Eulalia Ayguade
Rasmus Ölme
Thierry Baë
Douglas Becker
Anne-Marie Blink
Benjamin Boar
Tobiah Booth-Remmers
Dominique Duszynski
Ernesto Edivaldo
Leif Firnhaber
Ori Flomin
Jozef Frucek
Cassiel Gaube
Renate Graziadei
Lance Gries
Julyen Hamilton
Saju Hari
Robert Hayden
Milan Herich
David Hernandez
Roxane Huilmand
Peter Jasko
Hun - Mok Jung
Linda Kapetanea
Matej Kejzar
Martin Kilvady
Kurt Koegel
Anton Lachky
First Name Last Name
Tijen Lawton
Susanne Linke
Renan Martins de Oliveira
Cruz Isael Mata
Piergiorgio Milano
Marielle Morales
Thi-Mai Nguyen
Claire O'Neil
Janet Panetta
Chrysa Parkinson
Shi Pratt
Sten Rudstrom
Arthur Stäldi
Rakesh Sukesh
Milan Tomášik
Armand van den Hamer
Céline van der Haegen
Shosha van Kranendonk
Alexander Vantournhout
Sun Xiao Jun

Shosha van Kranendonk

Shosha van Kranendonk, 1987, The Netherlands. Shosha started her education at the Steinerschool, where she developed her sensibility for music, painting and dance. She continued her education at Fontys Dance Academie in the Netherlands, graduating in 2010 as “dance theatre” performer. Shosha is based in Brussels where she works as dancer, teacher and dance maker. Her interest, continuously present in her work, are: dance expression, the senses, touch and interaction with the public. As a teacher she develops a method where the focus lies on dance as a tool to connect and to heal oneself. She works with professionals, amateurs and also people with disabilities. She is teaching and dancing with people with the sickness of Parkinson, blind people and people with a psychical handicap. She works with Vera Tussing for the creation of Mazing 2016. Since 2013, she collaborates with Benjamin Vandewalle. In 2009, the Mammalian collective was born, an ongoing artistic research about new ways of togetherness, with Teresa Norohna Feio and Elodie Morard, giving yearly presentations. Shosha also worked with Pia Meuthen, Einat Tuchman, Cie Transe-en-Danse, Ultima Vez. Collective Body Talker, and developed her own work in: Aan de andere kant vd Wereld, MOZART, TRACES and SENSCAPE 2010-2014.

In this workshop we studie the feelings that are related to movement. I will guide a process of visualising, drawing and dancing. Why the combination of this three actions: The imaginary can give a new sensitive relation to the body. Drawing can help to bring this new relation out through symbols. Embodying the imaginary will concretely make changes happen. This work can give a better understanding of what is alive in you; what is misunderstood; what is hidden; what needs attention; what needs change. A workshop where everyone find his personal dance. Becoming our imaginations, dancing them, will allow us to go past self imposed limits in order to break through preconceived models of physical behaviour and move in ways we never allowed ourself to move before. The purpose of this work is to create change: in the dance, and also in the dancer. Where we stretch physical boarders, often we do also touch emotion themes. To warm up our mind and body we will do meditations; automatic writing; spontaneous dancing. Also we will give attention to get more aware of the senses by isolating them, with a big focus to the kinaesthetic sense.