Serge Daniel draws on his personal experience to create. Through his work, he shares his fears, anxieties and hopes. Through movement, he explores existential questions related to human relationships, individual and collective memory, time and our connection to nature, sometimes amplifying gestures to reinforce their impact. He considers the body to be a living archive, capable of conveying stories that are both intimate and universal. His dance allows him to take a stance in an embodied way, without judgement or criticism.
His creative process is based on a period of research combining improvisation and choreographic writing, nourished by various artistic and philosophical disciplines. His work, often immersive and collaborative, offers a sensitive, sometimes participatory experience, inviting reflection and sharing around human fragility and our condition as beings passing through this world.

I am fascinated by the absurdity and the grotesque of the human condition and of life in general. My choreographic work grows from observing, witnessing, and looking at people, animals, situations, and relationships from unexpected angles. I am drawn to contradictions and to what emerges when opposites coexist. I enjoy stepping -carefully-  along fragile borders: between the ugly and the beautiful, reality and fiction, drama and comedy. These in-between spaces fascinate and touch me, as they reveal a strange, unsettling poetry. In my work, I search for a singular beauty that does not aim to please, but to resonate.

Benoit works with movement, blending mime, Bboying, and popping. He likes setting strong constraints and seeing how they transform the body, how they generate movement rather than restricting it. The audience plays a key role in his work—he aims to create a real exchange, a shared presence rather than just a performance.

In his workshops, he makes sure everyone feels free to explore, try, and make mistakes without pressure. What matters is experimenting and seeing where it can take us.

Benoit is currently working closely with Alicia Cano and is the founder of KnowEdge, an association that creates spaces for meetings and exchanges, organizing events and workshops around urban dance.

Norah Noush is a versatile and transdisciplinary dancer and choreographer whose work is rooted in exploring human experiences and topics. Inspired by external spaces, she blends intensity and fluidity to create expressive, emotionally charged art. Her creative identity reflects her multicultural and multidisciplinary background, drawing on the performing arts to craft a unique, energetic universe. From live performances to concept videos, Norah thrives on bringing her imagination to life and collaborating dynamically to realize others’ visions. Her process begins with careful listening and observation, allowing each project to emerge authentically.

Catarina Barbosa is the co-founder of AWA – As We Are company. AWA’s work is mainly inspired by contemporary social issues, new technologies, identity, feminism and our place in society. Their mission is to create spaces for audience to exchange around movement. They use modern technologies and explore questions of gender and identity to address themes that are deeply resonant in our societies today. 

Alicia aims to push the boundaries of technique and form, drawing from her background in hip hop and popping. Her choreographic approach revolves around the playful deconstruction of technique and codes, immersing herself in a sea of possibilities that allow expressive discoveries to emerge. Guided by a philosophy of depth, simplicity, and repetition, Alicia seeks to reveal universal experiences through her work, fostering a connection between audiences and fellow dancers. She currently works closely with Benoit Callens.

Clio Van Aerde is a transdisciplinary artist whose practice draws attention to the often-overlooked nuances of everyday life, investigating the entanglement of humans, non-humans, and the spaces they inhabit. Her work explores the poetic and subversive potentials of these interactions, fostering environments of idleness, absurdity, and critical reflection. Central to her approach are embodied experiences, heightened spatial awareness, and an exploration of temporality. Grounded in posthumanist and queer feminist perspectives, Van Aerde’s practice challenges normative constructs of productivity, aiming to reshape perceptions of labour and everyday performativity while envisioning alternate realities.

Sergio Mel as a dancer, his art is based on the relationship with the outer space, in a powerful blend of intensity and fluidity, both expressive and emotional. As a choreographer, his identity bears the mark of all his artistic, multicultural and multidisciplinary experience. Stimulated by the performing arts in general, he intersects them to create a unique universe full of energy.

Brian CA is a multi-disciplinary artist based in Luxembourg whose work brings together different techniques such as choreography, set design, photography, digital arts and visual arts. His research is based on the construction of an individual’s identity and the impact of psycho-emotional factors linked to their socio-cultural and intimate environment. His aim is to create inter-disciplinary objects in association with artists and researchers from a variety of backgrounds.

He trained at the Conservatoire National Supérieur de Musique et de Danse de Lyon and the Ballet Junior de Genève, before embarking on a career in which he has performed works by Hofesh Schechter, Wayne MacGregor, Andonis Foniadakis, Damien Jalet, (…) in companies such as Scottish Dance Theater, Compagnie Grenade, Clod Ensemble, Opéra National du Rhin, (…). He is also assistant and coach to Elisabeth Schilling (2020 to 2023), Jean-Guillaume Weis (2023) and Sarah Baltzinger (2023).

His first creation ULTRA was selected for TalentLab22 at the Grand Théâtre de Luxembourg and will premiere in May 2024 at the Théâtre de la Madeleine in Geneva.

Through sensuality, humour and solidarity, her practice and work are inspired by animism and motivated by poetic re-enchantment, while being in dialogue with political ecology, feminism, decolonialism and queer theories and practices. As a result of tensions, wounds, problems, questions, curiosities and desires, she is concerned with regeneration on an individual, social and planetary level, sometimes through collectivity, joy or using fictional imagination to face the present and create possibilities.

” Dance and movement artist. Working with movement. Questioning: What is movement in a given moment and what remains after? What is the before and after? How does it affect the present and how does movement relate to time and space?

What can we draw from momentary experiences and how can we apply them to broader conclusions about society and living-together?

Reoccuring themes throughout the work of Annick Schadeck: Transformation, the boundaries between the organic and the inorganic, of movement and stillness, time and space, colors and music.

How to translate nature? How does nature translate the human form? “

After their training in classical ballet, jazz and modern dance in Luxembourg, they studied Architecture at the Swiss Federal Institute of technology in Zurich (ETHZ) and Media Arts at the Universities of the Arts in Zurich (ZHdK) and Vienna (Angewandte). Besides their academic studies, they worked internationally as a makeup artist in fashion and film, trained in contemporary dance and explored the art of drag in San Francisco’s and Zurich’s nightclubs. Today, they combine all these experiences in their eclectic artistic practice combining and oscillating between movement, performance, photography, video, text and installation. They work independently as well as collaboratively in varying contexts ranging from alternative and underground spaces to theaters, galleries and other cultural institutions, defying any kind of categorization of the art world.

Intrigued by the complexities and entanglements of the body, human psychology, interpersonal relationships, social norms and the relations of power that permeate our societies and identities, Valerie Reding explores the potential of vulnerability, auto-fiction, togetherness, transformation and “camp“ to work on questions around subjectivity and relationality with an intersectional approach.

“As a keen observer, I draw inspiration from fleeting moments in everyday life: an exchange of glances, a word exchanged between strangers in a public place. My work is also enriched by the work of other artists and by events shaped by my personal experiences and feelings.

I like to explore dance by fusing ordinary gestures with choreographic movements. By transforming the simplicity of our gestures into emotional expressions, I create characters born of a search for movement, combining spontaneity with more structured artistic proposals.

My art aims to create cinematic atmospheres. Although my work is inspired by real events, I want to transport the viewer into a parallel universe, outside everyday life, if only for a moment.

I am deeply fascinated by dreams and their absurdity. It is this dreamlike strangeness that I seek to capture, by mixing it with a fanciful imagination and the tangible reality that we experience every day.

Even though I don’t read poetry and don’t know any, I try to find a form of visual poetry in my creations, a kind of aesthetic language specific to my world.

Finally, whenever the opportunity arises, I like to enrich my work by incorporating costume design, which completes and intensifies the universe I propose.”

” My work is concerned with articulating textures around the uncertain, the messy, the unresolved, the complex, and opening spaces to relate to not-knowing. I am interested in creating striking and existential worlds, situated between fiction and a heightened reality. Surreal, intensely playful, and interested in form and formality, my practice spans dance, theatre, performance, visual art, drawing, and writing. “

My curiosity lies in the nature of human interactions, the potential of dance to go beyond linguistic, gender and cultural barriers to create new modes of connections. My work tends to use narration and building characters in order to create pieces that will reach to anyone and everyone on different levels. I want to create questioning through humour, wit, and emotions, explore what it means to be human in all of its paradoxes, bring dance close to the audience so that they may access and identify themselves with the piece. Dance is a media through which freedom, emotion, and imagination can be fully explored and allow oneself to question our habits and comfort zones, it can help us perceive and interact with reality in new ways.

On a more personal level, through dancing I want to try to explore my role and purpose in this paradox of life, create sense where there is none, explore the absurd and glorious nature of Being Alive. 

Hannah’s focus lies on contemporary rituals and the translation of archaic roots within our society. Her choreographic works are divided in two directions: “Taming Monsters” (recreations of classic theatre themes) and “Transformances”. Hannah reflects on eurocentrism, (post-) colonialism, racism, sexism and focuses on diversity- mainstreaming, empowerment of feminist actions and genderfluidity. Her choreographic language is creatively mixing elements of dance and theatre, of ballet, dancetheatre and performance. 

Yuko Kominami’s work consists of experiments with movements in-between (movements of becoming) where intensities of individuals intersect. It is a place where extreme existence and inevitable metamorphoses materialize. And through these experiments she aims towards affirmation of multiple and fragmented connections of “a life”.

” As a dancer and performer; I am very intrigued by the intelligence of the body and therefore by its metamorphosis in time and space. I explore limits by wondering if they are really limits. I like to observe for a long time, but when it’s time, I truly enjoy the moment to let go. “

” I like to work with movement, art and science in an organic way. Developing dance science oriented movement research, my present focus is on the exploration of the fascial connective tissue as a living matrix to re(de)fine training, performance and creation. The results are contemporary choreographic pieces where analytical thinking supports and challenges formal and informal movement. “

“My main focus is the body and its inherent potential for transformation; its status and exposure in society, as well as its presentation, representation and perception on-stage. My work is characterized by precise movement language, embodying and materializing identity questions and themes relevant to our times and sharing them with an audience.”

Jill’s artistic approach is based on personal experience, observation, and a strong connection to society and people. She is passionate about exploring the intersections between choreographic writing, sound design, and cultural exchange collaborations. Jill’s work emphasises authenticity and realism, using dance to communicate stories about life and identity. She places a strong emphasis on creating work that is inclusive and emotionally engaging, even for those who may not be familiar with contemporary dance.

Sandy Flinto, who divides her time living and working between France and Luxembourg, obtained a degree in visual and performing arts at the Academy of Fine Arts in Ravenna (Italy). She completed her artistic research by training at the Laboratoire de théâtre physique (LFPT) in Paris. Pierrick Grobéty was born in Switzerland and currently divides his time between France and Luxembourg. He began his career as a drummer and continued his training in composition, conducting and music and sound interpretation. Daniel Mariangeli studied German literature and philosophy in Luxembourg and Germany. As an avid reader, he developed a passion for theatrical literature as well as for political, moral and anthropological philosophy, which gave him the impetus to become a playwright.

It’s all about suspension, restraint and letting go.  The movement is much like a machine, once you start it, you let it do its own work. It continues endlessly, like a spiral that rises from the earth.
Authenticity and instinct – how to untie knots and open doors. Finding identity and personality in the process of moving through space and time.

My work is about getting lost in the real world and catching the soul and spirit in an inner world. Changing emotions, traveling with them. Playing characters, living them – finding yourself in them. The studio is a playground where there is no room for judgment. It’s all about trust and sincerity, about connecting with the other, about receiving, giving and exchanging.

What inspires me? Life and all its emotions, from the most beautiful to the most poignant. Deconstructing walls in order to see the opposite and thus be able to find balance. Black, negative, cloudy sky — finding colours, a ray of sunshine.

I am inspired by stories, people, sanity, strong emotions,… as long as I feel connected and the need to explore it, I’ll go for it.

In her choreographic research, Sarah Baltzinger is having fun exploring all possible avenues around the puppet body. Her language unfolds through protean objects that navigate between absurd theatricality and fragmented bodies. She populates her various works with hybrid creatures and mechanical puppets to create liberating objects that seek to reveal our fragilities, and likes to use the body, in conjunction with different materials, as a complex tool of possibilities aimed at transforming the natural approach to movement to create strange worlds. Her movement explores distortion, disarticulation, mechanical gesture and combinations of bodies. In her creative process, she tends to reveal the singularities of each individual by conducting a genuine theatrical research.

Sarah Baltzinger’s work questions the impact of our environment and its consequences on our identity and intimacy, the way it transforms and affects us, constraining or liberating us. It questions the way how we present ourselves to the world, and how the body becomes a vehicle for multiple, elusive and surprising representations. She works closely with the multi-disciplinary artist Isaiah Wilson, with whom she has formed a partnership for several years.

With the company Corps In Situ, Jennifer creates, explores, encounters, performs and dances on stage, in the public space, in schools, etc., reaching out to audiences through creations in multiple forms, with a particular focus on the very young. The choreographic universe is at once visual, musical and wordless, making the creations accessible to young people and all audiences, whatever their age, geographical origin or social background. The movement is dynamic, imbued with physicality and nourished by the collaboration of the artists with whom she works.

Isaiah Wilson is an experimental artist based in Luxembourg. His work combines contemporary dance, video, electronic music composition & computational art. This medium diversity allows Isaiah to create unique and immersive worlds in which he invites his audience into layered sensorial experiences designed to reveal their vulnerability and eventually bring them closer to themselves. Isaiah makes a point to have the audience being part of the space and as a result, part of the performance, be it through the nature of the sites he chooses or by reimagining their very framework. Isaiah creates art pieces that challenge the human body, plunging it into worlds built from chaos and hope. With an existentialist reading Isaiah aims to explore the many facets of human emotions by showing them through an absurd lens, juxtaposed with the ever-changing technological advancements of the 21st century.

HANI DANCE is a dynamic movement art company that celebrates cultural variety through innovative dance pieces. Under the direction of Saeed Hani, we explore themes of strength, spirit and intellect and bring our performances to life with our creations. Using nude art, visual art and contemporary dance, we create captivating narratives rooted in human history and experience. With great attention to detail, we stage movements that push boundaries and invite the audience to connect deeply with our stories. Through our art we aim to stimulate the imagination and inspire reflection on the beauty and complexity of the human condition.

Elisabeth Schilling makes dances beyond dance. With an international team and across different collaborations, we develop transdisciplinary projects between movement, design, visual and plastic arts and music, making the disciplines dance among themselves and with each other. We have thus tasked ourselves with making contemporary dance happen in established dance spaces as well as in unusual places. Accordingly, our productions tour European metropolises as well as more rural areas, black box theaters as well as museums, galleries, concert halls, historic buildings and public spaces. Dance is thus, almost in passing, rendered accessible to a new public. At the same time, an important part of our work consists in different formats of creative learning for each production, we develop a programme for various audiences, ranging from specifically devised post-performance discussions with the audience to accompanying workshops, symposia and catalogues.

Giovanni’s work is based on human relationships and dialogue through dance. His multidisciplinary artistic approach focuses on body confidence, guided by his inherent energy where images, movements and emotions appear. Fascinated by the complexity of the human being, his work explores the instinct, identity and authenticity of movement, transposing it into a poetic and absurd universe.

These works are transposed into social, philosophical, emotional and timeless subjects in order to materialize them in a universe that is both dreamlike and real, clashing the tragic and the comic, the expected and the unexpected, distorting them with grace.

Interested in research, sharing and transmission, he attaches importance to the accessibility of dance, mixing the different arts and universes that allow him to get closer to the public in order to expand and establish artistic possibilities. His writing and his choreographic language are constantly evolving, questioning himself through curiosity and exploration in order to refine and develop his universe.

“I am fascinated by the uncompromising tension, inherent to our human condition; that twisted corporeal needs vs. spiritual life. I am interested in emotional and physical states and how they create movements. I am interested in the collision between the graceful and the dissonant, the comic and the tragic, the grotesque and the transcendent. The constant back and forth between the shape and the depth, the brutal movement. I believe cultural constructions, stifled pulses and the absurdity of our human condition at its most bizarre are at the centre of my work. Dance becomes a tool to question what is beyond us: this intangible thing that makes us wholly human”.