Wim Broeckx was born in Antwerp in 1961, and began his ballet studies in his native town, Antwerp, Belgium, at the age of 10. He enjoyed a long and successful career with four international ballet companies, most notably the Dutch National Ballet, where he rose to Principal Dancer and, eventually, became Assistant Artistic Director. During his extensive career, he performed major leading roles of the classical repertoire and could be seen in contemporary repertoire works by many renowned choreographers. Internationally he regularly appeared, as a guest artist, as well as on gala’s.
In 2002, Wim was appointed Director of the Dance Department of the Royal Conservatoire in The Hague and taught at international ballet school’s, staged classical ballet repertoire and assisted with the staging of ballet’s by several contemporary choreographers.
In 2008, while still directing the Dance Department, he assumed the position of Artistic President of the Prix de Lausanne. On several occasions, he has served as jury member for International ballet competitions as well as adjudication panels for exams and / or auditions.
Since 2012, Wim is focusing back on the core of ballet and has become a freelance ballet teacher, coach and advisor. He is known and respected throughout the dance community for his commitment to healthy and responsible training of young ballet dancers, and his determination to promote ballet and ensure its recognition as a profession.
Since 2019, Wim has been in charge of the Pre- professional Division and rehearsal director of the Queensland Ballet School.
Olga was born in St.Petersburg, Russia. Choreographers worked with: J. Neumeier, W.Forsythe, J.Kylian, U.Scholz, A.S.Watkin, D.Dawson, Y.Grigorovich, O.Vinogradov, A.Liepa, V.Derevianko, V.Vasiliev, V.Medvedev. Is a Regular guest Ballet Mistress at Yacobson Ballet Company Theatre, St. Petersburg, Russia. From 2011-Professor of classical dance at the Palucca Hochschule für Tanz Dresden. Head of Apprentice Certificate Programme.
1989 Diploma-Vaganova Ballet Academy: professional qualification as stage dancer
1998 Diploma-Cultural Management: specialized in “Management in the social sector”
2008 Diploma-Vaganova Ballet Academy: Bachelor in the field “Art of Ballet”
2000 Semperoper Ballet Dresden (since 2000 soloist, since 2007 Principal)
Giselle, Myrtha, Bathilde «Giselle” (Productions by V. Derevianko; D. Dawson); Aurora, Fairy Of Beauty, Sapphire Fairy «The Sleeping Beauty”, Nikiya, Trio «La Bayadère” (A. S. Watkin after M. Petipa); Russian Princess «Swan Lake” (A. S. Watkin after M. Petipa and L. Ivanov); Mercedes «Don Quixote” (V. Derevianko); Celia «As You Like It”; Louise «The Nutcracker”, Lykainion «Daphnis and Chloë”, Hippolyta, Titania «A Midsummer Night’s Dream”, Princess Claire, Odette «Illusions like ‘Swan Lake’” (J. Neumeier); Bianca «The Taming Of The Shrew” (J. Cranko); Firebird «The Firebird” (A. Liepa after M. Fokine); Charlotte «Elective Affinities, Wahlverwandtschaften” (T. Schilling); 11th Waltz, Prelude, 7th Waltz «Chopiniana” (Productions by M. Fokine; V. Derevianko after M. Fokine); In The Middle Somewhat Elevated, The Second Detail (W. Forsythe); Symphonietta, Petite Mort (J. Kylián); Symphony N° 2, The Creation, Die Schöpfung, Piano Concerto N° 3 (U. Scholz); Voluntaries (G. Tetley); Soloist «Diamonds”, Theme and Variations, Tarantella Pas De Deux (G. Balanchine); Reverence, The Grey Area, A Million Kisses To My Skin, The World According To Us (D. Dawson); No Thumb (P. Touzeau)
Vitaly Fadeev was born in St.Petersburg, Russia. Since 2017 Ballet Master at Palucca University of Dance, Dresden, Germany. Regular guest Ballet Master at Yacobson Ballet Company Theatre, St. Petersburg, Russia.
1993-2000 – Mariinsky Theatre (Kirov Ballet) St. Petersburg, Russia
2000-2015 – Semperoper Ballet Dresden, Germany
Repertoire: Demi Solo: «Symphony C», «Rubies», «Theme and Variation», «Brilliants» by George Balanchine, «La Sylphide» by August Bournonville, «Swan Lake» Petipa, Ivanow; John Neumeier, «Nutcracker» John Neumeier, Aaron Watkin, Jason Beechey, «Six Dances» Jiri Kilian, «Sleeping Beauty» Aaron Watkin, Worked with Uwe Scholz, David Dawson, Robert Nord, Stijn Celis, Vladimir Derevianko.
Sébastien Mari began his dance education at the conservatory in his hometown of La Rochelle (France) with Colette Milner, Marie Paule Cantenys, Karin Wahener and Bertrand Papillon. After graduating with the Gold Medal from the French Conservatories, he began his career in 1989 with the “Jeune Ballet de France 7 et 8”, under the direction of Robert Berthier before joining the Nederlands Dans Teather (Netherlands), under Jiri Kylian’s address. After 6 years with the NDT, he decided to join the Compañía Nacional de Danza (Spain) directed by Nacho Duato, a company of which he was a member for 4 years. After these years, he then joined the Gulbenkian Ballet (Portugal) directed by Iracity Cardoso and Paulo Ribeiro for 3 years.
During all this time he danced numerous works by choreographers of the stature of Nacho Duato, Mats Ek, William Forsythe, Jiri Kylian, Ohad Naharin, Hans Van Manen, and also Mauro Bigonzetti, Claude Brumachon, Stijn Celis, Marie Chouinard, Patrick Delcroix, Nicolo Fonte, Itzik Galilli, Jacques Garnier, Cesc Gelabert, Patrick de Bana, Hervé Jourdet, Nadine Hernu, Rui Huerta, Amanda Miller, Martino Müller, Gideon Obarzanek, Angelin Preljocaj, Paulo Ribeiro, Enrique Rodovalho, Yvonice Satie, Paul Selwyn-Norton, Patricia Tuerling and Didy Veldman.
The following 5 years, she was both dancing as well as assisting various freelance projects for Peter Agardi, Particai Alzetta, Kader Belarbi, Caroline Bueno, Guillaume Bordier, Carolina Constantinou, Jeanette Damant, Pieter De Ruiter, Laurence Fanon, Julien Ficely, Jennifer Hanna, Nanine Linning, Sabine Linz, Nicolas Musin, Sebastian Edward Nichita, Guliano Peparini, Redha, Richard Siegal, Saburo Teshigawara, Pascal Touzeau, Nathalie Tournaire, and Regina Van Berkel.
From 2009 to 2014, he was part of the Ballettmainz (Germany) under the direction of Pascal Touzeau, first as a dancer in several choreographies for Pascal Touzeau himself, and also for William Forsythe, and from then until 2011, as he developed the task coordinator, dance teacher, repeater and rehearsal director for Davy Brun, Johan Inger, Jiri Kylian, Douglas Lee, Ohad Naharin, Georg Reischl, Pascal Touzeau and Didy Veldman.
Through his own experience, and also through knowledge of a variety of cross-training methods such as yoga, gyrotonics and the Alexander technique, and thanks to dance teachers whom he admires and from whom he has learned a great deal throughout his career. , Sébastien has developed a system of teaching basic and understandable ballet classes for professional contemporary dancers and also as a challenge for professional ballet dancers.
He also offers personal movement awareness workshops, based on improvisation and self-search around the body’s articulations with choreographic modalities (complex, dynamic spatial writing). With this, the dancers obtain an infinite knowledge, creative, free, intelligent and graceful movement. This technique serves to improve improvisation, dance, and choreographic skills without regard to style.
Since 2014, Sébastien Mari has been invited to teach his dance classes at the Ballet de Genève (Switzerland), in Germany for the Ballett Koblenz, Ballet Saarbrucken, Theater Regensburg Tanz, Theater Nordhausen, Nationaltheater Mannheim, Tanztheater Münster, and to attend Bridget Breiner at the Ballett im Revier and Tarek Assam at the Tanztheater Giessen. In the Netherlands for Introdans, Henny Jurriens Stichting and the Korzo Theater. He has also attended and performed with Justin Peck in Paris and instructed his workshop at the Conservatoire Nationale de Danse de La Rochelle (France), the Instituto del Teatro and La Compañía, Barcelona (Spain), Sébastien Mari is fluent in French, Spanish, English and Portuguese. He also has knowledge of Dutch and German. He is qualified as an interior designer.
Apart from being a committed and involved person, passionate about the world of dance, he also has other focuses of interest such as aerial acrobatics, street art, architecture, sculpture and psychology.
Soloist of the Monte Carlo Ballet, Vienna State Opera Ballet, Dutch National Ballet and director of the Semperoper Ballet. She danced most of the leading roles from the great long-running classics to neoclassical and contemporary works. Raphael was a guest principal artist at international galas and festivals and with the English National Ballet and the National Ballet of Croatia. In 2015 he became Ballet Master of the Semperoper Ballet as well as “Project Leader and Coordinator” for Semper Zwei. He choreographed for the Semperopernball Dresden, ZDF Silvester Concert and directed a collaborative work “Alice”. He currently stages the works of David Dawson and is a regular guest teacher at the Monte-Carlo Ballet, Semper Oper Ballet, The Dutch Nationale Ballet and Badisches Staatsballet.
She is currently a teacher at Home Dance Studio and captain of dancers in “The revolution, the musical”. Her closest experience has been “Houdini, Historia de una muerte” but she has been in different productions such as Requiem Opera directed by Evelin Facchini; Musical company (Airshow, Altv) performing shows, events and dinner-shows. During her stay in Madrid she made ‘Circo Mágico’, advertising spots, events and video clips. She and she subsequently toured throughout Spain for two seasons.
As for her professional training, in dance, she has specialized in jazz, conducting workshops at Let’s Jazz and in London with Stuart Winter, Ashley Nottingham, Jane Coulston and David Blake.
A native of Madrid, David Acero began his training at the ‘Antonio Canales’ Municipal School of Dance in Alcorcón, at the age of nine, with Reyes Orozco and Eduardo Solís as teachers. He finished his studies at the Royal Professional Dance Conservatory ‘Mariemma’ in 2013 and that same year, he joined the Ibérica de Danza company, directed by Manuel Segovia.
From then on, he participated in productions by different companies such as Rafael Aguilar’s Ballet Teatro Español, Cía Aída Gómez, Cía Enclave Español, etc. During the 2017/2018 academic year, he was invited as a teacher of Spanish dance at the ProArt school in Querétano (Mexico).
Upon his return, he joined Nota de Paso. Spanish Dance Company, directed by Malena Mexia and later, the contemporary dance show Dream of a Traveller, Tale from Muharraq, with choreography by Patrick De Bana and artistic direction by José Antonio Ruiz. Later he joined the contemporary dance company Elephant In The Black Box, directed by Jean-Philippe Dury. In 2020, he participated in the musical Don Juan de Rojas & Rodríguez and in the latest production of Cía Sara Cano. In 2021, he was part of the cast of dancers at the Teatro de la Zarzuela for Luisa Fernanda and Benamor.
As a choreographer, David Acero has created various pieces for Escuela Bolera – Andalusian Dance and Mataora-, which have garnered different awards in various national competitions. In 2021, he choreographed pieces for the Royal Professional Dance Conservatory ‘Mariemma’, in which he trained.
Trained at the Professional Dance Conservatory of Murcia and the Royal Conservatory of Madrid, Lucía Campillo completed her studies with great teachers such as Merche Esmeralda, José Antonio, Antonio Canales, Javier Latorre, Milagros Mengíbar and Maribel Gallardo. She began her career at the Antonio Gades Foundation in shows such as Carmen, Bodas de sangre, Suite Flamenca and Fuenteovejuna. Between 2010 and 2013, she was part of the National Ballet of Spain -first as a soloist and then as a prima ballerina-, under the direction of José Antonio and Antonio Najarro respectively, performing in the most important theaters in Spain and the world. She has collaborated as a guest artist in the companies of Jesús Carmona (Cuna Negra and Blanca, participating in prestigious festivals such as Jerez or the Bienal de Sevilla), Rojas & Rodríguez, María Pagés, an activity that she has combined with performances in important tablaos such as Casa Patas, Corral de la Morería, Tablao Flamenco Cordobés.
Arantxa Carmona’s professional career encompasses different facets as a choreographer, pedagogue, director and researcher. In the field of pedagogy, in 2002, as a career civil servant, she joined the body of music and performing arts teachers, holding the subject of folklore at the ‘Mariemma’ Royal Professional Dance Conservatory in Madrid, and having taught Bolera School and folklore at the ‘María de Ávila’ Superior Dance Conservatory. She also regularly teaches folklore master classes in Spanish and Portuguese conservatories and institutions, being invited as an expert to congresses, round tables and debates on the methodology and pedagogy of traditional dances, their clothing, tradition and their accompanying instruments.
As a choreographer, she was part of Sorolla’s creation for the National Ballet of Spain, she has been a guest choreographer at the Jerez Festival and has created pieces for various dance conservatories and for different dance professionals.
Since the 2018 academic year, Arantxa Carmona has been the director of the ‘Mariemma’ Royal Professional Dance Conservatory in Madrid. Member of the Commission of experts on traditional dance of the Ministry of Culture, Carmona advises and collaborates in different training courses of the CAP of Madrid, CEP of Córdoba, among others. Since 2021 she has been a member of the State Council for the Performing Arts and Music. As an expert, she has also written various investigations for publications specialized in traditional dance and folklore.
Interpreter, choreographer and teacher of Spanish and flamenco dance, Laura Fúñez was first captivated by music. He began his viola studies at the age of 6 under the Suzuki method and later entered the RCPD Mariemma, where he graduated, obtaining the ‘Virginia Valero’ End of Degree Award and years later, at the ‘María de Ávila’ Superior Dance Conservatory. in the specialty of Choreography and Interpretation.
After making productions in the field of dance under the direction of prestigious companies in Spain with soloist and dance corps roles, she began to investigate on her own the experimentation of the Bolera School. She incorporates the appearance of it in tablaos such as Las Carboneras, El Corral de la Morería, Villa Rosa, El Corral de la Pacheca, Cardamomo, Los Porches, Sala Temple, Sala León, being mostly the first woman to perform it.
She currently teaches master classes and training for professional dancers in conservatories and schools in Spain. She is very concerned about promoting Spanish dance among the new generations and new audiences from a more current point of view, for this reason, she choreographs and performs the Phoenix and Chimerico video-dances in unconventional spaces under a more experimental concept.
Born in Madrid, Aída Gómez began her dance studies on her own, combining the disciplines of Spanish classical and classical and graduating with Honors, at just twelve years old. Dancer and choreographer, her name is intrinsically linked to the National Ballet of Spain, first as a dancer, then as its artistic director. In it he joined Antonio ‘el Bailarín’ in 1982, and in it he embodied, almost from the beginning, the leading roles in the main works: Don Juan, Carmen and Bodas de Sangre, where he shone especially alongside Antonio Gades, are some of the many interpretive examples of this dancer.
Between 1998 and 2001 she took charge of the National Ballet of Spain, becoming the youngest director of this company and premiering productions such as Silencio Rasgado (1998) and Mensaje (1998). Her intervention in the feature film by Carlos Saura Salomé (2002) and the numerous invitations received as a star by galas and companies, made her known to the general public both nationally and internationally.
Leading her Spanish Dance Company, Aída Gómez signs works such as Suite Española (2003), Carmen (2006), Allow me to dance you (2008) and Adalí (2012) and has received awards such as the National Dance Award in the Interpretation category. in 2004, the Juan Bravo Award for the best performer (2009), the Community of Madrid Culture Award 2008 and the Grand Cross of the Order of Dos de Mayo 2015. That same year she was appointed director of the International Festival Madrid en Danza and in 2016 at the Suma Flamenca Festival.
Born in Almería, Eduardo Leal took his first dance steps at the hands of Isabel Paredes. In 2001 he moved to Madrid to study at the Royal Professional Conservatory of Dance, taking classes in flamenco, classical ballet, stylized dance, Escuela Bolera and folklore. He combines his training at the Conservatory with classes at the Flamenco Art Center ‘Amor de Dios’, with teachers such as Cristóbal Reyes, Domingo Ortega, Rafaela Carrasco, Rubén Olmo, among others.
He has been part of the Flamenco Ballet of the Community of Madrid and has worked in the Companies of Joaquín Cortés, Rafael Amargo, José Porcel. In the Rubén Olmo Company he premiered Belmonte, Pinochio. He was a soloist in the Aída Gómez Company, performing with her El Fandango de Candil in Permíteme Bailarte, El Escamillo and Carmen. Over the years he has continued to be active as a performer in different companies and has choreographed some of them together with Rubén Olmo.
As a teacher, his work as guest teacher at the ‘María de Ávila’ Superior Dance Conservatory (Madrid), the Andalusian Dance Center, the ‘Kina Jiménez’ Professional Dance Conservatory (Almería), the ‘Reina Sofia’ (Grenada).
He remains active in all his facets, combining them with the tablaos that require him, such as: Corral de la Pacheca, Casa Patas, Al-Andalus, Las Tablas, Clan, El Arenal, Los Gallos and a long etcetera.
He made his professional debut at the Madrid Ballet under the direction of José Granero. She was part of the Antonio Canales Flamenco Ballet in its beginnings and in later stages, as well as the New Spanish Ballet and the Cía Flamenco XXI Danza, directed by Ricardo Franco. In 1998 she joined the National Ballet of Spain, where she remained until 2005, under the direction of Aída Gómez, Elvira Andrés and José Antonio; playing roles of soloist and first dancer. From 2005 to 2011, he collaborated closely with the Malucos Danza company, directed by Carlos Chamorro.
Guest artist and soloist in foreign companies such as Cía Karine Saporta (France), Opera UK (Great Britain), José Moro (Italy), Race & Rythm Theater (Great Britain), Flamenco Express (Great Britain), as well as at Gypsy Switzerland Festival and at the Closing Gala of the Padua Festival (Italy). From 2007 to 2009 he collaborates with Cía Flamencos en Route.
Choreography for companies such as José Greco, Human Dance Project directed by Jesús Pastor, Malucos Danza, Cruceta Flamenco, as well as for the show Lola Greco in essence, directed by Ricardo Cue and premiered at the 63rd Granada International Music and Dance Festival.
In 2011 he joined Pepa Sanz in her journey as a company with Girasol Flamenco Producciones, today Caminantes Danza. He combines his artistic activity with his pedagogical one, directing his own studio since 2014, and giving workshops and courses in Spain and abroad.
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