P.A.R.T.S. Open Studio / Solos - in the framework of Kunstenfestivaldesarts 2017

05/05 | 19:00 - 21:00 P.A.R.T.S.

27/05 | 17:00 - 19:00 WIELS

27/05 | 21:00 - 23:00 WIELS

Admission free

In September 2016, 46 young dancers from 22 countries started their three-year course at P.A.R.T.S. Together they form the dance school’s Generation XII. Especially for the Kunstenfestivaldesarts, they have created a (very) short solo. It’s a sort of ID card, lasting not longer than one to three minutes. The dancing is done in silence, no props, no costumes – the raw material of 46 young artists. At the opening of the Kunstenfestivaldesarts, all the solos are danced in five studios at P.A.R.T.S. in loops of approximately 20 minutes per studio. On the last day of the festival, the solos are danced in one long series lasting two hours.

Commemoration March, 22.

One year ago, on March 22, 2016, Brussels was hit by terrorist attacks leaving many people dead and injured. On March 22, 2017 Brussels was commemorating this event. Under the motto 'Turn to love',next to the official activities, citizens organise several events, offering a message of solidarity, love and hope. Anne Teresa De Keersmaeker, P.A.R.T.S. and Rosas initiated a rite of reconnection in collaboration with Circles – we have the choice. Moving and singing together as a modest commemoration of last year’s victims.

Pictures by Anne Van Aerschot

Pictures of our open house

Last Sunday March 19 we welcomed you during our open house for a firsthand peek at our daily activities. We caught this afternoon in a small series of pictures.

Open House 2017 - Picture by Tine Declerck (http://www.tine-declerck.be/)

Open House - Contemporary Class with David Hernandez - Picture by Tine Declerck (http://www.tine-declerck.be/)Open House - Ballet Class with Janet Panetta. Picture by Tine Declerck (http://www.tine-declerck.be/)

Open House - Macrobiotic coffee break - pictur by Tine Declerck (http://www.tine-declerck.be/)

Pictures by Tine Declerck

Sunday March 26, 17.00 - P.A.R.T.S.@ work #11


Poly’s Pulse - Reflected Polymetricity

Poly’s Pulse - Reflected Polymetricity
A rhythmical exploration based on dance and music
mirroring, being reflected in each other.
How can the pulse be shared?
Fish are jumping, porgy

Choreography: Naïma Mazic

Performance: Ana-Filipa Botelho, Calvin Carrier, Synne Elve Enoksen, Tessa Hall, Mei-Ning Huang, Keren Kraizer, Ivan Lucadamo, Lydia Mcglinchey, Tim Nouzak

Music: Ana-Filipa Botelho, George Gershwin and Naïma Mazic

Costumes/Stage: Naïma Mazic

Choreographic Assistance: Sien van Dycke

With the help of: Lola Drubigny, Talia De Vries and Haggai-Cohen Milo

Thanks to Nïm, P.A.R.T.S. and Projection Room Brussels

Inside issues 

and some questions

Choreography & Performance: Keren Kraizer 



Choreography: Némo Flouret

Performers: Solène Wachter, Audrey Mérilus, Synne Enoksen, Rafael Galdino, Némo Flouret

Music: La Llorona by Chavela Vargas - La Strada Is on Fire, Pt. 2 by Vitor Joaquim 




One to One - Open Call for all contemporary dancers of Brussels

P.A.R.T.S. & Benjamin Vandewalle in collaboration with Rosas and Kaaitheater 

Photo by Nikola Milatovic
Photo by Nikola Milatovic

Brussels has a lively and international dance scene. As part of International Dance Day 2017 P.A.R.T.S. and Benjamin Vandewalle, will gather a large group of dancers in the streets of Brussels, for the project One to One. 

This large group will be divided into duos. Within a predetermined city district (Centre, Molenbeek, Zavel) they will follow their own trajectory and complete a personal trail. Architecture, the passers-by and the local atmosphere will inspire the dancers dialogue with the urban setting. In their accidental encounters, the passers-by become the audience. One to One: one dancer, one spectator, and the story can begin. The bystanders have the choice to follow the dancers on their personal trail or to continue their own pathway. 

The various routes will be recorded, documented and gathered by students audio-visual arts. 

P.A.R.T.S. and Benjamin Vandewalle address their open call to all contemporary dancers of Brussels. Brussels is a melting pot and laboratory of contemporary dance. Every element of this diverse community will come together in One to One. Each dancer can share and dance his/her stories in the streets of Brussels. 

We plan a small preparation, to guarantee the success of the project. On Sunday, April 23 at 10 AM, we organise a rehearsal of maximum three hours at P.A.R.T.S. Benjamin Vandewalle will give a short note on One to One and then provide you with some ground rules, afterwards we hit the streets to give it a try. 

Who can participate? 

  • - Professional dancers and dance students 

  • - Minimum age 17 years 

  • - Dancers who are used to improvise 

  • - Dancers who are not afraid of dancing a public area 
  • - Due to the extent of the project, we are not able to provide any financial compensation. 


  • - Rehearsal: Sunday April 24 at 10 AM 

  • - International Dance Day: Saturday April 29, 1 PM – 5 PM 


  • - Rehearsal: P.A.R.T.S, Van Volxemlaan 164, 1190 Vorst 

  • - International Dance Day: Gathering at Kaaitheater, Sainctelettesquare 20, 1000 Brussels 

How to participate: 


We kindly invite you to join our adventure and hope to see you in April!

P.A.R.T.S. & Benjamin Vandewalle 


Pictures of our Training Cycle students in a Boris Charmatz’s workshop

Workshop Boris Charmatz (Photo by Tine Declerck)
Workshop Boris Charmatz (Photo by Tine Declerck)
Workshop Boris Charmatz (Photo by Tine Declerck)
Workshop Boris Charmatz (Photo by Tine Declerck)
Photo's by Tine Declerck, http://www.tine-declerck.be 

Open house – Sunday 19 March 2017

On Sunday, March 19, P.A.R.T.S. organises its annual Open House. This is a great opportunity to get to know our school, students, teachers and staff members. During the Open House you can watch ballet and contemporary classes and the students will also present their personal work. 

Open classes

Janet Panetta will lead the ballet class. Besides teaching at P.A.R.T.S. she is also working at Tanztheater Wuppertal and Impulstanz. During her classes she guides the students in their search for body conscious. Meanwhile she sharpens their technical proficiency.

David Hernandez teaches the contemporary class. He started his career as a dancer at the Trisha Brown Company in New York. David participated in a choreographic collaboration with Anne Teresa De Keersmaeker for several projects, including "Zeitung", "Keeping Still" and “D’un Soir un Jour". During his classes the students focus on the development of an efficient body alignment as a base to move from. They discover gravity as a partner in falling and redirecting weight.

Personal work

Student will present you a sneak peak of their personal work.

Behind the scenes

During the Open House there will be a photo and film exhibition. These images will give you an impression about the evolution of the school and the daily life at P.A.R.T.S.

Macrobiotic kitchen

P.A.R.T.S. offers his students a daily macrobiotic lunch.
Chief Arnaud Tabary and his team will prepare some fresh and healthy snacks for you. Come and taste our macrobiotic kitchen. 


13h30 – 14h45

Studio 1: Ballet class with Janet Panetta.

Studio 2: Contemporary class with David Hernandez.

Studio 3: Presentation personal work by the students.


15h15 – 16h30

Studio 1: Ballet class with Janet Panetta.

Studio 2: Contemporary class with David Hernandez.

Studio 3: Presentation personal work by the students.


13h30 – 17h00 (continues hours)

Studio 4: Photo exhibition.

Studio 5: Film exhibition.

We would like to invite you to join us at the Open House! See you the 19th of March! 

Pictures of P.A.R.T.S. @ work #9 and #10


Pictures by Tine Declerck, http://www.tine-declerck.be

Open Trisha Brown repertoire workshops for professional dancers and dance students by Samuel Wentz.

After the success of the previous edition P.A.R.T.S. organises a new series of four workshops on repertory of Trisha Brown led by Samuel Wentz. The workshops open up the repertory of Trisha Brown and focus on discovering usable tools for your own practice. The classes will begin with somatic-based exercises that allow us to locate, ground and mobilize our body parts as a coordinated whole in space. The newfound connections will be the basis to work on several phrases of Trisha Brown’s repertory.

The workshops are aimed for dancers with several year of experience aged 18 or older and students in a fulltime trainingsprogram aged 16 -18.  
Maximum 15 participants per workshop.
The workshops last a full day, starting at 10.00 and going until 17.00, with a lunch break between 13.00 and 14.00.

Participation in the workshops costs 50€ per day.
To register, send an email to jens.buysschaert@parts.be, which includes your contact information, the day(s) you want to participate, and a concise cv. In return, you will receive payment details. Your inscription will only be complete once we have received the payment.

Workshop descriptions

Workshop #1: Saturday 29/04
Stealing & Mimicry // Improvising as an Organism // An Energetic Reconstruction of Opal Loop
In this workshop, we will look at Set and Reset and Opal Loop from Brown’s Unstable Molecular Cycle. In these signature pieces, form is slippery: quartets reveal solos, double duets emerge then dissipate, and a mysterious, song-like current moves between performers. In this workshop we will use these pieces as guides in an improvisational ensemble setting, examining patterns and behavior in group movement. How do we move together? Is stealing/copying allowed? How do we become a conduit? How do we create and simultaneously become fluent in an emergent language? 

Workshop #2: Saturday 06/05
Partnering // Vertical, horizontal and everything in between // Spatial Reach as Support
In this workshop, we will be looking at prominent partnering concepts in Brown’s work; images of turnstiles, flying squirrels, and rodeos come to mind. Starting with Leaning Duets, we start from the bottom to discover a place of shared weight, an acknowledgment of gravity, and the use of line as tool. We will learn specific lifts from pieces such as Newark and Astral Convertible and then put these new concepts into our own partnering creations. Tackling the binaries of vertical/horizontal and male/female, we will open up and enhance all of that middle ground.

Workshops #3: Saturday 13/05

Pattern as Form// Mapping the self to the World/Systems
This workshop will be dedicated to looking at the systems Trisha constructed to create content as well as forms. Accumulation, Group Primary Accumulation, Locus, the Add & Return Phrase from Foray Forêt will all be considered, looking particularly at how these earlier works impacted the more full-bodied phrase work seen throughout Trisha’s cycles of work. Working with solo improvisations that locate and map the body, we will gradually cultivate increasing consciousness of the various layers of interaction and space surrounding us. We will narrow in on the cube idea as well as blow it out of proportion. We will let things take their own time. The goal is to find freedom within form. 

Workshop #4: Saturday 20/05

This workshop will be devoted to learning some of the more rhythmically nuanced phrases within Trisha’s repertory. Over the course of the six hours, we will learn excerpts of Watermotor, Horses from Newark, and the Soft Phrase from Foray Forêt. These three phrases capture a range of Trisha’s approach to movement: from the romping and buoyant, to the focused and athletic. We will spend an exorbitant amount of time on detail and then throw it all away to inhabit the wild and abandon of Trisha’s kinetic body.

Biography Samuel Wentz

Samuel Wentz, originally from North Dakota, started his professional training at Idyllwild Arts Academy (’06), received his BFA from NYU Tisch School of the Arts (’09), and was awarded the Teaching Fellowship as an MFA candidate at Bennington College (’16).  He has worked with the Trisha Brown Dance Company (2009-present), Wally Cardona + Jennifer Lacey, Mark Morris, Gerald Casel, Jmy James Kidd, and Christopher Williams. He has taught master classes, nationally and internationally, in contemporary technique and repertory. He’s taught at places such as: P.A.R.T.S. (BE), U.W. Seattle, U.W. Milwaukee, U.C. Berkeley, U.A. Tucson, Duke University, Yale University, the ADF Winter Intensive in Pasadena, CA as well as teaching regular classes for the Trisha Brown Dance Company. His class is influenced by his studies with Barbara Mahler, Gerald Casel, and the work of Trisha Brown. Sam is currently based in Los Angeles, California. 

Registration and more information

Send an email to Jens Buysschaert, jens@parts.be

PARTS @ work 9 & 10: theatre - Feb 10 and 11, 19h

In the curriculum of PARTS, the annual theatre workshop has a special place. The stage is the natural habitat of dancers, but what if their main communication tool is language, rather than movement? The students investigate this in a workshop led by actors and directors. This year, they have worked five weeks with Gabel Eiben, Alejandra Theus, Thomas Ryckewaert and Kuno Bakker, and what they have learnt and were confronted with can only come to a conclusion in interaction with a real audience.
The workshop leaders are coming from different strands of theatre, and the works they made with the PARTS students are equally diverse, from Shakespeare’s Midsummer Night’s Dream and Sarah Kane’s Phaedra’s love to Arne Sierens Mouchette and self-written texts.

Friday 10/2, 19h: pieces created with with Gabel Eiben and Kuno Bakker
Saturday 11/2, 19h: pieces created with Alejandra Theus and Thomas Ryckewaert

Free entrance, no reservations.  Limited seating so come on time!


On the way to Wuppertal Tanztheater

On their way to the performance Victor at the Wuppertal Tanzheater, two weeks ago, the students made an intermediate stop at the K20 and K21 museum in Düsseldorf. They caught their visit in a series of pictures.




An impression by one of the students

New faces, new experiences, a new city – a new life. Our year started around 3 months ago. Since the beginning it has been intense, but in a good way. There is a lot of excitement in our group for the practice and theory of dance along with how it's been situated in the recent years. Even though we come from various places, different cultures and don't share a common native language, we find a way of connecting, sharing and using these differences in a productive way to build up our own versatile group. 

Until now every course we have had was rather different: Every teacher had her/his own trajectories, experience and way of transferring information onto us. We need to learn to adapt and cope with numerous different movement patterns especially with our bodies. Beside that, P.A.R.T.S. also offers a platform to present personal work on what one's currently working/ investing time into.

Everyday there is something new to discover or to re-think even if it's just a small detail. It changes one's approach and keeps you on the hunt.

I'm very happy to be part of this generation.


Open Trisha Brown repertoire workshops for professional dancers and dance students – 4 Saturdays in January and February

PARTS organises 4 workshops on repertoire of Trisha  Brown, led by Kathleen Fischer, former dancer of the Trisha Brown Company. Each workshop will introduce material from several pieces from the repertoire of this classic American choreographer.
Each Saturday has a separate program so you can participate to one session or several weekends.
The day starts with a class and continues with a workshop introducing movement and compositional principles of some of Trisha Brown’s key works.
It’s a rare opportunity to confront yourself with this seminal and influential work!

The workshops are aimed for professional dancers and dancers in a fulltime professional training, aged 18 or older.  Maximum 15 participants per workshop.
The workshops last a full day, starting at 10.00 and going until 17.30, with a lunch break between 13.15 and 14.30.
Participation in the workshops costs 50€ per day.

To register, send an email to Jens Buysschaert, which includes your contact information, the day(s) you want to participate, and a concise cv. In return, you will receive payment details. Your inscription will only be complete once we have received the payment.

Class description
Improvisations and somatics practices are offered as tools for dancers to mediate their external and internal environments.  Group and individual exercises are used to craft a forum in which new perspectives and heightened awareness can be experienced. This is the baseline preparation for moving toward phrase material/choreography/performance and is applicable to many dance and movement disciplines.  
Spatial clarity, anatomical awareness, awareness of breathe,  sustained focus, efficiency, weight shifting, and working on and off of a clear vertical are further explored in preparation for movement from Trisha Brown Company Repertory.  Dancers are led to embody phrase material at a high level of performance as Trisha's own company is asked to do; while at the same time discovering how to express and be their unique selves within the specific parameters of the work.  

Workshop descriptions 
Saturday Jan. 14 Set and ReSet (1)
We will learn one of the accessory materials of Brown's signature work Set and ReSet (1983).  The phrase material is from a duet that sits in the middle of the work, a long unison with crisp shifts of relationship.  It is a blend of multi-faceted spatial and physical precision and open-hearted lightness, a joy to dance.  

Saturday Jan. 21 Set and ReSet (2)
We will learn an accessory material from Brown's signature work, Set and ReSet (1983). The Brown's Sweaters duet embodies idiosyncratic wildness, originally accompanied by a ballet version of the same material.  The movement gambols about the space in fits and starts, with pregnant pauses that Brown embodied with the utmost thrill and excitement overflowing into movement.  We'll allow our own wildness to find it's way into specific choreography and play the game of following each other's impetuousness while remaining qualitatively distinct. 

Saturday Jan 28 Astral Convertible 
This workshop focuses on material from Astral Convertible (1989), the third work in Brown's Valiant series in which Brown extends her trademark principles into more technical and athletic dance. We'll look at two materials.  The first moves freely about the space in broad simple strokes. In the second, an animal-like rhythm and feel informs and blends with Brown's signature geometry resulting in a unique virtuosity.

Saturday Feb 4  Enigma and the Bones – Foray Forêt SOLD OUT
As preparation for set material, we'll spend the morning in structured improvisational exploration.  Duet/solos that cultivate a sense of the bones, of articulation of joints and open the gate to the impulses that emerge from the expanded state of the body/mind.   This blend of physical aliveness and open consciousness is the background to explore set material from Foray Forêt (1990), the first work in Brown's Back to Zero cycle, where she explored enigma and "unconscious" gesture as a source for material.  

Bio Kathleen Fisher 
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 PARTS, 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. 

Registration and more information
Send an email to Jens Buysschaert, jens@parts.be


PARTS @ WORK 4-8: final presentations Research Studios

Since August 2015, a group of 9 choreographers have been working in the Research Studios program of PARTS, investigating relations between choreography and music through seminars, workshops and studio work. At the end of their trajectory, they show the results of their research and creation work, both finished pieces and works-in-progress. Several works were made in collaboration with musicians and composers from the advanced master Contemporary Music of KASK & Conservatory - School of Arts Ghent, with whom they followed a common programme during the past semester.

PARTS @ WORK 4: Saturday 10/12 at 20.00 in PARTS
Black noise by Vicente Colomar with Talia De Vries, Susanna hood, Janet Novas, Kaja Farszky, Erika Vega
Quartet by Nicoletta Favari, Christopher Salvito, Theodore Livesey
Sharing HOME (Havana and Vienna 2016) by Naima Mazic and William Ruiz Morales with Sien Van Dycke, Ana-Filipa Botelho, Christopher Salvito

PARTS @ WORK 5: Sunday 11/12 at 17.00 in PARTS
FIGURES3 by Talia De Vries
Las Piernas by Vicente Colomar with Janet Novas, Ricardo Santana

PARTS @ WORK 6: Sunday 11/12 at 20.00 in PARTS
ALMOSTEVERYTHINGHAPPENS by Klaas Freek Devos and Nina Fukuoka with Liza Baliasnaja, Stefan Govaert, Patrik Kelemen, Azahara Ubera Biedma, Talia De Vries, Quentin Meurisse, Ensemble Fractales (Gian Ponte, Benjamin Maneyrol, Renata Kamberova, Marion Bogel, Diego Countino)
Zinneke + La Manada by Azahara Ubera Biedma with Carlo Siega, Ana wild, Irina Favero Longo, Justine Maxelon, Lydia McGlinchey, Julie rubies, Sara Sanchez, Synne Elve Enoksen, Kaja Farszky

PARTS: Avenue Van Volxem 164 1190 Brussels
Tickets: 5€
Reservation: mail@parts.be or 02 344 55 98 (only during office hours!)


PARTS @ WORK 7/ SMOG N. 15: Friday16/12 at 20.30 in Project(ion) room
Experiment on extended resonance by Klaas Freek Devos, Carlo Siega and Carlo Prampolini
PoLybess by Naima Mazic, with Ana-Filipa Botelho, Simon Florin, Tessa Hall, Keren Kraizer, Ivan Lucadamo, Calvin Carrier, Lydia McGlinchey, Synne Elve Enoksen, Huang Mei-ning, Timothy Nouzak
Wild ducks by William Ruiz Morales with Hanna Kölbel, Susanna hood, Talia De Vries

PARTS@ WORK 8/ SMOG N. 15: Saturday 17/12 at 20.0 in Project(ion) room
Music is... by Susanna Hood with Vicente Colomar, Talia De Vries, Simon Florin, Hanna Kölbel, Carlo Siega
Franken vs. Franken by Patrik Kelemen, with klaas Freek Devos

Organised in collaboration with S M O G, a platform for new music which organises a monthly concert series – www.smogmusicc.org 

Project(ion) room: De Praeterestraat 55, 1180 Brussels
Tickets: 5€
Reservation: info@projection-room.com or info@smogmusic.org or 0495 65 33 73

On December 14, there will be another presentation at the Miry concert hall of the Conservatory/ School of Arts in Ghent
Miry Concertzaal: Biesekapelstraat 9, 9000 Ghent
Tickets 10/5€
Reservations: www.ticketsgent.be or 09 225 01 01 


More fresh work? Parallel to PARTS @ WORK you can discover new try-outs & performances at Working Title Festival by workspacebrussels


photo: Tine Declerckphoto: Tine Declerckphoto: Tine Declerck


PARTS @ WORK 3: Fri 25/11 at 19h

In PARTS @ WORK 3, the students of the Training cycle present works they made during the composition workshop led by choreographer Daniel Linehan.
Entrance is free, but it is strongly recommended to reserve your seat!
To book your ticket, write to mail@parts.be or call 02 344 55 98 (only during office hours)


An Impression by François Chamaraux

At PARTS, every ballet class has live accompaniment. The musician is always present but not always visible, even if he or she has a very important function in the class. This year, three people accompany the classes in PARTs: François Chamaraux, Elisabeth Flynn and Pieter Smout. François Chamaraux sent us some reflections about his job:

"Music schools and conservatories, even at high levels, often prepare to play piano as a solo or solitary practice. In comparison, accompaniment is a quite different art, requiring an additional set of skills. The main difference is essentially to listen to and to be permanently aware of what the others artists are doing. If necessary the accompanist has to be flexible and has to adapt to various ways of playing. It is this interaction with other artists that I find interesting.  It gives the feeling that my art is serving another.

Moreover, accompanying dancers has an even more exciting dimension because improvisation, free arrangements and invention can take place.  Even in cases where parameters are strictly imposed such as in a ballet class (tempo, number of bars, etc.) spontaneity is still possible.  Improvisation is something I like very much, since I began learning piano – inventing melodies, find harmonisations, etc. Improvisation is rarely to be found in « non-jazz » piano practise, and dance accompaniment is precisely an excellent opportunity to work in this direction.

Something specific to dance accompaniment that I also find in different kinds of dances (contemporary and classic, but also traditional dances of Europe) is the special link between the musician and the dancer. When I play for dancers, I have to sustain them, not to play over them. I have to transmit the energy of my music into their movements, to give them the envy of dancing in diverse ways. This is a very exciting and pleasant challenge every time I accompany a class. The link between dancers and musician is invisible, sometimes very discrete, but always present for me, especially at PARTS, where I play for the same group of young, enthusiastic students from the whole world. Week after week, I get to know more about each of them. I’m very grateful to life circumstances, which have brought me to Brussels, a place of opportunities for developing my interests, among them at PARTS."


Collaboration between Research Studios and School of Arts Ghent

The third and final cluster of the Research Studios deals with ‘The musical body’: How can music and Choreography influence each other, beyond the ‘classical’ relationship in which the musicians only take care of the musical score? It is not a new tendency for musicians and choreographs to dig into each other’s field: the body and the movements of the musician became essential parameters in music; musical processes and methods inspired choreographers already for several decades. 

During 4 months the Research-Students collaborate with 13 musicians, students of the Manama Contemporary music at the School of Arts in Ghent. Together they follow a trajectory of seminars and workshops; and in their search for different hybrids and possibilities they develop new work. Thomas Hauert (choreographer), Myriam Van Imschoot (Performer), Paul Cranen (theorist), Rudi Laermans (theorist), Matteo Fargion (composer), Simon Loeffler (composer), Jeremiah Runnels (composer), and Fredy Vallejos (composer) mentor and guide the group. The general programme is led by Gabriel Schenker (Performer and Choreographer) and Tom Pauwels (Musician). 

This is already the third collaboration between PARTS and the Manama of contemporary music, which is strongly linked to the Ictus-group, located at the PARTS-Campus. In 2013-2014 dancers and musicians developed a new creation led by Tom Pauwels (musician) and Andros Zins-Browne (Choreographer). One year later, in 2014-2015 they musically accompanied the duets of the Training Cycle Students.

In December the results of the latest collaboration will be presented to the public in Brussels and Ghent. More details on these performances will be available in November.

PARTS graduates successful in the annual overview of TANZ magazine

In its Jahrbuch 2016, Tanz magazine has awarded Anne Teresa De Keersmaeker the title of ‘Choreographer of the year’.
In this overview, 22 German and 20 international dance critics point to the most rewarding dance productions of 2015-2016, the most interesting choreographer, the best dancer or the most important company.
De Keersmaeker, also director of PARTS, was awarded the same title in 2012 and 2013.

Many of her former students also do well in the poll! No less than 14 former PARTS students have been nominated in the different categories. That’s a lot of people for a single school!
The nominated artists are Salva Sanchis (Catalonia/ Belgium, Generation 1), Sidi Larbi Cherkaoui (Belgium, Gen. 2), Cristian Duarte (Brazil, Gen. 4), Jurij Konjar (Slovenia, Gen. 4), Etienne Guilloteau (France Belgium, Gen. 4), Mette Ingvartsen (Denmark/Belgium, Gen. 5), Andreas Merk (Germany, Gen. 5), Eleanor Bauer (USA/Belgium, Gen. 6), Marlene Monteiro Freitas (Capo Verde/Portugal, Gen. 6), Mikael Marklund (Sweden/Germany, Gen. 7), Simon Mayer (Austria, Gen. 7), Daniel Linehan (USA/Belgium, Gen. 8), Cecilia Lisa Eliceche (Argentina/The Netherlands, Gen. 8) and Noé Soulier (France, Gen. 8).

Most of these artists were also portrayed in the book P.A.R.T.S. – Twenty Years, 50 Portraits, which was published in 2016 and can be bought in bookstores or from the PARTS website (see below)


Opening Ceremony

On the 29th of August we welcomed the 12th generation of Training Cycle students into the school.  46 young dancers from all over the world have converged on PARTS and were received by director Anne Teresa De Keersmaeker and the rest of the PARTS and Rosas team; eager to begin their three year tenure.

Students from Senegal, Japan, Brazil, New Zealand, France, Spain, Portugal, Belgium, Tahiti, Norway, Austria, Lithuania, Israel, South Korea, Australia, Taiwan, Colombia, Hungary, the Philippines, Morocco, Mozambique and the UK were all present after being selected through a rigorous audition process involving almost 1200 applicants.   

Ex-PARTS student Radouan Mriziga performed his solo 55 followed by a reception in the PARTS cantine.  

Over the next three years, the students will train intensively in technical dance classes, sharpen their choreographic visions in composition and repertory classes, discover their voices in theatre workshops, and expand their thinking through philosophy and sociology classes.  

We are all very excited to be working with such a diverse and talented group of artists and look forward to our journey together! 

55 by Radouan Mriziga (photo Bart Grietens)


Work/Travail/Arbeid – London - July 8, 9, 10 - 2016

Anne Teresa De Keersmaeker invited the students from Generation XI to participate in a workshop during the performative exhibition Work/Travail/Arbeid at the Turbine Hall of Tate Modern in London. Located on the terrace outside the entrance to the Switch House, the workshop sessions elaborated the artistic principles developed by De Keersmaeker in.

Laura-Maria Poletti and Theo Livesey, two dancers from Generation XI, were asked to write a short comment and review on their experience:

Laura-Maria Poletti - London Calling 

To conclude and maybe in a way celebrate the end of three years of learning, sweating, eating macrobiotic, dancing, designing big theories and creating together, Anne Teresa invited generation XI (although we were missing some people due to visa and schedule issues) to be part of the Vortex Temporum's exhibition in the Tate museum in London last July. It consisted in a workshop (four times 1,30h/2h) that she gave in front of the recently acquired building of the Tate Modern museum. Based on the basic choreographic principles that she used for Vortex Temporum, Anne Teresa first passed on to us the basic phrase she had designed for that piece and explained how from this first choreographic seed, she, the dancers and the musicians from ictus were able to grow an intricate score alongside Grisey's already complex musical score. We were then invited to create our own material according to the previously mentioned principles. It led to great moments of sharing materials, being again puzzled and triggered by each one of us' very specific way of considering movement, dance and architecture. Indeed, to be surrounded by Tate's massive construction and brand new buildings of London's south bank probably influenced or at least in my perspective, how we played with organic and non organic lines, shapes and movements. It was probably also interesting for an audience to be given the opportunity to witness this crucial moment of building material, an often hidden and kept secret process. We also explored improvising altogether, sometimes even collaborating with London's moody weather. These were our last days as PARTS students. However this experience opened up potential new ways of dancing, working, discussing, practicing together as forever members of generation XI.

Theo Livesey:

As part of the Work/Travail/Arbeid exhibition in the Turbine Hall of the Tate Modern, the p.a.r.t.s students of Generation XI took part in a workshop led by Anne Teresa, focusing on the fundamental principles of the work, which began as Vortex Temporum. 

There is something voyeuristic about experiencing the methodology behind a piece of work in the same day as seeing the performance itself. One gets the sensation that you see not only the work, but simultaneously delve into the studio. An analogy could be seeing a painting hanging in a gallery, whilst also seeing each layer of pigment and the process' required to constitute the work. 

As an end to our studies it was somewhat surreal, as though being reminded to stay engaged with the process of art-making, and that there is always material to be found in simple tools and methodologies. As we continue on our many and varied trajectories into the professional world, we remember fondly dancing from our kidneys in the rain.

Work/Travail/Arbeid at Tate Modern (photo Anne Van Aerschot)Work/Travail/Arbeid at Tate Modern (photo Anne Van Aerschot)

Book publication P.A.R.T.S. 20 years - 50 portraits

In celebration of the twentieth anniversary of PARTS, the book “20 years – 50 portraits” was created. In this book the school looks back, portraying fifty former students, who each narrate their unique story about what dance means to them and the role of PARTS in their life. The portraits are preceded by an interview with Anne Teresa De Keersmaeker. One hundred images of the school conclude the book, together with an overview of all the students, teachers and collaborators, who have over the past twenty years contributed to the making of PARTS.

The book contains interviews with: Anne Teresa De Keersmaeker, Thomas Plischke, Saskia Hölbling, Arco Renz, Roberto Olivan de la Iglesia, Erna Omarsdottir, Cristian Duarte, Cédric Charron, Salva Sanchis, Clinton Stringer, Taka Shamoto, Charlotte vanden Eynde, Moya Michaël, Sidi Larbi Cherkaoui, Claire Croizé & Etienne Guilloteau, Sung-im Her, Barbara Meneses, Alix Eynaudi, Lisbeth Gruwez, Jakub Truszkowski, Jurij Konjar, Ula Sickle, Marlene Monteiro Freitas, Mette Ingvartsen, Tale Dolven, Fabian Barbá, Pieter Ampe, Frauke Mariën, Daniel Linehan, Manon Santkin, Femke Gyselinck, Eleanor Bauer, Liz Kinoshita, Gabriel Schenker, Mikael Marklund, Benjamin Vandewalle, Andros Zins-Browne, Olga Dukhovnaya, Bára Sigfúsdóttir, Dada Masilo, Nestor Garcia Diaz, Radouan Mriziga, Cecilia Lisa Eliceche, Salka Ardal Rosengren, Noé Soulier, Thibault Lac, Alexander Vantournhout, Thomas Vantuycom, Bryana Fritz, Sara Tan, Michiel Vandevelde, George Khumalo (The 51st portrait)

The book is available for €34,50, shipping costs excluded. A copy can be ordered via jens@parts.be.

You can download the interview with Salva Sanchis from the book here, to have a peek on the look and feel of the book!