"Heterogeneous" dancer, Marielle Morales has been practising different dance styles from an early age: classical, contemporary, jazz, hip-hop, flamenco and bûto. She trained at the Bordeaux Conservatory, where she obtained the highest distinctions in contemporary dance. Since 1997, she has worked as a dancer-interpreter for the companies Provisional Danza in Madrid and then Sol Pico in Barcelona, where she discovered the body engaged energetically and instinctively, generating a definitive impact on her interest in theatricality and the image linked to the perception of the body. In 2000, she joined the SIAMB (Society for the Investigation of Modern Arts in Barcelona) collective, which explores and experiments with dance and digital arts, instant choreographic composition, improvisation and contact-improvisation. Moving to Brussels in 2003, she worked with choreographer Pierre Droulers as a dancer, then as an assistant for the 'all in all' project at the Opéra de Lyon, a collaboration that lasted six years. She then danced for Stefan Dreher, Fré Werbrouk and Lise Vachon. With director-composer Thierry de Mey, she made the film From Inside, a dance-film installation, while she devoted herself to personal experiments in performance and video dance.

She has been working with Michèle Noiret since 2011, acting in Minutes Opportunes and HorsChamp, a theatrical feature in which the camera and dance are live, staged as a live performance. She also became her assistant for the duo Palimpseste. In 2014, she participated in a European project in which she acted and danced under the direction of director Agneska Blonska and Arko Renz.

Since 2004, the year in which she founded Cie Mala Hierba - Marielle Morales, she has been pursuing her work as a choreographer, equating theatricality, movement and plasticity. To achieve this, she often collaborates with artists from other disciplines. Together they create atmospheric works in which bodies are revealed as plastic matter and in which form is polished and sculpted to its essence. His work casts an oblique gaze on the world, questioning its metaphysics and exploring themes such as time, interconnections, invisible links and the effects of sound on materials and bodies.

Among her works: in 2008, the duet Un gouffre sous l'épaule won the prize for best choreography at the BE Festival (UK) and in 2009, with the solo B.U.R, Marielle won the prize for best female performance at the BAD Pro Festival in Bilbao. In 2012, Le Pli, created in collaboration with Antía Diaz, was performed in France, Spain, England, Greece and Belgium and won Best Choreography at the BE Festival (UK).
Rushing Stillness, in 2016, won the Prix de la Critique for best dance performance from the Fédération Wallonie Bruxelles. Her latest creation, M-Ondes, was presented at Objectifs Danse 11, a showcase for Belgian choreography, in October 2023, and was nominated for the Maeterlinck Prize in the same year. She is director of the International Dance Film Festival 'Danse en Film' (2017-2018), in Bordeaux (F). She is artistic collaborator of several companies (Cie Nyash, Théâtre de l'EVNI, Claire Godfarb, etc.) and mentor of young artists.

How do we create the best learning conditions for everyone?

As a teacher, she began teaching at the Université de Lettres in Bordeaux, while training at the Conservatoire of Contemporary Dance in 1997. Passionate about movement analysis, anatomy and physiology, she began training in Body-Mind Centuring, Authentic Movement, Skinner Releasing and is a certified practitioner of the Feldenkrais Method. She has been using all these tools in her teaching ever since. Marielle regularly teaches at numerous institutions, conservatories and training centres: Charleroi danse, Théâtre de Liège - Projet Bérénice, DansCentrumJette, RITCS, School of Arts, Studio Hybrid, Kunstiomaniora Bruxelles, Arnhem (H), Deltebre Festival (S), Conservatoire El Barco (Costa Rica), Festival International de Contact Improvisation (Barcelona), Conservatoires de Bordeaux, Toulouse, CDCN La Place de la Danse (Toulouse), CCN de Roubaix (F), Festival Movimento & Ecole Il Navegante (Sicily), Lullaby Danza Project & Adage, Ecole de Cinéma 3iS (Bordeaux), BE Festival (Birmingham (UK), Projet Tarkiz (Rabat, Morocco). Based on somatic education techniques, she approaches the technical work of Floorwork and Release and guides the work of improvisation and instant composition. She teaches at the Master de Chorégraphie in Brussels and is a regular member of the examination board of the Bordeaux Conservatoire and the Certificat danse en Humanités artistiques of Martin V. She was also a judge at the Fish& Mind battle in Bordeaux in 2019.


The particularity of her work is to bring dance to life through physical and physiological experience, using tools derived from somatic techniques such as the Feldenkrais Method, Body-Mind Centering and Skinner Releasing, combined with Floorwork Technique. The emphasis is on awareness of the body in motion and the various internal systems and organs already in motion. The proposed explorations lead to the localisation, differentiation and dissociation of the different internal parts of the body, so that movement can be initiated from the inside out in a very precise and focused manner. Her didactic and choreographic work is energetic, fluid and embodied, and draws on both micro and macro movement. The resulting dance is composed of several layers of attention, of states, as well as technical movement. In her workshops, Marielle Morales uses 'cartography', a method created to choreograph and dance the internal spaces of the body, based on written trajectories. It is a singular signature that she also uses in her choreographic creations, generating other dance habits, other qualities of movement and allowing us to discover the paths that are unique to each of us. Discovering oneself as a 'dancer who dances and is danced' is a decisive challenge for the teacher. Her classes are a sensitive, sensory and technical journey.


Born in Kerala, India, Rakesh was introduced to yogic principles and practices early on, setting the stage for his transformative journey. Dance unexpectedly entered his life at the age of 15 when he began as a Bollywood dancer in local productions. In 2003, Rakesh joined Attakkalari India, marking a significant shift in his trajectory. In 2014, he became a certified yoga teacher through the esteemed Shivananda Vedanta Centre, a step that deepened his understanding of movement and holistic well-being.Over the past 14 years, Rakesh has dedicated himself to researching a movement method known as the IntAct-Method. This practical fusion of Kalarippayattu, contemporary movement, and yogic philosophy has gained recognition in reputable institutions worldwide. Rakesh has taken a hands-on approach in creating over thirteen dance pieces, each with its own distinct purpose. Currently, his focus is on developing a solo performance titled "Because I love the diversity (micro attitude we all have it)," scheduled to debut at the Push Festival in 2024. In 2020, Rakesh co-founded and assumed a leadership role at Sanskar, a global performing arts platform. This pragmatic initiative aims to foster growth and collaboration, especially in India and abroad.


IntAct is a training method generated through years of research, observation and adaptation to our current times, while also based on intrinsic human characteristics: breath, movement, emotion, thought, intention, environment. Its main goal lies on enhancing humanness in its most raw and genuine form. This method creates a safe and honest place that embraces and acknowledges our inner world, both weaknesses and strengths, to learn how to use them through reflection and striving for further development. It is an interconnected training system that utilises movement as a base to create, confront and play within crisis. It provides the timespace to get to know one’s personal form and how to use the body to broaden the range of movement vocabulary. As an holistic form, it is inspired by tools from specific lineages, such as breath, meditation and the inner mechanics of yogi principles, while also utilising the movement and philosophies from kalari payatt. This interwoven structure combines and rearranges these tools and ideas in a proposal for a new approach. In these classes, one can expect a dedication to raising awareness to individuality and inner workings, an awakening of the senses that leads to an ability to control and manage external triggers. In other words, taking charge of ones self.



After studying at the Academy of Fine Arts in Rome, she began her career as a dancer, director and choreographer, studying dance with Elsa Piperno, Nicoletta Giavotto, Boris Nikish, Lucia Latour, Malou Airaudo, Felix Ruckert, Finola Cronin, Enrico Tedde, Dominique Mercy, Beatrice Libonati, Jim May, oriental choreographic techniques with Tapa Sudana and theatre with Vittorio Gassman, Marisa Fabbri, Dominic de Fazio.

She has worked in theatre with G.Cobelli, A.Zucchi, N.De Tollis, L.Biondi, G.Montaldo, G.Proietti, U.Gregoretti, M.Missiroli, H.Yamanouchi, F.Ricordi, J.Savary, in cinema with F.Fellini (La città delle donne - La nave va), F. Brusati (Il buon soldato), P. Sorrentino (La grande bellezza).
He has worked in television with T. Shermann and I. Leoni.

Choreographer and adaptor of theatre texts, she has worked for the Teatro dell'Opera in Rome, for Franco Ricordi at Teatro Ghione.

She has choreographed for fictions, films, shows, operas such as Turandot, Teatro dell'Opera di Roma (1991), Carmen, Teatro dell'Opera di Roma, Teatro dell'Acquario, Rome (1992), Schiaccianoci Teatro Brancaccio (1992), Il ballo delle ingrate, directed by I. Nunziata, Spoleto Festival (1993), Romeo and Juliet, directed by F. Ricordi, Teatro Ghione, Rome (1995), Hamlet, directed by F. Ricordi, Teatro Ghione, Rome (2001), I ragazzi del muretto, directed by T. Shermannn (2002), Medico in Famiglia, directed by I. Leoni (2003), Edipo Re, directed by F. ricordi, Teatro stabile dell'Aquila (2004).

In 1981, she founded the Cultural Association D.M.A. Teatrodanza, of which she is the director and choreographer and through which she has directed artistic projects such as "Arte Ecistica" (1999-2008) and "Superdiverso" (2002-2017).
She has participated in the Limassol International Dance Festival (2006) and the Marrakech International Theatre Festival (2006; 2007; 2014;). In 2017, he won migrArti with the project Teatrodanza di Frontiera.
She is currently working on directing 'Kandalama's gift', a show with Aziza Essalek and Paola Sarcina.
She trained as a Gyrotonic trainer with Pietro Gagliardi and Silvia Frosali. Today she is a certified therapeutic trainer.

She has regularly teaches contemporary dance and dance theatre for more than 40 years in various centres and trainings, such as the Actors Academy in Rome.

She is co-creator of Altrefrontiere.


The unexpected| Improvisation and composition, with final performance

Before the trip the timetable was checked,
the connections, the stops, the layovers
and the bookings [...] the
currency was exchanged [...] the suitcases
and passports were checked [...]
And then one leaves and all is OK, and all
is for the best and pointless.

And now, what will become
of my trip?
I studied it too carefully
without knowing anything of it. The unexpected
is the only hope. But they tell me
it is stupid to tell oneself that.

E. Montale, Before the trip

The journey is a traditional metaphor of life: so this tendency to plan everything also applies to existence in general.

The conclusion, however, is unsettling: everything goes exactly as it should, yet there is a sense of futility in the air. Our journey - our life - proceeds neatly on its tracks; and, like a train, it does not wonder where it is going, nor what territories lie on either side of its path. It is a life for its own sake; and that is why we run the risk, at some point, of discovering that it is meaningless.
Sure, we know its timetables and stops in detail; but, at a deeper level, we know nothing about it.

Instead, the unexpected reminds us that life is much bigger than our plans. It usually does so abruptly, causing us suffering or at least irritation.

The unexpected breaks the greyness of our habits, in which everything seems to proceed out of mechanical necessity. For a moment, a gap opens up: the fleeting intuition of unexplored depths passes through us, and it seems possible to be fully happy.

Perhaps the unexpected saves us without our realising it. And maybe one day, looking back, we will realise that our life has been like a Pollock painting: a jumble of chaotic and bizarre events, which however - as a whole - have their own beauty and meaning.


Yonel Castilla Serrano, Cuban, bàbáláwó, dancer, choreographer and teacher, trained at the National Dance School of Cuba, at the Provincial Sports School of Havana, he studied Martial Arts. With a vast experience, Serrano, has worked in several companies among them: Danza Teatro Retazos, National Contemporary Company of Cuba, Danza Combinatoria Company, Trash Company, StationZuid, Meekers Uigesproken, United-C. He has also performed in several artistic projects by renowned choreographers such as: André Gingras, Angelika Ui, Sylvain Emard and Marina Nabais, currently she works with choreographer Olga Roriz. His choreographic repertoire includes: "About the size of a piece", "Memórias", "Memorias de um Homem de Pedra", "Illegal", "West Love Story", "Igualdade", "Expediente 174", "Rastro", "Raizes", "Canimal", "Humanitos" and "Golden Puma". As a teacher he worked in the institutions: Teatro Cine de Torres Vedras, ASA, Academia Espaço Dança/ILÚ, Performact, Conservatório de Dança de Coimbra, Academia de Dança de Alcobaça, Escola de Dança do Conservatório de Lisboa, ESCO and in the gyms, Bodies, Sirona Health Club & Spa, Artez, Fontys.


The encounter with the primary essence of our existence as human beings through movement allows us to understand and consciously navigate through the possibilities of our bodies: the primary dances of the human being in community were bridges where the earthly and the divine coexisted at the same time in the same place.

Combining these dances with more contemporary expressions is the goal I intend to convey in order to give space to one's own vision in our new surroundings, in which it is increasingly urgent to embrace nature.


She began her professional career with the ballet company in the Foundation Niccolo’ Piccinni (J. De Min / Roberto Fascilla). In 1985 participated in the international tour with the dance company of “Danzatori Scalzi” of Rome, takes part in the movie ” Il Giovane Toscanini ” of F. Zeffirelli.

She studied in Rome with Viola Faber, Libby Ney (tecn. Limon) Andre’Peck, Roberta Garrison (tecn. Cunningham), Richard Haisma (Nikolais) Mudra ( Bejart), Matt Mattox (Jazz) e Martha Graham. She participates in the creation of the performance by Giorgio Rossi (Stop Palmizi / Carolin Carlson) at the Festival of Polverigi. She studies the techniques of Jean Cebron (composition / improvisation), Hans Zullig (tecn. Joss) at the Folkwang Hochschule in Essen (directed by Pina Bausch).

She danced with Pina Bausch in 14 different choreography and participated in the new creations of the German choreographer: Tanzabend II (’92), Schiff (’93), Trauerspiel(’94), Danzon(’95) and Fensterputzer(’97). Leaving the company in 1999 but later returned as a guest participating in the festival Tanzteather (2000, 2001, 2002).

In the United States participated in the creation of a theatral work with the company Mutation Theater Project, and teached in the faculty of “American Dance Festival” at Duke University (2003, 2004, 2005). She works with Emilia Romagna Teatro (ERT) in the performance directed by Pippo Delbono, “Dopo la Battaglia”, winner of the UBU Prize as the best 2011 Italian theater performance.

Guest teacher at the Dance Academy: “Dancehouse” in Milano . Artistic director: Susanna Beltrami (2016).

She works in collaboration with Pina Bausch Foundation giving workshops in occasion of two big expositions dedicated to Pina at the Bundeskunsthalle in Bonn and at the Gropius Bau in Berlin (2015-2016).

She create a solo in a project/ residence , sponsored by circo Vertigo in Turin by the title “ two but not two “ (2019) 

And her last work directed by Chiara Frigo “Miss Lala al circo Fernando 

Production of Opera Estate festival Bassano del grappa and Zebra culture zoo. (2021)

She works as freelance giving workshops and master classes in Italy and Europe.

Creation of a performance “ Miss Lala al Circo Fernando “ with the direction of Chiara Frigo and the dramaturgy of Riccardo De Torrebruna . Production of Zebra and XL anticorpi (2021/2022) 

October/ November 2022 work in collaboration with PBF ( Pina Bausch Foundation ) and WAAPA ( West Australia Academy of Performing Art) in Perth Australia for the remounting a piece “ Tannhauser Bacchanal “ of Pina Bausch , with the students of the Academy. 

2023 continuing Performing “ Miss Lala al circo Fernando “ in various theaters in Italy .

Gives workshops and masterclasses in Italy and Europe. 




The course will focus on a compositional and choreographic study of dance theatre, through Marigia's experience alongside the great artist Pina Bausch.

At the end of the Festival, the Nelken Line will also be taught to the participants and the audience: a project for the transmission of a line of movements choreographed by Pina Bausch in the performance Nelken.




Tijen Lawton is a professional dance artist. Her work shifts between performing, teaching, mentoring, coaching, researching and co-creating in diverse artistic and academic contexts.

Both in her creative work and teaching she constantly investigates and challenges the body as an archive.The act of teaching is interconnected to the artistic practice.The research and the commitment to the unexplainable in the moving body, in all its systems, structures and sensory perception, a raising of creative powers by the senses, that they become sharper, richer and more potent, the instinct to be overwhelmed.Kinaesthetic intelligence, persistence and stacking, layering of crisscrossing wavelengths of physical, technical and mindful challenges, inner drive and cellular structure, a knowledge so deeply embedded in the body, nourishing the constant creative body.

Tijen studied at Arts Educational School London, The Place LCDS London, The Juilliard School New York. Her main body of works spans over a period of 30 years. For 15 years, she was a constant presence in all of Jan Lauwers & Needcompany’s work performing, creating and touring worldwide. Also performing, touring & collaborating with Caterina & Carlotta Sagna, Mauro Paccagnella & Wooshing Machine, Pierre Droulers, Erika Zueneli, As Palavras / Cie Claudio Bernardo, Rebecca Lenaerts, Greet Vissers & Kunstz, Mokhallad Rasem & het Toneelhuis, Marco Toricce, Lisaboa Houbrechts, ‘Ballrooms’ with Andrew Graham, laGeste.

Films : Goldfish Game - Jan Lauwers/Nico Leunen, Ma Mère I’Oye - Thierry De Mey & Keersmaeker, After The Trojan Women - Cristina Dias / As Palavras, Ruin - Lore Loyens / Timur Magomedgadzhiev



A dialogue of resistence and resolution! | creative process with final performance

Mindful Stamina & Conscious Risk / The Body as an Open System

Searching for a Conscious Risk and Trust in the Body - A Hidden Physical Morphology

Tijen's classes and workshops use a physically & emotionally demanding movement methodology designed to encourage, inspire and build awareness and connectivity in the constant research in the moving body.

When we direct the mind or attention to different areas of the body and initiate movement from these areas, we change the quality of our movement. Through a dynamic movement language we will embody a sensory awareness of our own physical possibilities to let go of one’s patterns and preconceptions about the moving body.

Tijen will guide us to work from the awareness of the relationships between our mind/body.

Through the awakening and following of the natural yet deeply hidden physical morphology we will facilitate an intertwined and many-layered space within the multi-dimensional body, to stimulate states of letting go, process, availability, allowing and fostering a non-linear and ever shifting practice of change.

A dialogue of resistance and resolution !

During this workshop and creative process we will explore and play with different layers of intricate exercises and proposals.
Through a dynamic movement language we will embody a sensory awareness of our own physical possibilities.

Exploring and practicing the individuals’ internal sensation in relation to their physical structure and spatial energies. Evolving towards a natural and performative presence by exploring choreographic, improvisational and performative states.

We will engage in the dialogue of resistance and resolution.

Resistance being, a measure of opposition, an ability to accept the flow of an energy of an other, of the space the ground, of yourself.

Resolution being, a firm determination, intention, proposal, solution through tenacity.
We will explore the documentation of movement through traces, in-print and impact.

What you leave! What you gather!

Through impact, collision, communication, touch, compression, with the space, with the other and with yourself, we will search for the tactile dimension through the body as a container, through the body which continues its exploration as a vessel for projecting physical and emotional flow.

When movement asks for full engagement, the connection with knowledge and resonance is inherent in the moving-thinking body, freedom appears naturally and knowledge swells.This allows us to discover the relationship between the smallest level of activity within the body and the largest movement of the body, aligning the inner cellular movement with the external expression of dynamic movement through space.We will engage in the dialogue of resistance and resolution, reflection and resonance.





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