SUMMERSCHOOL 2017, 10 Juli – 11 Augustus

(Deze informatie is tijdelijk enkel in het Engels beschikbaar)



The minimum age is 16 years. There is no maximum age.


We provide a program for three different levels. Each program contains classes, workshops and ‘micro-projects’ suiting a specific level. Teachers are entitled to redirect students to an equivalent class in another level, according to their skills and availabilities.

Basic level: for people who love to dance and who may have some experience with contemporary dance.  In the schedule basic level is always marked in blue.

Intermediate level: for dance students who have had several years of training in contemporary dance. In schedule intermediate level is always marked in red.

Advanced level: professional dancers, or dancers who completed a full time dance training, or who are currently inscribed in a well-known European or American dance school.
(For example: Conservatory Antwerp, AHK Amsterdam, Codarts Rotterdam, CNDC Angers, Conservatoire de Paris/Lyon, London Contemporary Dance school, Trinity Laban London, Palucca Dresden, Folkwang Essen, SEAD Salzburg, DOCH Stockholm, Manufacture Lausanne, etc)
 In the schedule advanced level is always marked in orange.

Intermediate and advanced level: Some classes are for intermediate and advanced level, these are always marked in green.

Please ask us how to interpret your records in case of professional experience as a dancer !



There are two totally different ways to participate in the SummerSchool program.

1. ‘The Package Deal’

specific for basic and intermediate level

a full day program of 5,5 hours work: yoga (1hr), contemporary technique class (1,5 hrs), Rosas repertory workshop (3 hrs)

a strong discount of 30%, already from your first week

Based on the dancers’ bios a participant will be directed to the basic or intermediate group.
Both groups of basic and intermediate level share the same program. If on Monday we think that a dancer should move from basic to intermediate, or vice versa, this will be possible without harming the learning process.

2. ‘The Open Classes’

only accessible for intermediate and advanced level

and if you are not applying for package deal

you make your choice à la carte: a single class, a single workshop, a single micro project, or any combination, which is technically  possible

discount of 10% for each combination of classes on a weekly basis (yoga+class, or class+workshop, etc)

discount of 30% when you take classes every week of SummerSchool (excluding the registration fee)

Please look carefully at the schedule and the different levels before you make your choice. 
We recommend all participants to join a morning class before attending an intensive workshop or a micro project. 

Changes after first day? 
This is only possible if places are available. For each change of class there will be an additional cost of €25. 


#Yoga (1h) with Stéphane Bourhis (FR), Laia Puig Escandell (ES) and Silvia Ubieta (ES).

The yoga class will be a physical and spiritual warm-up for the day. Maximum 24- participants per group and each level starts on a different hour. 

#Ballet (1h30) with Douglas Becker (US) and Libby Farr (US).

Ballet classes only for intermediate and advanced levels, taught by two core teachers of P.A.R.T.S., all with live piano accompaniment

#Contemporary (1h30) with Jos Baker (UK), Dominique Duszynski (BE), Rob Hayden (US), David Hernandez (US), German Jauregui (BE/ES), Colas Lucot (FR), Jason Respilieux (BE), Peter Savel (SK) and Sandy Williams (CA).

A wide range of contemporary techniques, taught by core teachers of P.A.R.T.S., former students of P.A.R.T.S. and visiting professors.

#Rosas repertory workshops (3h) : Rosas danst Rosas (1983), Grosse Fuge (1992), Drumming (1998), Rain (2001), Zeitung (2008) and Vortex Temporum (2013). Teachers: Fumiyo Ikeda (JP), Moya Michael (ZA), Nordine Benchorf (FR),  Alix Eynaudi (FR),  Roberto Olivan (ES), Elizaveta Penkova (SE), Igor Shyshko (BY), Sandy Williams (CA), Tale Dolven (NO) and Mark Lorimer (UK). 

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

#Workshops (3h) improvisation, composition, theatre and more. Teacher: Tale Dolven (NO) and Gabel Eiben (UK), Dominique Duszynski (BE), Nadine Ganase (BE), David Hernandez (US) and Mark Lorimer (UK). 

Artists and teachers -all of them teachers in P.A.R.T.S. or (former) dancers of Rosas- invite the participants in their personal world of improvisation, movement research and choreographic composition. 

#Micro-projects (4h) with Alix Eynaudi (FR), Olga Dukhovnaya (UA), David Hernandez (US), Anton Lachky (SK), Rósa Ómarsdóttir (IS), Manon Santkin (BE), Benjamin Vandewalle (BE), Alexander Vantournhout (BE), Maria Clara Villa-Lobos (BR) and Sandy Williams (CA).

A micro-project is an intensive afternoon workshop where the dancers are involved in a creative process with a choreographer leading a research. Each Friday there is an internal showing for the SummerSchool community planned. Dancers of the micro projects will thus perform for the other participants. 

Note: The showings (20-30min)  will take place each Friday at 6:15pm. Please take this into account when scheduling your travels.

Who can join the micro projects?

The teachers will make a selection according to their artistic needs for the micro projects, for example: gender/age/experience/etc. Applicants will receive confirmation of their acceptance after registering for a micro project. 

Note: please look closely to the required level of the micro projects.

To inscribe, please write a short note on your personal interest and motivation for the chosen micro project, and include a brief biography about yourself (altogether max. 2 pages). As soon as you completed your registration form, please send your motivation and biography to 



P.A.R.T.S. SummerSchool starts on Monday, July 10 and finishes on Friday, August 11, 2017. There are no activities on Saturdays and Sundays. 

All classes, workshops and micro-projects last one week. In order to ensure the best possible experience for everybody, you can only participate if you can be present the whole week. 

Week 1: 10/07 – 14/07

Week 2: 17/07 – 21/07

Week 3: 24/07 – 28/07

Week 4: 31/07 – 04/08

Week 5: 07/08 – 11/08

Number of participants

P.A.R.T.S. SummerSchool explicitly limits the number of participants for its classes. For yoga and technique classes (ballet and contemporary) we accept maximum 24 dancers, for workshops not more than 16 dancers, and for the micro projects only 12 dancers. 


The working language is English.


P.A.R.T.S. offers each week a daily macrobiotic lunch for 30 participants of the SummerSchool for 60 euros/week . The lunch consists of main dish, soup and dessert. You can only join lunch on a weekly basis and if you subscribed through our registration form.


From the first of June, P.A.R.T.S will offer help to find accommodation.
If you need help, please send an email to 
We recommend you to download Citymapper to help you move around in Brussels. 



Registration fee €75/week

Only to be paid for first registration. Participants to previous SummerSchool (2009>2016) don’t have to pay the registration fee.

Package deal

Yoga, Class, Workshop            €211/week  (€ 7,7/hour)

Open classes, workshops, micro projects

Yoga class € 55/week   (€ 11/hour)

Ballet/Contemporary class € 82/week   (€ 11/hour)

Workshop €165/week   (€ 11/hour)

Repertory workshop €165/week   (€ 11/hour)

Micro project €220/week   (€ 11/hour)


Macrobiotic lunch € 60/week


Change classes  € 25/change



Package deal 30 % discount

Yoga (1hr), Class (1,5hr) and Repertory workshop (3hr)

Normal price €302 (€11/hr). With discount only €211!


Combi 10 % discount

For each combination per week, for instance yoga+contemporary class, yoga+workshop, class+micro project, etcetera


Five weeks SummerSchool    30 % discount

When you follow an open class program in each week, even some weeks with only a yoga class: a discount of 30% on the totality of your five weeks SummerSchool (except registration fee and package deals)  



Two or three working days after submitting your registration, you will receive an e-mail from us with the confirmation of your inscription. This message contains the confirmation of the price of your participation and the instructions for payment.

The payment has to be completed two day after the confirmation.

Your registration will only be accepted when we receive your payment. Foreign transactions can take some time, if you would like to accelerate the registration process send us a copy or a scan of your payment confirmation.

There is no deadline for registration. As long as there are free places you can keep on registering! Check the overview above for availabilities.

Cancellation procedure

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

- cancellation before June 25, 2017: the inscription fee will be reimbursed at 50%.

- cancellation after June 25, 2017: the inscription fee will not be reimbursed.

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


If you have specific questions, send an email to

De SummerSchool is een activiteit in het kader van het project [DNA] DEPARTURES AND ARRIVALS, met steun van het Creative Europe programma van de Europese Commissie.




PARTS en Rosas stellen in Juli en Augustus hun dansstudio’s ter beschikking van choreografen.

Iedereen die op een professionele manier met hedendaagse dans bezig is, kan een aanvraag indienen om de dansstudio’s te gebruiken. Stuur ons een uitgebreid dossier over het project waaraan gewerkt wordt. Het kan gaan om research ter voorbereiding van een nieuwe productie. Het kan gaan om een deel van de repetitieperiode van een bepaalde productie. Het kan ook een project zijn dat n.a.v. de Summer Studios op touw wordt gezet. Voor ons is essentieel dat het om een creatief proces gaat.

De Summer Studios bieden professioneel uitgeruste dansstudio’s (zwevende vloer, danstapijt, spiegels, geluidsinstallatie, televisie, dvd speler).

Als je graag zou deelnemen aan onze Summerschool,kun je dit ook combineren met een avond repetitieblok in de Summerstudios.

Om je kandidaat te stellen vul je dit formulier in. Deadline is 27 april, je krijgt begin juni antwoord.


Met de steun van de Vlaamse Gemeenschapscommissie en [DNA] Departures and Arrivals, gecofinancierd door het Creative Europe programma van de Europese Commissie.



Summer School

Wie kan deelnemen? 

Programma opties

Programma SummerSchool

Praktische informatie

Prijzen en registratie




Beschrijvingen danslessen (Engels) 

Beschrijvingen workshops (Engels)  

Beschrijingen repertoire (Engels)

Beschrijving micro projects (Engels)

Bio's van de docenten (Engels) 

Summer Studios




Planning SummerSchool 2017



week 2 Summer School


week 3 Summer School


week 4 Summer School


week 5 Summer School




Beschrijvingen danslessen 

Each teacher provided us with a class description.


Stéphane Bourhis (FR) (week 1 – all levels)

In our Yoga practice following the Iyengar® methodology, we will focus on the precision of the postures movement and the align. This will help us to develop the bodies, intelligence and coordination. For the Yoga postures called "Yogasanas", the body is the starting point, the consciousness is the terminal point and the process between those two points is the reading of the body. We will gradually explore the geometry of different groups of postures (asanas) and movements.

Laia Puig Escandell (ES) (week 2 and 3 – all levels)

Unfold & unlock your personal potential 
During these classes I will introduce Yoga as a holistic practice. The five points of the holistic system are: proper exercise (Asana), proper breathing (Pranayama), proper relaxation (Savasan), proper diet (vegetarian), positive thinking and meditation (Vedanta and Dhyana). We will be mainly working on the first 2-3 points. 

Basic level: we will go through the basics of the practice of Yoga, alignment and breath,  to get a clear understanding of what and how we are opening, strengthening and stimulating in each asana/position.

Intermediate level: for people who are familiar with Yoga. In this class we will refine our knowledge of alignment and use our of the breath we will try more challenging asanas/positions to open, expand and strengthen our bodies and awareness

Advanced level: we will go deeper into the practice of Yoga, not only through a more challenging physical practice, but also mentally, as well as learning to acknowledge our weaker points or subtle unbalances. From these findings we will work to free ourselves  and to find and use our full potential.

This first class in the morning will be our moment to prepare for the day in a different way, to unfold and to unlock, first physiologically/anatomically and then into deeper levels of awareness, identifying our unnecessary patterns and habits, and letting go of them, balancing the body, increasing concentration and learning. My aim is to let you listen so that each student as individual can be in tune with a deeper intelligence, expanding themselves as artists and sharing it with the community and the world. I hope you will all enjoy the process of unfolding yourselves. Om Namah Sivaya.

Silvia Ubieta (ES) (week 4 and 5 – all levels)

My work is based on Iyengar yoga practice and orientated to the dancer’s body. The practice of the asanas (postures or poses) is designed to reinforce the alignment of the body, increase flexibility, and strengthen muscles and connective tissue. During the practice of asanas, the object of concentration is the body. The student focuses his mind on the incoming and outgoing breaths, the steady flexion and extension of different muscle groups and bodily sensations, using the skin as an information receiver to bring awareness to our body and mind.

I will focus the practice of extensions and expansion by the sense of directions on different body parts and related to the space around us. The floor and the air will support us for a better understanding of the pose.

We will use props: blankets, belts, books and chairs to get proper alignment.

At the same time by practising the epidermal, digestive, lymphatic, cardiovascular, and pulmonary systems are purified of toxins and waste matter; the nervous and endocrine systems are balanced; and brain cells are nourished and stimulated. The end result is increased mental clarity, emotional stability, and a greater sense of overall well-being.

The practice will be progressive during the weeks:

-     the first week I will focus on standing, seated and balancing poses, studying the pelvis area and lower body

-     the second week the focus will be the spin and upper body, opening the chest and shoulders on twist and backbend poses

As a specific personal focus is always the goal of the summer school classes, people can without a problem attend the second week of classes without having participated in the first week. 

Ballet class 

Douglas Becker (US) (week 2, 3 and 4 – intermediate level/advanced level)

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

Libby Farr (US) (week 1 and 5 – intermediate level /advanced level)  

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


Contemporary technique class

Jos Baker (UK) –Physicology - (week 2 – basic level /intermediate level)

Physicology looks at dance technique from fundamental principles of shifting a body through space all the way into complex dance material. It seeks a better understanding of the fundamental physical principles of how the body connects to the floor and how the body can unify or isolate. Physicology uses imagery and imagination to expand the dancers understanding of their technique. These fundamentals are then expanded into richly detailed and physical dance phrases.

Dominique Duszynski (BE) (week 5 – basic level /intermediate level)

Dominique Duszynski offers a dynamic and fluid dance made up of floor work and standing work. The first topic is to open the conscious of anatomical knowledge in dancing. Therefore, constructing and deconstructing body parts take an important place in the warming-up and in the building up of the dancing. Geometry, alignments, supports are developed in a high conscious of “grounding” and “lightening” the body at the same time. Breathing, 3 dimensions and volume are developing space referring to Laban’s concepts. The relationship to the movement of the weight is always present, opening to musicality and instinct. Dance is proposed according to the art of movement inspired by Pina Bausch and by the elements of dynamic and space developed by Rudolf Laban. Energy, grounding and space are the base in order to develop details and subtleties through the body and by the dancing. Opening contact and articulating the body are important elements. We are aiming to reach for the essence of the body is the aim. Lines and flow pass through the body, revealing deep perceptions. 

Rob Hayden (US) (week 5 – intermediate level /advanced level)

The objective of this class is to develop a strong basis for physical interpretation through exercises designed to strengthen contemporary technique and partner-work. Through a wide range of possibilities including floor work, partner- and contact work participants will explore and confront themselves with a dynamic movement vocabulary.

Physically demanding tasks that deal with elements of physical, psychological, and emotional risk will be proposed each day. These tasks will challenge our individual limitations and invite us to go beyond them, thereby enhancing our ability to communicate through movement.  Training will, therefore, develop a heightened sensitivity towards spatial awareness utilising qualities of speed, lightness, heaviness, softness and pliability, stillness and gravity. 

The overriding emphasis is on developing within oneself what can be called the ‘total act’; a state wherein the performer explores a wider range of one’s own ‘movement as a theatrical act’ rather than as a technique. 

David Hernandez (US) – Movecraft (week 2 - advanced level)

I am interested in movement and training the body and to express through movement in a detailed and precise way, but without the loss of the individual expression. I am developing an approach to dance technique and movement vocabulary that embraces physicality, craft and approaches the body as an instrument. The class is highly physical with an emphasis on detail. We concentrate on establishing a clear, efficient body alignment as a base to move from while making gravity our partner through discovering the notion of falling and redirected weight. There is an exposure to very specific, dynamic movement vocabulary that concentrates on moving weight, density and texture and the musicality of physical material. 

All parts of the body are used to gesture, often playing against each other like contrapuntal melody lines. The form is clear and provides a partition in which the dancers can challenge themselves against its rigor while finding a personal approach to the material. Each individual and individual body is different, therefore the material must be translated by each person in their own unique way while honing and crafting the material on their particular body. The class gives the keys to do this while providing tools and skills useable in other styles of work as well. 

German Jauregui (BE/ES) (week 4 – intermediate level /advanced level)

The class will consist in a technical approach to movement and some of its main physical mechanisms. We will study and practice some basic tools and principles, which will allow us to find precision, organicity and the right intention while we dance, as well as to explore different movement qualities and physical states. The stimulation of the center of the body will be the main strategy, among others, to reach the sources of energy, from where we move. We will consider movement as a theatrical act rather than as a technique.

Colas Lucot (FR) (week 3 – intermediate level/advanced level)

The class will emphasise on finding efficiency and clear direction in the body and movement. There are so many elements that we can play with, such as gravity, weight, momentum… The idea is to know how to organize yourself with those elements and instead of fighting them, play with them in a useful and efficient way.
Through a series of exercises, we will concentrate on different physical concepts asking the dancer to feel, consider, adapt and practice. The excercises will be followed by exposing the concepts in very physical dance material.
The goal of this class is to build bridges between the different exercises and the dance phrases, and to know what their aim is and how to get there.

Jason Respilieux (BE) – Redefining Technique - (week 4 – basic level /intermediate level)

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

Peter Savel (SK) – Letting go - (week 1 and 3 – basic level /intermediate level) 

My practice has been developing and evolving since my studies at P.A.R.T.S. as a space to go back to my self. Working more and more with non-dancers as well as having always been curious about the wider context of a dance, I am not interested in a dance technique as such. Rather I see movement and dance as a mean to re-access our full potential. The question is simple: "Where are we standing in our own way and what makes us hold back?". By becoming aware of these patterns, believes, thoughts, fears or habits, we can let go of them.

Letting go refers to more than muscular tension and physical efficiency, though I use these as the pragmatic and grounding elements in accessing the less graspable area of thought, emotion and intuition. In my class, I want to go back to a space I believe we are all capable of re-entering. This is a space of total creativity, which I believe is intrinsic to all humans and can be used in any life situation and constellation. It is a state we all know and have passed through in our childhood. The simple difference between our childhood experience and now is the awareness of such a state and therefore a possibility to access it consciously. 

During this class we will work with methods, principles and exercises which allow us to go back to ourselves, through the body and movement into the core of our bodies. In this process we will strengthen our bodies and realign with their core. At the same time the experiences of accessing this space will allow us to understand where we can expand, what we can let go of and how can let go. Something we have always been capable of, but for some reason didn't allow ourselves to fully manifest. Rather than being busy with "doing right or well", we will focus on "doing the best we can right now and learn from the observation of this process".

On the one hand I am developing a personal learning process, but at the same time I am able to share this process through various methods with a group. This enable us to learn from each others strategies and methods and breaks the illusion of being alone or even isolated in our particular experiences. For this and thanks to this, I most importantly create a safe environment. One that is safe enough to allow ourselves to fail, so we can expand into all directions of our own and rich potential. 

Sandy Williams (CA) – Show Time - (week 1 – intermediate level /advanced level)

This class is a fiercely physical daily practice that combines technical movement, strength and precision training with notions of presence, authorship and performance. Each day we will create and add on to an ever-expanding movement score; repeating and performing it for the duration of the week. The daily score will become a daily choreography; an investigation, research, evaluation, critique, multiplication, personification and exemplification of movement, blurring the lines between practice, rehearsal and performance.

Beschrijving workshops


Tale Dolven (NO) and Gabel Eiben (UK) – The speaking dancer - (week 2 – intermediate)

With Tale being a dancer and Gabel an actor, we will explore both movements and texts in this workshop, aiming at facilitating both means of expression. To practice text we will use the in-ear method; listening to text and saying it as you hear it. This allows a blunt, uncensored way of performing, as you simply repeat what you hear. We will work with a similar approach to movement, seeing and copying to create an immediate movement generator. We will set up relations across-the-room that connect the participants to each other, while still allowing participants to develop themselves. This creates a practice that is individual but strongly related to the group. 

Dominique Duszynski (BE) – Embody, a poetical investigation in Pina Bausch’s world - (week 1 – intermediate)

The matter of this workshop is to look at the way of using body and action, in Pina Bausch’s world. It will not be a repertory workshop but an inquiring in the “what, how, why” of Pina’s territory. During this workshop, we will look at different ways of proposing: with the body and with dance, in solo composition and group work. Referring to Pina’s world, we will explore different contexts, from in-depth to essential, from subtleties to concrete details, from casual to superficial. We will combine gestures and dance to instigate new ways of questioning our being. While touching a range of possible presences, we will use musical supports to create contrasts and oppositions.

Nadine Ganase (BE) – A Choreography and Performance workshop -  (week 5 – intermediate)

With the input of the participants and based on my improvisational tools, we will choreograph several dances in order to create a short performance in one week.
It will entail a vocabulary research, the refining/ defining of this vocabulary and structuring this vocabulary into dance sections or "dances". Afterwards we will string together the different sections, finding/ creating transitions which will enable us to present a short piece. Everyone can participate in the coming together of the final picture i.e. brainstorming ideas. Teamwork will be essential to this workshop. The challenge is to make a short piece in one week as a team. At the end of the week there is a showing planned. 

David Hernandez (US) (week 3 – advanced) 

For this workshop we will explore the concept of spontaneous composition:  improvisation as a performance form. Our work will be centered around the question how to compose in the moment with others and make it readable and enjoyable for the viewer. It will not be about jamming but we will address how to propose and develop ideas in an performative improvisational format. In this interest this workshop we will explore both scored and wide open improvisations with an emphasis on consequence and readability. We will work to develop the tools and imagination necessary to accomplish this. 

PART ONE (before lunch) 

We will work with different tools and exercises in order to create a shared base together to work from. This before lunch session will serve to set the ground from which we will work in the afternoon. 

PART Two ( after lunch ) Dialogue

We will come in each day and improvise together and hone our practice through dialogue. Through the course of the week we will seek to develop together through doing and discussing. At times we will film and watch videos of the improvisation to enhance the dialogue and make it more concrete.

Mark Lorimer (UK) – A Great Time. Time as a choreographic tool  - (week 4 – advanced)

In this workshop the aim is to focus on a large range of ways in which time can influence movement, be it as a starting point to construct material or to change the perception of pre-existing movement. 

Rhythm, duration, speed, repetition, stop - our reading of choreographic material often hangs on its relationship to time in the micro and the macro of a piece. Inaudible rhythms, body durations and unpredictable speed changes.

How slow is slow … and still exciting? What creates the impression of speed?  How can stopping be the most dynamic choice? 

Ooh in time it could have been so much more 

The time is precious I know 

In time it could have been so much more 

The time has nothing to show because 

Time won't give me time and 

Time makes lovers feel like they've got something real 

But you and me we know they've got nothing but time

And time won't give me time, won't give me time (time, time, time) 

Beschrijving repertoire

Rosas Repertory 

Nordine Benchorf (FR) - Grosse Fuge (1992) - (week 1 and 2 – advanced) 

Die Grosse Fuge from Beethoven is part of Rosas repertory and the performance ERTS created in 1992 by Anne Teresa De Keersmaeker. The choreography is based on the constellation of a quartet. Each dancer follows an instrument (first violin, second violin, alto and cello) with a precise analysis of the score, the variation, the development, transformation and transposition of two principle themes, jumping, running and moving the space and transposition of the “material” on the floor. 

(For this workshop it’s helpful to bring kneepads!)

Tale Dolven (NO) - Zeitung (2008) - (week 1 – basic)

This workshop will offer you tools to create your own choreographic material based on improvisation connected it to their use in "Zeitung" a performance by Anne Teresa De Keersmaeker The improvisations will be based on the initiation of movements along the spiral points of the head, shoulders and the pelvis helped initiated by the interaction with a partner. We will learn extracts from the performance, analyse their mathematics and geometry as another source for advanced choreographing.

Alix Eynaudi (FR) – Drumming (1998) -  (week 2 – intermediate) 

Drumming (1998) is one of the most fascinating choreographies that Anne Teresa De Keersmaeker/Rosas created. We will work on the seven basic materials of Drumming and with this material you will make your own personnel transformation and composition in the same way as we did with the company. We will try to make something new with your own material.

Fumiyo Ikeda (JP/BE) – Drumming (1998) - (week 5 – intermediate)

Drumming (1998) is one of the most fascinating choreographies that Anne Teresa De Keersmaeker/Rosas created. We will work on the seven basic materials of Drumming and with this material you will make your own personnel transformation and composition in the same way as we did with the company. We will try to make something new with your own material.

Fumiyo Ikeda (JP/BE) - Rosas danst Rosas (1983) – (week 4 – basic) 

34 years ago, the Rosas company put itself on the map with the production Rosas danst Rosas. This choreography continues to be staged all over the world. The piece is made up of five chapters, full of intense physical energy. The drive in this body machine is tempered by a series of ‘very familiar and everyday movements’. We shall look at each part, learning the basic phrase as well as its structure in order to dance some extracts. A truly stimulating experience to great music! (Please bring gym/ running shoes).

Mark Lorimer (UK) – Vortex (2013) - (week 3 – advanced)

In Vortex, created in 2013, Anne Teresa De Keersmaeker takes on the polyphony in Gérard Grisey’s eponymous masterpiece with a danced counterpoint for seven dancers. Probing the question: ‘how can you visualize polyphony by dancing it?’. De Keersmaeker decided to stage an intricate intertwining of sound and movement. Each dancer is linked to one of the six musicians, and colors his or her dancing with patterns of movement proper to the instrument.

Moya Michael (ZA) – Rosas danst Rosas (1983) - (week 4 - intermediate)

34 years ago, the Rosas company put itself on the map with the production Rosas danst Rosas. This choreography continues to be staged all over the world. The piece is made up of five chapters, full of intense physical energy. The drive in this body machine is tempered by a series of ‘very familiar and everyday movements’. We shall look at each part, learning the basic phrase as well as its structure in order to dance some extracts. A truly stimulating experience to great music! (Please bring gym/ running shoes).

Moya Michael (ZA) – Zeitung (2008) – (week 5 – advanced)

This workshop will offer you tools to create your own choreographic material based on improvisation connected it to their use in "Zeitung" a performance by Anne Teresa De Keersmaeker The improvisations will be based on the initiation of movements along the spiral points of the head, shoulders and the pelvis helped initiated by the interaction with a partner. We will learn extracts from the performance, analyse their mathematics and geometry as another source for advanced choreographing.

Roberto Olivan (ES) - Drumming (1998) - (week 5 – basic)

Drumming (1998) is one of the most fascinating choreographies that Anne Teresa De Keersmaeker/Rosas created. We will work on the seven basic materials of Drumming and with this material you will make your own personnel transformation and composition in the same way as we did with the company. We will try to make something new with your own material.

Elizaveta Penkova (BE/ES) – Rain (2001) - (week 3 – basic)

This Rosas repertory workshop will focus on the "men's material" of 'Rain'. In the original, this material is mostly danced by the men, but by no means exclusively. It is dynamic with lots of organic floor work.  After learning the phrase material, we will create new choreographies based on the compositional structures used in 'Rain'.  These structures range from the more free creative (manipulations, partnering) to the more mathematical (like any true Rosas creation, metronomes will be involved).  Structure is a fundamental element of Anne Teresa De Keersmaeker's work and it is most often rooted in the music - in this case, the emotive minimalist composition of Steve Reich's Music for Eighteen Musicians. The challenge for any performer is to be able to "live" within the structure.

Elizaveta Penkova (BE/ES) – Drumming (1998) – (week 4 – advanced)

Drumming (1998) is one of the most fascinating choreographies that Anne Teresa De Keersmaeker/Rosas created. We will work on the seven basic materials of Drumming and with this material you will make your own personnal transformation and composition in the same way as we did with the company. We will try to make something new with your own material.

Igor Shyshko (BY) – Drumming (1998) – (week 2 – basic)

Drumming (1998) is one of the most fascinating choreographies that Anne Teresa De Keersmaeker/Rosas created. We will work on the seven basic materials of Drumming and with this material you will make your own personnal transformation and composition in the same way as we did with the company. We will try to make something new with your own material.

Igor Shyshko (BY) – Rain (2001) – (week 3 – intermediate) 

This Rosas repertory workshop will focus on the "men's material" of 'Rain'. In the original, this material is mostly danced by the men, but by no means exclusively. It is dynamic with lots of organic floor work.  After learning the phrase material, we will create new choreographies based on the compositional structures used in 'Rain'.  These structures range from the more free creative (manipulations, partnering) to the more mathematical (like any true Rosas creation, metronomes will be involved).  Structure is a fundamental element of Anne Teresa De Keersmaeker's work and it is most often rooted in the music - in this case, the emotive minimalist composition of Steve Reich's Music for Eighteen Musicians. The challenge for any performer is to be able to "live" within the structure.

Sandy Williams (CA) - Zeitung (2008) - (week 1 – intermediate) 

This workshop will offer you tools to create your own choreographic material based on improvisation connected it to their use in "Zeitung" a performance by Anne Teresa De Keersmaeker.  The improvisations will be based on the initiation of movements along the spiral points of the head, shoulders and the pelvis helped initiated by the interaction with a partner. We will learn extracts from the performance, analyse their mathematics and geometry as another source for advanced choreographing.

Beschrijving micro projects

Alix Eynaudi (FR) – Dance & Poetry - (week3 – intermediate level /advanced level)

Inspired by the work for my next piece, Chesterfield, I would like this micro project to be an act of translation. We will turn everything we touch into something that can be read. We will aim at hosting, enfleshing, and dancing-words-poetry. We will render the act of reading as a sensitive and choreographic activity.
We will read and dance poetry and experiment with domain shifts by using a set of verbs and expressions which come from the semantic field around books, which we will translate into human movement and actions as a generative tool for developing choreographic materials.

A showing will take place on the last day.

Olga Dukhovnaya – (week4 – advanced level) 

During this micro project there will always be two figures present in the space. I propose to work on the idea of solo interpretations by two people. One dancer does almost nothing, and the other one does as good as everything. The dancers in movement use their partners as an object and a mere decoration. While the partners stay immobile the dancer moving through space gives a possible meaning to this immobility.

This project echoes the research of the Russian theorist and director Lev Kuleshov. In the early 20s he experimented with images and memory. These experiments resulted in associations of images from expressionless faces and random pictures as a bowl of hot soup, a child in a coffin or a beautiful woman in her underwear. By positioning these two images next to the each other, their meaning was more than a simple sum. The association creates an extra layer of meaning that doesn’t appear in the singular pictures. Unwilling volunteers saw a different connotation (hungry, misery or desire) on the man’s face, each time his image was held up next to another random picture.

We will work with two physical presences: a restless body, captured in the marathon of gestures, changing without any logic, and a body that doesn’t address itself, that doesn’t react and doesn't change a bit. It is an expressionless, neutral and transparent body that only transforms due to the actions surrounding him/her.

We will play with perception and changing meaning. We will mix a formal proposal with abstract aesthetics and awake fantasies and metaphors, without the necessity of a story. The presence of videographer Konstantin Lipatov allows us to keep a track of our experiments 

A showing will take place on the last day.

David Hernandez (US) – Solo Suites – (week 1 – Intermediate & Advanced level) 

Solo Suites is a multi layered project combining work as a soloist as well as being part of an ensemble.  For this project the music we approach is the Bartok Violin duets in which each musical duet has a short duration maximum 2 minutes. First, we will concentrate on the construction of the individual short form solo scores through a step by step guided process. Next, we begin  to develop this solo and concentrate on the "suite" of solos and how they layer against each other, the music and the global theatrical event created by this suite of solos. 

Next to this solo work we will explore background and foreground moving from the background of group work to the foreground of each solo coming out of the group. This Micro Project will involve working independently as well as in a group and taking part in group feedback sessions. 

A showing will take place on the last day.

Anton Lachky (SK) – Puzzle work - (week 2 – advanced level)

This creative week will be based on puzzle work. I will share how to create your own dance frase. Complex and strong dance material will be growing on the complexity and speed of day by day working with each individual. We will be working on precision, virtuosity and complexity in different solos.

A showing will take place on the last day.

Rósa Ómarsdóttir (IS) – Micro Project -  (week 3 – intermediate level)

During the micro-project we will explore the relationship between bodies and objects in space. We will use found objects and things to create a sort of ever-changing ecosystem. We will explore how we can co-exist with these materials in an inter-objective space and try to think of new ways of together-ing between various objects, materials and other human dancers. Can these materials become alive, the bodies objectified and vice versa, until it is no longer clear who is influencing whom. What is lively and what is an immaterial thing? What is active and what is inactive? We will have a look at how vibrant materials and lively things create a shared territory with the dancers where all actants influence each other. This will enable us to question the binaries of Life/Matter - Human/Animal - Will/Determined – Organic/Inorganic.

A showing will take place on the last day.

Manon Santkin (BE) – Micro Project -  (week 5 – advanced level)

Can the way I pay attention to a situation actually alter that very situation? During the SummerSchool 2017, Manon Santkin invites participants to gather around the notion of attention and practice it as an act of composition.

Our attention is a body that sees, hears, feels and thinks. It is a kind of siamese twin that is attached to our flesh but moves in a different way. It has its own speed, it can cross walls, it can ignore or favor certain objects, it can travel to the past, it can fill an entire room or zoom in on a tiny detail. To paraphrase Alva Noé’s statement about perception: “Attention is not something that happens to us, it is something we do.”

Drawing materials from her book A Glossary Of The Atlas Of Interpretation, Manon will guide a series of somatic and performative experiments, between movement, perception and narration, where the mere capacity to observe will be used as a choreographic gesture, one that prescribes how we move and interact with our milieu.

The workshop addresses participants who have an affinity for movement, sensorial experience and storytelling. It welcomes dancers as well as practitioners of other disciplines who have a personal interest in the topic of attention and how it moves us. The work can be adapted to everyone’s physical capacities and doesn’t require one specific training but a willingness to reflect physically and collectively is a must. 

A showing will take place on the last day.

Benjamin Vandewalle (BE) – Micro Project - (week 1 – intermediate level /advanced level)

During this Micro project we will continue  to explore my research in the potential of the public space as a theater. We will start from the knowledge I gained from the creation of Birdwatching 4x4. The public space including parks, streets, shops, bars etc... is an extremely rich environment that challenges our body to dance and perform in ways that are unknown to us when we work in a dance studio. The streets offers us the nature elements, different floor surfaces, different objects, props and architecture that challenge and inspire our way of moving in very different ways. On top of that you make contact with a lot of different people and animals that inhabit the space. Starting from this exploration we will investigate the ways of including the audience in a performance and work towards a small presentation at the end of the week.  

A showing will take place on the last day.

Alexander Vantourhout (BE) – Micro project – (week4 – intermediate level /advanced level)

As ancient Greek athletes used halteres (a kind of dumbbell) to help them jump further, we will use objects to influence our pathways, as an accelerator for our movement or dance. We will investigate how the specificity of an object can inform, challenge, and teach something to our bodies. 

We will start the class with mobility and coordination exercises, followed by kinetic koans/riddles with objects. There will be a few ‘aikido’ influenced sessions on how we can use an object as a weapon as opposed to as a tool.  A weapon is often an extension of the arm, and we will look at how we can read our partner's body through the object.

At last we will explore prosthetics. In ANECKXANDER I used boxing gloves and Buffalo boots to compensate for my short arms and legs. In this sense, we will analyze our physical proportions in order to find a fitting prosthetic.

If they wish, participants can bring a prosthetic with them...

A showing will take place on the last day.

Maria Clara Villa-Lobos (BR) – Micro Project - (week 5 – intermediate level/ advanced level)

For this micro-project, I would like to start from, the first research I did during the preparation of my piece « Mas-Sacre » (2014), on the music of « Rite of Spring », by Stravinsky. This piece focused mainly on animal and human flesh, showing different aspects of both.

During the micro project, I will share the different aspects of the Mas-sacre creation process. I would like to work mainly on the human flesh as a malleable material, making it transform and vibrate to the music of Stravinsky. We will work on rhythmic and focus on the first part of the score. We will mainly work as a group, but sometimes smaller groups might be formed to work on contact and manipulations.

As flesh will be the main object of our exploration, participants should feel comfortable working in underwear from time to time.

A showing will take place on the last day.

See More « Mas-Sacre » :  

Sandy Williams (CA) – The Familiar - (week 2 – advanced level)

Nature loves to hide.  – Heraclitus

Who’s there?  – Shakespeare, Hamlet

Dust in the air suspended

Marks the place where a story ended. – T.S. Eliot

This micro-project will investigate the uncanny effect of the echo and the shadow in movement generation and performance.  The shadow is a body transformed, a ghostly copy of an original, the shady return of a moment past or a movement made.  The echo, the shadow of sound, is an embodiment of action at a distance; a representation of what it means to be caught in a web of relations, a mediation of physical and non-physical realms. Is the echo merely the forgery of a sound?  The shadow simply a body in negative?  Or can they communicate with sensory realms beyond our immediate perception? Can a shadow act on its own?  How far must an echo resonate before it gains its independence? If we give the shadow a form, if we allow the echo to roam, what walls can these ghosts pass through that we alone cannot?

This will be a performance supported practice in which we will focus on different ways of embodying the echo and the shadow. Using strict movement generation tasks we will search for the boundary where the body ends and the shadow begins, how to imbue the shadow with a body of its own and how to trace the echo from its utterance to its eventual dissolve.

Bio's docenten

Jos Baker (UK)

From 2008 to 2014; Jos worked for Peeping Tom as a dancer, actor and collaborator, principally with the productions 32 Rue Vandenbranden (2009), and A Louer (2011).  He then rehearsed with DV8 Physical Theatre on the production of John (2014), and went on to do several other stage productions and started making more of his own work. As a choreographer, Jos’ work includes; Afla (2008) Creature Man Don't Tell Me (2008), Feedback (2009), What do you do? (2015), We were youth (2016), Tidal Breath (2016) and Of no fixed abode (2016) and Understanding Sugar (2017). Jos has performed in various short films and commercials; he also teaches internationally, offering a range of classes and workshops for professional dancers at many festivals and dance schools across Europe and the world.

Jos started his dance training at the age of 7 with Oxford Youth Dance and then continued his formal education first at The Laban Center London and then at P.A.R.T.S.. Throughout this training he has studied many techniques and approaches, including: Ballet, Release, Cunningham, Graham, Capoueira, Popping, Contact Improvisation, Flying Low, Passing through, Forsyth improvisation Technologies, Labanetics, Physiology, Physics and acting.

Douglas Becker (US)

Douglas Becker based in Brussels Belgium and is a freelance choreographer and teacher working in many idioms. A former dancer with the Joffrey Ballet, The National Ballet of Canada, The Dallas Ballet and The Frankfurt Ballet, under the direction of William Forsythe of which he has reconstructed numerous works by the choreographer for professional companies, festivals, and institutions across the globe. His own choreography has been featured on the stages of Belgium’s Royal Flemish Theatre, Switzerland’s Grand Theatre de Genève, and the Choreographic Centers of Grenoble and Nancy in France. He has been visiting the faculty for P.A.R.T.S. School Brussels (since 1997), The University of the Arts Philadelphia, New York University, and the national conservatories of Paris and Lyon among many others.    

Nordine Benchorf (FR)

Nordine Benchorf was born in Belfort (France) after electrotechnics studies, he trained at the studio Marie Do HAAS compagnie de l’Instant in Belfort. Afterwards he  enter at CNDC d’Angers (France) from 1984 to 1986 he performed different chorégraphie of Jim Self, Robert Kovich, Myriam Burns, Viola Farber, Dominique Petit, Odile Duboc and  Aaron Osborn. He danced with Odile Duboc (Cie Contre-Jour) in Détails Graphiques and Insurrection, with ROSAS Cie in Ottone Ottone, Achterland, ERTS, Mozart concert Arias, in the film ROSA(Peter Greenaway) and Verklarte Nacht(2014 version). On top of that Benchorf worked with Loïc Touzé on “La confession des lâchtées”. He collaborated with Grace Ellen Barkey Needcompany in Très and Stories. He continued his journey at Ultima Vez, Wim Vandekeybus where he joined Seven for secret never to be told, In spite of wishing and wanting and What the body does not remember (revival 2001). He worked with Caterina Sagna and made some side steps in theater with Judith Vindevogel in ZILKE and Josse De Pauw in Escorial. Last but not least he build up some experience as a repertoire teacher at P.A.R.T.S., Ultima vez, Needcompany, Institut del Teatro in Barcelona, Centre Développement Chorégraphique Toulouse and Hogeschool voor Dans in Antwerp.

Stéphane Bourhis (FR)

Stéphane Bourhis is a professional dancer. He studied at the Conservatoire National de Danse in Avignon (France). Bourhis started his career at the Lucerner Ballet Company and worked as a solist dancer in the Béjart Ballet Lausanne.  Since 2013, Stéphane is a certified Iyengar® Yoga teacher. He's teaching Iyengar® yoga at P.A.R.T.S., in schools for children in primary classes and in the Iyengar Yoga Centre Brussels. He is constantly learning, researching and deepening into Iyengar® Yoga method. He participates in conventions and workshops with advance teachers in India and Europe.

Tale Dolven (NO)

Tale Dolven is a Norwegian dancer. She graduated from P.A.R.T.S. in 2004. She has been part of the Rosas Dance Company for ten years. She worked with Anne Teresa De Keersmaeker, as well as Kris Verdonck, Benjamin Vandewalle and Doris Uhlich.

Olga Dukhovnaya (UA)

Olga Dukhovnaya is a dancer, choreographer and teacher form Ukrainian origin. She studied at P.A.R.T.S. (Brussels) and at Centre national de la danse contemporaine (Angers, France). In 2009, she was one of the laureates for the scholarship DanceWeb (festival ImpulsTanz, Vienna). In 2012, her creation KOROWOD was rewarded three times during the contest Danse Elargie organised by la Musée de la danse and the Théatre de la Ville in Paris. She created Monkey Production, collaboration with architect and videographer Konstantin Telepatov, this project is a mix between dance, video-art and animation.

As an interpreter, she works along with Maud Le Pladec, assisting the creation of Democracy and Concrete. She collaborated with Boris Charmatz, for Levée des conflits, Enfant, Flip Book, Aatt enen tionon, Manger and Danse de nuit. In 2015, she adapted Roman photo from Boris Charmatz for a group of children. Next to the creation of a project with 20 dancers for the XXe siècle presentation at Rennes and Berlin, she regularly teaches at the Musée de la dance. She participated in Focus de danse (2015) in Rennes. Nowadays, she is preparing a creation with performer Robert Steijn.

Dominique Duszynski (BE)

Dominique Duszynski has been dancing with Pina Bausch’s dance theatre from 1983 till 1992. She has worked on creations and mythical pieces such as: "The Rite of spring", "Kontakhof", "Blaubart", "Nelken", "Arien", "1980", "The 7 Deadly Sins", "Auf Dem Gebirge", "Two Cigarettes in the Dark", "Viktor", "Ahnen", "Kommt tanz mit mir", "Renate wandert aus", "Walzer", "Bandoneon", "Iphigénie", "Orphée"... Since 1988, she teaches at several institutions and companies all over the world. 

In ‘92, she started her own research and collaboration with different dancers and actors and created several pieces. She has been performing for JF Duroure and Pippo Delbono. She took part to the film “Die Klage der Kaiserin” from Pina Bausch “Berlin-Jérusalem” and “Golem” from Amos Gitai. She teaches at P.A.R.T.S. (Brussels) since 1995. In 2007, she created her solo “Fuga” followed by dances in the trio “Barroco” in 2008. With the last piece she travelled from Lyon over to Brazil, Brussel, Italy and Germany. 

In 2009, she composed a new solo “Luz”, for the 9th festival “Voix de femmes” in Belgium. Together with the light designer Corten, she proposed a street project along the river in Liège “Sous les ponts” in 2010. The same year, she stepped into the concept “The complete works” from Nina Beier, which had performed in the STUK festival in Leuven. In November 2011, she presented her duo “Riff” for the 10th Festival “Voix de Femmes” in Liège and later in Brussels and, in June 2013, in Rio and Sao Paulo. 

In November 2013, she performed in the piece « Si je meurs » from R. Hoghe. During the summer of 2014, she created a short piece “Walkabout”, in 9 days with 9 dancers. In 2015-16, she has been working on 3 different shows. Beside her own work, she collaborates artistically with several choreographers.

Gabel Eiben (US)

Gabel is an actor from Pennsylvania, and has worked for six years with the New York Avant Garde theatre group Nature Theatre of Oklahoma, as well as performing with SITI Company for Anne Bogart and Jerome Bel.

Laia Puig Escandell (ES)

I was introduced to yoga as a parallel practice to 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 and passion into Yoga started. Since then, I have been practicing regularly asanas, pranayama and meditation, reading the yogic philosophy and trying to understand and apply all of that in my daily life, as I continue to take trainings. I learned a lot in the Sivananda organization where i joined Teachers Trainings and did service in their Ashrams. I teach Yoga classes at P.A.R.T.S., Rosas and around Brussels to all levels. Parallel to my yoga practise I give Ayurvedic massages and treatments, Yoga retreats and workshops.

Alix Eynaudi (FR)

Alix Eynaudi (b. 1976) was trained as a ballet dancer in the Opéra of Paris. She worked in various ballet companies before entering P.A.R.T.S. at its first year in 1995. In 1996 she joined Anne Teresa De Keersmaeker’s company Rosas, where she worked for seven years, taking part in the creation of six pieces: Just Before, Drumming, I said I, In real Time, Rain, April me, as well as to the retake of repertory pieces such as Woud, Achterland, and Fase. Since 2005 Alix Eynaudi has been creating her own pieces: Crystalll, in collaboration with Alice Chauchat (2005); Supernaturel (2007); Komposition (2008) in collaboration with Anne Juren, Marianne Baillot and Agata Maszkiewicz; The Visitants (2008) and Long Long Short Long Short (2009), both in collaboration with Agata Maszkiewicz; EXIT (2011), in collaboration with Kris Verdonck; Monique (2012), in collaboration with Mark Lorimer. 

Besides creating her own work, Eynaudi continues to develop projects with other artists, both as a collaborator and a performer. She took part in projects as a performer with the collective Superamas, Kris Verdonck, and Anne Juren, and Boris Charmatz. Alix Eynaudi’s artistic practice also involves teaching workshops at a.o. P.A.R.T.S. (Brussels) and ImpulsTanz (Vienna).

Libby Farr (US)

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

Nadine Ganase (BE)

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

Rob Hayden (US)

Actor, dancer, composer, director, choreographer

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

David Hernandez (US)

David Hernandez was born in Miami, Florida where he studied 'studio music & jazz’ and opera at the University of Miami and dance at  'New World School of the Arts’. Subsequently he moved to New York to work as an apprentice with the Trisha Brown Company and began researching with Meg Stuart. He left New York to follow Meg Stuart to Belgium and to start up 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 Desmedt and Meg Stuart.

David participated in a choreographic collaboration with Anne Teresa De Keersmaeker for projects including "Zeitung", "Keeping Still" and “D’un Soir un Jour" and danced and sang in the production “Cesena" which premiered at the Avignon Festival in 2011. As a pedagogue, David gives classes and workshops worldwide while maintaining a position as a main teacher at P.A.R.T.S. since 1995.  Previously he developed and managed his own education program, 'PEP' (The Performance Education Program) in the framework of Klapstuk festival in Leuven.

David continues to work as a singer and joined the early music vocal group "Graindelavoix", led by Bjorn Smelzer and Reve d'Elephant Orchestra jazz band,  performing in concerts, recording discs and touring with different projects as a musician. 

David continues creating his own work within the organisation dh+, David Hernandez and collaborators, whose two most recent performances, “ For Movement’s Sake” and “Hullabaloo” are presently touring.

Fumiyo Ikeda (JP/BE)

In 1979, she entered MUDRA, Maurice Béjart’s dance school in Brussels, where she met Anne Teresa De Keersmaeker. In 1983 she was one of the founding members/dancers of Rosas. Between 1983 and 2008 she contributed to the creation of and danced in almost all the productions. She co-defined the face of Rosas. She has also contributed to several of Rosas’ films and videos. Since 2007, Fumiyo develops her own artistic parcours. In 2007 she created "Nine Finger" with Benjamin Verdonck and Alain Platel. This performance was selected for the Festival d’Avignon 2007, and knew an extended international tour. Her next step was the solo "In pieces", a collaboration with the British theatre writer and frontman of Force Entertainment, Tim Etchells. 

She performed in "Life and Times, Episode 2", a performance in collaboration with Nature Theater of Oklahoma (2010). In 2013 she created along with the Japanese choreographer Un Yamada "amness". In 2014 she created "Cross Grip" with three Japanese dancers and the percussionist Kuniko Kato.  In 2015 she choreographed and performed "Absence" with Frank Focketyn, directed by Peter Verhelst (NTGent) and Eric Joris (CREW). In 2016 she choreographed and performed "De Sleutel" directed by Josse De Pauw. In 2017 she 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 on the Rosas repertory and her own work. She taught a few times at KASK and is the rehearsal director of the early pieces of Rosas.

German Jauregui (BE/ES)

German Jauregui is a director, choreographer, dancer and pedagogue based in Brussels. In 1998 he joined the company Ultima Vez/Wim Vandekeybus, where he worked first as a dancer. During 10 years he joined the creation and touring of several pieces and dance films. Later on he worked as a movement assistant and rehearsal director. Since 2007 he develops his own work with the creation of the pieces “Isaac” (2007) “Sunset on Mars” (2009), “Confession” (2013) and “Isaac y Diola” (2016) together with the Choreographer Antia Diaz. As a guest choreographer he creates pieces for several companies in Spain, Mexico and Canada. Parallel to this tasks he works as a director assistant for different dance, theater and circus companies. He regularly teaches classes and workshops internationally. 

Anton Lachky (SK)

Born in 1982, Anton started to dance at the age of 5, in the folk dance company Maly Vtácnik. He continued his dance education at the J.L.Bellu Conservatory in Banská Bystrica, where he collaborated with friends and also participated in M.A.P.A. (Moving Academy for Performing Arts). From there he went on to train at the University of Bratislava in 2001, followed by a further training at P.A.R.T.S., headed by Anne Teresa de Keersmaeker (Belgium). Anton became member of Akram Khan Company in March 2004 and followed long international tour of "MA" (48 countries all over the world) for two years. His teaching activities are wide ranging. He has been invited in most of the european countries and has been teaching in Asia and North and South America.

Anton Lachky is co-founder of Les SlovaKs Dance Collective. They created their first piece "Opening Night" in 2006 and premiered it in October 2007. As a choreographer, Anton Lachky created different pieces. "Mind a Gap" (2013) was his first autonomous creation and it toured all over the world.

As a guest choreographer he made "Softandhard" for Helsinki City Theater, "Heaven is the place" for Prague DOT 504, "Perfect Day To Dream" (which won best choreography of 2012 in Iceland) for the Iceland Dance Company, "Kids in a play" (nominated for the best choreography) in Zagreb, "Sens Interdit" for the Bodhi Project (SEAD), "Magical Road" in St-Gallen, "wonderland" for the Gottenborg Ballet and choreographies for the Biennale of Venice, the Scottish dance theater "DREAMERS", Collective Cla Costa Rica “TRIOLOGY”, Verve dance company Leeds UK “BODY TRAFFIC”, Los Angeles USA TRIOLOGY and the Hellenic dance company, Athens.

He is currently preparing CARTOON, a new production for a young public which will premiere in February 2017 and a new male company production for october 2018.

Mark Lorimer (UK)

Since graduating from the London School of Contemporary Dance in 1991, Mark 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 and 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”. 

In 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. (repertory and composition), Manufacture, Lausanne (generating personal material and musical choreographic writing), CDC - Toulouse, and for other institutions and independent dance organisations.

Colas Lucot (FR)

Colas Lucot studied ballet and contemporary dance at CNSMD, Lyon (France). After his studies, he joined the CCN Nantes, directed by Claude Brumachon afterwards he was part of the company of Angelin Preljocaj in Aix-en-Provence for the reprise of Snow White and its worldwide tour. Six years ago, he moved to Bruxelles and began to work with David Hernandez. 

Since then, he has been collaborating with David for several creations inside and outside the company : Thirst, For Movement’s Sake, Hullabaloo, Passage… He also has been assisting David in several workshops and classes in different schools, events and festivals : P.A.R.T.S., DOCH, Impulstanz, Folkwang, Coline…  In 2012, Colas worked with Akram Khan and took part of the opening ceremony of the Olympic games in London. He has been involved in other dance projects, mostly in Germany and England. 

Since 2013, Colas has been teaching in several venues and established studios in Belgium and abroad.


Moya Michael (ZA)

Moya Michael is a dancer, performing artist and choreographer born and raised in Johannesburg South Africa. She has danced with the likes of Akram Khan, Anne Teresa De Keersmaeker (Rosas), Sidi Larbi  Cherkoui and Damien Jalet (Eastman), Faustin Linyekula and David Hernandez. Moya was nominated for a best dancer award at the ‘ITS’ Festival in Holland and was awarded with the Standard Bank Young Artist Award for dance at the National Arts festival in Grahamstown South Africa. 

Moya currently resides in Brussels Belgium, which is her base for the creation of her own work. Moya has worked on commissions in India, China, Germany, South Africa and Austria. Her latest Works include ‘Darling’ in collaboration with Igor Shyshko  and ‘A Part’ created for three talented dancers from the SEAD’s Bodhi project in Salzburg Austria. Moya is currently working on a series of solos and is also spearheading an open-ended collaboration to take place in Pondicherry India in February, with a group of multidisciplinary artists from across the globe.

Moya is interested in ‘performing the self’ and developing projects with other artists and artistic fields and has an ongoing commitment to process, discourse and becoming. 

Roberto Olivan (ES)

Roberto Olivan is the Catalan choreographer and Director of ROBERTO OLIVAN PERFORMING ARTS. He lives and works internationally binding together all those seemingly opposing influences from each country and culture he steps in. He uses a mix of artistic languages to create primeval, organic physical theatre full of wonderful contradictions. This work is rooted firmly in his own origins and experience, and colored by those of the performers with whom he creates.

Although he is well educated in many forms and in the art of control and precision, Olivan does not only works with the intellect, the head, but with emotion, physicality and love. His aim is to make his work accessible to audiences, combining the power and energy of circus with the harsh reality of the world in which we live. The result is a genuinely stimulating celebration, fantastical yet somehow heartfelt and down to earth.

He was trained in the Institut del Teatre of Barcelona and in P.A.R.T.S., Brussels. He founded his own company in 2001 and has had a long and intense career. He has performed under the direction of prestigious creators such as Anne Teresa de Keersmaeker, Robert Wilson, Tom Jansen or Josse de Pauw, and he has created pieces for many other dance companies and institutions in many different countries. He has received several awards like the FAD d’ARTS PARATEATRALS Award 2012, Ciutat de Barcelona Award 2013 and the National Culture and the Arts Award 2014 in Spain. He is founder and artistic director of Festival DELTEBRE DANSA from 2004.

Rósa Ómarsdóttir (IS)

Rósa Ómarsdóttir is an Icelandic choreographer and dancer based in Brussels. She studied dance and choreography at the Icelandic Academy of the Arts and at P.A.R.T.S., Brussels, where she graduated in 2014. She has made several performances with Inga Huld Hákonardóttir: Radiodance, Wilhelm Scream and The Valley amongst them and most recently Da Da Dans for the Icelandic Dance Company which was premiered in November 2016. They were awarded the Icelandic Theatre Awards for The Valley as well as being nominated as dancer of the year. Her work has been shown in various theaters and galleries around Europe. She is currently conducting a research project called Secondhand Knowledge together with Ásrún Magnúsdóttir and Alexander Roberts, where they travel to different countries that are in some way peripheral to the central European dance scene and work with local dance artists focusing on the notion of secondhand knowledge

Elizaveta Penkova (BE/SE)

Elizaveta Penkova is a Swedish dance-artist, currently working in between Gothenburg, Stockholm and Brussels. After her education at the Royal Swedish ballet school in Stockholm and P.A.R.T.S. in Brussels, she entered into the professional life by joining the Gothenburg Opera dance company followed by a long-term engagement with the Rosas dance company in Brussels. She is one of the main initiators and contributors of  “House of Bertha collective” and “Phd in one night- collective” two artistic collectives based in Brussels. She has also been involved in a KUNST/WERK production by the Greek choreographer Georgia Vardarou .

Since several years she has established a continuous relation with the swedish choreographer Helena Franzen. She is currently working with Veli Lehtotovaara (FI)/Zodiak production. She is also developing a duet-work "The Silent song" together with Sue Yeon Youn (KR) and a new solo-work/collaboration together with Ingrid Cogne and Mårten Spångberg. Liza has been teaching classes and workshops, including Rosas repertory, in different venues worldwide.

Jason Respilieux (BE)

Jason Respilieux (b., 1991) studied at the fine arts academy in Brussels and Codarts in Rotterdam before graduating from P.A.R.T.S., Brussels, in 2014. He then joined the Re-zeitung tour (a rewritten version of the Rosas piece Zeitung), organized by P.A.R.T.S., and started working as a freelance dancer for several choreographers, including Salva Sanchis (the Islands project), Ted Stoffer, and more recently Claire Croizé (Evol). In 2017 he performs in the re-take of a Rosas production A Love Supreme. Respilieux is active as an advisor for performances and has been mentoring students for Kunsthumaniora Brussels. He actively combines his dance career with dance education by teaching regular classes for Rosas, Kunsthumaniora Brussels, and other organizations.

Manon Santkin (BE)

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

Peter Savel (SK)

Peter Savel has a BA in dance pedagogy from the Academy of Music and Performing Arts in Bratislava. He finished his further studies at P.A.R.T.S. in summer 2010. Since then he is working in Belgium (with Pierre Droulers, Salva Sanchis, Marc Vanrunxt,...), creating his own works between Belgium and Prague and teaching all around Europe. In 2014, he has been named one of the Artists in residence at Charleroi Danses. Recently he collaborates with the Belgian company Kunst/Werk.

Since the beginning of his career, he is interested in the connection between the social and the artistic. Researching movement not only as a pure mean of artistic expression, but in connection to social structures and anthropological origins. He looks at himself as a mixture between a poet, a scientist, a disciplined craftsmen, a naive playful child, a pragmatic researcher and a dreaming explorer. He actively searches for the edge between emotion and structure, the known and the forgotten, the rational and the surreal.

For Peter Savel creating is playing, because to create is to remember - once again - that everything is possible: “ Even if what I do at the moment is of the most utter importance to me, it is just a game, with rules that can be and will be changed at any given moment. Just like life, really. “  - Peter Savel

Igor Shyshko (BY) 

Igor Shyshko studied ballet and modern dance at the University of Culture of Minsk between 1993 and 1997, then he moved to Brussels to become a student at P.A.R.T.S.. He graduated in June 2000. At P.A.R.T.S., Shyshko performed in ‘Donne-moi quelque chose qui ne meure pas’ by Claire Croizé, Milky Way by Thomas Hauert, and Selfwriting by Jonathan Burrows. In 1998, he worked as a trainee with Anne Teresa De Keersmaeker and Rosas during the creation of "Drumming". In 2000, he contributed to the creation of "Rush", a choreography by Akram Khan as a dancer. The same year, he became a member of Rosas, dancing in the revival of "Drumming". He also contributed to the creation of "Rain", "April Me", "The Repertory Evening", "Bitches Brew" "Tacoma Narrows", "Kassandra", "Zeitung",  "The Song", “ Vortex Temporum”, "Work/Travail/Arbeid " and to the revivals of Mozart/Concert Arias, "Raga for the Rainy Season", "A Love Supreme", "D’un soir un jour", Bartók/Beethoven/Schönberg: Repertory Evening, and Steve Reich Evening. In 2010 he created “ Minutes opportunes” with Michèle Noiret.

In that same year he worked with Arco Renz for the Palais des Beaux-Arts in Kaaitheater and to the creation of "Dust". He made "Darling" a creation in collaboration with Moya Michael. He also worked on " De Fietsendief" theatre creation by Bart Van Nuffelen as well as the creations of "Zeit",  "L'art touche au ciel et la terre " and "Prototype" by Marc Vanrunxt who also made “Abstraction” a solo for him.

Silvia Ubieta (ES)

Silvia Ubieta began her dance training in Seville, she continued her studies in Paris with Peter Goss and Sophie Lessard and finished her education at P.A.R.T.S. (1995-97).
She discovered yoga at the beginning of her professional career with Pierre Droulers’s company, following the yoga classes of Stephan Dreher. Since then she has been a regular practitioner and after many year of dancing she decided to follow the yoga Iyengar teacher training with Willy Bok in Brussels. Silvia taught courses and trainings  for many companies and schools in Belgium : Cie Michèle Anne de Mey, Cie Claudio Bernardo, Jorge Leon, Ballet School of Flanders, Charleroi Danses / La Raffinerie, the Opera house “La Monnaie” and many others.

Currently she is a Professor of Contemporary Dance at “Humanités Dance” in Louvain-la-Neuve and at ESAC (Superior School of Circus Arts-Bachelor 1, 2 and 3) in Brussels, she also coaches personal projects of circus students and conducts research workshops. She has been in India several times and integrates the knowledge and experience from her dance background into her yoga classes. Her yoga classes are very physical and focuses on anchoring and searching the different axes of the body and integrating the extensions and directions of different body parts.

Benjamin Vandewalle (BE)

Benjamin Vandewalle studied at the Royal Ballet School of Antwerp and graduated at P.A.R.T.S. in Brussels in 2006. During his studies, he created works such as Théâtre de la Guillotine and We Go, a duet with Vincenzo Carta. In 2007 the duo collaborated again on Inbetween. For the performances Birdwatching (2009) and One/Zero (2011), both investigations on perception of space and movement, he worked closely with visual artist Erki De Vries. His location performance Birdwatching 4x4 (2012) is still touring internationally to great critical acclaim. In 2013 he started a collaboration with CAMPO (Gent, BE) for his performance Point of View.

Benjamin Vandewalle gives workshops and is interested in dance education. He was guest teacher at the KASK in Ghent and MUDA, and also created a guest choreography for Passerelle (Kortrijk, BE). He collaborated with the dance school Nyakaza in South Africa, launched the project Comfusao in Mozambique and accompanied a group of P.A.R.T.S. dance students during an exchange project in Senegal. Together with philosopher Jan Cnops and a group of school children from Molenbeek (Brussels) he made the documentary (un)usual.

Alexander Vantournhout (BE)

Alexander Vantournhout (Brussels-based, 1989) studied contemporary dance at P.A.R.T.S., the school of of Anne Teresa de Keersmaeker, and single wheel and acrobatics at ESAC (Ecole Supérieure des Arts du Cirque, Brussel). Alexander has created a couple of solos including Caprices (2014); a choreographic solo to the music of Sciarrino and ANECKXANDER (2015) (co-created with Bauke Lievens) that won Circus Next 2014, the public and the Young Theatre Prize at Theater Aan Zee, (Oostende 2015) and was selected for Aerowaves Network and for ‘Het Theaterfestival Belgium’ (the most remarkable Belgian performances 2016). For the creation of Raphaël (2017), Alexander and Bauke were artists in residence at Kc Nona and at PERPLX. 

Alexander teaches regularly at Danscentrum Jette, ESAC and ACAPA (Academy for Circus and Performance Art, Tilburg, NL) and has been a guest lecturer at DOCH-Stockholm (SE), Codarts (NE), Verigo (IT), Conservatoire de Mons, Plesni Center and Maribor (SL).

Ben McEwen and Ruben Mardulier will assist Alexander for his Micro Project at P.A.R.T.S.

Maria Clara Villa-Lobos (BR)

Maria Clara Villa-Lobos was born in Brasilia, Brazil in 1972. Her father being a diplomat, she lived in different countries and continents from the age of three.
After graduating from the “Staatliche Ballettschule” in Berlin in1992, she worked as a freelance dancer in Sweden before joining the first generation of P.A.R.T.S. students in 1995. As a dancer and collaborator she has worked with various choreographers such as Rui Horta (SOAP dance theatre), David Hernandez, Willi Dorner, Christine De Smedt and Les Ballets C. de la B., Sasha Waltz, Lilia Mestre, Thomas Lehmen and Tino Sehgal among others. 

She has been based in Brussels since 1995 and set up her own structure, “ XL Production”, in 2002. From that moment onwards she has since then been mainly active as a choreographer and has created and directed about 15 pieces/ performances of different scales, both solos and group works, amongst which the trilogy “M, an average piece”, ”XL, because size does matter” and and ”XXL”, followed by “Super !”, “Head On” ,”Têtes à Têtes” for young audiences, “Mas-Sacre” as well as several choreographies for the ”Bal Moderne”.

She uses a hybrid language that mixes dance, physical theater, objects, sometimes texts. Humorous, critical and ironic approach to social topics such as consumer society and mass media characterizes her work . Her work has been shown in important venues across Europe (Festival d’Avignon/ Hivernales, Théâtre de la Bastille, Dansens Hus Stockholm, The Place/ London, Impuls Tanz Festival to name a few...), and also in Brazil, Canada, USA and South Korea.

In the pedagogical field Maria Clara Villa-Lobos is a certified Iyengar yoga teacher since 2010. She recently graduated in Kundalini yoga and is currently following an Ashtanga yoga course. She regularly teaches dance and yoga to children at Dancing Kids in Brussels. 

Sandy Williams (CA)

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 of the Training Cycle at P.A.R.T.S..