♦ CRUZ ISAEL MATA
Cruz Isael Mata was born in Caracas, Venezuela. He started his dance training at the Instituto Superior De Danza Caracas, Venezuela in 1992 and continued his studies at the Central University of Venezuela, where he followed classes in theatre sciences, fine arts, and philosophy. He toured in Latin America as a solist and company member.
In 2000 he came to Belgium, where he became a member of the X-Group in P.A.R.T.S., directed by Anne Teresa de Keersmaeker.
Besides his dance education, he also studied circus techniques at the Ecole Nationale du Cirque – Academie Fratellini, physical therapy, and psychology in Paris.
He danced with several dance companies: Espacio Alterno – Venezuela, Tim Feldman – Denmark, Michél Noiret Company – Belgium. He collaborated with artists such as David Zambrano, Roberto Olivan, Nadine Ganase, Virginie Thirion, Josse de Pauw, Maria Clara Villalobos, MeyLing Bisogno, and others.
Cruz created the productions „Puzzle“ and „Casa“, which premiered in Paris in 2005.
In 2020 he was the artistic director of the short dance film “couch me!”, which won 7 awards for the best experimental film and best director at international film festivals.
He has been giving company training to various dance companies, such as Ultima Vez – Wim Vandekeybus since 2010.
Cruz Mata has been teaching Flying Low, Acrobatic Dance, Release Technique, and Contact Improvisation in Latin America, Europe, and Asia for more than 22 years.
FLYING INTO GRAVITY SKILLS
Flying Into Gravity Skills focuses on developing and maintaining the body´s fluent and weightless movement patterns. Different exercises are exploring the relationship with the floor as well as towards other people, space, gravity, and towards one’s own mindset while experiencing oneself in the present moment. The body is being given the opportunity to activate the relationship between the center and the periphery with the aim of moving more efficient and using the ground as well as the gravity as support.
Cruz explores the principals of recreating movements of daily life and exploring the influences of voice onto the body´s movement. Figuring out what the body has to say in the moments when it doesn’t move and doesn’t produce sound is one of the main approaches, which is being achieved through dynamic dance sequences, partnering work, and diverse techniques including Flying Low and Release Technique.
"Answers are appearing, when we calm down the mind but open the space for the body to talk.”
♦ TIJEN LAWTON
Tijen Lawton is a dance artist and somatic & movement facilitator.
Her work shifts between perfor-ming, teaching, rehearsal directing, mentoring and researching in artistic and academic contexts. Her teaching methodology is based on combining somatic & technical work, improvisation and on supporting constant creativity through moving. She is committed to mentor young dance artists with different career interests and backgrounds, established artists as choreographic support, advi-sor and movement director. Dialogue, movement, inclusivity, freedom of expression and the ongo-ing interest in the evolving, moving human body. These are the thriving forces of Tijen’s work as an artist and facilitator.
She studied at AES London, The Place 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 Need-company’s work performing, creating and touring worldwide. Also performing & collaborating with Caterina & Carlotta Sagna, Mauro Paccagnella & Wooshing Machine, Erika Zueneli, Inaki Azpil-laga & Rodrigo Fuentealba with Manngold, As Palavras / Cie Claudio Bernardo, Rebecca Le-naerts, Greet Vissers & Kunstz, Mokhallad Rasem & het Toneelhuis, Marco Toricce & Melting Pot, Lisaboa Houbrechts
Tijen continues creating and performing with other artists and with her own work. Constantly inves-tigating and challenging her own body as an archive…Between destruction and preservation…a mission which is the sum of all influences… sculpting bones, skin, the entire cellular system ,enve-loping each other, intertwined, bewildered by their collaboration in time and space…the bodies ne-ver ending research within its self, its ability to adapt and survive, living within a society with norms and values which are often against human nature.Challenging the body as an archive of sensorial layers and a communicative vessel. Inspired by the purity and complexity of the body and its deeply embedded knowledge. The research and the commitment to the unexplainable in the mo-ving 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.The material quality of the body and the life it lives within an ongoing & sustainable inquiry, the ability to remember and integrate experiences are central components of the creative work of the dancer or the performer.
“My investigation, negotiation and experience is the concept of resonance. Resonance is beyond what is available, attainable and accessible. This means it is elusiveness, that it is impossible to predict or control what the result of an experience of resonance will be, what the process of trans-formation will result in.”
Parallel with all other teaching, performative & creative quests / endeavours, since 2017 Tijen started working with Greet Vissers & KunstZ , an organisation working with diversity within our sec-tor and society, bridging gaps between, newcomers, professional artists and future artists. The pro-gramme also takes a responsibility to empower the individual artist to own their ideas and make relevant choices.
Both in her creative work and teaching Tijen challenges the body as an archive of sensorial layers and a communicative vessel. Inspired by the purity and complexity of the body and it’s deeply em-bedded knowledge. The material quality of the body and the life it lives within an ongoing & sustai-nable inquiry, the ability to remember and integrate experiences are central components of the cre-ative work of the dancer or the performer.
“My aim of endeavour is to keep moving, sharing and challenging myself, defining and redefining movement to find the beauty, liberation, despite the dangers and the fear. 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. The exposing of bare energy is my motivation and questi-oning the internal limit of thinking as inspired by the purity and complexity of the body and the life it lives.”
MINDFUL STAMINA & CONSCIOUS RISK / INSTINCT AND INNOVATION IN MOTION
Searching for a Conscious Risk and Trust in the Body - A Hidden Physical Morphology
Through the awakening and following of the natural yet deeply hidden physical morphology we will facilitate a space to stimulate an availability of letting go of ones holding patterns and preconcepti-ons of the moving body.
Through a dynamic movement language we will embody a sensory awareness of our own physical possibilities.Through a search of the availability to all the layers of dynamic information in the body.
Through a continual dialogue between awareness and action, becoming aware of the relationships that exist throughout our body/mind and acting from that awareness.The merging of action and awareness can allow for a conscious risk. A constant fall and abandon in the body combined with an understanding and availability to trust.
By defining and refining independent movement materials for different parts in our body and segre-gating those parts from each other, by investigating a certain sequential order of the body in rela-tion to the origin of movement initiation, we can explore multi-dimensional movement and we can create more possible ways to re-organise and re-unify our movement and to visit new and unfami-liar ways to move.
When movement asks for full engagement the connection with knowledge and resonance will be inherent in the moving, thinking body and freedom appears naturally and knowledge swells.
Discovering 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 dyna-mic movement through space.
We will engage in the dialogue of resistance and resolution.
♦ LUCIANA LUSSO ROVETO
After her studies 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 choreutical techniques with Tapa Sudana and theater with Vittorio Gassman, Marisa Fabbri, Dominic de Fazio.
She worked in theater 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 In cinema with F.Fellini (La città delle donne – La nave va), F. Brusati (Il buon soldato), P. Sorrentino (La grande bellezza).
She worked in television with T. Shermann and I. Leoni.
Choreographer and theatre texts adapter, she worked for Teatro dell’Opera di Roma, for Franco Ricordi at Teatro Ghione.
She curates choreographies within fiction, films, shows, operas such as Turandot, Teatro dell’Opera di Roma (1991), Carmen, Teatro dell’Opera di Roma, Teatro dell’Acquario, Roma (1992), Schiaccianoci Teatro Brancaccio (1992), Il ballo delle ingrate, regia I. Nunziata, Festival di Spoleto (1993), Romeo e Giulietta, regia F. Ricordi, Teatro Ghione, Roma (1995), Amleto, regia F. Ricordi, Teatro Ghione, Roma (2001), I ragazzi del muretto, regia T. Shermannn (2002), Medico in Famiglia, regia I. Leoni (2003), Edipo Re, regia F. ricordi, Teatro stabile dell’Aquila (2004).
In 1981 she founded the Associazione Culturale D.M.A. Teatrodanza, for wich she’s director and choreographer and through wich she directs artistics projects like “Arte Ecistica” (1999-2008) e “Superdiverso” (2002-2017). She participate in the International Dance Festival of Limassol (2006) and in the International Theatre Festival of Marrakech (2006; 2007; 2014;). In 2017 she won migrArti with the project Teatrodanza di Frontiera.
She trained as trainer of Gyrotonic with Pietro Gagliardi and Silvia Frosali
She’s co-creator of Altrefrontiere.
DANCE THEATER WORKSHOP
Through body language and the technique of guided improvisation we will create a bond between the workshop participants by searching for a common place, or a common element (sensation, state of mind, desire, etc.).
We will explore together the various possibilities of interaction by codifying the movements of each person and then mixing and contaminating them in a choreographic composition.
♦ RAKESH SUKESH
Rakesh was born in Kerela, india, from young age he has been exposed to yogic philosophies and practices from his family. He started his dance career as a Bollywood dancer with a dance company in India.
During this period he worked in several films as a dancer and assistant choreographer. In 2003 he joined Attakkalari Centre for Movement Arts, a contemporary dance company in Bangalore. As a part of the company, Rakesh performed at various national and international venues. During his time with the company he was exposed to intensive training of the ancient Indian martial art form Kalaripayattu. After 10 years of yoga assana practice, in 2014 Rakesh become certified yoga teacher at Shivananda vedanta centre India.
Since 13 years, Rakesh has been working on developing a contemporary movement method called IntAct-Method - using Kalarippayattu and contemporary movement techniques, yoga assana, pranayama, energy work and psychology.
He has been invited to teach IntAct-Method at various Professional companies/art organizations such as Sidi Larbi company, Ultima Vez, Company Thor, Impuls Tanz, Deltebre Danza, Tanzfabrik, Maramio, B12 –Berlin, Tictac art centre, Danscentrumjette Brussels, Bremen Theater, Tripspace London, DAR Russia , Summer intensive and Performact Portugal. K3 Hamburg, Drama school Helsinki and many more.
He is at present works as a part time teacher at with Ap- University Antwerpen and have been invited in several educational institute as guest faculty such as P.A.R.T.S, SEAD, Performact, CDSH-Hamburg, Concordia University and Circuit-est Montreal Canada, University of Tallinn, Helsinki and Costa Rica to name a few.
Between 2016 -17 Rakesh Sukesh worked as one of the jury member for professional training Tanz haus Zurich-Switzerland.
In 2020 Rakesh Sukesh become a Co- founder and director of Sanskar- Globle platform for performing art,
He also works as freelance performer/ choreographer, collaborating with various artists and organization around the world. He currently lives in Brussels-Belgium dividing his time between Europe and Asia.
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.
♦ ANDRE DE CAMPOS
Licenciet Degree in Art History and Dance. Performer in Companhia Olga Roriz since 2015.
Worked with, João Galante & Ana Borralho, Miguel Moreira, Bruno Alexandre, André Uerba, André E. Teodósio, Sylvia Rijmer, Diana de Sousa, André Mesquita Teatro do MAR, WB Motion, Filipe Baptista, Bon Bom, among others. Light Designer in performances of Beatriz Dias, Filipe Baptista, Helena Baronet, Diogo Melo, Violeta Luz and Gaya de Medeiros. Creator of UNDERDOG, MACHINE GOD, TIME LAPSE QUARANTINE and SAPO.
"The classes I teach are based on my knowledge of martial arts such as jiujitsu, judo and muay thai. Through the connection of this knowledge with movement, the notion of body, spiral and awareness are awakened in order to make movement as dynamic as possible."
♦ MARIGIA MAGGIPINTO
Dancer, a member company of Pina Bausch Tanztheater from 1989 to 1999.
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 works as freelance giving workshops and master classes in Italy and Europe.
DANCE THEATER WORKSHOP
The days are divided into two moments: a technical part that draws on both the work of Hans Zullig and the work of Jean Cebron and a time dedicated to the laboratory.
The experimental research will be stimulated through themes and questions that will lead to an inner survey, a sensitization on multiple levels and in relation to the environment or what surrounds us, developing the awareness of our own body, the spirit of observation, the compositional-creative spirit.