The CCN invites artists in residence to open up their trainings to local professional dancers and anyone with a physical practice.
WE WANT TRAINING takes many forms, depending on each artist's approach: warm-ups, movement exercises, classes, practices.... These events take place in the mornings from 10am to 11am.
WE WANT TRAINING invites us to share, question and reconsider everyday artistic practices.
Originally from Catalonia, Quim Bigas works in the fields of choreography and dramaturgy. Since 2017, he has been working on projects that question the sense of belonging through dance and movement. In his various creations, iel often uses documentary processes, seeking to deploy the possibilities of a long temporality in choreography. Since 2018, iel has been a dance teacher at Den Danske Scenekunstskolen (Copenhagen).
After training in classical dance, Belgian choreographer Louise Vanneste turned to contemporary dance and joined P.A.R.T.S. in Brussels. She continued her training in New York with the Trisha Brown Dance Company. Her artistic research seeks to broaden the territories of dance, exploring in particular the workings of plants and scientific phenomena linked to geology and climate. In parallel with her choreographic work, Louise Vanneste has been involved in teaching and transmission for the past ten years.
Originally from Recife, Brazil, and based in France since 2013, Calixto Neto trained in theater at the Federal University of Pernambuco, then in dance with the Groupe Experimental de Danse before taking the ex.e.r.ce master's degree in choreography at the Centre chorégraphique national de Montpellier. In his work, he strives to make minority bodies and identities visible, and is interested in "peripheral" dances on the bangs of institutional circuits.
Originally from Rwanda, Dorothée Munyaneza moved with her family to England in the summer of 1994 at the age of 12, where she studied music at the Jonas Foundation (London) and social sciences at Canterbury, before settling in France. Musician, author and choreographer, Dorothée Munyaneza has developed a fiery body of work. She starts from reality to capture memory and the body, to carry the voices of those who are silenced, to make the silences heard and reveal the scars of history.
Trained with Compagnie Coline in Istres, then at the Centre chorégraphique national de Montpellier and P.A.R.T.S, David Wampach has developed a personal approach, imbued with theatrical and plastic influences. Between mathematical rigor and burlesque excess, David Wampach invents contrasting universes: polished sets, a rigid framework, a scrupulous distribution between feminine and masculine, targeted choreographic stakes, and behind the apparent order, the anarchic explosion of passions.
Choreographer and dancer Nina Santes sees the stage as a space for emancipation, metamorphosis and freedom. Descended from several generations of itinerant theater and puppet artists, she made her stage debut as a puppeteer before turning to dance. She has developed a transdisciplinary approach, articulating dance with song, music and the relationship with materials and objects.
Ola Maciejewska is a choreographer born in Poland and based in France. Her work focuses on the frictions between materiality and ephemerality, movement and its conditions of appearance. In the light of these questions, she produces a critical reading of the history of dance. Working on the convergences between dance and the visual arts, her series of works centered on the serpentine dances invented by Loie Fuller engage the viewer in a reflection on metamorphosis, the natural world and the hybrid nature of embodiment.
