Overview

Schedule

Who can participate?

Rosas repertoire

Other workshops

Class descriptions

Teachers' biographies

Practical information

Prices

Registration information

Registration form

Cancellation procedure

 

Rosas repertoire

Drumming (1998)
Drumming was created in August 1998 to a composition of Steve Reich. The compelling rhythmicality of the music propels the dancers into a choreography that appears complex and at the same time insidiously simple. Just like the music, the dance proceeds from a single motion phrase, explored exhaustively and unremittingly for an hour through endless combinations, variations and transformations, by reversing it, speeding it up and slowing it down. 
Available as workshop medium level week 1, 2, 3 and 4.

Rain (2001)
In Rain, the choreography engages in a complex relationship with the music of Steve Reich’s 'Music for 18 musicians', a work in which Reich combines the strict rhythmicality of percussion and piano with the freer rhythm of voices and wind instruments. Likewise, the choreography links mathematical precision and a strong expressivity of the dancers. One single basic phrase is endlessly turned around, split up and transformed, in an infinite caleidoscope of contrasts, between active and passive, female and male, yin and yang, accelaration and deceleration, dance and music…
Available as workshop advanced level week 2 and 4

Achterland (1990)
In Achterland, three men and five women move alongside each other in a fragile equilibrium, cautiously sounding out each other's boundaries, their movements closely grafted on the unruly romanticism of Ysaÿe's and Ligeti's music. They chase one another without ever possessing each other, claim each other's space without ever touching. The dance is energetic and smooth, restrained and self-absorbed. The meticulous compositions compel the dancers to smallness, to the restriction of their movement repertory. The body is fragmented in order to allow it to respond to the rhythmical and compositional complexity of the score.
Available as a worskhop medium level week 1
!In this workshop only the men’s material from the original choreography will be taught, but both women and men can participate in it.

Elena’s Aria (1984)
Elena’s Aria was the third creation of Anne Teresa De Keersmaeker, revived for the first time in 2011. In this piece, she introduced a new perspective, leading the chracteristics of her earlier works into new challenges. There are two leitmotivs in the movements used. On the one hand there is the pursuit, alternating with running away, by the five dancers on a row of chairs upstage. On the other hand there is the attempt, in their tucked up tight skirts, to run round the chalk circle in the middle of the stage. The feelings expressed by this performance are located in the sphere of pain and solitude, suffering as a result of absence, and the longing for an unattainable love. This emotional tension is reinforced even more by the restrained ‘ theatricality’ with which some movements are carried out.
Available as a workshop advanced level week 2
!Due to the nature of the work only female dancers can participate in this workshop

Zeitung (2008)
Choreographer Anne Teresa De Keersmaeker and pianist Alain Franco go in search of the unstable combination of music and dance, choreography and improvisation, romance and disillusion. In a broad historical gesture, Bach, Schoenberg and Webern traverse the geometrical principles and improvisational wild cards of the Rosas choreography. In harmony and difference, in unison or counterpoint. In Zeitung, music and dance do not meet on the basis of any similarity or parallel, but on the intersection of the two.
Available as a workshop advanded level in weeks 3 and 4

The Song (2009)
The Song’ is about a world that is rushing ahead of itself, dashing at an ever faster tempo. A world whose acceleration is increasing to the extent that standstill seems inevitable. As ever, at the heart of this whirlwind of change stands the body, at the eye of the storm. As a sounding board in a reality that is chaotically transforming. The arid land which in spite of itself gives life to new possibilities: a playful solo in which the body seeks out its own weightlessness or a group choreography like a flock of birds in full flight, the constantly shifting patterns at the same time a sample of mathematical precision and human inventiveness.
Available as a workshop advanced level week 3

 

Other workshops and masterclasses

 

Anne-Linn Akselsen & Adrian Minkowicz - tango
Adrian and Anne-Linn teach traditional Argentinean tango Villa Urquiza style. This is how tango was danced in the salons of the golden age of tango. The main focus is walking, the embrace and how to dance with the music, finding freedom in improvisation. In the class we will be building up listening skills, learning about rhythm and phrasing, the use of axis and balance and the subtle practice of tuning with the other. By the end of the workshop you will have the skills to improvise with basic steps and lead and follow with precision. (week 3, basic)

 Jonathan Burrows - composition
Writing dance - Jonathan Burrows leads a two day intensive workshop investigating choreographic and compositional process, performance and philosophies, questioning why and how a dance can be made and what it might communicate to someone watching. (week 1, advanced)

Thomas Hauert
Every joint of our body has its range of movement and there are countless combinations possible. The body possesses a great practical knowledge that goes way beyond what the mind’s consciousness is able to process. Our mind can concentrate only on a few things at one time while our body is able to combine a great amount of information in an ever changing, fluid sense of orientation, that can serve as a sensor for potential movement: physical intuition, creativity that comes into existence by purely physical circumstances, no thought is necessarily formed between the moment of ‘inspiration’ and the realisation of the movement. (week 3+4, advanced) 

David Hernandez - Improvisation workshop 'Showing listening'
This lab involves approaching music and it’s manifestation through the body as spontaneous counter composition to a musician or score. We will spend much of our time working on allowing  a visualizing of our listening and on enabling the flow of the  imagination inspired by music to make itself known through physicality. Then we work to take a step further toward including such ideas as improvising a physical melody line, doing only what is needed, composing silences, team work, logic, flow and building a history and much more.  (week 2, medium) 

David Hernandez - Composition workshop 
I will  conduct a composition lab using a syllabus for creating movement that has a step by step evolution format. It is a guided approach that helps us to hone in on the basics for composing movement and creating development while exploring one’s personal movement vocabulary and individual tendencies and transcribing that into a readable format.  The work is centered  on movement creation and invention as well as development and approaching movement as a language. (week 3, medium)

Matej Kejzar - Edge 35,6
System stops, ball stops bouncing, touch stops, space stops, gravity stops, avantgarde stops. STOP. Final Edge. What is the moment before every thing stops? Is it kind of moment where you met your Pegasus, or is thinking about this kind of moment just another illusion? Is it reality of stop/edge more just the end and then tilted over? What comes next and why is question the only form that can serve as answer? It is time for shape, it is time for re-thinking of shape, it is time to re-think the illusion! (week 4, medium)

Martin Kilvady
As a teacher, student and performer there are number of subjects that i am simultaniously cultivating. Body Work (strength, flexibility, coordination...), Technique (is a procedure used to accomplish a specific activity or task), Sens of Dancing ("i am dancing, not exercising", dancing with precise, chosen relationship to the music), Creativity and Freedom, Performance (is an event in which one group of people(performers) behave in particular way for another group of people (audience) ), Enjoyment (fun and enjoyment as a part of the work), Work Ethics ( own disciplin and approach to dance art form). These subjects should be cultivated, nourish each other and coexist at the same time. I would like to inspire the dancers in building up their own dance method using their knowledge, observation and intuition.

My teaching is coming out of my ongoing present research and joy to dance which I would like to pass on.  (week 4, medium) 

Martin Nachbar - contact improvisation
In his contact improvisation class Martin Nachbar focusses on tuning into a sense of weight, how it relates to the joints, and how the muscles around the body’s center and around the spine can help guide the body in a contact dance. This technical aspect of the form will be explored and trained through exercises alone or with a partner. At the same time, the class looks at how contact dances “compose themeselves” through the dancers’ playfulness, spontaneity, and their fast and often instinctive decisions during the dance itself. (week 1, 2, basic)

Roberto Olivan - creative workshop
Today's foremost choreographers and companies seek dancers with the versatility to perform a wide range of work. This project is a way for dancers to increase their ability to perform dynamic works of contrasting styles and making crucial professional experience on a creative process of a performance. Participation in this workshop is selective and limited in order to provide each dancer and the collective the opportunity to work directly and intimately with our guest artist Roberto Olivan. During the workshop period, the participants will be offered a daily creative process during which they will have an guided open forum to create and develop new choreographic and theatrical material. An informal presentation of the resulting "works-in-progress" will be shown in the Studio on the final day and open to the public. (week 3+4, medium)

Johanne Saunier - composition
The choreographic composition workshop is closely inspired by the musical composition principles, in order to provide to performers, tools to create and manipulate any choreographic as well as theatrical or vocal material. We will work on developing, transforming, extending what is at first "a moment of inspiration", to generate a whole new vocabulary that will eventually be selected and organized, put to music or not, in a new composition. We will work on: creating and generating  the basic vocabulary, experiencing transformations technics, selecting and organizing the new material into a composition. (week 1, medium; week 2, advanced)

Francesco Scavetta - “A surprised body” 7th cycle
The teaching project “A surprised body” started in the 2005, in Norway, and continued, throughout the 2006/2012, with workshops in: Italy, Croatia, Serbia, Cuba, France, Colombia, Venezuela, Estonia, Latvia, Lithuania, Argentina, Uruguay, UK, Holland, Republic of San Marino, Austria, Finland, India, Belgium, Russia, Canada, Brazil, Chile, Palestine, Jordan and Lebanon. Already as a title, “A surprised body” defines, for me, a metaphorical space. The image of a body in a constant alert, able to surprise himself, escaping from a habitual daily body and from any kind of routine. A body that allows the movement to cross freely throughout the limbs, more focused on reacting, than on acting. More on receiving, than on doing. (week 2, medium)

 

Classes

Douglas Becker
In my Ballet class, attention to musical accuracy and detail is important.  Line, counter point, and fluid connectivity between the arms and the legs are accentuated in relationship to the classical vocabulary. Each exercise is designed to develop correct posture, placement, alignment, technical execution, and artistry. The use of breath, full body focus, length of spine, relaxed neck, and effortless epaulement are deemed important elements for building and maintaining a healthy, economically used efficient technique. ballet; week, 2, 3, medium)

Michel Debrulle
After having learned organically (by singing,clapping, stamping...) rhythmic structure of varying origins (African, Afro-Cuban, Indian, Contemporary...), the participants try to put this into movement in order to confront new bodily patterns, with the architecture of the rhythm determining that of the body. Here, the phrasing comes from the rhythm, not from the movement. (rhythm; week 2, advanced; week 3, medium; week 4, basic)

Dominique Duszynski
Dynamic and fluid dance class made up of floor work and standing work. The first topic is to open the conscious of anatomical knowledge in dancing. The relationship to the movement of the weight is always present, opening to musicality and instinct. The dance is proposed according to the art of movement inspired by Pina Bausch and by the elements of dynamic and space developed by Rudolf Laban. (week 4, medium)

Libby Farr
Ballet class is built on re-evaluation of classical technique with focus on awareness of alignment. Class is divided in two parts, the barre focus on function, isolation and fluidity and the center on challenging found discoveries to use as source for strength and individual dynamics. Dancing with awareness of weight and momentum allows for the inner muscles to support a greater freedom in movement and expression and propose a strong sense of confidence for the dancer to take space and go beyond technique. (ballet, medium, week 4)

David Hernandez
I am interested in movement and training the body to express through movement in a detailed and precise way but without the loss of the individual expression. I am developing an approach to dance technique and movement vocabulary that embraces physicality, craft and approaches the body as an instrument. The class is highly physical with an emphasis on detail. We concentrate on establishing a clear, efficient body alignment as a base to move from while making gravity our partner through discovering the notion of falling and redirected weight.  There is an exposure to very specific, dynamic movement vocabulary that concentrates on  moving weight, density and texture and the musicality of physical material.  All parts of the body are used to gesture, often playing against each other like contrapuntal melody lines. The form is clear and provides a partition in which the dancers can challenge themselves against its rigor while finding a personal approach to the material.  Each individual and individual body is different, therefore the material must be translated by each person in its own unique way while honing and crafting the material on the body. The class gives the keys to do this while providing tools and skills useable in other styles of work as well. (week 2, medium; week 3, advanced) 

Matej Kejzar
“Time&Space Remixed”. It serves passion to move in combination with an awareness of the dynamics of projection in space and time. Breaking and reinventing the meaning of the specific time and a specific space concept in for instance traditional, classical, modern, post-modern, new dance, dance theatre, physical theater, etc. All these styles and forms describe a certain time and certain space in order to allow dance as such to appear. The mentioned classifications describe certain technical aspects of what moving in time and space can mean. And what do they mean today? T&S Remixed opens many questions donsidering how body in motion can be seen, and what is there to be read. It calls for shapes which are still to be discovered. It overlaps past with future, stillness with speed, abstract with meaningful, impulses and reflection, passion and ratio. This approach allows dance to be discovered again. (week 3, medium; week 4, advanced)

Roberto Olivan
By learning and using many different kinds of dance techniques Roberto Olivan discovered their limitations for artistic expression. Whilst accepting the necessity for these conventional techniques, he knows that using them exclusively curtails freedom in the dance and  the dancers. So he is embarked on a constant quest for the freedom that creates new forms; refining his technique to develop a unique language which can be recognized as his own style, a language centered on speed and precision. Moving efficiently becomes an important issue. There are other important goals like working with gravity; consciousness of inner sensations such as breathing and the visualization of energy released by movement. This consciousness of body unites mind and physical s ructure and relates it to spatial energies, to others and one self. In this sense the body becomes a tool of projection for the physical and emotional flow. The force of mental images such as lines and structures around and in the body are used to define and help us to understand the body’s functionality better. The goal of this workshop is to support and to encourage on loosing fear to move in a specific context. We will specially focus on generating dance material from our animal instincts and our own creativity in order to develop and discover the infinite possibilities of movement. We will also strength the confidence through the group building safe conclusions from difficult situations.

Rasmus Olme
tba (week 1, medium)

Francesco Scavetta
The physical training  is based on release technique and floor work, concentrating on centering and gravity. The aim is awakening our awareness and creating occasions for discoveries. (week 2, advanced)

Clinton Stringer
Movement - from subtle shifts of weight to expansive movement with the whole body.  Clinton Stringer (ex. Rosas) will guide this class for beginners. We will start with a few “body discoveries”, exploring weight, direction and alignment. This will be followed by a series of simple exercises which will take these discoveries into movement. The class will finish either with improvisational tasks or the learning of a dance phrase to get the blood pumping! (week 1, 2 basic level)

Sandy Williams
This class will focus on a score of improvisational tasks and how the resulting movements, both concrete and imaginary, can be applied to the production and performance of set material.(week 3, basic)

 

Bios of the teachers

Anne-Linn Akselsen graduated from the Royal Swedish Ballet School in Stockholm and P.A.R.T.S. in Brussels. In 2009 she co-founded the company Human Works with the theatre artist Adrián Minkowicz, and they have since premiered three performances together. “Dry Act #1: Corpse Aroma”,premiered 2009, was the first part of the Dry Act Trilogy. The second and third parts are planned to premiere in 2012 and 2013. She has created several works, like the solo ”Sing me, for your life, in a Portuguese folia, the reason for your happiness” (2008) that won 1st prize at the Baltic Movement Contest in 2010. She also performs for others and has worked with choreographers such as Anne Teresa de Keersmaeker/ Rosas, Jean Luc Ducourt, Salva Sanchis and Heine Røsdal Avdal.

Douglas Becker is teacher, choreographer ex soloist of William Forsythe’s Frankfurt Ballet. His choreography has been presented on the stages of Belgium’s Royal Flemish Theatre, Switzerland’s Grand Théâtre de Genève, and the Choreographic Centers of Grenoble and Nancy (France). He is guest faculty at P.A.R.T.S. Brussels, The National Conservatories of Paris and Lyon, New York University Tisch School of the Arts, and University of California Irvine, among others. He teaches Ballet and improvisation, restages Forsythe Repertory. He is Artist in Residence/Master Lecturer University of the Arts Philadelphia.

Nordine Benchorf studied dance at the CNDC Angers and was a member of Rosas from 1998 until 2002. Later on, he worked with met Cie. Samuel Leborgue, Loïc Touzé, Needcompany, Ultima Vez/ Wim Vandekeybus, Catarina Sagna and the Amgod collective. He teaches workshops on the repertoire of Rosas and Ultima Vez.

Jonathan Burrows danced with the Royal Ballet for 13 years before leaving in 1991 to pursue his own choreography. After touring with a company for some years he decided in 2001 to concentrate on one to one collaborations with other artists, who would share the conception, making, performing and administrating of the work. His first collaboration was Weak Dance Strong Questions (2001) with theatre maker and performer Jan Ritsema, which toured to 14 countries. This has been followed by a series of duets with Matteo Fargion, beginning in 2002 with Both Sitting Duet, followed by The Quiet Dance (2005), Speaking Dance (2006), Cheap Lecture (2009), The Cow Piece (2009) and Counting To One Hundred (2011). The two men have now given over 250 performances across 28 countries. Other high profile commissions include William Forsythe’s Ballet Frankfurt and Sylvie Guillem, and in 2008 he was Associate Director for Peter Handke's The Hour We Knew Nothing Of Each Other at the National Theatre, London. He has been Guest Professor at Royal Holloway University Of London, Hamburg University, Free University Berlin and Koninklijke Academie van Schone Kunsten Gent, and holds an Honorary Doctorate from Royal Holloway University of London. 'A Choreographer's Handbook' (2010) by Jonathan Burrows is available from Routledge Publishing.

Michel Debrulle is a percussionist who got his basic musical formation in Paris and Liège took master classes  at the Creative Music Studio in the USA and traveled to India and Cuba to perfection his musical knowledge and skills. Active both as a musician and a pedagogue, Michel Debrulle toured extensively in Europe, USA, Canada, Marocco with various music ensembles, amongst which Trio Bravo, La Grande Formation, Tous Dehors Big Band, Trio Grande, Rêve d’Eléphant Orchestra and contributed to many CD registrations.  He is involved as a musician in theatre and dance performances and gives different types of rhythm classes and workshops to actors and dancers. 

Dominique Duszynski was a member of Pina Bausch’ Tanztheater Wuppertal between 1983 and 1992, contributing to the creation of many works. Since 1988 she has been teaching many schools and companies in Europe, at PARTs since its start in 1995. She has been creating solo and group work since 1992.

Alix Eynaudi was trained as a ballet dancer in the Opéra de Paris. She worked in various ballet companies before entering PARTS when the school first opened. She then joined Rosas where she worked for 6 years. Alix lives and works in Brussels, creating her own pieces, alone or in collaboration with other artists such as Alice Chauchat, Anne Juren, Marian Baillot and Agata Maszkiewicz. Alix  also works as a performer with a.e.the collective Superamas, Kris Verdonck and others. She also teaches workshops, a.o in Ljubljana, Brussels (P.A.R.T.S.), Zagreb, ImpulsTanz Vienna, Reykjavik, New York, Skolen for Moderne Dans / The Danish National School of Contemporary Dance.

Elisabet Farr has been performing with several ballet companies in the U.S.A. and Europe. She was training director at Die Etage in Berlin and the Deutsches Nationaltheater in Weimar. She is now a regular guest teacher at P.ARTS, SEAD and for many cance companies and festivals.

Nadine Ganase joined Rosas in 1983 and worked with the company until 1990. Since then she has been teaching different dance companies and created work for her own company and various institutions. She is a permanent staff member at the Humanités danse in Louvain-la-Neuve and a guest teacher at INSAS, Brussels.

Ayman Aaron Harper trained with Bay Area Houston Ballet And Theater, while attending Houston's High School for the Performing & Visual Arts. He danced with Hubbard Street's trainee program before joining Hubbard Street Dance Chicago. He then moved to Holland to join Nederlands Dans Theatre II and currently resides with The Forsythe Company, under the direction of William Forsythe. He has choreographed for Dominic Walsh Dance Theater as well as works for Nederlands Dans Theatre ll and Hubbard Street ll.

David Hernandez  is dancer, choreographer and teacher. He collaborated with a.o. Meg Stuart, Labro Gras, Anne Teresa De Keersmaeker and many others, presented his own group choreogrpahies and set up improvisation events and multimediahappennigs in theatres and visual arts spaces. He teaches technique, composition and choreography at PARTS.

Matej Kejzar studied in Amsterdam and Brussels and works as dancer, improviser and choreographer. He teaches technique and imprivsation at different schools and companies in Europe, worked as a dancer with a.o. Maja Delak, Katie Duck and anne Teresa De Keersmaeker. His own work has been presented across Europe.

Martin Kilvady received his dance training in his native Slovakia and worked for different companies in Bratislava and Budapest. In 1997 he moved to Brussels to work with Rosas for 4 years, after which he was engaged in several creations of Roberto Olivan and became a member of ZOO/Thomas Hauert. He is co-founder of the Les SlovaKs Dance Collective and has been teaching in different countries.

Mark Lorimer trained at LCDS (London) and has since worked with, among others, the Featherstonehaughs/ Lea Anderson, Cie. Michèle Anne De Mey, Bock and Vincenzi, Mia Lawrence, Deborah Hay and Jonathan Burrows. He was a founding member of ZOO/Thomas Hauert and has worked as both dancer and rehearsal director for several creations and reprises for Rosas. Teaching credits include ImpulsTanz Vienna, P.A.R.T.S., Laban Centre in London, and Movement Research in New York. This year Mark Lorimer and Cynthia Loemij presented their own duet, To Intimate. 

Adrián Minkowicz is a playwright, actor and director from Argentina educated in Buenos Aires and New York. He has been teaching tango in Argentina and Europe for several years. He is also a stand-up comedian. He co-founded Human Works.

Martin Nachbar is dancer and choreogapher, and writes for several dance and theater magazines. He received his training at the School for New Dance Development (Amsterdam), in New York and at P.A.R.T.S. (Brussels). In 2010, he received a master’s degree at the Amsterdam Master of Choreography (AMCh). His collaborations include engagements with Les Ballets C. de la B. and Vera Mantero, shared works with Thomas Plischke, Jochen Roller and Martine Pisani, with composer Benjamin Schweitzer and with dramaturge Jeroen Peeters as well as a cooperation with visual artist Paul Hendrikse. His pieces tour internationally. He teaches regulary in improvisation, contact improvisation, choreography/composition and physical dramaturgy since.

Roberto Olivan is the Catalan choreographer and Director of Enclave Arts del Moviment. He lives and works predominantly in the disparate cities of Brussels and Barcelona. Olivan’s work manages to bind together these seemingly opposing influences, using a mix of artistic languages to create primeval, organic physical theatre full of wonderful contradictions. He seeks to make his work accessible to audiences, combining the power and energy of circus with the harsh reality of the world in which we live.

After his career as a dancer, Rasmus Ölme founded, in 2001, his group REFUG in Sweden and since then he produces his own work and teaches worldwide. Since September 2008 Rasmus is doint his PhD in Choreography at the University College of Dance, in Stockholm, Sweden.  

Taka Shamoto was educated in Sendai, the Balletschule der Hamburgischen Staatsoper John Neumeier in Germany, and entered PARTS in 1995. In August 1997 she joined   Rosas, dancing in creations and revivals until 2007.  Later, she worked with Needcompany/Grace Ellen Barkey and Jan Decorte, returning to Rosas for the revival of Mikrokosmos. In 2012 she works with Heine Avdal and Yukiko Shinozaki. She also teaches repertoire workshops.

Johanne Saunier  worked with Rosas from 1986 to 1998 and teaches repertoire at PARTS. In 1998, she created Joji Inc. with Jim Clayburgh, creating many performances. She has also perfirmed in several operas.

Francesco Scavetta studied at the National Academy of Dance in Rome. He currently leads, together with Gry Kipperberg (Norway), the dance company Wee, that, established in Oslo in the 1999, has become one of the leading companies of the Norwegian scene. Parallely to the work with the company, he has been holding a teaching project, titled “A surprised body”, based on release technique and contact-improvisation.

Igor Shyshko studied dance in Minsk and at PARTS. He worked with Akram Khan before joining Rosas in 2000, contributing to the creation of many different works. In 2010, he had a creation with Michèle Noiret and with Arco Renz. In 2011 he contributed as a dancer to the creation of  Zeit by Mark Vanrunxt, as well as the creation of Dust by Arco Renz.

Clinton Stringer moved from South Africa to Brussels to study at PARTS and left the school to work with Joachim Schlömer. Later on he joined Rosas and was involved in different creations and revivals.

Sandy Williams attended the University of Calgary and Concordia University in Canada before relocating to Brussels in 2002 to attend P.A.R.T.S. After completing the first cycle he went on to create his own works (The Kansas City Shuffle) and collaborations with Jan Ritsema , Lynda Gaudreau, Andros Zinsbrowne,
Michèle-Anne De Mey and Deborah Hay. Sandy has been dancing with Rosas since 2007.