Programme Student Performances Summer 2017

Wednesday 5/7, 20h30: Julia Rubies - Audrey Mérilus - Judith Van Oeckel- Luis Miguel Ramirez Munoz - Wai Lok Chan

Thursday 6/7, 20h30: Némo Flouret - Cassandre Cantillon - Calvin Carrier - Eimi Legett - Rafael dos Santos - Synne Elve Enoksen - Maureen Bator

Friday 7/7, 20h30: Tessa Hall - Stanley Ollivier - Cintia Sebök - Mooni Van Tichel - Georges Labatt

Saturday 8/7, 20h30 Lydia McGlinchley - Cheyenne Illegems - Joshua Serafin - Keren Kraizer - Thomas Higginson

P.A.R.T.S. @ Work – Drumming Fragments – an impression

A few weeks ago our students gave their best during the performance of Drumming. After working in three groups for a period of six weeks, the staged three fragments of Drumming (1998). Former Rosas dancers Ursula Robb, Taka Shamoto, Clinton Stringer and Marta Coronado have been teaching the students different sections of the choreography. They helped them building their own material on the basic phrases and structures of the original. 

Picture by Werner StrouvenPicture by Werner Strouven
(Picutres by Werner Strouven)

Picture by Anna Van Waeg
(Picture Anna Van Waeg)

Picture by Anna Van WaegPicture by Anna Van WaegPicture by Anna Van Waeg
(Pictures Anna Van Waeg)

Picture by Anna Van Waeg
(Picture by Anna Van Waeg)

Picture by Werner Strouven
(Picture by Werner Strouven)

Picture by Anna Van WaegPicture by Anna Van Waeg
Picture by Anna Van WaegPicture by Anna Van Waeg
(Pictures by Anna Van Waeg)

 Prix de la Critique for PARTS graduates dancing in A Love Supreme by Rosas

The French dance press, represented by the Association de la Critique de Théâtre, Musique et Danse, awarded the prix de la critique for BEST PERFORMERS to José Paulo dos Santos, Bilal El Had, Jason Respilieux en Thomas Vantuycom for their interpretation in A Love Supreme, the choreography made by Salva Sanchis and Anne Teresa De Keersmaeker. A Love Supreme was created in 2005 and was rewritten in 2017 for this new cast of performers.

A quartet created by Salva Sanchis and Anne Teresa De Keersmaeker, A Love Supreme is based on John Coltrane's eponymous album. For this new version, Sanchis and De Keersmaeker rewrote their 2005 piece to be danced by four young, male dancers, who graduated from PARTS inrecent years (one of them just in 2016!). Offering an expressly energetic interpretation, they emphasise the long-lasting vitality of Coltrane's tribute.


P.A.R.T.S. @ Kunstenfestivaldesarts.

A few weeks ago, during the closing event of Kunstenfestivaldesarts, 42 students performed a 3-minute solo at the Machinery Hall of Brass. 

Solo by Timothy, Picture by Theo Van RompaySolo by Eimi, picture by Theo Van RompaySolo by Nemo, Picture by Theo Van Rompay

Students discover the repertory of William Forsythe.

Our student dive into the artistic modalities of the William Forsythe repertory. They discover this iconic piece of German dance history while working on their own version of SIDER (2011). Fabrice Mazliah, Roberta Mosca and Cyril Baldy, three ex-forsythe dancers guide them through different artistic aspects and working methods.

Picture by Tine Declerck

Picture by Tine DeclerckPicture by Tine Declerck

Picture by Tine Declerck

Picture by Tine DeclerckPicture by Tine Declerck

Picture by Tine Declerck

Pictures by Tine Declerck. (
This workshop is made possible with the support of Goethe-Institut


P.A.R.T.S Solos during Kunstenfestivaldesarts

Last Friday we had a blast during the opening of Kunstenfestivaldesarts. We are ready for a second round on the closing day of the festival. We are looking forward to welcome you on Saturday May 27 (17h00 & 21h00) at the machinery hall in Brass. 

Picture by Anna Van Waeg

Picture by Sofie Meysman Picture by Sofie Meysman

Picture by Anna Van Waeg

(Pictures by Anna Van Waeg, Sofie Meysman & Martine Dewil)


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

27/05 | 17:00 - 19:00 BRASS - Av. Van Volxem 364, Brussels

27/05 | 21:00 - 23:00 BRASS - Av. Van Volxem 364, 1190 Brussels

Admission free, no reservations!

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.


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 (

Open House - Contemporary Class with David Hernandez - Picture by Tine Declerck ( House - Ballet Class with Janet Panetta. Picture by Tine Declerck (

Open House - Macrobiotic coffee break - pictur by Tine Declerck (

Pictures by Tine Declerck

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, 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,

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, 

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


Pictures by Tine Declerck,

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.


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."


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)



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

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


Prix de la Critique for PARTS graduates dancing in A Love Supreme by Rosas

PARTS solos in Kunstenfestivaldesarts

Pictures of our Training students in a Boris Charmatz's workshop 

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

Open Trisha Brown Repertoire workshop April - May 2017

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

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

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

Agenda 2016-2017

Click on the date for more details


PARTS Studios
Student Performances Summer 2017 

Koninklijke Gaanderijen, Ostend
40 dance solos 

23, 24/6/2017
Rosas Performance Space
PARTS@work #12: Drumming 

Brass, Brussels
Kunstenfestivaldesarts - PARTS solos 

PARTS Studios
Kunstenfestivaldesarts - PARTS solos 

Streets of Brussels
Dag van de Dans - One to One  

PARTS Studios
PARTS@work #11 

PARTS Studios
Open House

11/ 2/2017
PARTS Studios
PARTS@work #10: theatre

10/ 2/ 2017
PARTS Studios
PARTS@work #9: theatre

17/12/ 2016
Project(ion) Room Brussels

16/12/ 2016
Project(ion) Room Brussels

14/12/ 2016
Ghent, MIRY concert hall
Showing Research

11/12/ 2016, 17h
PARTS Studios

11/12/2016, 20h
PARTS Studios

PARTS Studios

PARTS Studios
PARTS@works #3

PARTS Studios

PARTS Studios