Education and Training
NEW: Applications for the Academy of Dance and performance 2022-2023 opening on May 16th!
The National Center for Dance (CNDB), in partnership with the Brain Store Project Foundation (Sofia) and Stanica – Service for Contemporary Dance (Belgrade) launches in 2022 the second edition of the Academy of Dance and Performance, an intensive program of contemporary dance education and training, dedicated to dancers and performers who are at the beginning of their career.
The Academy has the mission to integrate young artists in the European professional circuit through an intensive and long-lasting training, which will take place throughout the academic year 2022-2023 and will combine workshops, courses, presentations, mentoring and artistic creation sessions, guided by international and local choreographers and pedagogues.
The Academy of Dance and Performance 2022-2023 is open to ten participants from Romania, Bulgaria, Serbia and the Republic of Moldova. The curriculum of the Academy has been carefully designed starting from the profile of the contemporary dancer, in connection with the current practices and aesthetics in performing arts. In the training process, the experience of participating in the creation and presentation of a work is a fundamental dimension of the program. Thus, the Academy will work on a final choreographic creation in which will involve all graduates. Subsequently, they will have the opportunity to be selected in at least three international dance performances, produced and distributed in art centers and festivals in the Southeast European region.
This second edition of the Academy also includes a new study course: a section addressed to those who want to specialize as producers in contemporary dance. The program for producers will be structured in course modules, individual mentoring sessions and local and international production residencies.
The Academy of Dance and Performance is part of the South-East European Dance Stations (SEEDS) project, coordinated by the National Center for Dance Bucharest and carried out in partnership with the Brain Store Project Foundation (Sofia) and Stanica – Service for Contemporary Dance (Belgrade) in the period between 2022 and 2025. The SEEDS project is co-financed by the European Union through the Creative Europe program.
The Academy of Dance and Performance 2022-2023 develops the experience and results of the first edition of the program, organized by CNDB in 2019-2020. During this first edition, the 16 participants benefited from an intensive period of study and training, followed by their involvement as performers in 9 contemporary dance works produced by CNDB and staged within the program Dance me to the End of … (Exercises, distances, approaches). Some of the productions made with the students of the Academy of Dance and Performance 2019-2020 were presented on local and international stages. The show “Choreomaniacs” (choreography: Simona Deaconescu) was selected in the European program Aerowaves Twenty22 (from over 600 international productions) and was invited in many European contexts. Enrolment in the Academy of Dance and Performance 2022-2023 will begin in May 2022, the interviews and auditions taking place in June.
Teachers: Pascal Allio, Laura Aris, Jan Burkhardt, Marta Coronado, Carmen Coțofană, Mădălina Dan, Simona Deaconescu, Florin Fieroiu, Igor Koruga, Mihaela Michailov, Marko Milić, Gisela Müller, Valentina de Piante, Willy Prager, Iva Sveshtarova, Sigal Zouk, Noa Zuk and others
Two of the future students will participate in workshops in Cologne and Crete within the project RELAY – Thinking Artistic Material in Music and Dance.
The selection of participants for the Academy of Dance and Performance 2022-2023 is organised in 3 stages:
- Application through form and video material: May 16th – June 5th 2022 (which you can find below)
- Interview: June 13th – 17th (online)
- Audition: June 27th (Bucharest, CNDB)
Fee: 2500 lei
CNDB wishes to support participants by offering them opportunities for paid artistic practice (for instance, within the Performing Arts School for Children)
The European Union. Views and opinions expressed are however those of the author(s) only and do not necessarily reflect those of the European Union or European Education and Culture Executive Agency (EACEA). Neither the European Union nor the granting authority can be held responsible for them.
Brain Store Project Foundation (Sofia), Stanica – Service for Contemporary Dance (Belgrad)
Below you can find details about the teachers and the courses of this edition of the Academy of Dance and Performance, with the mention that this list is in the process of being completed.
Within this workshop, participants will learn through practical work about aspects of authorship in choreography and the position of their future works in the broader socio-political, artistic, and historic context. We will be going through different approaches, concepts, methods, scores, policies and practices of contemporary (experimental) directions of dance and choreography, created since the mid-1990s in Europe and in the Balkans, through a series of mini-lectures and practical exercises. Simultaneously, participants will explore practical tools of thinking, articulating, creating, performing and observing choreographic materials and certain somatic practices, analyzing them as artistic media and mastering the practice of the authorship within such media.
The workshop will have a multilayered structure and will include: limited time for researching dance materials, fixing and rehearsing them free to use previous dance knowledge, experience, imagination and individual authorial position in any desired way; then, presenting the work to other participants of the workshop, individual reflection on the process of creation with the help of various methods offered and joint discussion on the necessary topics and insights.
The workshops will be divided into lectures of 45-60 minutes with practical explorations of up to 4 hours, with small breaks.
Photo: Vladimir Opsenica
Igor Koruga works as an independent artist in the field of performing arts (contemporary dance and choreography). He graduated with a master’s degree in ethnology and anthropology from the Faculty of Philosophy in Belgrade, as well as from the Department of Solo / Dance / Authorship at the University of Arts in Berlin. He deals with the application of choreography as a tool for the interpretation of socio-political phenomena, which condition current ways of artistic production and knowledge. He is the author of several works: Clousness of Touch (2022); How to Explain Pictures to a Man (2021), Lounley Plenet (2020), Hopelessness (2017), Only Mine Alone (2016), etc. He collaborates with theater and film directors as an associate for stage movement and choreography, and he works with choreographers as a dramaturg. He taught at the Institute for Artistic Dance in Belgrade (2015-2017) as an assistant professor in the field of choreography and he has mentored many emerging artists of the local dance scene through various educational projects (Puzzle, Contemporary Dance Service Station; Dance Survivors, Goethe Institute Belgrade; You Perform, Yugoslav Drama Theater Belgrade / Talia Theater Hamburg). Igor is a member of the Service Station for Contemporary Dance and the Association of Ballet Artists of Serbia (UBUS).
After working more than a decade with and for the same choreographer, I realised that I had to challenge and reinvent myself each time we would be involved in the creation of a new piece. If we visualise the creation of a dance piece as a puzzle – and if as a dancer you would like to be an active piece on the board – you need to be a thinking body that changes, transforms, and translates the basic material, and that it is able to surprise herself or himself.
During one week of work we will deal with Space and Time alterations. The first few days we will learn a basic phrase, which will be the vocabulary used to build all the changes. Real time composition throughout improvisational sessions will be proposed, to open up ideas of interaction. Thus, we will be able to transform the fixed dance material in time and space with different tools provided in form of games.
The last day of work we will summon all the material created and try to make the skeleton of a dance piece to give everyone the chance of performing it to each other and to have a sense of continuity that this work should have. The final goal of the workshop is to share the base of my own experience as a performer and give different guidelines and suggestions to the participants of when and how to use these principles of transformation and composition.
Photo: Beniamin Boar
Marta Coronado was born in Spain. She attended the two years dance programme of P.A.R.T.S., first cycle. In 1998, she became a member of Anne Teresa De Keersmaeker’s company, Rosas. In the season of 2002 she was awarded with a Bessie Award (New York Dance and Performance Award) for sustained achievement as a performer. She danced and contributed to the creation of Rosas pieces for more than 15 years. She became Rehearsal Director of Rosas repertory projects, and also other for companies like Paris Opéra, and Opera de Lyon. In 2019 and 2020 she was part of Rosas creative team for ”West side story” on Broadway as a choreographer assistant. She teaches Rosas Repertory, composition workshops and technique worldwide: Theater School in Amsterdam, CNDC Angers, Festival Deltebre, Rosas Company, Les ballet C. de la B., the Ballet de Marseille, P.A.R.T.S. Ultima Vez Company, ImPulsTanz Festival, Artesis, Charleroi/Danses, Thor Company, La Raffinerie, Tic Tac arts center and Conservatorio superior de Madrid. She created and choreographed pieces like “Because We Love”, “Soledad Acompañada”, “Acorde Bajo Continuo”, “El Silencio de las Flores”, “Orfeo and Majnun”, and ”Nebula”. In 2021 she became the Artistic Director of TRY international training and research program for young dancers based in Lucca, Italy. She is the co-founder of House of Bertha Collective, and La Faktoria Choreographic Centre in Pamplona, where she is also a co-director.
Jan Burkhardt / Sigal Zouk
In this workshop, which is composed of 3 parts ( starting with Jan in the first part, then continuing with Sigal in the 2nd and 3rd part), we practice accessing our individual deeper logic of sensation, movement and creation, within the affective context of the collective.
We engage our inner resources, such as perception, intuition, action, and find the pleasures and necessities for specificity and precision , softness and rigour in our dancing, striving to open and shape our full expressive range.
A central focus will be given to the spine as inexhaustible fountain of information, column of the body’s countless shapes, channel of impression and expression of the eternal play between inner and outer worlds.
Photo: Paul Leclaire Soes
Jan Burkhardt is a dancer, choreographer, musician and facilitator, investigating the flows of consciousness through the body, and its rules and expressions in space and time. Besides collaborating in the independent art field, Jan facilitates regularly in several european university dance programs and is professor for contemporary dance in artistic context at HfMT Cologne.
Sigal Zouk is a dancer/artist working in Berlin since 1997. She graduated from the Emek Izrael Dance School and joined the Bat-Sheva Ensemble from 1994-96. After moving to Berlin and working with artists such as Luc Dunberry and Juan Cruz Dias de Esanola, she became a member of Sasha Waltz and Guests from 1999-2004. In 2005, she began her collaboration with Meg Stuart/Damaged Goods, and in 2007 she began her long time collaboration with Laurent Chetouane in which she created 10 dance and theatre works for the stage. She has worked with other artists such as Boris Charmantz (Musee de la Dans), AWST & Walter, Zeirkratzer, Simone Aughterlony, Ian Kaler et al. She teaches in several European dance departments and institutions including Tanzfabrik Berlin, HZT, ZZT Hochschule für Music und dance Köln, DDSKS Copenhagen, DOCH Stokholm, Cullberg Ballet Stokholm, Academy for dance in Bukarest and Ponderosa. She was awarded the best performer in Dortmund Festival 2010 as well as dancer of the year from Tanz Magazine 2011.
The main focus of the workshop will be searching for the physical optimism movements. What could move us and why? What are the dominant relationships toward the body nowadays, usage of the body, dance styles and philosophies behind them? What could be the reasons for the optimism?
One of my interests is to get to know local contemporary dancers and performers, by proposing a research workshop where the participants would have the chance to learn and apply different choreographic and creative tools in their artworks. We will start with the basic exercises of focus, coordination and imagination and later we would investigate our relationship toward the joy of moving. We will explore optimism through a wide spectrum of topics and proposals, giving the participants an opportunity to create their own dance materials, formats, and presentations.
Photo: Ivan Zupanc
Marko Milić (1981) works as an author and performer in the field of contemporary dance and multimedia. From 1995 until 2003 he attended art workshops at Stari Grad Cultural Center and participated in educational programs conducted by the Association of Independent Theaters (ANET) in Belgrade. He created and co-created several performances, most notably: Series, KOREOEROTIKON, BINEMA and LUMI. He performed at festivals such as ImPulsTanz (AT), TanzImAugust (DE), Perforacije (HR), FIDQU (UY), Kampnagel (DE), Kondenz (RS), Il faut brûler pour briller (LU), GNARL festival (GB), CoFestival (SI) and others. He was a DanceWEB scholar in 2016, and an artist in residence at Tanzquartier in Vienna in 2012. He presented his work BINEMA at The University of Huddersfield exhibition titled ‘Sensorium’ as part of the Shanghai Urban Space Art Season (SUSAS) 2019 Biennale. Marko Milić is one of the founders of STATION – Service for contemporary dance, which deals with the production and promotion of contemporary dance and performing arts in Serbia and abroad.
Power sources (morning class – 2hours)
This is a contemporary dance class that overviews some fundamental aspects of contemporary dance techniques such as weight transfer, use of space, breathing, speed, qualities and textures. Furthermore, we will look at the intentions behind the movement. A technical part will explore the physical mechanisms that allow us to take risks and at the same time protect the body. Emphasis will be placed on the structure of the skeleton and muscle chains to find greater fluidity and freedom in one’s own dance, as well as to recycle and save energy. I often use metaphors and images to create new kinaesthetic experiences and improve awareness in a constant search for mental, physical and emotional balance.
PLAY FULL BODY workshop (3 hours)
The workshop is designed to be a playful physical journey but focused on mental challenges and the explicit goals of artistic expression and creativity. We will try to change the prism by searching for different ways of looking at movement and its qualities. An invitation to explore a space that is neither too new nor too familiar, but something in between; like walking with a compass but without a map. Guided improvisations and specific technical exercises will be the starting point of the work, mainly in pairs and groups. Participants will play with their vocabulary within defined but changing contexts to experiment and observe specific bodily mechanisms and mental processes that happen while we dance. Opening the doors of perception, we will search for those creative impulses that, once released, offer opportunities for new achievements — both technical and performative.
Laura Aris is a performer, choreographer and contemporary dance teacher. She has been leading workshops worldwide since 2001. Currently, she is working as a freelance artist, developing her own creative practices, commissioned works, several solos, and many collaborative performances. Her performing experience includes a decade as a member of Wim Vandekeybus’s dance company Ultima Vez, Juan Carlos García’s Lanònima Imperial and General Elèctrica artists collective (1996-1999). In the past years, she has been Wim Vandekeybus’ assistant choreographer and movement coach in several performances directed by Ivo Van Hove (at Dutch National Opera & Ballet in 2017, Comedie Francaise in 2019, and International Theatre Amsterdam in 2021). More at www.lauraaris.com