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Below you find the bios of the artists who are teaching in PARTS in the Training and/or Research programs in the current cycle.

Click on the name to see the full bio.

Training Cycle

Teachers for the 3rd year 2018-2019


Yoga- Stephane Bourhis, Laia Puig Escandell

Also taught in this field in 2016-17 and/or 2017-18: Palle Dyrvall, Erik Eriksson, Paul Tucker, Sandy Williams, Florence Augendre, Miquel De Jong, Arco Renz, Natalia Sardi, Gabriel Schenker, Chloé Chignell, Lucia Thibault


Ballet- Elisabeth Farr, Janet Panetta

Contemporary- Laura Aris, Shannon Cooney, Kathleen Fisher, Thomas Hauert, Kira Kirsch, Martin Nachbar, Chrysa Parkinson, Manon Santkin, Salva Sanchis, Alesandra Seutin, David Zambrano

Also taught in this field in 2016-17 and/or 2017-18: Anne-Linn Akselsen, Douglas Becker, Marta Coronado, David Hernandez, Martin Kilvady, Colas Lucot, Juliette Mapp, Samuel Wentz


Repertoire- Marie Goudot, Kathleen Fisher, Ursula Robb, Taka Shamoto, Clinton Stringer

Composition- David Hernandez

Improvisation- David Hernandez, David Zambrano

Scenography- Sarah & Charles

Choreography- Theo Clinkard, Volmir Cordeiro, Anne Teresa De Keersmaeker, Stine Janvin Motland, Ula Sickle

Also taught in this field in 2016-17 and/or 2017-18: Marta Coronado, Fumiyo Ikeda, Anneleen Keppens, Daniel Linehan, Mark Lorimer, Martin Nachbar, Jeroen Peeters, Cyril Baldy, Fabrice Mazliah, Roberta Mosca, Boris Charmatz, Cristian Duarte, Alix Eynaudi, Philipp Gehmacher, Emmanuelle Huynh, Anne Juren, Ivana Müller, Thomas Plischke, Robert Steijn, Charlotte Vanden Eynde, Andros Zins-Browne


Singing- Lucy Grauman, Fabienne Séveillac

Rhythm- Michel Debrulle

Also taught in this field in 2016-17 and/or 2017-18: Rubén Orio, Mattijs Van Damme


Taught in this field in 2016-17 and/or 2017-18: Kuno Bakker, Gabel Eiben, Maaike Neuville, Stijn Van Opstal, Thomas Ryckewaert, Alejandra Theus


Sociology- Rudi Laermans, Petra Van Brabant, Ana Vujanović

Dance history- Bojana Cvejić

Writing- Lieve Dierckx

Film- Stoffel Debuysere

Also taught in this field in 2016-17 and/or 2017/18: Lendl Barcelos, Anya Topolski, Alexander Vander Stichele, Robin Vanbesien, Jeroen Peeters, Christophe Wavelet, Viviana Mucci, Paul Tucker


Christine De Smedt, Femke Gyselinck

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.

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.

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.

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 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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

Mette Ingvartsen is a Danish choreographer and dancer. From 1999 she studied in Amsterdam and Brussels where she in 2004 graduated from the performing arts school P.A.R.T.S. Her first performance “Manual Focus” (2003) was made while she was still studying. Her early pieces comprise among others of 50/50 (2004), to come (2005), It’s in The Air (2008) and GIANT CITY (2009) – performances questioning affect, perception and sensation in relation to bodily representation. Her work is characterized by hybridity and engages in extending choreographic practices by combining dance and movement with other domains such as visual art, technology, language and theory.
An important strand of her work was developed between 2009 and 2012 with The Artificial Nature Series, where she focused on reconfiguring relations between human and non-human agency through choreography. The series includes three performances devoid of human presence: evaporated landscapes (2009), The Extra Sensorial Garden (2011) The Light Forest (2010) and two in which the human figure was reintroduced: Speculations (2011) and the group work The Artificial Nature Project(2012). Her latest series, The Red Pieces: '69 positions' (2014) '7 Pleasures' (2015), 'to come (extended)' and '21 pornographies' (2017) inscribes itself into a history of human performance with a focus on nudity, sexuality and how the body historically has been a site for political struggles.

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.

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.

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.

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.

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).

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.

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.

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.

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.

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.

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).