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Training Cycle

Teachers for the 1st year 2019-2020

BODY STUDIES

Yoga- Stephane Bourhis, Laia Puig Escandell

Pilates- Chloé Chignell, Gabriel Schenker

Shiatsu- Palle Dyrvall

Also taught in this field (previous generation): Florence Augendre, Miquel De Jong, Erik Eriksson, Arco Renz, Natalia Sardi, Lucia Thibault, Paul Tucker, Sandy Williams

DANCE TECHNIQUE

Ballet- Elisabeth Farr, Janet Panetta

Contemporary- Laura Aris, Aron Blom, David Hernandez, Diane Madden, Martin Nachbar

Also taught in this field (previous generation): Anne-Linn Akselsen, Douglas Becker, Shannon Cooney, Marta Coronado, Kathleen Fisher, Thomas Hauert, Martin Kilvady, Kira Kirsch, Colas Lucot, Juliette Mapp, Chrysa Parkinson, Salva Sanchis, Alesandra Seutin, Samuel Wentz, David Zambrano

DANCE WORKSHOPS

Repertoire- Ursula Robb, Taka Shamoto, Jacob Truszkowski

Composition- Diane Madden in collaboration with David Hernandez and Jacob Storer

Alexander technique- Sarah Ludi

Forsythe Improvisation Technologies- Fabrice Mazliah, Tilman O'Donnell, Liz Waterhouse

Artistic Practice- Alix Eynaudi, Peter Lenaerts, Raduan Mriziga, Ivana Müller, Stina Nyberg & Zoë Poluch, Diederik Peeters, Lia Rodrigues, Ula Sickle, Robert Steijn

Individual practice- Manon Santkin

Also taught in this field (previous generation): Cyril Baldy, Boris Charmatz, Theo Clinkard, Volmir Cordeiro, Marta Coronado, Anne Teresa De Keersmaeker, Cristian Duarte, Kathleen Fisher, Marie Goudot, Philipp Gehmacher, Emmanuelle Huynh, Fumiyo Ikeda, Stine Janvin Motland, Anne Juren, Anneleen Keppens, Daniel Linehan, Mark Lorimer, Roberta Mosca, Ivana Müller, Martin Nachbar, Jeroen Peeters, Thomas Plischke, Sarah & Charles, Clinton Stringer, Charlotte Vanden Eynde, David Zambrano, Andros Zins-Browne

MUSIC

Singing- Lucy Grauman, Fabienne Séveillac

Rhythm- Michel Debrulle

Music Project- Tom Pauwels, Noé Soulier

Also taught in this field (previous generation): Rubén Orio, Mattijs Van Damme

THEATRE

Thomas Ryckewaert, Eva Schram, Scarlet Tummers , Carly Wijs

Taught in this field (previous generation): Kuno Bakker, Gabel Eiben, Maaike Neuville, Stijn Van Opstal, Alejandra Theus

THEORY

Sociology- Rudi Laermans

Philosophy- Ludo Abicht

Dance history- Bojana Cvejić

Writing- Bojana Cvejić

Performance analysis- Christophe Wavelet

Music analysis- Mattijs Van Damme

Anatomy- Thomas Malherbe

Art History- Robin Vanbesien

Also taught in this field (previous generation): Lendl Barcelos, Stoffel Debuysere, Anya Topolski, Alexander Vander Stichele, Jeroen Peeters, Viviana Mucci, Paul Tucker, Lieve Dierckx, Petra Van Brabant, Ana Vujanović

COACHING, PERSONAL WORK

Christine De Smedt, Femke Gyselinck, Manon Santkin

STUDIOS

Teachers for the 1st year 2019-2020

DANCE CLASS

Douglas Becker, Chloé Chignell, Liz Kinoshita, Diane Madden, Fabrice Mazliah, Jason Respilieux, Gabriel Schenker

MOVEMENT RESEARCH

Michelle Boulé, Anne Juren, Rasmus Olme, Kirstie Simson

CHOREOGRAPHY MASTERCLASS

Jonathan Burrows, Mette Ingvartsen, Lia Rodrigues, Michiel Vandevelde

THEORY

Bojana Cvejić, Thibault De Meyer, Vinciane Despret, Rudi Laermans, Nina Power, Thomas Tawala Presto, Sergej Pristas, Stephen Zepke

PRACTICE LABS

Daniel Blanga-Gubbay (on co-imagination), Mette Edvardsen (on artistic research), Thomas Plischke (on documentation), Georg Weinand (on feedback),

EXCHANGE PROGRAM ECOLE DES SABLES 2020

Dance classes: Patrick Acogny (contemporary African technique), Mamadou Baldé (Sabar), Saky Bertrand Tchébé (urban dances from the Ivory Coast), Ise Verstegen (Acogny technique)
Choreography masterclasses: Nadia Beugré, Panaibra Canda, Faustin Linyekula, Qudus Onikeku
Seminars: Ntoné Edjabe, Ogutu Muraya

Alain Franco

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

Alesandra Seutin

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

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

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

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

In 2014 Alesandra become a ADAD Trailblazers Champion.

Alix Eynaudi

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

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

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

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

Ana Vujanović

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

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

Andros Zins-Browne

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

Anne Juren

Anne Teresa De Keersmaeker

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

Anneleen Keppens

Anneleen Keppens graduated from the Royal Ballet School of Antwerp in 2005 and continued her studies at P.A.R.T.S. from 2006 till 2010. Since then Anneleen mainly works as a dancer for Daniel Linehan (US). She danced in his productions "Gaze is a Gap is a Ghost", "The Sun Came", "The Karaoke Dialogues" and "DBDDBB". In December 2013 she performed a duet with Linehan in the Tate Live Performance Room in Tate Modern, London. She also assisted Linehan several times in the social-artistic project Vita Activa. In 2014 she danced for Xavier le Roy (FR) in Rétrospective par Xavier le Roy in Centre Pompidou, Paris. Between 2014 and 2016 she dances in "Drumming", a repertory piece from Rosas (BE). Anneleen has taught technique classes and improvisation/composition classes in places like Artesis Hogeschool Antwerp and Kunsthumaniora Brussel. In 2016 she initiated her own research project and started studying Body Mind Centering in SOMA (FR) and EMA (UK).

Anya Topolski

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

Arco Renz

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

Bertrand Saky Tchébé

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

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

Bojana Cvejić

Bojana Cvejić is a performance theorist and maker based in Brussels, and a co-founding member of the TkH editorial collective. Cvejić holds degrees in musicology and philosophy (PhD, Centre for Research in Modern European Philosophy, London). Since 1996, she has (co-)authored and collaborated in many dance and theatre performances with J. Ritsema, X. Le Roy, E. Salamon, M. Ingvartsen, and E. Hrvatin. Her own performance work involves five independent opera productions, of which the latest was her staging of Don Giovanni at BITEF festival Belgrade (2008). Cvejić has published widely in philosophy, performance theory, and musicology, in magazines, peer-reviewed journals and edited volumes, and three single--authored and five co-authored/edited books. Her latest books are Choreographing Problems: Expressive Concepts in European Contemporary Dance and Performance (Palgrave, 2015), Drumming & Rain: A Choreographer’s Score, co-written with A. T. De Keersmaeker (Mercator, Brussels, 2014), Parallel Slalom: Lexicon of Nonaligned Poetics, co-edited with G. S. Pristaš (TkH/CDU, Belgrade/Zagreb, 2013), and Public Sphere by Performance, co-written with A. Vujanović (b_books, Berlin, 2012). Cvejić teaches at various dance and performance programmes throughout Europe (e.g. P.A.R.T.S. Brussels). Her latest works include the exhibition Danse Guerre at CCN Rennes (2013) and Spatial Confessions at Tate Modern (2014). She has been researcher and lecturer at Theater Studies, Utrecht University, 2009-2013 and currently holds the post of Associated Professor in Philosophy of Art at Faculty for Media and Communication, Singidunum University in Belgrade. Her field of research includes continental philosophy, contemporary performance, dance and theater, social choreography, and, most recently, performance of the self, individualism and rhythms of intensified work.

Boris Charmatz

Dancer and choreographer Boris Charmatz (1973) was a table tennis player before studying dance at the École de Danse in Paris and continuing his studies at the Conservatoire National Supérieur de Musique et de Danse in Lyon. In 1992, he founded Association Edna, together with Dimitri Chamblas. In 1993, they made their debut with the duet À bras-le-corps. From 1997, Charmatz started to develop various projects within the Association Edna, ranging from improvisational projects and installations to films, exhibitions and excursions. In 2008, he was appointed artistic director of the CCNRB (Centre Chorégraphique National de Rennes et de Bretagne), which he transformed into a Museum of Dance a year later. One of the projects he set up at the museum was expo zéro, an exhibition without any objects: no photographs, sculptures, installations or videos; only artists with their bodies, gestures, movements and dance.

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

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

Carly Wijs

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

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

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

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

Charlotte Vanden Eynde

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

Chloe Chignell

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

Christine De Smedt

The artistic work of Christine De Smedt is situated between dancing/performing, choreographing, coordinating, organizing and curating artistic projects. Being a member of the company Les Ballets C. de la B. (Gent, Belgium) from 1991 until 2012, she created her own work since 1993, a solo, La force fait l’union, fait la force; a travelling project in the Balkans, Escape Velocity (1998) and a large scale mass choreography, 9x9 (2000-2005). In 2012 she premiered a series of performed portraits of different artists, titled Four Choreographic Portraits (‘I would leave a signature’, The son of a priest, A woman with a diamond and Self-reliance).

Christophe Wavelet

A former performer, Christophe Wavelet has co-directed the activities of the Kunst Project (1993-2001), a performance collective (1993-2001) focusing on artistic re-enactments, and appropriations, as well as the publication of the french political journal Vacarme (1996-2000). He has collaborated to numerous international manifestations and exhibitions, conferences and publications, both as a curator, scholar and critic. Interested in projects whose priority is at once experimental and discursive, regardless of any medium specificity and within different cultural areas, he has operated as artistic director for LiFE, a cross-disciplinary and transnational contemporary art venue (2005-2010). A fellow of the Akademie Schloss Solitude in 2011-2013, he’s currently writing his first book and working on the french translation of the essays written by Brazilian artist Helio Oiticica.

Chrysa Parkinson

Chrysa Parkinson is a dancer living in Brussels and Berkeley, California. She lived in New York for many years and performed with Tere O'Connor Dance, Irene Hultman, Mia Lawrence, Jennifer Monson and Mark Dendy, among others. She began traveling to Belgium in 2000 to work on improvisational performance with Zoo/Thomas Hauert and David Zambrano. Since then she has also performed with: Veli Lehtovaara, Remy Heritier, Boris Charmatz, Andros Zins-Browne, Rosas/Anne Teresa De Keersmaeker, Jonathan Burrows, Mette Ingvartsen, Philip Gehmacher , Eszter Salomon , John Jasperse, Deborah Hay, Alix Euynadi , Meg Stuart and Joaquim Koester. She has taught in the US, Europe and Australia, and yearly at P.A.R.T.S. since 1998. Chrysa's writing and films have been published and distributed internationally. Her most recent project, The Dancer as Agent Collection, is available at Oralsite.be. Chrysa is a Professor of Dance and Director of the New Performative Practices MFA program at DOCH in Stockholm.

Clinton Stringer

Clinton Stringer was born and raised in South Africa. After studying for an Arts Degree there, he moved to Belgium to attend P.A.R.T.S. where he spent two years. He left the school to work for Joachim Schlömer on the production La Guerra d’Amore in Basel. In 2000, Clinton joined Rosas (Anne Teresa De Keersmaeker). Over the course of nine years he was involved in many creations and restagings of repertoire pieces including Rain, Drumming, April Me, Raga for the Rainy Season, Mozart Concert Arias, Bitches Brew… He left the company to study graphic design at Sint-Lukas (Brussels). Since graduating, he has divided his time between freelancing as a graphic designer and contemporary dancer. In 2011 and 2014, he was involved in the re-staging of Rain at the Opéra de Paris. He was also involved in the re-staging of Die Grosse Fugue for the Opéra de Lyon and Companhia Nacional de Bailado (Portugal). Freelance dance projects include Dancesmith (2013) with Mark Lorimer and Cynthia Loemij, and Volcano (2014) with Liz Kinoshita.

Daniel Blanga-Gubbay

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

Daniel Linehan

Daniel Linehan’s choreographic work is intent on softly obscuring the line that separates dance from everything else. He approaches performance-making from the point of view of a curious amateur, testing various interactions between dance and non-dance forms, searching for unlikely conjunctions, juxtapositions, and parallels between texts, movements, images, songs, videos, and rhythms. Linehan first studied dance in Seattle and then moved to New York in 2004. His work first came to public attention in 2004 with the solo Digested Noise, presented in Fresh Tracks at Dance Theater Workshop. In 2005 and 2006, he worked with a team of four other dancers to create The Sun Came and Human Content Pile. Linehan was a 2007-2008 Movement Research Artist-in-Residence. In 2007, Linehan premiered the solo Not About Everything, which has since been presented in over 75 venues internationally. In 2008, Linehan moved to Brussels where he completed the Research Cycle at P.A.R.T.S. His works created in Belgium include Montage for Three (2009), Being Together without any Voice (2010), Zombie Aporia (2011), Gaze is a Gap is a Ghost (2012), and The Karaoke Dialogues (2014).

David Hernandez

David Hernandez was born in Miami, Florida where he studied 'studio music & jazz’ and opera at the University of Miami and dance at 'New World School of the Arts’. Subsequently he moved to New York to work as an apprentice with the Trisha Brown and company and begin researching with Meg Stuart. He left New York to follow Meg Stuart to Belgium to help begin the company Damaged Goods where he worked for almost seven years as a dancer and collaborator. David remained in Europe basing himself in Brussels where he continued creating his own work in the form of dance performances, installations, happenings and many other sorts of multidisciplinary projects for over twenty years. Next to his own projects he continued performing and collaborating with many other artists such as LaborGras, Brice Leroux, Anouk Van Dijk, Michel Debrulle as well as directing, performing and researching as an improviser with artists such as Steve Paxton & Katie Duck, among many others. He was one of the three initiators of the improvisation project 'Crash Landing' along with Christine Desmet and Meg Stuart. David participated in a choreographic collaboration with Anne Teresa De Keersmaeker for many years for projects including "Zeitung", "Keeping Still" and “D’un Soir un Jour" and danced and sang in the production “Cesena" which premiered at the Avignon Festival in 2011.

David Zambrano

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

Diane Madden

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

Diederik Peeters

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

Douglas Becker

Douglas Becker is a freelance choreographer and teacher working in many idioms. A former dancer with the Joffrey Ballet New York, The National Ballet of Canada, The Dallas Ballet and The Frankfurt Ballet under the direction of William Forsythe of which he has reconstructed numerous works by the choreographer for professional companies, festivals, and educational institutions across the globe. In Ballet he was taught by Nathalia Krassovska, Stanley Hall, Marjorie Mussman, Maggie Black, David Howard, and Melissa Hayden; thus, carrying a broad resume teaching Ballet, improvisation, composition, and repertory. His choreography has been featured on the stages of Belgium’s Royal Flemish Theatre, Switzerland’s Grand Theatre de Genève, and the Choreographic Centers of Grenoble and Nancy in France, and has been visiting faculty for P.A.R.T.S. Brussels, New York University, The University of California Irvine, and the national conservatories of Paris and Lyon among many others. Mr. Becker's collaborative process of choreographic development improvises upon and utilizes dancers' individual talents and characteristics. Between 2007 and 2011 Douglas Becker founded the Hollins University Master of Fine Arts International extended study abroad program, under the direction of Donna Faye Burchfield; introducing students to new ways of imagining their research, advancing their abilities to realize their work in a larger context, and supporting their participation in dialogues that move across geographies as well as disciplines. A 2012/13 artist-in-residence at University North Carolina School of the Arts, Douglas Becker began as visiting master lecturer at The University of the Arts Philadelphia 2010-present, where he is also responsible for the dance departments international touring programme.

Eleanor Ivory Weber

Eleanor Ivory Weber is a writer working in contemporary visual arts, performance, political theory and poetry. She is co-director of Divided Publishing, Brussels/London. Since 2018, she teaches art history, theory and critical practice at Erg (École de recherche graphique–école supérieure des arts), Brussels. Her text-based work has been performed in Europe and Australia, including at Kunsthal Gent, Q-O2, ISELP, Hectolitre, Établissement d’en face, Buenos Tiempos, Int. (all Belgium); Dortmunder Kunstverein, M.I/mi1glissé/groupsandindividuals, Flutgraben
 (all Germany); Kunsthal Charlottenborg (Copenhagen); and Repetition/s–Performance Philosophy (Ljubljana). She has been a guest tutor at the Australian National University School of Art & Design, Canberra; Städelschule, Frankfurt am Main
 (with Camilla Wills, as Divided) and École supérieure d’arts & médias de Caen/Cherbourg, Caen. In 2019, her long poem “It—Subject” was published by Jacket2, Philadelphia. Her writing has appeared in publications such as Afterall, SALT., frieze, LUX and How to Become a Body Double. Eleanor has been artistic researcher at a.pass (advanced performance and scenography studies), Posthogeschool voor podiumkunst, Brussels, and holds first class honours in art history & theory from The University of Sydney, with the thesis “A process without end: autonomous art structures and the politics of self-organisation” (2012). She is currently undertaking a master’s in political theory at the Université Libre de Bruxelles (expected 2021). http://divided.online

Elisabeth Farr

Elisabeth Farr began her training in Texas and then continued her education at Ballet West in Colorado and School of American Ballet in New York. She performed in several Companies including San Diego Ballet,Los Angeles Ballet,Dallas Ballet, in America and Zurich Ballet and Deutsche Oper Berlin in Europe. After the birth of her son she joined Theater des Westens in Berlin and Tanz Theater Skoronel as well as teaching in several schools and directing the dance department at Die Etage in Berlin. She then became training director and dancer at Deutsches Nationaltheater Weimar for 2 years and there after ballet mistress and assistant to Amanda Millers Ballet Pretty Ugly. She has been a regular guest teacher in P.A.R.T.S. in Belgium and SEAD in Austria as well as teaching companies throughout Europe. She is also a certified Gyrokinesis teacher.

Elisabeth Flynn

Elisabeth Flynn has been a piano accompanist for dancers for 40 years. She began playing for children and gradually worked her way up to professionals, working at Les Grands Ballets Canadiens, The Royal Winnipeg Ballet, The Finnish National Ballet, The Royal Ballet of Flanders and Charleroi Danses. Now she teaches in P.A.R.T.S. and also teaches piano and theory lessons, coach singers and choirs, accompany singers and instrumentalists, arrange music for jazz ensembles, and produce musical events, mostly for charity. She also loves to cook and garden, and enjoys fitness activities such as running, cycling, and going to the gym.

Erik Eriksson

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

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

Fabienne Séveillac

French mezzo-soprano Fabienne Séveillac obtained a Masters in Performance Voice at the Brooklyn College Conservatory. During her studies there she performed the lead role in operas and premiered numerous pieces by young composers. In 2009 she was the recipient of the Robert Starr Award for the best interpretation of a living composer. She now devotes her time principally to the performance and teaching of 20th and 21st century music. After a Masters degree in Musicology focusing on György Kurtág and Samuel Beckett at the Tours University, whilst teaching piano and ear training, she began vocal studies in the ensemble Mikrokosmos then at the Centre de Formation pour Jeunes Chanteurs du Jeune Chœur de Paris at the Paris CRR, where she worked with Laurence Equilbey and other conductors such as John Nelson and Pierre Boulez. Since her return to Europe, she has been the singer and co-artistic director of soundinitiative, and in parallel cofounded HYOID (contemporary voices), now based in Brussels. She performed as a soloist and gave masterclasses in France, Belgium, Germany, Switzerland, Austria, Danemark, Canada, the USA, Singapore, Australia and New Zealand, in various festivals including the Darmstadt Summer Festival, the Bludenzer Tage zeitgemäßer Musik in Bludenz, What's Next / Ars Musica and "Les nuits " Botanique in Brussels, Blurred Edges in Hamburg, the Impuls Akademie in Graz, Klang in Copenhagen, the Brisbane festival and the Bendigo BIFEM festival.

Fabrice Mazliah

Fabrice Mazliah studies dance in his hometown Geneva, at The National School of Athens and in the Rudra Bejart Atelier in Lausanne. He is part of the Nederlands Dans Theater in Holland before joining in 1997 the Ballett Frankfurt that transitioned into the Forsythe Company which he is part of until summer 2015. In parallel he produces several works of his own, and in collaboration with other artists such as the chekroun/mazliah/san martin collectif, with Ioannis Mandafounis and others. In 2010 a collaboration with Mandafounis and May Zarhi leads to the collective MAMAZA, touring through Europe, Israel and Africa. In June 2015 he created the last evening of The Forsythe Company “In Act and Thought” premiering in Dresden and Frankfurt. His latest work Telling Stories is created in December 2015 with and for the MD Collective from Koln. These pieces have been shown in numerous venues and Festivals internationally. Fabrice gives as well seminars, workshop and Ateliers internationally based on research and improvisation for amateurs, professionals and Master programmes.

Faustin Linyekula

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

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

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

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

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

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

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

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

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

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

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

Femke Gyselinck

Femke Gyselinck works since 2010 as artistic assistant of Anne Teresa De Keersmaeker/Rosas. She teaches workshops about the principles that are used during the creation process of the performances of Rosas. Together with her brother Lander Gyselinck (STUFF.,Labtrio)she is working on the performance Flamer that will premiere in Vooruit in may 2017. In collaboration with Romina Lischka she created a piece to ‘Lachrimae or Seven Teares’ of John Dowland, performed live by Hathor Consort. To the music of Johannes Schenck they made the performance ‘L’echo du Danube’. Both pieces are currently touring. ‘Fictional european field recordings’ is a piece she is making together with musicians Fulco Ottervanger and Lander Gyselinck that will also premiere in Vooruit in may 2017. She started studying at P.A.R.T.S. in 2002 and graduated in 2006. She obtained a degree in dance teaching in 2009 at the conservatory in Antwerp.
She worked as a dancer with Eleanor Bauer, Andros Zinsbrowne and Esther Venrooij. She worked with visual artist Kelly Schacht.

Florence Augendre

Florence Augendre studied ballet, African dance, tap dance and modern jazz, and followed an intensive education in Body Mind Centering. She has worked a lot for theater, opera, film, contemporary dan ce and visual arts, adding to each creative project a dimension that is rooted in physical culture and dance. She worked with theatre directors such as Louis and Xavier Bachelot, choreogrpahers such as Pascale Houbin, François Raffinot, Wes Howard, Andrew Degroat, Thierry Guedj, Christophe Haleb, Wim Vandekeybus, Meg Stuart, David Hernandez, Labor GRAS, Johanne Saunier/Jim Clayburgh, Brice Leroux, Lance Gries (N.Y.), Riina Saastamoinen, Alexander Baervoets, Label Cedana, Olga de Soto, Fabrice Ramalingom and Koen Augustijnen. Florence Augendre has taught workshops with Cie. Félicette Chazerand, Rosas and Les ballets C de la B.

François Chamaraux

François Chamaraux studied physics and mathematics in France. He played the piano as an amateur. In 2005 he moved to Brussels after receiving a PhD in physics. Since then, he shares his professional life between science and music. On the scientific side, he teaches mathematics and physics in secondary school and university. Through writing papers about science news and guiding naturalist tours around Brussels, he contributes to the popularisation of science. As a musician, he plays piano in various circumstances: accompaniment of silent movies (cinematek), dance classes (P.A.R.T.S. and other schools), choirs, theater, singers - and sometimes concerts solo with a more « classical » repertoire, from Bach to Messiaen. He also plays accordion and violin in various performances, mainly around traditional dance and music of Europe.

François Nicolas

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

Fredy Vallejos

Fredy Vallejos was born in Colombia, where he studied music and computer engineering between 1994 and 1996. He continued his musical studies at the Conservatory Maria Valencia in Cali where he graduated with a master’s degree in percussion. He played percussion in different orchestras and bands in Valle del Cauca and contributed to several recording projects. Between 2003 and 2006, he studied percussion and chamber music at the ENM in Villeurbanne in France, in 2006 he studied at the Conservatory of Lyon and between 2007 and 2009 at the Conservatory of Blanc-Mesnil, specialising in instrumental and electro-acoustic composition and musicology. He was also a resident at the Cité internationale des Arts and IRCAM in Paris. At IRCAM he collaborated with choreographer Thomas Hauert, who invited him to write music for his production MONO. His music has been performed in different countries (Colombia, Ecuador, France, Switzerland, Belgium, Spain.

Fumiyo Ikeda

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

Gabel Eiben

Gabel Eiben has been living in New York the last 10 years, and recently moved to Brussels. Gabel has been working with Kelly Copper and Pavol Liska for the american avant-garde theater company Nature Theater of Oklahoma since 2008 in Life and Times Episodes 1-4 and 6-9, Poetics: a ballet brut, and No Dice. With Nature Theater, he has also performed in and filmed many shorts and the feature length documentary The Great Nature Theater of Oklahoma is Calling You! He has also worked and studied with SITI Company in New York and performed in Radio Macbeth. He holds a BFA in acting from Shenandoah University.

Gabriel Schenker

Gabriel Schenker was born in Washington D.C., raised in Rio de Janeiro, and lives in Brussels for the past twelve years. He started his professional career with ‘Cia. Deborah Collker’ in Rio de Janeiro, before studying in P.A.R.T.S. between 2004-2008. After four years at P.A.R.T.S. he co-founded the collective Busy Rocks with whom he created and performed a variety of works such as Dominos and Butterflies and Throwing Rocks. Since leaving studies, Gabriel also has collaborated as a performer with a variety of choreographers such as Eleanor Bauer, Robin Jonsson, Doris Stelzer, and Alexandra Bachzetsis. More steadily, he has collaborated with Anne Teresa de Keersmaeker/Rosas, in the creation of Cesena, performing in Zeitung, and Work/Travail/Arbeid; and Thomas Hauert/Zoo with the creation of You’ve Changed, Mono, replacing in Accords, and Inaudible. He has also authored two pieces on the last years: Moving~Thinking, an artistic research that culminated with the development of a dance-speech score exploring the relations and divergences between different modes of thinking, and Pulse Constellations, exploring the multi-layered complexity of John McGuire's electronic piece of music.

Georg Weinand

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

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

Goran Sergej Pristas

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

Ise An Verstegen

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

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

Ivana Müller

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

Jakub Truszkowski

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

Janet Panetta

From a young age, Janet Panetta studied ballet with Margaret Craske, Antony Tudor and Alfredo Corvino at the Metropolitan Opera Ballet School. At 14, she became Margaret Craske’s teaching assistant, which served as on-the-job training for her lifelong career in dance education. 
Janet joined American Ballet Theatre in 1968, and later began her foray into modern dance as a member of Paul Sanasardo’s company. She went on to work with Robert Kovich, Neil Greenberg, Susan Salinger, Peter Healey, and countless other modern companies, while continuing to teach. In the 1980s, she began working internationally, and in 1984 the French asked Janet to be the only ballet teacher at their newly created school for contemporary dancers. Her class consisted of twenty students, all of whom went on to professional careers, including the renowned choreographer Jerome Bel. In her 1989 New York Times article, “Why Certain Performers are a Breed Apart,” Jennifer Dunning of the New York Times called Janet’s performing, “Quietly indelible, intense and sharply focused, with a smoky, smoldering aura.” She definitely got that right! 
Janet currently works with P.A.R.T.S. and with Pina Bausch Tanztheater Wupperthal. In addition, she teaches at Impulstanz in Vienna each summer, and maintains her own New York Studio, where she serves as artistic director of International Dance Dialogues, a program that hosts many European artists workshops and lectures.

Janne-Camilla Lyster

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

Jason Respilieux

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

Jeroen Peeters

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

Johanne Saunier

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

Jonathan Burrows

Jonathan Burrows is a choreographer whose main focus is an ongoing body of pieces with the composer Matteo Fargion, with whom he continues to perform around the world. The two men are co-produced by Kaaitheater Brussels, PACT Zollverein Essen, Sadler's Wells Theatre London and BIT Teatergarasjen Bergen. His ‘A Choreographer's Handbook’ has sold over 13,000 copies since its publication in 2010, and is available from Routledge Publishing. Burrows is currently a Senior Research Fellow at the Centre for Dance Research, Coventry University.

Kathleen Fisher

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

Kirstie Simson

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

Kopano Maroga

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

Kristien Van den Brande

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

Kristof Van Baarle

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

Laia Escandell

Laia Escandell was introduced to yoga as a parallel practice of my dance career in 1998.However, it wasn’t until I took a Sivananda Yoga Teachers Training in 2008 in South India that my real initiation into Yoga started, with growing passion. Since then, I have been practicing regularly asanas, pranayama and meditation, reading the yogic philosophy and trying to understand and apply all that in my daily life; as well as teaching it to groups and in private classes. “I was introduced to yoga as a parallel practice of my dance career in 1998. However, it wasn’t until I took a Sivananda Yoga Teachers Training in 2008 in South India that my real initiation into Yoga started, with growing passion. Since then, I have been practicing regularly asanas, pranayama and meditation, reading the yogic philosophy and trying to understand and apply all that in my daily life; as well as teaching it to groups and in private classes. In my classes, I teach Sivananda Hatha Yoga tradition: proper breathing, proper exercise, proper relaxation, positive thinking.”

Laura Aris

Laura Aris studied at the Institut el teatre in Barcelona. Between 1996 and 1999 she was part of Lanònima Imperial Dance Company, in Barcelona. She was also associated with General Electrica collective. Between 1999 and 2008 was a member of Ultima Vez/Wim Vandekeybus for the creations and touring of: Inasmuch as life is borrowed, Scratching the Inner Fields, Blush, What a Body Does Not Remember, Sonic Boom, Puur, Spiegel, Menske. She also performed in several dance films directed by Wim Vandekeybus. She regularly teaches workshops related to the Ultima Vez dance vocabulary and contemporary technique lessons internationally. She set up a research project Ejercicios de Duelo and made choreographies for theatres in Costa Rica and Mexico.

Lia Rodrigues

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

Liz Kinoshita

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

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

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

Luc Vaes

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

Lucia Thibault

Lucia starts learning yoga in 1983 under Shri Mahesh Ghatradyal in Paris. She then receives a scholarship for Indian classical Dance (Bharata-Natyam) and leaves for India where she stays 7 years, becoming professionnal in this art. During this period, she practises yoga at the Krishnamacarya yoga mandiram and studies also vedic chanting and Patanjali's yoga-sûtras. She lives in Brussels since 2005 where she discovers Iyengar Yoga through the teaching of Willy Bok and Rita Poelvoorde. She gets her Iyengar teacher certificate in 2016.

Lucy Grauman

Lucy Grauman trained as a classical singer after having had some experience in theater and singing jazz. Her eclectic career has mainly focused on contemporary music, as a soloist and in ensembles. She has practiced free improvisation with electronics as well as singing classical recitals. In the past ten years she has developed as a choir conductor. Se presently leads a children’s choir ‘Shanti! Shanti!’ and conducts and composes for a women’s ensemble ‘Ik zeg adieu’ (Music-Theater creation in 2016 with director Marijs Boulogne). Since 2009 she has been gathering songs, taught to her by people from all over, and particularly from asylum seekers. She has been arranging these songs for amateur groups that perform regularly (Voix de Voyageurs, Stemagnifique). As a teacher she has been coaching actors and dancers for many years and has been teaching at P.A.R.T.S. since the beginning.

Mamadou Baldé

Mamadou Baldé is a Senegalese dancer since 1997. He started in small groups in Saint Louis, Senegal. After several competitions, Baldé decided to follow dance training courses at the Ecole des Sables in Toubab Dialaw, directed by by Germaine Acogny, in 2006 for 3 months. In 2007 he returned as a Professional Dancer at the Ecole des Sables. In 2008, he joins the Jant-Bi Company and works under the direction of several internationally renowned choreographers: Robyn Orlin, Jessica Sandoval, Gerardo Trejoluna... With the company, he participates in tours in Europe, United States, ...

At the same time, at the Espace Sobo Badé in Toubab Dialaw, several choreographers have been coming for many years with their students from Europe and elsewhere to work with Baldé.

Manon Santkin

Manon Santkin (1982) is a free-lance artist. She works between Brussels and Stockholm. Within the field of the Performing Arts, she operates as a dancer, choreographer, artistic advisor, process assistant and writer. She graduated from P.A.R.T.S. in 2004.

She has been collaborating with choreographers Mette Ingvartsen, Salva Sanchis, Xavier Leroy, Sidney Leoni and many others. She also develops projects with sound artist Peter Lenaerts and with designer Nicolas Couturier. Manon regularly takes part in the processes of other artists as a mentor, advisor or dramaturge and sees her role as an interpreter morphing into that of a facilitator of collaborative processes.

Marcus Bergner

A reoccurring focus to much of Marcus Bergner’s artworks and related research has been in shifting and rethinking points of intersection that operate between/within the worlds of visual art, literature, art history, film, and performance. As part of these investigations he has made over 25 experimental films that have been exhibited in solo and group exhibitions/screenings in museums, galleries and cinemas across Australia, Europe and North America. These films are divided into three distinct lines of production: language/poetry, spatial/performance, and visual art areas. Between 1985 and 2000 as a member of the Australian sound poetry group Arf Arf, Bergner performed extensively throughout Australia and Europe. In 2010 he completed a PhD research project (University of Melbourne) that considers experimental film in light of changing approaches to the discipline of art history. Since 2009 he has conducted on-going experimental film and performance workshops at the Czech Film Academy in Prague (FAMU), as well as lecturing on media history at the University of New York, also in Prague. In 2013 he was invited to take part in the unique exhibition/performance event ‘Words Live’ in Amsterdam and Rotterdam. He will premiere a major new film and performance work commissioned by the Akademie Schloss Solitude in Stuttgart early 2017. Presently he lives and works between Australia and Europe and is completing a series of essayistic pieces that demonstrate and explore the noetic and conspiratorial necessity of instigating forms of ‘incomprehensible art criticism.

Marie Goudot

Marie Goudot (b. 1978, France) studied dance at the Rudra Béjart School in Lausanne. She joined the Béjart Ballet Lausanne in 1998 and left in 2000 to pursue a freelance career. She was introduced to contemporary and contact dance over a period of several years while working with Russell Maliphant in London, and later with the Alias Company in Geneva. In 2005 she joined Michaël Pomero and Julien Monty to found the Loge 22 collective, a space for choreographic research and collective creations. Loge 22 has created a dozen or so dance productions to date, films and choreographies included. Loge 22 is a cofounder of Europe’s SPIDER Festival, staging events in Slovenia, Croatia, Greece, France, and Belgium. In 2010 Goudot joined Rosas for Cesena and Vortex Temporum, and also took part in Work/Travail/Arbeid and Così fan tutte.

Mark Lorimer

Since graduating from the London School of Contemporary Dance in 1991, Mark Lorimer has worked as dancer, choreographer, teacher and rehearsal director.His main collaborations as a dancer have been with Rosas/Anne-Teresa De Keersmaeker (1994 - present) and with ZOO/Thomas Hauert (1997- 2005). Alongside these he has worked on many projects with (among others) The Featherstonehaughs/Lea Anderson, Bock & Vincenzi, Mia Lawrence, Jonathan Burrows, Deborah Hay, Alix Eynaudi and Boris Charmatz. As a choreographer he has made two full-length evening works "To Intimate" with cellist Thomas Luks and fellow Rosas mainstay Cynthia Loemij, and "Dancesmith - Camel, Weasel, Whale" again with Cynthia plus graphic artist and dancer Clinton Stringer. In March of 2016 he made a piece for Bodhi Project SEAD, Salzburg - “Darwin’s Gypsy Dance” that is currently touring. He has also made works with students of the Laban Centre, London, and a duet with Chrysa Parkinson - "Nylon Solution". As a rehearsal director he has worked on several creations with Rosas and continues to tour with "Vortex Temporum" while dancing in Boris Charmatz's "Manger" and the second collaboration with Alix Eynaudi - “Edelweiss”. Future projects include assisting and performing for new work with Anne-Teresa De Keersmaeker/Rosas, a solo with musician George Van Dam and video artist Manon De Boer, a new work of Alix Eynaudi “Chesterfield”, a short project with theatre-makers Marlene Saldana & Jonathan Drillet “The Rite of Arab Spring”, a collaboration with artist Juergen Staack for a gallery piece in Toulouse, and a reprise of Alain Buffard’s “Les Inconsolés”. Last summer 2015 Mark was a member of the collective DanceWeb leadership at Impulstanz in Vienna alongside teaching and performing in the festival. He teaches regularly at P.A.R.T.S., Manufacture, Lausanne (generating personal material and musical choreographic writing), CDC - Toulouse, and for other institutions and independent dance organisations.

Marta Coronado

Marta Coronado, born in Spain, studied ballet technique and graduated as a ballet dancer from Escuela Oficial de Danza del Gobierno de Navarra. She was part of the contemporary dance company Yauzkari until she moved to Brussels. She attended the two years dance program of P.A.R.T.S. first cycle. In 1998, she became a member of Anne Teresa De Keersmaeker's company Rosas. She danced and participated in the creations of Rosas such as: Drumming, I said I, In real time, Rain, April me, Bitches Brew, Kassandra, Rain Raga and D' un soir un jour. In the season 2002 she was awarded a Bessie (New York Dance and Performance Award) for sustained achievement as a performer. She co-directed at P.A.R.T.S. for the Rosas repertory graduation projects. In 2011 and 2014 she teaches a Rosas repertory piece, Rain at the Paris Opéra. In 2015 she teaches Drumming at the Opera de Lyon. She had the opportunity to teach Rosas Repertory and composition workshops worldwide. She has been invited as a guest choreographer to La Salle Singapore, CDC Toulouse and Compañia Fueradeleje. She teaches technique at Rosas Company, Les ballet C. de la B. the Ballet de Marseille, P.A.R.T.S., Ultima vez company, ImPulsTanz, Charleroi Danses, Thor Company, La Raffinerie, Conservatorio superior de Madrid and Theater school Amsterdam. Nowadays she free lances for Rosas and is part of the new collective House of Bertha. Their first piece White Noise premiered in MDT Stockholm in 2011.

Martin Nachbar

Martin Nachbar is dancer and choreographer and writes for several dance and theater magazines. He received his training at the School for New Dance Development (Amsterdam), in New York and at P.A.R.T.S. (Brussels). In 2010, he received a master’s degree at the Amsterdam Master of Choreography (AMCh). He is currently a PhD candidate at the HCU Hamburg. His collaborations include engagements with Les Ballets C. de la B. and Vera Mantero, shared works with Thomas Plischke, Jochen Roller and Martine Pisani, with composer Benjamin Schweitzer and with dramaturge Jeroen Peeters as well as a cooperation with visual artist Paul Hendrikse. He received several grants and prizes, among which the first Choreography Award Ludwigshafen 2006. His pieces, including “Repeater – Dance Piece with Father”, “Urheben Aufheben – Reconstructing Dore Hoyer” and “Animal Dances”, tour internationally. Martin Nachbar teaches regulary in improvisation, contact improvisation, choreography/composition and physical dramaturgy since 2001.

Matteo Fargion

Matteo Fargion studied composition with Kevin Volans at the University of Natal, South Africa, and later with Howard Skempton in London. He has written music for many dance pieces collaborating, among others, with Siobhan Davies, Russell Maliphant and Jeremy James. He met Jonathan Burrows in 1988, and has since written music for most of his pieces, including ‘Dull Morning’, ‘Stoics’, ‘Very’, ‘Our’, ‘Hands’, ‘The Stop Quartet’ (with Kevin Volans) and ‘Things I Don't Know’, in which he also performed ‘Donna Che Beve’ for 3 amplified cardboard boxes. In 2000 they made Both Sitting Duet together, which has toured to 17 countries and won a Bessie Award in New York. In 2005 they premiered their next collaboration, The Quiet Dance, in Munich, which is currently touring. He and Jonathan are currently working on a third piece. Apart for concert music, Matteo has also written music for theatre including an oratorio (‘Das Kontingent’) commissioned by and performed at the Schaubühne Berlin and TAT Frankfurt, a chamber opera (‘Le Bellezze d’Hortensia’) at the Theaterhaus in Stuttgart, as well as incidental music for many productions at the Residenz Theater Munich and the Stuttgart Schauspielhaus. In 2004 he wrote music for Thomas Ostermeier’s prize winning production of Jon Fosse's new play ‘The Girl on the Sofa’ shown at the Edinburgh International Festival, and in 2005 he collaborated and performed in Canadian choreographer Lynda Gaudreau’s ‘Document 4’ in Gent, Belgium. His piece ‘Duets’, written in collaboration with Kevin Volans, is released on Black Box Records. He is currently collaborating with Siobhan Davies on a piece which will open in her new building in May this year, and incidental music for a new Botho Strauss play starring Bruno Ganz. Matteo also has taught 2nd year composition workshops at P.A.R.T.S. since 2000.

Mattijs Van Damme

Mattijs Van Damme, composer, was born in 1975 in Bruges. After taking classes in piano and chamber music at the Stedelijk Conservatorium Brugge, he undertook advanced studies in piano, music theory (harmony, counterpoint and fugue) and composition at the Royal Conservatory of Brussels. Among his professors you find pianist Jan Michiels and composers Jean and Franklin Gyselynck. During several international summer academies, such as Centre Acanthes in Avignon (France) and Bartòk Seminar in Szombathély (Hungary), Mattijs Van Damme had meaningful encounters with such composers as Jonathan Harvey, Helmut Lachenmann and Michael Jarrell, who were a major influence on his further evolution as a young composer. ‘Nescio’ for eleven strings, premiered by the Kamerorkest Koninklijk Conservatorium Brussel and later, ‘Interview’ for violin solo, commissioned by the Handelsbeurs Gent and premiered by Patricia Kopatchinskaya, was as a debute enthusiastically received by the audience and the press: “...Interview sounded most convincing as this creation – with its webernian balance of musical means – fitted perfectly in the context of this refined concert...” (Knack magazine). Other commissions folowed for Transitfestival (Festival van Vlaanderen, Vlaams-Brabant), Holland Festival (Amsterdam) and Concertgebouw Brugge. Mattijs Van Damme lives and works in the city of Ghent and is associated to Stedelijk Conservatorium Brugge as a teacher of piano and music theory.

Mette Edvardsen

The work of Mette Edvardsen is situated within the performing arts field as a choreographer and performer. Although some of her works explore other media or other formats, such as video, books and writing, her interest is always in their relationship to the performing arts as a practice and a situation. With a base in Brussels since 1996 she has worked for several years as a dancer and performer for a number of companies and projects, and develops her own work since 2002. She presents her works internationally and continues to develop projects with other artists, both as a collaborator and as a performer. A retrospective of her work was presented at Black Box theatre in Oslo in 2015. She is currently a research fellow at Oslo Arts Academy.

Mette Ingvartsen

Choreographer and dancer Mette Ingvartsen graduated from P.A.R.T.S. in 2004 and has been developing her own projects since 2002. Her work deals with the change of perspectives and the perception of the body within different frameworks of presentation. In 2008 she took part in '6M1L - SIX MONTHS ONE LOCATION' a project confronting questions around education, structures of production and artistic exchange initiated by Xavier Le Roy and Bojana Cvejic. She is part of the collective COCO’s who presented Breeding, Brains and Beauty in 2008 and has collaborated with Jan Ritsema and Bojana Cvejic on several theater performances. In 2010 she turned her attention to projects dealing with notions of artificial nature. In this context she created 'Giant City' and 'Evaporated Landscapes' and also 'The Artificial Nature Project' (2012). In October 2014 she returned with the premiere of '69 positions', the first part of her 'Red Pieces' cycle focusing on the relation between the politics of the body and structures of society. This was followed by the second work of the series '7 pleasures' in 2016. Mette Ingvartsen is part of the new artistic team at the Volksbühne in Berlin under the direction of Chris Dercon. She holds a PhD in choreography from UNIARTS/ Lunds University in Sweden.

Michael Beil

Michael Beil studied piano, music theory and composition. In 1996 he taught music theory and composition at the music conservatories in Kreuzberg and Neukölln in Berlin as director of the precollege department and the department of contemporary music. At this time Michael Beil also directed the Klangwerkstatt – a contemporary music festival in Berlin and founded in 2000 together with Stephan Winkler the team Skart to present concerts based on interdisciplinary concepts. In 2007 he became the professor for electronic music at the Hochschule für Musik und Tanz in Cologne and director of the studio for electronic music.

Michel Debrulle

Michel Debrulle is a percussionist who got his basic musical formation at the I.A.C.P. in Paris and at the Conservatoire Royal de Liège, where he studied also improvisation and Jazz. He took master classes at the Creative Music Studio in the USA with Trilok Gurtu (India), Nava Vasconcellos (Brazil) and Amadu Garre (Sierra Leone). A scholarship of the foundation S.P.E.S. gave him the opportunity to travel to India and Cuba to perfection his musical knowledge and skills. Active both as a musician and a pedagogue, Michel Debrulle toured extensively in Europe, USA, Canada, Marocco with various music ensembles, amongst which Trio Bravo, La Grande Formation, Tous Dehors Big Band, Trio Grande, Rêve d’Eléphant Orchestra and contributed to many CD registrations. He is involved as a musician in theatre and dance performances and gives different types of rhythm classes and workshops to actors and dancers. In his pedagogical work he concentrates on the organic understanding and internalisation of the rhythm, privileging the relation between earth and air. Important element in this process is the practise of various oral rhythmical traditions linked to analysis of and improvisation on different approaches of time and space.

Michelle Boulé

Michelle Boulé is a choreographer, performer, teacher, healer, and coach based in New York. She has also toured her work to Riga, Latvia; Dublin, Ireland; Chicago, IL; San Marcos, CA; Salt Lake City, UT; and Philadelphia, PA. Boulé has been a choreographic assistant and performance coach for Deborah Hay solo adaptations. She has also choreographed works for Zenon Dance, Eugene Lang College/The New School, California State University San Marcos, Latvian Academy of Culture, University of Oregon, Trevor Day School, and University of Illinois.

As a performer, she collaborated with Miguel Gutierrez from 2001-2015, receiving a 2010 New York Dance and Performance Award “Bessie” for her performance as James Dean and collaboration in the creation of “Last Meadow” and 2015 “Bessie” nomination for her body of work with Gutierrez. Other artists she has worked with include Heather Kravas, Aine Stapleton, Bebe Miller, John Jasperse, John Scott, Deborah Hay (William Forsythe commission “If I Sing to You”), David Wampach, Donna Uchizono, Mark Dendy, Neal Medlyn, Christine Elmo, Neal Beasley, Beth Gill, Judith Sanchez-Ruiz, Doug Varone (Metropolitan Opera Ballet, Opera Colorado), Gabriel Masson, and playwright/director Rosie Goldensohn. She is part of the teaching faculty at Movement Research and The New School/Eugene Lang College in New York. She has also been faculty Hollins University and the University of Illinois, as well as a guest teacher at dance institutions throughout North and South America, Europe, Australia, and Asia. She received her B.F.A. from the University of Illinois, Urbana-Champaign. As a Certified BodyTalk Practitioner since 2008, Michelle has worked with over 500 hundred clients in New York and internationally through her online individual and group work at MBodyRadiance.com.

Michiel Vandevelde

Michiel Vandevelde studied dance and choreography at P.A.R.T.S., Brussels. He is active as a choreographer, curator, writer and editor. As a freelance curator he worked or works for: Extra City Kunsthal, Het Bos, Bâtard festival, Z33, Precarious Pavilions. He is involved as an editor in the Disagree. magazine, and he has written articles for Etcetera, De Witte Raaf, Rekto:Verso, Mister Motley, etc. From 2017 to 2021 Michiel Vandevelde is artist in residence at Kaaitheater (Brussels, BE). In his work he investigates the elements that constitute or obstruct the contemporary public sphere. He explores which other social, economic and cultural alternatives we can imagine in order to question, challenge and transform dominant logics and ways of organizing. He has been developing a variety of projects both in public space and in (performing) arts institutions.

Michiel Vandevelde

Michiel Vandevelde studied dance and choreography at P.A.R.T.S., Brussels. He is active as a choreographer, curator, writer and editor. As a freelance curator he worked or works for: Extra City Kunsthal, Het Bos, Bâtard festival, Precarious Pavilions. He is involved as an editor in the Disagree. magazine, and he has written articles for Etcetera, De Witte Raaf, Rekto:Verso, H ART, Mister Motley, etc. From 2017 to 2021 Michiel Vandevelde is artist in residence at Kaaitheater (Brussels, BE). In his work he investigates the elements that constitute or obstruct the contemporary public sphere. He explores which other social, economic and cultural alternatives we can imagine in order to question, challenge and transform dominant logics and ways of organizing. He has been developing a variety of projects both in public space and in (performing) arts institutions.

Miquel de Jong

Miquel de Jong is the choreographic assistant and movement coach of Panama Pictures training the performers and working in close collaboration with choreographer Pia Meuthen. Next to this he works as a dancer, a rolfer and a teacher giving workshops in many countries such as Russia, Spain, Germany and China. His dance career started at Scapino Ballet, the Netherlands and then brought him to France where he worked as first soloist at the renown modern dance company L’Opera de Lyon and Ballet Preljocaj and later to London where he danced for choreographer Russell Maliphant. Through the inspiring work with Russell he came in contact with a variety of movement styles and techniques such as improvisation, contact improvisation, capoeira, acrobatics and body-mind techniques like yoga, thai chi, rolfing and meditation. His view on dance and movement changed entirely and led him to discover his own method for teaching improvisation and instant composition called improXchange.

Myriam Van Imschoot

Myriam Van Imschoot is based in Brussels where she works across media as performance and video. She has a background in dance and literature. From 2007 her work as a sound and performance artist has been presented in Europe, Australia and the United States. In a first cycle of works (2007-2011) Myriam Van Imschoot used archives as her medium. The duet Pick-up Voices 2007 with Christine De Smedt, Fax Film (2008) and the juke box sound installation Black Box 2009 showed an interest in the performative potential of archival documents and the construction of alternative historiographies through them. Her solo Living Archive 2011 was a personal testimony of what could be any 'girl living next-door with a passion for mixed tapes'. The interest in sonic archival materials led Myriam Van Imschoot from 2010 to engage her own vocal and gesturing body, as it is inhabited by multiform sonic realities of the past and present. Voice became a main vehicle for performances that investigate techniques (internal) and their applications in urban, rural, theater spaces and various social constellations. Fascinated by phenomena of long-distance communication, she studied yodelling and made pieces that involve crying, waving and bird calls. Myriam Van Imschoot switches between works that are made in situ and those that can tour, between small occasion pieces or bigger productions, with an ongoing interest to explore and traverse contexts. In parallel to the performance work Van Imschoot develops a series of films that link with themes in the performance and installation work, like landscape, architecture, archive, folklore and broken voices. In Brussels she has been crucial in curating contexts for research and exchange amongst artists coming from different fields, for example, through the Voicelabs, Soirée Paroles and other events that she curated for the workplace Sarma, an organisation for discursive practice founded by her in 2001. After a sabbatical she founded with Oral Site a new branch within Sarma for multimodal artist publications on the net Oral Site (2012-now) based on new software Olga, especially designed for this purpose. In October 2015 Van Imschoot launched Volume SP, a compilation series for sound poetry. Upcoming in 2016 is an Online Gallery that she co-curates for one year with Kristien Van den Brande, including temporary and permanent contributions by artists. Through all these activities Van Imschoot occupies an idiosyncratic place in the larger art field. Her approach cuts through media, nurtured by her careful attention for overlooked gestures, phenomena and voices.

Nadia Beugré

Nadia Beugré was born in Ivory Coast in 1981. She made her first appearance in 1995 as a member of the Dante Theatre, where she trained in traditional dance. Two years later, she became a founding member of Béatrice Kombé’s groundbreaking, all-female dance ensemble, TchéTché, with whom she toured for years to critical acclaim across Africa, Europe and North America. Following Kombé’s untimely death in 2007, Beugré immersed herself in modern dance by taking choreography classes with Germaine Acogny in Senegal, and continued her training in 2009 by joining Ex.e.r.ce., Mathilde Monnier’s programme for talented, up-and-coming choreographers at the Centre Chorégraphique National de Montpellier. She was soon staging productions of her own, such as un espace vide: moi ('An empty space: me') in 2009 and Quartier libres ('Free Territory') in 2012, and attracting attention from estimable publications like The New York Times, which wrote of her work: ‘It's harrowing, both in action and sound, Ms. Beugré knows how to make a crowd trust her just as, in a split second, she knows how to knock the air out of people. She’s wild, like the wind.’ Legacy premiered at the La Bâtie festival in Geneva in 2015, and has also been performed at the Festival d'Automne in Paris, among other events. Beugré’s piece Tapis Rouge (2017), builds on an earlier work she co-created with Sébastien Martel for the Festival d'Avignon in 2014. In 2018 she created Roukasskass Club, in which she evokes the athmosphere of an Ivorian nightclub. Beugré also performs in works by fellow choreographers, such as Seydou Boro (Burkina Faso), Alain Buffard (France) and Dorothée Munyaneza (France/Rwanda), and appeared in Boris Charmatz’s most recent production 10.000 gestures. In 2017, Nadia Beugré began a five-year artist-in-residence programme at De Vooruit in Ghent.

Natasha Soobremanien

Natasha Soobramanien is a London-born writer based in Brussels, working across the fields of contemporary art and literature. She is writing a collaborative novel-in-instalments, ‘Diego Garcia' with Luke Williams, to be published by Fitzcarraldo Editions in 2020. Chapters have so far appeared in The White Review and BOMB magazine and will appear in volume 6 of Semiotext(e)’s occasional anthology series Animal Shelter, and as a publication by Book Works in their forthcoming Dialecty series (Previous chapters are available here: http://diegogarciabook.tumblr.com/.). Her writing has appeared in Frieze Magazine, Happy Hypocrite and Starship Magazine, and has been commissioned by The Serpentine Gallery.In January 2018, her short story, The Architects, was published in JOB INTERVIEWS, an anthology of artists' fiction edited by Chris Evans as part of his 2017 show for Para Site Gallery in Hong Kong. She has worked with artists on a range of projects, participating in Melissa Gordon's Female Genius Nightclub at WIELS in 2017 as part of Rita McBride's show Explorer. In 2016 she co-programmed Smarginature for LydGalleriet in Bergen with Daniela Cascella, and in 2015 co-programmed Plastic Words at Raven Row in London, an event series that explored the interstices of art and literature. In 2014 she edited Gerry Bibby’s debut novel, The Drumhead (Sternberg Press, 2014), commissioned by If I Can’t Dance (Edition V – Appropriation and Dedication).

Her novel, Genie and Paul (Myriad Editions, 2012) will be published by Gallimard/Continents Noirs in April 2018, translated by Nathacha Appanah.

Nina Power

Nina Power is a cultural critic, social theorist, philosopher and translator. She is a Senior Lecturer in Philosophy at Roehampton University and the author of One-Dimensional Woman. She served as both editor and translator (with Alberto Toscano) of Alain Badiou's On Beckett. Power received her PhD in Philosophy from Middlesex University on the topic of Humanism and Antihumanism in Post-War French philosophy, and also has an MA and BA in Philosophy from the University of Warwick. She has taught at Middlesex, Orpington College, London College of Communication, Morley College and Roehampton University, where she is also currently a Senior Lecturer in Philosophy. She is a fellow of the Royal Society of Arts and a member of the British Philosophical Association. Nina Power has a wide range of interests, including philosophy, film, art, feminism and politics, and is interested in independent publishing and reviving certain political forms and genres of writing (the polemic, the pamphlet, the declaration, the address, etc.). Power writes for a variety of different publications and journals, in a variety of genres and on various different topics (including music, critical theory, film, policing and protests). Some of the publications she regularly contributes to include frieze, Wire, Radical Philosophy, The Guardian, Cabinet, Film Quarterly, Icon, The Philosophers’ Magazine. She is currently working on two book-length projects--one on the topic of work and the other on the history of the collective political subject. She is also working on a number of more experimental collaborations with artists and writers.

Noé Soulier

Born in Paris in 1987, Noé Soulier studied at the National Ballet School of Canada and P.A.R.T.S. in Brussels. He received a master’s degree in philosophy at La Sorbonne University (Paris IV) and took part in Palais de Tokyo’s residency program: Le Pavillon. In 2010, he won the first prize of the competition Danse Élargie, organized by Le Théâtre de la Ville in Paris and Le Musée de la Danse with the trio Little Perceptions in which he started an ongoing research on ways of defining movement. With the solo Movement on Movement (2013), he dissociates gestures from speech to question how they collaborate to create meaning. In 2014, he explored the syntax of ballet vocabulary with Corps de ballet for the CCN – Ballet de Lorraine. In Movement Materials (2014) and Removing (2015), he develops further the research initiated with Little perceptions on the perception and interpretation of movement. In October 2016, he publishes Actions, mouvements et gestes, a choreographic research that takes the form of a book, with the press of the Centre national de la danse.

Ogutu Muraya

Ogutu Muraya is a writer and theatre maker whose work is embedded in the practice of Orature. He studied International Relations at USIU-Africa and graduated in 2016 with a Master in Arts at the Amsterdam University of the Arts - DAS Theatre. He has been published in the Kwani? Journal, Chimurenga Chronic, Rekto:Verso and Etcetera Magazine. His performative works & storytelling have featured in several theatres and festivals including- La Mama (NYC), The Hay Festival (Wales), HIFA (Harare), NuVo Arts Festival (Kampala), Spoken Wor:l:ds (Berlin), Globe to Globe Festival (London), Ranga Shankara (Bangalore), Afrovibes Festival (Amsterdam), Spielart (Munich), Theatre is Must Forum (Alexandria), Theatre Commons (Tokyo) & within East Africa. Ogutu is a recipient of The Eric Brassem Exchange Certificat. He was recognized as a talent in the 2017- 2018 Amsterdams Fonds voor de Kunst - 3 Package Deal.

His solo performance 'Because I Always Feel Like Running' was nominated for - The ZKB

Patronage Award and ZKB Audience Award during the 39th edition of Zürcher Theater

Spektakel, in Zurich. Ogutu is based in Nairobi where he continues his artistic practice and also teaches at the department of film and performing arts at KCA University.

Palle Dyrvall

Qualified shiatsu practitioner and certified teacher of the European Iokaï Shiatsu Association, Palle Dyrvall teaches Iokaï shiatsu in Brussels and assists Thierry Camagie, vice-president of EISA, for level 2 et 3 en Belgium. Before dedicating himself to shiatsu Palle managed a career as a dancer, during which he practiced several somatic techniques such as Release Technique, Alexander Technique and Body Mind Centering, which allowed him to develop a deep knowledge of the human body and its energetic system, and to acquire empirical as well as intuitive knowledge. In parallel, he is practicing since twenty years oriental arts of health like Do-In, Qi Gong and Yoga. He is also a graduate of the Yoseido Shiatsu Academy (Master Yuichi Kawada).

Panaibra Gabriel Canda

Panaibra Gabriel Canda, born in Maputo, Mozambique, is one of the most influential choreographers in Africa who reflects the country’s postcolonial upheavals as ambiguously as no other. He studies theatre, dance and music in Mozambique and Portugal. Since 1993 he develops his own artistic projects. His work has been presented all around the world and has won distinct prizes.

In 1998 he founded CulturArte – Cultura e Arte em Movimento, perhaps the first and only production space for contemporary dance in Mozambique. Panaibra´s dedication as artistic director and choregrapher lies in supporting and developing the local and regional dance scene, including creations, performances and training programmes. He also develops collaborations with artists in southern Africa and Europe as well as collaborating with artists of other disciplines.

Panaibra has been working for 25 years as a dancer and choreographer in Maputo and the rest of the world. In his numerous guest appearances at European Festivals, one is always reminded that intellectually grounded dance does not necessarily have to be boring, but can be dynamic and humorous. Panaibra’s famous Marrabenta Solos are an effective antidote to the dreary German-style concept dance. They describe the political development of his country since its independence through body language, show the communist, the totalitarian, the democratic body either pure or as advanced mixed form.

Patrick Acogny

The route of Patrick Acogny is a little unusual in the world of dance. He began dancing at the late age of 23. He trains first in Europe (including Belgium and France) before completing his training in Africa (Mali and Senegal). Fascinated by African dances and the work of his mother Germaine Acogny, he worked as a dancer with, Tassembédo Irene, a former student of Mudra Afrique and Germaine Acogny, and other French contemporary dance companies. In 1995, he was offered a chance to become a choreographer in England where he stayed six years at the direction of one of the largest black dance companies in the country: Kokuma dance Theatre.

In 2002, he returns to France and he is involved in many dance schools and gives many master classes in France and abroad. In 2005, Patrick begins to teach at the Ecole des sables of Germaine Acogny and Helmut Vogt. He becomes assistant artistic director in 2007 and in 2014 he is artistic director. With Germaine and Helmut, he choreographs for the two dance companies Jant-Bi (male and female), gives dance lessons, hosts seminars and supports dancers and choreographers who are trained at the school and runs the school.

In addition to being an artist, a "doer" and a "runner" in dance, Patrick also holds two master's degrees in arts: that of a Middlesex University in London (UK) and the second from the University Paris 8. Patrick is also a PhD of arts, sciences, technologies and aesthetic: performing arts of the University of Paris 8.

Paul Craenen

Paul Craenen is a composer, teacher, researcher and currently director of Musica, Impulse Centre for Music. As a composer and teacher of music, he links a classical training to work with the newest instruments and techniques. In his role as a researcher and director, he attempts to bridge the gap between existing music practice, scientific findings and the wider cultural context in which musical activity can unfurl. He earned his master’s degree in piano and chamber music from the Lemmensinstituut in Leuven, Belgium. Since then he has taught piano and experimental music at various music schools. He has designed several pioneering educational projects involving new music and the use of new media in music education.

Philipp Gehmacher

Pieter Smout

Pieter Smout was born in 1979 in Mechelen, Belgium. From 1997 to 2003 he studied classical piano and free improvisation in the Royal Conservatory in Brussels with Jan Michiels and Kris Defoort. Since 2003 he has been working as a pianist and accompanist, mainly for musical theatre, improvisation, dance, choir, jazz, pop and entertainment. As a freelancer he worked with Rosas, Royal Ballet School Antwerp, Musichall, Joop van de Ende, Brussels Philharmonic, Blindman, Lod and the Belgian Improvisation Liga. Currently he works in Brussels as a musical theatre director at the Royal Conservatory and the Kunsthumaniora. As a ballet accompanist he plays regularly in P.A.R.T.S. and the Academy of Arts in Zaventem.

Qudus Onikeku

Qudus Onikeku is a movement artiste made of diversity. Over the decade, he has established himself as one of the preeminent multitalented artistes, working today with different media: performance, research, installation, curating and community organizing. He is the artistic director of Nigeria's preeminent creative organization, QDance Center Lagos, which operates as a creative incubator that applies artistic competence, human resources, innovation and creativity, as capacities for human centered content development.

Qudus’ international artistic practice intersects between his interest in visceral body movements, kinesthetic memory, disruptive practices and finding new vocabularies for performances that aren’t centralizing Eurocentric approaches, embracing an artistic vision and a futurist practice that both respects and challenges Yoruba culture and contemporary dance. He has created a substantial body of critically acclaimed work that ranges from solos to group works, as well as artiste-to-artist collaborations with visual artists or architects, musicians or writers, multimedia artistes or scientists.

Qudus Onikeku has participated in major exhibitions and festivals across 56 countries including Venice Biennale, Biennale de Lyon, Festival d’Avignon, Roma Europa, TED Global, Torino Danza, Kalamata Dance Festival, Dance Umbrella, Bates Dance Festival etc. His dance works is in the permanent collection of the National Gallery of Canada. He has been a visiting professor of dance at the University of California Davis and Columbia College Chicago.

Qudus is currently the first "Maker in Residence" at The Center for Arts, Migration and Entrepreneurship of the University of Florida - 2019-2022. His current research looks into the last five years of his accidental entrepreneurial work with the QDanceCenter in Lagos, along side his partner Hajarat Alli, they will be developing a business strategy that similar creatives from around the world can engage, remix and reuse as a tool kit. While his main focus will be his latest research in developing interactions with cutting edge technologies that uses artificial intelligence and augmented reality to both document, archive, identify, analyze, experiment, recompose and share dance traditions across space and time, building a bridge between technology and Afro-Diasporic dances and cultures.

Rasmus Olme

Rasmus Olme

After a career as a dancer with choreographers such as Wim Vandekeybus, Roberto Olivan, Carmelo Fernandez and Sam Louwyck, Rasmus Olme me founded his own group REFUG in 2001. He choreographed, produced and toured several works around Europe until 2008 as he started his PhD in choreography at DOCH/Uniarts (SE). In 2014 he successfully defended his thesis “From Model to Module – a move towards generative choreography”.

During that time, he made a series of presentations of the practical choreographical research under the name MODUL 1-6. Since January 2015 he is the head of the Dance and Choreography education at the National Danish National School of Performing Arts in Copenhagen (www.ddsks.dk).

Robert Steijn

Robert Steijn (1958), based in amsterdam and mexico city as a choreographer, director, dramaturge, performer and writer.

In Vienna he founded together with frans poelstra the company united sorry they made work for theatres, galleries and the public space. their latest projects were the location event “the forest project” during Steirische Herbst Festival 2014, and the concertperformance “No nothing”( Vienna 2015).

He made two solo performances in the format of lecture performances, “facing the invisíble” about the death of his father (premiere Barcelona 2003) and “a reborn smoker, dweilling in the clouds of imagination" ( premiere san francisco 2010) ”, this is a dance solo testing the magic beliefs of himself and the audience based on shamanic strategies. Now he started to develop a snake dance and teaches this solo to others. This solo is called” shedding skins” Premiere nadaLokal Vienna, december 2016)

He likes to work in duet form with other choreographers from different backgrounds. He worked with choreographers as Latifa Labissi (Rennes), Anne Teresa de Keersemaeker (Rosas/Brussels), Maria Hassabi (New York), Georg Blaschke (Vienna) Christina Rizzo (Bologna)and Laura Rios (Mexico City). In theatre events he works with the choreographer Jessica Huber in Zürich. Lately he is investigating the intimacy of being human, and as a research he made a duet with the Mexican choreographer Ricardo Rubio, called “prelude on love” that premiered in Sao Paolo in november 2015. He made a duet with Angela Schubot, called “Brothers” that premiered in februari 2017 in Berlin. In Mexico he developed artist gatherings around the theme of how to deeal with the violence in society, called” facing the smell of death “ ( Mexico City, Guernavaca, Chihuahua). In 2017 he started a new project with Ricardo Rubio concerning saliva and the glands, called “loverhood “ and he is artist in resident in Ceprodac/Mexico City.

Within the field of visual art he worked with a.o. frans poelstra ( a.o. Lentosmuseum Linz, Fondation Cartier in Paris) and Christine Laquette ( pioneers in New York)

He teaches at theatre-art and dance academies: the SNDO in Amsterdam, p.a.r.t.s in Brussels, Apass in Brussels, Hzau in Berlin, Doch in Stockholm and sometimes during Impulstanz in Vienna.

Roberta Mosca

Roberta Mosca, choreographer, dancer, performer, studied and worked at the School of Dance Teatro alla Scala Milan, John Skull Schule Stuttgart, Vienna State Opera, Leipzig Opera, Aterballetto, Maggio Fiorentino, and danced for many years with the Frankfurt Ballet and the Forsythe Company. Recently she has also collaborated as a free-lance with dance groups including MAMAZA, mk, espz and choreographers as Laurent Chetouane. In 2003 she created in collaboration with Cora Bos Kroese Biarteca an interdisciplinary festival at Valle Cervo (BI), which in 2014 reached its XI edition.

Robin Vanbesien

Robin Vanbesien lives and works in Brussels. Vanbesien earned his master’s degree in History at the University of Ghent. He subsequently studied Visual Arts at the Gerrit Rietveld Academy and De Ateliers in Amsterdam. His most recent solo and group exhibitions include ‘OMONIA’, 5th Athens Biennial (Athens, 2016), ’Foreign Places’, WIELS (Brussels, 2016); ’citizen without qualities’, Drop City (Newcastle Upon Tyne - Düsseldorf – Brussels, 2016); ‘Gravidade’, Lumiar Cité (Lisbon, 2015). He is the author of the short films ‘Gravidade’ (2015) and ‘assembly for an Oresteia’ (2016), while currently preparing the mid-length film ‘vision for a citizen’, due for completion in Spring 2017.

Robyn Schulkowsky

An active musician on five continents, Robyn Schulkowsky moved to Germany during a heyday of experimental and adventurous classical composition. She has premiered and recorded some of the most important percussion works of the 20th and 21st centuries, working with composers such as Karlheinz Stockhausen, Kevin Volans, John Cage, Morton Feldman and Iannis Xenakis, presenting their works during tours that included the former Soviet Union, India, Africa, South America, Korea, Japan as well as at major European music festivals. Robyn Schulkowsky’s adventurous nature connects her with exceptional project partners and alternative performance spaces. She has collaborated on multi-media projects with legendary African drummer Kofi Ghanaba, avant-garde visual artist Guenther Uecker, the actress Edith Clever and groundbreaking choreographer Sasha Waltz, and has founded - together with Stephan Andreae - the annual festival Drums Summit Bonn. Robyn Schulkowsky is particularly passionate about education. Since 1998, as founder of Rhythm Lab, she has taken drumming workshops to countless cities, incorporating indigenous drumming styles and patterns from around the globe.

Rubén Orio

Rubén Orio is a musician based in Brussels. Being a percussionist has allowed him to surf and search in the huge possibilities that percussion offers along his career. Don’t be attached to any concrete instrument, and be open to new sources of sounds lead his interest in music. Work together with other artistic disciplines as dance, sound art or performance has been part of his interest in art too. Formed in Barcelona ESMUC (Escola Superior de Musica de Catalunya), CODARTS (Arts school of Rotterdam) and HOGENT (Gent University). He has been performing in venues and festivals such as Biennale di Venezia, MaerzMusik Berlin, Opéra de Paris, Festival van Vlaanderen Kortrijk, SPOR festival in Aarhus, OSTRAVA days, Romanian Athenaeum or MIXTUR festival in Barcelona. Cofounder of FRAMES percussion quartet and TheThirdGuy electric guitar-percussion duo, he is a regular player in ICTUS Ensemble in Brussels and deFilarmonie Orchestra in Antwerpen.

Salva Sanchis

Salva Sanchis is a dancer, choreographer and dance teacher living near Barcelona. In 1998 he graduated with the first generation of P.A.R.T.S., and he has been both teaching and producing dance performances since then. He has collaborated with choreographers Marc Vanrunxt and Anne Teresa de Keersmaeker on several occasions. Currently, the two last performances of Salva Sanchis are on tour: “Radical Light” (2016), and “A Love Supreme” (2005/2017), made in collaboration with Anne Teresa de Keersmaeker/Rosas. As of 2017, Salva has indefinitely stopped his choreographing activity and is focusing on studying and teaching.

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.

Sandy Williams

Originally from Calgary, Canada, Sandy Williams attended the University of Calgary and Concordia University before relocating to Brussels in 2002 to attend P.A.R.T.S. He is a longtime dancer with Rosas participating in the creations of Zeitung, The Song, En Attendent and Cesena among others. His own creations include The Kansas City Shuffle, Everything Happens So Much and Forming as well as collaborations with Jan Ritsema (Blindspot, KnowH2ow), Andros Zins-Brown (The Middle Ages, Already Unmade, Day In / Day Out, Limewire), Deborah Hay ("I'll Crane For You”) and Loge 22 (Konkretheit). Sandy’s classes and workshops have been presented worldwide including Vienna, New York, Paris, Brussels, Berlin, Venice, Montreal and Sydney. Currently, he is co-cordinator at P.A.R.T.S. of the Training Cycle.

Sarah & Charles

Collaborating since 2004, Belgian artists Sarah & Charles draw inspiration from the world of entertainment and more specifically, its invisible structures. Subjects and genres such as make-believe, simulacrum, the story within the story, cinematic experience, the suspension of disbelief and music are playfully and thoughtfully reviewed in their research and practice. They produce architectural interventions and stage designs combining video, photography, sculpture and installation techniques that communicate both artists’ interests.

Sarah Ludi

Sarah Ludi was born in Geneva, Switzerland, where she studied dance. After working two years with Angelin Preljocaj in Paris, she moved to Brussels in 1994 to join Rosas Company. Since 1998 she is working with ZOO/Thomas Hauert, taking part in almost every group piece. She is part of the « living books » collection of « Time has fallen asleep in the afternoon sunshine », an ongoing project by Mette Edvardsen. As a certified teacher of the Alexander Technique she has a private practice in Brussels since 2012 and is assistant on the teacher training course in Brussels. She teaches at La Manufacture, Lausanne, Tictac Art Center and P.A.R.T.S. Brussels.

Scarlet Tummers

Scarlet Tummers is a Dutch actress and theatre maker, based in Belgium. She graduated from the RITSC in 2014.
She has created performances with companies as tg Stan, De Warme Winkel, Wunderbaum, HETPALEIS (Simon De Vos), Cie Artara (Fabrice Murgia) and KVS. In 2019 she worked as a rehearsal director on Somnia, together with Anne Teresa and Jolente De Keersmaeker and the 44 graduating students of the Training Cycle.
Until 2017 she has created her own work under the name Le Mouton Noir. In the fall of 2020 she will create her first piece at tg Stan.

Shannon Cooney

Shannon Cooney, Canadian choreographer and dancer and dance educator, based in Berlin, Germany since 2006, received a B.F.A honours/dance at York University, Toronto in 1992. Since 1993 her choreography has been presented in Canada, Europe the in the U.K. She danced with Toronto-based Dancemakers (1994-2006), artistic director Serge Bennathan, which toured extensively nationally and internationally. She has worked with several choreographers including; Benoît Lachambre, Kim Itoh, Peter Chin, Marie-Joseé Chartier, Peggy Baker, and Louise Bedard.
Shannon performed in installation works of Visual artists and performed in numerous events of performance improvisations with musicians, performers and artists. Her video work has been exhibited in galleries in Toronto and Berlin. Shannon worked as: an Artistic Director for a Canadian Dance collective for 6 years, an artistic advisor, creative facilitator for choreographers and with students of the BA dance program at the University der Kunst (HZT) in Berlin, as well as a choreogrpaher and artistic coach for circus artists.
Her recent choreographic projects include: Fielding (2017), Taste of Freedom (2016) , every one everyone (2013), acoustic sightlines (2012), Assemblages (2011) and dance-video installation, Spiral Pendulum: dance (2009).
Her recent teaching for; Meg Stuart/Damaged Goods, Universtiy of Art in Berlin, HZT- BA dance program, Cie. Toula Limnaios, Sasha Waltz and Guest's, Tanzfabrik, Laborgras, Berlin, fabrik Potsdam, Theater Bremen (Unusual Symptoms), K3 Hamburg, (DE) for CND Lyon, Lieues, Lyon and CDC le Pacifique á Grenoble, (FR) P.A.R.T.S., Raffinerie (BE), ImPulsTanz, Tanzquartier Wien, Vienna, Circuit-Est, Montreal, Dancemakers, Toronto's Love-In Toronto, Training Society of Vancouver, Mocean DANce (Halifax) (CAN), Dance House, Dublin (IR) , for the independent dance-improvisor scene in Istanbul, Turkey, for the Weld Comapany and Cullberg Ballet, Danszentrum, Stockholm, and ongoing at Tanzfabrik-Berlin.

Stefan Prins

After graduating as an engineer, Stefan Prins started to study fulltime piano and composition at the Royal Flemish Conservatory in Antwerp, Belgium. Concurrently, he studied "Technology in Music" at the Royal Conservatory of Brussels, "Sonology" at the Royal Conservatory of The Hague, “Philosophy of Culture” and “Philosophy of Technology” at the University of Antwerp. In May 2017 Stefan obtained a PhD in composition at Harvard University. As a composer he received several important awards in Belgium and abroad. His compositions have been played worldwide by a.o. Klangforum Wien, Nadar Ensemble, Champ d’Action, Ictus Ensemble and many others. Together with Pieter Matthynssens, Stefan Prins is artistic director of the Belgian ensemble for contemporary music, Nadar Ensemble. Performing improvised music is an important part of Prins's musical activities. Together with Thomas Olbrechts & Joachim Devillé he was one of the founders of the long-standing collectief reFLEXible‚ an ensemble that focuses exclusively on free improvised or instant composed music, often including dance, performance, video, film, installation. Since 2011, he plays laptop in the band Ministry of Bad Decisions, together with Yaron Deutsch (e-guitar) and Brian Archinal (drums).

Stephane Bourhis

Stephane Bourhis is a professional dancer. He studied at the Conservatoire National de Danse in Avignon. He started his career at the company Ballet du Théâtre de Lucerne where he stayed 4 years and he then moved to the Béjart Ballet Lausanne (Switzerland) where he danced for over 11 years. He is currently following the Yoga Teacher Training in Brussels in order to become certified in Yoga Iyengar for the Base II diploma. During this training, he regularly attends classes from Alexis Simon, Willy Bok and Rita Poolvoerde. He has actively participated to the Belgian National Conventions of Iyengar Yoga where he was trained by reknown teachers as Zubin Zarthoshtimanesh, Christian Pisano, Faeq Biria, Corine Biria, Abhijata Sridhar (B.K.S. Iyengar's granddaughter) and Rita Keller. He also attends regularly the classes and workshops given by Usha Devi in her yoga study center in Rishikesh (India). He is currently teaching yoga for kids in primary school.

Stina Nyberg and Zoë Poluch

The choreographers and dancers Stina Nyberg and Zoë Poluch are based in Sweden and have been collaborating since 2010 when they met while studying in the MA in choreography at DOCH in Stockholm. Through a wide range of dance relationships and a steady base of friendship they keep creating work, workshops, educational frameworks, texts, conversations and dances.

Stina Nyberg lives in Stockholm and works in Sweden and internationally as a performer and choreographer. In her practice, she uses conviction and illusion in order to create new systems of logic which constructs the world differently, and make bodies act accordingly. At moments she calls this performative force magic, sometimes a craft, and occasionally a practice. Her departure point is always a feminist approach to the body; its social and political construction and ability to move. She has developed a series of independent works in collaboration with choreographers, musicians, visual artists, technicians and magicians. Her latest project, The Tesla Project, involves a solo performance with a Tesla coil (Thunderstruck, 2017), a lecture performance (The woman who lit the world, 2018) and a live concert with musician Maria W Horn (Alternating Currents, 2018), as well as a puppet show about ghost sex in collaboration with Diederik Peeters and Andros Zins-Browne (Spectrophilia, 2018). Stina is the choreographer of the live concert Shaking the Habitual by the Swedish band The Knife and was performing in the show 2013-2014. She is also part of the collective Samlingen, who in site-specific situations grapple dance history from a feminist perspective. During 2020 she develops a public art work on commission from the Public Art Agency Sweden and premieres her new dance work Make Hay While The Sun Shines at MDT in Stockholm.

With an artistic practice that takes shape in different rooms and puts into motion different mediums, Zoë Poluch’s deeply critical eye for the contemporary dance scene is based on a long term and practice-based interest in the politics of moving and sensing. As she dances, talks, teaches, writes and thinks, she does it with a precise gymnastics of the senses. She looks forward to the far future, perhaps 2070, when she will inaugurate a dance company for dancing people 70 years and older and tour with a solar airplane. In the past, she studied, trained and worked in Canada and Belgium and could be found dancing and performing on big and small stages, kind of all over with the likes of Thomas Hauert/ZOO and The Knife. More recently, this has included extensive commitments to collaborations with Hanako Hoshimi-Caines, Elisa Harkins, Cara Tolmie, Nadja Hjorton, Stina Nyberg and Halla Olafsdottir. Zoë is currently Assistant Professor in Contemporary Dance at SKH in Stockholm.

Stine Janvin Motland

Stine Janvin (NO) is a vocalist, performer and sound artist interested in the flexibility of the voice as an instrument and how it can be shaped and extended by focusing on it’s anatomic features and acoustic potential. Through her projects, created for music theatres, clubs and galleries, Janvin explores the physical aspects of sound, the technical versus the sentimental qualities of the voice, and dualities of the natural/artificial, organic/synthetic, and minimal/dramatic. With an upcoming double LP release with PAN records, introducing a recorded version of her fake synthetic material, and with her ongoing live performances, she continues working between the music and art scene, developing further her methodology of imitation and resonance through audio visual concepts.

Recent presentation of works include Terraforma, IT; Knockdown Center, NYC; CTM festival, Berlin; Berlin Atonal, Kunsthall Oslo; Novas Frequencias, Rio; Météo Festival, Mulhouse; NMASS, Austin TX; Rokolectiv, Bucharest, Issue Project Room, NYC; Lampo/Graham Foundation, Chicago; Norwegian Opera & Ballet, Oslo; Kaaitheater, Brussels; Unsound Festival in Krakow; National Gallery of Warsaw; Oslo Only Connect festival; Performa13, New York.

Stoffel Debuysere

Stoffel Debuysere (BE, 1975) is a researcher and curator active in the fields of cinema and audiovisual arts. Based in Brussels, he has organized numerous film programs, lectures, performances, and exhibitions in collaboration with a variety of cultural organizations and institutions. He is head programmer for the Courtisane collective and a lecturer in Film Critical Studies at the School of Arts in Ghent where he has recently obtained a PhD with his research project “Figures of Dissent (Cinema of Politics, Politics of Cinema)”.

Taka Shamoto

Taka Shamoto was born in 1975 in Sendai, Japan. At the age of three, she started dancing at the Sendai City Ballet School. For the next ten years, she was taught by Masako Ono. At sixteen, she entered the Balletschule der Hamburgischen Staatsoper John Neumeier in Germany, an education in which classical technique and composition work played a key role. After her three-year education in Hamburg, Taka Shamoto focused on contemporary dance. In 1995 she joined the contemporary dance school P.A.R.T.S. and joined Rosas two years later. She danced in the revivals of Woud and Achterland and contributed to the creation of Just Before, Drumming, I said I, In Real Time, Rain, April me, Bitches Brew / Tacoma Narrows and Kassandra, and the revival of Mozart / Concert Arias. In 2007 she collaborated with Grace Ellen Barkey & Needcompany for The Porcelain Project. In 2010 she performed in Jan Decorte’s Tanzung. Currently she is performing in Avdal and Shinozaki’s projects Field Works-office, Borrowed Landscape, nothing’s for something and as if nothing has been spinning around for something to remember.

Tale Dolven

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. She studied at PARTS.

Theo Clinkard

Theo Clinkard studied at The Rambert School in London before spending twenty years performing work by a diverse range of choreographers, including Yasmeen Godder, Trisha Brown, Wayne McGregor, Michael Keegan-Dolan, Mathew Bourne, Siobhan Davies, Lea Anderson, Rafael Bonachela, Ben Wright, Charles Linehan, Fevered Sleep and Fin Walker among many others.

Currently based in Brighton, UK, his practice spans choreography, pedagogy, performance, design, movement direction and actively initiating dialogue around dance training, working conditions and nature of the art form through the various platforms available to him.

Since launching his own dance company in 2012, he has received invites to tour his choreographic work throughout the UK and internationally (Chile, Ireland, Switzerland, Germany) as well as presenting pieces at British Dance Edition (Edinburgh and Cardiff) and at the Internationale Tanzmesse NRW 2016 (Düsseldorf). Past company work includes Hell Bent (2012), Ordinary Courage (2012), Of Land & Tongue (2014) and Chalk (2014). This Bright Field (2017), Theo’s first large-scale company work for a cast of 13 performers premiered at Brighton Festival in May before touring the UK.

Recent international commissions include Somewhat still. when seen from above (2015) for Tanztheater Wuppertal Pina Bausch, which was presented as part of the renowned company’s very first evening of new work, and The Listening Room (2016) for Danza Contemporánea de Cuba, which premiered in Havana and toured the UK throughout 2017. Theo regularly choreographs for training institutions and post graduate companies including commissions in England, Austria, Chile, Scotland, Ireland, Wales, France and New Zealand. He is currently planning a new duet work for non-theatre and gallery spaces, a new group work that will not be performed for 100 years and a new commissioned work for the inclusive dance company, Candoco.

Since 2015, Theo has been working closely with dance artist, Leah Marojević. Leah has collaborated on most of Theo’s productions within this period and her roles include that of performer, dramaturg, coach, outside eye, artistic advisor and copywriter.

Thomas Hauert

After his studies at the Rotterdam Dance Academy Thomas Hauert worked as a performer with Anne Teresa De Keersmaeker, Gonnie Heggen, David Zambrano and Pierre Droulers. Since 1998 he has been creating dance pieces (e.g. Cows in Space, Verosimile, Modify, Walking Oscar and Accords) with his own Brussels-based company ZOO. Their work has been shown in theaters and festivals all over the world. He has also choreographed pieces for Danças Na Cidade in Maputo/Mozambique, students of P.A.R.T.S. in Brussels and the Laban Center in London and is regularly teaching at P.A.R.T.S. as well as in many other places.

Thomas Plischke

Thomas Plischke is Professor at HZT Berlin. He was born in Aschaffenburg and has been working as a choreographer since he graduated from the Performing Arts Research and Training Studios (P.A.R.T.S.) in Brussels in 1998. His works have received a number of awards and been shown internationally. Since 2001, he has been working continuously with Dr. Kattrin Deufert as the artistwin deufert&plischke.

Theatre as a social situation – from the rehearsal together all the way to the performance – is the motor for choreographic form and the artistic expression of deufert&plischke. Their works are written collectively: from their first cooperation in Europe Endless (2002), in which the fictional biography of the artist twin emerged, all the way to a cooperation with over 20 artists in 24h DURCHEINANDER (2015). In between these two poles there are work series (Anarchive I-III, the Entropischen Institute and Emergence Rooms); here deufert&plischke have been developing their model for a new epic theatre.

Thomas Ryckewaert

Thomas Ryckewaert is a Belgian director and actor. He studied biology and philosophy at the University of Leuven and Dramatic Arts at the Antwerp Conservatory. Thomas’ work balances on the borders between theatre, dance and installation. His most recent creations are Homo sapiens (2010), Portrait (2012) and Genesis (I, II, III) (2013). His work is characterized by a visual and ritual style that tends to explore the dramatic potential of everyday actions. He often works with a mix of actors, dancers and amateurs. As a freelance actor he frequently works for theatre, film and television.

Thomas Talawa Prestø

Thomas Talawa Prestø is the founder and artistic director of Tabanka African & Caribbean Peoples Dance Ensemble in Oslo, Norway. The company and its associated movement technique, the Talawa Technique, has been 21 years in the making. The Talawa Technique is one of few fully codified techniques drawing from Africa and the Diaspora. Tabanka Dance Ensemble is northern Europes largest full time black dance company. The company works outside the western canon of art production creating highly kinetic contemporary work drawing from African, Caribbean and Diasporan movement practices. The companies and techniques slogan and core principle is Ancient Power - Modern Use.

Tilman O'Donnell

Tilman O'Donnell was born in Boston, Massachusetts to a German mother and American father.

He trained at the National Ballet School in Toronto, Canada and joined The Göteborg Ballet under the direction of Anders Hellström. In 2002 Tilman worked at the Staatstheater Saarbrücken. Thereafter he joined the Cullberg Ballet from 2003 until 2007. Tilman was a member of The Forsythe Company in Frankfurt from 2007-2012 and a guest artist until 2015. Tilman worked as rehearsal director for the Goteborgs Operans Danskompani in 2014.

Tilman made his debut as a choreographer in 2002 and has been awarded first prize in two international choreographic competitions. In 2005 he was appointed both 'Dancer To Watch" and "Choreographer To Watch" by the leading European magazine Ballet Tanz. In 2011 he created two site-specific works for Cullberg Ballet in Stockholm. In 2012 he created the piece "August did not have what is commonly considered good taste as far as furniture is concerned.." He has also created works for Spira Jönköping under the banner Cullberg To Come (Word of Mouth) and a piece for Staatstheater Graz.

In 2014, Tilman was invited to be artist in residence together with Cyril Baldy at Centre Choreographique Circuit-Est / Goethe Institut Montreal. In 2015 he created the solo Whatever Singularity #453: Solo For Maxime / Dancing With Alain for the Göteborgs Operans Danskompani, and toured the work to the Nordwind Festival in autumn 2015. A work for full dancer orchestra , entitled In Life & Love & So On, premiered in October 2015 at The Royal Danish Ballet, Copenhagen. Shortly thereafter, he created These & Those & Upon Us (with Cyril Baldy) for the University of Dance, Copenhagen, Denmark. In addition, he created the short work In Some Sense (with guitarist Mikkel Ploug), premiered at Jazz Days in Koge, Denmark. Tilman returned to Montreal with Cyril Baldy in 2016 to create the site specific piece Whateverness Singularities in collaboration with Montreal based artists Hanako Hoshimi-Caines, Dana Michel, Adam Kinner, and Jacob Wren.

In 2018, Tilman created the full length versin of In Some Sense which premiered at Bora Bora, in Århus, Denmark. In 2019, he will work on a new solo project in the Manufactured Series (Fabrice Mazliah), a new work by Deborah Hay to be premiered at Tanz Im August, as well a his own new work under the Dogme series for Corpus, Copenhagen.

In addition, Tilman teaches workshops internationally and is a member of the artist platform HOOD, a long term collaborative format supported by PACT Zollverein in Essen, Germany.

In 2015, he was named Hoffnungsträger by the prominent European dance journal Tanz.

Tom Engels

Tom Engels works as an editor, curator, writer and dramaturge. He is part of the curatorial team of Sarma, the Brussels-based laboratory for discursive practices and expanded publication. As a dramaturge he recently worked with Alexandra Bachzetsis (CH/GR), Mette Ingvartsen (BE/DK) and Mathias Ringgenberg / PRICE (CH). In the frame of “the dead are losing or how to ruin an exhibition” curated by Christopher Weickenmeier, he presented “Leaving Palermo” (2018), a spoken soundtrack made in collaboration with Bryana Fritz. His writings appeared in visual arts and performing arts magazines such as De Witte Raaf (BE), Extra Extra Nouveau Magazine Erotique (NL), Etcetera (BE), a.o. His curatorial project another name, spoken, was presented at Jan Mot Gallery (Brussels) in 2017. His new performance and lecture series Matters of Performance will run throughout 2018 and 2019 at the School of Arts in Ghent. Engels is also active in different educational contexts like P.A.R.T.S. (Brussels), S.N.D.O. (Amsterdam), Centre National de la Danse (Paris) and the School of Arts (Ghent). He himself holds degrees in art history (Ghent University) and Choreography and Performance (Institut für Angewandte Theaterwissenschaft, Giessen).

Tom Pauwels

Tom Pauwels studied classical guitar in Brussels, Köln and Münster with Albert Sundermann, Hubert Käppel and Reinbert Evers respectively. In 1995, during his studies at the Brussels Conservatory, he was involved in the founding of Black Jackets Company, a Brussels collective of composers and performers. Ever since these early experiments he has been active in the field of contemporary music, both on classical and electric guitar. From 1999 until 2001 he was a regular member of Champ D’Action, the Antwerp-based ensemble for experimental music. Since 2002 he has worked as a performer and co-artistic leader for the new music ensemble ICTUS (Brussels). Project-wise, he performs with the Anglo-Belgian octet Plus-Minus, ‘Elastic 3’ and Letter Piece Company. He has recorded works by Craenen, Lachenmann, Shlomowitz, Van Eycken and for Cyprès (Ictus) works by Oehring, Harada, Romitelli and Aperghis. After a five-year research project on new music for guitar he became a ‘Laureate of the Orpheus Institute’ with the thesis ‘De Echo van ‘t Saluut’. Since 2002 he has been in charge of teaching new music for guitar at the Conservatory of Gent where he has developed an advanced master program with emphasis on contemporary chamber music in collaboration with the Spectra ensemble and Ictus. This program is designed for musicians wishing to combine further specialization in performing contemporary solo & chamber music with developing their professional career (more info here). He is teaching guitar at the International Summer Courses in Darmstadt. His broad interest in performance has recently led to collaborations with choreographers as Xavier Leroy (see ‘Mouvements für Lachenmann), Maud Le Pladec (see ‘Professor’ and 'Poetry') and Andros Zins-Browne (The Funerals).

Tristan Garcia

Tristan Garcia is a writer of both books of fiction and books of theory. After working with Alain Badiou and Quentin Meillassoux at the ENS, he was awarded his PhD for a thesis on the subject of « representation » in human arts, which he had written under the supervision of Sandra Laugier. On the same year, he published his first novel, translated in English under the title: Hate: a romance (Faber & Faber, 2011). Working as a teacher on short-time contract in the University of Amiens, he continued his career as a novelist (Memories from the Jungle, 2010; In the absence of final ranking, 2011; Browser’s chords, 2012; Faber. The destroyer, 2013) and conducted further researches in metaphysics, leading to the publishing of Form and object. A treatise on things, translated into english. As a defender of a de-determined metaphysics, he’s trying to remain at distance between object ontologies and relational ontologies, and to move away from critical thinking without becoming strictly descriptive: believing that nothing should be reducible by thinking to nothing, nor to another thing, he would like to conceive the very chance of anything, including the negative, in order to experience a new carving of the world.

Ula Sickle

Ula Sickle (CA/PL) is a choreographer and performer based in Brussels. She creates performances as well as works at the interface of several disciplines, in which she probes pop culture as a global phenomenon. She frequently ventures beyond the canon of contemporary dance, introducing elements of street dance, club culture or mass concerts. Her works are the result of a keen observation of the surrounding reality and how our everyday lives are changed by new technologies and popular culture. Frequently centred around strong performers, Ula searches for forms of choreographic writing, where the cultural coding and political power of ‘popular’ dancing can be revealed or where the musicality and materiality of the body itself can take centre stage.

Ula Sickle has been presented in many international theaters and venues such as Kaaitheater, KVS and Kunstenfestivaldesarts, Brussels BE; ImPulsTanz and TanzQuartier, Vienna AT; Zodiak & Moving in November festival, Helsinki FI; Reykjavik Dance festival, Iceland IS; Tangente, Montreal CA; Nowy Teatr, Warsaw PL; B:OM festival, Seoul KR; Zürcher Theater Spektakel, Zurich CH; les Rencontres chorégraphiques internationales de Seine-Saint-Denis, Paris FR, among others. Ula is supported by the Canada Council for the Arts and the Flemish Community. From July to December 2018 Ula is artist in residence at WIELS Centre for Contemporary Art.

Vinciane Despret

After philosophical and psychological studies, Vinciane Despret specialized in ethology, the study of animal behavior, and became fascinated by the humans who work with animals. Borrowing a path from philosophy of sciences, her work combines ethological and psychological research with the goal of understanding and explaining how scientists build their theories, how they interact with historical and social contexts, and what relation is established between them and animals.She is currently Maître de Conférences at the University of Liège and at the Free University of Brussels. She is the author of numerous articles and books, some of them having been translated in English: Our Emotional Makeup (2004; translated by Marjolijn de Jager); What Would Animals Say If We Asked the Right Questions? (2016; translated by Brett Buchanan); and with Isabelle Stengers, Women Who Make a Fuss : The Unfaithful Daughters of Virginia Woolf (2014; translated by April Knutson).

Volmir Cordeiro

Born in 1987 in Brazil, Volmir Cordeiro firstly graduated in theater and worked with the Brazilian choreographers Alejandro Ahmed, Cristina Moura et Lia Rodrigues. Volmir Cordeiro graduated in 2012 from Essais, Angers Choreographic Centerʼs experimental dance training, with Céu, a much-regarded solo work that extensively toured European and Brazilian dance festivals, and he is now working on a PhD thesis on the figures of marginality in contemporary dance. Volmir Cordeiro has performed in the projects of Xavier Le Roy, Laurent Pichaud, Rémy Héritier, Emmanuelle Huynh, Jocelyn Cottencin et Vera Mantero. In 2014, he created the solo Inês, and in 2015, the duet Epoque with the Paris based chilean dancer Marcela Santander Corvalán. He has just closed a first cycle of his work, made of the three solos : Céu, Inês and Rue (created in october 2015 at Musée du Louvre, in collaboration with FIAC). Volmir Cordeiro was the associate artist at Ménagerie de Verre in 2015 and since 2017 is associate artiste at Centre National de la Danse (CND - Pantin). Volmir regularly teaches in choreography courses such as Master Exerce in Montpellier (France), or Master Drama in Gent (Belgium).