Kategorie-Archiv: Ensemble


Frédéric Tavernini studied at the ballet school of the Opèra National de Paris.

After working with the Ballet National de Nancy et de Lorraine, he danced as a soloist for the Béjart Ballet Lausanne, the Lyon Opera Ballet, Les Grands Ballets Canadiens de Montréal and the Marseille National Ballet. An independent dancer since 2005, he has worked with renowned Quebec artists and choreographers Dave St-Pierre, Louise Lecavalier and Frédérick Gravel. His own choreographic work under the name Clovek & The 420 includes the pieces Li fet met (2003), Green (2004), Wedged in the Red Room (2009) Le Tératome (2013), Wolf Songs for Lambs (2015) and Things are leaving quietly, in silence (2016). He is dancing with the DANCE ON ENSEMBLE since 2017.

Christopher Roman, ARTISTIC DIRECTOR AND DANCER (NOV 2015 – MAY 2018)

American born artist Christopher Roman began his formal training with The School of Cleveland Ballet continuing at The School of American Ballet in New York City.

He was subsequently invited into the ranks of the Pacific Northwest Ballet and as a soloist and principal with Edward Villella’s Miami City Ballet, Les Grands Ballets Canadiens in Montreal, The Pennsylvania Ballet, Ballett Frankfurt and The Forsythe Company performing a huge array of important choreographic works, originating over forty roles and touring every major venue worldwide.

He has been a guest artist with Complexions Contemporary Ballet, Sasha Waltz and Guests in Berlin and the Gala of International Dance Stars.
William Forsythe’s Bessie Award winning „You Made Me a Monster“ was created with Christopher Roman and he is the 2009 recipient of Germany’s highest theater honor Der Deutsche Theaterpreis DER FAUST for best performance: dance in The Forsythe Company’s „I don’t believe in outer space“.

Christopher Roman was one of the artists selected to be part of the Solo Performance Commissioning Project with Deborah Hay for her work „Dynamic“ and was one of the twenty artists selected to perform in Boris Charmatz’s curation of „20 Dancers for the XX Century“ at MoMA. He is a choreographic assistant to William Forsythe most recently for the original work „Rearray“ at Sadler’s Wells for Sylvie Guillem and Nicolas LeRiche and has re-staged Forsythe work on the San Francisco Ballet, Finnish National Ballet, La Scala Opera Ballet, Bavarian State Ballet in Munich, Lyon Opera Ballet, The Paris Opera Ballet, The Juilliard School, and Staatstheater Gärtnerplatz among others.

He is on the Board of Trustees for the Forsythe Foundation and Director of Dance for the ALTANA Cultural Foundation.

As of September 2013, Christopher assumed the role of Associate Artistic Director of The Forsythe Company, responsible for the company’s daily operations and the rehearsals and performances of the company’s repertoire. In November 2015 he will assume the position of Artistic Director of the DANCE ON ENSEMBLE as well as dance as a core member of the Berlin based company for dancers over 40.

Professional and Choreographic Work
2015 Staatstheater am Gärtnerplatz, Guest Choreographer; Stager „One Flat Thing, reproduced“

2014 Staatstheater am Gärtnerplatz, Guest Choreographer „Minute Made“

2013 MoMA, „Three Collective Gestures: 20 dancers for the XX Century“, Participating Artist

2012 Solo Performance Commissioning Project with Deborah Hay, Selected Participating Artist for the work „Dynamic“

2005–10 The Forsythe Company, Artistic Director and Resident Choreographer, William Forsythe, Principal Artist, Choreographer, Contributing works: „Three Atmospheric Studies“, „Heterotopia“, „You made me a monster“, „Angoloscura“, „The Defenders“, „Rong“, „Yes we can’t“, „Human Writes“, „Five Fold“, „Nowhere and Everywhere at the Same Time“, „I don’t believe in outer space“

2005–08 „2+“, Co-Founder, Choreographer and Performer with The Wooster Group Video Designer Philip Bussmann, Works and Installations include: „Nach dem Palast ist vor dem Palast“, Volkspalast, Berlin; „Druck“, Tanzkongress, Berlin; „Persona“, Festival de Danse, Cannes and Kuenstlerhaus Mousonturm, Frankfurt am Main; „Detail“, Kuenstlerhaus Mousonturm, Frankfurt am Main; „Video/Bilder“, Gallus Kunstfoyer, Frankfurt am Main

2005–06 Sasha Waltz and Guests, Artistic Director, Sasha Waltz, Principal Guest Artist

1999–05 Ballett Frankfurt, Artistic Director and Resident Choreographer, William Forsythe, Principal Artist

1998–99 Complexions Contemporary Ballet, Artistic Directors, Dwight Rhoden and Desmond Richardson, Principal Guest Artist

1997–99 Pennsylvania Ballet, Artistic Director, Roy Kaiser, Soloist and Principal Dancer

1995–96 Les Grands Ballets Canadiens de Montreal, Artistic Director, Lawrence Rhodes, Soloist Dancer

1992–95 Miami City Ballet, Artistic Director, Edward Villella, Principal Dancer

1990–92 Pacific Northwest Ballet, Co-Artistic Directors, Francia Russell and Kent Stowell, Corps de Ballet

1988–89 Cleveland/San Jose Ballet, Artistic Director, Dennis Nahat, Apprentice

Christopher has also been the subject of many fine art installations including Peter Welz’s „It’s too fucking loud, it’s too fucking fast“ and „figure inscribing a circle“ with exhibitions at the Neues Museum Weserburg, Bremen; the Museum für Gegenwart, Berlin; Kiasiama Museum of Contemporary Art, Helsinki; NEXT, Art Chicago, Chicago, USA; Galleria Nazionale d’Arte Moderne, Rome as well as in Philip Bußmann’s „Video/Bilder“ and „Detail“ for Kunstfoyer Gallus Theater and Künstlerhaus Mousonturm respectively.

The film „im.promp.tu“, made in collaboration with Michael Slobodian and Gabriel Prokofiev, was chosen as official selection for the CINEDANS Festival in Amsterdam, FIFA in Montreal and the Leamington Underground Festival in London. Christopher is the choreographer and performer in the work. He is also featured in the Thierry De Mey film of Forsythe’s work „One Flat Thing, reproduced“.

Teaching Experience
As a ballet master, choreographic assistant and administrator Christopher has staged the works of William Forsythe internationally, been a teacher of classical ballet and improvisational techniques, a research collaborator for the Ohio State University project Synchronous Objects and the Score Manager and Education Coordinator for the Motion Bank initiative in association with The Forsythe Company.

He is currently the curator and coordinator for the MFA European Studies at Hollins University now in affiliation with The Forsythe Company, Künstlerhaus Mouson Turm and The University of Music and Performing Arts, MA CoDe in Frankfurt. He is also the Head of Education and Development for The Forsythe Company.

Since 2011 Christopher has been guest and adjunct faculty and choreographer in residence for Butler University, The Juilliard School, Hollins University, Princeton University, Harvard University, Ohio State University, Palucca Schule in Dresden, The Goethe Institute worldwide, Steps NY, Peridance, NYU Tisch School of the Arts, Movement Invention Project, Springboard Dance Montreal and Dance Arts Faculty in Rome.


Christopher Roman was twice named Dancer of the Year by the critics poll in tanz magazine’s yearbook:

Arnd Wesemann, Berlin, tanz magazine: “Christopher Roman’s concentrated experience in Dance On, the company where only experience counts.”

Irmela Kästner, Hamburg, independent critic: “Christopher Roman/Dance On in Man Made by Jan Martens and in 7 Dialogues by Matteo Fargion – a limitless spectrum of dance, playfulness and embodied thinking.”

Brit Rodemund, Dancer (NOV 2015 – MAY 2018)

Brit Rodemund, born in Berlin in 1971, was trained at the Staatliche Ballettschule Berlin from 1982 to 1990.

She was a finalist at the Prix de Lausanne in 1989 and a year later won the Grand Prize in the National Ballet Competition in the GDR. From 1990 to 1995, she danced at the Deutsche Staatsoper Berlin, from 1991 as a soloist. She then went to Marin Puttke’s aalto ballett theater Essen where she won the aalto Stage Prize for her portrayal of Tatjana in John Cranko’s „Onegin“. In 1998, she moved to Ballett Nürnberg under the direction of Daniela Kurz. She has been a freelancer since 2000 and works with various artists. In the critic’s poll for the journal tanz in 2011, she was voted Dancer of the Year for her performance in Helena Waldmann’s production „revolver besorgen“.

Professional Experience
At theatres in Berlin, Essen and Nuremberg, she has danced in choreographies by Rudolf Nurejev, George Balanchine, Patrice Bart, Nacho Duato, Maurice Béjart, Maryse Delente, Ramon Oller, Birgit Scherzer, Mario Schröder, William Forsythe and Daniela Kurz, for example.

She has worked as a freelancer with Marco Santi, Christian Spuck, Katja Wachter, Christoph Winkler, Silvana Schröder, Zufit Simon, Efrat Stempler, Nina Kurzeja, Tomi Paasonen, Dansity Amsterdam, MS Schrittmacher, Maya Matilda Carroll and Tim Plegge, among others.

Teaching Experience
Since 1999, Brit Rodemund has been teaching classical dance at various dance schools in Berlin, Stuttgart, Regensburg and Ottawa and has trained dance companies in St. Gallen, Braunschweig and Regensburg a. o.

2014 Ballet master, Hessisches Staatsballett Wiesbaden/Darmstadt (under the direction of Tim Plegge)

2007–2010 Teacher for Classical Dance, Hochschule für Schauspielkunst „Ernst Busch“ Berlin, Course of Studies: Choreography

2013 and 2015 Teaching Assignments for Classical Dance at the Inter-University Centre for Dance Berlin (HZT)

since 1999 Classical Dance, a. o. at Marameo, Produktionszentrum Stuttgart, Center of Dance, Dance Studio Berlin, The School of Dance /Ottawa

Ty Boomershine, Dancer (Nov 2015 – May 2018)

Ty Boomershine, born in the USA in 1968, studied dance at the Fort Hayes School for the Performing Arts in Columbus, Ohio, completing his studies with a Bachelor of Fine Arts at Stephens College in Columbia, Missouri.

In addition to dancing with various companies (including the Lucinda Childs Dance Company, Emio Greco | PC, the Merce Cunningham Repertory Emsemble, the Bill T. Jones/Arnie Zane Dance Company, Leine Roebana Dance, Dance Works Rotterdam and ICKamsterdam), he has also performed in various works by individual choreographers, e.g. Dan Wagoner, Gus Solomons Jr., Ton Simons and Giulia Mureddu. He was involved – as rehearsal manager and dancer – in the Field Dances in Robert Wilson’s opera Einstein on the Beach. Since 2007, he has been Artistic Assistant for Lucinda Childs. He was also tour manager for Pere Faura and Nicole Beutler. He has been presenting his own choreographic works since 1993.

Professional Experience
2012 Robert Wilson „Einstein on the Beach“
2009 Lucinda Childs Dance Company
2009 Nicole Beutler nb projects
2005 Emio Greco | PC
2005 Giulia Mureddu
2004 Irish Modern Dance Theater
1998–2005 Leine & Roebana
1997–98 Dance Works Rotterdam
1991–97 Lucinda Childs Dance Company
1992–93 Merce Cunningham Dance Company
1990–97 Ton Simons & Dancers
1991–96 Solomons Company/Dance, Gus Solomons Jr.
1990, 1992 Bill T. Jones/Arnie Zane & Co.
1990–92 Dan Wagoner and Dancers

Teaching Experience
He taught the technique he learned with Merce Cunningham at different international academies and universities, and festivals, i. e. at University of North Carolina School of the Arts, Project Sally, University of Chichester, University of Michigan, Amsterdamse Hoogeschool voor de Kunsten, Codarts, Rotterdamse Dansacademie, Henny Jurriens Stichting, CODA Festival (Oslo) und New York University/Tisch School of the Arts.

Ty Boomerhine has given workshops and master classes at the Lucinda Childs Dance Company, Emio Greco | PC, Dansgroep Amsterdam, Dance Works Rotterdam, Krisztina de Chatel, and Kamea Dance Company.

Own Works
Ty Boomershine has been presenting his own works at Movement Research and at Danspace Project in New York, as well as at OT301 and the Holland Festival in Amsterdam.

Other Professional Activities
At ICKamsterdam, he undertook curatorial and organisational tasks.

Rehearsal Direction and Tour Management
2010 Pere Faura, Amsterdam, NL / Barcelona, ES; Tour manager and production director for international touring. Rehearsal director and assistant to Pere Faura

Since 2009 Company rehearsal director and assistant to Lucinda Childs. Responsible for rehearsal schedules, tour planning, master classes and workshops during international touring

Since 2008 Rehearsal assistant for various projects of the Emio Greco | PC company, as well as visiting artists within the ICKamsterdam (International Choreographic Arts Center Amsterdam) organization

2004 Leine & Roebana; Rehearsal director and choreographic assistant. Responsible for touring the production

Rehearsal and (Re-)Staging
Initiated the collaboration between Nicole Beutler and Lucinda Childs. Taught, rehearsed and maintained two early works (1977, 1978) of Lucinda Childs that were interpreted and re-staged as part of the cover festival 2 in Amsterdam

2007; 2010 Introdans, Arnhem, NL; Responsible for the teaching, setting and maintenance of Lucinda Childs works on the company

‚Field Dances’ in Robert Wilsons Oper „Einstein on the Beach“

Interview with Ty Boomershine

In Evening Programme 1

„I’m not interested in making a point of my age.“

Boomershine. The name grabs your attention like the man himself: tall and lanky with reddish-blond beard and an eccentric dress sense – with a modern, British flavour. For a long time, Ty considered his name to be very normal, as there are many Boomershines in his hometown. It was only when he left Ohio and everyone kept saying, “What? Boomershine?” that he saw things differently. According to his family’s genealogical research, it’s originally a German name from Hesse. Much of this inheritance has been lost, apart from the obligatory sauerkraut on New Year’s Eve, which is meant to bring luck. Ty started dancing when he was young. He lost interest but took it up again at 16.

At 21, he began to dance professionally. At the time he couldn’t think in terms of dance career and international travel: coming from modest circumstances, as a young dancer he was far more concerned about whether he would end up half-starved and homeless. But it all turned out quite differently. Merce Cunningham, Lucinda Childs, Emio Greco, Bill T. Jones – Ty is very grateful for having worked for and with some very famous and important modern-dance choreographers, not because of their prominence, but because they either are, or were, singular artists with clear ideas about their work, and the creators of unique works. Ty wanted to be a Cunningham dancer or a Childs dancer rather than a dancer searching for himself, for his own movement vocabulary.

“I always felt particularly myself when I danced other people’s pieces, and in this sense I really am a ‘dancer’.”

Seven years ago, Ty considered stopping. He was 40 and wondered if it wasn’t the time to start something new, go back to university, maybe. Ironically it was during this phase that Lucinda Childs called and asked him to return to work with her. He says he’s sometimes amazed he’s still dancing – but not because of his age, as that doesn’t interest him at all. In fact he displaces it, not by denying it but by simply forgetting it. Others bring it up, for example young dancers and their unspoken question, in class or an audition: “What’s he doing here?” This is why Ty immediately deleted the email introducing the DANCE ON project to him. A company for dancers aged 40+? What’s the point of that? A month later, a friend sent him the offer again.

“I thought, ‘Oh God, not again,’ but this time I read the email all the way through and thought, ‘Actually, it sounds quite interesting.’”

Ty wasn’t looking for a job, but he applied – with great reservation. He was impressed by the audition. He liked the people and what he was asked to do. The role age played was clear to him. He met experienced, mature artists and they behaved differently. Everyone was relaxed, no one was visibly nervous and no one was stressed or wanted the job at any price. There was competition, but the way people handled it was different, more along the lines of “I’ll show you what I can do, it’s the best I can do, and I trust that everyone appreciates that”. Everyone was understanding and respectful of each other. It was immediately clear in the audition that

“it’s not about what I can (still) do physically, or what I could do at 21. If the truth be known, I’m better today than before,”

says Ty, laughing. He likes to laugh. At the end of 2015, after a week of working with the ensemble in Berlin, he notes that everyone is very disciplined and sets very high demands on themselves. No one in the DANCE ON ENSEMBLE rests on their laurels. Ty believes this has something to do with age and maturity. For Ty, the project he initially didn’t take seriously has turned out to be a wonderful opportunity to experience something new. Dance on! He just finds it a shame that there can only be six dancers involved.

Jone San Martin, Dancer (Nov 2015 – May 2018)

Jone San Martin, born in Donostia/San Sebastian, Spain, in 1966, studied dance with Mentxu Medel at the Institut del Teatre in Barcelona and at Mudra International in Brussels.

She was a dancer at the Ballet Nacional de España, at Ulmer Theater, with Jacopo Godani in Brussels and at the Ballet Royal de Wallonie in Charleroi. She joined Ballett Frankfurt in 1992 and had been a dancer at The Forsythe Company since 2005. Since 2000, she has choreographed many of her own works. She was a guest at the Avignon Festival in 2004 where she performed the solo „Tourlourou“, created for her by Carlotta Sagna, as part of the ‚Sujets à Vif‘ series. In 2006, she received the Lifetime Achievement Award from the Asociación de Profesionales de Danza de Gipuzkoa. Since 2014, she is Associated Artist of Dantzaz Kompainia in Donostia. She will be curating the Performing Arts Programme for DDSS16 (Donostia/San Sebastian will be Cultural City in Europe in 2016).

Professional Experience

With the Ballet Frankfurt
„As a Garden in this Setting 1“, „Quinttet“, „Ali(e)n Action“, „The The“, „Sleepers Guts“, „Small Void“, „Opus 31“, „We leave here“, „Decreation“, „The Room as it was“, „7 to 10 Passages“, „Kammer/Kammer“, „Endless House“, „Eidos Telos“

With The Forsythe Company
„Three Atmospheric Studies“, „Clouds after Cranach“, „Heterotopia“, „Human Writes“, „Angolo Obscuro“, „Theatrical Arsenal“, „Yes, We Can’t“, „I Don’t Believe in Outer Space“, „The Returns“, „Whole in the Head“, „Sider“, „Stellenstellen“, „Study #2“, „Study #3“, „Selon“

Own Works
2000 „Juana La Otra“ (Solo), Bockenheimer Depot, Frankfurt a. M.
2001 „Ser Estar y Parecer“, Bockenheimer Depot, Frankfurt a. M.
2003 „Remote Versions“, Bockenheimer Depot, Frankfurt a. M. (with Agnès Chekroun and Fabrice Mazliah)
2004 „Double B(l)ind“, Bockenheimer Depot, Frankfurt a. M. (with Agnès Chekroun and Fabrice Mazliah)
2007 „Hostis“, Bockenheimer Depot, Frankfurt a. M. (with Agnès Chekroun)
2009 „Derivado“ (Solo), Dantzaldia, Bilbao
2010 „Gorputitz“, Creation for Dantzaz Kompania, Donostia/San Sebastian
2012 „Agurra Barnean“, Creation for Kukai Kompania, Donostia/San Sebastian
2013 „Ni Espioi“, Creation for Dantzaz Kompania, Donostia/San Sebastian
2013 „Legitimo/Rezo“, Barcelona (with Josh Johnson)
2014 „Gidariak“, Creation for Dantzaz Kompania, Donostia/San Sebastian
2014 „Le Bolle“, Bassano Del Grappa, Italien (with Sandra Marín und Josh Johnson)

Collaboration with Carlotta Sagna
2004 „Tourlourou“ (Solo), Festival d’Avignon, ‚Sujets à Vif‘
2010 „C’est Même Pas Vrai“ (Solo), Paris (produced by The Forsythe Company)

Performance in Films/Videos
„The Mind of Doctor Forsythe“, Installation Film Fabric Belgique
„The Way of the Seed“, Film Fabric Belgique
1996 „Jonemanak“ by Nerea Pagola
2004 „Meat Me“, arte-short film (6 min.), camera and cut: Lutz Gregor, concept and choreography: Jone San Martin with Chekroun and Fabrice Mazliah

Interview with Jone San Martin

In Evening Programme 2

„I still have questions“

Jone San Martin could – but doesn’t – tell her story in the sugary, sentimental way we know from Hollywood films: one day, an aunt was watching her playing double Dutch and said to Jone’s mother, “That girl should go to ballet school.” Jone thought so too, which is how her dance life began in 1973, starting ballet class at the age of seven in Donostia (the Basque name for San Sebastián) where Jone grew up.

She describes Donostia as a very beautiful city on the sea with mountains behind you, and a great place for kids, despite the numerous Spanish police officers she remembers watching over the Basques, suppressing their wish to be independent. Jone learnt Basque at the first Basque language school, which was founded in Donostia.

“Minorities are always fighting to protect their identity,” she says, “particularly their language and culture. You feel responsible for it. You learn to love your country and to defend it.”

Today, she looks ahead: how can we live in appreciation of cultural differences rather than turning them into a problem? How can we enjoy each other?

Maybe this is why Jone finds it easy to switch from one location or country to another, to live a nomadic life. At 15, she moved to Barcelona to study classical dance. It was here that she heard about Mudra International, Maurice Béjart’s dance school in Brussels. She had seen pieces by him in San Sebastián and particularly liked his staging of male dancers, who were choreographed as modern men on stage. She went to Brussels and became a Mudra student.

She left the then famous school in 1985 without a job to go to. She went from one audition to the next without success: she was too modern for classical companies, too classical for modern companies. She wanted to give up, but didn’t, thanks to Béjart. They happened to meet and he encouraged her to keep going. She became an ‘independent dancer’ and took every job going.

“The best job was having a job,” she says, which was enough to make her happy.

She realises that today’s young dancers are far choosier. She’s happy she had this experience and is convinced that this period of her life has made her the dancer she is today – along with her long-term partnership with William Forsythe. She discovered his work through a friend and seized the opportunity to work with Forsythe dancers in Paris as well as to audition for him. She will never forget the moment he stood up and said, “Welcome to the Frankfurt Ballet.” She was stunned. It was working with Forsythe that ‘shaped’ Jone: working in the studio until she was completely exhausted; the freedom he allowed his dancers.

“Many people think that if you work with Forsythe he’ll tell you what you have to do,” she says. “It’s totally wrong. You’re very much left to your own devices. You develop your own ideas.”

She understood Forsythe’s decision to close the company and was very grateful to have been able to work with him for 22 years. It couldn’t have been better, she says. She had choreographed her own works and learned how to be open to new challenges and encounters. She also finds artistic freedom in the DANCE ON ENSEMBLE. Questions about her age and how long she will continue dancing are completely irrelevant to Jone.

“DANCE ON isn’t there to show that we can still dance,” she says. “It’s far more than that. It’s about questioning the art form and working on answers and new questions.”

Jone says that no one in the ensemble is resting on their laurels and that everyone is curious about the other dancers and the choreographers, directors and visual artists they’ll be working with.

“It’s a wonderful experiment,” she says. “I love coming into the studio every day and asking, ‘What are we doing today?’”

For her, this is nothing short of luxury. Who knows what Rabih Mroué is planning for the coming weeks? Jone knows only one thing for sure: she still has questions about dance that can only be solved through dance.



Amancio Gonzalez, Dancer (Nov 2015 – Dec 2017)

Amancio Gonzalez, born in Portugalete in the Basque Country, Spain in 1967, began studying dance at the age of 20 at the Estudio de Danza Ion Beitia in Las Arenas, continuing at the Centre International de Danse Rosella Hightower in Cannes.

He was a dancer at the Jeune Ballet International de Cannes, the Scottish Ballet in Glasgow, the NAPAC Dance Company in Durban, South Africa, the Rotterdamse Dansgroep, the Reflex Dansgeselschaft in Groningen and the Scapino Ballet Rotterdam. From 1999 to 2005, he was a dancer at Ballett Frankfurt under the direction of William Forsythe and later joined The Forsythe Company. Since 1994, he has been creating his own works, which have been performed at festivals including Torino Danza and the Montpellier Dance Festival.

Works by Amancio Gonzalez
2010 „Dead or Alive“ (Duett), Lange Nacht der Museen, Frankfurt a. M. (mit Inma Rubio)

2009 „where we wear we were“, Festival Tanzpanorama, Frankfurt a. M. (Solo für Alla Anishenko)

2009 „Sin king in me“ (Solo), Festival Dantzaldia 09, Bilbao

2007 „Un happen ness“, Festival Torino Danza (mit Inma Rubio)

2005 „Sonntags am Bahnhof“, series of 5 pieces, Frankfurt a. M. (mit Vanessa Le Mat) and monthly series „One night stand pieces“, Atelier Frankfurt

1994 „Siames“ (Duett), creation for two dancers of the NAPAC Dance Company (Garry Trinder)

Teaching Experience
Amancio Gonzalez trained as a ballet master with William Forsythe and Kathryn Bennetts.
He has taught internationally as a freelance lecturer and ballet master and répétiteur at various dance companies and academies, i.e.:
Ballett Frankfurt, Ballet National de Marseille, Ballet Preljocaj, Ballett Basel, Cullberg Ballet, Göteborg Danskompani, Skanes Dansteater, Danish Dance Theater, Tanztheater Wuppertal Pina Bausch, Alvin Ailey, and The Forsythe Company.

He was responsible for teaching Forsythe Improvisation and workshops at various companies and schools including:
Ballet National de Marseille, École National Superieur de Danse de Marseille, Tanzhaus Zürich, Conservatoire Superior Musique et Danse de Lyon, Centre d’Études Supérieur de Musique et de Danse de Poitiers, Festival International de Benicàssim, Institut del teatre (Barcelona), Tanzhaus Köln, DOCH – University of Dance and Circus (Stockholm), Architanz Studio (Tokyo), Palucca Schule (Dresden), Graphic Design Akademie (Frankfurt), and Codarts (Rotterdam).


Ami Shulman, Dancer (Nov 2015 – Jan 2017)

Ami Shulman was born in Johannesburg South Africa. She studied Psychology at the University of South Africa and Dramatic Arts at the University of the Witwatersrand where she won the Amanda Holmes Award for Best Choreography „Donna Belladonna“, in 1998.

Based in Montreal since 2001, Shulman performed with Compagnie Marie Chouinard and Jose Navas for several years before becoming the Artistic Director to the Chouinard Company on tour and Rehearsal Director for both companies. Shulman has remounted and co-created works on companies such as the Goteborg Opera, the National Ballet of Canada and the Cirque Du Soleil and has worked as a Movement Director for the Shakespeare Theatre Company. As a free-lance artist, Shulman has collaborated on film installations, choreographing for Mouvement Perpetuel’s large scale film installation „1001 Lights“ and appearing in high speed videography and motion capture for an interactive video installations in collaboration with musician/videographer Butch Rovan. Shulman is a highly sought after teacher, her unique approach to mindful, anatomical relationships in movement has invited her to teach extensively throughout North America and Europe. As a prominent teacher of the Montreal dance community, Shulman has presented her work at McGill University’s conference „Time Forms“ and she teaches internationally within varied realms of dance education. Ami Shulman is an Artistic Associate of the Springboard Project Montreal/New York and she is a certified practitioner of the Feldenkrais Method.

Professional Experience (Performing)
2006–2009 Compagnie Marie Chouinard
2004–2008 Compagnie Flak/Jose Navas
2002 Zab Maboungou
2001 Guest performer for White Oak Project (Montreal)
2001 Gregory Maqoma/Vuyani Dance Theatre Project
2000 Inzalo Dance and Theatre Co.
1999 State Theatre Opera (Pretoria, South Africa)

Artistic Collaborations

2015 „1001 Lights“, choreography for large scale film installation in collaboration with Movement Perpetuel, presented in Finland.

2013 „Of the Survival of Images“, performance for video in collaboration with Butch Rovan has been presented in the USA, Glasgow and Athens.

2010 „In Place of the Unfolding“, performance for video in collaboration with Butch Rovan. This B/W high speed video with stereo sound has been presented in the USA.

2009 „Let us imagine a straight Line“, The Rovan/Shulman Project. This interactive Dance/Video-Installation has been presented in the USA, Warsaw, Sydney and Istanbul.

Teaching Experience
Ami Shulman’s unique approach to movement education crosses multidisciplinary fields and with her work she has been invited into the worlds of theatre, embodied mathematics and neuroscience. In the realm of dance, Ami has taught for companies and institutions such as:

Juilliard School, Göteborg Danskompani, Staatstheater Kassel, Jacob’s Pillow, CODARTS, CODA, Alvin Ailey School, Hollins University, Cedar Lake, LA Dance Project, Brown University, National Theatre School of Canada, School of Toronto Dance Theatre, Concordia University, Université de Québec a Montréal, EDCMTL and L’École Supérieure de Ballet Contemporaine.

She has also trained companies such as:
Compagnie Marie Chouinard, Compagnie Flak, Cirque Du Soleil and is an Associate Artist of the Springboard project Montreal/New York.

Further Activities

Artistic Direction / Choreographic Assistance
2013 Goteborg Operans, „Sacre Du Printemps“ / „Body Remix“, Marie Chouinard
2013 Ballet BC, „Giselle“, Jose Navas
2013 National Ballet of Canada, „Watershed“, Jose Navas, Toronto
2012 Cirque Du Soleil, „One“, Olivier Simola

Rehearsal Direction
2015 Rehearsal Direction for Tony Chong
2014 Rehearsal Direction for O Vertigo Danse under Artistic Direction of Ginette Laurin
2009–2013 Artistic Direction on tour and Rehearsal Direction for Compagnie Marie Chouinard
2005–2014 Rehearsal Direction for Jose Navas/Compagnie Flak

Choreography and Movement Direction for Theater Productions
2015 Shakespeare Theatre Company/Yael Farber’s „Salome“
2012 Grand Theatre Junction’s „Lucy lost her Heart“
2011 Repercussion Theatre’s Shakespeare, „Macbeth“

Set and Costume Design for Gregory Maqoma’s „Southern Comfort“, Southbank, London