Teachers
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Below you can find the artists who are teaching in P.A.R.T.S. in the TRAINING program in the 2nd year (academic year 2023-2024).
Click on the name to see the full bio.

BODY STUDIES
Yoga- Stephane Bourhis, Silvia Ubieta, Niloufar Shahisavandi
Pilates- Chloé Chignell
Shiatsu- Palle Dyrvall
Injury prevention - Charlotte Cétaire, Eoghan O'Kelly

Also taught in this field (academic year 2022-23):
Stephane Bourhis (Yoga), Chloé Chignell (Pilates), Audrey De Bry (Anatomy), Palle Dyrvall (Shiatsu), Laia Puig Escandell (Yoga), Daniel Linehan (Mindfulness), Gilles Polet (Pilates), Anja Röttgerkamp (Fascia Therapy), Carole Sainte-Marie (Macrobiotic cooking), Gabriel Schenker (Pilates), Lucia Thibault (Yoga)

DANCE TECHNIQUE
Ballet- Douglas Becker, Elisabeth Farr, Lise Vachon
Contemporary- Boštjan Antončič, Vittoria De Ferrari Sapetto, Anne Teresa De Keersmaeker, Kathleen Fisher, David Hernandez, Laura Hicks, Diane Madden, Manon Santkin, Alesandra Seutin, Rakesh Sukesh, Ise Verstegen, Samuel Wentz

Also taught in this field (academic year 2022-23):

Laura Aris, Anouk Autphenne, Laura Bachman, Douglas Becker, Elisabeth Farr, David Hernandez, Youness Khoukhou, Diane Madden, Manon Santkin, Jacob Storer, Lise Vachon, David Zambrano

DANCE WORKSHOPS
Repertoire Rosas- Frank Gizycki, Robin Haghi, Laura-Maria Poletti, Clinton Stringer, Thomas Vantuycom, Sue-Yeon Youn

Also taught in this field (academic year 2022-23):
Cynthia Loemij, Laura-Maria Poletti, Clinton Stringer, Sue-Yeon Youn

Repertoire Trisha Brown Dance Company- Kathleen Fisher, Diane Madden, Samuel Wentz,

Improvisation & composition- Jonathan Burrows, Julia Cheng, Seke Chimutengwende, Matteo Matteo Fargion, Paola Madrid

Also taught in this field (academic year 2022-23):

Marie Goudot, David Hernandez, Cynthia Loemij, Diane Madden, Michaël Pomero, David Zambrano

ARTISTIC PRACTICE
Cassiel Gaube, Mette Ingvartsen, Coco Soko Jena, Ophelie Mac, Carolina Mendonça, Haman Mpadire, Nancy Naous, Malik Zaryati
Research week Erasmus+ project

Also taught in this field (academic year 2022-23):

Seppe Baeyens
, Mario Barrantes Espinosa, Margot De Clercq, Ingri Fiksdal, Natasa Frantzi, Noémie Garel, Femke Gyselinck, Mette Ingvartsen, Florence Messina, Ana Pi, Anabel Schellekens, Taka Shamoto, Mariana Slattoy, Fanny Vandesande, Benjamin Vandewalle, Alexander Vantournhout, Myriam Van Imschoot.

THEORY
Dance history- Bojana Cvejić
Writing- Thomas Bîrzan, Bojana Cvejić, Stefa Govaert, Tessa Hall
Critical studies- Maryam Kolly
Philosophy- Stephen Howard
Art history- Robin Vanbesien

Also taught in this field (academic year 2022-23):

Fabian Barba (Critical studies), Thomas Bîrzan (Writing), Bojana Cvejić (Dance history and Writing), Stephen Howard (Philosophy), Maryam Kolly (Critical studies), Robin Vanbesien (Art history), Steven Vromman (Low Impact lecture)


MUSIC
Music analysis - Mattijs Van Damme
Rhythm- Michel Debrulle, Lucas Messier, Sara Tan
Singing: Lucy Grauman, Fabienne Séveillac

Also taught in this field (academic year 2022-23):
Michel Debrulle (Rhythm), Lucy Grauman (Singing), Femke Gyselinck, Hendrik Lasure & Adia Van Heerentals (Music project), Fabienne Séveillac (Singing), Mattijs Van Damme (Music analysis)

THEATRE
Kuno Bakker, Jolente De Keersmaeker, Mokhallad Rasem, Janneke Remmers

Also taught in this field (academic year 2022-23):

Akram Assam, Kuno Bakker, Eva Schram

COACHING, STUDENT CREATION
Christine De Smedt, Femke Gyselinck, Diane Madden, Manon Santkin

Also taught in this field (academic year 2022-23):
Christine De Smedt, Marie Goudot, Femke Gyselinck, Youness Khoukhou, Diane Madden, Manon Santkin, Thomas Vantuycom.



ACCOMPANISTS
Piano- Malik Djouad, Pieter Smout, Wannes Vanderhoeven, Bart Van Bulck
Percussion- Tarang Cissoko, Zouratié Koné, Angelo Moustapha.

Akram Assam

Akram Assam is an Iraqi theater director and performer who lives in Amsterdam. He has worked as a director and performer in the field of theater and he was a member of Iraq's National Theater before moving to Amsterdam to study for his master's degree at Das Theater.

His work is about the effects of war and violence on humans, as well as the consequences for society.‘ My themes are war, violence, and migration: themes that may be big and difficult for those who were born and raised in the safe Netherlands. But for me as an experienced expert, it is very different. They were part of my daily life. I want to start a conversation about this in the Netherlands and let them experience what this means for people who experience this day in and day out. I have been living in Amsterdam for two years now and I am located between the red and green zones. The war is still in me, but I now also know what security feels like. This strange combination is my inspiration.’

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.

Alexander Vantournhout

Alexander Vantournhout (Brussels-based, 1989) studied contemporary dance at P.A.R.T.S. (Performing Arts and Research Training Studios), the school founded by Anne Teresa de Keersmaeker, and single wheel, juggling and dance acrobatics at ESAC (Ecole Supérieure des Arts du Cirque).

Alexander's movement language is influenced by different pedagogical processes and by working across several fields within the arts. Two constants within his artist pursuits are a search for creative and kinetic potential in physicality and an investigation into many aspects of the relationship between performer and object

2014 marks the premiere of his first piece, CAPRICES, a choreographic solo to the music of Sciarrino. ANECKXANDER (2015), a second solo, co-created with Bauke Lievens, won Circus Next award in 2014, the Public and Young Theatre Prize at Theater Aan Zee (Ostend, 2015), was selected for the Aerowaves Network, and was selected for Het Theaterfestival 2016, the prize for the most remarkable Belgian performances.

His first duet RAPHAËL (2017) was co-created with Bauke Lievens in the framework of the research project Between being and imagining: towards a methodology for artistic research in contemporary circus, supported by the research fund of HoGent/KASK School of Arts, Ghent (BE).

In 2018 Alexanders premieres with LA ROSE EN CÉRAMIQUE, a movement solo accompanying the theatrical solo of Scali Delpeyrat at Festival d’Avignon. Soon after follows his first ensemble piece for 4 men, RED HAIRED MEN, which toured around Europe for more than 2 years.

In SCREWS, created in 2019, Vantournhout guides the audience, together with 5 dancer-acrobats, along a route of reverberating micro performances, from short solos and duets to pointed group choreographies. With THROUGH THE GRAPEVINE (2020), Alexander returns to the format of a duet. It’s his first true duet and builds upon the concept of ANECKXANDER (2015) to a certain extent. The body is reintroduced in a highly pure form and the performance delves into the creative, kinetic potential of physical limitations, a theme that is reflected throughout Vantournhout’s complete oeuvre.

Alexander Vantournhout is artist-in-residence in Arts Centre Voo?uit in Ghent and associated artist of le CENTQUATRE Paris and Cirque-théâtre Elbeuf. He is cultural ambassador of the city of Roeselare and is also supported by Fondation BNP Paribas for the development of his projects.

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.

Alva Noë

Ana Pi

Ana Pi is a choreographer and visual artist, researcher in urban dance, extemporary dancer and educator. Her practice is situated among notions of transit, displacement, belonging, overlapping, memory, color and ordinary gestures.

In 2020, she created the structure NA MATA LAB. NoirBLUE—les déplacements d’une danse (2018 – 27 min) is her first documentary and VÓS (2011 – 5 min 30 sec) is her first video essay. In her pieces O BΔNQUETE, COROA, NoirBLUE, DRW2 and Le Tour du Monde des Danses Urbaines en 10 villes, she weaves together choreography, speech and installation. And with CORPO FIRME; danças periféricas, gestos sagrados, she collects and combines practices that she has shared in the form of dance workshops since 2010.

She is now finishing her new creation, The Divine Cypher, a project in Haiti for which she received a fellowship for arts in Latin America from the MoMA (New York) and Cisneros Institute. She is also associated choreographer with the Dancing Museums project in France, and associated artist with the Latitudes Contemporaines production office.

She is developing the choreographic exhibition WOMEN PART 3 in collaboration with Ghyslaine Gau and Annabel Guérédrat, and the installation Rádio Concha with the philosopher Maria Fernanda Novo. Lastly, for RACE, her latest essay combining dance and image, she is working with @FavelinhaDance and Chassol.

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.

Anja Röttgerkamp

Anja Röttgerkamp was born in Wiedenbrück/Germany.
After having finished the Folkwangschule in Essen/Germany (Dir.Pina Bausch) she had her own company and then worked with several different company’s like Gisele Vienne, Marco Berrettini, Raffaella Giordano, Louise Vanneste, etc.
She did two formations in Fascial Release (Fasciatheraphie MDB) and movement analysis in Paris, France and Belgium and a formation for the 'Diplome d'Etat' of teaching in France.
She currently teaches in different schools and organizations throughout Europe, teaching and accompanying company’s in their creative process. Gisele Vienne, Margret Sara Guojonsdotir, Alma Söderberg, Mette Ingvardson, Louise Vannest, Culberg Ballet, ISAC, La Raffinerie, la Cartoucherie (Paris), TNB ( Rennes, France), etc.
In her private treatments she has developed a technique that combines the creative side with the health aspect of moving, by using the natural systems of efficiency in the body (brain/soul) that is often replaced by a way that is too voluntary...... making fun and letting go as a very important motor for our actions and creativity.

Anna Luyten

Anna Luyten is a journalist, philosopher, literary and theatre scholar. She has written for the Flemish newspapers De Morgen and De Standaard and the magazines Knack, Humo and Vrij Nederland (Amsterdam). She interviewed many big names from the art world for TV channel Canvas. For the Flemish-Dutch House deBuren (Brussels) she started in 2010 the project IM (In Memoriam), a multi-year series in which she discusses with a well-known guest how he or she would like to be remembered after death. She is a visiting professor of art philosophy at The School of Arts in Ghent (KASK).

Theo and Anna have never worked together (yet), but know each other from their commitment to the arts in Belgium. They are also both members of the board of directors of Institute for Human Activities (IHA), the production house of the artist Renzo Martens.

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

Antoni Androulakis

Born in Belgium, Antoni Androulakis started dancing at the age of eleven in a private school. Starting off with hip hop and later on discovering contemporary dance, he graduated from the Conservatory of Antwerp - Artesis( Belgium) in 2015 . Being an eager learner made him start another Bachelor in La Manufacture (Switzerland) directed by Thomas Hauert, where he focused on choreographic research as well as creating his own teaching material. Throughout his education, he has created several pieces, and has been a performer for David Zambrano, Sidi Larbi Cherkaoui, Wim Vandekeybus, Agostina d’Alessandro ... These last years, Antoni has worked with Rakesh Sukesh for the creation of the piece «Kurukshetra»( Belgium) and «Marked» from Adam Benjamin (England). He performed in various pieces of contemporary dance, as well as acrobatic circus with Alexander Vantournhout, Jordi L. Vidal, Michelle Cheung & Julie Pecard amongst others. Besides being a performer, he has also been teaching in different countries across Europe and has been the choreographic assistant of the company Cocoon during the creation of «Attaque» .

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.

Axel Guérin

Having discovered a passion for circus art and sport at the age of 12, Axel Guérin began his circus experience with the youth circus Circolito in Mechelen. In 2010, he decided to study in the preparatory Circus school of Bristol “ Circomedia”, where he met Winston Reynolds, who became his acrobatic partner. After spending two years in Bristol they decided to continue studying at the Academy of Circus and Performing Arts (NL). During those four years in Tilburg they started building their career as circus performers, taking as many opportunities as possible to be on stage. They also joined a lot of Dance workshops to gain the mobility and smoothness they needed.
Since his graduation in 2016, Axel worked in many different projects and for different companies, among them: Pirates of the Carabina, Family trees, Florentina Holzinger, not standing,…
Since 2016, Axel is regularly working with the company “not standing” (Alexander Vantournhout) . Currently he is performing with their latest shows “ Through the Grapevine”, and “SCREWS”. The company started a new creation, in which he will also play a part.
Beside performing, he also organizes dance and acrobatic workshops.

Benjamin Vandewalle

Benjamin Vandewalle studied at the Royal Ballet School of Antwerp and graduated at P.A.R.T.S. in Brussels in 2006. Since early on, the central theme in his work is perception. He creates movement – not only in the performer’s body but also in the spectator’s. His work is about sharing new experiences and perspectives with a large audience .

For the performances Birdwatching (2009) and One/Zero (2011), he worked closely with visual artist and scenographer Erki De Vries. In 2012, he stepped out of the black box into the public space. His mobile performance Birdwatching 4x4 was a festival favorite amongst audience and critics and toured for several seasons. Later on, he created new works for the black box such as Point of view (2013) and Common ground with platform-K (2018) which got selected for the theaterfestival. Another work that he created worth mentioning is HEAR (2016) which is a sound choreography performed by a choir of 30 volunteers for a blind folded audience. At this moment Benjamin is touring with his traveling art-fair called Studio Cité (2019) which is a collection of 8 performative installations for the public space which he has been creating the past 6 years.

Benjamin Vandewalle is interested in dance education and is a dedicated teacher for children, amateurs, students as well as professionals. He was guest teacher at the KASK and MUDA and also created a guest choreography for Passerelle (Kortrijk, BE). He collaborated with the dance school Nyakaza in South Africa, launched the project Comfusao in Mozambique and accompanied on two occasions a group of P.A.R.T.S. dance students during an exchange project in Senegal. Together with philosopher Jan Knops and a group of school children from Molenbeek (Brussels) he made the documentaries (un)usual and Movements.

Benjamin Vandewalle is Artist in Residence at Kaaitheater from 2017 to 2021.

Bertrand Saky Tchébé

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

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

Bojana Cvejić

Bojana Cvejić’s work spans philosophy, performance practice and theory and dance. She studied musicology (BA, MA, University of Arts, Belgrade) and philosophy from which she received a PhD at Centre for Research in Modern European Philosophy in London. Cvejić has made more than twenty theater and dance performances since 1996 as (co)director (five experimental opera stagings, performances with Jan Ritsema) or dramaturg (in choreographies by among others Xavier Le Roy, Eszter Salamon, Mette Ingvartsen, Anne Teresa De Keersmaeker). Cvejić is author of several books, most recently Choreographing Problems: Expressive Concepts in Contemporary Dance and Performance (Palgrave Macmillan, 2015, available in Slovene and Hebrew too), Public Sphere by Performance, (co-written with A. Vujanović, Bbooks, 2012) and Drumming&Rain: A Choreographer’s Score (co-authored with A. T. De Keersmaeker, Mercatorfonds 2013; third volume of A Choreographer’s Score, available in French too). She has made two videos “… in a non-wimpy way” (with Steve Paxton) and “Yvonne Rainer’s WAR” (co-authored with L. Laberenz). She teaches at contemporary dance school P.A.R.T.S. in Brussels since 2002, and is Professor of Dance and Dance Theory at the Oslo National Academy of the Arts KHIO since 2017 and Guest Professor of Philosophy of Art at FMK Belgrade since 2016. As a co-founding member of TkH/Walking Theory editorial collective (2001-16), Cvejić engages theoretical-artistic research projects, currently an investigation of performance of the self and transindividuality (in collaboration with A. Vujanović and M. Popivoda). In 2013, Cvejić curated the exhibition Danse-Guerre at Musée de la danse, Rennes (in collaboration with C. Costinas). In 2014, she devised a choreography and lecture program titled Spatial Confessions for Tate Modern’s Turbine Hall. Her areas of interest include expressionism in Western (continental) philosophy, social choreography, critique of individualism, rhythms of intensified work, and contemporary performance poetics.

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.

Boštjan Antončič

Boštjan Antončič (1980, Slovenia) started dancing in Plesni forum Celje with Goga Stefanovič-Erjavec and continued training at the Salzburg Experimental Academy of Dance, where he danced in projects by Matjaž Farič, Susan Quinn, Mia Lawrence, and Matej Kejžar, and created his own performances.
He taught workshops in Slovenia and around Europe, and was a faculty member at the High School for Contemporary Dance in Slovenia and SEAD in Salzburg.
In 2005, he joined Rosas. He danced in many productions, including D’un soir un jour (2006), Bartók/Beethoven/Schönberg—Repertory Evening (2007), Steve Reich Evening (2007), Zeitung(2008), The Song (2009), En Atendant (2010), Cesena (2011), Drumming, Vortex Temporum (2013),Work/Travail/Arbeid (2015), Mitten wir im Leben sind/Bach6Cellosuiten (2017) and The Six Brandenburg Concertos (2018). He also participates in the (re) staging of Anne Teresa De Keersmaeker’s work, including Così fan tutte at the Paris Opera in 2017. Recently, he danced in the museum projects of the Dark Red series, the revival of En Atendant (2022), and Forêt(2022).

Carly Wijs

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

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

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

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

Cassandre Cantillon

Cassandre Cantillon started dancing at the age of 6, training in various dance schools in Brussels.
She entered P.A.R.T.S. in 2016 from which she graduated in July 2019.
As a performer, Cassandre has been working with Rosas ("Bartok", "Drumming"), Michèle Anne de Mey ("Sinfonia Eroica"), Anton Lachky ("Absurd"), Fatou Traoré, Jean-Michèle Van Den Eynde and more.

In parallel to her work as a performer, she is involved in the developing and sharing of her own practice through workshops in Brussels, London, Stockholm, Ghent,...

Cassandre is also a certified yoga teacher in Vinyasa and Ashtanga yoga (200h).

Cassiel Gaube

Cassiel Gaube (1994, BE) is a dancer and choreographer who graduated in 2016 from the Performing Arts, Research and Training Studios (P.A.R.T.S.) in Brussels. As a performer, he collaborated with choreographer Benjamin Vandewalle for his creations Walking the Line and Framing the Circle, as well as visual artist Fabrice Samyn and choreographer Manon Santkin for the performance A Breath Cycle. In 2017, he is granted the Belgian VOCATIO fund to enable him to develop his own work as a choreographer.

Over the past 2 years and a half, Cassiel mainly dedicated himself to learning and practicing House dance, in Paris' and New York's lively club scenes. He is currently developing his work at the intersection of contemporary dance and Hip hop and Clubbing dances. He sees this undertaking as the work of sensibly navigating these buoyant ecosystems of practices, of experimenting with the forms which inhabit them and of imagining new ones.

Cassiel recently created the solo Farmer Train Swirl - Étude, an embodied and subjective investigation of the field of House dance. The piece premiered during the End of Winter Festival at Kunstencentrum BUDA (Kortrijk) in February 2019. It has since then been shown in theater and museum spaces, as well as in club situations. He's currently developing a collaboration with the Brussels & Berlin based record label Ensemble.

He is artist-in-residence in 2019 at La Ménagerie de Verre in Paris. In this context, he will create the piece Trails & Grooves, which will prolong and expand the research started in the solo.

As a teacher, Cassiel is regularly invited to give professional trainings and workshops, in dance studios such as DansCentrumJette, La Raffinerie, P.A.R.T.S. SummerSchool in Brussels and La Ménagerie de Verre in Paris.

Charlotte Vanden Eynde

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

Chloe Chignell

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 Meierhans

°1977, Geneva, Switzerland, lives and works in Brussels.

Christophe Meierhans was trained as a composer at the Amsterdam Conservatory and at the University of the Arts in Berlin, before he rapidly drifted towards performance and theatre. His first productions — realised mostly with the C&H collective from 2002 until 2011 — were essentially dedicated to a deconstructing and reconstructing of the basic social mechanisms which turn a person into a spectator (Bühnenstück, 2005, Konspiration, 2006). The collective then turned towards a practice of interventions in the public domain with Postcards from the Future, which was developed between 2007 and 2011 in different cities (Geneva - Points d'Impact festival, Leuven - Playgroundfestival, and Metz - Centre Pompidou) and culminated in 2010-2011 with a series of performances involving 9 different populations of the city of Brussels.

Since 2013, Christophe develops an politically engaged and often participatory theatre, either on his own, as with the constitutional rewriting project Some use for your broken clay pots or the anarchist cooking show Verein zur Aufhebung des Notwendigen - a hundred wars to world peace, or in collaboration with other artists such as Luigi Coppola, with Fondo Speculativo di Provvidenza, a monetary dispositive aiming at turning a festival audience into a political community, or Ant Hampton, with THE THING an entirely automated 16 hour workshop-performance. His latest creation, Trials of Money, turns the theatre into a court of justice prosecuting semi-humans.

Since 2019, Christophe Meierhans has put his artistic practice in service of the ecological cause of the civil disobedience movement Extinction Rebellion. Christophe Meierhans is artist-in-residence at the Kaaitheater in Brussels for the 2017-2022 period and was associated artist to the Nouveau Theatre de Montreuil, Paris, from 2015 until 2017.

www.contrepied.de

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. 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 and Bitches Brew. In 2011 and 2014, he was involved in the re-staging of Rain at the Opéra de Paris. Freelance dance projects include Dancesmith (2013) with Mark Lorimer and Cynthia Loemij; Volcano (2014) and You Can’t Take it With You (2017) with Liz Kinoshita; and Gerhard Richter (2017) with Mårten Spångberg. Clinton has also taught technique and Rosas masterclasses at P.A.R.T.S., the Opera de Lyon, the Opéra de Paris, the Danish National School of Performing Arts and the University of the Arts (Philadelphia). In 2019, he became Associate Choreographer of the West Side Story revival on Broadway, assisting choreographer, Anne Teresa de Keersmaeker during the audition and creation process.
He is currently rehearsal director for the 2023 creation of Rosas.

Cynthia Loemij

Cynthia Loemij was born in Brielle in the Netherlands in 1969. She took a teacher-training course at the Rotterdam dance academy, where she obtained her diploma in 1991. Since then she has been a member of the full-time core of Rosas. She was involved in the creation of ERTS, Mozart/Concert Arias- un moto di gioia, Amor constante más allá de la muerte, Verklärte Nacht, Woud, Just Before, Drumming, Quartett (a duet with Frank Vercruyssen), In Real Time, Rain and Small hands (a duet with Anne Teresa De Keersmaeker), April me, Repertory Evening, Bitches Brew / Tacoma Narrows, Kassandra, the revival of Mozart / Concert Arias, Raga for the Rainy season / A Love Supreme, D'un soir un jour, Bartók / Beethoven / Schönberg Repertory Evening, Steve Reich Evening, Zeitung, En Atendant, Vortex Temporum, Work/Travail/Arbeid, The Six Brandenburg Concertos and Così fan tutte. She danced in the revivals Achterland, Rosas danst Rosas, Elena’s Aria, Mikrokosmos and Drumming, and in the opera Bluebeard’s Castle and in the film versions of Achterlandand Rosas danst Rosas. In 2006 she took part in Nusch, a play by theater company Stan. In 2009 she danced the duet Prélude à la Mer with Mark Lorimer, in the film of the same title by Thierry De Mey. She appeared in Kris Verdonck’s End and collaborated with Manon de Boer on the installations Dissonant and Mirror Modulation. With David Zambrano she created a duet, as part of the performance Holes. Cynthia Loemij taught at P.A.R.T.S. (Brussels), the Panetta Movement Centre and Movement Research (New York), Dance Works (Rotterdam) for the opéra Garnier (retake of Rain) and the Lisbon ballet. In 2011 she founded the company OVAAL with Mark Lorimer, and created the performance To Intimate and Dancesmith – Camel, Weasel, Whale.

Daniel Blanga-Gubbay

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

Daniel Linehan

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

David Hernandez

David Hernandez was born in Miami, Florida where he studied 'studio music & jazz’ and opera at the University of Miami and dance at 'New World School of the Arts’. Subsequently he moved to New York to work as an apprentice with the Trisha Brown Dance Company and began 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.

Delphine Hesters

Delphine Hesters (1982) is a sociologist and works as a researcher, facilitator and advisor for organisations and policy makers in culture (e.g. for the Antwerp Conservatory, IETM and the Network of Architects in Flanders NAV). From 2011 to 2019, she worked at the Flemish Theatre Institute (VTi) and Flanders Arts Institute (Kunstenpunt), as head of performing arts, policy expert and in research and development. Over the past ten years Delphine has conducted research on topics such as the precarious position of artists, careers of contemporary dancers, fair practice, diversity and gender inequality in the arts.

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. She created roles in Son of Gone Fishin' (1981), Brown's masterpiece Set and Reset (1983), Lateral Pass (1985), Newark (1987), Astral Convertible (1989) for which she received a Bessie Award, Foray Forêt (1990), For M.G.: The Movie (1991), M.O. (1995), Twelve Ton Rose (1996), L'Orfeo (1998), the Interlude solos Rage and Ladder in El Trilogy (2000) and many other choreographies.
The New York Times praised her as “one of those dancers who can make magic out of almost any task.” Madden was Trisha Brown's personal assistant and rehearsal director from 1984 to 2000, and from 2010 to 2013. In 2014 she became Associate Artistic Director until August 2019 at which time she took her current full-time position with PARTS and Rosas. Now as the Trisha Brown Company Artistic Consultant she continues to reconstruct choreographies for performance as well as assist with the company archive. Madden has developed an approach to teaching dance that combines anatomically grounded technique with improvisation, composition and performance skills. In addition to her own performance work in collaborative improvisational forms, she is greatly influenced by her study and practice of Aikido with Fuminori Onuma. Madden received two Princess Grace Awards, the first in 1986 and the second for sustained achievement in 1994.

Diane Madden

Since 1980, Diane Madden has danced, directed, taught, studied and reconstructed Trisha Brown’s work.

She originated many roles in Brown’s work, and was awarded a New York Dance and Performance “Bessie” Award for Astral Convertible (1989). In 2012 NYC’s Movement Research honored her, along with the original cast, for Brown’s Set and Reset (1983), collaboration with Rauschenberg and Laurie Anderson.

Madden was Company Rehearsal Director from 1984-2000 then taught and directed special projects for the Company before serving again as Rehearsal Director from 2010 until 2013, when she was named Associate Artistic Director.

In 2019 she moved to Brussels to fulfill P.A.R.T.S. teaching and tutor positions and continues to serve the Trisha Brown Company as Artistic Consultant.

In addition to her own performance work in solo and collaborative improvisational forms, Madden has enjoyed working with choreographers Jerome Bel, Lance Gries, Juliette Mapp, Polly Motley, Vicky Shick and Cathy Weis.

She is greatly influenced by her study and practice of Aikido with Fuminori Onuma and very excited to begin a two year training with Anja Röttgerkamp in Fascia Therapy.

Diederik Peeters

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

Dominique Willaert

Dominique Willaert is leading Victoria Deluxe – a community arts center based in Gent. He was trained as a psychotherapist and counsellor and is producing now stage performances and audiovisual productions with different various unheard and precarious population groups. He is also an active member of Hart boven Hard, a well-known citizen’s movement in Flanders.

Theo and Dominique met in 2008, when they were both members of the Arts Advisory Commission, which directs the process of evaluating grant applicants for the Flemish Minister of Culture.

Douglas Becker

Douglas Becker, based in Brussels Belgium, is a performance artist, choreographer and pedagogue working at the boundaries between ballet and contemporary dance. His area of expertise and research engage with the sharing and transmission of embodied knowledge in ballet, and the investigation of new forms and new ways of inclusively thinking about dance and dancing.

A former dancer with the Joffrey Ballet in New York City, The National Ballet of Canada, the Dallas Ballet under the direction of Fleming Flindt, and a principal artist with the Frankfurt Ballet under the direction of William Forsythe, for which he has reconstructed numerous works worldwide for professional companies, festivals and institutions. In ballet he studied extensively with Rudolph Nureyev, Erik Bruhn, Melissa Hayden, Maggie Black, David Howard, Marjorie Mussman and Fleming Flindt, consequently embodying an expansive knowledge of ballet, composition, repertory and improvisation.

His choreography has been featured on the stages of Belgium's Royal Flemish Theatre, Switzerland's Grand Théâtre de Genève, and the Choreographic Centers of Grenoble and Nancy in France, and he is a visiting faculty member of P.A.R.T.S. School Brussels, The Royal Conservatoire of Dance Antwerp, New York University Tisch School of the Arts, and The National Conservatories Superior of Paris and Lyon among many others.

Since 2010, Douglas Becker is adjunct professor at The University of the Arts Philadelphia where his responsibilities include teaching, staging, mentoring and advising both at the Bachelor of Fine Arts level and in the Master of Fine Arts program. He is also notably curator and coordinator of the school of dance’s European Abroad winter program on an annual basis.

Ecole des Sables

Founded by Germaine Acogny & Helmut Vogt in 1998, Jant-Bi / l'Ecole des Sables, an international centre for Traditional and Contemporary African Dance, aims at the professional training of African dancers and the development and promotion of contemporary African dance.

The Ecole des Sables is, at the same time, a school of theoretical and practical teaching, a research laboratory, a place for meetings and exchanges, conferences and artistic residencies, under the artistic direction of Alesandra Seutin and Wesley Ruzibiza.

Edivaldo Ernesto

Improvisation Expert/Teacher/Choreographer. Born in Maputo (Mozambique). Based in Berlin since 2007.

Edivaldo Ernesto began to dance in 1997 with the Tsemba dance group, where he learned Mozambican traditional dance for 4 years. In 2001, he was invited to be a member of Ussoforal, a western African traditional dance group. In 2003, he founded Escultutras Humanas, a company where he began contemporary dance. That same year, he was accepted for a choreographic development project, a six months training program organized by CulturArte (Maputo-Mozambique) and Dancas Na Cidades (Lisbon-Portugal). Through this program he attended several workshops with Boyzie Cekwana and Desire Davids (South Africa), David Zambrano and Mat Voorter (Venezuela-Holland). In 2005, he won a DanceWEB Scholarship for five weeks at ImPulsTanz, Vienna International Dance Festival, Austria.

For more than 15 years Edivaldo Ernesto has worked with David Zambrano in Duet improvisations performance, Creations/ Teaching and touring across the world. He performed: “twelve flies went out at noon”, “Soul Project” , ”SHOCK” and “land in love”. In 2010, he participated as an assistant of David Zambrano in the 50 Days program San Jose, Costa Rica, directed by David Zambrano. He has taught as assistant of David Zambrano at ImPulsTanz Festival, Vienna (2011-2014); DansCentrum Jette, Brussels, Belgium; FUZIONI Improvisation Festival, Italy; EX>IN series,2014- 2016- 2018. He was invited to P.A.R.T.S dance school as assistant of David Zambrano and coached the Passing Through technique in 2008 in Brussels, Belgium.

Edivaldo Ernesto is also a former member of Sasha Waltz and Guests company. (2007-2014). He has worked with Sasha Waltz since 2007 as guest, and since 2008 he was a permanent ensemble member of Sasha Waltz & Guests. He performed Repertory and new Productions works: “Travelogue- Twenty to eight”, “Jagden und Formen”, “Continu”, “Metamorphoses”, “Passion”, “Gefaltet”, "Sacre" , and Rauschen in 2019 and also part of the various Dialogue-project by Sasha Waltz.

In 2013 the organizers of the UM:LAUT series Berlin, Radialsystem organized the first concert between innovative German Pianist Hauschka and Edivaldo Ernesto. Touring Europe and Germany. In 2015, he premiered his first choreographic solo “Tears” touring Europe, Asia, and South-America. In 2017, he also collaborated with director and choreographer Linda Kapetanea in duet choreography “Half the Truth” for Rootlessroot company. In 2020, Edivaldo Ernesto directed a solo choreography “Enchant”, performed by Rosario Ordeñez.

Eleanor Ivory Weber

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

Elisabeth Farr

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

Elisabeth Flynn

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

Emmi Väisänen

Emmi is a contemporary dancer currently based in Brussels, Belgium. She studied dance at Turku Conservatory in Finland and S.E.A.D (Salzburg Experimental Academy of Dance), Austria. After graduating, she has collaborated with choreographers such as Alexandra Waierstall, Julia Schwarzbach, Rakesh Sukesh, Kinga Jaczewska and Alice Van der Wielen-Honinckx. The past years she has worked intensively in several creations with two companies: as a performer and collaborator with ECCE/Claire Croizé & Etienne Guilloteau and with not standing/ Alexander Vantournhout as a performer and research collaborator. She has previously taught contemporary dance workshops alone for professionals and amateurs and partnering workshops together with Alexander Vantournhout.

Eoghan O’Kelly

Eoghan O’Kelly is a Strength and Conditioning Coach certified by the National Strength and Conditioning Association of America, the leading certification for Physical Training and the only one recognized by professional sports teams.
Eoghan has worked with athletes in every aspect of development from youth to Division 1 college and from professional to Olympic. He now works privately with clients and owns and runs a studio in Northern Manhattan called Hanuman Health Club, many are dancers are amongst the membership ranks.

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.

Eroca Nicols

Eroca Nicols is currently known as a dancer/choreographer/teacher/spiritual support guy, but their multiplitous practice stems from their family of semi-mystical nomadic trailer people, years working as a janitor, and a BFA in video/performance art and sculpture from California College of the Arts (formerly and Crafts.) The teaching, dancing and training they do are deeply influenced by ongoing study of ritual, biomechanics, community care/disruption and Brazilian Jiu Jitsu.

In non pandi times, they teach and perform all over the world at various festivals and institutions including regularly at ImpulsTANZ, at The School for New Dance Development in Amsterdam, at the Stockholm University of the Arts, and at Studio 303 in Montreal. Eroca is a Chalmers Research Fellow (2014,15), investigating death, ritual and performance with healers and conveners around the globe.

Since pandi and global anti black uprising times they have been residing in Toronto, Canada talking about death and grief on the internet (femmeditation, @therealerocanicols,) engaged deeply in interpersonal negotiations around daily life and racism and anti racism, and learning to lift heavy things in a friend’s garage with a small pod of lovers and friends.

Esse Vanderbruggen

Esse Vanderbruggen started her professional dance education in 2003 at the Royal Balletschool of Flanders, continued at De! Kunsthumaniora Antwerp, CODARTS Rotterdam and finally graduated in 2012 at P.A.R.T.S. in Brussels. Since 2014 she is based in Brussels where she continues her work as a freelance dancer/performer with a.o. Kubilai Khan Investigations (FR, "Biensûr les choses Tournent mal"), Vera Tussing, Compagnie Monica ("Glimps in Turbid Water"), Benjamin Vandewalle, Isabella Soupart and Sam Touzani ("c’est ici que le jour se lève"). Esse is the main collaborator in this project and will be involved in movement research and contextual research, in the outreach work as well as co-running workshops.

Etienne Guilloteau

Etienne Guilloteau was born in 1976 in Poitiers, France. After a couple of years at the conservatory of Poitiers, he joined P.A.R.T.S. in 1998, and finished his studies in 2002 with the solo Love me two times, which toured internationally. He immediately started his collaboration with wp Zimmer in Antwerp, where he made the duets Skènè (2004), with Claire Croizé, and La Magnificenza (2006), performed with dancer Vincent Dunoyer and with Hans Meijer, who would become his regular light designer.

Etienne likes to question the interaction of the various elements that compose theatre performance and representation, trying to grasp the chemistry that transforms those elements into possible narration, meaning, evocation, remembrance. In 2008, Étienne created two “études”: Prima dell’atto, a piece for children on Debussy’s music presented during the Krokus festival in Hasselt, and DAAD, a solo on music by John Cage (“Experiences”) shown during “Hit the stage” at Monty (Antwerp) in 2009. During the 2010 Kunstenfestivaldesarts, he premiered Tres Scripturae, a piece for three dancers, a pianist (Alain Franco) and a light technician (Hans Meijer). In 2013 he created The Gyres , commissioned by the TDT (Toronto Dance Theater); his love duet Synopsis of a Battle (2013); and Feu (2015), a solo for the talented Argentinian dancer Cecilia Lisa Eliceche with live music by the electric guitar quartet ZWERM. In November 2015 he was invited by the DIALOGE festival in Salzburg to create Zeit-Bild, a piece for eight dancers from SEAD (Salzburg Experimental Academy of Dance) on live music by the oenm (Österreichisches Ensemble für Neue Musik). For the 2016 production 7 Dialogues by the German ensemble Dance On, Etienne developed a short solo for Ami Shulman. In 2016 he also created a performance with 9 young dancers of esc ungdomskompani, titled The Diamond Sea, which opens Oktoberdans in Bergen.

Between 2017 and 2021 Etienne was an research fellow at theNorwegian Theater Academy/Østfold University (Norway) and was granted a PhD in the Norwegian Artistic Research Program (NARP) with Borders in Representation-Where are we now? Two interconnected performances were created for this research, Retour Amont (2020) and Retour Amont: le rêve (2021) with a strong collaboration with the Belgium contemporary ensemble Ictus.

Together with Claire Croizé they created Mer- (2017) and Pole Reports from Space (2019). Guilloteau is also working as a dramaturge for Croizé’s personal creations for more than 20 years. Together with Nada Gambier they created the company Action Scénique in 2008 that became ECCE in 2017 to focus on their work.

Besides his choreographic work, Etienne danced for several people such as Vincent Dunoyer, Rosas, Charlotte Vanden Eynde and especially Marc Vanrunxt. He also designed the light for several performances such as Once Upon A Time in Petaouchnok by Nada Gambier and Dominos and Butterflies by Busy Rocks.

Eva Schram

Eva Schram is an actress, a writer, a maker. She obtained a Master degree in Roman literature at the RUG in 1994 and a Master degree in the dramatic arts at the Herman Teirlinck Higher Institute in 1999. For her graduation project, she received the award of the IT's festival as best actress with own written material. She was on stage with large and small companies: Toneelhuis, KVS, Theater Zuidpool, DeTijd, Het Paleis, Jan Decorte, Malpertuis, SKAGEN, Hanneke Paauwe, Tristero, Het Gevolg, Sam Bogaerts, LOD, Josse de Pauw, compagnie Marius, Productiehuis Brabant, AbattoirFermé... In recent years she has also started to focus on social-artistic work - Kunst Z,Forsythia, Tutti Fratelli- and teaching. She previously taught at the conservatory of Antwerpand KASK Ghent.

Fabián Barba

Fabián Barba was born in Quito in 1982, where he studied dance and theater, and worked as a professional performer. Parallel to his artistic formation, Fabián followed classes on Communication and Literature. In 2004 he went to Brussels to join P.A.R.T.S. After graduation, he became a founding member of Busy Rocks.

He has created two solo performances: A Mary Wigman Dance Evening (2009) and a personal yet collective history (2012). In collaboration with Mark Franko he worked on Le marbre tremble (2014), with Esteban Donoso on slugs’ garden (2014) and with Marisa Cabal and Tuur Marinus on Uplifting Attractions (2019). He also works as a dancer for Zoo/Thomas Hauert. He has presented his work in places like MoMA (New York), Kaaitheater (Brussels), Frascati (Amsterdam), Dance Umbrella (London), Ignite Dance Festival (New Delhi) and Festival Panorama (Rio de Janeiro). In June 2016 he received his master degree in Autonomous Design in KASK (Ghent) graduating with honors (summa cum laude).

Due to his ongoing research on the legacy of colonialism and dance history, he has been invited to give seminars and workshops in several European countries, the United States, Brazil, Chile and Ecuador. His articles have been published in Dance Research Journal, NDD l’actualité en danse, Etcetera, Documenta and shortly in the Handbook of Danced Reenactment (Oxford University Press, 2017) and Transmissions in Dance (working title) (Palgrave Macmillan, 2017).

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.

Farid Dahdouh-Guebas

Professor Dr. Farid Dahdouh-Guebas is Heading the ULB/VUB Systems Ecology and Resource Management Research Unit and Founding/Managing Director of the Erasmus Mundus excellence Master in Tropical Biodiversity and Ecosystems (TROPIMUNDO). He seeks to understand and predict how and why tropical mangrove vegetation and landscapes change over time. He uses transdisciplinary approaches such as ecological fieldwork, ethnobiology surveys with indigenous peoples, images from space-borne satellites and even historic archive research to understand how the ecosystem functions (health, resilience) and how it should be managed (conservation, restoration, governance). The research is done on spatial scales from case-studies in over 25 different countries to the global level . Farid Dahdouh-Guebas has published over 200 peer-review papers and was awarded several international scientific awards for his research on the science-policy interface.

Faustin Linyekula

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

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

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

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

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

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

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

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

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

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

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

Femke Gyselinck

Femke Gyselinck (b. 1983, Belgium) is a dancer and choreographer. After completing her studies at P.A.R.T.S in 2006, she worked as a freelance dancer with Eleanor Bauer, Andros Zins-Browne and Esther Venrooy, among others. She worked for 9 years as artistic assistant to Anne Teresa De Keersmaeker/Rosas and is part of the faculty of P.A.R.T.S.
In her own work, Femke searches for a dance language that is closely intertwined with music and that combines a bold
performativity combined with a fine form of expressiveness.

- Flamer (2018), duet with her brother Lander, drummer with STUFF. and LABtrio, among others. 

- Lachrimae or Seven Teares (2018), i.c.w. Romina Lischka & the Hathor Consort, with music by John Dowland & Annelies Van Parys 

- L'Echo Du Danube (2018), i.c.w. Romina Lischka & the Hathor Consort, with music by Johannes Schenck 

- Pigmalion (2019), a mini opera, i.c.w. dancers Bryana Fritz & Jasmin Gins Posada, with live music by Apotheosis conducted by Korneel Bernolet 

- ERATO (2019), a short intimate solo, with music by Palmistry, Gwilym Gold and Hiatus Kaiyote 

- Moving Ballads (2020), with music by Hendrik Lasure, performed by performers Bryana Fritz, Hendrik Lasure, Sue-Yeon Youn and Femke herself 

- Letters 2 Dance (2022), a choreographic elaboration of Gymnastics of the Mind (2020), a study inspired by the book ABECEDA (1926). 

- Change of Plans (2023), a musical dance performance co-produced by GRIP and Platform-K, in which Femke shares the stage with dancers Zanne Boon and Oskar Stalpaert and musicians-composers Hendrik Lasure and Adia Vanheerentals. 

- 324 mountains between us (2023): a collaboration with Georgian composer-musician Anushka Chkheidze at the invitation of europalia georgia. 




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.

Fouad Nafili

Fouad Nafili (MA, 1992) began his dance career at an early age with Breaking (breakdancing). He later joined the Conservatory of Music and Choreographic Arts Dar Lbaroud (Salé) before furthering his training in the program 'AL Mokhtabar' with Anania Danse (Marrakech). In 2016, he joined the Training Cycle at P.A.R.T.S. and later the STUDIOS program in 2019 (Brussels).

Fouad has been involved in numerous works, internships, and residences across Morocco, Europe, and the Middle East. He has collaborated with and performed in the works of various artists, including Michel Hallet Eghayan, Taoufiq Izzediou, Isabella Soupart, Faouzi Bensaïdi, Anne Teresa de Keersmaeker, Fanny Brouyaux, Chokri Ben Chikha, Radouan Mriziga, and more.

Currently, Fouad is on tour for the Skatepark piece with Mette Ingvartsen.

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.

Frank GIZYCKI

Frank Gizycki (France, 1993) trained in contemporary dance at the C.N.S.M.D. (Lyon), at Ecole des Sables (Senegal) and at P.A.R.T.S. (Brussel) where he graduated in 2016.
Then, he joined Anne Teresa De Keersmaeker’s company Rosas for the revival of Rain and the exhibition Work/Travail/Arbeid. He carried on working with the company in Zeitigung, Achterland, Bartok/Beethoven/Schönberg and Drumming. He also took part in the creation of The Six Brandenburg Concertos, Dark Red Projects and in Mystery Sonatas/For Rosa.
Since 2022, Frank is collaborating with choreographers such as Jason Respilieux, Baptiste Conte; with visual artist Lore Stessel and Inner Elisabeth Gleditsch, and with musicians Romina Lischka, Veronique Delcambre, Sara Baldini, Gilles Gobert, Jean-Louis Maton.
Frank co-founded ArTerre association in Albi (France) and the Débord&DesRives festival (April 2023) which is an interdisciplinary platform to support local agro-ecological farming and connecting cultural initiatives between urban and rural areas.

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.

Funmi Adewole

Funmi Adewole has a background in media, education, arts development and performance. She started out as a media practitioner in Nigeria and moved into performance on relocating to England in 1994. For several years she toured with Physical/Visual theatre and African dance drama companies. Her credits include performances with Ritual Arts, Horse and Bamboo Mask and Puppetry Company, Artistes-in-Exile, Adzido Pan-African Dance Ensemble, Mushango African dance and Music Company and the Chomondeleys contemporary dance company. She was chair of Association of Dance of the African Diaspora in Britain (ADAD) from 2005 to 2007. In this role she initiated and directed the ADAD Heritage project, which contributed to the documentation of black-led dance companies and choreographers in England between the 1930s and 1990s. She continues to perform as a storyteller. As a dramaturge she works mainly with makers who are interdisciplinary or cross-sectorial in focus. She completed a PhD in Dance Studies at De Montfort University Leicester in 2017. Her thesis is entitled 'British dance and the African Diaspora: The Discourses of Theatrical dance and the art of choreography – 1985 to 2005'. She is now a lecturer in the Dance Department at the same university.

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.

Georg Weinand

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

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

Gerard-Jan Claes

Gerard-Jan Claes (Belgium, 1987) is a filmmaker, lecturer, author, both founder and artistic director of the cinephile platform Sabzian, and co-founder of the independent film distributor Avila. As a filmmaker, he collaborates with Olivia Rochette (Belgium, 1987). Their shared filmography consists of Because We Are Visual (2010), Rain (2012), Grands travaux (2016), and Mitten (2019). Since 2009, the duo provides audiovisual work for choreographer Anne Teresa De Keersmaeker and her dance company Rosas. Claes teaches at P.A.R.T.S. and LUCA School of Arts. You can find more information on their films on their website.

Gilles Polet

Gilles Polet first trained as an actor at the Lemmensinsituut in Leuven before moving to Leeds to study at the Northern School of Contemporary Dance. He graduated from P.A.R.T.S. in Brussels in 2008. Since graduating, his first solo Jack-in-the-Box was performed in Hong Kong, Tehran, Berlin, among other places.
Traveling through Iran, Gilles took a journey of initiation into the world of sufism, which inspired him to create his next solo: SIMURGH: the story of the Conference of Birds, told by a GoGo Dancer.
Gilles has collaborated with Troubleyn/Jan Fabre for 10 years. Among their collaborations were the two re-enactments "This is theatre like it was to be expected and fore-seen" and The "Power of Theatrical Madness" where he played the role of the emperor. He also participated in the creation and performance of Mount Olympus, to glorify the cult of tragedy, a 24-hour performance by Troubleyn/Jan Fabre. In 2018, Gilles focused on his career as a yoga teacher, creating his own outdoor yoga exercise series and app called YOGING.
He came back to the stage in 2021 with Arno Ferrera in CUIR in June 2021, a collaboration that led them to direct a new creation together in 2023: ArMOUR.

When not creating or touring, Gilles Polet is teaching yoga and pilates at Yyoga and Aspria in Brussels.

Goran Sergej Pristas

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

Igor Shyshko

Igor Shyshko (1975, Belarus) studied dance in Minsk from 1993 to 1997, when he joined P.A.R.T.S. contemporary dance school in Brussels.

During his period at P.A.R.T.S., he worked as assistant and trainer for creation of « Drumming » by Anne Teresa De Keersmaeker. Graduated in 2000, he participated in the creation of « Rush » by Akram Khan, and in september, he became a permanent member of Rosas performing in many choreographies of Anne Teresa De Keersmaeker including « Rain », « (But If a Look Should) April Me », « Raga for the Rainy Season / A Love Supreme », « Bitches Brew / Tacoma Narrows », « D’un soir un jour » , « Zeitung » ... He left his full-time position at Rosas after 10 years but continued as freelance.

He danced for Michèle Noiret in 2011 in her piece « Minutes opportunes ».

The following years, he worked with choreographers such as Arco Renz and Marc Vanrunxt with who collaboration became closer recently.

During his search for a personal dance language and choreography, he created « Darling » with Moya Michael and « Precarryus » with Tale Dolven .In 2022 he created “Malus” - dance opera for one dancer and one singer

Still dancing with companies, Igor is currently working on research “ Deconstructivism “and engaged in others collaborations

In addition to his artistic work, Igor has always focused on yoga practice and teaches this discipline, participating and giving workshops.

Ingrid Vranken

Ingrid Vranken (1987) completed a Masters in Theatre Studies at the University of Antwerp and Freie Universität Berlin and a Masters in the Arts at DAS theatre in Amsterdam. From 2012 until 2017, she was the coordinator of the artist-run platform SPIN in Brussels, where she focused on curatorial projects in which our experiences of time and productivity are questioned. During her time at SPIN she worked to create knowledge for and about artist-run organisations and fair practices in the arts, which she put to work as a consultant on the charter for fair practices, Juist is juist, for the flemish artfield. The collaborative project Common Wallet has shaped her daily life since 2018, a life-experiment sharing finances with nine other people, as a way to rethink individual ownership, the commons, precarity and affective relations to money. Currently, Ingrid works as an independent dramaturg, curator and artist, and is a member of FoAM, a transdisciplinary laboratory at the interstices of art, science, nature and everyday life. Her curatorial and artistic practice focuses on enabling a systemic eco-feminist transition in the arts, through engaging with the knowledge and labor of other-than-human beings, and in particular plants. For this, she creates collaborative curatorial frameworks and speculative lecture performances under the umbrella of Rooted Hauntology Lab. Since the spring of 2020, she is part of the multi-voiced curatorial team of wpZimmer, a space for artistic development in Antwerp.

Ise An Verstegen

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

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

Ivana Müller

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

Jakub Truszkowski

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

Jamie Scott

Jamie Scott works as a freelance dancer, teacher and stager in New York City. She began her New York dance career as a member of the Cunningham Repertory Understudy group from 2007-2009, then joined the Merce Cunningham Dance Company until its closure in 2011. In 2012 Jamie was hired to join the Trisha Brown Dance Company and continues to be an active performer and teacher for the company. She has also worked with Daniel Gwirtzman, Kimberly Bartosik, Bill Young, and Liz Gerring. She has taught at Barnard College, University of North Carolina School of the Arts, SUNY Purchase, NYU, the CND Paris, CNDC Angers and leads workshops in the New York area (and remotely!) for the Merce Cunningham Trust and the Trisha Brown Dance Company. In addition, Jamie is a licensed stager for the Merce Cunningham Trust, most recently co-staging Merce’s Scenario on the Lyon Opera Ballet in fall 2019 and for the Trisha Brown Dance Company, most recently co-staging Set and Reset Reset on Candoco Dance Company in London in 2021. She is the recipient of a 2014 Princess Grace Award.

Janet Panetta

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

Janne-Camilla Lyster

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

Jason Respilieux

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

Jeroen Peeters

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

Johanne Saunier

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

Jolente De Keersmaeker

Jolente De Keersmaeker (1967) is a founding member of tg STAN. These past years she co-created and appeared in, among others, Eind Goed al Goed, Het Wijde Land, Bedrog/Trahisons, Nora, The Cherry Orchard, Quoi/Maintenant, Poquelin II and Infidèles. Beside her work with STAN, she's regularly involved in the work of her sister, the choreographer Anne Teresa De Keersmaeker, and of her dance company Rosas. She teaches at the Ghent Conservatory and she regularly gives workshops in Belgium and abroad.

Jonathan Burrows

Jonathan Burrows danced for 13 years with the Royal Ballet, during which time he also performed extensively for renowned experimental choreographer Rosemary Butcher. He has since created an acclaimed body of performance work including The Stop Quartet (1996) and Weak Dance Strong Questions (with Jan Ritsema 2001), as well as his long series of collaborations with composer Matteo Fargion, including Both Sitting Duet (2002), The Quiet Dance (2005), Speaking Dance (2006), Cheap Lecture (2009), The Cow Piece (2009), Body Not Fit For Purpose (2014) and Let us stop this mad rush towards the end (2019). In 2019 he also made his first solo performance Rewriting. Burrows and Fargion are co-produced by PACT Zollverein Essen and Sadler's Wells Theatre London. Burrows is a founder visiting member of faculty at P.A.R.T.S in Brussels and he has been Guest Professor at universities in Berlin, Gent, Giessen, Hamburg and London. His A Choreographer's Handbook has sold over 15,000 copies worldwide and been translated into Bulgarian, Chinese, German, French and Slovenian. Burrows is currently an Associate Professor at the Centre for Dance Research, Coventry University.

Jos Baker

Jos Baker is a choreographer, dancer, teacher, and founder of Trodden Dreams.
He started his dance training at the age of 7 with Oxford Youth Dance and then continued his formal education first at The Laban Center London and then at PARTS in Brussels.
From 2008 to 2014, Jos worked for Peeping Tom as a dancer, actor and collaborator, principally with the productions 32 Rue Vandenbranden [2009] and A Louer [2011]. Since then he worked briefly for DV8 Physical Theatre on the production of John [2014].
Jos’ choreographic work includes Put Out the Flame [2019-20] and The Smallest Little Thing [2019] commissioned by The Hong Kong Arts Festival. His solo work includes Know it all [2019], Of no fixed abode [2017], Creature Man Don’Tell Me [2008], We were youth [2016], Afla [2008],
Feedback [2009]. Jos also directed and performed in Paris Fashion Week to promote Petit Bateau’s Cedric Charlier collection [2014] and has made numerous pieces with students in professional dance training.
On film Jos made several music videos and short films; as a dancer and choreographic assistant to Damien Jalet for Anima [2019], a Thom Yorke project directed by Paul Thomas Andersson. He has also directed the short films The Hole [2021], Shift [2021] and Put Out the Flame [2021]. Other
screen work includes; Forgot to live [2013] by Ay Wing, and Let it Roll [2016] by Mustard Gas and Roses directed by Koen Mortier, and Biegga savkala duoddariid duohken lea soames [2006] by Elle Sofe Henrikseni, and movement direction for Violet Hour [2020] by St Claire and directed by
Tamsin Topolski. In addition to several commercials as both performer and movement director.
He also teaches a wide range of classes and workshops for professional dancers and dance students.

Judith Sánchez Ruíz

Judith Sánchez Ruíz is an independent artist with a rich performing history as a choreographer, performer, and improviser. The Berlin–based director (Havana, Cuba) began her dance studies at the age of 11 at the National School of Arts. Ciudad de la Habana. Cuba. Ms. Sanchez has worked with Sasha Waltz & Guest, (2011-2014); Deborah Hay, (2012); Trisha Brown Dance Company, (2006-2009); DD Dorvillier, (2002, 2019); David Zambrano, (1997), Mal Pelo Company, (1997-1999); and DanzAbierta Company, (1991-1996). She established the JSR Company in NYC in 2010, creating numerous choreographic stage works and Site-Specific projects involving live music with innovative composers and visual artists.

In 2020 she was a guest visiting professor at Weißensee Kunsthochschule, Master Arts Programme "Spatial Strategies". She has been working at the Inter-University Centre for Dance (HZT) Berlin, Bachelor programme - Dance, Context, Choreography since 2019.
JSR has created two classes: Functionality and Perspective in Dance, based on her research in release tech for more than ten years. And Your own God, finding diverse sources of creativity and breaking habits.

She is focusing on writing a book about Improvisation, gathering drawings, process, score, and methodologies. Her choreography doesn't rely on the mechanization or memory of movement but more on ramifications and layering of subjects on a radio, a concept used in her last two more significant pieces, "ENCAJE" (2017) and "My Breast on the table" (2019). Human Casualness and complexity, Improvisation, Community, and activism are an essential part of her work.

Julia Cheng

Julia Cheng is a British born Chinese artist renowned for her extensive work in the dance theatre sector spanning over 15 years.

As a creative director and choreographer, Julia draws from her international training in hip hop, waacking/punking, contemporary dance, theatre studies, martial arts and eastern philosophy. Her technique continues to evolve as she seeks to break boundaries in her works, as seen in her most recent double-bill Brecht & Weill Seven Deadly Sins/Mahoganny Songspiel at Royal Opera House and her choreography work on West End musical revival of Cabaret which premiered in Dec 2021.

Her work has been presented at distinguished venues such as The Institute of Contemporary Art, London Jazz Festival, Roundhouse, Sadler’s Wells, V&A museum, Southbank Centre, British Council Cairo amongst many more.

Throughout her career, Julia has developed cross-collaborative works & commissions with artists spanning contemporary dance, music, visual art and poetry to critical acclaim. This in turn led Julia to establish House of Absolute in 2014, a celebrated multidisciplinary performance company who are Philharmonia Orchestra Artist in Residence 2021/2022.

Julia has a passion to give back to the next generation of artists with her work as a mentor for the biggest UK Hip Hop Festival, Breakin’ Convention & BBC Young Dancer and as a patron of Next Generation Youth Theatre in her hometown Luton.

Kaja Farszky

Kaja Farszky (born in Zagreb, based in Brussels) is a versatile percussionist who is active as a soloist but also collaborates with different chamber ensembles, orchestras, artists from different fields such as dance, theatre, and visual arts.

As a player dedicated to performing contemporary music as well as an improviser, her life is marked strongly through work with composers and being involved in creations on a regular basis. Her approach to music performance is characterized by inspiring energy, but also by a clearly defined extramusical dramaturgical concept, carefully thought through. She dedicates equal attention to the visual elements as well as elements of the scene and her performances are filled by a powerful artistic personality, both in the classical music performances and in the most challenging pieces of contemporary music literature. She is an active musician in classical, contemporary, improvisation and music-theatre scene, as well as the author of individual works and projects. Her musical life is largely marked by many guest performances in Europe and worldwide. Having percussion instruments as a mode for expressing herself, she feels there are no limits in questioning what can be an instrument or which sounds are considered music, there's only the question of what to do with a particular sound in a particular moment. Kaja believes that percussion music at its best reveals and amplifies something fundamental about the composers and performers who engage in it.

Since 2017 Kaja is marimba one™ Discovery Artist and co-artistic director of collective Down the Rabbit Hole.

Karen Verlinden

Karen Verlinden obtained a Master’s degrees in Linguistics and Literature (Spanish and Dutch) and in Cultural Studies (2011). She worked as a production manager at STUK, Het Theaterfestival, with artist Kris Verdonck and at Beursschouwburg. In 2014 she started working as a production manager at Hiros, eventually taking on the artistic coordination of the organisation. Hiros supports artists in the sustainable development of their careers in the performing arts. Today she is Project Coordinator of Perform Europe, an EU funded project with the aim of making the touring of performing arts more balanced, sustainable, and inclusive.

Kathleen Fisher

Kathleen brings her experience as a performer, improviser, artistic collaborator, ocean guide, and manual therapist, to her teaching. With Trisha Brown from 1992-2002, she was an original cast member in six choreographies and one opera, and danced extensive solo and ensemble repertory. She collaborated in creating and performing Bessie award winning Landing/Place with Bebe Miller Company, and in works with Jane Comfort and Company, as well as forays into theater and film. Re-staging and re-imagining projects for TBDC include CNSMD de Paris, CNSMD de Lyon, CND Angers, PARTS, En-Knap Group, Ballet de Lorraine, and the Lyon Opera Ballet, among others. Since meeting wild dolphins in their natural ocean habitat in 2003, Kathleen has explored and developed underwater movement relationships with wild dolphins and other sea creatures. She is dedicated to long-term respectful interspecific communication and interaction, founded in mutual choice. Kathleen is currently based in Bimini, Bahamas, while internationally she continues her professional dance activities.

Kirstie Simson

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

Kopano Maroga

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

Kristien Van den Brande

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

Kristof Van Baarle

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

Laia Puig Escandell

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

Laura Aris

Laura Aris is a performer, choreographer and recognised international dance teacher.
Currently she is working as a freelance artist developing her own creative practices, leading commissioned works, creating several solo works and many collaborative performances.
Her performing experience includes a decade as a formal member of the renowned Belgium company Ultima Vez /Wim Vandekeybus (1999-2008). Previously she worked with Lanònima Imperial and she was associated to General Elèctrica artists collective in Barcelona (1996-1999). She co-created Ember artistic platform with Jorge Jáuregui (2009-2014). Laura has been movement assistant for several collaborations between Ivo Van Hove and Wim Vandekeybus (2017/2019).

Laura Bachman

Laura Bachman (France, 1994) studied ballet at the Paris Opera ballet school from 2005 to 2011, before becoming a member of the Paris Opera Ballet in August 2011. With the company, she performed in classical ballet productions such as La Bayadère, Giselle or Sleeping Beauty and worked with many choreographers, performing in pieces from Wayne Mcgregor, Benjamin Millepied, John Neumeier, Pina Bausch and more.
Laura has worked with LA Dance Project, Benjamin Millepied's company, for a few months in 2016, before joining Anne Teresa de Keersmaeker/Rosas, in August 2016. She performed in many repertory pieces such as Rain, Rosas danst Rosas or Fase, touring around the globe.
As a freelancer, she worked as a choreographer on Wes Anderson’s last film The French Dispatch, as well as acted and choreographed for Niels Schneider’s short film. She works regularly for Boris Charmatz and has performed with the Tanztheater Wuppertal Pina Bausch in The piece with the boat, a piece by Pina Bausch.
In 2020, She starts to develop her own work and directs her first short film, Chimera, followed by the creation of a short performance surrounding the film. She premiered her first full evening length piece Ne me touchez pas in 2023.

Laura Hicks

Laura Hicks (1979) is a Canadian dance artist living in Frankfurt am Main, working in performance, choreography, and education.

Her choreographic practice is an exploration of kinaesthetic states, affects and intensities that are explored through improvisation.

She is inspired by connections and inconsistencies, liveliness and complexity of meaning and humour. She creates work independently and also as part of the collaborative duos Hicks&Bühler, and Hicks and Reynolds.

As a teacher her work is infused by a study of anatomical principals, biomechanics and Somatics and long study and practice of improvisation and contact improvisation.

She was recently a temporary professor of Scenic Body work at the Frankfurt University of Music and Performing Arts where she continues to teach as a guest lecturer in the Dance Department for Applied Anatomy for Dancers, and Contact Improvisation. She holds a masters in Contemporary Dance Education (MACoDE) and a Bachelor’s in International Development Studies and Comparative Politics.

Laura Maria Poletti

Laura Maria Poletti (France, 1992), started her professional dance education in 2009 at the Paris National Conservatoire (CNSMDP), while simultaneously studying English literature at the University Paris Diderot. In 2013, Laura Maria joined the Training Cycle of P.A.R.T.S (Brussels), where she graduated in June 2016. During the fall of 2014, she performed Spanish Dance with the Trisha Brown Dance Company in Leuven. She worked again under the direction of Diane Madden and Carolyn Lucas as an intern for the repertory performances of the Trisha Brown company in BAM in January 2016. She was part of a group of P.A.R.T.S students who collaborated on the creation Dawn with the choreographer Mårten Spångberg, which premiered at Impulstanz (Vienna) in July 2016. She joined Rosas in 2016 for the revival of Rain.

Leah Ives

Leah Ives holds a BFA in dance from the University of Michigan. She joined the Trisha Brown Dance Company in 2014 and since has performed a total of 20 pieces of repertory. Her time with the company has included staging Set and Reset/Reset on the students of Purchase College and the Venice Biennale College Danza as well as working with filmmaker Thierry De Mey on his installation Solid Traces, which transformed a section of Set and Reset into a solid sculpture. Other work has included Anne Teresa De Keersmaeker's West Side Story development lab, The A.O Movement Collective's Barrish and Etle and the Anders, and Noah Baumbach's Francis Ha, choreographed by The Median Movement (Alex Springer and Xan Burley). Leah's also worked with Elizabeth Dishman, Megan Chu, The Leopold Group, Peter Sparling Dance Company, Kim Brandt, and co-led creative workshops for incarcerated women with Avodah Dance. Leah is also a licensed massage therapist and spends much of her time complaining about plastic or cooking at home.

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.

Ligia Lewis

Ligia Lewis is a choreographer and dancer. Through choreography, she develops expressive concepts that give form to movements, speech, affects, thoughts, relations, utterances, and the bodies that hold them. Her choreographic work slides between the familiar and the unfamiliar. Held together by the logic of interdependence, disorder, and play, she creates space for the emergent and the indeterminate while tending to the mundane. The body, in and through embodied practice, meets sonic and visual metaphors materializing the enigmatic, the poetic, and the dissonant in her work.

Lise Vachon

Lise Vachon is currently living in Belgium where she is active in the field of contemporary dance. Originally from Canada she studied dance at l’École Supérieure de Danse du Québec / Les Grands Ballets de Montréal and is a graduate of The School of Toronto Dance Theatre. In 1997 she moved to Brussels to study at PARTS and graduated in 2000. Her professional career has since led her to work as a dancer with Arco Renz, Michèle Noiret, Dominique Duszynski, Fré Werbrouck, as well as currently with Marc Vanrunxt as an active member in Kunst/Werk . She has worked with several choreographers as assistant or rehearsal director notably with Anne Teresa de Keersmaeker/ Rosas.

As a choreographer, she has created and performed internationally her own productions including a solo, entitled bliss and the duets Sliding and Zones, as well as commissions for theatre productions or for professional dance schools. She has worked at PARTS since 2014 as pedagogical co-coordinator and tutor and is a current faculty member. She has developed her teaching practice in various schools, studios or dance companies in Belgium and Canada. She is also a teacher and advisor for the Rosas program Dancing Kids. In parallel, Lise has worked on several occasions as choreographic or staging assistant for Opera productions created at La Monnaie /De Munt or staged at L’Opera de Paris, and Teatro alla Scala in Milan.

Liz Kinoshita

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

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

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

Luanda Casella

Luanda Casella is a writer and performer trying to rescue the art of storytelling from its
mediatized doomed destiny. Her research focuses broadly on the role of literature in the
development of critical thinking; the ways in which individuals relate to narratives to create a
sense of identity, to form their opinion of the world and ultimately protect themselves. By
examining rhetorical concepts through humor, her work exposes language constructions,
exploring unreliable narration in fiction and in everyday communicative processes. She’s an
educator within the drama master program at KASK, a house artist at NTGent and an artist
in residency at deSingel. Luanda is currently touring with the theatre piece KillJoy Quiz.

Luc Vaes

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

Lucia Thibault

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

Lucy Grauman

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

Mamadou Baldé

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

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

Manon Santkin

Manon Santkin (1982) lives and works in Brussels.
Within the field of the performing arts, Manon Santkin is active as a dancer, choreographer, artistic advisor, process assistant and writer. She graduated from P.A.R.T.S. in 2004 and completed the Master in News Performative Practices in 2015 at Doch, part of the University of the Arts in Stockholm. She has been collaborating with choreographers Mette Ingvartsen, Salva Sanchis, Sidney Leoni, Eleanor Bauer, Cecilia Lisa Eliceche, Daniel Linehan, Leslie Mannès and Fabrice Samyn a.o.
In her works Manon revisits the notion of 'interpretation' in terms of an ecology of practices and intelligences, self-organization and interactive agencies.

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.

Maria Hassabi

Maria Hassabi (b. Cyprus) is an artist and choreographer working with live performance, installation, sculpture, photography and video. Since the early 2000s she has developed a unique practice involved with the relation of the live body to the still image and to the sculptural object, utilising stillness and the velocity of deceleration as both technique and subject. Her photographic and video works use her live performances as a departure point, while the use of technology is employed to override the limitations that occur within the format of liveness and realness.

Her performances and installations have been presented worldwide in theaters, festivals, museums, galleries and public spaces including the Gropius Bau, Berlin (2019); Serralves Museum, Porto (2019, 2015); MUDAM, Luxemburg (2019); Pulitzer Arts Foundation, St. Louis (2019); Centre Pompidou, Paris (2018); K20, Kunstsammlung Nordrhein-Westfalen, Düsseldorf (2017-18); documeta14, Kassel (2017); Walker Art Center, Minneapolis (2017); OCC STEGI, Athens (2017); Museum of Modern Art, New York (2016); Hammer Museum, Los Angeles (2015); Stedelijk Museum, Amsterdam (2015); The 55th Venice Biennale (2013); Kunstenfestivaldesarts, Brussels (2017, 2016, 2014); ArtSonje, Seoul (2015); Australian Centre for Contemporary Art, Melbourne (2014); steirischer herbst, Graz (2014); Performa, New York (2019, 2014, 2009); Centre d’Art Contemporain, Geneva (2019, 2012); Panorama Festival, Rio de Janeiro (2012); The Kitchen, New York (2019, 2016, 2013, 2011, 2006); Performance Space 122, New York (2007, 2009); Crossing the Line Festival, New York (2016, 2011, 2009) amongst others.

Hassabi has received the 2019 Performa Malcolm McClaren Award; a 2016 New York Dance and Performance “Bessie” Award; 2015 Herb Alpert Award; 2012 President’s Award for Performing Arts from LMCC; 2011 Guggenheim Fellowship; 2009 Grants to Artists Award from Foundation for Contemporary Arts. She holds a BFA from California Institute of the Arts and is an Onassis Decade Resident 2019-2029. She’s based in NYC and Athens, and works internationally.

Marie Goudot

Marie Goudot began her career as a dancer in 1998 with Maurice Béjart, Ballet de Marseille and Alias Company. Since then, she has worked with artists and choreographers including Anne Teresa de Keersmaeker, Russell Maliphant, Pierre Droulers, Saša Božić, Chrysa Parkinson, Ula Sickle, François Laroche-Valière, Mark Lorimer, Boris Charmartz (for 20 dancers for the 20th century), Ictus Ensemble (Braxton Project, Holding present). She reactivated two different pieces in Lyon Opera Ballet, for Russell Maliphant and Rosas.
In 2005, she initiated a collective project with Julien Monty and Michael Pomero. Together they founded the choreographic laboratory LOGE22 creating a dozen performances until 2017, and co-founded Spider artistic platform with European artists from different backgrounds.
She has worked and collaborated with choreographer Anne Teresa de Keersmaeker on 13 creations since 2010 (Vortex, Work/Travail/ Arbeid, Cesena, 5Agon, Mitten/Cellosuiten…)
Marie is a P.A.R.T.S. Faculty member, designing the school's pedagogical line since 2016, as well as teaching technique, composition and repertory. Marie is currently a tutor for the MA STUDIOS students. She also assisted Anne Teresa de Keersmaeker for various projects at P.A.R.T.S.
Marie teaches and gives workshops at P.A.R.T.S, CNSMD de Paris, Summerschool, Impulstanz, Ménagerie de Verre.
She is part of a research group, The ToolBox project, which aims to identify and catalogue the compositional tools and choreographic processes used by the Rosas company over the last 40 years.
In 2022, she co-founded YOUNGSTERS, a platform bringing together international artists based in Brussels who are committed to artistic encounters with young Brussels residents in all their diversity. Marie is currently preparing two new creations, Partager le Vide with Sophia Dinkel that will premiere in CND Pantin in 2024 and After Hannibal, a duet with Michael Pomero.

Marija Cetinić

Marija Cetinić is Assistant Professor of Literary and Cultural Analysis at the University of Amsterdam and a research affiliate at the Amsterdam School for Cultural Analysis. She is coordinator of the MA Comparative Literature program and founding member of the research group Sex Negativity. She completed her PhD in Comparative Literature at USC, Los Angeles. Her essays have appeared in Mediations, Discourse, and the European Journal of English Studies. A co-written chapter on oil barrels in the work of Christo and Jeanne-Claude appears in Saturation: An Elemental Politics (Duke UP, 2021). With Stefa Govaart, she is involved in an ongoing epistolary project, as well as a series of transcribed dialogues on five concepts: Sentence / Essence / Woman / Negation / Sex.

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 composers Kevin Volans and Howard Skempton. He has been a close collaborator of Jonathan Burrows for almost 30 years years, sharing equally the conception, creation and performance of their work. He has also written extensively for other choreographers, most notably his long association with Siobhan Davies, and his recent collaboration with Norwegian artist Mette Edvardsen on her acclaimed pieces Oslo (2017) and Penelope Sleeps (2019). He has also written music recently for Claire Croizé's Flowers (We Are) (2019) and Andreas Spreafico's We have to dress gorgeously (2019). Fargion has also developed a composition workshop for dancers, which continues to be invited widely internationally.

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.

Michael Helland

Working at the crossroads of theatrical presentation, exhibition-based contexts, and public art modalities, Michael Helland makes creative interventions aimed to foster social connectivity and help communities face the dark uncertainty of the future. His research-in-action RECESS (Ritual Experience Concept Event Spa Show) was awarded a Flemish research grant, resulting in an immersive performance at Abrons Arts Center in New York, a pop-up urban sanctuary at ZSenne art lab in Brussels, and a series of workshops featured at Gropius Bau in Berlin. Helland has appeared in the works of Maria Hassabi, Christian Bakalov, Isabel Lewis, Tino Sehgal, Daniel Linehan, Heather Kravas, Xavier Le Roy, Eleanor Bauer, and Marina Abramović, among others.

In 2019 he facilitated the Temporary Body Worker Union at Workspacebrussels and graduated from the Conscious Living yoga teacher training program at Yyoga in Brussels. Helland holds degrees in Dance and in Community, Environment, and Planning from the University of Washington in Seattle.

Michaël Pomero

Michael Pomero has been active on the European choreographic scene for 25 years, as a dancer, performer, assistant, choreographer and teacher.
Based in Brussels since 2010, his eclectic career took him first to Switzerland (Rudra Béjart, Béjart Ballet), then to France (Lyon Opera Ballet, John Jasperse) before moving to England to work with Russell Maliphant.
Between 2006 and 2023, he worked closely with Anne Teresa de Keersmaeker as a dancer and/or assistant for the creation of 7 stage works (The Song, Vortex temporum, Rilke, Mitten...), an opera (Così fan tutte), a musical (West Side Story) as well as all of Rosas' museum and in situ experiments (Work/Travail/Arbeid, Somnia, Dark Red projects, 5Agon...).

Michael is co-founder of LOGE22 with Marie Goudot and Julien Monty, a collective and choreographic laboratory with which he has participated in more than 10 creations since 2005. With LOGE22 and Matej Kejzar he co-founded the international artistic cooperative SPIDER, whose gatherings criss-crossed Europe from 2010 to 2016.

Michael has been a member of the P.A.R.T.S. Faculty since 2016 in charge of composition. He teaches and gives workshops at P.A.R.T.S., CNSMD de Paris, Summerschool, KASK...

In 2022, he co-founded YOUNGSTERS, a platform for Brussels-based international artists committed to artistic encounters and explorations with young people.
Michael is also part of a European research group on "Diversity in Higher Dance Education in Europe" (P.A.R.T.S., La Manufacture, SKH, Univ. Amsterdam).

Michael Schmid

Michael Schmid is a musician and flutist specializing in contemporary experimental music. A fixed member of the Belgian Ictus Ensemble and as freelancer he has worked with most of the major European New Music Ensembles as chamber musician and soloist. Next to his activity as flutist he appears as performer of concrete poetry, builds sound installations and writes sound pieces. He has a profound interest in the politics and communication processes of music making.
His latest solo appearances and creations took place at Kunstenfestival des Arts (Brussels) with “Breathcore” (2016) and “Beat fucked Elf” (2016) and “Krạchal” (2016) at BEAF – Bozar Electronic Arts Festival, Brussels (2016). Recent collaborations include projects with choreographer Anne Teresa de Keersmaeker (Rosas), Boris Charmatz, Jerôme Bel, Manon de Boer (documenta 13), Georges Aperghis, Brynjar Sigurdarson and the Lafayette Anticipation Foundation (Paris). He has recorded for cyprès, HAT records, cpo, WERGO, Stradivarius and has appeared on television and radio.

Michel Debrulle

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

Michelle Boulé

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

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

Michiel Vandevelde

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

Michiel Vandevelde

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

Milø Slayers

Milø Slayers (1993) is a dan­cer and cho­re­o­grap­her, acti­ve sin­ce 2014 with addi­ti­o­nal inte­rests in pho­to­grap­hy, poe­try, music, stop-moti­on ani­ma­ti­on and the orga­ni­sa­ti­on of cul­tu­ral events. After four years of ongo­ing devel­op­ment, his pro­fes­si­o­nal dan­ce debut, Monstrare and/​or Monere, pre­mie­red at STUK Leuven on 5 October 2021.

Milø’s tra­jec­to­ry as a dan­cer-cho­re­o­grap­her com­bi­nes two sphe­res of influ­en­ce: A (self-taught) track within hip-hop and ​‘urban arts’. In 2014, for instan­ce, he co-foun­ded the three-mem­ber Brussels-based dan­ce com­pa­ny Slayers, good for hip-hop batt­les and for his own dan­ce cre­a­ti­ons such as Cyborg’s Quest (2015) and Wormhole (2017). And a track con­tem­po­ra­ry dan­ce within the sub­si­di­sed arts, sin­ce his trai­ning at l’Institut Supérieur des Arts et des Choréographies (ISAC) within the Académie Royale des Beaux-Arts.Besides his own work, he also dan­ces in works by other cho­re­o­grap­hers, such as Coloured Swan 3: Harriets Remix by Moya Michael (Selection Theatre Festival 2021).

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.

Mokhallad Rasem

Mokhallad Rasem (b. 1981) is an actor and director who was born and trained in Bagdad. The war in Iraq changed the course of his life, and since 2005 he has been living and working in Belgium. He made a name for himself with the dazzling and physical Irakese geesten, which was constructed in an associative and fragmentary manner. He joined the team of Toneelhuis theatre-makers on 1 January 2013. Whereas at first he mostly concentrated on classical European repertory, over the course of time he has taken a more documentary approach. Projects like Body Revolution and Zielzoekers show an exceptional sensitivity for what being uprooted does to a person. Gripping, universal, and stubbornly hopeful.

Moya Michael

Moya Michael is a dancer, performer and choreographer born and raised in Johannesburg, South Africa. She has danced with the likes of Akram Khan, Gregory Maqoma, Anne Teresa De Keersmaeker (Rosas), Sidi Larbi Cherkaoui and Damien Jalet (Eastman), Faustin Linyekula, David Hernandez, and Mårten Spångberg and Jin Xing.

Moya currently resides in Brussels, which is her base for creating her own work.

Moya has worked on commissions various parts of the world including in China, India, South Africa. Her latest works include a series of solos ‘Coloured Swans, where the first and second part premiered in Brussels in November 2018 and the third Part ‘Harriets Remix’ premiered in September 2020. Furthermore, Moya has spearheaded an open-ended collaboration in Pondicherry, India, with a group of multidisciplinary artists from across the globe.

Moya is interested in ‘performing the self’ and developing projects with other artists and artistic fields and has an ongoing commitment to process and discourse. She continues to evolve as a creative maker of live performance. It is in this manner that she has established a working relationship with KVS (The Royal Flemish Theatre in Brussels) as one of their artists. As a skilled performer, Moya is interested in all forms of expression and identity with the use of mixed mediums.

Myriam Van Imschoot

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

Nadia Beugré

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

Natasha Soobremanien

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

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

Niloufar Shahisavandi

Born in Tehran, Iran, I arrived in Germany with my parents at the age of four.
When I was very young, I discovered the art of using one’s body to facilitate communication.
After studying at the EPSEDANSE dance school in Montpellier and social anthropology at the “Freie Universität Berlin”, I worked with several international choreographers and discovered yoga through a dancer’s perspective.
Being creative, sensitive and full of empathy, I like to share the sense of beauty and aesthetics of gesture through yoga.
This art is an integral part of my life, it gives me a space for reflection, perception, recovery and a feeling of serenity, a combination of peace and joy.
Above all, it taught me to listen to myself more deeply, to acknowledge personal limits and not to force myself to exceed them. Furthermore, it serves as a guide for healing and wellness.
In Brussels, where I have been living with my family since 2016, I completed my Iyengar Yoga Teacher Training with Willy Bok and Rita Poelvoorde. With them and with international teachers I continue my professional education.
In my opinion, Iyengar Yoga enables a personalised yoga practice tailored to one’s own capacity. I am passionate about learning every day and sharing my experiences with my students.

Nina Power

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

Noé Soulier

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

Ogutu Muraya

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

His solo performance 'Because I Always Feel Like Running' was nominated for - The ZKB Patronage Award and ZKB Audience Award during the 39th edition of Zürcher Theater Spektakel, in Zurich. Ogutu is based in Nairobi where he continues his artistic practice and also teaches at the department of film and performing arts at KCA University.

P.A.R.T.S.

P.A.R.T.S. was founded in 1995 by Anne Teresa De Keersmaeker and Bernard Foccroulle. It is an artistic and pedagogical project to educate dancers and choreographers in the field of contemporary dance. Dance is taught in close connection to other media, especially music and theater, and in interaction with a strong theoretical programme..

P.A.R.T.S. offers two independent programs: the BA program ‘Training cycle’ which is a broad training for dancers and choreographers and the MA program ‘STUDIOS’ in which young makers can develop their autonomous artistic voice.

Palle Dyrvall

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

Panaibra Gabriel Canda

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

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

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

Paola Madrid

Her choreographic work includes the dance and music performance My heart's revolution (2018) premiered at the Festival Differenti Sensazioni | Officine Caos in Turin, Italy; AFTER (2019), " Eternal" premiered at the XXXV José Limón International Festival (2022) and the videodance " Soft touch to death" (2022) in collaboration with Johan Legraie.
Paola Madrid / SORTA Project is in current creation with Francisco Cordova / Physical Momentum and Raúl Mendoza / Etudio 8291 with the creation DE CONSTRUCTION (to be premiered in April 2023).

Paola Madrid has been teaching Layers of Expression and Movement Research as dance training methods since 2013. Paola is regularly invited to teach at various institutions such as: Tictac Art Centre (Brussels), La Manufacture- Haute école des arts de la scène (Lausanne), Konzervatoř Duncan Centre (Prague), Universidad de Sonora (Hillo), CENART (México).

Paola's dance work has been deeply inspired by David Zambrano for years, Peter Jasco, Yamila Ríos; and by Kelly McKinnon during her currently studies of Anatomy and Pilates.

Paola has been awarded several prizes and artistic scholarships, such as the: Bureau International Jeunesse Wallonie - Bruxelles, Programa de Jóvenes Creadores PECDA-FECAS 2017-2018, Programa de Estudios en el Extranjero FONCA-CONACYT 2011-2012, and Desarrollo Artístico Individual FECAS 2010-2011 and 2012-2013.

Paola Madrid continues to develop her own methods of body research, scenic and performative composition. She currently resides in México and Belgium.

Patrick Acogny

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

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

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

Paul Craenen

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

Peter Savel

Peter has a BA in Dance Pedagogy from the Academy of Music and Performing Arts in Bratislava. He finished his further studies at P.A.R.T.S. in the summer of 2010. He is recently based in Brussels. Since 2011 he worked with the Belgium based choreographer Pierre Droulers at Charleroi Danses, dancing in the re-enactment of "De l'air et du vent", dancing and assisting him in "Soleils". In May 2013, he started working with the then Belgium based choreographer Salva Sanchis in projects "The phantom layer", "The organ project", "Islands" and in his last creation "Radical light". And in 2016 Peter became a dancer with the founder of the Belgian company Kunst/Werk Marc Vanrunxt, dancing in "Prototype", “Drawings” and “Pink & Orange” collaborating with Kunst/Werk as a Satellite artist.

Peter is creating his own works in Belgium, Czech Republic and Slovakia with residential co-productions from all around Europe. His work has been selected for the European Aerowaves platform three times. He is also eaching his class “Letting go” and movement workshops around Europe to both professionals and amateurs. He works as well as a Life coach.

Philipp Gehmacher

Pieter Smout

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

Qudus Onikeku

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

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

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

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

Radouan Mriziga

Radouan Mriziga is a choreographer from Marrakech based in Brussels. In his works, he explores the relation between space, architecture, the body and its connection to mind and intellect and, more recently, the use of performance as a tool to produce and share knowledge about forgotten and repressed narratives.
From 2017 to 2021 he was an artist-in-residence at Kaaitheater in Brussels.
From 2021 to 2024, he is an artist-in-residence at De Singel, in Antwerp, Belgium. His pieces are: Atlas, Libya, Akal, Ayur, Tafukt, 0., 7, 3600 and 55.
Radouan Mriziga is currently working with Anne Teresa De Keersmaeker on Creation 2024 (working title), setting out to explore Antonio Vivaldi’s The Four Seasons. The starting point for this new choreographic work is the exquisite recording of Vivaldi’s composition by virtuosic violinist and long-time Rosas collaborator Amandine Beyer and her ensemble Gli Incogniti.

Rakesh Sukesh

Rakesh Sukesh was born in Kerala, South of India. He grew up in the midst of the traditional heartland, rich with ancient physical traditions and spiritual lifestyles. He started as a Bollywood dancer and have worked in many south Indian movies. Raakesh formally began his training in Kalaripayattu when he was nineteen years old. He underwent years of rigours training under well-known Kalaripayattu grand-masters of Kerala (Dil sagar, Ranjan Mullarat and Sathyan Gurukkal). At the same time he trained in contemporary dance. His focus during the Kalaripayattu training was more on body movements than the combat aspect as he wanted to create his own form of expression. Rakesh sees Kalaripayattu as an analysis of human body’s possibilities through movement. Kalaripayattu as a martial art form involves rigorous training of the body and mind; this is achieved through various endurance, flexibility and focus building movement exercises. After his training his dance became more natural, highly energised, controlled, perceive advanced body intelligence and efficiently utilize raw physical energy. His teaching emphasizes on intricacies of movements to get to the core of the mind/body connection, enabling the expression more fluid. He has been teaching Kalaripayattu for contemporary dancers for the past 4 years in many parts in India and across Europe (PARTS summer studio, Sidi Larbi Company, Jean Guillaume weis’s creation Drums and dance ritual, many dance spaces in Holland etc…). Kalaripayattu is a Dravidian martial art from the Indian state of Kerala. One of the oldest fighting systems, it was practiced primarily by the Nairs, the martial caste of Kerala. Kalari payat includes strikes, kicks, grappling, preset forms, weaponry and healing methods. Regional variants are classified according to geographical position in Kerala; these are the northern style of the Malayalis, the southern style of the Tamils and the central style from inner Kerala. Northern kalari payat is based on the principle of hard technique, while the southern style primarily follows the soft techniques, even though both systems make use of internal and external concepts. Some of the choreographed sparring in kalari payat can be applied to dance and kathakali dancers who knew martial arts were believed to be markedly better than the other performers. Some traditional Indian dance schools still incorporate kalari payat as part of their exercise regimen.

Rasmus Olme

Rasmus Olme

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

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

Renan Martins

Renan Martins started his education in Rio de Janeiro at Deborah Colker Movement Center at the age of
16, and one year later won a full scholarship to study at SEAD in Salzburg, Austria. In 2010 he joined
P.A.R.T.S. (Performing Arts Research and Training Studios) to be part of the Research Cycle where he
focused more intensively on choreography and started developing his own work. He has performed his
pieces in Brazil, Austria, Slovenia, Germany, Holland, Portugal, Russia, Belgium and Croatia. Along with his
choreographic practice he has also been an interpreter for Iztok Kovac, Marysia Stoklosa and Pierre
Droulers. He has been an active teacher in the last couple of years giving workshops and master classes
at DanseCentrumJette and Cie Thor Studio in Brussels, SIBA in Salzburg, Theatre de La Bastille in Paris,
Codarts in Rotterdam, Munich's University of Drama, ME-SA in Prague, DOCH in Stockholm and
Artesis/Conservatory of Antwerp where he has been also a jury member of the committee. Renan was a
performer in Re:Zeitung, a project by Anne Teresa de Keersmaeker and Alain Franco together with
P.A.R.T.S. Foundation and is currently a member of Meg Stuart/Damaged Goods Company as performer in
Violet.
This year he is directing a creation in collaboration with ME-SA Company in Prague. And as of September
2014 Renan joined the team of SeventySeven together with other artists such as Les Slovaks, Anton
Lachky, Moya Michael, Meytal Blanaru and Peter Jasko, where his work is represented.

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.

Roman Van Houtven

Roman Van Houtven (Belgium, 1992) is a dancer, actor, choreographer and theatre maker, living in Antwerp (Belgium). From 2010 until 2014 he studied at P.A.R.T.S. After graduating, Roman was active as a dancer in Un Sacre du Printemps (Hiatus, Daniel Linehan), as a dance teacher (Rosas Education and Kunsthumaniora Brussel) and choreographer (It’s Frankenstein, studid! by Bronks and La Monnaie). Since 2016 he was part of the BRONKS-show ‘Us/Them’, which became a huge success after a sold out series at the Edinburgh Fringe Festival, and toured internationally until 2020. In 2019 he played the theatre monologue ‘Razen’ (Theater A tot Z) and he was active as a choreographer for Dance X Performance (Rosas Education). In 2020 he created the show Club Toulouse for Kopergietery (Ghent), which is still touring.

During and after his studies at PARTS, Roman worked closely together with Libby Farr (at f.e. Impulstanz and PARTS Summerschool) in an ongoing research on how a contemporary dancer can benefit, grow and take care of his body through practicing ballet. This research has let him to teach in various places, such as PARTS as a guest teacher in their audition series.

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.

Samantha van Wissen

After her training at the Rotterdam Dance Academy, Samantha van Wissen starts her dance career at Rosas in 1991. There she collaborates on various creations and repertoire pieces, including Rosas danst Rosas, Mikrokosmos, Achterland, Erts, Mozart Concert Arias. She continues to work with Rosas on a freelance basis, collaborating in 2017 on the opera Cosi Fan Tutte and The Six Brandenburg Concertos.
From 1997 she has been part of the permanent core of ZOO/ Thomas Hauert, collaborating on Cows in Space, Pop-up Songbook, Jetzt, 5 , Verosimile, Walking Oscar, Puzzled, Accords, You've Changed, Mono, How To Proceed and If Only, among others.
In addition to dance, she has also participated in a few theater productions. "The Three Sisters" and "Droesem" by Inne Goris.
In 2021 she collaborated with Francois Gremaud, 2b compagnie, for the solo performance Giselle. Samantha van Wissen also gives classes and workshops at Cultureel Centrum De Westrand, P.A.R.T.S, Impulstanz festival and AP Hogeschool in Antwerp. She also gives yoga classes, and is a certified Iyengar Yoga teacher.

Samuel Wentz

Sam Wentz is a dance and performance artist based in Los Angeles. Originally from North Dakota, he graduated from Idyllwild Arts Academy in 2006, completed his BFA in Dance at NYU Tisch School of the Arts in 2009, and received his MFA in Dance and Choreography as a Teaching Fellow at Bennington College in 2016. He has performed with: Ajani Brannum, the Trisha Brown Dance Company (2009 – 2014), Wally Cardona + Jennifer Lacey, Jay Carlon, Gerald Casel, Dimitri Chamblas, the Merce Cunningham Trust, Katherine Helen Fisher, Levi Gonzalez, Jmy James Kidd, Mark Morris Dance Group, Abigail Levine, Annie B. Parson, Judith Sanchez Ruiz, Kensaku Shinohara, and Susan Sgorbati. His own choreographic and performance work has been presented at the Bennington Museum (VT), the Geffen Contemporary at MoCA (LA), G-Son Studios (LA), Human Resources (LA), Pieter Performance Space (LA), REDCAT (LA), and The Tank NYC.

As an educator/learner, he has taught company class for the Trisha Brown Dance Company, Anne Teresa de Keersmaeker’s ROSAS, the Lyon Opera Ballet, and Katherine Helen Fisher/Safety Third Productions. In 2017, He assisted in the re-staging of L’Amour au Théâtre (2009) on the Trisha Brown Company. In the Winter of 2019, he and fellow alumni remounted Trisha Brown’s Foray Forêt (1990) and Newark (1987) on the Lyon Opera Ballet in Lyon, France. In 2018, he joined the dance faculty at the California Institute of the Arts and became a regular full-time faculty member in 2022.

Sandy Williams

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

Sarah & Charles

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

Sarah Ludi

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

Seke Chimutengwende

Seke Chimutengwende is a choreographer, performer, movement director and teacher.

​Seke uses choreography to experiment with collectivity and alternative approaches to authorship and governance; playing with form to shift and question hierarchies. His new work It begins in darkness premiered in September 2022, a group choreography looking at ghosts and haunted houses as metaphors for how histories of slavery and colonialism haunt the present. Seke has also recently choreographed a group work for Candoco Dance Company, In Worlds Unknown, which premiered in October 2022.

Since 2004 Seke has performed for numerous dance companies including DV8 Physical Theatre and Lost Dog. He is currently working as a performer with Forced Entertainment in a new work, If All Else Fails, which premiered in spring 2023.

​Seke has been practicing completely improvised performance, using movement and text, since 2006. He has performed over 70 solo improvisations internationally and has performed ensemble improvisation with numerous dancers, actors and musicians. He is currently exploring long solo improvisation performances of 50 to 60 minutes.

Since 2018 Seke has also worked as a movement director for theatre productions at The Yard Theatre, Battersea Arts Centre and The Gate Theatre. He is currently working as a dramaturg on Sue MacLaine’s new show I Maybe Sometime.

​Since 2008 Seke has taught in a variety of contexts on a freelance basis. He is currently a visiting lecturer in improvisation and composition at London Contemporary Dance School.

Seke studied dance at Lewisham College 1999 - 2001 and London Contemporary Dance School 2001 – 2004 and went on to train extensively in improvisation with a variety of practitioners and with Andrew Morrish in particular.

Seppe Baeyens

Seppe Baeyens started his career as a dancer at fABULEUS and worked as a performer at De Kopergietery, Kabinet k, Productiehuis Brabant, Ontroerend Goed and Miet Warlop. In 1999 he came into contact with Wim Vandekeybus and Ultima Vez, the start of an intense collaboration. In 2011 he taught his first Ultima Vez workshop, Radical Young. Tornar, INVITED and Birds, the three major performances Baeyens conceived through Ultima Vez in recent years, are thematically interlinked and form stepping stones in a wider artistic and social investigation.

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.

Silvia Ubieta

Silvia Ubieta began her dance training in Seville, continued in Paris and completed her studies at P.A.R.T.S. She worked as a dancer with choreographers such as Pierre Droulers, Veerle Bakelants, Thomas Plischke, Kosmas Kosmopoulos, Anabel Schellekens and Sara Goldfarb.
At the same time, she developed a teaching activity, specializing in contemporary dance, improvisation, and composition. As a teacher, Silvia works for Michelle-Anne de Mey, Claudio Bernardo, l'École du Ballet de Flandres, Charleroi-Danses/La Raffinerie, le Service pédagogique de la Monnaie and the Humanités artistiques danse at Lycée Martin V, where she could develop a pedagogical program based on 4 years of study, for young dancers aged between 14 and 18, who wish to enter a higher dance school.
Since 2007, Silvia has been a lecturer at ESAC-École supérieure des arts du cirque, working as an
artistic advisor, creative project assistant and dance teacher for students in a wide range of circus
disciplines. On several occasions, she has collaborated with the CNAC-Centre National des Arts du
Cirque in France and the Circus Centrum in Ghent.

Silvia has been practicing Iyengar yoga with Stefan Dreher, Alexis Simon and Willy Bok since 1998. A
few years later, she decided to train to become a teacher and graduated in June 2009. Several stays in India, at the Ramamani Iyengar Memorial Yoga Institute in Pune, enabled her to deepen her practice and teaching. Lyengar yoga trains body alignment using different supports during asana practice, and balance between mind, body, and spirit through awareness of pranayama, the breath.

Stanley Ollivier

Stanley Ollivier is a French dancer, performer and choreographer. He studied at the International Dance Academy and CNSMDP in Paris, and obtained his Master of Dance at P.A.R.T.S. in Brussels. His artistic practice stems from the belief that the human body has infinite possibilities to generate the unexpected and wants to challenge its abstract, imaginative, and perceptive power. He is interested in physical investigations, including but not limited to movement. He works around questions related to the place of entertainment in contemporary dance, context displacement, identity, care, humour, and versatility.

Stanley has collaborated with, a.o., Kamel Ouali, Tatiana Seguin, François Rousseau, Lasseindra Ninja, Iván Pérez, Luis Ramirez Muñoz, Pippin, Morgan Productions, Disney Channel, Lila&John, Nina Muñoz, Collective LA 360/Sarah Deppe, Cie Tabea Martin, Brahim Tall, Léa Vinette and Geert Belpaeme. He has presented his work at To Be Antwerp Festival, Cocq’arts Festival, Tic Tac Art Center, Beursschouwbourg, BAMP, Design Museum Brussels, Queer Festival Heidelberg a.o. He is an member of the Ballroom Scene and part of the Iconic House Of Ninja. Likewise, he recently started dj-ing under the name of STANLEY, a practice that help him proclaiming his crossbreeding heritage, heal our bodies, and rethink possible ways of being together through music.

Stefa Govaart

Stefa Govaart works at the intersection of dance, performance and text. They hold an MA in Performance Studies from NYU, having previously studied at P.A.R.T.S.
As a dancer/performer they have worked with choreographers and visual artists across Europe including: Eszter Salamon, Claudia Pagès, Eglè Budvytytè, Eoghan Ryan, Goda Palekeitè, Ode de Kort, PRICE, Simon Asencio and Adriano Wilfert Jensen.
With Bojana Cvejić, Andrea Rodrigo and Nikhil Vettukattil, they co-organize the artists' gathering Spring Meeting at Performing Arts Forum (St. Erme, FR).
They are a founding member of the research group Sex Negativity at the Amsterdam School of Cultural Analysis, and teach in the BA and MA programs at P.A.R.T.S.
They have published with misted.cc an online temporary reading space (NL), This Container (BE), Bâtard Festival (BE), and nY magazine (BE). With Marija Cetinić, they are working on an ongoing epistolary project.
Their own performative work was presented at Perdu and de Appel (Amsterdam), rile* and WIELS (Brussels), Wendy's Subway and Woodbine (New York).

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

Stéphane Bourhis is a dancer by training. He studied dance at the Conservatoire National de Danse in Avignon (France). He was hired by the Ballet du Théâtre de Lucerne (1991) and the Béjart Ballet Lausanne (1996-2007). He is a certified Iyengar® Yoga teacher since 2013. He currently teaches Iyengar Yoga® at the P.A.R.T.S contemporary dance school, at the BKS Iyengar Centre in Brussels, as well as for the project "La petite école", a place of transition to school for children from exile, who have never or hardly attended school.Between 2013 and 2019, he teaches for the project "Yoga at school", for which a prize will be awarded in 2014 during the Forum of innovations in primary schools in Belgium. He collaborates at the project « BREATHE IN » as a therapist for children and teenagers with breathing pathologies.

He continues his study and deepening of the Iyengar® Yoga method during stays with the Iyengar family in Pune India, conventions and internships with advanced teachers in India and Europe.

Steven De Belder

Steven De Belder studied philosophy, history and theater studies at the universities of Antwerp and Ghent. Between 1999 and 2003 he was a FWO-funded research assistant at the University of Antwerp at the department of theater studies, in which context he published several articles and (co-)edited a few books. He has been working at PARTS since 2003 in various roles, and is the general coordinator of the Training (BA) and STUDIOS (MA) programmes since 2013. He is engaged in the board of several arts organisations (Kunst-Werk, Sarma, Field Works, ECCE, New Polyphonies). He gives introductions and moderates artist talks for a.o. Rosas, De Munt/La Monnaie, Opera Ballet Vlaanderen, Les Brigittines, and Concertgebouw Brugge.

Steven Michel

Steven Michel is a performer and choreographer based in Brussels. He studied mime, musical theatre and percussion in France and graduated from P.A.R.T.S. in 2010. As a performer, Steven worked with choreographers, visual artists, play and film directors such as David Zambrano, Falk Richter, Lukas Dhont, Daniel Linehan, Sarah&Charles, Nelle Hens and Maud Le Pladec. Since 2011, Steven became a long-time collaborator of choreographer Jan Martens.

Parallel to his performing in other people’s works, Steven has been focusing on his own research and making. Among his creations : the solo They Might be Giants in 2016; Affordable Solution for Better Living in 2018 (the first collaboration with artist Théo Mercier, for which they won the Silver Lion at the Venice Dance Biennale 2019); BIG SISTERS in 2020 (second collaboration with Théo Mercier); and his latest solo DATADREAM in 2021.

Steven’s work is supported and produced by GRIP since 2016.

Steven Vromman

Steven Vromman gained fame through his Low Impact project. The award-winning Canvas documentary series showed Steven drastically changing his life in order to minimise his ecological footprint. His adventure was broadcast in over fifty countries. He presents an enthralling story that offers something for everyone. From a broad perspective on history and economics, he provides refreshing insights into the challenges of our time, with a focus on transition, resilience and the importance of love.

Steven is one of the most in-demand speakers in the country, having created ‘eco-comedy’, an original form of infotainment. He has published five books and is an influential commentator in Flanders. Highly recommended, both in terms of content and format.

Stina Nyberg and Zoë Poluch

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

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

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

Stine Janvin Motland

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

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

Stoffel Debuysere

Stoffel Debuysere is a curator of cinema and audiovisual arts. He is the Head of Program of the courtisane film festival and a lecturer in film-critical Studies at the KASK School of Arts in Ghent, where he obtained a PhD in 2017 with the project “Figures of Dissent - Cinema of Politics, Politics of Cinema”. Based in Brussels, he continues to organize various film programs and discursive events in collaboration with numerous organizations and institutions in Belgium and abroad. His current research is focused on the politics of the soundtrack in cinema.

Sue-Yeon Youn

Sue-Yeon Youn was born in South Korea. In 2002 she graduated from the dance department at the Korean National University of Arts. Between 2001 and 2003 she worked as a dancer in the Sungsoo Ahn Pick-up Group in Korea. In 2003 and 2004 Sue-Yeon studied at the Rotterdam Dance Academy. From 2004 till 2006 she followed the Research Cycle at P.A.R.T.S., from which she graduated with Love. Death. My life with Ting -Yu. Oh wait, I am you. In 2006 she participated at Deborah Hay’s Solo Performance Commissioning project o,o at the Findhorn Community Foundation in Scotland.
Sue-Yeon joined Rosas for the creation of Steve Reich Evening and took part in the creation of Zeitung, En Atendant, Golden Hours (As you like it) , The six brandenburg concertos ,The dark red research project , Brancusi and the revivals of Rosas danst Rosas, Bartók/ Mikrokosmos, Elena’s Aria and Drumming. She worked with David Zambrano for Soul project (2006) and created a duet for his piece called Holes (2010). In 2016, she collaborated with Georgia Vardarou for the creation of New Narratives. In 2019 she collaborated with Femke Gyselinck for the creation of Moving Ballads / 2020, Letters 2 Dance / 2022. In 2021 She contributed as dancer to the creation of Fruit Tree by Lara Barcacq.

Susanne Bentley

Susanne Bentley is a contemporary dancer, improvisor, teacher, coach and choreographer. She has been working with others and on her own projects in New Zealand and Europe since 1996. In NZ she worked with companies such as Touch Compass, Opera NZ and Weta Productions (Peter Jackson- film), and was a founding member of Curve Dance Collective. In 2000 she was a danceWEB scholarship holder at ImPulsTanz (Vienna). Since then she has performed with companies such as SUPERAMAS, Cie. Fabienne Berger, Les Ballets C de la B, Maria Clara Villa Lobos, Poni, Bal Moderne a.o.

She has created her own works since 1994, either choreographed or improvised. From 2002 - 2009 she made music and performances with electronic musician Peter Van Hoesen as Bent Object. She was also a founding member of SoloConversations Dance Collective, performing improvised pieces from 2007-17. She established the organisation Expansive Being in 2012, dedicated to encouraging, supporting and promoting artistic expression in all its forms. She continues to make solo work, and to improvise performances with other artists and amateur dancers of all ages.

Susanne teaches contemporary dance and performance improvisation for companies, universities and studios such as: Ultima Vez, Charleroi Danses, Danscentrum Jette (Brussels), Fontys Dance Academy (Tilburg), Tanzquartier & Impulstanz (Vienna), Tanzfabrik & Marameo (Berlin), University of Waikato & Otago University (NZ). She has also taught pole dance for Sarahcademy (Brussels) and was an organiser, choreographer and MC for Pole Fusion Festival (artistic pole).

Susanne is a Professional Creative Consciousness Coach, Embodiment Coach, and is also trained in C-IQ Coaching. She also completed a post-graduate diploma in Functional Training, and specialises in dance-related movement support. Radical Moves Coaching offers individual & group coaching sessions (life coaching, artistic mentoring, personal expression) & workshops. These are all movement-based, and open to anyone.

https://susannebentley.com

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, Kris Verdonck, Benjamin Vandewalle and Rosas, as well as making her own work in collaboration with actor Gabel Eiben and dancer Igor Shyshko. She studied at PARTS.

Tessa Hall

Tessa Hall (b. 1994, New Zealand) studied at P.A.R.T.S from 2016-2021, beginning in the Generation XII training cycle and graduating with the first generation of STUDIOS (MA in Dance). During her time at P.A.R.T.S., Tessa’s interests led her to take on various roles from performer to writer, researcher, curator and organizer. A pivotal moment of her education was taking on a leading role in curating/organizing the GXII Festival (2019) alongside peer, Jonas Gineika. As part of STUDIOS, Tessa created her solo Medusa is Laughing, based on the work of the feminist theorist, Hélène Cixous. Her research has a feminist focus with particular interest in sexual difference philosophy, while her work is often about the voice of women—written and spoken, on paper and on the stage.

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 Bîrzan

Thomas Bîrzan is a Franco-Romanian dance artist based in Brussels.
After working as a performer for various companies in the South of France, he joined the P.A.R.T.S. Research Cycle 17-18.
In parallel, Thomas is pursuing academic research on the relationship between text, dance and painting in contemporary francophone poetry.
He holds a Bachelor of Arts in Literature (McGill University, Montreal) and a Master 1 in Philosophy of Art (Université Paul-Valéry). He is currently completing his Master 2 in Modern and Contemporary Literature (Université Sorbonne-Nouvelle).

Thomas F. DeFrantz

Thomas F. DeFrantz directs SLIPPAGE: Performance|Culture|Technology, the Chicago-based group explores emerging technology in live performance applications.
DeFrantz believes in our shared capacity to do better and engage creative spirit for a collective good that is anti-racist, proto-feminist, and queer affirming.
Creative Projects include Queer Theory! An Academic Travesty commissioned by the Theater Offensive of Boston and the Flynn Center for the Arts; fastDANCEpast, created for the Detroit Institute for the Arts; reVERSE-gesture-reVIEW commissioned by the Nasher Museum in response to the work of Kara Walker. Current project re-OrientationS, an exploration of concepts of queer phenomenology.
Books: Routledge Companion to African American Theater and Performance (with Kathy Perkins, Sandra Richards, and Renee Alexander Craft, 2018), Choreography and Corporeality: Relay in Motion (with Philipa Rothfield, 2016), Black Performance Theory: An Anthology of Critical Readings (with Anita Gonzalez, 2014), Dancing Many Drums: Excavations in African American Dance (2002), and Dancing Revelations: Alvin Ailey's Embodiment of African American Culture (2004).
DeFrantz convenes the Black Performance Theory working group as well as the Collegium for African Diaspora Dance, a growing consortium of 325 researchers committed to exploring Black dance practices in writing.
Teaching assignments include University of the Arts Mobile MFA in Dance; ImPulsTanz; New Waves Institute; SNDO; Movement Research; Lion’s Jaw; Fresh Festival; and faculty at Hampshire College, Juilliard, Stanford, Yale, MIT, NYU, Northwestern University, the University of Nice.
DeFrantz consults often with dance programs around the globe, and has helped artists and educators rethink how critical studies are entirely foundational to the making of a fully-engaged artist. DeFrantz has chaired the Program in Women’s and Gender Studies at MIT; the concentration in Physical Imagination at MIT; the Department of African and African American Studies at Duke; and served as President of the Society of Dance History Scholars. DeFrantz acted as a consultant for the Smithsonian Museum of African American Life and Culture, contributing concept and a voice-over for a permanent installation on Black Social Dance that opened with the museum in 2016.

Thomas Hauert

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

Thomas Plischke

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

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

Thomas Ryckewaert

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

Thomas Talawa Prestø

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

Thomas Vantuycom

Thomas Vantuycom studied as an economist until he changed course to pursue a career in the performing arts. He trained at P.A.R.T.S., where he met many of the artists he would collaborate with after graduating in 2014. He worked as a dancer and an actor for Carly Wijs, Francesco Scavetta and Salva Sanchis, among others. Thomas joined Rosas for the exhibition Work/Travail/Arbeid and since performed in pieces like A Love Supreme, Zeitigung and The Six Brandenburg Concertos. In 2021, he co-authored Electric Life with Elisabeth Borgermans; an ambitious choreography for nine young dancers.
Aside from his work in dance, Thomas lives his geeky heart out as a web developer and a student in mathematics.

Tilman O'Donnell

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

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

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

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

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

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

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

Tom Engels

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

Tom Pauwels

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

Tristan Garcia

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

Ula Sickle

Ula Sickle (CA/PL) is a choreographer and performer based in Brussels, Belgium. From a background in contemporary dance, she works across disciplines and in collaboration with artists from other domains such as the visual arts, contemporary music or architecture. While her work takes many forms, from video to installation to live performance, she focuses on a choreographic approach to movement and a work on perception and reception, specific to the live arts.

Her interest in looking for an alternative to the cannon of contemporary dance, has led her to seek out performers who embody other movement histories. The solos Solid Gold (2010) & Jolie (2011) as well as the group performance Kinshasa Electric (2014) are all collaborations with performers from Democratic Republic of Congo. Extreme Tension (2012) is a powerful solo for a self-taught dancer in her 60’s, and Prelude (2014) is a solo for a female vocalist. Frequently centered around strong performers, she 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 center stage.

Ula studied Art History & Semiotics at the University of Toronto and Performance Studies at Paris VIII, before attending P.A.R.T.S. Performing Arts Research and Training Studios in Brussels. From 2008-2010 she pursued her interest in the visual arts and film, studying at Le Fresnoy, a post-graduate media program in the North of France, where she also met sound artist Yann Leguay, a frequent collaborator. The video works Looping the Loop (2009) and Atomic 5.1 (2010), as well as the filmic dance pieces, Light Solos (2010-13) all stem from her time at Le Fresnoy.

Extended Play (2016) is a collaboration with visual artist and DJ Daniela Bershan (Baba Electronica), who also created the sound and performed live in Kinshasa Electric (2014). Both performances premiered in the Kunstenfestivaldesarts and Les Rencontres chorégraphiques internationales de Seine-Saint-Denis in Paris.

In 2017 Ula created performances for the Ballet de Marseille, for Dream City in Tunis and for The Sound of Stockholm festival, this last project is in collaboration with Norwegian vocalist Stine Janvin.

In 2017 she was artist in residence at the Ujazdowski Castle, Center of Contemporary Art in Warsaw. She presented the Choreographic Exhibition, Free Gestures, following a second residency at the CCA in March 2018. From July to December 2018 Ula was artist in residence at Wiels Contemporary Art Center in Brussels.

Usrula Robb

Ursula trained at the New Zealand School of Dance and danced with the Royal New Zealand Ballet and the Douglas Wright Dance Company before heading to Europe in 1995. While living in Europe she danced with Wim Vandekeybus, Ultima Vez, Anne Teresa de Keersmaeker, Rosas, and Thomas Hauert, Zoo. She returned to NZ and became a founder member of the New Zealand Dance Company, directed by Shona McCullagh.

Ursula now teaches at numerous dance schools including PARTS, the Danish National School of Performing Arts, and the Irish World Academy of Music and Dance at the University of Limerick in Ireland. She has also been part of the team of Rosas dancers setting repertoire on the Paris Opera and Lyon Opera.

Most recently Ursula worked with artist John Gerrard and performed in his work ‘Mirror Pavillions’ as part of the Galway International Arts Festival 2020.

Ursula holds an MA in Arts Management and Cultural Policy and lives in Ireland.

Vera Tussing

Vera Tussings creative processes, performances and installations are driven by her interests in dance, movement, perception, the senses, embodied experience, multisensorial spectatorship, collectivity and consent. Her most recent series of work, the Tactile Cycle, is formed of stage creations, sculptures and movement-sound installations focussed around the creation of unique, inter-personal encounters between audience and performer. She graduated from London Contemporary Dance School, and has worked as a dancer, director and researcher throughout Belgium, the UK and across Europe.

Vinciane Despret

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

Vittoria De Ferrari Sapetto

Born in Rio De Janeiro in 1979, Vittoria De Ferrari Sapetto started with classical ballet in Genoa, Italy at the age of six. Later on she studied traditional African dance and at the age of eighteen she continued into modern jazz and modern. In 1997 she started to dance and tour with the traditional African dance group Tam Tam Magique. From 2001 onwards she danced in a number of operas in Teatro Carlo Felice in Genoa. In 2002 De Ferrari Sapetto moved to Brussels to start working in the contemporary dance-field. Since then she danced in pieces by Jan Fabre (Prometheus - Landscape II), Sidi Larbi Cherkaoui (Puz/zle), Damien Jalet (Les Médusés), Quan Bui Ngoc (Untold), Akram Khan (Abide With Me, Olympic Games Ceremony 2012), Romeo Castellucci (Uso Umano di Esseri Umani), Davis Freeman, Arco Renz, Andy Deneys, Koen De Preter, Frey Faust and Felix Ruckert.

Since 2013 she started her own projects and collaborations, that brought her to be a resident artist in Swatch Art Peace Hotel in Shanghai, where she created the solo Reborn for the Little Victories gallery, and a dance video Closer that was projected in a loop in the Arsenal of the biennale of Venice 2015. In 2014 she created another solo: 088. One year later she joined dance company Virgilio Sieni and performed with them in Atlante del Gesto (Fondazione Prada, Milan), 1265 Divina Commedia (Palazzo Vecchio, Florence) and toured with Preludio, Le Sacre and La Mer. In April 2016 she was co-producer at company DEJADONNE for the new production In Pasto al Pubblico that premiered at the Festival Fabbrica Europa 2016 in Florence. She was assistant-choreographer for Babel 7.16 by Sidi Larbi Cherkaoui and Damien Jalet for the Festival d’Avignon 2016.

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).

Youness Khoukhou

Youness khoukhou (Marrakech, 1984), studied dance in Marrakech, Tunis and in Belgium where he graduated from P.A.R.T.S in 2012.
As a dancer/performer he collaborated in the performances, Soleils by Pierre Droulers, "Primitive" and "Evol" by Claire Croizé and in the repertoire project "ReZeitung" by Anne Teresa De Keersmaeker. He collaborated and danced in the performances 'Therians' and 'Clearing' with Louise Vannest, 'Elephant' with Bouchra Ouizgen and Move (on) by Tg stan. He also dances in the performances '7' and 'Libya' by Radouan Mriziga. danced in “ Hink Stap Spring” with Inne Goris.
As a creator and choreographer, he worked with Pierre Droulers on 'Each today is yesterday's tomorrow'. He created the performance 'Becoming' in 2015 and 'Noon' in 2018. In 2023, he developed the performance Naked Journey around the question: "What is the body beyond "references”.

Yuika Hashimoto

Yuika Hashimoto (Japan,1991) has been dancing since she was 3 years old, taking lessons from Yoshie Nagai. She continued her dance education in Tokyo, where she graduated from the Japan Women’s College of Physical Education in March 2014. She graduated from P.A.R.T.S. (Brussels) in June 2016. She has been collaborating with "Scarbo" saxophone quartet (Belgium) for the project PAGINE since 2015. Yuika joined Rosas in 2016 for the revival of Rain. She has been performing most of early works and Dark Red projects. Since 2022 Yuika has worked as a freelancer with Rosas, fieldworks(Belgium/Norway)and nïm company(Austria).