance and choreography department, and lecture regularly abroad. Among some recent presentations Dance Under Cover of a Fictional Rhythm (2018, Sharjah, UAE); The Movement as Living Non-Body (2018, Movement Research, NY); Knowing the Unknown (2017, Museum of Impossible Forms, Helsinki); The Möbius Strip, On Fictional Institutions, (2017, Buda, Kortrijk); and Prophecies Without Content (American University of Beirut).

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).

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.

David Zambrano has been making dance for over 30 years. In his pursuits as both a creator and educator, Zambrano has visited 63 countries, worked with thousands of dancers, and has performed at hundreds of venues across the world. His pieces range from set choreography, structured improvisation, and pure improvisation. Born in Venezuela, Zambrano spent 15 years in New York, and now lives between Amsterdam and Brussels continuing to perform and teach worldwide. His improvisation is committed to art as a cultural exchange developing the creative process in a world without borders. Zambrano sees improvisation as an art and choreography as a vehicle to further develop his work in improvisation. Zambrano’s pursuits as an improviser, choreographer, and performer have been presented all over the world. Zambrano’s methods in improvisation are influenced by the training he teaches around the globe. The most notable method is his Flying Low technique which examines the dancer’s relationship to the ground; and Passing Through group composition exercising the practice of infinity possibilities of moving together inside a defined time-space environment. These techniques are very sought after by festivals, dance companies and schools.

Diane Madden attended Hampshire College in Massachusetts before joining the Trisha Brown Dance Company in 1980. Since then, Madden has danced, directed, taught, studied and reconstructed Brown’s work. A much lauded performer, Madden has been described in the New York Times as “one of those dancers who can make magic out of almost any task.” She has originated roles in works including Son of Gone Fishin’ (1981), Brown’s masterwork Set and Reset (1983), for which she was recently honored, along with the full original cast, by Movement Research in 2012, Lateral Pass (1985), Carmen (1986), Newark (Niweweorce) (1987), Astral Convertible (1989) for which she was awarded a New York Dance and Performance “Bessie” Award, Foray Forêt (1990), Astral Converted (1991), the “running solo” in For M.G.: The Movie (1991), Another Story as in falling (1993), Yet Another Story as in falling (1994), M.O. (1995) set to Bach’s Musical Offering, Twelve Ton Rose (1996), Accumulation with Talking Plus Repertory (1997), Monteverdi’s Orfeo (1998) and the Interlude solos Rage and Ladder in El Trilogy (2000). Madden has served as Brown’s personal assistant and was the rehearsal director from 1984-2000. She continued to teach and direct special projects for the Company before serving again as Rehearsal Director from 2010 until 2013, when she was named Associate Artistic Director. Through the talents of dancers both within the company and from internationally known schools and companies, Madden enjoys keeping Brown’s rich range of choreography alive on stages and alternative sites worldwide. Madden has developed an approach to teaching that weaves anatomically grounded technique with improvisation, composition and performance skills. In addition to her own performance work in collaborative improvisational forms, she is greatly in uenced by her study and practice of Aikido with Fuminori Onuma. Madden is honored to be the recipient of two Princess Grace Awards, the rst in 1986 and the second for sustained achievement in 1994.

Diederik Peeters has been reported to pop up in the work of colleague-artists, cunningly disguised
as actor, performer or even advisor. But he especially keeps insisting on brewing his own artistic
concoctions, sometimes in collaboration with carefully selected accomplices. He is an officially
certified visual artist that accidentally got lost in the stables of stage-art, and usually makes
performances, but has also been caught writing texts, inventing installations or video's and crafting
other amalgams that appear hard to categorise. He committed several shows and performances,
such as “Chuck Norris doesn’t sleep, he waits”, “Thriller”, “Red Herring”, “Hulk” and more recently
“Apparitions”. In his performances he stubbornly sabotages the notion of a solid and unchanging
reality. Absurdities and contradictions pile up to reveal a constantly transforming universe where
nothing ever remains what it seems to be.
Along with Kate McIntosh and Hans Bryssinck he is a founding member of SPIN, a support and
reflection platform based in Brussels. Since 2019 he is also a researcher at KASK / School of Arts
in Ghent, where he is working with Anna Czapski around the topic of ‘The Futurology of
Cooperation’.

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 Master 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 programme.

Improvisation Expert/Teacher/Choreographer. Born in Maputo (Mozambique). Based in Berlin since 2007.

Edivaldo Ernesto began to dance in 1997 with the Tsemba dance group, where he learned Mozambican traditional dance for 4 years. In 2001, he was invited to be a member of Ussoforal, a western African traditional dance group. In 2003, he founded Escultutras Humanas, a company where he began contemporary dance. That same year, he was accepted for a choreographic development project, a six months training program organized by CulturArte (Maputo-Mozambique) and Dancas Na Cidades (Lisbon-Portugal). Through this program he attended several workshops with Boyzie Cekwana and Desire Davids (South Africa), David Zambrano and Mat Voorter (Venezuela-Holland). In 2005, he won a DanceWEB Scholarship for five weeks at ImPulsTanz, Vienna International Dance Festival, Austria.

For more than 15 years Edivaldo Ernesto has worked with David Zambrano in Duet improvisations performance, Creations/ Teaching and touring across the world. He performed: “twelve flies went out at noon”, “Soul Project” , ”SHOCK” and “land in love”. In 2010, he participated as an assistant of David Zambrano in the 50 Days program San Jose, Costa Rica, directed by David Zambrano. He has taught as assistant of David Zambrano at ImPulsTanz Festival, Vienna (2011-2014); DansCentrum Jette, Brussels, Belgium; FUZIONI Improvisation Festival, Italy; EX>IN series,2014- 2016- 2018. He was invited to P.A.R.T.S dance school as assistant of David Zambrano and coached the Passing Through technique in 2008 in Brussels, Belgium.

Edivaldo Ernesto is also a former member of Sasha Waltz and Guests company. (2007-2014). He has worked with Sasha Waltz since 2007 as guest, and since 2008 he was a permanent ensemble member of Sasha Waltz & Guests. He performed Repertory and new Productions works: “Travelogue- Twenty to eight”, “Jagden und Formen”, “Continu”, “Metamorphoses”, “Passion”, “Gefaltet”, "Sacre" , and Rauschen in 2019 and also part of the various Dialogue-project by Sasha Waltz.

In 2013 the organizers of the UM:LAUT series Berlin, Radialsystem organized the first concert between innovative German Pianist Hauschka and Edivaldo Ernesto. Touring Europe and Germany. In 2015, he premiered his first choreographic solo “Tears” touring Europe, Asia, and South-America. In 2017, he also collaborated with director and choreographer Linda Kapetanea in duet choreography “Half the Truth” for Rootlessroot company. In 2020, Edivaldo Ernesto directed a solo choreography “Enchant”, performed by Rosario Ordeñez.

Elisabeth 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.

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 and Charleroi Danses. Now she teaches in P.A.R.T.S. and 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.

Erik Eriksson is a dancer, teacher and choreographer. He completed his artistic education at P.A.R.T.S (Training and Research cycles, 2010-2014) and is currently working with Daniel Linehan, Krišjanis Sants, Ieva Gaurilčkaite, Krista Burane, Andy Field and Linn Eriksson. He teaches at Copenhagen School of Contemporary Dance, P.A.R.T.S and SEAD.

Starting with careful analysis of a set of basic movement patterns common to many systems of physical training – squats, push and pull-ups - Erik´s teaching explores what it takes for an abled human body to move in space and time: endurance, stamina, strength, mobility, power, speed, coordination, agility, accuracy and balance. How these capacities affect the way a body responds to environmental loads and what are the consequent adaptations. It aims at providing a rational framework of general movement principles that can be practically applied to any specific situation or experience a dancer may encounter. Principles that also can be used as tools for structuring a physical practice, relevant for dancers and their personal goals.

Eroca Nicols is currently known as a dancer/choreographer/teacher/spiritual support guy, but their multiplitous practice stems from their family of semi-mystical nomadic trailer people, years working as a janitor, and a BFA in video/performance art and sculpture from California College of the Arts (formerly and Crafts.) The teaching, dancing and training they do are deeply influenced by ongoing study of ritual, biomechanics, community care/disruption and Brazilian Jiu Jitsu.

In non pandi times, they teach and perform all over the world at various festivals and institutions including regularly at ImpulsTANZ, at The School for New Dance Development in Amsterdam, at the Stockholm University of the Arts, and at Studio 303 in Montreal. Eroca is a Chalmers Research Fellow (2014,15), investigating death, ritual and performance with healers and conveners around the globe.

Since pandi and global anti black uprising times they have been residing in Toronto, Canada talking about death and grief on the internet (femmeditation, @therealerocanicols,) engaged deeply in interpersonal negotiations around daily life and racism and anti racism, and learning to lift heavy things in a friend’s garage with a small pod of lovers and friends.

Graduated from the RUG, as a novelist in 1994 and as a master of the dramatic arts at the Herman Teirlinck Higher Institute in 1999. For her graduation project she received the award of the IT's festival as best actress with her own written material. She was on stage with large and small companies: Toneelhuis, KVS, Theater Zuidpool, De Tijd, Het Paleis, Jan Decorte, Malpertuis, SKAGEN, Hanneke Paauwe, Tristero, Het Gevolg, Sam Bogaerts, LOD, Josse de Pauw, compagnie Marius, Productiehuis Brabant, Abattoir Fermé...In recent years she has also started to focus on social-artistic work -Kunst Z, Forsythia, Tutti Fratelli- and teaching. She previously taught at the conservatory of Antwerp and KASK Gent.

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.

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 programmes.

Dancer, choreographer and director, Faustin Linyekula lives and works in Kisangani (Democratic Republic of Congo).

After a literary and theatrical training in Kisangani, he moved to Nairobi in 1993 and co-founded in 1997 the first contemporary dance company in Kenya, the Gàara company.

Returning to Kinshasa in June 2001, he set up a structure for dance and visual theatre, a place for exchange, research and creation: the Kabako Studios.

With his company, Faustin is the author of more than fifteen plays that have been presented on the biggest stages and festivals in Europe, North and South America, Australia and Africa.

Collaborations include a production for the Comédie Française (Bérénice, 2009), a creation for the Ballet de Lorraine (La Création du monde 1923-2012), a solo for a dancer from the CNB - Ballet National du Portugal. Faustin has also imagined performances for museums: WOAgri in New York (2012), MUCEM in Marseille (2016), the Metropolitan Museum (2017) or the Royal Museum for Central Africa in Tervuren (2018).

He regularly teaches in Africa, in the United States (University of the Arts, Philadelphia, University of Florida - Gainesville, University of Arizona, Tempe...) and in Europe (Parts, CNDC Angers, Impulstanz...).

Faustin was awarded in 2007 the Grand Prize of the Prince Claus Foundation for Culture and Development. In 2016, Faustin was Associate Artist of the City of Lisbon and received the city's Medal of Cultural Merit.

Since 2007, Faustin's work and approach has been based in the city of Kisangani, where the Kabako Studios supports the training, production and distribution of young Congolese artists in the field of performing arts, but also video and music.

In 2014, Faustin and the Studios Kabako received the first prize from the American foundation CurryStone for the work developed on Kisangani and particularly on the commune of Lubunga with the different communities.

In 2016, as part of the Artista Na Cidade biennial, Faustin is an associate artist of the City of Lisbon, from which he receives the Medal of Artistic Merit.

From September 2018 and for three seasons, he will be associated with the Manège - Scène nationale de Reims in France. In 2019, he will be associate artist of the Holland Festival in Amsterdam.

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.

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. Florence Augendre has taught workshops with Cie. Félicette Chazerand, Rosas and Les ballets C de la B.

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 (P.A.R.T.S. 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.

François Nicolas is a Researcher and Associate Professor in charge of contemporary music at the École normale supérieure (Ulm) and Ircam. As a composer he combines composition with theoretical reflection. Having studied philosophy at the École Polytechnique (Paris), organ with Albert Alain, piano with Carlos Roque-Alsina, and composition with Michel Philippot, he performed jazz before turning to contemporary music. Nicolas met Mauricio Kagel and Luciano Bério, attended lectures at Darmstadt, and took the Ircam computer training course for composers. He is currently working on “Égalité ’68” a large-scale compositional project on May ’68 consisting of a symphony, a cantata, a madrigal, and an opera. He lectured for some time at the Conservatoire National Supérieur de Musique in Paris and was also a guest producer at France-Musique. Together with Hacène Larbi he founded the Entretemps ensemble and contributed at Ircam to the production of the Modalys software and Timée multi-loudspeaker source. He has just completed the large book Le monde-Musique (et son écoute à l’œuvre) [The World-Music (and its Listening in the Work)] and is preparing a book on Parsifal.

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 he 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.

In 1979, Fumiyo Ikeda entered MUDRA, Maurice Béjart’s dance school in Brussels, where she met Anne Teresa De Keersmaeker. In 1983 she was one of the founding members/dancers of Rosas. Between 1983 and 2008 she contributed to the creation of and danced in almost all the productions, and defined the face of Rosas. She has also contributed to several of Rosas’ films and videos. Since 2007, Fumiyo develops her own artistic parcours. In 2007 she created "Nine Finger" with Benjamin Verdonck and Alain Platel. This performance was selected for the Festival d’Avignon 2007, and knew an extended international tour. Her next step was the solo "In pieces", a collaboration with the British theatre writer and frontman of Force Entertainment, Tim Etchells. She performed in "Life and Times, Episode 2", a performance in collaboration with Nature Theater of Oklahoma (2010). In 2013 she created along with the Japanese choreographer Un Yamada "amness". In 2014 she created "Cross Grip" with three Japanese dancers and the percussionist Kuniko Kato. In 2015 she choreographed and performed "Absence" with Frank Focketyn, directed by Peter Vehrelst (NTGent) and Eric Joris (CREW). In 2016 choreographed and performed "De Sleutel" directed by Josse De Pauw. In 2017 choreographed and performed her solo piece “Piano and String Quartet” of Morton Feldman with live music by Ictus. Besides choreographing and dancing, she teaches numerous workshops for Rosas and her own work. She taught a few times at KASK and is the rehearsal director of the early pieces of Rosas.

Gabel Eiben 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.

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 P.A.R.T.S. 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.

Georg Weinand (°1968, Eupen) is a theatre scholar and has extensive experience in the international dance and performing arts world. He has worked as a dramaturge with Ultima Vez and Wim Vandekeybus and as artistic coordinator of production houses such as Les Ballets du Grand Maghreb and TOR. Over the past ten years, he has coached many young dance talents as a polyvalent dramaturge and teacher in higher art education, including at the DasArts Master's programme of the Amsterdam School of the Arts.

From 2012 to 2016 he headed the Dampfzentrale Bern, a Swiss cultural centre that focuses on dance, performance and music. He therefore has concrete experience with annual dance programming and international festivals. Since April 2018 he works as dance presenter for Concertgebrouw in Bruges and as coordinator of Dance in Bruges. As a freelance consultant, Weinand also gives workshops on feedback techniques and reflection tools.

Gerard-Jan Claes (Belgium, 1987) is a filmmaker, lecturer, author, both founder and artistic director of the cinephile platform Sabzian, and co-founder of the independent film distributor Avila. As a filmmaker, he collaborates with Olivia Rochette (Belgium, 1987). Their shared filmography consists of Because We Are Visual (2010), Rain (2012), Grands travaux (2016), and Mitten (2019). Since 2009, the duo provides audiovisual work for choreographer Anne Teresa De Keersmaeker and her dance company Rosas. Claes teaches at P.A.R.T.S. and LUCA School of Arts. You can find more information on their films on their website.

Goran Sergej Pristas is a dramaturge, co-founder and member of BADco performing arts collective and Associate Professor of Dramaturgy at the Academy of Dramatic Arts, University of Zagreb. With his projects and collaborations (BADco., Frakcija) he participated at Venice Biennale 2011 and 2016, Documenta 12, ARCO and numerous festivals and conferences. He was a researcher and curator in Centre for Drama Art (CDU) from 1995 till 2007. He is one of the initiators of the project Zagreb - Cultural Kapital of Europe 3000. Sergej has been mentoring and teaching at DOCH (Stockholm), JLU (Giessen), Statens Scenekunstskole (Copenhagen), P.A.R.T.S. (Brussels) and more. Teaching courses in performance dramaturgy, writing for performance, analytical writing, dramaturgy and choreography, collaborative practices etc. First editor-in-chief (1996-2007) of Frakcija, a magazine for the performing arts. Together with Bojana Cvejić co-edited Parallel Slalom. A Lexicon Of Non-aligned Poetics TkH Beograd / CDU Zagreb, 2013. And with Tomislav Medak co-edited Time and (In) Completion: Images And Performances Of Time In Late Capitalism, BADco. Zagreb 2014.

Ingrid Vranken (1987) completed a Masters in Theatre Studies at the University of Antwerp and Freie Universität Berlin and a Masters in the Arts at DAS theatre in Amsterdam. From 2012 until 2017, she was the coordinator of the artist-run platform SPIN in Brussels, where she focused on curatorial projects in which our experiences of time and productivity are questioned. During her time at SPIN she worked to create knowledge for and about artist-run organisations and fair practices in the arts, which she put to work as a consultant on the charter for fair practices, Juist is juist, for the flemish artfield. The collaborative project Common Wallet has shaped her daily life since 2018, a life-experiment sharing finances with nine other people, as a way to rethink individual ownership, the commons, precarity and affective relations to money. Currently, Ingrid works as an independent dramaturg, curator and artist, and is a member of FoAM, a transdisciplinary laboratory at the interstices of art, science, nature and everyday life. Her curatorial and artistic practice focuses on enabling a systemic eco-feminist transition in the arts, through engaging with the knowledge and labor of other-than-human beings, and in particular plants. For this, she creates collaborative curatorial frameworks and speculative lecture performances under the umbrella of Rooted Hauntology Lab. Since the spring of 2020, she is part of the multi-voiced curatorial team of wpZimmer, a space for artistic development in Antwerp.

Ise An Verstegen is a dancer and maker and works with her Dutch roots in several worlds. Her work is rooted in West Africa and in the Occident, starting from technique Germaine Acogny. In her work as a dance artist she interweaves worlds with an inclusive, transcultural vision and body language. Ise chose Acogny and Acogny chose her. Since 2008 Verstegen has been working closely with Germaine Acogny, the mother of modern African dance. Verstegen is one of the few dance artists in the world who are specialised in and qualified to work with this technique - a dance technique and philosophy based on West African and Western dances. Ise's work and transmission start from embodiment, connection, collectivity and the respect, possibilities and natural strength of each body through rhythm and movement. From here she addresses social issues.

Since 2011 Ise has been working as a dancer and teacher of technique Germaine Acogny at l'Ecole des Sables and the Amsterdam Academy of Theatre and Dance / AHK, and she works internationally and nationally as an 'Acogny dance-practitioner'. She organizes international workshops for professional dancers and creates performances, including Secret (2012), Moy Lo Lou (2013), Nuy Demm (2014), Dadje Ci Kumpa (2015), I Damn (2017), THE GAZE (2018), 3Feet (2019-running), Techno Body Fusion (2019-running). She works with, among others, Germaine Acogny (Jant-Bi), Patrick Acogny (Jant-Bi), Nita Liem (Don't Hit Mama), Samantha Speis (Urban Bush Women), James Carlès (Cie James Carlès) and Serge Arthur Dodo (King'Art). For the 2018-2019 season, Verstegen received the 3Package Deal from the AFK, intended to stimulate talented young makers in Amsterdam.

Ivana Müller is a choreographer, artist and author of texts. Although she creates through various forms, theatre remains the principle context in which she develops and presents her work. Her pieces have been produced and presented in some of the major theatre festivals and venues in Europe, USA and Asia over the last 12 years. In her practice she has collaborated and colleborates with artists and theoreticians such as Bojana Kunst, David Weber Krebs, Andrea Bozic, Jonas Rutgeerts, Jefta van Dinther, Bill Aitchison, Paz Rojo, Sarah van Lamsweerde, Christine de Smedt and many others. Next to her artistic practice, Ivana Müller curates artistic and discursive encounters and lectured/lectures as a guest lecturer/professor. Müller studied Comparative literature and French at the University of Zagreb, Choreography & dance at the School for New Dance Development in Amsterdam and Fine Arts at the Hochschule der Künste in Berlin. From 2004 till 2009 she was a founding member of artistic collaborative platform LISA (Amsterdam). Ivana Müller was born in Zagreb and grew up in Croatia and in Amsterdam. She lives in Paris and works internationally.

Jacob Storer graduated in 2016 from PARTS in Brussels, Belgium and joined Trisha Brown Dance
Company in 2017. He is currently based between Brooklyn and Brussels collaborating in projects regarding somatic embodiment, movement, music, and semantics of language. He has previously taught at NYU, Mimar Sinan Üniversitesi, and P.A.R.T.S.

Jakub Truszkowski was born in 1977 in Gdansk, Poland. He started his dance training in 1987 at the State Ballet School in Gdansk, where he obtained his degree in 1996 and he performed several classical pieces in the Opera House of Gdansk. In 1996 Jakub was admitted to Anne Teresa De Keersmaeker’s school P.A.R.T.S., graduating in 1999. In January 2000 Jakub joined the company Rosas, dancing in the revival of Drumming, Mozart / Concert Arias, Mikrokosmos and participating to the creation of In Real Time, Rain, April Me, Repertory Evening (2002), Bitches Brew / Tacoma Narrows and Kassandra.In 2008 he joined the company Les Ballets C de la B, dancing in Import Export and participating to the creation of Ashes. He is a teacher at P.A.R.T.S.(Brussels) and guest teacher at several other schools including De Theaterschool, Amsterdam and The Folkwang University of the Arts, Essen. As a rehearsal director, he participated in staging Rosas repertory projects at Opéra de Lyon, P.A.R.T.S., Opéra de Paris and Companhia Nacional de Bailado. His personal creations include 4 pieces: Solo For The Projector, Improvisation Solo, Bodyscapes and Memory Reset. He is a co-founder and a performer at The House of Bertha dance collective.

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 P.A.R.T.S. 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.

Janne-Camilla Lyster studied at the Oslo National Academy of the Arts, where she graduated with a BA in Contemporary Dance in 2006. She is a dancer, choreographer and writer. She has published several collections of poetry, including We left the silent forest, which was written as a literary score for dance and shown in four adaptations at the House of Dramatics in Oslo in October 2013. In May 2014, she performed her critically acclaimed adaptation of Deborah Hay's solo choreography Dynamic at The Norwegian Opera & Ballet. As from October 2014, she is an artistic research fellow at the Oslo National Academy of the Arts, The Academy of Dance, with the project Choreographic poetry: Creating literary scores for dance.

Jason Respilieux (born in Brussels, BE) studied at the Fine Arts Academy of Brussels, Codarts in Rotterdam and graduated from P.A.R.T.S. in 2014. Jason has collaborated with and danced for several choreographers, including Salva Sanchis (Islands project, A Love Supreme), Ted Stoffer, Claire Croizé (Evol), Anne Teresa De Keersmaeker (A Love Supreme, The Six Brandenburg Concertos, The Dark Red Research Project). Simultaneously he is a dance teacher, advisor for performances and a mentor for students within the dance community. Respilieux also starts to make his own work. He seeks the moving body within the multidisciplinarity and therefore collaborates with artists from other art fields (film maker, composers, other choreographers).

Jeroen Peeters is a writer, dramaturge and performer based in Brussels. He has published widely on contemporary dance and performance, art theory and philosophy, including a book on spectatorship in contemporary dance, Through the Back: Situating Vision between Moving Bodies (2014). Interested in documenting the ‘languages of making’, Peeters set up several dialogical projects with artists in the field of contemporary dance, which resulted for instance in a book in collaboration with Meg Stuart, Are we here yet? (2010). Peeters regularly engages in artistic collaborations with among others Julien Bruneau, deufert+plischke, Mette Edvardsen, Jack Hauser, Sabina Holzer, Heike Langsdorf, Martin Nachbar, Meg Stuart and Jozef Wouters. Collaborative performance works include Anarchiv #1: I am not a zombie (2009) with deufert+plischke and Marcus Steinweg; Die Unbändigen (2012) with Jack Hauser, Satu Herrala and Sabina Holzer. With Jozef Wouters he created The Metaphors (2015), a lecture performance on the use of text and image in the debate on climate change. Together with Martin Nachbar he made Der Choreoturg (2016), a fabulatory performance attempt to reforest the theatre. Peeters has taught physical dramaturgy and performance analysis in various institutions, including HZT Berlin, AMCh Amsterdam, Institute for Applied Theatre Studies in Giessen and University of the Arts Helsinki.

She danced for more then 12 years for Anne Teresa De Keersmaeker (Rosas) with who she still collaborates as assistant, rehearsal master. In 1998 she created JOJI INC with Jim Clayburgh, one of the founders of New York based The Wooster Group. JOJI INC received an award Seine Saint Denis/ Bagnolet in Paris in 2000, tours internationally and gets praised and honoured in many countries. Johanne also collaborated with an extensive list of artists and producers, such as Guy Cassiers, Georges Aperghis, composer or video maker Kurt d’Haeseleer, Ictus Ensemble, Luc Bondy, opera singer Nathalie Dessay, François Sarhan, Quatuor Diotima, Sybille Wilson, Jean Francois Sivadier. She founded Les Ballets Confidentiels with Ine Claes performing their short pieces all terrain, mostly outside of the conventional scenes. 2018 She directed her first opera with 210 kids to the music of Arhtur Lavandier « La légende du Roi Dragon» in opera de Lille.

Jonathan Burrows danced for 13 years with the Royal Ballet, during which time he also performed extensively for renowned experimental choreographer Rosemary Butcher. He has since created an acclaimed body of performance work including The Stop Quartet (1996) and Weak Dance Strong Questions (with Jan Ritsema 2001), as well as his long series of collaborations with composer Matteo Fargion, including Both Sitting Duet (2002), The Quiet Dance (2005), Speaking Dance (2006), Cheap Lecture (2009), The Cow Piece (2009), Body Not Fit For Purpose (2014) and Let us stop this mad rush towards the end (2019). In 2019 he also made his first solo performance Rewriting. Burrows and Fargion are co-produced by PACT Zollverein Essen and Sadler's Wells Theatre London. Burrows is a founder visiting member of faculty at P.A.R.T.S in Brussels and he has been Guest Professor at universities in Berlin, Gent, Giessen, Hamburg and London. His A Choreographer's Handbook has sold over 15,000 copies worldwide and been translated into Bulgarian, Chinese, German, French and Slovenian. Burrows is currently an Associate Professor at the Centre for Dance Research, Coventry University.

Kaja Farszky (born in Zagreb, based in Brussels) is a versatile percussionist who is active as a soloist but also collaborates with different chamber ensembles, orchestras, artists from different fields such as dance, theatre, and visual arts.

As a player dedicated to performing contemporary music as well as an improviser, her life is marked strongly through work with composers and being involved in creations on a regular basis. Her approach to music performance is characterized by inspiring energy, but also by a clearly defined extramusical dramaturgical concept, carefully thought through. She dedicates equal attention to the visual elements as well as elements of the scene and her performances are filled by a powerful artistic personality, both in the classical music performances and in the most challenging pieces of contemporary music literature. She is an active musician in classical, contemporary, improvisation and music-theatre scene, as well as the author of individual works and projects. Her musical life is largely marked by many guest performances in Europe and worldwide. Having percussion instruments as a mode for expressing herself, she feels there are no limits in questioning what can be an instrument or which sounds are considered music, there's only the question of what to do with a particular sound in a particular moment. Kaja believes that percussion music at its best reveals and amplifies something fundamental about the composers and performers who engage in it.

Since 2017 Kaja is marimba one™ Discovery Artist and co-artistic director of collective Down the Rabbit Hole.

Kathleen Fisher is a dancer, teacher, improvisor, and bodyworker. As a member of Trisha Brown Company from 1992 - 2002, she was an original cast member in six choreographies and performed extensive repertory including Brown's solos, Accumulation, and If you couldn't see me. She has taught TBDC classes and workshops and led lecture-demonstrations for professional and aspiring dancers, children, and educators around the world, including re-imaginings of repertory at P.A.R.T.S., CNSMD de Paris, CNSMD de Lyon, and CNDC Angers. Her ongoing study and performance includes projects with Bebe Miller Company and Jane Comfort and Company as well as forays into theater, film, somatics and the healing arts. She is a Certified Yoga Teacher, Licensed Massage Therapist and Certified Craniosacral Therapist. She is now based in Bimini, Bahamas where she observes and joins the amazing dance of the resident wild spotted dolphins. Current lines of inquiry include exploring dance in the fluid medium and exploring movement as creative communication with other species, specifically marine mammals.

Kirstie Simson has been a continuous explosion in the contemporary dance scene, bringing audiences into contact with the vitality of pure creation in moment after moment of virtuoso improvisation. Called “a force of nature” by the New York Times, she is an award-winning dancer and teacher who has “immeasurably enriched and expanded the boundaries of New Dance” according to Time Out Magazine, London. Kirstie is renowned today as an excellent teacher, a captivating performer and a leading light in the field of Dance Improvisation. She is a professor of dance at the University of Illinois and continues to teach and perform all over the world.

Kopano Maroga is a performance artist, writer, cultural worker and co-founding director of the independent dance, movement and embodied politics organization ANY BODY ZINE (anybodyzine.org.za). They are a Master of Arts candidate in Live Art, Interdisciplinary and Public Art through the Institute of Creative Arts at the University of Cape Town. Their interests lie at the intersection of art, social justice and healing knowledge systems. Their current research is in the potential of disidentification and biomythography as tools for destabilizing rigid identity theory. They very much believe in the power of love as weapon of mass construction. Since May 2019 they work fulltime as dramaturge at Art Center Vooruit in Ghent.

An ongoing interest in the (im)materiality, the image and performativity of writing has led Kristien Van den Brande to work in between the disciplines of urbanism, literature, performance, art criticism and expanded publishing. After a master’s Philosophy of Pedagogy, Theatre Studies, and one year research at Jan Van Eyck Academy, her main anchor became Brussels and performing arts, where she feels most stimulated by the question of the audience and how to give space, rhythm, light, form… to (the production and the transmission of) knowledge. Recurrent focal points are archives, scores and improvisation, indirect speech, performative writing and counter-signing, appropriation and inscription, expanded publishing and memorizing. She alternates between writing, editing and web design, curating, performing, dramaturgy and mentoring at A.pass. She has collaborated with Myriam Van Imschoot, Mette Edvardsen, Christine De Smedt, Sarah Vanhee, Wim Cuyvers.

Kristof van Baarle is a dramaturge and researcher. In 2018 he obtained his PhD at the University of Ghent, entitled 'From the cyborg to the apparatus. Figures of posthumanism in the philosophy of Giorgio Agamben and the contemporary performing arts of Kris Verdonck.' In 2018-2019 he teaches at the University of Ghent and the University of Antwerp, where he also works as a doctor-assistant on further research. As a dramaturge, Kristof is firmly attached to Kris Verdonck / A Two Dogs Company, and has worked / works with Michiel Vandevelde, Heike Langsdorf, Thomas Ryckewaert and Alexander Vantournhout. Since 2015 Kristof is also a member of the editorial board of Etcetera.

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 P.A.R.T.S., Brussels.

Laia Escandell 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. In my classes, I teach Sivananda Hatha Yoga tradition: proper breathing, proper exercise, proper relaxation, positive thinking.”

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.

Lendl Barcelos is a Portuguese-Canadian researcher, philosopher & artist now based in Brussels. Hens work has appeared internationally via Garage Museum of Contemporary Art (Moscow), Cure Park (Amsterdam), The Passive Collective, TATE Britain (London), OR Gallery (Berlin), V4ult, /V\inibar (Stockholm), Diapason (New York), Re:Press & MIT Press. Hen is part of Asounder & the collaborative artist 0[rphan]D[rift>].

Born in Brazil in 1956, Lia Rodrigues studied classical ballet in São Paulo, before founding Grupo Andança in 1977. Between 1980 and 1982, she came to France and joined the Compagnie Maguy Marin where she participated in the creation of 'May B'. She then returned to Brazil, where she settled in Rio de Janeiro and founded her company, the Lia Rodrigues Companhia de Danças in 1990. In 1992, she founded the annual Contemporary Dance Festival Panorama de Dança, which she ran until 2005.
Lia Rodrigues’ Company - Companhia de Danças - is recognized nationally and internationally, and is part of the movement which promoted contemporary dance in Brazil. Stimulating discussion, promoting debate forums, raising individual awareness to the issues of contemporary art, generating intellectual and festive encounters, supporting and investing in training and information for new audiences, are just some of the Company’s actions.
In 2004, invited by the Company’s playwright Sylvia Soter, Lia Rodrigues decided to invest a part of the city of Rio which was so far little known to contemporary artists, the favela of Maré. Lia Rodrigues' commitment to Maré is reflected in the daily presence and active involvement of her dance company here since it started, through the presentation of her shows and repertoire, as well as through educational and artistic projects which integrate the local Maré community. Lia Rodrigues also created, in partnership with the association Redes de Maré, the Centro de Artes de Maré in 2009 and the Free School of Dance of the Maré.
The French government awarded Lia the medal of Chevalier of the Order of Arts and Letters in 2005, and in 2014 she received the prize of The Prince Claus Foundation of the Netherlands. In 2016, she received the SACD Choreography Prize.

Liz Kinoshita (°1983) was born in Toronto, Canada and moved to Europe in 2002 to further study and work. In 2004, Liz participated in DanceWEB in Vienna, Austria, after which she studied at P.A.R.T.S. in Brussels, Belgium from 2004-2008.

Since graduating she has worked with various companies, such as ZOO/Thomas Hauert, tg STAN, Eleanor Bauer/GoodMove, Tino Sehgal, and Daniel Linehan/Hiatus, as well as making her own work. At the invitation of Walter Verdin she collaborated with the Congolese theatre-maker Ornella Mamba, which resulted in the performance Article 0.0. Liz had the pleasure of creating a performance with children in Andenne via the Centre Dramatique de Wallonie pour L'Enfance et la Jeunesse. She has appeared in the films of Danish artist Joachim Koester and worked with him as an assistant director and choreographer. She has given contemporary dance workshops in Belgium, France, Sweden and Canada.

In 2013 she made her research into the mechanisms of the musical. In 2014 she created VOLCANO, a contemporary dance backstage musical performance. In February 2017 Liz premiered Radical Empathy, a work created on the graduating contemporary dance and choreography students of The Danish National School of Performing Arts. Her newest creation You Can’t Take It With You premiered in November 2017.

Luc Vaes did his basic musical studies at the Royal Conservatory of Ghent in Belgium, in France, Cologne and Buffalo's State University of New York. He worked with composers such as Earle Brown, Mauricio Kagel, Lou Harrison, Frederic Rzewski, Ned Rorem, George Crumb, Kevin Volans, Helmut Lachenmann, John Cage, Edison Denisow, etc. and creates new works each year, most of them written especially for him. He made numerous recordings for television and radio both in Europe and in the USA and played solo concerts at renowned venues and festivals. He has conceived and co-ordinated concerts and festivals in Ghent, Brussels, Toronto, New York and Chicago. He was director of the Belgian new music ensemble Champ d'Action and founded the Flemish leg of the international November Music festival organization, of which he is currently director. Besides being invited as a member of the jury of international competitions, Luk Vaes has written and produced programs for the Belgian Radio and recorded several CD's. His repertoire contains not only 'classics' from the traditional piano literature and the major works and styles of the 20th century music but also the complete works by Mauricio Kagel, programs presenting New Music of the Russian Commonwealth, musical theatre, Post Modernism, slide shows, an 8 hour marathon of American music, etc.