For the tenth year in a row, P.A.R.T.S. opens its doors during the summer to dancers and teachers coming from all over the world. It aims at creating an encounter between teachers, choreographers and dancers exchanging knowledge and experience over the course of five weeks. We offer technical classes, bodywork, Rosas repertory, workshops and project weeks.

Who can participate?

The programme is open to amateurs, semi-professionals, professionals and anyone who is interested in dance. We do however require the participant to be minimum 16 years of age. The schedule contains three different programmes, each one of them specifically constructed for the different levels of dancers. If it seems after the first day that the level of the class/workshop is not adequate for the participant, the teacher can in consultation with the co-ordinator change him/her to another level. Find below some information on the essentials of each programme. Please don’t hesitate to contact us ( with questions regarding the best suited programme for you.


The programme is designed to give the dancer an introduction to contemporary dance. We advise all dancers who have little to no dance experience to follow this programme; this includes dancers below 18. The pace of the classes will be slower and therefore give the participant time to clearly understand and practice in depth the basic requirements of contemporary dance.


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


The programme is designed for professional dancers or dancers in professional training i.e. a full time programme (BA/MA) in an international school/institution of higher dance education.


The project week is part of the advanced programme. Therefore it’s only accessible for professional dancers or dancers in professional training i.e. a full time programme (BA/MA) in an international school/institution of higher dance education.


The introductory programme (orange) offers a package, including a yoga class, contemporary technique class and Rosas repertory/workshop. Please note it is only possible to take part in this programme when you inscribe for the full package. 

The intermediate programme (yellow) offers a package, including a yoga class, contemporary technique/ballet class and Rosas repertory/workshop. Please note it is only possible to take part in this programme when you inscribe for the full package.
Due to the success of this programme, we decided to add an additional package. 

The advanced programme (green) offers a different range of classes which the participant can choose from, please remain aware not to pick classes starting at the same time.
! It’s not possible to opt for two classes with the same teacher during the same week. However, it is possible to combine a class and a workshop led by the same teacher.
!! We strongly advise you to take at least one morning class as a preparation for the work in the afternoon.

The professional project week (blue) gives the dancer an insight to the creative process of a choreographer. It is an invitation to collaborate, create and discuss within the set-frame of the choreographer’s work. An optional schowing might take place on Friday (18h15), depending on the decission of the choreographer. Please take this into account when scheduling your travels.



P.A.R.T.S. SummerSchool starts on Monday, July 9 and finishes on Friday, August 10, 2018. There are no activities on Saturdays and Sundays. 
All classes, workshops and projects last one week. In order to ensure the best possible experience for everybody, you can only participate if you can be present the whole week. 

Week 1: 09/07 – 13/07
Week 2: 16/07 – 20/07
Week 3: 23/07 – 27/07
Week 4: 30/07 – 03/08
Week 5: 06/08 – 10/08

How to register?

It is mandatory for all programmes to inscribe through our SummerSchool 2018 registration form, (link below). For those wanting to participate in the project week, it is also necessary to  send us a selected biography and a motivation letter.

Maximum three working days after submitting your registration, you will receive an e-mail from us with the confirmation of your inscription. The e-mail will explain the procedure of payment and the amount that will need to be paid in order to secure your chosen class schedule. All payments have to be completed two days after the confirmation. If you would like to accelerate the registration process, send us a copy or a scan of your payment confirmation. Please remain aware, P.A.R.T.S. will not be responsible for transfer costs. 

There is no deadline for registration. As long as there are free places you can keep on registering!
Check the programme overview for availabilities, but keep in mind places are limited.

Cancellation policy

If you have registered and paid, but you have to cancel your participation, the following rules apply:

- Cancellation before May 31, 2018: the inscription fee will be reimbursed at 50%.
- Cancellation after May 31, 2018: the inscription fee will not be reimbursed.  

Unfortunately, we can make no exceptions to these rules. Not even in case of uncontrollable circumstances (injury for example). We advise you in this case to find someone who wants to take your place. 


Mandatory registration fee €75

Only mandatory for those who have not participated in any previous SummerSchool. (2009-2017)

Modifcation fee €25

It's possible to switch courses, but it will cost you €25.

Introductory / Intermediate

Package Deal 
Contemporary + yoga + repertory or workshop €225 ( 8,18 €/h)

The Package Deal gives you a pre-calculated reduction of 25%, compared to prices of single classes and workshops. 

Additional Package 
Ballet + yoga + repertory or workshop €200 ( 8,88 €/h)


Single Class
Ballet, contemporary or body work €85    (11,33 €/h)

Single Workshop
Repertory or workshop €165   ( 11 €/h)

Project Week
1 week of 6h/day €300   ( 10 €/h)

Macrobiotic lunch

1 week = 5 lunches €60
There will only be a limited amount of lunches available, signing up through the registration form is highly recommended. 


Advanced Programme Discount

When inscribed for more than one class, the participant receives a 10% discount, registration fee excluded. In case of participation in multiple weeks, the discount will go up 10% each week where the participant is inscribed for more than one class.

1st week: 10% discount
2nd week: +20% discount on the cheapest week
3rd week: +30% discount on the cheapest week
4th week: +40% discount on the cheapest week
5th week: + 50% discount on the cheapest week

Example: A participant inscribes for one project week (€300), one week with two classes (€170), and one week with one class and one workshop (€250). The 10% discount will be applied on the project week, the 20% discount will be applied on the week with the one class and one workshop and the 30% discount will be applied on the week with two classes, excluding the one time registration fee.


Participants of the SummerSchool are responsible for finding their own housing. To facilitate your search  P.A.R.T.S. offers different rooms to sublet on a weekly bases. 
For more information don’t hesitate to write us,


Laura Aris Alvarez (SP)

Laura has been leading contemporary dance workshops worldwide since 2001. She was a former dancer of Wim Vandekeybus/ Ultima Vez company for a decade (1999-2008). Previously she was part of Lanònima Imperial and associated with General Elèctrica artists collective, in Spain (1996-1999). Currently she combines her pedagogical skills with the creation and touring of her own works, collaborations and commissioned dance projects. 

Douglas Becker (US)

Douglas Becker based in Brussels Belgium and is a freelance choreographer and teacher working in many idioms. A former dancer with the Joffrey Ballet, 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 institutions across the globe. His own 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. He has been visiting the faculty for P.A.R.T.S. School Brussels (since 1997), The University of the Arts Philadelphia, New York University, and the national conservatories of Paris and Lyon among many others.    

Nordine Benchorf (FR)

Nordine Benchorf (°1963) has  been dancing professionally for more than 25 years. A Frenchman, he trained at Marie Do Haas’s Studio de danse contemporaine and in the Centre national de danse contemporaine d’Angers. He has danced in the productions of renowned dance companies such as Rosas, Needcompany en Ultima Vez and has also been involved in the video projects  of among others Peter Greenaway, Anne Teresa De Keersmaeker and Wim Vandekeybus. Benchorf moreover has extensive experience as a teacher of modern dance with Ultima Vez, Rosas, Needcompany and the Institut del Teatra in Barcelona, het Centre de Développement Chorégraphique in Toulouse and the Hogeschool voor Dans in Antwerpen and others.

Stéphane Bourhis (FR)

Stéphane Bourhis is a professional dancer. He started his career at the Lucerner Ballet and worked as a soloist dancer in the Béjart Ballet Lausanne both in Switzerland. Stéphane practices Iyengar Yoga since 2008 and he has been certified since 2013. He's teaching Iyengar® yoga at P.A.R.T.S., in primary schools and in the Iyengar Yoga Centre of Brussels. He constantly learns, researches and deepens his knowledge in relation to Iyengar® yoga. Besides that, he regularly travels to India where he trains with the Iyengar Family. 

Tale Dolven (NO)

Tale Dolven is a norwegian dancer living and working in Brussels. She has worked with Rosas for 12 years, performing in shows like FASE, Rosas Danst Rosas, Quatuor nr 4/Bartok, Elena’s Aria, Drumming, and was part of the creation of D’un soir un jour, Steve Reich evening, Zeitung and Golden hours (as you like it). In 2018 Tale works with the theatre group Nature Theatre of Oklahoma, Fieldworks and Rosas, as well as making her own work in collaboration with actor Gabel Eiben and dancer Igor Shyshko. 

Dominique Duszynski (BE)

Dominique DUSZYNSKI performed with Pina Bausch’s dance theatre from 1983 to 1992. She worked on such revered pieces as: The Rite of Spring, Kontakhof, Blaubart, Nelken, Arien, 1980, The 7 Deadly Sins, Auf Dem Gebirge, Two Cigarettes in the Dark, Viktor, and Ahnen among others. Since 1988 she has taught for institutions and companies in Europe and abroad. In 1992, she began to research and collaborate with different dancers and actors with whom she has created a number of works. She has also performed for JF Duroure and Pippo Delbono. She took part in the film Die Klage der Kaiserin by Pina Bausch, Berlin-Jérusalem and Golem by Amos Gitai. She has taught at PARTS in Brussels, Belgium since the school’s founding in 1995 until 2015. In 2007, she created the solo Fuga and the year after danced in the trio Barroco. The piece toured widely from France to Brazil as well as Belgium, Italy and Germany. In 2009, she composed a new solo entitled Luz for the 9th edition of the festival Voix de Femmes in Liège, Belgium. In 2010, in collaboration with the light designer I. Corten, she created a site-specific piece along the river in Liège entitled Sous les ponts. The same year she participated in Nina Beier’s concept piece ‘The complete works’, which was performed during the Stuk Festival in Leuven, Belgium. In November 2011, she presented her duo Riff for the 10th edition of the festival Voix de Femmes in Liège then in Brussels, Rio and Sao Paulo, Brazil. The next winter she performed in the piece Si je meurs by R. Hoghe in Liège. During the summer of 2014 she created the short piece Walkabout in 9 days with 9 dancers, which was performed in Belgium and Holland. Besides her own work she regularly collaborates artistically with several different choreographers. This year she is busy working on her latest creation Hymne and collaborating to Innocence, a circus show. 

Laia Puig Escandell (ES)

Laia Puig Escandell  was introduced to yoga as a parallel practice to her dance career in 1998. However, it wasn’t until she took a Sivananda Yoga Teachers Training in 2008 in South India that her real initiation into Yoga started, with growing passion. Since then, she has been practicing regularly asanas, pranayama and meditation, reading the yogic philosophy/spirituality and trying to understand and apply all that in her daily life, as she continues to take trainings. She learned a lot from joining the Sivananda organization to translate Teachers Trainings or to do service in their Ashrams. She teaches Yoga classes at P.A.R.T.S., Rosas and around Brussels to all levels, and parallel to that she gives Ayurvedic massages and treatments, Yoga retreats and workshops.

Alix Eynaudi (FR)

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, an artistic research on sleep which turns into Exit (2011), a solo still touring to this date in which she puts the audience to sleep. Then comes Monique (2012), a dance duet with Mark Lorimer which finds its inspiration in bondage and in 2015 Edelweiss, a danced rebus that oscillates between abstract and figurative art. In 2017 Chesterfield is born. Chesterfield results from applying a collection of leather manipulation techniques to bodies and wares, it develops a maze of signs where dance tends towards the infinitely soft, infused with irreverence and affection.  She is currently developing working on a Salon/Studio a dance and writing atelier, Noa + Snow, that will happen monthly from September 2018 at the Volkskundemuseum in Vienna.

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 takes part in pieces by  Superamas, Kris Verdonck, Anne Juren, Boris Charmatz, Jennifer Lacey. Alix’s artistic practice also involves teaching workshops PARTS, Brussels, ImPulsTanz, Vienna, Reykjavik, Panetta Movement Centre, New York, HEAD, Geneva.

Libby Farr (US)

Libby Farr began her training in Texas and then continued her education at Ballet West in Colorado and the School of American Ballet in New York. She performed in several Companies including San Diego Ballet, Los Angeles Ballet, Dallas Ballet in America, then Zurich Ballet and Deutsche Oper Berlin in Europe. Afterwards 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 became training director and dancer at Deutsches National theater Weimar for 2 years and thereafter, ballet mistress and assistant to Amanda Millers Ballet Pretty Ugly. She has been a regular guest teacher in P.A.R.T.S., Brussels, and SEAD, Salzburg, as well as teaching companies throughout Europe. She is also a certified Gyrokinesis teacher.

Nadine Ganase (FR)

Nadine Ganase was trained in England at the London Contemporary School - The Place - and later with Peter Goss in Paris. In 1983 she joined the Rosas Company of Anne-Teresa de Keersmaeker, for a period of 7 years and performed in Rosas danst Rosas, Elena’s Aria, Bartok Aantekening, Ottone Ottone. She participated in the following films of the Company - Hoppla and Ottone Ottone, Rosas danst Rosas, Répétitions. She is a permanent staff member at the Dance Humanities in Louvain-la-Neuve, Belgium teaching contemporary technique and composition. She teaches movement for actors at the Performing Arts School-INSAS in Brussels. In the past she has taught for: RITS-Brussels (Flemish school for acting and cinema), le C.N.D.C. d’Angers (Centre National de la Danse Contemporaine), France, Koninklijke Balletschool, Anvers, Hoger Instituut voor Dans, Lier. She is a certified Pilates teacher. Nadine Ganase has been choreographing works for her company and various institutions for the last 20 years.

Cassiel Gaube (BE)

Born in Brussels, Cassiel Gaube is a Belgian dancer and choreographer, who graduated from P.A.R.T.S. He is currently developing his work at the intersection of the Contemporary choreographic field and of Hip hop and Clubbing dances. In 2017, he is allowed the VOCATIO fund – a Belgian grant awarded every year to fifteen promising young artists, scientists or social entrepreneurs – in order to develop further his work as a choreographer. As a performer, Cassiel collaborates with Benjamin Vandewalle for his new creation Walking the Line, as well as with the visual artist Fabrice Samyn and the choreographer Manon Santkin for the creation of the performance of A Breath Cycle. As a pedagogue, he is regularly invited to teach professional classes and workshops, in studio’s such as DansCentrumJette, La Raffinerie, in Brussels, and La Ménagerie de Verre, in Paris.

Rob Hayden (US)

Actor, dancer, composer, director, choreographer.

Rob Hayden was born in the USA, Robert was a nationally competitive gymnast for 13 years and in 1989 enrolled in the BFA curriculum for theatre and dance at the University of New Mexico. Upon moving to Brussels in 2002, he joined Ultima Vez and for 7 years, he worked as an actor and dancer with them before going on to start his personal work. Since then, he has collaborated as a performer and composer with various other artists both in Belgium and abroad. His own work combines over 20 years of performance, choreographic and theoretical research and experience into dance, theatre, sound/music, voice and movement. He regularly teaches workshops internationally and is based in Brussels.

David Hernandez (US)

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.  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.

As a pedagogue, David gives classes and workshops worldwide while maintaining a position as a main teacher at PARTS since 1995.  Previously he developed and managed his own education programme, 'PEP' (The Performance Education Program) for several years in the framework of Klapstuk festival in Leuven, Belgium where he was also in residence. David continues to work as a singer and joined the early music vocal group Graindelavoix, led by Bjorn Smelzer and Reve d'Elephant Orchestra jazz band,  performing in concerts, recording and touring with several different projects.  David continues creating his own work within the organisation dh+, David Hernandez and collaborators, whose most recent performances, “ For Movement’s Sake”, “Hullabaloo” and “Sketches on Scarlatti” are presently touring. In addition he is doing commissioned work as a guest choreographer for several companies including Zagreb Dance Company, and Stadtsteater Trier/Susanna Linke’s Company in Trier, Germany, LaborGras, Berlin and a new Creation for Skanes Dance Company and the Malmo Opera in 2018. 

Fumiyo Ikeda (JP/BE)

In 1979, she 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 Verhelst (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 She is the rehearsal director of the early pieces of Rosas.

Mette Ingvartsen (NO)

Mette Ingvartsen is a Danish choreographer, researcher and performer, living and working in Brussels (Belgium). Her work is characterized by hybridity and engages in extending choreographic practices by combining dance and movement with other domains such as visual art, theory/discursivity, social and political practices. An important strand of her work was developed between 2009 and 2012 with The Artificial Nature Series, in which she focused on reconfiguring relations between human and non-human agency through choreography. By contrast her latest series, The Red Pieces (2014-2017) inscribes itself into a history of human performance with a focus on nudity, sexuality and how the body historically has been a site for political struggles. She established her company in 2003 and has since then been showing her work internationally both in Europe and the rest of the world. She has been artist in residence at the Kaaitheater in Brussels, Volksbühne in Berlin, as well as associated to the APAP network. 
Ingvartsen holds a PhD in choreography from Stockholm’s University of the Arts and graduated prior to that from the performing arts school P.A.R.T.S in Brussels. Besides performing, writing and lecturing, her practice includes teaching and sharing her research through workshops with students at Universities and Art schools throughout Europe. She has collaborated and performed with Xavier Le Roy, Bojana Cvejic, Jan Ritsema and Boris Charmatz, as well as invested in collective research projects such as the artist platform EVERYBODYS (2005-2010), the educational project Six Months, One Location (2008) and the performative conference The Permeable Stage (2016-ongoing). 

Anneleen Keppens (BE)

Anneleen Keppens (Belgium, °1986) studied at the Royal Ballet School of Antwerp and at PARTS in Brussels, where she graduated in 2010. Since then, Anneleen works with Daniel Linehan/Hiatus (US/BE). She was a dancer in his productions Gaze is a Gap is a Ghost, The Sun Came, The Karaoke Dialogues, dbddbb, Flood and Un sacre du printemps. Together with Linehan, she performed at the Tate Live Performance Room of Tate Modern, and she accompanied several editions of the social-artistic project Vita Activa. In 2014 Anneleen danced in Rétrospective by Xavier le Roy (FR) at Centre Pompidou in Paris. From 2014 to 2016 she toured with Drumming, the repertoire piece by Anne Teresa De Keersmaeker/Rosas (BE). In 2016 she obtained a grant from the Flemish government and started the research project Transparency in abstract dance. This research was the base for her first piece The moon is the moon is the moon, which premiered in October 2017. Anneleen works as an outside-eye for choreographers Alexander Vantournhout (BE) and Vera Tussing (DE/BE). She gave improvisation and composition classes at PARTS/SummerSchool, Artesis Hogeschool Antwerp and the Secondary Art School of Brussels.  Currently, Anneleen is following a Body-Mind Centering training at SOMA (FR) and EMA (UK). 

Anton Lachky  (SK)

Born in 1982, Anton started to dance at the age of five, in the folk dance company Maly Vtácnik. He continued his dance education at the J.L.Bellu Conservatory in Banská Bystrica, where he collaborated with friends and also participated in M.A.P.A. (Moving Academy for Performing Arts). From there he went on to train at the University of Bratislava in 2001, followed by further training at P.A.R.T.S., leaded by Anne Teresa de Keersmeaker (Belgium). Anton became a member of Akram Khan Company in March 2004 and performed in the long international tour of "MA" (48 countries all over the world) over the course of two years. His teaching activities are wide ranging. He has been invited to most european countries as well as Asia, North - and South America. Anton Lachky is co-founder of Les SlovaKs Dance Collective. They created their first piece "Opening Night" in 2006 and premiered it in October 2007. As a choreographer, Anton Lachky created different pieces. "Mind a Gap" (2013) was his first autonomous creation and it toured all over the world. As a guest choreographer he made "Softandhard" - Helsinki City Theater, "Heaven is the place" - Prague DOT 504, "Perfect Day To Dream" (which won best choreography of 2012 in Iceland) - Iceland Dance Company, "Kids in a play" (nominated for the best choreography) - Zagreb, "Sens Interdit" - Bodhi Project (SEAD), "Magical Road" - St-Gallen. In 2014 he will create "wonderland" for the Gottenborg Ballet and choreographies for the Biennale of Venice, and for the Scotish dance theater.

Colas Lucot (FR)

Colas Lucot studied ballet and contemporary dance in France in the CNSMD of Lyon. After his studies, he joined the CCN Nantes, directed by Claude Brumachon for a short time before being part of the company of Angelin Preljocaj in Aix-en-Provence for the reprise of Snow White and for touring worldwide. Six years ago, he moved to Bruxelles and began to work with David Hernandez. Since then, he has been collaborating with David for several creations inside and outside the company : Thirst, For Movement’s Sake, Hullabaloo, Passage, The devil’s Garden, Sketches on Scarlatti… He also has been assisting David for several workshops and classes in many schools, events and festivals : PARTS, DOCH, Impulstanz, Folkwang, Coline…  In 2012, Colas worked with Akram Khan and took part of the opening ceremony of the Olympic games in London. He also has been involved in other dance projects, mostly in Germany and England. Since 2013, Colas has been teaching in several venues and established studios in Belgium and abroad.

Jan Martens (BE)

Jan Martens (b. 1984, Belgium) studied at the Fontys Dance Academy in Tilburg and graduated in 2006 from the dance department of the Artesis Royal Conservatoire of Antwerp. Since 2010 he has been making his own choreographic work which, over the years, has been performed with increasing regularity before a national and international audience. Jan Martens’ work is nurtured by the belief that each body can communicate, that each body has something to say. That direct communication expresses itself in transparent forms. His work is a sanctuary in which the notion of time becomes tangible again and in which there is room for observation and emotion as well as reflection. To achieve this result he creates not so much a movement language of his own, but shapes and reuses existing idioms in a different context so that new ideas emerge. In each new work he tries to redraw the relation between public and performer.
Jan Martens’ first show I CAN RIDE A HORSE WHILST JUGGLING SO MARRY ME (2010) was a portrait of a generation of young women in a society dominated by social networks. It was followed by two love duets that he made at Frascati Amsterdam. A SMALL GUIDE ON HOW TO TREAT YOUR LIFETIME COMPANION (2011) was selected for Aerowaves 2011 and SWEAT BABY SWEAT (2011) for the Dutch Dance Festival 2012 and Circuit X 2013. He then created three shows about unconventional beauty, with performers whose bodies you do not expect in the context of contemporary dance: BIS (2012) for the 62-year-old Truus Bronkhorst, LA BETE (2013) for the young actress Joke Emmers, and VICTOR (2013), a duet for a boy and a grown man that Jan created with director Peter Seynaeve.  In 2014 Jan Martens focused attention on the jump as movement in the group performance THE DOG DAYS ARE OVER (2014). The show was selected for the Flanders Theatre Festival and is still touring, just like Jan’s solo ODE TO THE ATTEMPT (2014) and the project THE COMMON PEOPLE (2016), a performance, social experiment and workshop in one, created in collaboration with film director Lukas Dhont. Jan Martens’ latest show RULE OF THREE, a collaboration with the American sound artist NAH, had its premiere at deSingel in Antwerp on 28 September 2017. Jan Martens makes regular guest performances, such as MAN MADE (2017) for the Dance On Ensemble.
He also coaches young makers with their own creations. Jan Martens has won the North Brabant Prize of the Prins Bernhard Cultuurfonds (2014) and the prestigious Charlotte Köhlerprijs (2015) for his oeuvre. He is ‘Creative Associate’ at deSingel international arts campus from 2017 until 2021 and ‘Artiste Associé’ at CDCN Le Gymnase in Roubaix, Nord-Pas-de-Calais from 2016 until 2018.
In 2014 Jan Martens founded, together with business manager Klaartje Oerlemans, the choreographic platform GRIP in Antwerp / Rotterdam, from where they jointly produce and distribute his work as well as support the work of Bára Sigfúsdóttir, Steven Michel and Michele Rizzo.

Jason Respilleux (BE)

Jason Respilieux (b. Belgium, 1991) studied at the fine arts academy in Brussels and Codarts in Rotterdam before graduating from P.A.R.T.S., Brussels, in 2014. He then joined the Re-zeitung tour (a rewritten version of the Rosas piece Zeitung), organized by P.A.R.T.S., and started working as a freelance dancer for several choreographers, including Salva Sanchis (the Islands project), Ted Stoffer, and more recently Claire Croizé (Evol). Currently working on the new creation of Rosas (Anne Teresa De Keersmaekers) which will premiere in September 2018. Respilieux is also active behind the scenes as an advisor for performances and has been mentoring students for several dance institutions. He actively combines his dance career with dance education by teaching regular classes for teenagers, semi-professional and professional dancers within institutions such as Rosas, P.A.R.T.S., Kunsthumaniora Brussels, and other organizations.

Zsuzsa Rozsavolgyi (BG)

Dancer, choreographer and body-worker Zsuzsa Rózsavölgyi studied in Budapest Contemporary Dance School, SEAD and P.A.R.T.S. In 2003 she worked with David Zambrano in the Rabbit Project and Anne Teresa De Keersmaeker in First Take. In 2004 she joined Rosas and performed in “Bitches Brew, Raga for the Rainy Season, Rain, D' un Soir un jour, Reich Evening. Since 2009 she creates her work in collaboration with visual artists, musicians and scientists. The multimedia performances: Deep Blue (2012), Old Pond (2016) and Meduse (2017) were nominated for Laban prize in Hungary. She worked for Thierry De Mey as a choreographic assistant in the creation of Simplexity, la beauté du geste. She started to work on her solo choreography 1.7 in the Baryshnikov Arts Center in New York in 2016. At the moment she is touring with the piece in Europe. She is currently enrolled in the Applied Arts Academy in Vienna in the Art and Science Department. She is developing a radical approach to bodywork on the studies of the nature of the human body from a post-humanist perspective. She is holding a Master Degree in Dance Pedagogy, in her thesis she developed the method Soft Tissue Balancing to harmonise alignment and synchronise movement patterns.

Manon Santkin (BE)

Manon Santkin (1982) is a Belgian performance artist. She works as a dancer, maker, artistic advisor, teacher and writer. She graduated from P.A.R.T.S. in 2004 and completed an MA in New Performative Practice at DOCH (Stockholm) in 2015. Amongst numerous collaborations, she performed with Mette Ingvartsen, Salva Sanchis, Sidney Leoni, Cecilia Lisa Eliceche, Eleanor Bauer and Xavier Leroy. She is part of the Stockholm based group Together Alone. She is the author of A Glossary Of The Atlas Of Interpretation and hosts the We Happen Things series with Tove Salmgren and Moa Franzen. In her current works Manon revisits the notion of ‘interpretation’ in terms of an ecology of practices and intelligences, self-organization and interactive agencies. 

Johanne Saunier (FR)

Johanne Saunier danced with the Rosas Cie of Anne Teresa De Keersmaker for 12 years with whom she is is still an rehearsal master and an assistant. In 1998, she creates JOJI INC with Jim Clayburgh. Awarded in 2000 of the Bagnolet price. Her project Erase-E (X) is in collaboration with diverse artists: The Wooster Group (NY), Anne Teresa De Keersmaeker, Georges Aperghis, Kurt d’Haeseleer, Isabella Soupart toured for 4 years. She has been teaching at PARTS since its creation as well as for the SummerSchool. With the French director Jean Francois Sivadier she works on 4 classical operas staging singer such as Nathalie Dessay. Her work with voice is in different contemporary operas with Guy Cassiers Lear, Francois Sarhan and the Diotima Quartet, Line of Oblivion with Arturo Fuentes, Luna Park with Ictus Ensemble, Aperghis in IRCAM and Musée en Chantier for JOJI INC.Her Ballets Confidentiels with Ine Claes was given a carte blanche at the Festival Paris Quartier d’Eté 2016. She assists on Rosas’ Cosi fan Tutte in  Opera Garnier and J F Sivadier ‘s Don Giovanni de in Aix en Provence  festival . And she is the interprete in the new project of Georges. Aperghis. 

Peter Savel (SK)

Peter has a BA in Dance Pedagogy from the Academy of Music and Performing Arts in Bratislava. He finished his further studies at P.A.R.T.S. in the summer of 2010. He is recently based in Brussels.  Since 2011 he worked with the belgium based choreographer Pierre Droulers at Charleroi Danses, dancing in the re-enactment of "De l'air et du vent", dancing and assisting him in "Soleils". In may 2013, he started working with the belgium based choreographer Salva Sanchis in projects "The phantom layer", "The organ project", "Islands" and in his last creation "Radical light". And in 2016year Peter became a dancer with the founder of the Belgian company Kunst/Werk Marc Vanrunxt, dancing in his "Prototype" and collaborating with his company Kunst/Werk. Peter is creating his own works in Belgium and abroad. Teaching his class Letting go around Europe to both professionals and amateurs.

Igor Shysko (BY)

Igor Shyshko studied ballet and modern dance at the University of Culture of Minsk between 1993 and 1997, then he moved to Brussels to become a student at P.A.R.T.S.. He graduated in June 2000. At P.A.R.T.S., Shyshko performed in ‘Donne-moi quelque chose qui ne meure pas’ by Claire Croizé, Milky Way by Thomas Hauert, and Selfwriting by Jonathan Burrows. In 1998, he worked as a trainee with Anne Teresa De Keersmaeker and Rosas during the creation of "Drumming". In 2000, he contributed to the creation of "Rush", a choreography by Akram Khan as a dancer. The same year, he became a member of Rosas, dancing in the revival of "Drumming". He also contributed to the creation of "Rain", "April Me", "The Repertory Evening", "Bitches Brew" "Tacoma Narrows", "Kassandra", "Zeitung",  "The Song", “ Vortex Temporum”, "Work/Travail/Arbeid " and to the revivals of Mozart/Concert Arias, "Raga for the Rainy Season", "A Love Supreme", "D’un soir un jour", Bartók/Beethoven/Schönberg: Repertory Evening, and Steve Reich Evening. In 2010 he created “ Minutes opportunes” with Michèle Noiret. In that same year he worked with Arco Renz for the Palais des Beaux-Arts in Kaaitheater and to the creation of "Dust". He made "Darling" a creation in collaboration with Moya Michael. He also worked on " De Fietsendief" theatre creation by Bart Van Nuffelen as well as the creations of "Zeit",  "L'art touche au ciel et la terre " and "Prototype" by Marc Vanrunxt who also made “Abstraction” a solo for him.

Clinton Stringer (SF)

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.  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 in 2007 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. Freelance dance projects include Dancesmith (2013) with Mark Lorimer and Cynthia Loemij; Volcano (2014) and You Can’t Take it With You (2017) with Liz Kinoshita; and Gerhard Richter (2017) with Mårten Spångberg. Clinton has also taught technique and Rosas masterclasses at P.A.R.T.S., the Opera de Lyon, the Opéra de Paris, the Danish National School of Performing Arts and the University of the Arts (Philadelphia).

Vera Tussing (DE)

Vera Tussing graduated from the London Contemporary Dance School, and has worked as a dancer, director and creator throughout Belgium, the UK, Canada and across Europe over the last 10 years. In 2011 she premiered Trilogy with Albert Quesada (partly commissioned by FIRSTS at the Royal Opera House, London) before going on to make the stage pieces You Ain't Heard Nothing Yet (2012) and T-Dance (2014), and the movement-sound installation Sound Bed. The performance, The Palm of Your Hand premiered in 2015 and Mazing in November 2016. In 2017 a recreation of The Palm of Your Hand#2, making the work accessible to blind and partially sighted audience members, premiered at CND in Paris. This piece is part of The HUMANE BODY Project with ImPulsTanz (Vienna), Kaaitheater (Brussels) and The Place (London) as its partners. She is about to premiere Both, Two (2017/2018) at Kaaistudio's in Brussels. A central theme of Vera's work is how the different senses combine to structure our perception, and the creation of unique, inter-personal encounters between audience and performer. She is a KAAP Maker, Research Associate at South East Dance, part of IN-FINITY and an artist-in-residence at Kaaitheater. Besides this, she has been supported by The Place.

Alexander Vantournhout (BE)

Alexander Vantournhout (Brussels-based, 1989) studied single wheel, juggling and dance acrobatics at ESAC (Ecole Supérieure des Arts du Cirque, Brussel). Due to an injury in his wrist in 2009 Alexander begun to dance more often. From 2010 till 2012 he studied contemporary dance P.A.R.T.S of Anne Teresa de Keersmaeker. Alexander has created a couple of solos including Caprices (2014), a choreographic solo to the music of Sciarrino, ANECKXANDER (2015)  (cocreated with Bauke Lievens) that won Circus Next 2014, the public and young theatre price at Theater Aan Zee, Oostende 2015 and was selected for Aerowaves Network  and for ‘Het Theaterfestival Belgium’ (most remarkable belgian performances 2016). For the creation Raphaël (2017), became Alexander and Bauke artist in residence at Kc Nona, Mechelen (BE). Alexander is Cultural Ambassador of the city Roeselare (BE). From 2017-2021, he will be Vooruit-resident, Gent (BE) and also from 2017-2019 associated artist at PERPLX, Marke (BE). Alexander taught regularly at, ESAC and ACAPA (Academy for Circus and Performance Art, Tilburg, NL) and was a guest lecturer at Codarts (NE), Verigo(IT), P.A.R.T.S, Danscentrum Jette. After P.A.R.T.S. Alexander continued his studies; travelling to Vermont (US) to study (contact) improvisation with Steve Paxton and Lisa Nelson. Recently Alexander has become connected to “Movement Culture”, and has exchanged information with, and studied under, Martin Kilvady, Ido Portal and Fighting Monkey. Alexanders teaching is inspired by the Figting Monkey practise. His movement language is influenced by different educational processes and by working in several fields within the arts. There are two constant factors in the work: his search for creative and kinetic potential in physical limitation, and the relationship or boundaries between the performer and the object.

David Zambrano (VE)

For over 32 years, David Zambrano has been a monumental figure in the international dance community, and his passion for cultural exchange continues to influence his work. Teaching and performing internationally, Zambrano is an ambassador and liaison across many borders, bringing together artists from all over the planet for his projects. An inspiring teacher, thrilling performer and innovative choreographer, Zambrano has contributed generously to the field of dance in ways that have influenced many and impacted the dance world from several angles. His development of the “Flying Low” and “Passing Through” techniques are among his recent innovations that have helped to lead improvisational dance into an exciting future.


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Rosas and P.A.R.T.S. make their studios available to young choreographers between July 2 and August 17.

All those who are working professionally in contemporary dance can apply to use the dance studios. Send us a dossier about the work you intend to do. It can be a research period for the preparation of a new project. It can be part of the rehearsal period for an established production. It can also be a project created specially for the Summer Studios. For us it is essential only that a creative process is taking place within our walls.

The Summer Studios offer professional dance studios (sprung floor, mirrors, sound installation, TV and DVD-player).

If you'd like to take part in P.A.R.T.S. Summerschool you have the option to combine this with evening rehearsal time in the Summer Studios. More info about the Summerschool here.

Complete the application form before May 1, 2018. You will get an answer from us in the beginning of June.

Rosas & P.A.R.T.S., Van Volxemlaan 164, 1190 Brussels      

With the support of the Vlaamse Gemeenschapscommissie and [DNA] Departures and Arrivals. [DNA] is co-financed by the Creative Europe programme of the European Commission.

Programme Options

Pracitical Information


Content of the Programme

Class Descriptions



Body Work


Rosas Repertory


Project Week






Please note that all classes will be given in English.
YOGA (1h) with Stéphane Bourhis (FR) and Laia Escandell (ES).
BALLET (1h30)* with Douglas Becker (US) and Libby Farr (US). All classes will be accompanied by live music.
* Only available in the advanced programme.
CONTEMPORARY (1h30) with Tale Dolven (NO), Dominique Duszynski (BE), Cassiel Gaube (BE), Rob Hayden (US), David Hernandez (US), Jason Respilieux (BE), Peter Savel (SK) and David Zambrano (VE).
ROSAS REPERTORY (3h15) of Rosas Danst Rosas (1983), Elena’s Aria (1984), Achterland (1990), Grosse Fuge (1992), Drumming (1998), Rain (2001) and Zeitung (2008). Taught by Nordine Benchorf (FR), Tale Dolve (NO), Alix Eynaudi (FR), Nadine Ganase (FR), Fumiyo Ikeda (JP/BE), Johanne Saunier (FR), Igor Shysko (BY) and Clinton Stringer (SA).WORKSHOPS (3H15) with Laura Aris (ES) Dominique Duszynski (BE), David Hernandez (US), Anneleen Keppens (BE), Colas Lucot (FR), Manon Santkin (FR), Peter Savel (SK), Alexander Vantournhout (BE) and David Zambrano (VE).
Artists and teachers (who are all teachers in P.A.R.T.S. or (former) dancers of Rosas) invite the participants into their personal world of improvisation, movement research and choreographic composition. 
PROJECT WEEK (6h30) with Alix Eynaudi (FR), Mette Ingvartsen (NO), Anton Lachky (SK), Jan Martens (BE) and Vera Tussing (DE). 



Laia Puig Escandell -    Unfold and Unlock your personal potential
Week 1 / 2 / 3 - introductory / intermediate

During this time we will be introduced to Yoga as a holistic practice. The five points of the holistic system are: proper exercise (Asana), proper breathing (Pranayama), proper relaxation (Savasan), proper diet (vegetarian), positive thinking and meditation (Vedanta and Dhyana), although we will mainly work on the first 2-3 points. 
This first class in the morning will be our moment to prepare for the day in a different way. To unfold and to unblock, first physiologically/anatomically and then into deeper levels of awareness. Identifying our unnecessary patterns and habits, letting go of them, balancing the body, increasing concentration and learning to listen. So that each individual student can be in tune with a deeper intelligence, expanding themselves as artists and humans, sharing it with the community as well as the world. I hope you all enjoy the process of unfolding yourselves. Om Namah Sivaya.

Stéphane Bourhis – Iyenghar Yoga
week 4 / 5 - introductory / intermediate

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


Libby Farr 
Week 1 / 5 - advanced

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

Douglas Becker 
week 2 / 4 - advanced

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


Zsuzsa Rozsavolgyi - Soft Tissue Balancing
week 3 - advanced

The workshop is put together as a unique experimental anatomy workshop built for the physical and intellectual need of a contemporary dancer. During Zsuzsa’s extensive touring schedule, she had to come up with solutions to heal herself. She needed to find answers to why she was having pain in her ankles, lower back, knees, and neck… Studying the anatomy of the fascia tissue in the body gave her answers, and she started to experiment with her own body. She came up with a lot of simple solutions to heal overuse, injuries and chronic pain. The nature of the fascia tissue is best described by Mabel E. Todd in her book The Thinking Body: “When one part moves, the body as a whole responds. Functionally, the only tissue that can mediate such responsiveness is the connective tissue. If there is a disturbance in the flow of motion (blocked joint, injury, scar tissue, over-use…) the body’s response is to shift the structure away from the pain, some parts start to hold more weight and become harder, which leads to overuse and the pain you had originally is moving to another part.” In the workshop we learn the fascia meridians, and we learn how to work with these meridians. Through the theoretical knowledge of anatomy, we will gain an understanding of different alignment problems and their relation to pain patterns. We will conduct experiments on how we feel the fascia moving, we learn the rhythm it stretches and expands, and we learn therapeutic movement exercises to unlock the potential of strength, flexibility and elasticity in our bodies. Soft Tissue Balancing is built to harmonise alignment and synchronise movement patterns.


Rob Hayden 
week 1 - introductory / intermediate

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

David Zambrano - Flying Low
week 1 - advanced

This workshop focuses mainly on the dancer’s relationship with the floor. The class utilizes simple movement patterns that involve breathing, speed and the release of energy throughout the body in order to activate the relationship between the center and the joints, moving in and out of the ground more efficiently by maintaining a centered state. There is a focus on the skeletal structure that will help improve the dancer’s physical perception and alertness. The class includes partnering work and movement phrases, which explore the primary laws of physics: cohesion and expansion.

Jason Respilieux - Redefining Technique 
week 2 - introductory / intermediate

We will give a new meaning to ‘technique’ asking ourselves questions such as: ‘What is my body able to do?’, ‘How far can I go?’ and ‘Can I trust others and myself?’. The class is structured in a way to find an understanding and awareness of one's personal body and what surrounds us. Individually and together, we will go through task oriented exercises and improvisational guidelines to become aware of what one's body potential is. We will seize all opportunities that are present continuously in all of us. For I have the power to listen and act upon the essence of my thoughts, intuitions and surrounding.

Peter Savel – Letting Go
week 2 / 4 - advanced ; week 3 - introductory / intermediate

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

David Hernandez - Dynamic Movement Systems
Week 3 / 4 - advanced
David Hernandez is interested in movement, training the body and expression through detailed and precise movement, without the loss of the dancer’s individual expression. he is  developing an approach to dance technique and movement vocabulary that embraces physicality, craft and approaches the body as an instrument. The class is highly physical with an emphasis on detail. We concentrate on establishing a clear, efficient body alignment as a base to move from while making gravity our partner through discovering the notion of falling and redirected weight. There is an exposure to very specific, dynamic movement vocabulary that concentrates on moving weight, density, texture and the musicality of physical material. 
All parts of the body are used to gesture, often play against each other like contrapuntal melody lines. The form is clear and provides a partition in which the dancers can challenge themselves against its rigor while finding a personal approach to the material. Each individual and individual body is different, therefore the material must be translated by each person in their own unique way while honing and crafting the material on their particular body. The class gives the keys to do this while providing tools and skills usable in other styles of work as well. 

Dominique Duszynski - The Essence of Movement
week 4 – intermediate ; week 5 – advanced

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

Tale Dolven 
week 5 – advanced

Tale will be teaching a technique class based on the personal training she herself does in order to maintain her dance-level. Strengthening and flexibility-work is part of the warm-up, and coordination and multiple directions in the body and in the room are key-words for the dance-material. The aim is to wake up the body and the mind.

Cassiel Gaube - Body Origami
week 5 - introductory / intermediate

In this class, we will explore the relationship we entertain with the floor, as dancers and as pedestrian bodies. Departing from the question “How far am I from the floor” (Chrysa Parkinson), we will seek for the mechanics through which one can efficiently re-organise one’s own structure in order to get closer or further away from the floor.
To do so, we will study, practice and craft specific moves from the practices of Flying Low and B-Boying. We will look at the key-principles of these two techniques and combine moves from both of these fields into complex pathways, moving in and out of the earth, at an increasing speed. 
By analogy, Cassiel proposes to think of this work as a Bodily Origami Workshop. Literally, origami is the Japanese art of folding paper. We’ll look at Flying Low and B-boying as techniques of folding bodies, according to increasingly sophisticated patterns, giving rise to very diverse ways to get closer and further away from the ground. The class will offer a frame for the participants to carefully look into the mechanics of the proposed movements, reverse engineer them and gradually gain the mastery to compose with them.

The repertory workshops are confrontations with choreographic work of Anne Teresa De Keersmaeker, guided by dancers and former dancers of the Rosas company. 

Nadine Ganase - Elena’s aria (1984)
week 1 - advanced

This choreography is a very feminine piece danced with high heel shoes in a setting with nothing but some thirty or so chairs. The choreography is as fine and intricate as lacework, rich in contrasting dynamics (quick and light, slow and grounded), lyrical but with sharp punctuations, round and angular in its form. Dancing with chairs is a fantastic prop for developing movement and dynamics. The high heels will challenge your centre of gravity – great fun! Participants will be able to improvise on one section of the repertoire, using the same concept that was used during the creation. Although it is a piece created by women, men are welcome. They don't have to wear high heels, they also can if they want to.

(Please bring medium height heels, pumps, tango/ flamenco shoes)

Johanne Saunier & Fumiyo Ikeda - Achterland (1990)

Johanne Saunier, week 1 - introductory
Fumiyo Ikeda, week 3 - advanced

Achterland is a seminal choreography in Anne Teresa De Keersmaeker’s oeuvre. In this 1990 performance, for the first time, the choreographer gave the musicians a central position on stage and let them play an active role in the overall dynamic—an approach she would repeat in many subsequent projects. The unusual combination of György Ligeti’s and Eugène Ysaÿe’s music inspired De Keersmaeker and her dancers to create an original dance score with a delicate balance between energetic virtuosity and deceleration. This also was the choreographer’s first time writing dancing material specifically for men; she added three male dancers to what until that point had been a predominantly female company. In Achterland, the prevalent femininity and minimalism of several of Rosas’s earlier works gave way to an ambiguous no-man’s-land characterized by a blurring of boundaries and symbols.

Nordine Benchorf - Die Grosse Füge (1992)
week 2 - advanced ; week 3 - intermediate 

Die Grosse Fuge from Beethoven is part of Rosas repertory and the performance ERTS created in 1992 by Anne Teresa De Keersmaeker. In Die Grosse Fuge (1992), De Keersmaeker sets out to find a male vocabulary, with Rosas’ dancers challenging gravity in a piece that sought to provide a physical translation of Beethoven's ingenious use of counterpoint. The choreography is based on the constellation of a quartet. Each dancer follows an instrument (first violin, second violin, alto and cello) with a precise analysis of the score, the variation, the development, transformation and transposition of two principal themes, jumping, running and moving the space and transposition of the “material” on the floor.
(For this workshop it’s advised to bring kneepads!)

Tale Dolven – Zeitung (2008)
week 2 – intermediate

The Zeitung workshop is based on the process of the creation for Zeitung (2008). We will explore improvising with three physical centers as a starting point; the head, the chest and the pelvis. We will use floor patterns to improvise and build material on, as well as directing us in the room. The dancers will learn material from the piece, as well as making their own material and fitting it in to the structure of the piece. 

Fumiyo Ikeda - Rosas Danst Rosas (1983)
week 4 - introductory

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

Clinton Stringer - Rain (2001)
week 4 - advanced

 Accompanied by the pulsating tones of Steve Reich’s music, for an hour and ten minutes ten dancers occupy the stage, delineated by a curtain of fine strings, displaying an impressive succession of virtuoso dance phrases. The mathematical figures, the sustained repetition, the geometric occupation of the space, the art of continuous variation – everything that had gradually become the choreographer’s signature was pushed to the extreme in Rain. In Rain, De Keersmaeker approaches the company of dancers as a close-knit group of pronounced individuals who, one by one, play a vital role in the whole. Seven women and three men allow themselves to be propelled by an unstoppable joined energy that binds them together. It's a bustling network in which breath and speed is shared as well as that special comradery that forms when you are beyond fatigue. 

Alix Eynaudi & Igor Shysko - Drumming (1998)

Alix Eynaudi, week 5 - advanced
Igor Shysko, week 5 - intermediate

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


Laura Aris - Power Sources & Tools for partnering
week 1 - intermediate

Technical exercises and improvisations with clear framework will be the starting point for group work or in couples. Participants might learn some given material but most of the time they will be invited to experiment and play within a defined context to practice concrete body mechanisms. We will look for creative impulses that, when released, offer us new possibilities for achievement. We will observe how, sometimes, extreme qualities maintain a balanced tension, that the tension attracts attention, and that many times, silence speaks. Slowly, with some theatrical input, we will craft specific energies and clear images to give meaning to movement and embody the tasks and borrowed ideas.
“Teaching requires a dynamic interplay between what is happening inside the teacher's mind and what happens with the group in the room. The act of teaching and my professional artistic practice have long been interconnected: They are in constant relation and evolving together. I often borrow ideas from my artistic work according to how relevant they are at a pedagogical level. I then invent work sessions and exercises that support the mechanisms and technical needs of the scenic idea. I select concepts that can be taken out of context and appropriated by other bodies, other minds - keeping the essence but also becoming filters for new, freshly arising materials. By being a teacher and at times being a physical example or inspiration to other bodies, I’ve discovered clarity in my movement and improved upon my analytic capacity. During my pedagogical encounters, I perform more than demonstrate when the time comes. Teaching has undeniably become an important part of my professional life. Now, I strongly believe that the relationships between the act of teaching and one’s artistic practice are often undervalued.” 

David Zambrano - Passing Through
week 1 - advanced

In the making of movement compositions, David Zambrano focuses on creating and developing the dynamics for complex systems to present leadership in the form of a group web. In science, cells do not need a protein leader to create life. Neither does the brain need one protein leader to create a thought. With this in mind, Zambrano feels that movement needs no leader in creation. The “passing through” takes students through various exercises to manifest that same philosophy. The group will create dynamics that will be flexible, complex, getting the group to fit tight together, yet always keeping doors open for the unpredictable. The group moves constantly, transforming the environment of the dance. After taking part in the “passing through” the student will learn to instantly connect with their environment and become more spontaneous in the making of choices as an improviser, choreographer or dancer in someone else’s work.
Manon Santkin - HANDLING with the body
week 2 - advanced

Around the (supposedly) simple gesture of grasping with the hand.
Handling is the action of manipulating something with the hand, using the hand to approach, sense, grasp and maybe move something. Through an intuitive use of the sense of touch, we’ll enquire how a body (be it an object or a person), in its singular form and material, invites for a specific way to be handled. We will work towards developing a sensitivity to be guided by the form itself and by ‘how it feels’.When I approach an object, is it my hand grabbing the object or is it the object shaping my hand around it? Through a practice sensing through touch and manipulation, we will experiment with the sense of tactility and the action of apprehending another body with the hand and with the whole body.We will work with passive/active roles and leading/following dynamics and look at the relation between a manipulated body and a manipulating one as a find of interaction.

Alexander Vantournhout - Katabatics-acrodance
week 2 – introductory

The class starts with a focus on the mobility of the 6 extremities; neck, tailbone, feet and hands. These are often the first points of contact with the floor so we need to have a strong understanding of these, and there are many things to consider before doing, for example, further stretching of the hamstrings, arches and folds.  We will start with improvisations and puzzles on all fours. We will then work on different falling strategies (Ukemi) and basic “katabatic” which have nothing to do with karate, but literally means “low(er)-(acro)batics”. These include acrobatics such as cartwheels, stepovers, rainbows, mini rodeo’s, around the clock wheels etc. These (rather new) elements are all about coordination, rather than virtuosity, strength or flexibility. 
Alexander will teach all the elements from the basics, how to do a cartwheel, arabian, macaco, etc. Then we will move on to details and finally progress to more advanced forms of katabtics and acrobatics.

David Hernandez - Out of the Pocket
week 3 - advanced

During this workshop we will explore spontaneous composition, or improvisation as a performance form. Our work will be centred around how to compose in the moment with others and make it readable and enjoyable for the viewer. It is not about jamming but rather about addressing how to propose and develop ideas in a performative improvisational format. In this interest we will explore both, scored and wide open improvisations with an emphasis on consequence and readability, and work to develop the tools and imagination necessary to accomplish this.
Colas Lucot 
week 3 - introductory

The artistic collaboration with a choreographer asks dancers to have more abilities to compose and create. This workshop will put an emphasis on how to treat a material as a collaborator in a choreographic process. We will learn a movement material that will serve as a base to explore tools and methods that can help dancers to develop their own approach to movement and composition.
Peter Savel - Dancing the Frequencies
Week 4 - intermediate

In this workshop, we will work with a simple idea. That is, that everything in this world consists of frequencies and dancing is a way to access and manifest these frequencies, to materialize them. During the week, we will pleasantly practice, specify and expand the skills needed to access and (re)create the manifestations of frequencies experienced in movement. We will play around with what I refer to as “absolute dance” – a raw and simple, unapologetic manifestation of frequencies through the body.  In order to access the field of frequencies, Peter is researching and developing listening practices. With these, he is concomitantly developing liberation practices and strategies.  In the practice of listening, tuning into the scale of frequencies is what’s most at stake. Listening to the body, the space, the elements present, and music – not as a structure, not as a melody or a beat, but as frequency, as sensation present in the body, with a unique resonance in space. In the practice of liberation, we will focus on opening the expressive fields of the body outside social restrictions, established forms and patterns. In order to allow the fullest scale of frequencies to manifest through the body, the body needs to be liberated from the beliefs, ideas, and habits it has learned and internalized during the process of socialization. The idea is not to neglect these, however, but to trespass these by accepting and embracing them towards that which still lies outside of them.
For these reasons, creating a safe and playful environment is one of Peter’s most important goals. 

David Hernandez- The Vocal Dancer 
week 4 - advanced

Exploring physicality, musicality and vocalisation.

In this workshop we will dive into vocal as well as physical exploration and try to strike a balance between the two as well as investigate how they effect and inform one another. This work can take many forms but in general it is about getting comfortable using the voice while dancing. Participants don’t need to be musicians or singers but people curious and interested to liberate the use of their voice while moving. We will take part of the workshop to open up the voice and get comfortable experimenting with it. Next to this we will learn and or develop physical material and work to include vocalisation as a part of the physical material. We may also approach a written musical score to use as a base for creating. Moving and speaking, manipulating breath, singing  and other kinds of vocalisation that can become part of the moving will be explored and developed.

Dominique Duszynski – Acting Body, Dancing Body
week 5 – advanced

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

Anneleen Keppens - Composition and Improvisation
week 5 - introductory

This workshop aims to nourish the development of your personal movement language through improvisation and composition. It is a space for creation, for expressing the multitude of you and for finding ways to share your personal expression in forms that communicate with a viewer. Guided improvisations based on visualizations, imagery and embodiment techniques allow us to trust our body as a rich source from which a variety of physical materials can manifest. These very personal experiences are then translated into set dance phrases. Each participant goes through the same process, but creates a unique collection of phrases. We then play with our phrases to uncover their full potential. What happens when they encounter other phrases? How can they become an experience for the viewer? How can the personal be shared with an audience? Through observation, communication, trial and error, we get to know our phrases better and better and find different ways of creating a dialogue between our dance and the viewer. We work in a fun, playful and respectful environment. The clear framework and guidelines of the workshop allow for a freedom to explore and experience the joy of creating.


Mette Ingvartsen - “Moving in Concert (with things)” the workshop
week 1 - advanced / professional

In this workshop Mette would like to open up the research of a coming performance “Moving in Concert (with things)” to a group of dancers. Her interest is to explore choreographic questions that reflect upon how humans live with or co-exist with non-humans, as well as with natural and technological materials. What currently preoccupies Mette, is how our bodies today (in certain parts of the world) are more and more defined by how we interact with technology. Yet the ways in which this interaction modifies our affects and sensations, our behavior and movements seem to remain strangely unknown.
“Moving in Concert (with things)” is a research project that tries to open an abstract field of questions around the role technology plays in the understanding we have of our bodies. How our interaction with technology is at once incredible concrete (use of smartphones and computers) and at the same time deeply abstract (in the sense that the complexity of technological operations remains close to impossible to map out).
 In the workshop we will be working with materials, natural and technological, and we will try to make a sketch of a future performance. We will follow where the questions and the materials lead us and simply see what comes out.  

Vera Tussing - Both, Two and Many
week 2 - advanced / professional

 The workshop will take the main themes of Both, Two - Vera's latest creation developed in close collaboration with Esse Vanderbruggen - as a starting point.  Both, Two examines the duet, the smallest unit of togetherness. The dance duet is a genre with a history. In their most familiar forms, duets reflect the range of possibilities for relating, which resonate within a certain cultural imaginary. In particular, they reveal "common-sense" attitudes towards who gets to move, how, and under what conditions. When two people dance together, a whole constellation of invitations, permissions and prohibitions is put on display. For this workshop we will re-contextualize these ideas in a group setting.

Anton Lachky - Puzzle Work: ”Endless Body Game”
week 3 - advanced / professional

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

Alix Eynaudi together with Raimundas Malasauskas - Dunes and Something Raw
week 4 - advanced / professional 

Jan Martens - Moving Forward Standing Still    
week 5 - advanced / professional

In this workshop project Jan Martens will work around stillness opposed to evolution. In a world dense with information we will question the purpose of development, the purpose of adding on to what is already there. This question will be translated into danced imagery. The outcome will be a sketch that will serve as the base of a new production planned for 2020. Repetition and slow transformation will be the main working tools, sharpening the precision and analytic skills of the participating dancers.