Artistic collaborators

Sarath Amarasingam is self-taught in hip hop, Indian and contemporary dance. He has danced with Emmanuelle Vo- Dinh, Santiago Sempere, Jean-Christophe Bleton, Michel Lestréhan and Marion Ruchti. Since 2008, he has collaborated with Haim Isaacs, Rochelle Haley, Isabelle Lefèvre, Vadim Vernay and Fabio Bello. He is interested in “hybrid movement” and continues to explore the idea of blending and mixing which he develops in several projects he calls “dances in dialogue.”
In 2014, he joined the Centre Chorégraphique National de Caen/ Basse-Normandie for the creation of Waves by Héla Fattoumi and Éric Lamoureux.

Matthieu Bajolet first studied at the CNSM in Lyon, working in a range of styles including José Limon, Denis Plassard, Dominique Bagouet and Merce Cunningham … In 2002, he entered the prestigious P.A.R.T.S. school under the direction of Anne Teresa de Keersmaeker. From 2006 to 2009, he was a dancer in 1000 départs de muscles by Héla Fattoumi and Éric Lamoureux, directors of the Centre Chorégraphique National de Caen/ Basse-Normandie. He also worked with les Gens d’Uterpan, François Raffinot, Thomas Lebrun, Geisha Fontaine and Pierre Cottreau, Dominique Brun, Lionel Hoche and created a duo with Judith Gars at Mains d’œuvres in April 2009: He’s dead, Jim.
Mathieu Bajolet has also worked on several projects with Mylène Benoit and Olivier Normand for ICI. Since 2010, he has performed for Joanne Leighton in Made in … Série, Exquisite Corpse and Les Modulables.

Having studied jazz and hip hop dance in her youth, Marine Chesnais then discovered contemporary dance. She first studied at the Conservatory in Angers and then continued studying at the CNSM in Paris, beginning in 2003. For five years she worked with, among others Rosalind Crisp, Daniel Dobbels, Christine Bastin, Paco Dècina and Pedro Pauwels. At the same time she studied in France and abroad with Joseph Nadj, Angelin Preljocaj, Emio Greco, Wim Vandekeybus … and also with Brigitte Asselineau who initiated her into butoh and martial arts.
Having earned her degree, Marine Chesnais began dancing with Héla Fattoumi and Éric Lamoureux, participating in Performance Giacometti (2008), express2temps (2008), 1000 départs de muscles (2007) and Just to Dance…, created in 2010).

Born in 1983, Gaspar Claus, son of the famous Flamenco guitarist Pedro Soler, began studying the cello at the age of 5. He continued his classical training with great teachers such as Philip Muller at the CNSM of Paris. But Gaspard also wished to expand his range, working in pop music (with Ramona Cordova, Damo Suzuki, Cali …), electro (Joakim de Tigersushi), and experimental music. He also worked with dancers (Nina Dipla and Moeno Wakamatsu), actors (Anne Alvaro, Serge Pey), masseurs and animals … which marked the genesis of “Schrodinger’s cat,” an extravagant work blending music, physics and domestic animals! And then there’s the crazy duo he created with a masseur at a Christmas market in Berlin!

In 2011, still seeking new artistic experiences, he began working in Flamenco music with his father, Pedro Soler, on the album Barlande. He joined the team on Waves, alternating with Zack Miskin on tour.
Gaspar Claus is a unique artist who may rub, strike, caress or mistreat his cello to fulfill his musical needs: “I don’t feel like I belong to any one tradition, instead I am participating in the decompartmentalizing of musical genres.”

Having studied dance in a program proposed by Laurence Guilleux at the SUAPS of Caen, Matthieu Coulon joined the Compagnie CHanTier21THéâTre (Antonin Ménard) at the same time he studied performing arts with a focus on film. In 2008, he began collaborating with the Compagnie alleRetour. Since then he has continued working with both companies, working in both theatre and dance.
In 2011, he worked with Sophie Quénon (ACDS-Dernier soupir) on Trace … nos écritures and in 2013 he joined the Centre Chorégraphique National de Caen/ Basse Normandie and participated in the creation of Waves by Héla Fattoumi and Éric Lamoureux.

Jim Couturier began studying contemporary dance at the age of 5, with his mother, Claudine Couturier. At 9 he knew he wanted to be a dancer and began studying different styles of dance: jazz, hip hop and ballet. He also enjoyed sports, playing soccer, and studying both gymnastics and circus arts.
In 2005, he entered the CNSM in Paris, studying with Susan Alexander, Peter Goss, Florence Vitrac, Christine Gérard, Didier Shilol, André Lafonta, Serge Ricci, Thomas Lebrun, Angelin Preljocaj and Hofesh Shechter.
He earned his degree in 2012 and began working in dance- theatre with the Compagnie Toujours après minuit (Roser Montllo Guberna and Brigitte Seth) and Didascalie (Vincent Morrieux). He then co-founded the Compagnie A.J.T with Aymeric Bichon, Aurore Godfroy and Thalia Ziliotis. He also danced with the choreographer Hervé Diasnas and joined the Centre Chorégraphique National de Caen/ Basse-Normandie in 2013 for Flânerie and then participated in the creation of Waves by Héla Fattoumi and Éric Lamoureux.

Anaïs Dumaine began studying contemporary dance in the Caen community. After studying environmental biology at the University of Caen, she joined the Professional Orientation cycle at the Caen Conservatory from 2006 to 2009. During this time she encountered Dominique Jégou, working on the repertory of the late choreographer Dominique Bagouet, for whom she became both assistant and dancer in 2010.
She continued studying in Belgium in workshops directed by Joanne Leighton, Fabrice Ramalingom, Martin Kilvady and Zoé Poluch, and in New York she studied with Irene Hultmann at Movement Research. In 2010 she participated in the research workshop led by Boris Charmatz for his creation Levée des conflits. She then joined Héla Fattoumi and Éric Lamoureux for the creation of Circle with amateur dancers and Lost in Burqa in 2011.

A young Swedish dancer, 23 years old, Lea Dodik began dancing at a very young age at the MAF in Malmö. She was an active collaborator in the Gryningsteatern collective and studied at both the Ballet Academy of Stockholm and the Rotterdam Dance Academy in 2011. Along with her own work (installation and performance), she danced for the choreographers Catarina de Oliveira and Ingrid Rosborg. In January 2012, she met the choreographers Héla Fattoumi and Éric Lamoureux during their research residency in Malmö.

A self-taught musician, Jean-Noël Françoise worked with a number of rock and experimental groups in the early 90s. At the same time he composed the soundtracks for a number of short films by Norman directors, one of which was 5 Lettres à Edward Muybridge by Édouard Monet, presented at national and international festivals.
A multi-instrumentalist, composer and arranger, he now works with live performing arts.
In dance he collaborated on the sound score for 1000 départs de muscles by Héla Fattoumi and Éric Lamoureux. He also composed for Life Like for the Compagnie Silenda and has worked since 2009 with the Congolese company Baninga/ DeLaVallet Bidiefono which was a highlight of the Francophonies de Limoges and the Hivernales.
In theatre, he has worked with David Bobée’s Rictus group on several pieces: Cannibales, Petit Frère, Nos enfants nous font peur quand on les croise dans la rue, Gilles, This is the end and Roméo et Juliette. He created the sound scores for the Compagnie des Furies (formerly Le Globe) of the Fauvel brothers, notably L’Élan Bleu. For Frédéric Deslias, he composed for Le Clair Obscur and for Hermself, which recently won an award at the festival Les Bains Numériques and finally for the Tentations d’Aliocha of the Panta Théâtre.
He also participates in music workshops and readings with music for the Festival La Paix in Caen, and in hospital and prison settings. He organized the Pôle Musical for the annual project of the Basse-Normandie region in Norman high schools, coordinated this year by Antonin Ménard. In addition, he is a member of the Purée Noire collective where he experiments with other fields of acoustic action: concerts, improvized music, installations, “cinémix.” He works with Akelnon for their week entitled Dia de los Muertos in the church Saint-Sauveur in Caen and for the Ateliers Intermédiaires.

From 2006- 2008, Mélanie Giffard danced for Jacky Auvray. In 2008, she joined the training program “De l’interprète à l’auteur” at the Centre Chorégraphique National de Rillieux-La-Pape, directed at that time by Maguy Marin. In 2009, she attended a series of workshops with Vincent Dupont who invited her to observe the creation of Souffles at the Ménagerie de Verre. At the same time she created Brouhaha in Berlin, a solo about family relationships. In 2010, she attended Boris Charmatz’ workshop for his creation Levée des Conflits. She participated in Skite, a laboratory and meeting project between artists, initiated by Jean-Marc Adolphe and Danse Perspective in Caen and danced with Daniel Clifton, an American choreographer. There she met Garance Dor and Maud Le Pladec. In 2011, she joined Héla Fattoumi and Éric Lamoureux for the creations of Circle with amateur dancers and Lost in Burqa.

Having trained at the Conservatory of Angers, Sandrine Kolassa then attended the Conservatory in Lyon, then the CNSM of Paris where she earned her degree in Choreographic Studies as well as a unanimously awarded 1st prize in 1999.
At the same time she attended many professional-level courses, notably with Françoise and Dominique Dupuy with whom she worked for several years. More recently she encountered Nadine Beaulieu. She also studied contact improv and improv with Claire Filmon, Mark Tompkins, U. Stauffer, Christine Burgos, AnneMarie Pascoli and José Vidal.
For several years now she has danced for the choreographers Didier Théron, François Ben Aïm, JeanAntoine Bigot and Anne Lebatard (compagnie Ex-Nihilo), Héla Fattoumi and Éric Lamoureux (Centre chorégraphique National de Caen/ Basse-Normmandie), Laura Simi/Damiano Foà (cie Silenda), Pierre Deloche, Cathy David, Serge Papiernick, Collectif Ephémère (improvization). In 2007, she and Philippe Rouaire co-founded the Compagnie Shayela. In 1996, she earned her French national degree as a dance teacher.

Born in Morocco in 1966, Majida Khattari studied at the Beaux Arts School in Casablanca, then at the Beaux-Arts School in Paris.
Since 1996, Majida Khattari has created runway shows/ performances inspired by the situation of women in Arab society. She examines the concepts of freedom and the relationship with the body and conceives and creates sculptured clothing for models who are then placed onstage. She fully stages her performances, using voice, music and dance. Her “clothing” address the idea of confinement, referencing the current political situation and questions of secularity and religion. She also takes photographs, creates installations, videos and films.
In 2010, her runway show VIP: Voile Islamique Parisien, presented at the Théâtre de la Cité Internationale in Paris, was a significant development in the artist’s work. By moving into the fashion world, Majida Khattari declared that the reality of confining women’s bodies encompasses more than the veil or other religious covering. The elitist, codified world of fashion shows us another way of imprisoning bodies and minds. In her performance pieces, the form of the runway show, the way the models move, the choice of fabrics, the manipulation of the logos – all help to show how fashion and its diktats may be equally alienating in terms of women in society.

In 2010, Majida Khattari attended a performance of Manta, a creation by Héla Fattoumi and Éric Lamoureux, directors of the Centre Chorégraphique National de Caen/ Basse-Normandie. The freedom of women and the questioning of the Muslim veil in the imagination were subjects the choreographers and the plastician had in common – and it led to the creation of a new work, Lost in Burqa. The performance, conceived by Héla Fattoumi and Éric Lamoureux based on works by Majida Khattari, was programmed as part of the 6th festival Danse d’Ailleurs proposed by the CCNC/ BN to the Ecole Supérieure of arts and media in Caen. And at the same time the Artothèque of Caen presented the exhibition Captives by Majida Khattar.

Specializing in the creation of costumes for dance, Maryline Lafay created her first pieces for the works of Philippe Découflé. She has also created costumes for Josette Baïz and Franck II Louise and worked on costumes by Fabrice Hyber for Les 4 saisons by Angelin Preljocaj.

She approaches a dance costume as an object which will enhance or transcend movement. She has worked with Héla Fattoumi and Éric Lamoureux since 2007 notably for Stèles at the Louvre Museum (2009) and for Giacometti at the Beaux Arts Museum in Caen ( 2008), as well as for other creations such as Apparat and 1000 départs de muscles.

Xavier Lazarini learned to design lighting through a series of courses (ISTS, CFPTS, the Ecole Nationale Louis Lumière) and while working as an assistant to Marie-Christine Soma, Rémi Nicolas and Dominique Bruguière. He worked in different artistic areas, including theatre with Dieudonné Niangouna, in new circus arts with the Cie Moglice – Von Verx, and also in museography and other events (music festivals, fashion shows, architectural lighting). In contemporary dance he has worked with Héla Fattoumi and Éric Lamoureux for ten years, and also with Franck II Louise, Radhouane El Meddeb, Xavier Lot and Hafiz Dhaou. He was also principal stage manager for the Compagnie Josef Nadj – CCN d’Orléans from 1998 to 2005.

He also works to develop new materials and new creative tools, optimizing adaptations used in the touring of productions.

Born in France in 1980, Guillaume Lantonnet was interested in all forms of music but focused rapidly on percussion instruments and drums. He was interested in classical and contemporary music as well as creation, multiplying collaborations with other artists in various musical and theatrical settings, including jazz and pop music. He has worked with the Orchestra de la Suisse Romande under the direction of Vladimir Ashkenazy, Armin Jordan and Ernst Von Donanhyi; in Le Sacre Du Tympan by Fred Pallem as well as with André Minvielle, Jean-Marie Machado and Daphné. He has appeared with François Morel, Philippe Katerine, Olivia Ruiz, Bénabar, Lucrèce Sassella, Luz Casal, Féloche … with Eklekto (Geneva Percussion Center), Cairn et Contrechamps, creating as a soloist or with the ensemble the works of the composer Philippe Hurel, Emmanuel Nunes, Luis Naon and Pierre Jodlowsky.

He studied in France with Francis Brana and Jacques-François Juskowiak, in Switzerland with Jean Geoffroy, William Blank and Yves Brustaux at the Haute École de Musique in Geneva. Then with the composer Georges Aperghis in the post-graduate course at the Théâtre Musical at the Hochshule der Kunst in Bern.

After training at the Coline program in Istres in 2008, Bastien Lefèvre joined the Compagnie Kelemenis for the creation of L’Amoureuse de monsieur muscle, a young audiences piece, and for the revival of Aléa. In 2009 he participated in the creation of Disgrâce. At the same time, he danced in Au bois dormant proposed by Thierry Thieû Niang and Patrice Chéreau. He met the actor Jacques Gamblin onstage during a danced reading performed at the Festival des Correspondances in Manosque and worked with him on the creation of Tout est normal mon cœur scintille.

In 2010, he collaborated with Thierry Thieû Niang on Le Bel Age, Mon corps mon lieu and in the carte blanche evening for Patrice Chéreau at the Louvre, D’autres visages et d’autres corps. He also participated in Skite 2010 in Caen, a research residency initiated by Jean-Marc Adolphe.

In 2011 and 2012, he assisted Thierry Thieû Niang on Les Zéniths et Personne(s) and joined Hervé Robbe with Travelling and Co. on the creation of Slogans. In 2013, he performed with Héla Fattoumi and Éric Lamoureux for the revivals of Just to dance…, Husaïs and Solstice (remix), Flânerie and Waves.

Born in Antananarivo (Madagascar), Johanna Mandonnet began studying dance in Clermont-Ferrand. She continued studying at the CNDC in Angers, working with the techniques of Matthew Hawkins, Norio Yoshida, Marie-France Delieuvin, while at the same time she discovered the work of Dominique Dupuis and Carlotta Ikeda. She also danced in works by Cyril Davy, Claude Brumachon and Abou Lagraa.
Later she worked with Isira Makuloluwe and Pàl Frenàk (Frisson). Xavier Lot choreographed On n’arrache pas les pétales de fleurs à mains nue for her, a solo about the identity of the African woman. Since then she joined the Cie Toufik OI for #IM3 and Zoon, and collaborated with the Cie CHATHA – Aïcha M’Barek and Hafiz Dhaou on Khaddem Hazem (2004), Vu, Khargba – Jeu de pouvoir (2011)). She joined the Compagnie L’Adret in 2009 for the creation of Sumbiosis and in 2010 for En Lisière. She performed in Masculines and Waves by Héla Fattoumi and Éric Lamoureux.

Clémentine Maubon was born in Angers in 1987. After studying gymnastics for several years, she studied at the CNR in Angers, then at the CNR in Paris. In 2006, she entered the professional training program Coline for two years, participating in the creation of Sextet by Hervé Robbe, D’une virgule à l’autre, a creation by Odile Duboc and revivals such as Aléa by Michel Kelemenis and 99 duos by Jean-Claude Gallotta. She then joined the PRCC – Choreographic Research and Composition Program at the Royaumont Foundation, directed by Myriam Gourfink. She also worked with five young choreographers.

She also joined the Cie Les Gens d’Uterpan to participate in Parterre, Assis-Debout-Couché as well as The Great Learning, paragraphe 5; 1969 (by Cornélius Cardew) and Pièce en sept morceaux. Shortly thereafter she also joined the Cie Gianni Joseph for the revival of Ladies et Ladies’ Men, of Egoïstes and Play Me Again. She later met Olivier Dubois who offered her a role in Révolution, and she participated in the project by Paquito and Anne Reymann, 3,5 tonnes et un Fa #. She also worked with Frédéric Werlé for the creation of La véridique et très véritable histoire d’amour de Carmen Dragon et Louis Loiseau. In 2012, she joined the Centre Chorégraphique National de Caen/ Basse-Normandie for Masculines and Waves, by Héla Fattoumi and Éric Lamoureux.

Zachary Miskin is an American composer and cellist who lives in Paris. Born in New York to a music-loving family, he was immediately interested in music and specifically the cello. The idea of pushing and incorporating classical conventions of the instrument in non-traditional contexts: experimental, pop, serial, electro-acoustic folk – all of it has been a catalyst for a number of compositions, concerts, collaborations and recordings by artists who easily cross genres and artistic disciplines.
An artist signed by Naive, he has performed in many important concert halls and festivals, in a wide range of collaborations across disciplines. Zachary Miskin is inspired by innovation in creation and is an expert advisor for many subsidized theatres in France, working also in programming for theatres in Paris, notably La Gaîté Lyrique.
He began studying in New York, studied music and philosophy at Vanderbilt University before coming to Paris to study with Alain Meunier at the Conservatory. He plays a Barbieri cello (also known at the CBBG Miskin).

Having trained at the École Nationale Supérieure des Arts Décoratifs in Strasbourg, Stéphane Pauvret also earned a post-graduate degree in scenology and a post-grad international diploma at the École régionale des Beaux-Arts in Nantes. He is part of a new generation, interested in permanent exchange with other artists, plasticians, directors and choreographers … working alternately as a set designer, video director, film programmer and photographer, using techniques and concepts directly related to his experience workingo onstage. He is especially interested in “decontextualizing” certain practices in the field of contemporary art and film.
He often collaborates with the director Bérengère Jannelle (Arborescence, 2008, Le Cid, 2007; Une soirée chez les Fox, 2006; O Adversario, 2002/ 03; Le Décameron, 2000), with the Lieu Unique in Nantes (Camping Sauvage, 2005; Nuit étoilée, 2002, and designed the permanent lighting for its Lieu de vie space) and beginning in 2007 with Héla Fattoumi and Éric Lamoureux for 1000 départs de muscles and Express de temps in 2008.
In 1998, he began creating sets in Strasbourg for the contemporary music festival Musica and the cultural TV channel Arte. As a regular collaborator at the Le Maillon theatre, Scène européenne de Strasbourg, he met the director Roméo Castellucci whom he assisted in Italy during the winter of 1999 for the creation of Genesi and Voyage au bout de la nuit. He participated in collective exhibitions in Paris (Nuit Blanche, 2003; Galerie Glassbox, 2003),Nantes (at the Lieu Unique, 2005; at the Museum of Beaux- Arts, 2004; at the gallery of the Regional School of Beaux-Arts, 2002 and 2003).
In 2004, he was awarded the Plastic Arts Prize from the city of Nantes for the entirety of his work. In 2008 he presented his first one man show at the FRAC of the Loire region.
His most recent designs have been for LIFE (Lieu international des Formes émergentes) in Saint Nazaire, directed by Christophe Wavelet; Global Life Japan 2007, Live/ Life 2008 and 2009. For Bérangère Jannelle he created La Périchole d’Offenbach at the Lille Opera in 2009. For Éléonore Weber: Rendre une vie vivable n’a rien d’une question vaine, a creation at the Avignon Festival in 2007, Tu supposes un coin d’herbe, a creation at the TNB in Rennes and at the Théâtre de La Bastille, 2007.

Peter von Poehl was born on March 31, 1972 in Malmö, Sweden. In the early 2000s, he collaborated with Bertrand Burgalat and his Parisian label Tricatel, in particular on the album by the writer Michel Houellebecq, Présence humaine. He then offered his talents as director, musician and composer to artists as different as Alain Chamfort, Depeche Mode and Bertrand Burgalat himself. When Tricatel’s recording studio in Paris closed, Peter von Poehl continued to produce recordings for other artists, among them Doriand (Le Grand Bain, 2004), Lio (Dites au Prince Charmant, 2005), Florian Horwath (We Are All Gold, 2005), Vincent Delerm (Les Piqûres d’araignée, 2006) and Marie Modiano (Outland, 2008).
His first solo album, Going To Where The Tea Trees Are was released in 2006 by the well-known French label Tôt ou Tard, then by several independent labels such as Bella Union (UK), World’s Fair (USA) and Speak n’ Spell (Australia). The album received tremendous reviews and the use of his song The Story Of The Impossible in a film expanded his music to reach an even wider audience. He then toured in France and around the world opening for important artists such as Air, Phoenix, St Vincent and Brian Wilson. His second album May Day was released in 2009, co-produced by Christoffer Lundquist and recorded at the AGM studio of Vallarum in southern Sweden. Again a tour followed the release, in which he performed alongside Ben Harper, Wild beasts and Peter Doherty. In 2010, he represented Sweden at the World’s Fair in Shanghai.
His third studio album, Big Issues Printed Small, was released in March 2013. In close collaboration with the arranger Martin Hederos, the album is based on a score written and developed for different orchestral formations as large as 40 musicians – which he performed in a series of concerts at the Salle Pleyel in Paris or the Rennes Opera. After an absence of nearly 4 years, audiences and the press acclaimed the new album and welcomed Peter von Poehl back to the stage.
Von Poehl also composes film soundtracks, among them the cult classic Vanishing Waves by the Lithuanian Kristina Buozyté in 2012 and Main dans la main by Valérie Donzelli (France, 2012); she had already used some of his music for her film La Guerre est déclarée (2011). In 2013, he began working with the choreographers Héla Fattoumi and Éric Lamoureux, composing an original score for symphony orchestra.

After studying at the CNR in Caen under the direction of Julien Le Hoangan and also attending university, Philippe Rouaire participated in a number of choreographic projects around the Normandy region.Beginning in 2000, he began performing in France and abroad, working with, among others, Isabelle Pillon, Santiago Sempere, Erika Zueneli, Jens Bjeregaard (Denmark), Damiano Foà and Laura Simi. He also trained with other choreographers, Lloyd Newson (DV8 Physical Theater), Jordi Cortès-Molina (contact-partnering), Jess Curtis (low flying movement, contact), Thomas Haeurt (improvization), Hans van der Broeck (les ballets C. de la B.) and Joanne Leighton (release technique).
Since 2008, he has danced with Héla Fattoumi and Éric Lamoureux, notably in express2temps (2008), Just to dance… (2010) and in the performance pieces Giacometti (Museum of Beaux-Arts, Caen, 2008), Stèles (Louvre Museum, 2009), Circle (2011) and Flânerie (Museum of Beaux- Arts, Caen, 2013).In 2007, he and Sandrine Kolassa founded the Compagnie Shayela; he co-signed with her their first duo Limbes in 2008. In 2011, he met Thierry Thieû Niang who created for him the solo Un cœur brûlant as part of the Histoires exquises project initiated by the choreographer Emmanuelle Vo-Dinh. In 2014, he danced for Sophie Lamarche Damoure/ Compagnie itra and for several years he has been involved in pedagogical outreach in contemporary dance as part of the Danse à l’hôpital program, among others.

Alissa Shiraishi was born in 1976. Inspired by her father’s music, she chose art as her life’s work at a very young age. After studying fashion design at the University of Plastic Arts in Kyoto and a first experience designing for dance concerts, Alissa Shiraishi began studying contemporary dance: in 2006 she attended the Dance Institute of Akira Kasai and worked on the various “Coaching Projects” of the Art Center and the courses at the Hot Summer Office in Kyoto, notably in classes with guest teachers such as Éric Lamoureux and Didier Théron, with whom a collaboration began. In 2007, she danced in Harakiri, then Nous autres (2008) and Gonflés (2009), works choreographed by Didier Théron. In 2009, she was selected by Héla Fattoumi and Éric Lamoureux for Just to dance… and recently she collaborated with David Wampach on his project Bal (2012).

In 1993, Pierre-Emmanuel Sorignet participated in a danced opera by Philip Glass, choreographd by Birgitta Trommler in Germany. He has also worked with the Compagnie Silenda (Laura Simi, Damiano Foà). More recently, he collaborated with the Ben Aïm brothers, and with Héla Fattoumi and Éric Lamoureux. He is an associate researcher at the Social Sciences Laboratory at the Ecole Normale Supérieure (ULM) and is a senior lecture at the University of Toulouse III. His sociology work is focused mostly on “dance as a profession” and he has written several sociological articles with this theme. The synthesis of this work was in a book published in 2010 by Éditions La découverte: Danser, enquête dans les coulisses d’une vocation.

Born in Estonia, Nele Suisalu, after studying semiotics, earned a degree in choreographic research in 2005 at the University of Tallinn. Shortly afterward she returned to her language studies and earned a masters degree in interpreting at the University of Tartu. At the same time she created her first dance work and began writing dance criticism for the Estonian cultural weekly Sirp and the magazine Teater.Muusika.kino.

In 2007, she began studying in the ex.e.r.ce training program at the CCN of Montpellier Languedoc-Roussillon directed by Mathilde Monnier, with Xavier Le Roy as guest artistic advisor. She moved to France while staying in contact with her native Estonia, and began dancing with a wide range of choreographers: Laure Bonicel (Bad Seeds), the Cie Étant Donné (Frédérike Unger and Jérôme Ferron) on Imago and Opus 1, Hélène Iratchet (Hommage d’un demi-dimanche, 2010) and Anne Lopez.

She also created her own works in collaboration with Florent Hamon through their company, Nomad’act. Her work has been presented in France, Estonia, Poland, Turkey, Russia, Portugal and Germany. In 2010, she created the solo HOME(lessness)SICKNESS as part of the European project Looping initited by Uzès danse – CDC of Uzège, the Gard and Languedoc-Roussillon. In 2011, she also began studying voice. She has danced in Flânerie, Masculines and Waves by Héla Fattoumi and Éric Lamoureux.

The dancer and choreographer Thierry Thieû Niang works to bring together generations and the movements of bodies and minds, working with children, older amateur dancers, prisoners or those on the autism spectrum.
Dance for him is a space for sharing imagination, languages and cultures. He works in theatre, opera, dance and film. This season he has worked with artists such as Marie Desplechin, Ariane Ascaride, Marie Bunel, Camille, Célie Pauthe, Léna Paugam, Anne Alvaro, Audrey Bonnet, Cécile Cozzolino, Claude Duparfait, Eric Soyer, Philippe Forget, Eric Lamoureux, Vincent Dissez, Jimmy Boury, Patrick Autréaux, Philippe Lefait and Roland Auzet.

Having been awarded a gold medal at the Conservatory in Grenoble in 1993, Moustapha Ziane studied at the CNDC in Angers in 1996. In 1997, he began dancing for Héla Fattoumi and Éric Lamoureux in Asile Poétique and Wasla, and continued over the next ten years with, among others, Des Souffles de vie (2000), Zone sensible, La Madâ’a (2004), La Danse de Pièze (2007) and Just to Dance… (2010).
Moustapha Ziane has also worked with a number of other choreographers, among them Régis Obadia, Joëlle Bouvier, Claudio Bernardo … And he is also heavily involved in music and singing.

Francesca Ziviani was born in 1985 in Merano, Italy. After studying art in Italy, she moved to France in 2004 and began studying at the CNSM in Lyon. She earned her degree in 2008 and began performing with various choreographers, among them Frédéric Lescure, Emilio Calcagno, Frédéric Cellé as well as the Compagnie Étant Donné. In 2010, she danced with Olivier Dubois, the Ben Aïm brothers, the Compagnie KassenK and Osman Kheili. Since 2009, she has worked with Les Gens d’Uterpan – Annie Vigier and Franck Apertet on several pieces. From 2011- 2013, she joined the CCN in Grenoble for Jean-Claude Gallotta’s revival of Daphnis et Chloé. She also danced with the Compagnie Ando of Davy Brun. She worked with the filmmaker Philippe Grandrieux on his film/ installation Meurtrière, and with the Cie de Adrien Mondot and Claire Bardaine. She joined the CCN de Caen/ Basse-Normandie for Waves (2014), under the direction of Héla Fattoumi/ Eric Lamoureux.