Lise Vachon is currently living in Belgium where she is active as a dancer, teacher and creative collaborator 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 with her generation in 2000.

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 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 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.

Lucas Messler is a French musician, percussionist, and drummer based in Belgium and France.
He is particularly active in the world of contemporary music and dance. His work focuses on several complementary areas: creation, rediscovery of the repertoire, promotion of live performance, and transdisciplinarity.
Trained in the classes at the Koninklijk Conservatorium Brussels and at the Conservatoire National Supérieur de Musique et de Danse in Lyon, he also perfected his skills at the academy of the contemporary music ensemble Ictus, with which he has collaborated regularly ever since.
His years of study gave him a strong attraction to chamber music, and in 2017 he founded the duo Symposie, followed in 2020 by the trio Matière, with which he won the Interpretation Prize at the International Percussion Competition of Luxembourg, as well as TUUM Collective in 2023. In 2022, Lucas Messler created his first show at the Théâtre de la Renaissance in Lyon, Cornu Copiae, a fresco on the dizzying advance of humanity, at a forced march—a creation for which he was awarded the Mécénat Musical Société Générale scholarship.
Interested in the relationship between music, the body, and movement, Lucas Messler works actively with many dancers and choreographers. Since 2024, he has been collaborating with Solal Mariotte to create a common vocabulary based on the lexicon of analog sound synthesis, aiming to establish a dialogue between choreographic and musical gestures. In this context, he has composed the music for Ravages/Collages, currently programmed in numerous festivals. Lucas also participates in the work of Swedish choreographer Gilda Stillback, notably in the creation of the short film The Source, which has won several awards and been presented at the Bergmanweek festival.
As a freelancer, Lucas Messler is a regular member of the Ensemble Ictus and also performs with numerous chamber and orchestral ensembles such as the Orchestre National de Lyon, the Brussels Philharmonic, the Ensemble Musicatreize, the Opéra de Saint-Etienne, the Orchestre symphonique du festival Musique en Ré, and the Orchestre de Chambre de Lyon.
Since 2023, Lucas Messler has been teaching at the P.A.R.T.S dance school in workshops focused on rhythmic understanding and mastery.

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 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.

Ludo Abicht is a philosopher and writer. He has taught philosophy, German literature and European Studies at universities and institutes for higher education in the United States and Belgium. After his retirement he is still visiting professor at P.A.R.T.S. and at the universities of Antwerp and Ghent. He has published a lot on issues such as utopia, Marxism, the Middle East and leftist nationalism.

Maaike (Micky) Neuville is a versatile and deeply introspective artist. In her work as a filmmaker, writer, and theatre maker she explores themes like intimacy, identity, and human complexity. After training in dramatic arts and simultaneous with acting in many national and international films, plays and series, she developed a strong voice as a director with award-winning shorts and personal, reflective films. As a writer, she creates nuanced, boundary-shifting narratives, driven by curiosity, emotional precision, and a search for deeper truth.

Director of The Movement Theory, Malik Zaryaty is a Belgian dancer, teacher and choreographer whose work is defined by a specific will to create innovation and uniqueness through movement. Falling in love with urban dance at the age of 14 years old, the young dancer then moves to London three years later to study ballet, jazz and contemporary dance at Lewisham College.

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.

Since her engagement in dance and performance, Manon Santkin (1982) has been involved in performing, composing, conceptualizing, advising, writing and developing educational tools. Graduated from P.A.R.T.S. in 2004, she completed a Master's in New Performative Practices at DOCH (Stockholm University of the Arts) in 2015. Santkin has collaborated with choreographers such as Mette Ingvartsen, Salva Sanchis, Sidney Leoni, Eleanor Bauer, Cecilia Lisa Eliceche, Daniel Linehan, Leslie Mannès and Fabrice Samyn. Her artistic reflections have also been enriched by her collaborations with sound artist Peter Lenaerts, designer Nicolas Couturier and stylist Jennifer Defays. She has mentored several generations of students as a tutor at P.A.R.T.S. (2018-2022), where she teaches and assists students in their personal creations. Santkin is interested in the relationship between our abilities of attention, imagination and movement.

Marco Torrice works as a dance maker, choreographer, and dance teacher. His main interests revolve around the interconnection between the body, movement, pleasure, and pain, understood in both the physical and emotional senses. Nevertheless, his starting point is often rather abstract and visual, combining different dance styles and approaches, from contemporary to 'street dance.’

Born and raised in Rome, he studied philosophy at La Sapienza University. In 2006, he moved to Brussels to attend P.A.R.T.S. (Performing Arts Research and Training Studios), where he graduated in 2010. He worked as a freelance dancer for various projects and dance companies, including the Belgian dance company Rosas and Mossoux-Bontè, as well as the Hungarian dance company Hodworks, among others. Currently, he collaborates with the Belgian choreographer Leslie Mannès.

Marco is the author of different dance performances such as 'Three études on Ligeti,' 'Me, Myself and I,' 'Kitty 2012,' 'Centipedes,' 'Decameron,' 'Liminal,' and 'Melting Pot’...

In addition to his work as a dancer and choreographer, he also teaches and conducts workshops in different dance schools, including P.A.R.T.S. SummerSchool (Performing Arts Research and Training Studios - Brussels), the Budapest Contemporary Dance Academy, SEAD (Salzburg Experimental Academy of Dance), Tanzfabrik (Berlin), Isadora Duncan Center (Prague), Artesis Plantijn Hogeschool (Antwerp), ISAC | Institut Supérieur des Arts et Chorégraphies (Brussels), Da.Re. Dance Research (Rome), and La Pelanda - Rome.

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 (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 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 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.

Mario Barrantes Espinoza is a Costa Rican-Nicaraguan artist based in Brussels. They studied theatre and dance at the National University of Costa Rica, before moving to Belgium, where they graduated from the Training Cycle (2016) and the Research Studios (2018) at P.A.R.T.S. He has collaborated in works by François Chaignaud, Théo Mercier, Benjamin Abel Meirhaeghe, Michiel Vandevelde and Eszter Salamon, and performed as guest artist for the bands Peaches and The Subs.

Mario currently develops projects as an independent artist. His work articulates performance, the (re)writing of texts, and the use of voice, with materials sourced from pop culture and mainstream media. Their two end-of-studies works, [A SEQUENCE III] and Drift (I) —the latter in collaboration with Thomas Bîrzan–, were selected by various international festivals, among them the dance platform Aerowaves (2019), which “showcases the most promising new work by emerging dance artists in Europe”. His debut work, El cantar del playo or… a song is a rose is a thorn (2022), was awarded in 2020 with the Roel Verniers prize by Het Theaterfestival for “creative ideas and new performing talent”. Since 2023, Mario is involved in the curation of two projects combining nightlife with performance, the Culo shaking night…, a night inspired by family celebrations in Latin America, where the audience, accompanied by food, kitschy décor and music, could meet artists whose work activates narratives around queerness and Latin American themes. And Apolemia, a hybrid event blending electronic music, performance, and installation in Brussels’ underground scene.

Marita Schwanke is an artist based in Belgium. She was born in Hamburg, Germany and is half polish. In early childhood she discovered her passion for dance and movement. She studied contemporary dance and choreography first at ArtEZ, Arnhem and then at PARTS, Brussels.

Since her graduation Marita has been working as a freelancer in different projects and performing her own works. She also started to build up her artistic practice "Allowing for space", inspired by eastern principles and practices (Qigong/ Taiji), different western mindful techniques (Body-Mind Centering©, Skinner Releasing, Fascia therapy and others) as well as Breaking, which she is continuously working on. Throughout her artistic trajectory Marita has the luck to be mentored by dancer and dance maker Eva Karczag who's approach to body and dance is a profound inspiration for Marita.

In 2022 she also began to collaborate with her partner Adem Ouhaibia in his ongoing practice “Breaking Technologies”. In 2025 Marita graduated from the Body-Mind academy in Brussels with a degree as a Fascia and Dance therapist.

The media of dance and writing are her main media of expression, research and performance. But also photography, drawing, and music are present in her practice.

As a choreographer and performer it is important to her to connect with the audience, to enter into a conversation of artistic expression that hopefully leaves an imprint and awakens a curiosity.

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 studied dance at the Official Dance School of the Government of Navarra and worked as a dancer in the Yauzkari company, José Lainez. She completed her studies at P.A.R.T.S. and later she started working in the company Rosas of Anna Teresa De Keersmaeker. Since 1998 she has danced in: Drumming, I said I, In real time, Rain, April me, Bitches Brew, Kassandra, Rain Raga D ’un soir un jour, Mozart concert Arias and Steve Right evening. In 2002 she received the BESSIE Award (New York Dance and Performance Award).
In 2008 she began her career as co-director of the Rosas repertoire at the P.A.R.T.S school and from 2011 she co-directed the Rosas repertoire pieces at the Lyon Opera and the Paris Opera as rehearsal director, a position she held until the 2020.
She has taught at PARTS, Amsterdam Theater School, Festival Deltebre Dansa, Impulstanz Vienna, La Raffinerie, Última Vez/Wim Vandekeybus, Cie Thor/Thierry Smits, Ballet Nacional de Marseille, Rosas, Les ballets C de la B and La Faktoria, among others.
Her choreographic work began in 2009, when she was invited to create Fueradeleje and Dantzaz Konpainia at La Salle Singapore. In 2011 she co-created the House of Bertha collective and in 2013 she was part of the PHD in one night project. In 2018 she created El Silencio de las Flores. In 2019 she worked as a guest choreographer at the Opera La Monnaie for the opera Orfeo and Manjun and provided choreographic assistance for the recreation of West Side Story on Broadway (New York) with Anna Teresa de Keersmaeker. This 2022 she has created Noche Barroca.
Since 2019 she has co-founded and co-directed La Faktoria Choreographic Center and in 2022 she has created the TRY International Training Program for Young Dancers in Lucca (Italy), where she is the artistic director of the center.

Martin Kilvady was born in 1974 in Banska Bystrica, Slovakia, where he graduated from secondary school. Subsequently, he enrolled in a program for teacher education in contemporary dance at the Comenius University in Bratislava, the School of Music and Dramatic Arts where he received his "Master of Arts".

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 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, 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.

Meg Stuart is a choreographer and dancer working and living in Berlin and Brussels. In collaboration with her company Damaged Goods she has realized over 30 productions, ranging from solos to large-scale choreographies, site-specific creations and improvisation projects. In 2018, the Venice Biennale awarded her the Golden Lion for Lifetime Achievement in the category of dance. Meg Stuart/Damaged Goods has an on-going collaboration with Kaaitheater and HAU Hebbel am Ufer.

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 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 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.

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 folks face the dark uncertainty of the future with love and light. In addition to leading dance, yoga and mindfulness workshops, he is a bodyworker certified in Ayurvedic Yoga Massage. In 2019 he facilitated the Temporary Body Worker Union at Workspacebrussels and completed the Conscious Living yoga teacher training program at Yyoga. His research-in-action RECESS was awarded a 2017 Flemish research grant and presented in New York, Brussels, and Berlin. He has worked as an artistic assistant for the works of Daniel Linehan, Mette Ingvartsen, and Ivo Dimchev, and has appeared in the works of Maria Hassabi, Christian Bakalov, Isabel Lewis, Tino Sehgal, Heather Kravas, Xavier Le Roy, Eleanor Bauer, and Marina Abramović, amongst others. He has been honored with a New York Dance and Performance Bessie Award, Danceweb scholarship, and Jardin d'Europe Wild Card residency. Helland holds a double-degree in Dance and Community and Environmental Planning from the University of Washington in Seattle, where he was also an Integrated Graduate Education Research Training Fellow in Urban Ecology.

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 (breathcore.org) is a flutist and experimental musician, known for his work with the Belgian Ictus Ensemble and collaborations with Europe’s leading new music groups. His practice spans sound installations, concrete poetry, and composition. Since 2015, he has developed BREATHCORE, a project exploring breath in artistic, social, and political contexts. He is the (co)founder of The Breathing Saloon together with choreographer Pieter Ampe, with whom he has researched breath for their planned production ARIA. His work has been showcased at prestigious festivals and venues, including Kunstenfestival des Arts, Kaaitheater, and BEAF. Schmid has collaborated with renowned artists such as Anne Teresa De Keersmaeker, Boris Charmatz, Manon de Boer, Georges Aperghis and Simon Steen-Andersen. His installations and performances, including The Pitch and Breathcore – Riviera Blues, reflect his innovative approach to breathing as a musical instrument. He has released recordings with labels like KAIROS and WERGO and appeared on international radio and television.

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 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 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 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 (Brussels °1993) is a dancer and choreographer, with additional interests in photography, poetry, music, stop-motion animation, and the organisation of cultural events.
His artistic practice started in 2014 when he co-founded Brussels-based dance company
Slayers, good for hip-hop battles and for his own dance creations such as Cyborg’s Quest (2015).

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 (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 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 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 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.

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 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.

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.

Ntone Edjabe is a journalist and DJ. He's founder and head matron of Chimurenga and its siblings - Pan African Space Station, Chimurenga Library and more. Previously he worked as a basketball coach, letter writer, bodyguard and dancehall queen.

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. 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.

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, 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.

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.

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 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.

Paul Tucker was an instructor in the British Army Physical Training Corps and responsible for unit physical fitness and physical education of Physical Training Instructors at the Army School of Physical Training. Currently he is the owner of the Paul Tucker Personal Training Studio in Brussels, and teaches defence courses, courses training.

Peter Lenaerts is a Belgian sound artist active in the fields of performance, contemporary dance, & film. Lenaerts is fascinated by empty spaces and invisible or acousmatic sound. Sound that doesn’t scream for attention but sneaks into the listener’s ear unnoticed. Sound without ego, pure sound, with a focus on the medium rather than the maker.

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.

Petra Van Brabandt is a philosopher and wrote a PhD thesis on the moral philosophy of David Hume. She teaches at the art school Sint-Lucas in Antwerp and does research into the field of art & narrativity and art & pornography.

Pieter Ampe (b. 1982, Burundi) is a dancer, choreographer, and performer, known for his energetic playful work on vulnerable personal questions. After studying at P.A.R.T.S. (2004–2008), he collaborated with Gui Garrido on Still Difficult Duet and later joined ROSAS in The Song. As an artist-in-residence at CAMPO in Ghent, he created several internationally toured performances, including Still Standing You (2010), So You Can Feel (2014), and We Don’t Speak to Be Understood (2015). He began choreographing for others in 2016 with It’s In The Small Things (KVS) and later works like Get Lost (Carte Blanche, 2018) and What Shall We Sing About (Icelandic Dance Company, 2019). He has collaborated with Meg Stuart (Cascade, 2020) and Lisaboa Houbrechts (Vakepoes, 2023), among others. In 2022–23, Pieter received a Flemish Community grant to explore breath as a source of movement and stillness in performance.

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 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 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, a dynamic performer, choreographer, teacher, and producer, bridges the cultural and artistic worlds of Bharat (India) and Belgium. Rooted in yogic philosophy, he earned his accreditation from the Shivananda Yoga Centre and enhanced his artistic expression through Kalaripayattu and contemporary dance. His training includes mentorship by renowned masters like Jaychandran Palazy, Dil Sagar, Katie Duck, and David Zambrano.

As a choreographer, his creations span continents, including notable works like A Dream of Silence (2011), YATRA (2013, with Joost Vrouenraets), Borderland (2015, with Eddie Oroyan), and May Us Bless the I (with Francisco Córdova). His latest production, because I love the diversity (this micro-attitude we all have it) commissioned by Vancouver’s Push Festival is touring in 2025 in the USA, UK and Europe.

Rakesh is currently offering is expertise as performer to the esteemed companies such as Ultima Vez in Infamous Offspring, Roosana & Kenneth Company in Prime Mover and Shelter Ouroboros, and Andrea Bol in Down the River, Downtown, and Downhill.

Over 15 years, Rakesh has developed the globally acclaimed Intact Method, integrating yogic principles, Kalaripayattu, and contemporary dance and breath work (yogic and modern science influence). He has taught at prestigious institutions, including Impulse tanz, Ultima Vez, Deltebre Dansa, Sidi Larbi Company and P.A.R.T.S. to name a few. As a producer, he co-directed the Sanskar International Dance Festival and Sanskar Virtual Festival. He is now co-producing and curating Dance on Screen in Switzerland, continuing to innovate and inspire through cross-cultural artistic endeavours.

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 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 (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, 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 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.

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 (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). From 2022 onwards, Roman started engaging in a series of tv-projects, such as the Flemish tv-series “Dertigers”, “Traitors” and “Familie”.

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 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.

Rudi Laermans is professor emeritus of social and cultural theory at the University of Leuven, Belgium, and has been a guest lecturer in theory at several art schools, a role he continues to fulfill at P.A.R.T.S. His academic publications are situated at the intersection of classical and contemporary sociological theory, social systems theory, and critical theory in its broad sense. These frameworks also inform his work on recent social phenomena such as individualization, neoliberalism, populism, and the precarization of artistic labour. As an essayist and critic, he regularly writes on culture and the arts, including contemporary dance. He is also active as a dramaturg and translator, and is the author of numerous books, including ‘Moving Together. Making and Theorizing Contemporary Dance’.

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.

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.

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.

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.

After graduating with a Bachelor of Arts in Dance from the University of Wisconsin Stevens Point (UWSP) in the United States (Magna cum Laude), Sara attended the Performing Arts Research and Training Studios (P.A.R.T.S.) in Brussels, where she also now intervenes as their rhythm teacher. She has worked with Maria Hassabi, Eszter Salamon, Eric Minh-Cuong Castaing (Cie Shonen), Thierry de Mey, Michele Noiret, Cie Kubilai Khan Investigations, David Drouard (Cie DADR), David Hernandez, Anne-Linn Akselsen (Human Works), Thomas Vantuycom, Isabella Soupart, Harris Gkekas, and Serena Malacco. 2026 will see new collaborations with Maria Hassabi, Leila Ka and Youness Aboulakhoul on their respective creations.

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

Scarlet Tummers is a Dutch actress and theatre maker, based in Belgium. She graduated from the RITSC in 2014.
She has created performances with companies as tg Stan, De Warme Winkel, Wunderbaum, HETPALEIS (Simon De Vos), Cie Artara (Fabrice Murgia) and KVS.
Until 2017 she has created her own work under the name Le Mouton Noir. In the fall of 2020 she will create her first piece at tg Stan.

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 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.

Sébastien Hendrickx is a dramaturge, teacher, activist and art critic based in Brussels. He has worked with artists like Benjamin Verdonck, Jozef Wouters, Alexander Vantournhout and Luanda Casella, and is a member of the editorial staff of the performing arts magazine Etcetera. He recently created a solo performance called ‘The Good life’. He is part of Extinction Rebellion since March 2019.

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.

Sigrid Vertommen is conducting postdoctoral research on the political economy of global fertility chains between Israel/Palestine, Ukraine (egg donation) and Georgia (surrogacy) at the Department of Conflict and Development Studies at Ghent University. She is particularly interested in understanding women's role and participation in the bio-economy as egg vendors and surrogates through the lens of reproductive labour. This research builds further on Sigrid's PhD research on the political economy of assisted reproduction in Israel/Palestine, in which she addressed the multiple ways in which reproductive technologies, including IVF, Pergonal, child removals, sperm smuggling, egg donation and transnational surrogacy, have been imagined, materialised and coproduced in Israel/Palestine, at the crossroads of ongoing histories of settler colonialism and biocapitalism.Sigrid is also active in the feminist and Slow Science movement in Belgium.

Silvia Ubieta began her dance training in Seville, continued it in Paris and completed it at P.A.R.T.S. She has 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 career, specialising in contemporary dance, improvisation and composition. As a teacher, Silvia works for Michelle-Anne de Mey, Claudio Bernardo, the Flanders Ballet School, Charleroi-Danses/La Raffinerie, La Monnaie’s Education Department and the Dance section of the Arts and Humanities programme at Lycée Martin V, where she has developed a four-year educational programme for young dancers aged 14 to 18 who wish to enter a higher education dance school. Since 2007, Silvia has been a lecturer at ESAC – École supérieure des arts du cirque, where she acts as an artistic advisor, creative project assistant and dance teacher to students across a wide range of circus disciplines. She has collaborated on several occasions with the CNAC-Centre national des arts du cirque in France and the Circus Centrum in Ghent. In September 2025, she completed a master’s degree in Performing Arts at the ULB (Université Libre de Bruxelles), where she was awarded a prize for her research project ‘Towards a dramaturgical writing of the moment: In search of tools for exploration and instant composition in the circus arts’.

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 (1992, NL) is an artist working across dance, performance and theory, engaged in the shared creation of stage works and performance and theory programs in which the historical present of critique, the laboring body and the “experimental” are continuously questioned. Govaart performed in works by Oscar Murillo/Lydia McGlinchey, Eszter Salamon, Claudia Pagès Rabal, PRICE, among others. They collaborate with artists such as Bryana Fritz, Chloe Chignell, Marko Gutić Mižimakov and Osamu Shikichi. They are a founding member of Sex Negativity at Amsterdam School of Cultural Analysis, and organize spring*meeting at Performing Arts Forum (St. Erme, FR). Recent work was published in the exhibition catalogue of Simon Asencio’s exhibition series Through the Valley of the Nest of Spiders, and presented at Les Urbaines (Lausanne, CH). Based in Brussels, Govaart holds MA's in Cultural Analysis (University of Amsterdam) and Performance Studies (New York University), having previously studied at P.A.R.T.S., where they teach writing and theory.

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).

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 (1991-1996) 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 PLATFORM-K Brussels, a dance company who develops the artistry of dancers with a disability. Between 2013 and 2019, he taught for the project "Yoga at school". He collaborates with the project « Breath In » as a therapist for teenagers with breathing pathologies. In 2019 he taught yoga at "La petite école", a place of transitioning children from exile into school, who had never or hardly attended school. He continues his research and deeper understanding of the Iyengar® Yoga method during stays with the Iyengar family in Pune India.

Stephen Zepke is an independent researcher living in Vienna. He has published numerous essays on philosophy, art and cinema. He is the author of Art as Abstract Machine, Ontology and Aesthetics in Deleuze and Guattari (Routledge, 2005), and co-editor with Simon O'Sullivan of Deleuze and Contemporary Art (Edinburgh University Press, 2010) and Deleuze, Guattari and the Production of the New (Bloomsbury Academic, 2008).

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 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 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.

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 (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 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 was born in South Korea. In 1987 she took up ballet and Korean traditional dance classes and in 1994 she attended the Seoul Arts High School. 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. A part from Rosas, she has also collaborated on productions by other artists including David Zambrano’s Soul project (2006) and Holes (2010); Georgia Vardarou’s, New Narratives (2016); Femke Gyselinck’s Moving Ballads (2020), Letters 2 Dance (2022) and Figures of Speech(2026); Lara Barsacq’s Fruit Tree (2021) and Jan Martens’, Voice Noise (2024).

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 New Zealand 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. From 2020-2024 she was affiliated with the Festival Park Poétik leading socio-artistic projects. She continues to make solo work, and to improvise performances with other artists like Fred Treffel and Clint Lutes.

Susanne teaches contemporary dance and performance improvisation for companies, universities, schools and studios such as: Rosas, PARTS Summer School, Ultima Vez, Charleroi Danses, Danscentrum Jette, Kunsthumaniora Brussels (Brussels), Fontys Dance Academy (Tilburg), Tanzquartier & ImPulsTanz (Vienna), Tanzfabrik & Marameo (Berlin), BA Danse @ Arts au Carré (Charleroi), 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). Since 2021 she has been teaching & guiding artistic projects for people with Parkinson’s in collaboration with Fit Your Mind asbl (Belgium) & DaPoPa (France).

Susanne is a Professional Creative Consciousness Coach & Embodiment Coach. 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.

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 has danced 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).
Tale also worked with fieldworks, Nature Theatre of Oklahoma, TG Stan, Kris Verdonck, Benjamin Vandewalle, as well as makes her own work in collaboration with actor Gabel Eiben. She studied at PARTS.

Tamara Cubas (˚1972) lives and works in her home country Uruguay. She received a bachelor’s degree in Visual Arts from the National School of Fine Arts Institute at the University of the Republic of Uruguay (IENBA/UDELAR). She holds a master’s degree in Art and Technology from the School of the Arts (EMMA) in Utrecht, The Netherlands where she became an EMMA Award winner – Image & Technology. Tamara Cubas studied contemporary dance at the Contradanza School in Montevideo.

Tarek Halaby (1980) is a Palestinian-American dancer and performer living in Brussels. He was born and raised in Saudi Arabia and at the age of 10 moved to Chicago, Illinois, where he began to study dance and voice. In 2001, he graduated with his Bachelor of Fine Arts degree in Dance Performance from The University of Iowa. After starting his career in the independent dance scene in New York City, he left for Europe in 2004 to complete his training in the Advanced Research Cycle at P.A.R.T.S. in Brussels. He has developed several projects that combine movement, text and song and has toured extensively with them. Distinguished by his natural ease and versatility as a performer, he is often invited to collaborate with different artists. He has worked most notably with New York choreographer Miguel Gutierrez, Zurich director Martin Zimmermann, Swedish electronic band The Knife, Belgian choreographer Anne Teresa De Keersmaeker/Rosas, Belgian filmmaker Manu Riche and more recently with Ictus Ensemble for Liquid Room No. 10: Robert Ashely and the Theatre of Voices. From dance, theater, singing and music, to television, voiceover and cinema, Tarek has always performed in a wide range of projects.

Originally from New Zealand, Tessa Hall graduated from the P.A.R.T.S. Training Cycle in 2019 and the STUDIOS in 2021. Her versatile practice spans performing, researching, and writing, which she views as the interconnected motors of her artistic work. Since 2020, she has been involved with Rosas as a researcher, writer and dancer performing in productions such as Drumming and Forêt. She collaborates closely with artists such as Julia Rubies Subrios, Jacob Storer, Maaike Neuville, and Némo Flouret with whom she appears in works 900 Something Days Spent in 20th Century and Derniers Feux. Aside from the stage, Tessa currently works as a researcher in the Danserfgoed department of STUK, specifically on projects within DanceMap. DanceMap is a Europe-wide network focused on promoting contemporary dance heritage and safeguarding the field in the future. Her research centres around methods of dance historiography.

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.

Theo Livesey is a per­for­mer and maker wor­king in dan­ce, the­a­tre, and the writ­ten word. Since gra­du­a­ting from P.A.R.T.S. in 2016, he has been wor­king with Gisèle Vienne as a per­for­mer and con­structing his own work on sta­ge and on the page, as well as enga­ging in various col­la­bo­ra­ti­ve wor­king processes.

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).

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 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 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 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 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 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 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 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 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 (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.

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’s creative processes, performances, and installations are driven by her interests in dance, movement, perception, the senses, embodied experience, multi-sensory spectatorship, collectivity, and consent. Her most recent body of work, The Tactile Cycle, comprises stage creations, sculptures, and movement–sound installations, all centred on creating unique, interpersonal encounters between audience and performer. Alongside her own artistic practice, Vera regularly mentors others in their development and works across a range of roles within the artistic sector over the past 20 years. In 2026, she began working on a restaging of The Palm of Your Hand with students at the Danish National School of Performing Arts in Copenhagen. She is also currently developing a new creation, set to premiere in 2027. She graduated from London Contemporary Dance School, and has worked as a dancer, director and researcher throughout Belgium, the UK and across Europe.

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).

After many years of dancing and touring with several choreographers such as Jan Fabre, Sidi Larbi Cherkaoui, Damien Jalet , Akram Khan, Romeo Castellucci, she started to develop her own personal research influenced by the different dance techniques and martial art she has been training with. She began her career as a creator in 2013 while being a resident artist in Swatch Art Peace Hotel Shanghai. While there she created a dance video (“Closer”) that was shown in Biennale of Venice 2015. In 2017 she choreographed and danced in the film “Beautiful Things” premiere in Festival of Cinema of Venice and won several Prizes. She created a site specific solo called” 088” which was presented in Belgium, Italy, Macedonia, Mexico, Spain. While she was an associate artist of Dejadonne she created a duo called “In Pasto al pubblico” together with the jazz pianist Simone Graziano and another duo called “365” together with Andrea Valfre’. She teaches and gives workshops around the all world with the title of “Artylogica” (SEAD academy in Salzburg, Artesis Antwerp, La Raffinerie Bruxelles,HJS Amsterdam, K3 Hamburg, B12 Berlin, Attakalari Bangalore, Circuit-Est Montreal, Ensimismados San Jose - Costa Rica, Trip Space London, Conde Duque, Descalzinha Madrid, UNAM Mexico city, INBA Mexico city, CCDC/MAAT El Cairo, To love -in Toronto, Gibney studio New York, Summer intensive Portugal, Goa Residency, SANSKAR Festival, DAAR and DAAS festival St. Petersburg-Russia). Together with Andrea Valfre’ she is a co-founder of “Ki-Contact” technique that led them to choreograph and research with students from SEAD, Descalzihna dansa, Goa residency and they will choreograph for the European Capital of Culture 2022 a new show called ”Mikado”.

Viviana Mucci studied Medical Physiology and obtained MSC in space Physiology and Health. She is currently pursuing a PhD in Vestibular Pathologies. She has a long background in ballet and rhythmical gymnastics, and works as a personal trainer and sport nutritionist.

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).

Yann Leguay lives and works in Brussels. He focuses on the notions of dematerialization, the use of interfaces and everything about the materiality of memory. In his sound practice he was defined as a 'media saboteur' by the Consumer Waste label, seeking to fold the sound materiality in on itself using basic means in the form of objects, videos and performances. He has presented his work in many places and festivals all around Europe and further such as Kunstenfestivaldesarts, Club Transmediale, Centre Pompidou, Ex-Teresa Arte Actual.
Since 2007, he is also producing installations, sculptures and editions that integrate a critical approach to the meaning of the technological evolution.
In concerts he pushes the boundaries of accepted norms of audio behavior, using uncommon machineries for the playback of audio media: opened hard-drives as turntables, an angle grinder as a microphone, the sound of the electricity and so on… His records release activity is equally unusual, releasing readable silkscreen records, a 7” single without a central hole, or a record composed from recordings of vinyl being scratched by scalpel. His Phonotopy label proposes a conceptual approach to recording media and he curates the DRIFT series on the Artkillart label.
He is also involved in different collective projects as sound and music curator, and participates to graphical designs for books and revues.

Youness Khoukhou (Marrakech, 1984) is a dancer, performer, choreographer, and co-founder of Y-Collective. He studied dance in Marrakech and Tunis, and later in Belgium, where he graduated from P.A.R.T.S. (Performing Arts Research and Training Studios) in 2012.

Yuika Hashimoto (Japan, 1991-) is a dance artist based in Landen, Belgium. She trained at JWCPE, dance education department (Tokyo) and after that at P.A.R.T.S training cycle (Brussels) from which she graduated in 2016. Since then she has performed for Rosas/Anne Teresa De Keersmaeker, fieldworks/Heine Avdal and Yukiko Shinozaki, and nïm campany/Naïma Mazic. Her recent artistic research focuses on making a connection between different communities through dance. Therefore, curiosity led her to follow the training of Dance Well in 2024 and Contakids in 2025. Beside performing on the stage, she has worked as rehearsal director at OVB for Rosas repertoires, and she gives dance workshops at PARTS summer school, WISPER in Leuven. She also works at Bindkracht vzw with the mentally disabled. For the first time in her career, she has organised a festival in Landen in Spring 2026.