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

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

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

Alejandra Theus is a Flemish-Colombian actress. She graduated from the Toneelacademie Maastricht in 2008. She has performed with many ensembles in Belgium and Holland, including Het Huis van Bourgondië, Theater Artemis, Oostpool, Toneelschuurproducties Haarlem, Theater Het Amsterdamse Bos, RoTheater, NTGent, Orkater and Het Gevolg/Martha!Tentatief. She also participated in several television series on Flemish channels.

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

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

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

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

In 2014 Alesandra become a ADAD Trailblazers Champion.

Alexander Vander Stichele studied psychology and obtained a PhD in sociology. He mainly reseraches in the field of the sociology of culture, investigating participation to culture and the arts, cultural socialisation, the formation of cultural taste and processes of cultural classification. Since 2009, he works for FARO, the Flemish support institute for cultural heritage. He also teahes at the Erasmus university in Rotterdam.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Anne Pajunen is a dance artist, actor and dance and theatre maker.
She was first introduced to yoga at the early age of 14 at the Helsinki Ashtanga Yoga School in 1999. Since then, she has kept expanding her practice and familiarizing herself with different approaches. In 2022 she completed a one-year Yoga Teacher Training course (RYT200h) at Hima&Happiness, Helsinki.
As a performing artist she is passionate about holistic, psycho-physical approaches to performing and forever fascinated by humans and the myriad of ways in which we communicate in our eternal longing for unity and togetherness.
She regularly teaches both yoga and movement and has taught at The Theatre Academy of Finland, Tanssivintti Helsinki and at the Open Monday classes of Hiatus in Brussels among others. She is used to working with people of all ages, with advanced students and complete beginners alike.
Anne has an MA in Dance from the Theatre Academy of Finland, an MA in Acting from the Royal Academy of Dramatic Art, London, and a P.A.R.T.S. Research Diploma. She continues to deepen her studies in yoga and to take further training whilst actively working as a freelance performer.

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

Anne-Linn Akselsen is educated at the Royal Swedish Ballet School and is a graduate of P.A.R.T.S. of the 5th generation. As a performer she has been a dancer with Rosas as well as working for choreographers such as Salva Sanchis, Jean Luc Ducourt among others.

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

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

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

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

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

Ben Woodard is an independent scholar living in Germany. His work focuses on the relationship between naturalism and idealism during the long nineteenth century.

He is currently preparing a monograph on the relation of naturalism and formalism in the life sciences. His book Schelling’s Naturalism was published in 2019 by Edinburgh University Press.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Cristian Duarte is a choreographer, director and dancer who lives and works in São Paulo. His work as a choreographer is presented internationally and has been recognized by important dance awards in Brazil. His artistic practice involves the creation of shared work environments and experimentation in dance, such as the artistic residence Lote, which has been a fundamental cosmos for the continuity of his choreographic action.

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

Cyril Baldy studied in Paris at the Conservatoire National Superieur. He worked with The Jeune Ballet de France, Nederlands Dans Theater (NDT) II and NDT I before joining Ballett Frankfurt in 2002. He was member of The Forsythe Company from 2005 until 2014. Since 2014, alongside teaching internationally, choreographing and staging William Forsythe's repertoire, he co-created his own art direction company named Sad.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

"Emmi is a contemporary dancer (FI/BE) currently based in Brussels, Belgium.
She studied dance at Turku Conservatory in Finland and S.E.A.D (Salzburg Experimental Academy of Dance), Austria.
After graduating, she has collaborated with choreographers such as Alexandra Waierstall, Julia Schwarzbach, Rakesh Sukesh, Kinga Jaczewska and Alice Van der Wielen-Honinckx.
The past years she has worked intensively in several creations with two companies: as a performer and collaborator with ECCE/Claire Croizé & Etienne Guilloteau and with not standing/ Alexander Vantournhout as a performer and research collaborator.
Emmi has shared her expertise through teaching dance workshops in Belgium (P.A.R.T.S, Passerelle) and Finland, as well as partnering workshops with Alexander Vantournhout at P.A.R.T.S SummerSchool/Brussels, Tanzwerkstatt/Münich, Deltebre danza/Spain, and Summer Intensive/Vilnius Lithuania."

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

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

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

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

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

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

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

Graduated from the RUG, as a novelist in 1994 and as a master of the dramatic arts at the Herman Teirlinck Higher Institute in 1999. For her graduation project she received the award of the IT's festival as best actress with her own written material. She was on stage with large and small companies: Toneelhuis, KVS, Theater Zuidpool, De Tijd, Het Paleis, Jan Decorte, Malpertuis, SKAGEN, Hanneke Paauwe, Tristero, Het Gevolg, Sam Bogaerts, LOD, Josse de Pauw, compagnie Marius, Productiehuis Brabant, Abattoir Fermé...In recent years she has also started to focus on social-artistic work -Kunst Z, Forsythia, Tutti Fratelli- and teaching. She previously taught at the conservatory of Antwerp and KASK Gent.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Jacob Storer graduated in 2016 from PARTS in Brussels, Belgium and joined Trisha Brown Dance
Company in 2017. He is currently based between Brooklyn and Brussels collaborating in projects regarding somatic embodiment, movement, music, and semantics of language. He has previously taught at NYU, Mimar Sinan Üniversitesi, and P.A.R.T.S.

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

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

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

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

Jason Respilieux (born in Brussels, BE) studied at the Fine Arts Academy of Brussels, Codarts in Rotterdam and graduated from P.A.R.T.S. in 2014.
Jason has collaborated with and danced for several choreographers, including Salva Sanchis (Islands project, A Love Supreme), Ted Stoffer, Claire Croizé (Evol, Duet For Two String Trio), Anne Teresa De Keersmaeker (A Love Supreme, The Six Brandenburg Concertos, The Dark Red Research Project) and Anneleen Keppens (Blue Moon Spring).
In 2022, he co-founds the organization ArTerre with the aim of supporting and promoting ecofeminist approaches and the development of agroecology in the Tarn (France).
Jason’s combined expertise as a dancer and a teacher opens up the perspectives of a varied choreographic research that is an equal reflection of his diverse parcours. His artistic practices situate themselves within this plurality. Finally, to unfold his choreographic vision and allow an enlarged expression of art forms, he advocates to create a suitable artistic format with each project.
Jason creates to multiply our perspectives and bring nuance. His work anchors itself in its immediate environment but seeks out of the ordinary experiences.

« As a teacher, I believe transmission is a form of participatory work, in the sense that transmitting is an act of reciprocal sharing of knowledge and invites us to activate receptivity. A receptivity that enables us to act. »

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

Joachim Ben Yakoub is a writer and teacher, sometimes also operating as curator and dramaturg, working on the border of different art schools and institutions. He spends most of his time in the Kitchen, a collective study and workspace in Brussels. He is affiliated to the MENARG and S:PAM research group of Ghent University, where he is conducting research on the aesthetics of revolt somewhere in between Tunisia and Belgium and is also lecturer at Sint-Lucas School of Arts Antwerp.

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

Jolente De Keersmaeker (1967) is stichtend lid van STAN. De afgelopen jaren creëerde en speelde ze mee in o.a. Eind Goed al Goed, Het Wijde Land, Bedrog/Trahisons, Nora, De Kersentuin, wat/nu, Poquelin II en Infidèles. Naast STAN was Jolente ook regelmatig betrokken bij het werk van haar zus, choreografe Anne Teresa De Keersmaeker en haar dansgezelschap, Rosas. Jolente geeft ook les aan het Conservatorium in Gent en leidt regelmatig workshops in België en het buitenland.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Katja Cheraneva is a freelance dancer and choreographer based in Frankfurt. She holds a Diploma from HfMDK, Frankfurt (Hochschule für Musik und Darstellende Kunst, Zeitgenosische und Klassische Tanz) and an MA in Arts from MA CuP (Choreography und Performance), ATW, Giessen (Angewandte Theater Wissenschaft).

Her recent work explores notions of rehearsal/rehearsing, learning/unlearning, memory, and undoing. In the past, she has worked in close collaboration as a performer, co-creator, and choreographic consultant with choreographers such as Fabrice Mazliah, Lea Letzel, Francis Chiaverini, Janina Arendt, Ksenia Ravvina, Yasmeen Godder; as well as visual artists such as Anne Imhof (NATURE MORTE 2021, FAUST and FAUST JR. 2017, ANGST I, II 2016), Dudu Quintanilha, Gabriele Rendina Cattani, Dorota Gaweda and Egle Kulbokaite (BROOD 2023).

She was a member of The Forsythe Company (2010-2015) and a founder member of HOOD(Host Organisation fOr proDuction), which held an artistic fellowship at PACT Zollverein from 2017 - 2019. In 2023, she joined Theater Basel as a guest dancer for a production of Telling Stories by Fabrice Mazliah.

Together with Mazliah, she has been managing a project space, Werkstatt (2021-2023), in Frankfurt. Werkstatt received support through #TakePart and, as of October 2021, Tanzpakt Reconnect.

Since 2011, Cheraneva has been actively teaching in various contexts and educational programs and working with students choreographically through mentoring and creating short pieces for and with the students. She mainly teaches improvisation and composition, choreographic approaches and movement research, and voice and text as an extension of the body/dance.

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

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

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

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

Kuno Bakker studied at the Theatre school of Arnhem, Netherlands (1989 – 1993). Founding of theatre collective Dood Paard, based in Amsterdam (1993) Creating ± 35 performances with Dood Paard, which were played in the Netherlands and Belgium and several other European countries. Working for television and film as an actor. Teaching at the theatre schools in Amsterdam and Antwerp and at P.A.R.T.S., Brussels.

Kyoko Iwaki is recognized as a specialist in Japanese contemporary theatre and performance who conducts multi- and interdisciplinary research in areas such as political theatres in post-catastrophe society, new materialism and nonhuman philosophy including animal and cyborg studies, Asian postcolonialism and intercultural theatre, critical race theory and transnationalism, and ritual and spirituality with a strong investment in Buddhism.

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

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

Laura Bachman (France, 1994) studied ballet at the Paris Opera ballet school from 2005 to 2011, before becoming a member of the Paris Opera Ballet in August 2011. With the Opera’s company, she performed in classical ballet productions such as La Bayadère, Giselle or Sleeping Beauty and worked with many choreographers, performing in pieces from Wayne Mcgregor, Benjamin Millepied, John Neumeier, Pina Bausch and more. She also toured with the company around the world dancing in Moscow (notably at the Bolchoi theatre) or in Japan and Australia. Laura has worked with LA Dance Project, Benjamin Millepied's company, for a few month in 2016. From Anne­ Teresa de Keersmaeker oeuvre, Laura performed in Rain and Bartók / Beethoven / Schoenberg with the Paris Opera Ballet, before joining Rosas in August 2016 for the revival of Rain.

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

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

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

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

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

Laura-Maria Poletti (Corsica,1992) started her professional dance education in 2009 at Paris National Conservatoire (CNSMDP), while simultaneously studying English literature at the University Paris Diderot. In 2013, Laura-Maria joined the Training cycle of P.A.R.T.S (Brussels), where she graduated in 2016. During the fall of 2014, she performed Spanish Dance with the Trisha Brown Dance Company in Leuven. She worked again under the direction of Diane Madden and Carolyn Lucas as an intern for the repertory performances of the Trisha Brown Dance Company in BAM in January 2016. She joined Rosas for the revival of Rain in 2016. Since then, she has been part of revivals of pieces such as Fase, Four movements to the music of Steve Reich, Rosas Danst Rosas and Drumming, as well as creations like Dark-Red Beyeler or Mystery Sonatas / for Rosa.
She is now working on her new research project aNOTHER rHAPSODY.

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

Lendl Barcelos is a Portuguese-Canadian researcher, philosopher & artist now based in Brussels. Hens work has appeared internationally via Garage Museum of Contemporary Art (Moscow), Cure Park (Amsterdam), The Passive Collective, TATE Britain (London), OR Gallery (Berlin), V4ult, /V\inibar (Stockholm), Diapason (New York), Re:Press & MIT Press. Hen is part of Asounder & the collaborative artist 0[rphan]D[rift>].

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

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