Magalie Lanriot began her career as a contemporary dancer but it was through vertical dancing that she found her place. In 2014, she was part of the cast of 'Rites of War', a play by Lindsey Butcher & Darshan Singh Bhuller (Gravity and Levity). This gave the necessary impetus for the development of an international career as a choreographer and performer, based in Portugal.
She develops her projects in association with the University of Lisbon and the National Park of Mafra, but also to provide international formation and research for Vertical and Contemporary Dance in Portugal and in Europe.
She teaches at the Olga Roriz Dance Company and at International Festivals and Schools. She also does mentorship and participates in several independent projects, one of those with Olga Roriz, for the movie ‘Body Building’, directed by Henrique Pina.
As for her personal approach, she develops choreographed techniques and movements that aim to merge Vertical Dance with Contemporary Dance for her choreographies.
In parallel, she studied Shiatsu, Thai, Osteo-Thai and Chi Ney Tsang massage. She is interested in developing an approach where touch functions as link, support, an energetic tool for artistic creation and dance pedagogy.


The class will guide you through a series of improvisational tasks working in pairs and in groups, finding techniques for flying, partnering and floor work with momentum and sensitivity and playing with the physics between bodies and gravity. Skills such as rolling, releasing, giving and supporting weight and expanding our range of spatial orientation, lifting, catching and falling to give a greater understanding of your gravity; sharing weight in motion and finding a flow through the physical contact. We will start the class with some contact and technique massage,and then will explore working on the 'edge' of movement whilst paying attention to alignment and technique.You will work with finding balance and falling off of it; releasing and manipulating it to find ease of movement in and out of the floor. Finally we will learn phrases to find control, abandon, spiral and fluidity.


Tijen Lawton is a professional dance artist, performer, movement researcher, choreographer, facilitator and mentor. Her work shifts between performing, 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, advisor and movement director. Dialogue, movement, inclusivity, freedom of expression and the ongoing interest in the evolving, moving human body. These are the thriving forces of Tijen’s work as an artist and facilitator.

She studied at Arts Educational School 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 Jan Lauwers & Needcompany’s work performing, creating and touring worldwide. Also performing & collaborating with Caterina & Carlotta Sagna, Mauro Paccagnella & Wooshing Machine, Erika Zueneli, As Palavras / Cie Claudio Bernardo, Rebecca Lenaerts, Greet Vissers & Kunstz, Mokhallad Rasem & het Toneelhuis, Marco Toricce, laGeste, Lisaboa Houbrechts.

Tijen continues creating and performing with other artists and with her own work. Constantly investigating 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, enveloping each other, intertwined, bewildered by their collaboration in time and space… the bodies never 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 it’s deeply embedded knowledge. 

“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 transformation will result in.”

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.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 aim of endeavour is to keep moving, sharing and challenging myself, defining and redefining movement and voice 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 questioning the internal limit of thinking as inspired by the purity and complexity of the body and the life it lives.”



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

A physically & emotionally demanding movement methodology in constant research designed to encourage, inspire and build awareness and connectivity in the constant search for movement.

How to shift focus in the body through changes in movement qualities. 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.Through a search of the availability to all the layers of dynamic information in the body.
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 preconceptions of the moving 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 segregating those parts from each other, by investigating a certain sequential order of the body in relation 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 unfamiliar 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 dynamic movement through space.

We will engage in the dialogue of resistance, resolution, resonance.


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's actually working on Kandalama's gift as curator, a piece with Aziza Essalek and Paola Sarcina programmed at Alden International Festival Sultanate of Oman in October 2023.
She trained as  Gyrotonic's trainer with Pietro Gagliardi and Silvia Frosali

She’s co-creator of Altrefrontiere.



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.



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 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.”




Yonel Catilla 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 classes will consist in the result of the mixture of various physical and energetic techniques in which a movement manifests itself as a consequence of several levels of connections.
The search for the so-called full movement and the restlessness of this sharing.
A specific physical preparation and energetic activation, personal and collective, are the bases of this type of work. The balance of these elements allows the limiting to be almost null, creating an open space for everyone.



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.


My work is an experimental research stimulated through themes and commands that aims to develop awareness, a spirit of observation, coherence between the body and its states of mind, stage presence... from the material collected we then move on to a phase of deeper research and compositional-creative development.



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