All posts by Peter Boragno

Workshop 4

Russell Maliphant

Resonance of the body image – Embodiment
A thematic bundle around ideas of collaboration and conversation, body image and contact improvisation

Russell Maliphants work is characterised by a unique approach to the relationship between movement, light and music. Russell Maliphant trained at The Royal Ballet School and graduated into Sadler‘s Wells Royal Ballet before leaving to pursue a career in independent dance. He studied anatomy, physiology and biomechanics, and qualified as a practitioner of the Rolf Method of Structural Integration (or Rolfing®). These studies form the basis of both his teaching and choreographic work, along with a diverse range of body practices and techniques including classical ballet, contact improvisation, yoga, capoeira and chi kung. He collaborates closely with lighting designer Michael Hulls, evolving a language where movement and light are so intimately connected that the meeting point becomes a new language in itself.

These workshops will integrate principles and practices from a variety of body orientated techniques including Yoga, Release Technique,  Contact Improvisation and Martial Arts. The workshops will begin with general body practice and develop to explore choreographic qualities and elements of contact in the creation of work.

Workshop 3

Dana Caspersen/Amy Raymond

The Practice of Connection

Conflict is frequent in the creative process– on interpersonal, conceptual and institutional levels. But these conflicts do not need to be destructive. Conflict is inevitable, but it can also be useful. The conflicts that arise in the studio between a choreographer and a performer, between colleagues, in company meetings, between artists and administrations, between teachers and students, and often in the thoughts of individual artists themselves, can all be opportunities to find out what matters and what is possible as a result. Conflict can help us understand something new.
This workshop offers participants training in physical and cognitive awareness and skills that will help them to approach conflict as a place of possibility. Drawing on Dana’s training and work as a conflict specialist and Amy’s experience of working closely with Budo master, Akira Hino, as well as their common experience as performers and creators with William Forsythe, this workshop will propose concrete practices for developing the ability to differentiate and choose between actions that create connection and those that provoke harmful disconnection.

Workshop 2

Rasmus Ölme/Ulrika Berg

Self-movement

The history of the self is mostly immaterial. The body is our material existence but our self is symbolic. In dance this has also been seen throughout its history when the body has been used as a vehicle for representation of different symbolic narratives and belief systems. But dance can also be used to challenge this understanding if we approach the self from a different angle.

Our bodies are animate/ self-moving and the movement is present in our body before a subject – a self – is in place. The fact that the self-movement is present in our bodies prior to the self can allow for a reconsideration of the meaning of “self-expression”. The movement is already present in the body and does not need a symbolism in order to engage. We move before we have a purpose to do so. Instead of considering dance as an opportunity for a subject to self-express, we can understand dance as a material, animate body in auto-expression.

To dance departing from this approach to body and self is an activity that engages in the relation between thought, action, perception, imagination and sensation. The “between” of those elements is not only a negotiation in terms of relation, but also a place that is a space in which they become indistinguishable from each other.

Ulrika Berg and Rasmus Ölme will share the entire studio time, guiding some sessions together and some individually.

Workshop 1

Yael Schnell / Jörg Schiebe

On relationships between performance and training

“We become more aware of our form. We connect to the sense of the endlessness of possibilities. We explore multi-dimensional movement; we enjoy the burning sensation in our muscles, we are ready to snap, we are aware of our explosive power and sometimes we use it. We change our movement habits by finding new ones. We go beyond our familiar limits. We can be calm and alert at once.” – Ohad Naharin

The workshop will begin with a gaga class. Gaga is a movement language developed by Ohad Naharin over the course of many years and which is applied in daily practice and exercises in the Batsheva Dance Company.

In the later part of the workshop we will move into the idea of reflection and feedback. We will revisit aspects that were approached during the gaga class and improvise with them to start with.

Later we will add more aspects from gaga discovering the endlessness of possibilities by using the power of our imagination. This section of the workshop is framed by the practical task of creating short improvisations guided by clear time restrictions. Ideas from gaga (for instance “flouting”, a specific term from gaga) will be explored and each participant will have a specific length of time to improvise with those ideas.

Fundamental to this workshop (and perhaps performing arts) is the idea of observing and be observed as a tool to generate reflection and feedback. Furthermore, in this workshop beyond watching and discussing the participants will reflect on their experiences by doing, applying what knowledge the watching and discussion produced.

The excitement of involving and integrating subjective feedback is part of this workshop: Presenting improvised material for viewership and then exploring those areas that affect ourselves and/or the other participants. By adding different aspects of gaga into a series of performed/observed improvisations and reflecting on what we feel by doing and feel by watching, small changes are supported in both perception and creation of physical material.

This workshop seeks to inform in ways that improvisation is always creating performances.

Roman Arndt

Folkwang Universität der Künste, Essen

Roman Arndt is a dance historian at the Institute for Contemporary Dance, Folkwang University of the Arts Essen. In Addition he teaches Dance History and Theory at the Faculty for Dance Theatre of the National Theatre Academy in Krakow, Poland. He studied dance and dance pedagogy, as well as Literature and Drama in Poland and Germany. At the moment he mainly deals with the methodologies of teaching dance history to dancers.
Roman is one of the four speakers of the Ausbildungskonferenz Tanz. In the 5th Biennale Tanzausbildung he facilitates together with Britta Wirthmüller the roundtable in(t)exchange.

Elsa Artmann

Elsa Artmann studies at the Centre for Contemporary Dance at the University for Music and Dance Cologne and is a scholar for painting at the Hochschule für Grafik und Buchkunst Leipzig. As performer she worked with Alexandra Piricci, Artur Zmijewski, Stefan Dreher, Mia Lawrence, Irina Pauls, Lili M. Ranpre, Esta Matkovic and Michèle Murray. Her collaboration with Samuel Duvoisin will be presented in the exhibition „Kontakt abbilden / responding to feedback“ in „Neues Kunstforum Köln“.
In the 5th Biennale Dance Education she is assistant to the project A Scripted Situation.

Jason Beechey

Jason Beechey is since 2006 the Rector of the Palucca Hochschule für Tanz Dresden, Germany. Having trained at Canada’s National Ballet School, the Vaganova Ballet Academy St. Petersburg and the School of American Ballet in New York, he danced as a soloist for the London City Ballet and then fifteen years with Charleroi/Danses in Belgium. Parallel to this, he was the Pedagogical Director for the National Choreographic Centre of the French Community of Belgium, founded and ran his own studio, The Loft and was the creator/coordinator of the D.A.N.C.E. Program under the Artistic Direction of Frédéric Flamand, William Forsythe, Wayne McGregor and Angelin Preljocaj. Joining the Prix de Lausanne as a Member of the Artistic Committee in 2009, he is also a regular jury Member of the Youth America Grand Prix and is the First Speaker of the AK|T Conference, the association of Professional Dance Training Institutions of Germany.
During the 5th Biennale Tanzausbildung he offers a ballet class as part of the Tuning in for the day format.

Ulrika Berg

Ulrika Berg works within the field of dance and choreography with Stockholm as a base. Over the past few years she has worked with, among others, Cristina Caprioli/Ccap, Deborah Hay, Rasmus Ölme & Svärmen, Anna Koch, Sebastian Lingserius, Kristine Slettevold, Rebecka Stillman and Mårten Spångberg. She has been a guest performer with the Forsythe Company (Human Writes, 2012), with Trisha Brown Dance Company (Early Works, 2011) and recently with the Cullberg Ballet in the work of Ezster Salamon (Reproduction 2015) and Deborah Hay (Figure a Sea).  She holds a degree of Master of Fine Arts in choreography with specialization in dance from the MFA program New Performative Practices at DOCH (University of Dance and Circus in Stockholm).  Since 2015 she is a Senior Lecturer in Dance at DOCH.
Ulrika co-teaches together with Rasmus Ölme the workshop self-movement.

Laura van Bergem

Laura van Bergem choreographed I only breakdance when I’m sad at the School for New Dance Development, Amsterdam.

Nicola Biasutti

John Cranko Schule, Stuttgarter Ballett

Nicola Biasutti, born in Udine (Italy), has received his formation as a professional ballet dancer at the ballet schools of Teatro alla Scala in Milan and the Bolshoi Theatre in Moscow, followed by engagements with the ballet companies of La Scala, the Zurich Opera House and as a soloist at the Semperoper Dresden. After ending his dancing career, he acquired the diploma as a ballet pedagogue upon the National Ballet School of Canada in Toronto. Thereafter he worked as a ballet master at the State Theatre of Freiburg i.B. and as a teacher at the Ballet School of the Theater Basel. Since 2006 Nicola Biasutti is teaching at the John Cranko Ballet School in Stuttgart.
Nicola Biasutti choreographed Italiana with and for students of the John-Cranko-Schule.

Peter Boragno

Büro Biennale Tanzausbildung

Peter Boragno has a degree in business and has been active in cultural management since 1995. His clients have included, inter alia, the Haus der Kulturen der Welt, Berlin, the German Federal Cultural Foundation, the Federal Ministry of Culture and Media and the Goethe Institute. Since 2010 he has accompanied the Ausbildungskonferenz Tanz and managed the Dance Education Biennial Office.

Stephan Brinkmann

Folkwang Universität der Künste, Essen

Stephan Brinkmann is Professor for Contemporary Dance at the Folkwang University of the Arts Essen. He is a dancer, choreographer, teacher and author. He studied dance at the Folkwang University, theatre-, film- and mediascience, German language and sociology at the University of Cologne and Dance Pedagogy in Essen. He danced for the Folkwang Tanzstudio and the Tanztheater Wuppertal Pina Bausch. In Addition, he created numerous choreographies and taught contemporary dance worldwide. He holds a PhD in movement science from the University of Hamburg. Topic: types of memory in dance. (Publication: “Bewegung erinnern. Gedächtnisformen im Tanz” (2013)).
In the 5th Biennale Tanzausbildung he facilitates the roundtable How do universities incorporate Alumni into its educational practices?

 

Jan Broeckx

Hochschule für Musik und Theater München, Ballett-Akademie

Jan Broeckx is from Antwerp, Belgium, where he completed his dance training at the Stedelijk Instituut voor Ballet Antwerp. He holds a Ballet Teacher Diploma of the French State. In 1978, he won the Prix de Lausanne. He served as principal dancer for the Ballet of Flanders from 1978 to 1981, the Deutsche Oper Berlin from 1981 to 1984, and the Bavarian State Ballet in Munich from 1984 to 1986. In 1998, he began dancing for the danseur etoile at the Ballet National de Marseille. His choreographic work includes collaborations with Rudolf Nurejew, George Balanchine, John Cranko, Ji?í Kylián and Zizi Jeanmaire. Since 2010, Broeckx has served as director of the Ballet-Academy at the University of Music and Performing Arts Munich. He is also assistant to Roland Petit.
Jan offers a ballet class as part of the Tuning in for the day format during the 5th Biennale Tanzausbildung.

Dana Caspersen

Dana Jaspersen (MS / MFA) is an award-winning performing artist and conflict specialist and has been a primary collaborator of choreographer William Forsythe for thirty years. Since receiving a master’s degree in Conflict Studies and Mediation, Dana has created events and projects that use theatrical and choreographic thinking to enable communication in situations of conflict. She offers workshops and choreographic public dialogue projects internationally, and is the author of the new book CHANGING THE CONVERSATION: The 17 Principles of Conflict Resolution (Penguin 2015).
Together with Amy Raymond Dana offers the workshop The Practice of Connection.

Jean Cébron

Born in Paris, Jean Cébron took his first private ballet classes between 1945-47 with his mother Mauricette Cébron who was a soloist and teacher at the Paris Opera. During this time he also worked with Djemil Anik, a teacher of Javanese dance. From 1947-48 he studied with Sigurd Leeder and Ram Gopal (choreographer and teacher of Indian dance). From 1948 to 1954 he was a soloist with the “Ballet National Santiago de Chile” and taught at the “Chilean French Institute” in Chile. Between 1954-57 he continued studying intensively with Sigurd Leeder in London. During this time he began to choreograph and also studied classical dance with Anna Northcote. Invited to America by Ted Shawn, he spent the following three years studying the Cecchetti technique with Margaret Craske as well as Alfredo Corvino at the Metropolitan Ballet Opera School in New York. Parallel to his studies, he toured in America with Lotte Goslar and, at the invitation of Ted Shawn, taught at the legendary “University of Dance at Jacob’s Pillow” in 1958 and 1959. Between 1961-1964 he was choreographer, soloist and teacher with the “Folkwangballett Essen” directed by Kurt Jooss. He choreographed for the company between 1964-1967 and in 1966/67 performed in his own works with Pina Bausch. From 1969-1972 he was director of choreographic studies at the State Academy “Dansskolar” in Stockholm Sweden. From 1973-76 he was professor for modern dance at the “Accademia nazionale di danza” in Rome, Italy. In 1976 he was appointed professor for modern dance at the Folkwang Academy in Essen where he also taught the “Folkwang Tanzstudio” company and the “Wuppertaler Tanztheater” both directed by Pina Bausch. Other companies for which he has taught and choreographed include the José Limon Company in New York. Besides his teaching post at the Folkwang Academy, he is a regular guest teacher at major modern dance centres throughout the world. Jean Cébron’s classes are based on the Jooss-Leeder method and the Cecchetti technique.

Yve Laris Cohen

NYU Tisch School of the Arts

Indrani Delmaine

Hamburg Ballett – John Neumeier

Indrani Delmaine was born in London, where she completed her training as a ballet dancer and teacher. She then attended the John Cranko Schule in Stuttgart before being offered her first contract by John Neumeier in 1977 for the Hamburg Ballet. She later danced for three years with The Stuttgart Ballet before returning to Hamburg in 1982. Indrani Delmaine worked as a teacher of ballet and on dance projects with the Hamburg Youth Orchestra, “Focus on Youth”, TuSch Hamburg and workshops at the Leuphana University. She returned in 2013 as the Managing Coordinator of the School of the Hamburg Ballet.

Jennifer Döring

Hochschule für Musik und Tanz Köln, Zentrum für Zeitgenössischen Tanz

Jennifer Döring is a contemporary dancer, dance educator and GYROKINESIS®-trainer. Recently, she worked in performance- and research-projects of Özlem Alkis (TR), Maria Golding (UK / DE) and Dwayne Holliday (US). Her own choreographic processes, particularly in collaboration with Philine Herrlein, are characterized by a sensitive aesthetic and questions about perception and imaginary boundaries. Jennifer graduated at the CCD in Cologne (BA Dance). She has been actively involved in the planning and collecting of ideas for the Biennale 2016.

Marguerite Donlon

Marguerite Donlon occupies a firm position in the international dance scene with her stylistic innovation, Irish esprit and the combination of different art forms. From 2001-2013 Marguerite Donlon was ballet director and chief choreographer at the Saarländisches Staatstheater. She shaped the ballet of the Saarländisches Staatstheater/Donlon Dance Company into a respected and coveted artistic ensemble that was invited to numerous tours throughout Europe, in the USA and in Asia. As well as her activity as a ballet director in Saarbrücken, Marguerite Donlon has created choreographies for ballet ensembles worldwide, for example for the Nederlands Dans Theater or the Bolshoi Ballet in Moscow. Her work has been nominated for many prizes, including the Prix Benois de la Danse and the German Theatre Award “Der Faust”. With her incredibly successful initiatives for youth projects, environmental campaigns and the involvement of deaf audience members, Marguerite Donlon has raised the profile of ballet well beyond the boundaries of classical theatre and has opened doors to new audience groups. She is the visiting lecturer for Choreography at the Frankfurt University of Music and Performing Arts and the State Ballet School Berlin. Since 2014 Marguerite Donlon is an accredited RD1st Coach and offers a wide range of services in the field of professional advice, accompaniment and support, specialising in the area of theatre, in a process tailored to individual needs.
Marguerite Donlon choreographed “And…” A feedback collaboration between dancers and choreographer with and for students of the Hochschule für Musik und Darstellende Kunst Frankfurt am Main.

Marco Goecke

Marco Goecke choreographed All Long Dem Day with and for students of the Staatliche Ballettschule und Schule für Artistik, Berlin.

Mariella Greil

Mariella Greil is a performer, choreographer and researcher. 2014-17 she is Key Researcher in the FWF funded project Choreo-graphic Figures. Deviations from the Line in collaboration with Nikolaus Gansterer & Emma Cocker, where she examines the choreographic means in its expansion. Previously, she was in London Associate Researcher of the artistic research project performance matters. She works in the team of the basic income dance, the Viennese collective somatic extasy and the artists initiative Sweet&Tender Collaborations.
Together with Vera Sander, Mariella has taken over the development of the artistic-content conception of the Biennial 2016 and the management of the Think Tanks I & II and the AKT-training workshops. She will be professionally accompanying the group of MA students that is taking part in the Biennale and facilitates the roundtable Forms of Research.

www.mariellagreil.net

www.choreo-graphic-figures.net

Nik Haffner

Hochschulübergreifendes Zentrum Tanz

Nik Haffner became guest professor at the HZT Berlin in 2008 and in 2012 was appointed Artistic Director of the Centre. As a freelance dance artist, Nik Haffner has created numerous stage, film and installation projects, frequently in cooperation with other artists, such as Christina Ciupke and Thomas McManus. He studied at the University for Music and Performing Arts Frankfurt am Main, as well as at the Australian Ballet School in Melbourne. Between 1994 and 2000 he danced with William Forsythe’s Ballet Frankfurt. At that time, he also worked on the development and publication of the Forsythe CD-Rom Improvisation Technologies. From 2011 until 2013 he was advisor for the Motion Bank online score of Jonathan Burrows and Matteo Fragion.
Nik facilitates the roundtable On artistic third cycle programs and co-moderates – together with Vera Sander – the roundtable Feedback and Reflection in Institutional Contexts as part of the symposium (re)thinking modes of artistic learning.

Nina P. Hänel

Hochschule für Musik und Tanz Köln, Zentrum für Zeitgenössischen Tanz

Nina Patricia Hänel teaches at CCD in the field of contemporary dance technique, dance dissemination and somatic practices. She currently is about to become a Feldenkrais-Practitioner® and follows her interest in questioning the possibilites of somatic informed learning processes in higher dance education. As a dancer she work(ed) with companies/ choreographers such as cie. club guy&roni, Anouk van Dijk,; dh+ David Hernandez & collaborators; Cie. Blue Elephant/ In Jung Jun.
During the Biennale Nina provides – together with Sophia Kröckert – the format Drift`n`Dialogue.

Yvonne Hardt

Hochschule für Musik und Tanz Köln, Zentrum für Zeitgenössischen Tanz

Yvonne Hardt is professor for dance studies and choreography at the University of Music and Dance Cologne, Germany. After receiving her doctorate with a thesis on “Political Bodies” she was Assistant Professor at the University of California, Berkeley. In her research she is interested in developing dance studies on methodological grounds, focusing on the relationship between praxis and theory, especially on performative elements of »doing history«. She also specializes in gender- and pedagogical theories. Her newest research investigates dance techniques and cultural education. More so, she worked as a dancer and choreographer; and in this work has increasingly questioned the borders between dance, performance and science.
Yvonne programmed the Symposium (re)thinking modes of artistic learning and offers within this frame a lecture on Feedback and Artistic Learning as Collective Process. Furthermore she offers the open doctoral colloquium to the ZZT.

Antonia Harke

Antonia Harke studies at the Centre for Contemporary Dance at the University for Music and Dance Cologne. Before she took part in the Dance Intensive Program of Tanzfabrik Berlin where she worked with Jan Burkhardt, Sigal Zouk, Idan Yoav and Britta Pudelko. She took part in projects in Israel and Palestine: Dafi Altabeb (Dance Group) and Freedom Theater Jenin.
In the 5th Biennale Dance Education she is assistant tot he project A Scripted Situation.

Dieter Heitkamp

Hochschule für Musik und Darstellende Kunst Frankfurt am Main, ZuKT

Dieter Heitkamp is a professor for contemporary dance at the HfMDK (University of Music and Performing Arts) Frankfurt am Main and director of the ZuKT training area. From 2007 – 2014, he was one of the speakers at the AK|T and from 2006 – 2015, he was in the management team of Tanzlabor_21. He was a founding and collective member of the Tanzfabrik Berlin and until 1995, one of their artistic directors; he also worked as a guest choreograph for the Frankfurt ballet and created choreography and stage sets for the ballet “Le Disperazioni del Signor Pulcinella” (music: Hans Werner Henze) at the Berlin State Opera. His choreography was shown throughout Germany, in fifteen European countries, Canada, the USA, Japan, Hong Kong and Brazil. For 38 years, he has been intensively dealing with the study, teaching, documentation and performance of contact improvisation.

Rosemary Helliwell

Hochschule für Musik und Darstellende Kunst Mannheim – Akademie des Tanzes –

Trained at Doreen Bird College, and then at the John Cranko Schule in Stuttgart. She was a dancer with the Stuttgart Ballet under director Marica Haydee and perfomed with the company in the whole world. From 1977 she was House Choreographer of the Stuttgart Ballet, and also worked as a guest Choerographer with various companies including London City Ballet, Northern Ballet, National Ballet of Finland, National Ballet of Peru, Irish Ballet etc. Since 1998 she is Professor and assistent director of the Akademie des Tanzes der Staatlichen Hochschule für Musik und Darstellende Kunst Mannheim.
Rosemary offers a ballet class as part of the Tuning in for the day format during the 5th Biennale Tanzausbildung.

Deborah Hess

Canada’s National Ballet School, Toronto

Deborah Hess trained in New York at the American Ballet Theater School with Valentina Pereyaslavec and subsequently with Kathleen Crofton before dancing with American Classical Ballet, Ballet de Wallonie in Belgium, Ballet Gulbenkian in Portugal and the New London Ballet in England. In her performance career she danced a wide range of roles from the classical, such as Odette in Swan Lake to soloist roles in contemporary works by such renowned choreographers as Lar Lubovitch. She worked directly with Bronislava Nijinska, Rudolf Nureyev, Hans Brenna, Asaf Messerer and Anna Marie Holmes, to name just a few. Upon her return to North America, Hess turned her focus to teaching and became the Assistant to the Director at the San Francisco Ballet School. On the recommendation of Erik Bruhn she was invited by Betty Oliphant to join the artistic faculty at Canada’s National Ballet School in 1981. Hess’s role has expanded during her tenure at NBS and she is now the coordinator of student exchanges between NBS and its international partner schools, including the National Ballet School of Cuba, the Australian Ballet School and the Hamburg Ballet School amongst others. In addition to her work at NBS, she continues to serve on the jury for the Youth America Grand Prix, Japan Grand Prix, Taiwan Grand Prix each year and was a juror alongside Fernando Alonso for the International Ballet Student Competition in Havana, Cuba.  Ms.Hess has been a guest teacher for the Boston Ballet Company, Royal Danish Ballet School, Jacob’s Pillow, the USA International Ballet Competition.

John Hewitt

John Hewitt was born in Des Moines, Iowa. He began dancing at Maryland Youth Ballet at the age of nine, then went on to train at Citydance School & Conservatory, where he discovered his passion for contemporary dance. John subsequently went to train at Next Generation Ballet in Tampa, Florida, and won medals at YAGP and Star of the 21st Century. Since 2014 he has been a student of the School of the Hamburg Ballet – John Neumeier, where he has trained under teachers such as Kevin Haigen and Gigi Hyatt. John has had the opportunity to perform in multiple productions with the Hamburg Ballet. During his time in Hamburg, he has choreographed two pieces, “Detached” and “Ad Astra per Aspera,” which have been performed at various venues.
John Hewitt choreographed Ad Astra Per Aspera with and for students of the Ballettschule des Hamburg Ballett.

Lisa Hinterreithner

Lisa Hinterreithner is a performance artist, based In Vienna and Salzburg in Austria. Thecentral theme of her performances and installations is body, text, images and  recently objects as choreographic assemblages. Her work takes place on stages, in galleries, in the woods, on paper and in archives. Her latest performances include the installation automatisch –idiotisch – als ob – genau in collaboration with Julius Deutschbauer (SZENE Salburg 2014) and the series of performances The Call of Things (amongst others at Tanzquartier Wien, Galerie 5020 and ACF London) as well as the performance Mezzanin (ImpulsTanz Festival) in 2014/15 with Jack Hauser. Together with Martina Ruhsam she created the work A scripted situation, a social choreography in 2014 (amongst others at Tanzquartier Wien). She taught performance at the Academy of Fine Arts Vienna and creative research at the University of Vienna in 2014. Since 2013 she has been teaching creative research at SEAD (Salzburg Experimental Academy of Dance). With Elfi Eberhard she curates the research platform tanzbuero. In 2014 she received a Master (MRes) in Performance and Creative Research from Roehampton.
Together with Martina Ruhsam, Lisa Hinterreithner contributes A Scripted Situation – a performance without professional actors or dancers, and without spatial separation of spectators and performers – to the Biennale program.

www.lisahinterreithner.at

Young Soon Hue – Simon

Young Soon Hue was born in Inchon,South Korea and studied ballet at the Sunwha Art school in Korea and at the “Academie de Danse Classique de Princesse Grace in Monte–Carlo, Monaco (dir. Marika Besobrasova). Young Soon Hue was as soloist with Frankfurt Ballet, Zürich Ballet, Basel Ballet and Deutsche Oper am Rhein Düsseldorf/Duisburg. She has danced numerous principle and solo roles from internationally renowned choreographers f.ex. Mats Ek, William Forsythe, Hans van Manen, Heinz Spoerli, Uwe Scholz, John Cranko, Youri Vámos, Nils Christie, Christopher Bruce, George Balanchine, Judith Jamison and Paul Taylor. Young Soon Hue career as an international choreographer began with “Elle Chánte” created on the Deutsche Oper am Rhein Düsseldorf in 2001. Since then she has worked as a free-lance choreographer with many ballet and dance companies in Europe and abroad f.ex. Tulsa Ballet/USA, Queensland Ballet /Australia, National Ballet of Korea, Universal Ballet in Korea, Ankara Ballet/Turkey, Izmir Ballet/Turkey, Samsun ballet/Turkey, Deutsche Oper am Rhein Düsseldorf/Germany, Aalto Theater Essen/Germany, Theater Hagen/Germany, Mecklenburgisches Staatstheater Schwerin/Germany, Augsburg Ballet/Germany, Coburg Ballet/Germany, Seoul Ballet Theater/Korea, Ballet Blanc and Ccadoo Modern Dance Company in Korea. Her works have been presented at many different international  Festivals and Galas. In 2010 and 2011 Young Soon Hue was invited as artistic director of the “The Korea world stars dance festival” and “Seoul international Ballet Festival”. Young Soon Hue was awarded “Best Choreographer of the Year” from the “MOM” Dance Magazine in Korea, “The best choreographer and the best piece of the year” with “This is your life” and “Wave of Emotions” from Dance critic prize of Korea  and  “The best Choreography of the year 2013” from Ballet Association of Korea for ”The Moment”. She received  prizes from Dance Critic Prize as “Best Choreography of the year” and „MOM“ Dance magazine as „The Best Dance piece of 2013“. She received the Theaterpreis  for “Romeo and Juliet” at Augsburg Ballet.For the 4. Biennale Tanzausbildung 2014 Dresden Young Soon Hue created “Reflektion” for Akademie des Tanzes Mannheim.
Young Soon Hue – Simon choreographed The Edge of the circle with and for students of the  Staatliche Hochschule für Musik und Darstellende Kunst Mannheim / Akademie des Tanzes.

Dwayne Holliday

Hochschule für Musik und Tanz Köln, Zentrum für Zeitgenössischen Tanz

After his career as a ballet dancer, in companies in America and Germany, Dwayne Holliday completed his Bachelor in Contemporary Dance and Master in Dance Studies at the Center for Contemporary dance, Cologne. He is currently at the beginning of his doctoral research in Dance Studies.  In his artistic research he has primarily worked with themes of site specificity and audience-performer relationships. Along with his studies, he directs the residency and performance program for the Tanzfaktur, Cologne. He also works as freelance dancer and teaches yoga and the Gyrokenesis® training method. He is also a guest teacher at a number of American Universities.
Dwayne organised the Kitchentalks format during the Biennale.

Kojiro Imada

Hochschule für Musik und Tanz Köln, Zentrum für Zeitgenössischen Tanz

Kojiiro Imada was born in Tokyo. He completed his studies in Tokyo and London. After graduating from theWest Street School of Ballet, London, he became a member of the Performing Arts Council Transvaal (PACT) Ballet in Pretoria, South Africa. Since then he has danced e.g. with the Ballet Schindowski of Schillertheater NRW, Tanzcompagnie of Stadttheater Gießen and with the Dance Theatre of the Städtische Bühnen Osnabrück. He worked with choreographers such as Gregor Zöllig, Guy Weizmann/ Roni Haver, Roberto Galván, Vera Sander, Jean Renshaw, David Bintley and Ronald Hynd. He is a regular guest teacher for the dance ensambles in Bielefeld, Kassel among others. From April 2009 to August 2011, he worked at the Japan Women’s College of Physical Education (Japan) as a lecturer for Contemporary Dance Technique and Choreography as well as Classical Dance Technique. In September 2011, he began as a lecturer for Contemporary Dance at the University for Music and Dance Cologne. Kojiro is GYROKINESIS® certified master trainer and GYROTONIC® certified pre-trainer and trainer.
He has been actively involved in the planning and collecting of ideas for the Biennale 2016.

Rick Kam

Hochschule für Musik und Tanz Köln, Zentrum für Zeitgenössischen Tanz

Rick Kam studied classical dance at the Theaterschool in Amsterdam, Netherlands. After his studies he worked as a dancer with De nieuwe Dansgroep and De Rotterdamse Dansgroep. As choreographer in residence he created several works fort he Rotterdamse Dansgroep. In 1993 he became a founding member of Amanda Miller’s Pretty Ugly Dance Company. He assisted Amanda Miller with Ballett Freiburg Pretty Ugly, pretty ugly tanz köln, Maggiodanza/Firenze, Ballett Dortmund, Tanzwerk Nürnberg, Komische Oper Berlin, Scapino Ballet Rotterdam, Yummy Dance Matsuyama/Japan, Bern Ballett, P.A.R.T.S/Brüssel, Amsterdamse Hogeschool voor de Kunsten and Hochschule für Musik und Tanz Köln. At the moment he is leading the department of dance Rheinische Musikschule Köln, which includes the pre-academy for dance Rheinische Musikschule Köln and is teacher for classisal dance at the CCD / Hochschule für Musik und Tanz Köln. He is a member of the Cologne based artist collective “nachtigall:re-action“ an interdisciplinary collaboration with the artists Regine Schumann (Visual Art), Carlos Garcia Piedra (Theatre), Achim Mohne (Sounddesign).
Rick has been actively involved in the ThinkTank Process and the Kitchentalks of the Biennale.

Eva Karczag

Eva Karczag, Independent dance artist. For the past four decades has practiced, taught, and advocated for explorative methods of dance making. Performs solo and collaborative work internationally, was a member of the Trisha Brown Dance Company (1979-85). Has a Master of Fine Arts degree (Dance Research Fellow) from Bennington College, VT, and is a certified teacher of the Alexander Technique. Her performance work and her teaching are both informed by dance improvisation and mindful body practices.
Eva Karczag offers a lecture-performance When Dance Became Movement, and Movement Became Material as part of the symposium (re)thinking modes of artistic learning.

Birgit Keil

Hochschule für Musik und Darstellende Kunst Mannheim – Akademie des Tanzes –

Chamber dancer, professor. Clive Barnes, a critic from the New York Times, describes her as “a world class German ballerina”. In 1961, she was a member of the Stuttgart Ballet under the direction of Cranko, a little later she became the first ballerina. Tours and invitations as a soloist led her throughout the world; she appeared in all main roles of classic and modern repertoires. In 1995, she started the private dance foundation Tanzstiftung Birgit Keil. Since 1997, she has been a director and professor at the Academy of Dance in Mannheim. In 2003/04, she additionally took over the leadership of the State Ballet KARLSRUHE.

Katarina Kleinschmidt

Katarina Kleinschmidt is a dancer, dramaturge and dance researcher. Since 2010, she has been researching and teaching as a scientific employee at the Centre for Modern Dance about artistic choreographic research, dramaturgy, creative scientific writing as well as dance analysis in theory and practice. Studies in modern and classic dance at the University for Music and Performing Arts Frankfurt/M as well as Master in dance studies at the Free University of Berlin. She worked as a dancer and dramaturge with choreographers and composers like José Biondi, ms-tanzwerk, Ensemble9.November, the Theatre of Sound as well as Martin Nachbar, Sebastian Matthias and Antje Velsinger.
In the 5th Biennale Tanzausbildung Katarina takes an active role in the Doctoral Colloquium 

Sophia Kröckert

Sophia Kröckert is a certified dance and dance gymnastics teacher and will finish her studies at the Centre for Comtemporary Dance at the University for Music and Dance Cologne in September 2016. The multiple expertise from her studies of dance, dance dissemination at the CCD in Cologne, dance therapy in Münster and Polestar Pilates education, allows Sophia to combine and refine the holistic view for the human being of dance, dissemination and therapy.

Bojana Kunst

Bojana Kunst is a professor at the Institute for Applied Theatre Studies [Institut für Angewandte Theaterwissenschaft] at Justus Liebig University in Giessen. She is director of the international Master’s program in choreography and performance. She works as a philosopher, dance and performance theoretician and dramatics adviser. Publications: Impossible Body, Maska, Ljubljana, 1998, Dangerous Connections, Maska, Ljubljana, 2004, Processes of Work and Collaboration in Contemporary Performance (ed.), Amfiteater, Ljubljana, 2010, Labour and Performance (ed. with Gabriele Klein), Routledge, London, 2012, Artist at Work, Proximity of Art and Capitalism, Zero Books, London, 2015.
Bojana Kunst provides a lecture Feedback, Exchange, Speculation: Dramaturgy of Return in Contemporary Choreography as part of the symposium (re)thinking modes of artistic learning.

Thomas Leprohon

Thomas Leprohon choreographed Luminous at Canada’s National Ballet School, Toronto.

Russell Maliphant

Russell Maliphant is one of the great choreographers of our time. His work is characterised by a unique approach to the relationship between movement, light and music. He runs his own company and is an associate artist of Sadler’s Wells in London. He trained at The Royal Ballet School and graduated into Sadler’s Wells Royal Ballet before leaving to pursue a career in independent dance. Maliphant studied anatomy, physiology and biomechanics, and qualified as a practitioner of the Rolf Method of Structural Integration (or Rolfing). Since 1994 he has collaborated closely with lighting designer Michael Hulls, evolving a language where movement and light are intimately connected and the meeting point becomes a new language in itself. He formed Russell Maliphant Company in 1996 and has also worked with renowned companies and artists including Sylvie Guillem, Robert Lepage, Isaac Julian, Balletboyz and Lyon Opera Ballet. He received numerous awards f.ex. the Time Out Live award for outstanding collaboration for his work Sheer and a South Bank Show dance award for the piece Choice. Maliphant was awarded an honorary doctorate of arts from Plymouth University. Russell offers the workshop Resonance of the body image – Embodiment A thematic bundle around ideas of collaboration and conversation, body image and contact improvisation.
Russell offers the workshop Resonance of the body image – Embodiment A thematic bundle around ideas of collaboration and conversation, body image and contact improvisation.

Matthias Markstein

Palucca Hochschule für Tanz Dresden

Matthias Markstein was born in 1981 in Bad Schlema, Germany. He began his dance education at the Palucca – University of dance Dresden, Germany. After his graduation in 2001 he worked in different professional companies. He danced choreographies of Martin Stiefermann, Marguerite Donlon, Hans Henning Paar, Jan Pusch, Jiří Kilián, Christian Spuck, Tero Saarinnen, Rui Horta, Robert North, Constanza Macras, Ina Christel Johannessen. Always fascinated by contemporary dance, he began to concentrate more on contemporary dance techniques and improvisation. He attended a two year teacher’s course at the Palucca University. Matthias is now a permanent teacher for Contemporary dance at the Palucca University of Dance Dresden. He is also known as a guest trainer for professional companies. Beside that he gives workshops in contemporary dance and it´s methodology at different Institutions. Last summer Matthias went into Laban-Bartenieff Movement studies at EUROLAB e.V., planning to become a “Certified Laban Movement Analyst”.

Tadeusz Matacz

John Cranko Schule, Stuttgarter Ballett

Tadeusz Matacz, born in Warsaw, Poland, completed his ballet training at the State Ballet School in Warsaw, where he then also completed ballet education training with Leonid Zhdanov. He had his first engagement as a dancer in 1977 at the Grand Theatre Warsaw; at the same time he worked as a teacher at the Warsaw Ballet School. From 1979 until 1984 Tadeusz Matacz was the primary solo dancer at the Grand Theatre Warsaw. From 1984 until 1992 he was a soloist at the Badisches Staatstheater in Karlsruhe, where he also took on additional educational tasks from 1988. From 1992 until 1998 he was head of training, ballet master and choreographer at the Badisches Staatstheater in Karlsruhe. In addition, from 1990 until 1998 Tadeusz Matacz was the visiting head of training at the Frankfurt Ballet, the Toulouse Ballet, the Grand Theatre Warsaw, and from 1997 to 1998 also at the Stuttgart Ballet.  Tadeusz has been the director of the John Cranko School since 01.01.1999. He is regularly invited to act as a juror at the most renowned international ballet contests.

Michael Maurissens

Hochschule für Musik und Tanz Köln, Zentrum für Zeitgenössischen Tanz

Michael Maurissens was born in Brussels, where he began his dance training. He later studied at the Heinz-Bosl-Stiftung in Munich and the Professional Ballet school in Zurich. He has danced with Ballet Nürnberg/Tanzwerk Nürnberg, Amanda Miller’s Ballett Freiburg Pretty Ugly, Mannheimer Ballett and pretty ugly tans köln. Maurissens graduated from the Academy of Media Arts Cologne in summer 2013, his studies focused on scenography, applied visual arts and documentary filmmaking. He now, directs and produces films, experimental video works, performance. He is the co-artistic director of the MichaelDouglas Kollektiv – a unique dance collective that breaks from the standard form of choreographer-led groups and is co-Initiator of the Zentrum für Austausch und Innovation Köln, a structure that supports exchange, research and artist development in the field of contemporary dance.

www.miflo.com

www.mdkollektiv.de

www.zaik.org

Bojana Mladenovic

School for New Dance Development, Amsterdam

Bojana Mladenović was appointed as the artistic director of SNDO – School for New Dance Development  in September 2014, having moved on from her position as director of Amsterdam’s production house for performance Het Veem Theatre. She studied dance in Belgrade and did post-graduate studies in performance at DasArts (currently the Master of Theatre at de Theaterschool). Before starting at Het Veem Theater in 2010, Bojana  created dance and performance work, co-founded several organizations for contemporary dance and performance in Belgrade and Amsterdam, was member of the selection committees of different departments of de Theaterschool at the  Amsterdam University of Arts as well as collaborated with numerous choreographers, theater directors and performers.
Bojana Mladenovic is part of the roundtable Feedback and Reflection in Institutional Contexts as part of the symposium (re)thinking modes of artistic learning.

Shumpei Nemoto

Born 1983 in Japan. Shumpei Nemoto received his training from Toyoshige Nemoto and Ikuko Nemoto in Japan, 1989-1999, and at the English National Ballet School 1999-2000. He has danced professionally with the Royal Ballet, the Deutsche Oper Am Rhein and Cullberg Ballet. Shumpei was awarded the Espoir Prix de Lausanne in 1999 and he received 2nd place at the Choreographic Capture Competition 2009 in Munich for his work in film. He choreographed and performed fex. a duet for Whenever Wherever Festival 2010 in Tokyo, Japan and – invited by Tok’Art, a solo for their 2010 creation. He also choreographed Ugoku at International Choreographic Competition No Ballet 2011 in Ludwigshafen and was awarded 2nd place. As a teacher he has been working with several different schools including The Royal Swedish Ballet School, University of Dance and Circus in Stockholm, The National Conservatory Dance School in Lisbon and University for Music and Dance Cologne (CCD) Cologne. In addition to this, Shumpei has worked in Japan, Sweden and Portugal coaching Improvisation and teaching Repertoire.
Shumpei Nemoto worked with students of the Zentrum für Zeitgenössischen Tanz on 4×4: a choreography created with the intention to explore ways in which the music of Steve Reich can be transcribed into dance choreography. The work intensely focuses on the relationship between movement and phrasing in regards to visual aesthetics and is constructed through the use of repetition and various canonic patterns.

Christine Neumeyer

Hochschule für Musik und Darstellende Kunst Mannheim – Akademie des Tanzes –

Christine Neumeyer was a dancer at Telos, Stuttgart, appeared as a guest at the National Theatre in Mannheim and accepted invitations to dance events. In 1984, she received a lectureship at the State University of Music and Performing Arts in Mannheim. Choreographic assistantships led her to theatre and film. In 1990, she received a professor title for the areas of classic and Spanish dance. She created her own choreography for the Badisches Staatstheater Karlsruhe, the State University of Music and Performing Arts in Mannheim and the dance foundation Tanzstiftung Birgit Keil. Since 2007, she has been one oft he four speakers of the Ausbildungskonferenz Tanz (AK|T), the association of Professional Dance Training Institutions of Germany.

Mikko Nienstö

School for Dance and Circus, Stockholm

Mikko Niemistö is a performance artist and a choreographer from Helsinki, Finland with a backround in movement, physical theatre and contemporary performance practices. He draws inspiration from these disciplines, dismantling and remoulding them constantly. He has perfomed e.g. in Kiasma Museum of Contemporary Art, Helsinki, brut Wien, Vienna and The Finnish National Theatre. Currently he is studying in the New Performative Practices masterprogramme of DOCH – Dans och Circushögskolan, Stockholm.
Mikko Nienstö choreographed his solo inventories at the School for Dance and Circus, Stockholm.

mikkoniemisto.wordpress.com

Rasmus Ölme

After a career as dancer (Ultima Vez/Wim Vandekeybus, The Nursery/ Sam Louwyck, El Ojo de la Faraona/Carmelo Fernandez och Enclave/Roberto Olivan), Rasmus Ölme founded, in 2001, his group REFUG in Sweden. Since then he has produced more than 10 works that toured through Europe. Next to his choreographical work Rasmus guest teaches frequently around the world. In May 2014 Rasmus received his PhD in Choreography at the School of Dance and Circus at Uniarts, Stockholm, Sweden. Since January 2015 he is the director of the Dance and Choreography education at the Danish National School of Performing Arts.
Rasmus co-teaches together with Ulrika Berg the workshop self-movement.

Keith Randolph

Codarts – Rotterdamse Dansakademie

Keith Randolph, born in New York in 1965, has lived and worked in Europe and abroad for twenty- six years as a dancer, independent choreographer and teacher. In New York City, he trained in Ballet and Modern Dance at the High School of Performing Arts, The (Alvin) Ailey School and Dance Theatre of Harlem. In addition to his early education, Randolph received his Didactic Teacher’s diploma in 2005 and in 2010, a Master’s Degree in Choreography. He is also an accomplished costume designer. As a dancer, Randolph has worked with Haris Mandafounis Dance Company (Athens), Peridance (New York), and for fifteen years as a featured dancer, choreographer and artistic staff member with Scapino Ballet Rotterdam. As an independent choreographer he has made works for e.g. Korzo Theater (Den Haag), Prix de Lausanne (Switzerland) and the National Ballet of Bosnia and Herzegovina. He is now a coordinator, répétiteur and ballet teacher at Codarts – Rotterdamse Dansakademie.

Amy Raymond

Amy Raymond danced professionally as a soloist with Dutch National Ballet and and with William Forsythe’s Frankfurt Ballet. Over the last 10 years she has worked as freelance choreographer, improvisation teacher, ballet teacher, and stages the works of William Forsythe. She has worked in many professional companies and schools and crosses both the classical and contemporary worlds. Some of these institutions include The Forsythe Company, Paris Opera, San Francsico Ballet, Dutch National Ballet, Carte Blanche, Skanes Dans Theater, Norrdans, Goteborg DansKompani, Cullberg, Royal New Zealand Ballet, Chunky Move, Ballet de Marseilles, Hubbard Street, Lines pre-Professional Program, Ohio University D.A.N.C.E program, Codarts, National Ballet Academie, Artez, Royal Conservatory Den Hague, and the Palucca Schule Dresden. Over the past 8 years she has studied with Budo master Akira Hino sensei and has integrated his unique knowledge of the body in all aspects of her work. In 2014, Amy launched the Budo Ballet Initiative, a unique project researching how Akira Hino’s method can be applied to the classical ballet technique.
Together with Dana Caspersen Amy offers the workshop The Practice of Connection.

Georg Reischl

Born in Austria, Georg Reischl began his dance training with Rosa Hartlieb in Salzburg and attended the Vienna Opera Ballet School under the direction of Michael Birkmeyer. In 1993, he joined the ensemble of Liz King in Heidelberg. Thereafter, Reischl danced 4 years with Scapino Ballet Rotterdam. In 1999, Georg Reischl joined Ballet Frankfurt, where he experienced the repertoire and the collaborative creative process with William Forsythe. After the closing of Ballet Frankfurt, Reischl continued with the newly formed “The Forsythe Company”. Asked to become the resident choreographer for Scapino Ballet Rotterdam, Reischl left the company in 2006. As resident choreographer of Scapino Ballet, from 2006-2010, Reischl has created numerous pieces for the company, as well as formed important relationships on an international level.
During the 5th Biennale Tanzausbildung Georg offers a daily ballet class a spart of the Tuning on for the day format and the workshop for teachers.

Martina Ruhsam

Martina Ruhsam is working as a choreographer, performer and writer. In 2011 her book Kollaborative Praxis: Choreographie was published by Turia + Kant. Her artistic work and collaborations (mainly with Vlado G. Repnik) were presented at numerous venues and festivals in Europe (Wiener Festwochen, Tanzquartier Wien, brut, Kino Šiška, Museum of Applied Arts Vienna). She is a member of the editorial board of Maska. Performing Arts Journal. Currently she is completing a Phd at the Justus-Liebig-University in Gießen.
Together with Lisa Hinterreithner, Martina Ruhsam contributes A Scripted Situation – a performance without professional actors or dancers, and without spatial separation of spectators and performers – to the Biennale program.

David Russo

Hochschule für Musik und Theater München, Ballett-Akademie

David Russo graduated from John Cranko Ballet Academy in Stuttgart in 1998. From 1998 until 2000 he was a soloist of the State Theater of Saarbruecken. For the next 5 years he joined the company Ballet Theater Munich. In July 2005 he started his freelancing career as a dancer and choreographer on an international level. From September 2007 until August 2010 he was engaged as soloist member again in Munich at the Staatstheater am Gärtnerplatz. In September of 2010 he began his teaching position at the Ballet Academy in Munich as a ballet and contemporary dance teacher. Between 2010 and 2014 he was part of several dance and theater projects in the independent scene as a choreographer and performer and choreographed for the Birgit Keil Foundation at the Ballet Academy of the University for Music and Performing Arts of Mannheim, for the resident dance company of the Theater in Ulm and for the Ballet Philippines in the Cultural Center of the Philippines of Manila.
David Russo choreographed Feed-back melody with and for students of the Ballett-Akademie der Hochschule für Musik und Theater München and offers a ballet class as part of the Tuning in for the day format.

Ihsan Rustem

Born in London, Ihsan Rustem studied from 1998-2000 at the Rambert School of Ballet and Contemporary Dance, during in which time he was a member of the National Youth Dance Company. His professional performance career began in the UK with Matthew Bourne’s Adventures in Motion Pictures; in Germany at Ballet Theater Munich (Staatstheater am Gärtnerplatz); Introdans in the Netherlands; and in Switzerland as a founding member of both the Stadt Theater Bern Ballett (Cathy Marston) and the Tanz Luzerner Theater. Rustem has worked with many of today’s leading choreographers including Mats Ek, Jiří Kylián, Hans van Manen and Paul Lightfoot/Sol León; has originated roles in works by Matthew Bourne, Alexander Ekman, Wayne McGregor, Hofesh Shechter, Stijn Celis, Felix Landerer, Cayetano Soto; and has performed further works by William Forsythe, amongst others. He works extensively with and regularly assists choreographer Patrick Delcroix, and since creating his first work for the Rambert School in 1999, Rustem has choreographed for numerous organizations including Hubbard Street Dance Chicago 2, Northwest Dance Project USA, Istanbul State Ballet MDT, Lucerne Dance Theater, BYU Contemporary Dance Theater & Theater Ballet Utah USA, Würzburg Ballet, Whim W’Him Seattle, Interdans Festival, Palucca Schule Dresden, and Holland’s ArtEz Dansacademie. Rustem regularly teaches for companies and universities internationally. He was named the winner of the Sadler’s Wells Global Dance Contest in 2011, for his work State of Matter, which also received the Publikumspreis (Audience Choice Award) at the 25th International Competition for Choreographers in Hannover, Germany. Rustem was the 2014 winner of Hubbard Street Dance Chicago’s International Commissioning Project and also Whim Whim’s Choreographic Shindig, Seattle USA, in 2015.
www.ihsanrustem.com to learn more.
Ihsan Rustem choreographed Reminiscence with and for students of the Palucca Hochschule für Tanz Dresden.

Vera Sander

Hochschule für Musik und Tanz Köln / Zentrum für Zeitgenössischen Tanz

Vera Sander is director of the Centre for Contemporary Dance and Professor for Contemporary Dance at the University for Music and Dance Cologne and has since been central to its development as a teacher, publisher and organizer. She teaches e.g. Contemporary Dance, Choreography and Performance Practice. She has worked as a choreographer, dancer or teacher with e.g. Tanzforum Köln (D), Dansgroep Krisztina de Chatel (NL), Itzik Galili (NL), Semperoper Dresden (D), DV8 (UK), Adventures in Motion Pictures (UK), as well as for various international festivals. Her interest centers on choreographic and body knowledge as a source for interdisciplinary and intercultural creativity. She has been regularly invited to choreograph, to lead workshops and classes, as well as to collaborate in lectures where she shares her research. She is one of the four speakers of the Dance Education Conference (AK|T) and as such member of the steering group of the Dance Education Biennale. She participated in the research project “Dance Technqiues 2010” initiated by Tanzplan Deutschland and is currently occupied with the establishment and development of study programs and exchange formats in the field of dance. Vera Sander studied at the London Contemporary Dance School (UK) and Hogeschool voor de Kunsten Amsterdam (NL). She is one oft he four speakers of the Ausbildungkonferenz Tanz (AK|T), the association of Professional Dance Training Institutions of Germany.
As artistic director of the 5th Dance Education Biennial, Vera Sander has taken over the task of curating and developing an artistic-content conception. According to her featured topic “feedback and reflection” she has promoted the design of the Cologne Biennial as a collaborative and participatory process.

 

Jörg Schiebe

After training as an actor at the University of Arts in Berlin, he has been active in the Berlin theatre and dance scene as a performer and director. He has worked with the Theatre Company Lubricat and the choreographer Christoph Winkler. As director, he was invited to the Berlin Dance Days [Tanztagen] 2007, Potsdam Dance Days 2010, and the Dance Festival “Made in Potsdam” 2012. Mutual analytical observation and description is at the developmental forefront of his own dramatic performance. The performer’s autonomy should be developed, own resources better understood and more applied with more awareness.
Jörg co-teaches together with Yael Schnell the workshop On relationships between performance and training.

Yael Schnell

Yael Schnell joined the Batsheva Ensemble in 1994 and the Bat-Sheva Dance Company in 1996 where she danced until 2002. She then moved to Berlin and worked as a freelance dancer with Christoph Winkler, Sommer Ulrickson, Jorg Sheibe, and others. During this time she also created her own work such as O’sullivan and Looks like it’s going to be a long day performing in different venues in Berlin.  From 2007-2013 she was a member of the Sasha Waltz & Guests Dance Co., where she continues to work as a freelance dancer until today. Yael has taught dance classes for professionals and students for many years and recently started teaching Gaga.
Yael co-teaches together with Jörg Schiebe the workshop On relationships between performance and training.

Gregor Seyffert

Staatliche Ballettschule Berlin

After graduating from the State Ballet School of Berlin in 1987, Gregor Seyffert danced for 13 years as a soloist in the ballet company of the Komische Oper Berlin. His technical perfection and unique embodiment of character parts won him numerous international prizes such as the gold medal at the Prix de Lausanne in 1986 or the first prize as best partner at the International Ballet Competition in Jackson, USA (1994). In 1997, he was the first German dancer to be given the coveted Prix Benois de la danse- UNESCO as the world`s best dancer of the year. In 1996, he founded Gregor Seyffert & Compagnie and that same year was commissioned to produce “Über das Marionettentheater” and “Clown Gottes” as official German cultural contributions to the Olympic Summer Games in Atlanta, USA. The successful piece “Clown Gottes” about the legendary Vaslav Nijinsky was filmed by a WDR and ORB co-production in 2002. In appreciation of his remarkable artistic achievements, Gregor Seyffert was awarded the German Dance Prize in 2003.  In 2002, the Kammertänzer Seyffert was named artistic director of the stage dance department at the State Ballet School of Berlin, and in 2006, appointed professor for stage dance at the Hochschule für Schauspielkunst “Ernst Busch”. As artistic director of the Gregor Seyffert Compagnie Dessau am Anhaltischen Theater between 2004 and 2009, he staged “Der kleine Prinz”, “Tango Palast”, “Peri – Ein Engel zwischen Himmel & Erde”, “In 80 Tagen um die Welt” as well as the cross-over spectacle “Marquis de Sade” at the Kraftwerk Vockerode, which was shown over 220 times between 2006 and 2009. In 2010, he created the dance piece “Menschensohn” about the life of Jesus Christ based on texts by Klaus Kinski for the Theater & Philharmonie Thüringen. His latest production, “Wagner Reloaded”, was the opening event of the MDR-Musiksommer during the Wagner anniversary year 2013. A multi-media cross-over spectacle with the Finnish

Stephen Shropshire

Successfully completed his studies at the Juilliard School in New York. He completed his Masters at the University of Maastricht in Art, Culture and Cultural Heritage. From 1994 to 1999, Shropshire danced at the American Repertory Ballet. In 1999 he joined Galili Dance in Groningen, where he created a number of dance pieces. In 2005 Shropshire created his first full evening programme. In the 2005–2006 season he worked together with the Icelandic City Theatre and the Icelandic Dance Company on a new production of Carmen. He then choreographed the piece Falfurious for Codarts. From 2009 to 2012, Shropshire was artistic director and choreographer at NND (Noord Nederlandse Dans). Shropshire now works as a freelance choreographer. Especially for Codarts he developed material from the show Cinematic (from 2012) in Lamento Della Ninfa. On behalf of the Holland Dance Festival he created a new piece for the New Zealand Dance Company. For this TOTM Tour, Shropshire designed “The Golden Pas de Deux”.
Stephen Shropshire choreographed Lamento Della Ninfa with and for students of the Godards, Rotterdamse Dansacademie.

Martin Sonderkamp

Hochschule für Musik und Tanz Köln, Zentrum für Zeitgenössischen Tanz

Martin Sonderkamp came to contemporary dance with an extensive background in sports, visual arts and music. He moved to Amsterdam in 1992 to study at the School for New Dance Development and lived there for 10 years before moving to Istanbul in 2001. Since 2008 Martin Sonderkamp lives in Berlin. His artistic works, soli and interdisciplinary collaborations with musicians, composers, video artists and choreographers have been shown in theatres and festivals in Germany, The Netherlands, Denmark, Poland, Lithuania, Spain, Slovenia, Croatia, Serbia , Turkey and the USA. He performed improvisation in numerous festivals in Europe and the USA. 1998 and 2000 Martin Sonderkamp received scholarships from Stiftung Kunst und Kultur des Landes NRW. With Vincent Cacalano, Eileen Standley and Katie Duck he founded Magpie Music Dance Company which has toured Europe, USA, Asia, Russia and Brazil. Martin Sonderkamp taught in more than 20 countries. Martin Sonderkamp is Professor for contemporary dance at the ZZT.
During the 5th Biennale Tanzausbildung Martin provides the format Tuning out.

Martin Stern

Prof. Dr. Martin Stern is a professor of “Sociology of Movement and Sport” at the Philipps University Marburg. His research focuses on aesthetic and cultural education and dance, trends in motion cultures, modern constellations of Body-Media-Self, sociology of the body, adventure and experiential pedagogic.
Martin Stern offers a lecture Reflective Practices as Techniques of the Self: An Educational Theoretical Perspective as part of the symposium (re)thinking modes of artistic learning.

 

Flavia Tabarrini

Hochschule für Musik und Tanz Köln, Zentrum für Zeitgenössischen Tanz

Flavia Tabarrini has been dancing with the MichaelDouglas Kollektiv since its founding. She teaches at the Center for Contemporary Dance in Cologne, gives improvisation workshops, sets choreographies of Amanda Miller for schools and companies and since 2003 Flavia is a certified GYROTONIC® and GYROKINESIS® trainer. Before she danced with the collective she worked initially with Sutherland Dance Group and Ballet Nürnberg/Tanzwerk Nürnberg as well as Ballett Freiburg Pretty Ugly and pretty ugly tanz köln. She has amongst others also worked with David Binham, JennyCoogan, Jean Renshaw, Allison Brown, Katy Duck and William Forsythe while also creating and presenting her own choreograph work. She received her education in Milan and in Frankfurt am Main.
During the 5th Biennale Tanzausbildung Flavia provides Yamuna Body Rolling as part of the Tuning in for the day format.

 

Andrea Tallis

Hochschule für Musik und Darstellende Kunst Frankfurt am Main

Andrea Tallis was born in Los Angeles. She studied many styles of dance with specific early influences from Irina Kosmovska, John Clifford and Melissa Hayden. She continued her education, under scholarship, with the Pennsylvania Ballet School and the School of American Ballet in New York. She worked as soloist with Makarova and Company and danced principle roles with the Los Angeles Ballet. Andrea joined Ballet Frankfurt in 1983 under the direction of Egon Madsen and subsequently, from 1984-1999 worked for William Forsythe. She worked extensively on the development of creations and concepts, with William Forsythe during the years with Ballet Frankfurt. Andrea is a teacher of classical ballet technique, composition and improvisation as well as a choreographic assistant, ballet master and reconstructor. She was based as ballet master with the Gothenburg Ballet 1999 – 2002 and then until Oct 2009 has worked freelance. Since 2009 she is Professor in Frankfurt with the dance department.
Andrea offers a ballet class as part of the Tuning in for the day format during the 5th Biennale Tanzausbildung.

Thomas Thorausch

Deutsches Tanzarchiv Köln

After studying Theatre Studies, Comparative Literature and American Studies at the Free University of Berlin (degree: MA), he worked as an assistant director and dramatic adviser in Essen, Cologne and Regensburg as well as in several independent theatre productions in North Rhine-Westphalia. He has also been active as scientific project collaborator for the German Academy of Dance [Deutsche Akademie des Tanze], the German Dance Archive Cologne [Deutsche Tanzarchiv Köln] as well as the Historical Archives of the City of Cologne [Historische Archiv der Stadt Köln] (project “Documentation of Cologne’s cultural life after 1945”). Since 1996 he has worked as deputy head of the German Dance Archive Cologne. From 2003 – 2010 Thomas Thorausch belonged to the group of “dance” experts on the Sparkasse KölnBonn funding programme, responsible for pre-screening project proposals in the field of dance and submitting them for decision to the board of SK Stiftung Kultur.
During the 5th Biennale Tanzausbildung Thomas Thorausch facilitates the roundtable Potentials on working with the archives.

Anna Wagner

Anna Wagner has been a dramaturge at the Künstlerhaus Mousonturm since 2014. She studied Theatre Studies in Berlin and Paris. From 2008 to 2012, she worked as an assistant to the dance curator of Berlin’s HAU Hebbel am Ufer. In addition, she was also dramaturge and production manager for Lea Martini, Simone Aughterlony and Hiroaki Umeda, among others. From 2012 to 2014 she directed the dance department of the Freiburg Theatre, which she transformed from an ensemble operation to a production platform for independent artists that is unique in Germany. As a curator, she also developed numerous festivals and project formats, most recently the Colombo Dance Platform (2014) and, together with Eike Wittrock, the Julius-Hans-Spiegel-Zentrum (since 2014).
Anna Wagner is part of the roundtable Feedback and Reflection in Institutional Contexts as part of the symposium (re)thinking modes of artistic learning.

Britta Wirthmüller

 Hochschulübergreifendes Zentrum Tanz, Berlin

After receiving her dance diploma at the Palucca Hochschule für Tanz Dresden, sattended the MA course Performance Studies at the University of Hamburg from 2006 until 2008. In 2009, she received the Dance Research NRW scholarship for her research project “Bodies on the borders of reality”. She works as a performer, dancer and choreographer in different cooperations a.o. with Lilo Nein, deufert&plischke and Petra Zanki. From 2007 ton she created he stage performances “Rekonstruktions_maschine”(2007, in cooperation with Lilo Nein) and “Kissing Elisabeth”(2008). Together with Petra Zanki she developed the performative guided city tour “The Silent Walk”(2010) and the cycle “Antibodies” with the pieces “Holding on to…”(2009), “Vierfüßer”(2010) and “Paces”(2011). In 2009, she was a guest teacher at the Institute for Theatre Studies at the University of Leipzig. Since autumn 2011, she is artistic research associate at the BA course “Dance, Context, Choreography” of the HZT.
In the Biennale she facilitates the roundtable Exchanges of and about training formats: Tips & Tricks and together with Roman Arndt the roundtable (int) exchange.

Gabriele Wittmann

Hochschule für Musik und Darstellende Kunst Frankfurt am Main

Writing about dance – this has been the key occupation of the dance critic, poet and dance researcher Gabriele Wittmann. Since 1993, she has published extensively for German Public Radio and Television ARD and ZDF/ 3sat, newspapers like taz, magazines like Tanzdrama and for the Society of Dance Scholars (GTF). Since 2003, she teaches Writing and Dance History at the Hochschule für Musik und Darstellende Kunst in Frankfurt/ Main, where she developed a course curriculum for ‚Creative Scientific Writing‘. Her “Scoring Writing” methodology is at the center of her current dissertation project at the University of Cologne.
Gabriele Wittmann offers a lecture Processing Documentation: Feedback in and as Documentary Practices as part of the symposium (re)thinking modes of artistic learning.