Vala T. Foltyn | Valentine Tanz – performance artist, queer witch, shape-shifter, researcher, founder and curator of Lamella the house of queer arts in Poland. She graduated from Shahar Dor’s Artness – Home and School for Movement (Israel) and Performers House (Silkeborg, Denmark). Currently she’s enrolled at the program Master of Fine Arts in Artistic Research at Malmo Art Academy. She fled to Denmark in 2019 due to political changes in her home country – Poland. She lived in San Francisco area for couple of years between 2011-2017 working with local artists and attended Anna’s training.
Michael Marder is Ikerbasque Research Professor in the Department of Philosophy at the University of the Basque Country (UPV-EHU), Vitoria-Gasteiz, Spain. His writings span the fields of phenomenology, political thought, and environmental philosophy. He is the author of numerous scientific articles and fifteen monographs, including Plant-Thinking: A Philosophy of Vegetal Life (2013); Phenomena—Critique—Logos: The Project of Critical Phenomenology (2014); The Philosopher’s Plant: An Intellectual Herbarium (2014); Pyropolitics: When the World Is Ablaze (2015), Dust (2016), Energy Dreams: Of Actuality (2017), Heidegger: Phenomenology, Ecology, Politics (2018), Political Categories: Thinking Beyond Concepts (2019), and Dump Philosophy: A Phenomenology of Devastation (2020) among others. For more information, consult his website
Gosie Vervloessem is an artistic researcher and performer, living and working in Brussels. Her work focuses on the relation between the vegetal kingdom and Homo sapiens. Through the genre of horror, she investigates the ideas underpinning different perceptions of nature.
Mihaela Brebenel is a screen and visual studies researcher. Their work is informed by feminist and queer practices, as well as the aesthetics and politics of screen (and other) technologies. They work as Lecturer in Digital Cultures at Winchester School of Art, University of Southampton and are part of Archaeologies of Media and Technology Research group.
Their long-term and expanding explorations are focused on the histories of Internationalism and solidarity, as well as historical and current intersections with gender, herbalism and critical plant studies, law, social and healing justice.
Their current research and curatorial practice is focused on collaborative praxis, accountability, care work and pedagogies driven by queer and disability studies. They are developing research on the intersection between histories of herbalism and socialism, mainly in Eastern Europe and the Baltic region.
FoAM.Earth (Maja Kuzmanović, Nick Gaffney) is a nomadic entity exploring futurecrafting as a way of re-enchanting the present. True to FoAM’s motto “row your own worlds”, they create propositions, immersive situations and (peak) experiences. As an act of resistance against dystopian fears of uncertainty, they cultivate kinship networks and circumstances for conviviality and collaboration, while exploring animist approaches to time, attunement and interconnectedness as transformative practices for contemporary techno-materialist culture. Their works and ways of working invoke new worlds, summon echoes of voices otherwise unheard to entice collective imagination and solidarity.
Kevin CK Lo is an Oakland-based composer, choreographer, artist, writer, and one half of the performance experiment DROUGHT SPA, with alex cruse. He is also the technical director at CounterPulse, in San Francisco, and is undergoing a PhD in Music Composition at UC Berkeley. Work has been featured at CounterPulse, UC Berkeley, Interrupt Festival (Brown University), Cecil Taylor Symposium (CUNY, NYC), Artists’ Television Access, The Poetry Center (SFSU), SOMArts, B4BEL4B Gallery (Oakland), Audio Foundation (NZ), ISEA Festival (Vancouver), Gray Area/Soundwave (SF), among others. Writing has been released on SFMOMA Open Space, and a chapbook, OKLDCAAN was published 2019 on Eyelet Press (Oakland).
DROUGHT SPA’s first solo show, RETURN THE EYE, will go live mid-November, for Cloaca Projects (SF), curated by marcella faustini. RETURN THE EYE is a fully online, user-controlled show/experience, spanning ecology, critical vision studies, state repression, proletarian revolt, and machine epistemologies.
Geoffrey Watson SC is a Melbourne-based artist, whose work is rooted in choreography and has branches in wearable design, text, lighting, sculpture and photography. Geoffrey’s work exists as a excommunication of the exterior: a resurfacing of the surface and a face painting of a face.
Geoffrey’s designs have appeared in performances by Nana Biliuš-Abaffy, Lilian Steiner, Brooke Stamp, Holly Durant, Leah Landau Matthew Bird and Phillip Adams BalletLab, and have been showcased in exhibitions at Melbourne Fashion Week, Virgin Australia Fashion Festival and the Adelaide Biennale.
As a performer, Geoffrey has worked with companies and artists including Phillip Adams BalletLab, Nana Biluš-Abaffy, Natalie Abbott, Lee Serle, Alisdair Macindoe, Gekidan Kaitaisha and The Australian Ballet, and is currently working with Lucy Guerin Inc. on Flux Job- premiering 2021.
Geoffrey’s performance works include Camel (Next Wave Festival 2016), Loving You Ad Nauseam (Melbourne Fringe Festival, 2016) DISTRACTION: Smackdown! (Melbourne Fashion Festival, 2017), DISTRACTION: Tim Collins is a piece of shit (Counihan Gallery, 2017), Geoffrey’s Corpse (Uferstudios, Berlin, 2019) and Rachael Wisby (Newport Substation/Lucy Guerin Inc., 2019).
Fredrika Spindler, b. 1966, PhD in Philosophy (1996, Université Paul Valéry, Montpellier), Associate Professor in philosophy, Södertörn University (2000-2018), Richmond Visiting Professor, Williams College, Massachusetts (2013-2016). Areas of specialization: Modern philosophy, French Rationalism, Contemporary French philosophy, Modern and Contemporary Political philosophy, Spinoza, Nietzsche, Deleuze. Translator of literature and philosophy.
Marcia Sá Cavalcante Schuback is professor of Philosophy at Södertörn University (Sweden). Before moving to Sweden she was associate professor at the Universidade Federal do Rio de Janeiro (UFRJ) in Brazil. Her field of research is continental philosophy, with focus on phenomenology, hermeneutics, German Idealism and contemporary existential philosophy. She is author of several monographs in Swedish, Portuguese and English including Lovtal till intet – essäer om filosofisk hermeneutik [In praise of nothingness: Essays in philosophical hermeneutics, 2006]; Olho a Olho: ensaios de longe[Eye to eye: Essays from far away, 2010]; Att tänka i skisser [thinking through sketches, 2011]; Being with the Without , a conversation with Jean-Luc Nancy (2013); Dis-orientations. Philosophy, Literature and the Lost grounds of Modernity, edited with Tora Lane (2015); The End of the World. Contemporary Philosophy and Art, edited with Susanna Lindberg (2017), Time in Exile, in Conversation with Heidegger, Blanchot and Lispector (2020).
Nana Biluš Abaffy is an artist with a background in philosophy and a foreground in experimental performance and choreography. Nana takes a maximalist approach to artistic endeavour and works through dance, text, play, moving image and social intervention. She is interested in the pursuit of knowledge through embodiment and wants to know what her body is looking for. Nana believes that there is irreducible variation in the human experience and works towards establishing a space for that difference in search of landscapes where alterities can be envisioned. She is the founding member of a secretive collective that performs in explicitly illicit spaces and enjoys engaging in ChoreoGraphic acts of extreme tree hugging and site specific protest dancing.
Agnès works in the field of dance as a teacher and improviser. She received both her BA and MFA in dance from Bennington College, in the U.S. From an intense improvisation practice with Mark Tompkins, Julyen Hamilton, Simone Forti, David Zambrano… she conducted a series of interviews published as: On the Edge/Créateurs de l’Imprévu (Nouvelles de Danse 32/33, Contredanse, 1997 & 2008).
Agnès taught in the Program of Dance and Movement at the University of Rochester, NY,(2000-2006). She moved to Berlin in 2007 and initiated Books on the Move, a traveling bookstore specialised in dance and performance studies. Since 2013, Books on the Move has migrated to France. Within this project, and in collaboration with journalist Stéphanie Pichon, she initiates different types of workshops and events where reading, dance and dialogues are addressed simultaneously. Since more than 20 years she has also been developing a multidisciplinary and experimental course around language learning and movement.
Lea Kieffer is a French, Berlin based choreographer, performer and dance/costume maker. Her work deals with improvisation and explores processus of transformation and dialogues between matters through dance and craft in a wide range of contexts and formats. Since 2012, she collaborates with her partner in crime Rocio Marano. Under the identity of Los(t) Ninjas, they create multimedia performances, workshops and share the adventure of life. Her current project « Sci fi anatomy », a hybride performance-workshop, creates dialogue between the matter of the body and the sea of our thoughts. As a performer, she worked with Jared Gradinger & Angela Schubot, Jeremy Shaw, Isabel Lewis, K.A.U. & Wdovick, Lee Meir & André Lewski among others. She also creates costumes and scenographies for her own work and for other artists such as Jule Flierl, Frida giulia Franceschini and Stephanie Auberville.
Born on October 8th 1992 in Poznan
Engaged to Katarzyną Banaszek
Occupation: runs own firm
born on October 24th, 1991 in Płock, Poland
engaged to Anna Borowska
In 2014 she has graduated 2-year photography school ROE in Poznan.
Occupation: artist photographer
No greater achievements but she’s awesome.
Anderson Danttas (Brasil) Actor, dancer, producer. Graduated in Business Administration (UNOPAR) and dancer (FUNCEB) is a member of the Other Theater Company, acting and producing. As an actor, he integrates the spectacles: Ruin of Angels; CLEAR [of how time reveals you], Patch Patch and What of you stayed in me. As a dancer, he danced to important Bahian choreographers, highlighting the show “Seeds”, a result of Bahian and Polish artists, for the VIVADANÇA festival in 2016; and Sertanias, by Lia Robatto. In the production area, he worked at the VIVADANÇA International Festival from 2013 to 2015; besides working on projects of assembly and circulation of spectacles such as At the edge of the Sea, Patching the Bahia, Other Scenes and Foot on the Road, Ruin of Angels, What of you stayed in me and CLEAR.
Qondiswa James is a cultural worker living in Cape Town, South Africa. She is an award-winning theatre-maker, performance artist, film and theatre performer, instillation artist, writer, arts facilitator and activist. She is currently studying her Masters in Live Art, Interdisciplinary and Public Art at the Institute of Creative Arts. Her work engages the socio-political imagination towards mobilising transgression.
She has staged public art interventions at Infecting the City and Live Arts Festival. Her onscreen appearances include High Fantasy (DIFF 2018 Best South African Film Award, Artistic Bravery Award). She has directed theatre works including A Faint Patch of Light (winner of a 2019 Standard Bank Ovation Award) and her new original play A HOWL IN MAKHANDA at the Virtual National Arts Festival 2020.
Yuliya Dzichkouskaya – performance artist, co-creator of Laboratorium Teatralno- Społeczne, member of the Association of Theater Pedagogues, co-founder of the SzurSure collective focusing on site-specific performances. Since 2017 part of “Oddaj Ciężar” project, where she explores partnering technique. From 2019 co-creates the “Bliskość w Ruchu” collective – workshops for parents and children. Main interest: improvisation, partnering, contact improvisation, somatic techniques, She completed the experimental choreography course at Centrum w Ruchu in 2018 (Burdąg Foundation). Scholarship holder of the Alternative Dance Academy in 2019 (Art Stations Foundation).
Performer, singer and dancer from Minsk
Educated as a choir conductor and opera singer. Working as a multidiscipline artist and singing teacher.
Salome Sordia is an independant curator and a cultural manager in visual and performing arts based in Tbilisi, Georgia. In 2012 Salome graduated Tbilisi State University and has a bachelor degree in history of art and became master in Art Theory and Culture Management after graduating Ilia State University in 2014. In 2019-2018, Salome assisted a German based Georgian artist Vajiko Chachkhiani as a project manager on different projects: “Art Basel Unlimited” in Basel, Switzerland, “Yarat Contemporary Art Space” in Baku Azerbaijan, “Bundeskunsthalle” in Bonn, Germany. In 2016-2017 Salome was an international project coordinator of “Yanka Rudzka, also a gallery manager at ArtBeat Gallery in 2017. Salome has worked at festival: South Caucasus Contemporary Dance and Experimental Art Festival, Tbilisi / Jerome Bel – Gala, 2017; Vertigo 20 by Noa Wertheim in 2016; ACTS -performance by Aurora Lubos, 2015; Salome has worked as a location manager at the 2nd Tbilisi Triennial S. O. S – Self – Organized Systems, 2015 and as a coordinator at the 1st Tbilisi Triennial – Offside Effect / CCA-T, 2012. In the years of 2010 – 2014, Salome worked as an art coordinator and a curator of a various projects at the Center of Contemporary Art, Tbilisi. As an artist, she has participated in the projects like “Unrealized Projects,” (2016) and “Uare Qalaqs,” Tbilisi (2016). The very first project Salome was a curator of was “Young Souls” at the Center of Contemporary Art, Tbilisi in 2012.
Communication trainer of psychosocial skills, recommended by the Polish Psychological Association, permanently associated with the School of Communication Based on Empathy. Lecturer of empathic communication based on NVC for organizations at Postgraduate Studies at SWPS and at the University of Warsaw for pedagogy students. She wrote a practical guide on getting along: “Ewka, What’s Wrong With You? How to Communicate to Connect” (CoJaNaTo Publishing House). Supports effective communication of organizations and managers. Co-author of social campaigns and CSR projects, including: “Gratitude – a Ticket to Happiness”, “Family Friendly Psychologist” and “Corporation With a Soul” (awarded by the Responsible Business Forum).
Inna Aslamova is a dancer, choreographer, teacher and organizer of some art-events in field of contemporary dance in Belarus. Born in Kazakhstan, she studied at a music school and artistic gymnastics school. Graduated as a physicist from Gomel State University (Belarus) she started learning contemporary dance technique, composition, contact improvisation, Action Theater and solo performance improvisation visiting ADF training in Moscow as well as many other workshops in different countries. Special thanks to teachers: Douglas Nielsen (USA), Miroslava Kovarova (Slovakia), Joe Alter (USA), Rosalind Crisp and Andrew Morrish (Australia). In 1994 Inna Aslamova formed a Contemporary Dance Group “Quadro”. She has created performances and projects which were presented in different countries of Europe, South Korea and UK. From 2001 to 2008 Inna was the Head of the Contemporary Dance Department of the Children Dance School in Gomel. It was the first experiment in Belarus and she elaborated a program of teaching for 6-year educational course. Inna was awarded with special prizes “Best Choreography” (IFMC, national contest, 2002) as well as for the dance piece “In the Face of the Sky” (IFMC, international contest, 2004). She also won in nominations for “Best dance teacher” and “Best choreographer” (national contest, 2004). In 2004 she won in the choreographers contest at the Children’s Ballet Festival “BBF-4” (Daugavpils, Latvia). Inna has taught contemporary dance technique, improvisation and composition to children and adults as part of festivals and educational programs in Belarus, Poland, Moldova, France, Russia, Ukraine, Sweden and Germany. She was an initiator and co-creator of the projects such as “Unusual Theater Night” (Gomel, since 2011), “Summer Art School of Mark Chagall Museum / Young dancers and artists’ workshop” (Vitebsk, Belarus – 2007, 2008, 2010, 2011; Nienburg, Germany – 2012). Together with Daniil Belkin (Ukraine), Inna created the educational project The LAB Center (since 2017) and ID Dance Project (artistic context). Inna Aslamova is the artistic director of Festival of Physical Theaters Plastforma (Minsk). The international festival Plastforma is one of the most important art-event for development of contemporary dance and physical theaters in Belarus. Since 2017 she also works as a teacher for College of Art named after Sokolovsky (Gomel).
Karolina Wigura is a sociologist, historian of ideas, and journalist. She is member of the Kultura Liberalna Foundation Board and assistant professor at Institute of Sociology, University of Warsaw. She studied philosophy, sociology, and political science at the University of Warsaw and Ludwig-Maximilian-University in Munich. In 2016–2018he co-directed the Polish Programme at St. Antony’s College at Oxford University, entitled “Knowledge Bridges: Poland—Britain—Europe”. She was awarded a visiting fellowship at the Wissenschaftskolleg zu Berlin, Institute of Human Sciences in Vienna and a Marshall Memorial Fellowship. She publishes in The New York Times, Foreign Policy, The Journal of Democracy, The Neue Zürcher Zeitung, taz, The Guardian, and many other press outlets. Most recently, she co-edited a collection of texts about Poland’s politics after 2015 “The End of The Liberal Mind: Poland’s New Politics”.
Jule Flierl is an artist from Berlin/Germany who works with choreography and the voice. Using choreography and somatic singing methods, her scores unsettle the relationship between seeing and hearing: what you see is not always what you hear, and what you hear is not always what you see. Through her work and practices, Jule proposes that the voice itself is dancing.
As a researcher, Jule is working on a history of European sound-dance. Jule is the founder and co-curator of FROM BREATH TO MATTER, a Berlin-based event series exploring and elevating sound-dance. For centuries, dancers on the European stage were muted. Flierl traces and contributes to the modern history in which the dancer’s voice has re-emerged.
Romain Bigé, PhD, translates, reads, queers, and improvises dances and philosophies. S/he lives nomadically in and out of Paris, Saint-Saud-Lacoussière, and other locations reachable by train. S/he fell in dance with Steve Paxton, Lisa Nelson, Nancy Stark Smith, Matthieu Gaudeau, and many others. A writer and a curator, s/he develops experimental installations and modes of writing to make felt the interior knowledges of the dancer. A Professor in Art Epistemology at Aix-en-Provence’s Ecole supérieure d’art, s/he investigates the trans*feminist potentials of the arts for mobilizing sensitivities to other critters.
Barbara Dilley (Mt. Holyoke College 1960) trained and performed in New York City from 1960-1975 with Merce Cunningham Dance Company, Yvonne Rainer, Grand Union, a dance/theater collaboration, and her ensemble, Natural History of the American Dancer; Lesser Known Species which explored structured improvisational forms she continues to teach. She moved to Boulder CO in 1975, designed and taught in the Dance/Movement Studies program at Naropa University, and entered Buddhist practice. She retired in 2015. Her memoir and teaching handbook, This Very Moment: teaching thinking dancing, was published in 2015, (currently out of print).
Emily Johnson is an artist who makes body-based work. She is a land and water protector and an activist for justice, sovereignty and well-being. A Bessie Award-winning choreographer, Guggenheim Fellow and recipient of the Doris Duke Artist Award, she is based in New York City. Originally from Alaska, Emily is of Yup’ik descent, and since 1998 has created work that considers the experience of sensing and seeing performance. Her dances function as portals and installations, engaging audiences within and through space, time, and environment—interacting with a place’s architecture, peoples, history and role in community. Emily is trying to make a world where performance is part of life; where performance is an integral connection to each other, our environment, our stories, our past, present and future.
i am learning to speak better portuguese, and remembering that words are deceptively indiscrete and imperfect. remembering that, even when speaking the same language, we all have our own languages. the smells i smell when i fix my mouth to say “authentic,” or “branding,” or “African,” or “viado,” or “love”… they might evoke totally different smells in the nose of the listener, totally different remembered images hiding within the phonetics of each syllable. i am remembering how important it is for me to remember how much i don’t know, how much i will not know, and how long it takes to get to know someone. and someone else. and then, how much people change. i love to get right up on people in my work… look right at you, be close enough for you to smell my odors, test the silent contracts we are each assuming are in place as i see how much we will allow ourselves to know one another in a moment of performance. i will wonder, just hard enough, what you feel in your body as you see me emphasize the s-curve of my lower back into my high booty, or heave my chest up and down in time with the heavy presses of my feet into the ground. i will keep in mind, in body, that tightrope between “exploring” and “trespassing,” and try to keep a balance, even as i’m resisting the implicit notions of ownership of space that are hiding in the syllables of trespassing… i may have to just stop everything for a moment and sit down next to you and be quiet. and listen to that together.
Since 1980 Joanna has been creating work that uses natural, architectural and cultural environments as points of departure for movement exploration and narrative. Her stages have included grain terminals, a clock tower, the pope’s palace, military forts, and a mile of urban neighborhood streets in the South Bronx. Her work has been commissioned by many arts institutions, including Dancing in the Streets, Jacob’s Pillow Dance Festival, Walker Arts Center, the Exploratorium Museum, the National Black Arts Festival, and Festival d’Avignon. She has also been honored with the Guggenheim Fellowship, the Herb Alpert Award in the Arts, the United States Artist Fellowship, and a New York Bessie Award. Haigood is also a recipient of the esteemed Doris Duke Artist Award. Joanna has had the privilege to mentor many extraordinary young artists internationally at the National École des Arts du Cirque in France, the Trinity Laban Conservatoire of Music and Dance in England, Spelman College, the Institute for Diversity in the Arts at Stanford University, the San Francisco Circus Center and at Zaccho Studio.
Ingrid Vranken (1987) completed a Masters in Theatre Studies at the University of Antwerp and Freie Universität Berlin and a Masters in the Arts at DAStheatre in Amsterdam. From 2012 until 2017, she was the coordinator of the artist-run platform SPIN in Brussels, where she focused on curatorial projects in which our experiences of time and productivity are questioned. During her time at SPIN she worked to create knowledge for and about artist-run organisations and fair practices in the arts, which she put to work as a consultant on the charter for fair practices, Juist is juist, for the flemish artfield. The collaborative project Common Wallet has shaped her daily life since 2018, a life-experiment sharing finances with nine other people as a way to rethink individual ownership, the commons, precarity and affective relations to money. Currently, Ingrid works as an independent dramaturg, curator and artist, and is a member of FoAM, a transdisciplinary laboratory at the interstices of art, science, nature and everyday life. Her curatorial and artistic practice focuses on enabling a systemic ecofeminist transition in the arts, through engaging with the knowledge and labor of other-than-human beings, and in particular plants. For this, she creates collaborative curatorial frameworks and speculative lecture performances under the umbrella of Rooted Hauntology Lab. Since the spring of 2020 she is part of the multi-voiced curatorial team of wpZimmer, a space for artistic development in Antwerp.
Nina Martin PhD: choreography/master teaching featured in NYC, the US, and abroad including Russia, Austria, Ireland, Finland, Lithuania, Poland, Italy, the Netherlands, Germany, Venezuela, Mexico, and Japan. Performance credits: Lower Left Performance Collective, David Gordon Pick-Up Company, Mary Overlie, Deborah Hay, Martha Clarke, Simone Forti, Contact Improvisation. Martin also and Channel Z. ReWire—Dancing States and Ensemble Thinking are dance systems initially conceived by Nina Martin and developed with Lower Left.
Michiel Keuper is an interdisciplinary artist with a background in fashion design. He values collaboration, sharing, interaction. He believes in the magic of improvisation when the sum becomes greater than its parts. The moment when 1 + 1 becomes 3.
A visual composer of sorts, he designs costumes and set design for contemporary dance. He shares a longtime collaboration with Peter Pleyer in which he improvises with materials on stage, interacting with the performers, developing so called transitional sculptures.
Zsolt Varga is a musician, composer, multi-instrumentalist, sound and movement artist from Budapest, Hungary. Starting out as a saxophonist playing improvised music with the Budapest based MCLoecky and the Balvanyos Ensemble his interest soon turned into creating music/sounds with and for artists from various fields like literature, visual and movement arts. Besides taking part in several Hungarian electronic and electroacoustic music projects like Desert Chaos and Limited Timpani, playing in a funk band and the free jazz big band McTrippenTrop in the recent years his work mainly concentrates on the collaboration with contemporary dancer and choreographer Márta Ladjánszki as a movement artist and composer/musician.
Since 2011 Mr Varga has been the chairman of L1 Association with great pleasure.
Zeyno Pekünlü is an artist based in Istanbul and currently running the Production and Research Program of the Istanbul Biennial (ÇAP) for young artists and researchers. She is part of the editorial board of Red Thread and member of Institute of Radical Imagination. Scanning a range of issues, from the construction of maleness and femaleness as gender roles to questioning knowledge and its distribution, her works aims to decipher “power” that encompasses the intimate and the social simultaneously.
Wendy Perron, author of Through the Eyes of a Dancer, had a 30-year career as a dancer/choreographer. She danced with the Trisha Brown Company in the 1970s and choreographed more than 40 works for her own group until 2000. The former editor in chief of Dance Magazine, Wendy has also written for The New York Times, The Village Voice, Contact Quarterly, and publications in Europe and China. She has taught at Bennington, Princeton, and Jacob’s Pillow and lectured internationally. Now an adjunct professor at The Juilliard School and NYU, she has written a book on Grand Union that will be out this fall.
Teresa Fazan researcher, writer, and scholar from Warsaw. She regularly publishes interviews and articles on contemporary dance, choreography, and art as well as works in the production of art festivals and events. Recently she has been working at the International Theater Institute in Berlin. Passionate about movement, in theory and practice.
Shira Eviatar is a Tel Aviv based independent choreographer and dancer, awarded for her groundbreaking research on transmission of embodied cultural knowledge. She researches traditional forms of celebration, reflecting collective values, states of mind, sensations and feelings in cultural practice. Her work nurtures spaces for excluded forms, recentralizing Mizrahi/Arab Jewish aesthetics and subjectivities. Eviatar performs, leads workshops and lectures worldwide, she is a 2015 DanceWebber.
Sara Shelton Mann has been a choreographer, performer, teacher since 1967. She was a protégé of Alwin Nikolais and Murray Louis in N.Y.C. before moving to Canada where fell in love with contact improvisation. In 1979 she moved to SFCA and started the Performance Group, Contraband combining the principles of contact, systems of the body and spiritual practice into a unified system of research. Among her awards are a John Simon Guggenheim Fellowship, 6 Isadora Duncan Awards, Djerassi Artist in Residence Awards, Headlands Center for the Arts Residency 2016, Lifetime Achievement Bay Guardian Award, 10 Women who made a Difference, Bay Guardian Award, Foundation for Contemporary Arts Grants to Artists award (2016). Sara has practiced dowsing as a healing modality since 2010, is a Master NLP practitioner, and has a Master Certification in Intuition Medicine Ò. Her Movement Alchemy training is an ongoing teaching project and is influenced by certifications and studies in the metaphysical and healing traditions over many years. Sara’s performance work is a platform for collaboration and research in consciousness.
My interdisciplinary arts practice is contextualised against global issues of disconnection and a failure to recognise our intra-connected material states, impacting on political and ecological agency. My current work explores reorienting ‘negative’ space as connective; how turning to focus on the yields and connections between bodies and environments can set out a dynamic of object relations based on mutuality and collaboration. I work primarily across installation, sculpture, and text.
In 2015 France awarded Rosalind a Chevalier de L’Ordre des Arts et Lettres. She is one of Australia’s senior artists, establishing her research practice at Omeo Dance studio Sydney 1996-2004, then as Associate Artist of Atelier de Paris 2004-2012. Since 2014 the ecological devastation of her home region compels her work. DIRt (Dance In Regional disaster zones) asks how dance and collaborative arts practice might embody, understand and connect to Australia’s unfolding extinction crisis.
Renata Piotrowska-Auffret is a choreographer and a performer.
She is interested in analyzing historical and contemporary female body politics and representations as well as different strategies exercised on them. She works with dance, movement and text.
Renata was a priority artist in the frame of Aerowaves Twenty17 („Death. Exercises and variations”) and Aerowaves Twenty19 („Pure gold is seeping out of me”).
She is a member of choreographer’s platform from Warsaw – Center in Motion.
randy reyes (they/them) is a queer, AfroGuatemalan (w/ interrupted Mayan ancestry) choreographer, performance artist, and healer born in New Jersey (Lenape territory) and is currently based in San Francisco (Ramaytush Ohlone territory).
randy is interested in choreography as a methodology for and process of excavation, channeling, emptying out, task as meditation, as edging, as shape-shifting through psychosomatic states through Qi Energetic principles, club dancing, contemporary dance, and improvisation. they love getting messy by conjuring contemporary rituals within quotidian and natural landscapes and they explore the notion of club spaces as sites of generative dissonance [alone, and together] asking, “Are we celebrating or mourning or both? How do we prepare for the not yet seen? How can these erogenous zones become energetic templates for activating sacred futures, both on a systemic and spiritual level?”
Right now randy is resting, recuperating, integrating, donating to Black Lives Matters efforts, and attending to their roots.
Rafał Dziemidok – independent dancer, actor, choreographer, theatre director, improvisation coach, since 2012 resides in Berlin.
He danced with many Polish and international choreographers; cofounded RD and led Koncentrat Artistic Group. Rafał choreographs in theatre, opera and film; his works has been presented in major festivals and venues throughout Europ. He delivers stage and site-specific works, pieces with amateurs and professional dancers, group and solo performaces,and he is constantly searching for the abstract language and precision of the personal stories told on stage.
The performance-duo QUARTO consists of Anna af Sillén de Mesquita and Leandro Zappala. In between 2003 until now they have created 3 series in 3 parts: WIP, BEAUTY and ROPE, which are not trilogies in a classical sense but rather long-term research work, each piece is autonomous and yet intertwined, creating a sense of coherency. They invest in research within interdisciplinary art, deeply rooted in the interaction between theory and practice, together with other artists and researchers. Engaged primarily with philosophical questions regarding power relations and the limits of the body, they seek to generate thought and subjectivity through a radical, visual and physical experience. Anna and Leandro live and work between two distinct cultures, the Brazilian and the Swedish during 17 years.
Paweł Sakowicz is a choreographer and dancer. He graduated from the University of Warsaw and the London Contemporary Dance School. For the last few years, he has been working with various artists, curators and theatre makers across Europe. His works include Bernhard, TOTAL, Jumpcore, Thriller and Masakra. They have been presented during three editions of the Polish Dance Platform, NYU Skirball and CAC New Orleans amongst oth
I am a choreographer and dancer. In my choreographic practice, I focus on examining notions of virtuosity and craftsmanship of dance. It may happen through the lecture performance or extremely physical jumping; it can be based on the dance archives or taking the dance into the unknown future. I care for a friendly work environment but I also appreciate sharp exchange of views. I am curious about discoveries but struggle when in stagnation.
Composer, musician, creator of multimedia installations, video art, performances and radio plays. He creates music for many stage works of theatre and dance artists.
Graduate of Cultural Studies and Musicology. Phd holder and lecturer at Theatre and Media Art Department of Adam Mickiewicz University; teaches also at Art. Academy in Szczecin and Art University in Poznan. Patryk is interested in and researches virtual reality and tele-presence, cyber-eschatology, sound art and sound design, new media and games theory. He published “Noise traditions in the art of sound making”.
Oliver Connew is a graduate of the New Zealand School of Dance, majoring in classical ballet, and has a Bachelor’s Degree in contemporary dance from Unitec University of Technology. After this training Oliver moved to Europe, initially Berlin, during which time he worked with and performed for a number of choreographers, including regularly with Peter Pleyer, Julian Weber and Wilhelm Groener. While continuing to work and perform as a dancer, he is currently undertaking the Exerce Master of Choreography programme at the Institut Choréographique International in Montpellier, France. Oliver’s choreographic work is motivated by a desire to spend much of his time dancing and a willing sense of social and political responsibility. In this way his work asks: what’s dance got to do with it?
Aleksandra Bożek-Muszyńska performer, choreographer, improviser, business coach and interpreter. Scholarship holder of Alternative Dance Academy (2015) run by Art Stations Foundation by Grażyna Kulczyk, Intensive Course at School For New Dance Development in Amsterdam in 2015 and beneficiary of the Global Practice Sharing Program at Movement Research (New York). In 2017, together with Hanna Bylka-Kanecka, she co-created the Holobiont collective, which runs interdisciplinary multigenerational projects based around workshops and performance. In her practice she explores the boundaries between performing and facilitating, between naivety and simplicity, and between finding patterns and breaking them. Excitement and pleasure are important parts of her work.
Neemias Santana is a dance artist from Salvador da Bahia (Brazil). Graduated in Dance at the Federal University of Bahia, specializing in Contemporary Dance. Acts as a dancer, choreographer and teacher (SINUOSE training method). Co-founder of Nii/Colaboratorio, a platform that brings together dance artists, with projects of creation, training and research. He’s part of the Yanka Rudzka Project – SEMENTE (2016/17), POLYPHONIES (2018), directed by Joanna Lesnierowska and Janusz Orlik (Poland).
Meg Foley is a performer, choreographer, educator, and queer mom. She makes dances, events, and objects that explore the materiality of physical and social identity as choreographic form. She is currently researching queer motherhood, somatic drag, and speech and sculpture as dance practices.
mayfield brooks improvises while black, and is currently based in brooklyn, new york working as a movement-based performance artist, vocalist, urban farmer, writer, and wanderer. mayfield is currently an artist in residence at abrons art center nyc & the center for performance research (cpr) in brooklyn, ny.. mayfield teaches urban farming courses for farm school new york (fsny), and teaches & performs dance and vocal improvisation nationally and internationally.
Mateusz Szymanówka is a dramaturge and curator in the field of choreography, dance and performance. As dramaturge he has worked primarily with the young generation of choreographers and performance makers living in Berlin and Warsaw whose artistic practice is rooted in feminism and queer theory. He has worked with and for institutions such as Ujazdowski Castle CCA, Nowy Teatr and Teatr Studio in Warsaw, Art Stations Foundation in Poznan, and HAU Hebbel am Ufer and Sophiensaele in Berlin.
Márta Ladjánszki is a dancer, choreographer, dance teacher and artistic vice president of L1 Association based in Budapest, Hungary. She started her ballet studies at the private studio of Valéria P. Ács (Budapest, Hungary), later on between 1994 to 1996 she attended ballet and modern dance classes. Encouraged by the Inspiration in 1997, she co-founded the group KompMánia, where she was a dancer and co-choreographer of several productions until 2002. Her first independent work ‘One’ was created for the 1st Solo Dance Festival (where she won the main prize), and later on she regularly performed her solos at Trafó KMH. These works, like ‘Stretching Thighs’ and ‘Two’, were devised for herself and radically rewrote sensuality.
She leads two different kinds of classes: one based on Horton technique and the other one based on deepening our knowledge in creative processes.
In 2001 she joined L1 Association, an independent artists’ collective (www.L1.hu) and has been a member and artistic vice president of this ensemble ever since.
I first worked as a sociologist before dedicating to my art research. My work travels from drawing to movement practices, both solo or collective, to explore drawing as a perceptive moment: a moment where the whole body is engaged to actualize the connections and resonances with the animate and inanimate world around. I will graduate from Paris School of Fine art in July 2020 (E. Huynh and P.M Tayou’s studios).
Originally from Argentina, she left the country in 2001 and lived in Barcelona, Munich, Bogotá, and now Medellín where she’s been living and working both as an artist and a Professor at the Universidad de Antioquia – Arts Faculty.
Even though the area for her teaching practice is printmaking, Mariana has been working in different media; she likes the idea of playfulness and its lightness.
Mariana remmebers how her work and practice have spun on questions around language, a certain kind of distrust towards images and their production; so much so, the idea of process over the final product as an artifact, the experience, and intangible derived from working with a material, have been the stimulation for creation.
Sometimes she reflects upon printing as a medium that shaped an aspect of her proceedings with textiles as well as printmaking or even writing, as a way of conceiving thought, or even movement and herself.
Graduate of SNDO Amsterdam and LCDS at London. Her works include „Queen of Water” „Action is Primary”, „Golden Demons”, „Intercontinental”, „MaMa Perform” a.o. ; she toured extensively through Europe. She collaborates with theatre director Wojtek Ziemilski, and with other choreographers such as Meg Foley, Peter Pleyer and others. Maria is engaged is many initiatives for experimental choreography development in Poland. She runs Burdąg Foundation and is a founder of Warsaw choreographers’ collective Center in Motion.
Choreographer and psychologist. A university lecturer teaching the choreography course at the University in Warsaw (“Social Arts”) and the head of post-graduated studies “Empathy-based communication at organization” at the SWPS University of Social Sciences and Humanities in Poznań and in Warsaw. Cooperates with theater directors, composers and visual artists and dance collectives (e.g.: Klaudia Hartung – Wójciak, Jakub Wróblewski, Hoteloko movement makers)
Mădălina Dan studied at the Choreography Highschool in Bucharest and has a BA at the choreography department of the National University of Theatre and Film, where she also received her MA in play- writing. She was a member of “Oleg Danovski” Ballet Company from 1998 till 2003. In 2008 she received the danceWEB scholarship in Vienna. She was guest artist to the Herberger Institute, School of Dance (Arizona State University) in 2009 and was associated artists at the National Dance Centre in Bucharest in 2016. She studied in Berlin at HZT (Hochschulübergreifende Zentrum Tanz Berlin 2014-2016) in the frame of the SoDA programme (Solo/Dance/Authorship). Her works have been shown all over Europe. She received the at the CNDB Awards 2015 from The National Dance Centre in Bucharest.
I’m an artist based in Scotland who works with words and movements to draw together seemingly unrelated constellations of bodies and thought. Over time I’ve described myself as maker, curator, dramaturg, writer, queer. At heart, I would say I’m a poet engaged in choreographic thinking. My practice takes form as intimate encounters – installations, conversations, poetic objects, soft spaces for reflection and development, texts for the page or performance – choreographies in print and in person.
Lou Drago is a Berlin-based artist, curator, writer, and radio producer. They are a founding member of XenoEntities Network, Berlin, a collective who focuses their research on queer, gender, and feminist studies. Drago’s recent research is concerned with coalescing those within the fragmented Left who refuse/fail to fit a neoliberal mould. Aware of the role identity politics has played in this division, Drago navigates between their commitment to xenofeminism and Radical Sociability – a strategy for intersectional affinity-based coalitions.
They have shown work, curated shows and spoken on panels across Europe and internationally.
Lisa Nelson is a choreographer, improvisational performer, videographer, collaborative artist, editor, publisher, and educator who explores the role of the senses in the performance and observation of movement. Improvisational dance, with inherent values of collaboration, dialogue, and flexible survival strategies (both biological and cultural), has been at the core of her artistic research. Her practice of Tuning Scores is an approach to real-time editing and communication, and posits the imagination as a sixth sense.
Konrad Kurowski he’s a member of Lublin Dance Theatre and Centre for Culture in Lublin since 2014. As part of that collective he switches between different modes of working within the dance community, amongst roles he occupies can be listed: dance producer, manager, dramaturge, audience development specialist, as well as co-curator of the International Dance Theatre Festival in Lublin, which is one the biggest and longest running dance festivals in Easter part of Europe. A member and organizer of several dance initiatives including: Polish Dance Network and Aerowaves. Graduate of culture studies at Marie Skłodowska-Curie University in Lublin, currently a student of post-graduate studies in theory of dance at the Fryderyk Chopin University of Music in Warsaw.
Keith Hennessy is a dancer, writer, choreographer, activist, performer, and ritualist. Rooting in San Francisco since the mid-1980s, Hennessy’s work is interdisciplinary and experimental, motivated by anti-racist and decolonial practices. Prioritizing collaboration and improvisation the history of Keith’s work is a history of queer kinship: friends, partners, collectives, frictions, negotiations, and love. Since 2000, he has performed in 70+ cities and 24 countries producing over 19 full-length premieres and countless shorter works performing in spaces ranging from punk anarchist squats to fancy European theaters, from museums to streets and beaches. He has been published in academic journals, newspapers, books, and anarchist zines. Hennessy has been recognized with awards including: Guggenheim, Alpert/MacDowell, USArtist, NY Bessie, and multiple Isadora Duncan Dance awards. Hennessy was a member of Sara Shelton Mann’s legendary Contraband (85-94), as well as the collaborative performance companies CORE (95-98) and the French circus Cahin-caha (98-02). Hennessy is a co-founder of CounterPulse (formerly 848 Community Space), a thriving performance space in San Francisco. In 2000, Hennessy founded Circo Zero and continues to serve as the organization’s Artistic Director. He earned an MFA and PhD from University of California, Davis.
Katarzyna Słoboda – curator, researcher, writer. Curated exhibitions You come, We’ll show you what we do. On dance improvisation (2013) (with Sonia Nieśpiałowska-Owczarek), Frames of Reference. Choreography in the Museum (2016) (with Mateusz Szymanówka) and Moved Bodies. Choreographies of Modernity (2016) among others (Muzeum Sztuki, Łódź). Edited publications on dance and contemporary art. She is recipient of Grażyna Kulczyk fellowship in the field of contemporary choreography (2018).
Katarzyna Sitarz – a freelance dancer, performer, choreographer, voice and movement researcher. In her artistic practices she is fascinated by the relation of voice, body and movement, traveling through multi-layered sensory, polyphonic worlds, seeking for ephemeral vocal phenomena. She deepens the secrets of neurobiology as well as traditional singing – Slavic white voice in particular – which she also explores in her performative activities. Her relationship with Art Stations Foundation/ Old Brewery New Dance began in 2014 and fruitfully continues to this day. She studied Dance and Choreography at Rotterdam Dance Academy (NL), Slavic Philology at Vratislavia University (PL), Experimental Physical Performance at SMASH Berlin (DE) and voice at The Lichtenberger Institute for Applied Voice Physiology (DE).
Kasia Wolińska is a graduate of the Dance Dept. at Music Academy, Łódź, Culture Anthropology Dept. at University of Łódź and Dance, Context, Choreography at HZT Berlin. In 2016 she was a part of the Global Practice Sharing Program in New York and a resident of a Norbergfestival in 2017 and 2019. She presented her work in Berlin, Amsterdam, Lima, Copenhagen, New York, Stockholm, Warsaw, Lisbon, Goteborg. She is an author of a choreography to “Autotrophia” movie by Anton Vidokle. Her solo “Dance, pilgrim, dance ” was selected for the “Introducing” Programme of PAF Berlin in 2018.
Kasia runs the blog danceisaweapon.com and is a board member of ZTB – organization representing the free dance scene in Berlin. Together with Frida Sandstrom she is a co-founder of the Future Body At Work – an interdisciplinary study practice. They published texts in the e-flux journal, Palleten Art Journal and DNA Blog of HKW Berlin.
Karen Schaffman (dance artist, professor, presenter-curator, Feldenkrais™ practitioner, white, jewish, feminist, collaborator, she). Dancing for me is a transformative, transgressive and gravitational force for self-awareness, historiography, political change and social connectivity. I studied experimental dance at EDDC Arnhem and earned a PhD In Critical Dance Studies at UC Riverside. Since 2001, I have been cultivating Dance Studies at California State University San Marcos.
Ka Rustler creates, performs and shares her research and teachings in an international circuit. Working with pioneers in the field of improvisation and dance she has been a collective member of Tanzfabrik Berlin, co-author of multi – layered productions and performs with numerous artists framing social contexts theoretically situated within feminist understandings of embodied subjectivity.
As a Body-Mind Centering® Practitioner & Teacher her work experience includes somatic psychotherapy, applications and methods derived from BMC® and other somatic practices and their relevance in Movement & Artistic Research, Choreographic Exploration and Embodiment.
Jurij Konjar is a Slovenian artist working in the field of dance. Following his education and the creation of his early works, in 2007 he suffered a head injury that shifted his focus towards the potential of the present moment. In 2009, an in-depth observation of Steve Paxton’s Goldberg Variations video triggered what became an improvisation practice and provided a basis for a rich on-going dialogue. Collaborating with Steve Paxton (2010-2016), he has performed Paxton’s work Bound (1982), Flat (1964) and Quicksand (2016), as well as staged Satisfyin’ Lover (1967). In 2014 he has launched Habitat, a nomadic working space for process-oriented practices. He has been performing the Goldberg Variations since 2010.
Julia Asperska art&culture manager, organiser and curator, Julia holds a Master in Ethnolinguistics; she attended also postgraduate course on art history and curation at Adam Mickiewicz University in Poznań.
For 9 years she was part of Key Performance – an arts management company. She was responsible for project management, strategy building and international distribution.
Currently Julia works as an independent curator and organiser supporting organisations with artistic, curatorial and strategic advice.
Jennifer Monson uses choreographic practice as a means to discover connections between environmental, philosophical and aesthetic approaches to knowledge and understandings of our surroundings. She creates large-scale dance projects informed and inspired by phenomena of the natural and the built environment. Her projects include BIRD BRAIN (2000-2006), iMAP/Ridgewood Reservoir (2007) Mahomet Aquifer Project (2009), SIP(sustained immersive process)/watershed (2010), Live Dancing Archive Vol. I & II (2012 and 2014), in tow (2015) and bend the even (2018). Monson has been on the faculty at the University of Illinois, Urbana Champaign since 2008 and was a Marsh Professor at Large at the University of Vermont (2010-16). She has been awarded numerous grants and fellowships including an Illinois Artist Fellowship 2019, The Doris Duke Impact Artist Award 2014, Guggenheim Fellowship 2004, Foundation for Contemporary Art Fellowship 1998, and multiple National Endowment for the Arts fellowships. iLAND published A Field Guide to iLANDing: scores for researching urban ecologies in 2017.
Janusz Orlik, a performer, choreographer, dance practitioner. After graduating from Ballet School in Warsaw he studied at Brucknerkonservatorium Linz, Austria. His own choreographic works include “Exérèse monobloc”, “and thy neighbour as thyself”, “Live on stage”, “The Rite of Spring”, “Mute”, “Insight” (Special Award of The Minister of Culture and National Heritage of the Republic of Poland for the best choreography granted as part of the Polish Dance Platform 2014) and “Koda (a tribute)” (2019). Since 2002 he is a core member of Vincent Dance Theatre. He collaborated with Joanna Leśnierowska, Nigel Charnock, Rosalind Crisp, Isabelle Schad and Ugo Dehaes among others. Janusz delivers movement and choreographic workshops in various venues, dance schools and community centres in Poland and abroad.
Jana Al-Obeidyne holds a BA in Audiovisual Arts and MA in Dance Anthropology. Her interests span a wide range of fields, from dance, to film, literature, journalism, and cultural history, with a special focus on bodily-lived experiences.
She is the founder and editor-in-chief of a Dance Mag, an independent global magazine that looks at the world through the lens of dance. a Dance Mag highlights the diversity and interconnectedness of our human experience. It captures ephemeral moments and turns them into timeless, beautifully designed narratives.
Jack Halberstam is Professor of Gender Studies and English at Columbia University. Halberstam is the author of seven books including: Skin Shows: Gothic Horror and the Technology of Monsters (Duke UP, 1995), Female Masculinity (Duke UP, 1998), In A Queer Time and Place (NYU Press, 2005), The Queer Art of Failure (Duke UP, 2011), Gaga Feminism: Sex, Gender, and the End of Normal (Beacon Press, 2012) and, a short book titled Trans*: A Quick and Quirky Account of Gender Variance (University of California Press). Halberstam’s latest book, forthcoming in October 2020 from Duke UP is titled Wild Things: The Disorder of Desire. Places Journal awarded Halberstam its Arcus/Places Prize in 2018 for innovative public scholarship on the relationship between gender, sexuality and the built environment. Halberstam is now finishing a second volume on wildness titled: The Wild Beyond: Music, Architecture and Anarchy.
Dancer, choreographer, improviser, teacher at Music Academy in Lodz. She is certified Somatic Movement Educator according to Body Mind Centering. She is cooperating with Hurtownia Ruchu and leading the Choreography Course there, as well as at Academy Circulation; she is teaching somatic work at numerous Contact impro Festivals in Poland and abroad. Iwona is also giving somatic classes to professional companies such as Polish Dance Theater, or Carte Blanche (Norway). She creates solo and cooperative works within a contemporary dance field and in theater, indoor as well as site specific.
Björn Ivan Ekemark/Ivanka Tramp is a dancer, performer and costume designer based in Berlin. He studied circus at Escola de Circ Rogelio Rivel in Barcelona, textile art at Nyckelviksskolan Stockholm and Dance & Choreography at HZT Berlin.
In the last years he has developed the sticky and visceral cake sitting performance group ANALKOLLAPS, as well as he made costumes for Asaf Aharonson’s last production “Delight part 2”. He has also presented the performance series ”the horror of intimacy” together with Caroline Niell Alexander and Layton Lachman. Ivan organized also festivals and shows with the collective TENT where he premiered his latest group piece ”Sedimental”. He has been working as a performer with Dewey Dell, Peter Pleyer and Julian Weber.
Hasmik Tangyan is a performer, choreographer and dance therapist based in Yerevan, Armenia. In 2011 she founded the Art Therapy Centre in Yerevan, where she works as a dance therapist with children and adults with different abilities (Autism, CP, ADHD). Together with Harutyun Alpetyan, in 2018 Hasmik co-founded the Contemporary Choreography Lab (CoCoLab Armenia), where she is currently running the Contemporary Dance School.
Hadar Ahuvia creates dance, text and song for a radical diasporism. Raised in Israel/Palestine and the US/Turtle Island, her works include Joy Vey, “Everything you have is yours?”, The Dances Are for Us, and Possessing a collaboration with Shira Eviatar. She has received support from Movement Research, the 14th St Y, Baryshnikov Art Center, Yaddo, Danspace Project and Gibney. She was a 2018 Bessie nominee for Outstanding Breakout Choreographer and named a Dance Magazine ‘25 to Watch in 2019’.
Frédéric Gies is a dancer and choreographer based in Sweden. Oscillating between clockwork composition and the intensities and chaos generated by dancing bodies surrendering to the desires and forces that traverse them, Frédéric Gies’ dance pieces bring to the forefront the capacity of dance to speak without having to demonstrate anything. They approache form as possibilities rather than constraints.
Filip Pawlak, producer, performer and activist. A graduate of the Film School in Katowice and the Academy of Fine Arts in Wrocław. Currently, he works as producer in Nowy Teatr in Warsaw and as the Polish ambassador of the Creative Europe project – Europe Beyond Access. In the past, he was associated with the Silesian performative arts scene and collaborated with Rafał Urbacki on his participatory projects. In his work Filip is focused on increasing the availability of performing arts to people with alternative motoric and disabilities.
Since the early 1970s, has practiced, taught, and advocated for explorative methods of dance making, performing solo and collaborative work internationally. She danced with the Trisha Brown Dance Company (1979-1985), performed her original role in Opal Loop at Jacob’s Pillow during their 85th anniversary celebration in August 2017, and continues to teach through the company education program in NY and elsewhere. She has an MFA degree (Dance Research Fellow) from Bennington College, and has taught dance at major colleges and studios throughout the U.S., Europe and Australia, including a period of sustained teaching on the faculty of the European Dance Development Center (EDDC), Arnhem, Netherlands (1990-2002). Her performing and teaching are both informed by dance improvisation and mindful body practices which engender trust in the body’s innate capacity for ease, efficiency and integrated openness. These include the Alexander Technique (certified teacher), Ideokinesis, Taiji, Qigong and Yoga.
The New York Judson dance revolution of the 1960’s and 70’s has been profoundly influential, giving her current dance practice a foundation of respect for the moving body, and a passion for creative process and experimentation.
Dragana Alfirević a cultural worker in the field of contemporary performing arts. She studied Art History in Belgrade, and program BODY UNLIMITED at the Academy of Arts in Novi Sad, Serbia. She is co-founder of the Balkan Dance Network and Nomad Dance Academy (NDA), a regional tool for communication, education and artistic exchange. Dragana is co-founder of STATION, Service for Contemporary Dance in Belgrade and coordinator and producer of NDA Slovenia. She co-curates CoFestival in Ljubljana (www.cofestival.si).
Dragana has authored and co-authored 15 evening length performances and a dozen short choreographies and she is regularly choreographing for theatre performances. She teaches, makes performances, writes, curates festivals, and produces art events in the space between praxis, theory, and activism. In the field of collaborative practices, she is interested in new ways of communication and organization that derive from the needs of the doing.
Dana Caspersen, MS, MFA, conflict specialist, award-winning performing artist and author of Changing the Conversation: The 17 Principles of Conflict Resolution (Penguin 2015, A Joost Elffers Book). Caspersen’s work integrates conflict engagement strategies with choreographic methodologies to create projects ranging from individual coaching tools to large-scale international public dialogue events addressing topics such as immigration, racism and violence.
As a primary collaborator of choreographer William Forsythe for 30 years, Dana has written theatrical texts and performed as a principal artist in Forsythe’s most celebrated works with the Ballet Frankfurt and the Forsythe Company.
She holds an MS in Conflict Studies and Mediation, an MFA in Dance, and teaches, coaches and mediates in situations of conflict. She has received the Bessie Award for Outstanding Creative Achievement.
Claire Cunningham is a performer and creator of multi-disciplinary performance. One of the UK’s most acclaimed and internationally renowned self-identifying disabled artists, Cunningham’s work is often rooted in the study and use/misuse of her crutches with a conscious rejection of traditional dance techniques.(developed for non-disabled bodies), which runs alongside a deep interest in the lived experience of disability and its implications not only as a choreographer but also in terms of societal notions of knowledge, value, connection and interdependence.
Caroline Neill Alexander received her BA degree in Theater, Dance, and Performance Studies from the University of California, Berkeley. For the past four years she has been living and working in Berlin. In her own work, she deals with the space between person and persona and the blurred reality of reality. These ideas were explored in her solo works, Full Moonay, Sharterella: House of Desperation, and The Oasis.
Bush graduated from Dartington College of Arts in 1982 with a degree in Theatre Language. From that time onwards Bush has pursued a career as a community artist, dramaturge, performer , theatre programmer and artistic director in UK, Spain, Belgium, Netherlands, Ireland and Denmark . He is currently Head of Artist Development at Dance Base, Edinburgh . In 2009 he qualified as a coach in Relational Dynamics which has informed his work in mentoring dance artists.Since January 2015 Bush has been mentoring/coaching artists in Australia,Cyprus,UK,Spain,Czech Republic, Iceland,Norway, Sweden and Finland. Poland.This has all been underpinned by a lifelong commitment to Liverpool Football Club.
Anna Wańtuch is a dancer and performer. Graduated philosophy and film studies. She has been experimenting with “family movements” since 2012 by performing series of actions with her son and giving workshops as certified Contactkids teacher, using also Sherbone methodology and own experiences. Received scholarship from Alternative Dance Academy by Art Station Foundation by Grażyna Kulczyk. Currently exploring concepts of chaos and failure, hopefully to work on during 2021 ATLAS at ImpulsTanz.
Anna Nowicka is choreographer and performer, plunging into the lush reality of dreaming. She researches the potential of images to expand the body into a state of continuous becoming. Graduate of the Salzburg Experimental Academy of Dance (SEAD), MA Choreography at the HfS Ernst-Busch / HZT in Berlin and MA Psychology at the Warsaw University, she also wrote her practice based PhD on embodied awareness as the foundation for being present. Since 2010 her individual choreographic practice has been connected with the Art Stations Foundation by Grażyna Kulczyk in Poznań. Anna is a practitioner at The School of Images of dr Catherine Shainberg, and she is deepening the work on dreaming with dr Bonnie Buckner. Her most recent work – „Eye Sea” premiered in December 2019 in HAU Hebbel am Ufer, Berlin.
Ania Nowak’s expanded choreographic practice approaches vulnerability and desire as ways towards reimagining what bodies and language can do. She works with the material body and its immaterial aspects -affects, feelings and intuition- to think of new, embodied practices of care and companionship. Nowak is especially interested in the latter when taking into account the unstable, transnational character of our life and work in the Western world today, the experience of ageing, sickness and grief, as well as, the ethics of pleasure in times of climate and political urgency.
Since 1981 Andrew Morrish has had an extensive developmental practice in Australia and Europe. It includes teaching, performance, mentoring and coaching in the form he now calls “Performance Improvisation”. For his own development he has also consistently added skills and shared studio practice with peers in 14 countries. He is dedicated to, and an advocate for, long term studio practice as the basis for artistic development and researching improvisation as an art form.
Alicja Müller – dance critic, educator, author of the book “Self-dancing. Between narration and choreography”, PhD student at the Department of Anthropology of Literature and Cultural Research at the Jagiellonian University. She is a member of the International Association of Theater Critics AICT / IACT and deputy head of the PERFORMAT Foundation.
Alice is the founder and artistic lead for Kinetic Light, a project-based ensemble, working at the intersections of disability, dance, design, identity, and technology to create transformative art and advance the intersectional disability arts movement. A USA Artist, Creative Capital grantee and Bessie Award winner, Alice creates movement that engages intersectional disability arts, culture, and history to challenge conventional understandings of disabled and dancing bodies.
Agata’s present research is dedicated to multi-species archives in the time of extinction. Human nature is an interspecies relationship which makes extinction a co-extinction, our process of dying-with. How, then to build our common future, how to write a common story, not of the world but in the world? Our future cannot forget the past. When we tell stories of the past, what past do we tell? Every choice plays a powerful role in structuring the future. What is to be lost, retained, preserved, remembered?
Aleksandra Borys is an art and science artist working in fields of choreography, cosmology and ecology. Her work looks at the human body, environment, Earth, Universe and asks what kind of choreography and dance happens between them.
Aleksandra received in 2016 a Master of Art and Science from Central Saint Martins, University of the Arts in London; in 2009 a BA in Contemporary Dance from CODARTS, University of the Arts in Rotterdam; in 2003 she graduated from National Ballet School in Lodz. In 2015 she received The Research Scholarship by Grazyna Kulczyk and art research scholarship from Ministry of Culture and National Heritage 2019 and 2014.