The international judging panel for the Pina Bausch Fellowship is composed of three outstanding personalities from the field of dance. Their different perspectives on the international dance scene account for a differentiated view on the applicants’ artistic talent.
The panel’s selection adds artistic quality to the Fellowship. The members of the judging panel are independent and are appointed for two years.
In November 2016, the panel got together in Wuppertal for the second time to evaluate and select the applications. The Pina Bausch Fellowship holders 2017 have been officially announced in mid January 2017.
(b. 1967) was born in Brussels. He studied history of art (contemporary art) at the Université libre de Bruxelles (ULB), and has taught at the École nationale supérieure d’audiovisuel (ENSAV) in La Cambre, Brussels, among other posts. Since 1994, he has been involved in production and promotion for various dance companies, , as well as at P.A.R.T.S. He was also artistic direction assistant at Théâtre Les Tanneurs in Brussels. In 2002, he joined the programming team at the Kunstenfestivaldesarts. Since 2007, Slagmuylder has been artistic director for the Kunstenfestivaldesarts.
Born in Athens, he studied in Paris with Igor Foska, Boris Kniaseff and Raymond Franchetti. He also studied philosophy at the University in Aix-en-Provence. Between 1972 and 1980 he danced at the Théâtre du Silence, the Zurich Opera and the Ballet National de Marseille where he became, in 1980, Assistant to Roland Petit. After a period at the Metropolitan Opera of New York, he joined the Lyon Opera Ballet, first as Ballet Master (1985) before becoming Co-Director (1988) and finally Artistic Director in 1991. Yorgos Loukos was the curator of France Moves, the French dance festival in New York in May 2001, and led a similar event in London in Autumn 2005. He also directed the Festival of Dance in Cannes (1992-2009), and has been the director of the Athens and Epidaurus Festival since 2006.
Born in Saragossa, she studied ballet with professor Maria Avila. At 19, she started her career at the Cullberg Ballet in Stockholm under Birgit Cullberg and Mats Ek, where she danced important roles by Merce Cunningham, Maurice Béjart, Christopher Bruce, Jirí Kylián and Ohad Naharin, among others. In 1993, she left the Cullberg Ballet to work at a number of theatres as an actor, theatrical dancer and choreographic assistant to Mats Ek. Her numerous awards include the Prix Nijinsky of the Monaco Dance Forum and an Emmy Award. Ana Laguna has collaborated and danced with artists like Rudolf Noureev and Mikhail Baryshnikov and has danced and collaborated under the direction of Pina Bausch.
MYRIAM DE CLOPPER
was born in Antwerp (Belgium) in 1954 and studied Medieval and Contemporary History at the Universities of Antwerp and Ghent. She has been in charge of the dance programming at deSingel International Arts Campus since 1988 and became performing arts director in 1994. Her program’s policy is to invite artists from all over the world who have a powerful concept of art and a sharp view on the complexity of the world and by consequence confront the audience with intriguing, contemporary productions.
deSingel has a large-scale infrastructure comprising 5 different venues and presents, produces and coproduces dance, theatre, contemporary opera, serious music and architecture in an international context.
JUDGING PANEL-STATEMENTS FELLOWSHIP 2017
Mohamed Y. Shika is an artist with great potential to cross borders within the cultural understanding as well as artistic transmuting of contemporary dance for the 21st Century. His approach is, as a dancer, to examine the gap between Egypt and the rest of Africa, and to seek to conquer it through out his own body. This body-political attempt is predominantly based on his education in Egyptian, African and Asian folk dances as well as worldwide established dance techniques at major dance institutions, i.e. in Egypt (Contemporary Dance Center), West-Africa (Ecole des Sables) and Europe (P.A.R.T.S). Consequently for his scholarship the planned student/teacher collaboration with Brooklyn based African artist Nora Chipaumire will give Shika the needed insight into a specific, high-reflected artistic inner perspective: to deconstruct ancient aesthetics and imagine a new African body that contributes to an international contemporary language of culture and movement. Despite this he will gain by not only shadowing Nora Chipaumire’s transcontinental work on African-American Dance and traditional African Dance in New York and Zimbabwe, but, as a most significant aspect, taking part of her method to embody aesthetic as well as political concerns while transforming them into new poetics of dance.
Antonio Ssebuuma’s approach towards dance roots in particular in his practice and interest for teaching movement in the frame of community dance. Strongly connected in Uganda in projects that focus a socio-political impact of societies moving together, his latest works in Kampala already distinguish themselves as denotative and sensitive, but brutally honest claims towards serious issues of the unruleable environment, the dancers are based at. His attempt to now pick up studies at the Dance Department at the University of Auckland in New Zealand is just logically consistent. Being introduced into a discourse that spans it’s themes on community dance within various cultures domiciled in New Zealand. Therefore especially his contact to Dr. Rosemary Martins, former dancer, choreographer with extensive experience in research and teaching in the Middle East (i.e. Cairo) and now senior lecture at the department, shows promise for his scholarship: Martin’s research puts on focus the acculturation between art and public service, art education and international education. A dialog and exchange together with grounded theory from a dance perspective will empower Antonio Ssebuuma’s practice as artist and teacher when returning to Uganda.