The “campers” or participants in Camping are 250 students drawn from 27 art schools in France, Europe and around the world, as well as 250 professional dancers attending this platform of workshops and discussions as individuals. Every day, the morning is set aside for the invited schools to teach classes that are open to all the participants. This will be an opportunity for everyone to discover the techniques and inspirations of the highly diverse schools invited to Camping this year. Throughout the event, dedicated services will provide campers with Professional Resources to help them find answers to their questions.
CalArts – California
Institute of the Arts,
The Program builds high-level proficiencies in performance technique, choreography, dance production technology and critical understanding of the artform, all within a global cultural context. Concentrated production seasons of aesthetically diverse work thrive in an atmosphere of creative exchange between professionally motivated students and a faculty of practicing artists. Unique among dance conservatories, students and faculty in the Dance School function both as a close-knit, intimate community— focusing on the work of each individual student in collaboration—and as part of larger circles of practicing artists, in the rapidly growing LA performing arts scene and beyond. The learning experience at CalArts is anchored by a faculty of internationally acclaimed artists who bring immense experience and dedication to mentoring our students through their programs. The faculty maintain the highest standards in artistic and academic achievement, and yet they also provide enough space and creative freedom for students to be able to grow in their own unique ways, form their own creative visions and develop into the singular dance artists they are passionate to become. Student-centered learning is a founding principle of CalArts, and today it continues to be at the heart of The Sharon Disney Lund’s mission to train the next generation of artists who will advance the art of dance—and stir and challenge the human imagination.
Centre International de danse
Rosella Hightower à Cannes-Mougins
The activities of the Pôle National Supérieur de Danse (PNSD) take place on two sites: the campus of the Centre International de Danse Rosella Hightower in Cannes-Mougins and the Centre International de Danse de Marseille, in a building shared with the Ballet National de Marseille and the École Nationale de Danse de Marseille. The PNSD trains dance performers (diplôme national supérieur professionnel de danseur) and dance teachers (diplôme d’État de professeur de danse). The education it offers is based on the complementarity of classic and contemporary techniques, so as to train polyvalent dancers suited to today’s choreographic world. With an international culture, it welcomes students of over fifteen nationalities. Its main objective is professional insertion. With this in view, the PNSD has developed close and constant links with the professional sector in the region, France and the world. The PNSD attributes great importance to watching the well-being of its young dancers, with an inclusion of health questions in its educational programmes and infrastructures. The PNSD includes a CFA programme (centre de formation d’apprentis) which allows young dancers to spend the last year of their training at the DNSP dancing in alternation, thanks to an apprenticeship contract. The Ballet National de Marseille and the Ballet Preljocaj are welcoming these apprentices during the 2017-2018 season.
Le Conservatoire national
supérieur musique et danse
de Lyon (CNSMDL)
The CNSMDL adopts a project-based approach taught by an outstanding team of teachers. This open training programme is enriched by links with grandes écoles, the university and the professional milieu. The CNSMDL focuses in particular on preparing students for the professional world, aided by a network of more than seventy partners, increasing interaction and artistic exchange in a campus environment. The fourth and final year of the contemporary and classical dance course culminates with the Jeune Ballet, which provides a foretaste of students’ professional career. It enables young dancers, who work with established choreographers and young talents, to use the knowledge they have acquired to begin exploring creation and the repertoire.
de Danza de Madrid María
de Ávila (CSDMA)
The Conservatorio Superior de Danza María de Ávila is offering graduate studies in the two specialities (Pedagogy and Choreography & Performance), plans are well under way for post-graduate degree and artistic specialisation courses, as well as collaborative research projects with other universities. From the very outset, the CSDMA has been engaged in exchange programmes which tremendously boost the mobility of his students, an essential component of a comprehensive education, as well as organising complementary activities such as courses, workshops, conferences, master classes and collaborations with festivals, choreographic centres and dance companies. The CSDMA has a wide-ranging programme of teaching practice arrangements with other educational centres, as well as stage practice which enables our students to develop their creativity, present their works and acquire both stage experience and interpretative maturity. With a team made up of highly prestigious teachers, the study programme also boasts a constant turnover of guest teachers who ensure the school is truly a living entity – a centre for study, creation and research– in a continual flux of evolution and experimentation.
Danish National School of
The school’s dance and choreography programme combines artistic, technical and critical perspectives, and aims to blur the borders between body and mind, practice and theory, thought and action. Next to the faculty, there are international guest teachers and choreographers that come to work with the students. In addition to the teaching of dance and choreography, students also take interdisciplinary modules in collaboration with the school’s four other programmes spanning all forms of performing arts.
Écoles des Actes,
The École des Actes seeks to offer youths who have dropped out of school and are vulnerable to sectarianism, migrants, foreign workers and young workers living in hostels an innovative course comprising three lines of approach. First line: learning to think about the terms of their personal situation and also the collective situation; re-evaluating the major issues of today (what is work? the place of study? action? What is a country?) through an examination of categories and investigation. Second line: helping each person to develop individual projects with the aim of building their life (legal, social and professional issues). Third line: working in theatre, an arena for self-expression as well as a powerful laboratory, provides a way of forging a new subjectivity, by seeing which channels emotion and thought pass through, and a new way of creating harmony between the individual and collective. L’École des Actes was created at the Commune (director Marie-José Malis), a national drama centre, and today has 200 students. The school is open to people of all ages and origins, and of all abilities.
École de danse
contemporaine de Montréal
Specialised in the training of contemporary dance performers, the École de Danse Contemporaine de Montréal (EDCM) is positioned as a centre of excellence in the universe of the stage arts in Canada. Recognised for its avant-gardism and the rigour of its teaching, the EDCM sets out to be a fertile territory for artistic research and development, as well as the emergence of new currents. Open to innovation and in touch with the professional milieu, its approach is based on humanistic values so as to bring out fully creative performers’ technical potential and artistic uniqueness. During an intensive cursus lasting three years, the students embark on a journey aimed at developing their sensitivities and creativity. Since it was founded in 1981, it has trained over 350 professional dance performers, who now are well-known on the national and international scenes. Lucie Boissinot has been the artistic and educational director of the EDCM since 2005.
École nationale supérieure
des Arts Décoratifs de Paris
Founded in 1766, the École Nationale Supérieure des Arts Décoratifs de Paris, an intellectual, creative and artistic crucible, is a state higher education establishment that is under the jurisdiction of the Ministère de la Culture. Its mission is to offer exceptional artistic, academic and technical education for aspiring artists and designers in the fields of art, animated film, graphic design, product design, textile and materials design, fashion design, the printed image, photography and video, stage design. The school has on average 750 students, both French and foreign, who study for five years (master degree diploma). EnsadLab, EnsAD's research laboratory offers several research groups. Camping gives students from the school’s stage design section the chance to go from an initial idea to a final creation through a conceptual and artistic exploration.
École nationale supérieure des arts de la marionnette,
For 30 years, the École Nationale Supérieure des Arts de la Marionnette has trained young actors-puppeteers. When the school opened in 1987 it was a vote of confidence for the future of puppetry, which has resulted today in a significant number of graduates working in production and dissemination or as artistic directors of cultural institutions. Throughout the curriculum, the school alternates regular classes and workshops led by French and foreign artists: directors, puppeteers, writers, visual artists, set-designers and theatre personalities. The school now issues a national diploma as a professional actor, acting actor-puppeteer.
École nationale supérieure des
beaux-arts de Lyon (ENSBA Lyon)
Founded in 1805, and in its new home of Subsistances since 2007, the École Nationale Supérieure des Beaux-Arts de Lyon is a state school for higher artistic education, approved by the Ministry of Culture. Conceived as a research and experimental laboratory, intentionally open to contemporary artistic realities, its vocation is to train artists, designers and creators. Attentive to current creative forms and issues, it aims more generally to bring out singular talents and produce the right conditions for a high-level professionalism in the field of art, design and creation. Welcoming three hundred students, ENSBA Lyon provides major options which structure the field of artistic teaching in France, with several courses in art and design. The students and artists of ENSBA, who are participating in Camping, come from the research group Post Performance Future. This group examines labelling, that is to say the a priori naming of a series of practices associated with the body, action, movement and language, which have emerged in the 21st century. Its training programmes are spread out over two cycles: an initial cycle leading to a DNA (diplôme national d’arts) in art, spatial design, graphic design and textile design; and a second cycle leading to a DNSEP (diplôme national supérieur d’expression plastique) – a master’s in art, graphic design or spatial design. The school also offers an international post-diploma aimed at young artists and a third cycle for young researchers and artist-researchers, structured around three research units: ACTH, devoted to the articulation between contemporary art and historical time, Post-Performance Future, and a digital unit, devoted to the contemporary aesthetic challenges raised by digital cultures.
École nationale supérieure des arts et techniques
du théâtre, Lyon (ENSATT)
Every year, the École Nationale Supérieure des Arts et Techniques du Théâtre (ENSATT) welcomes almost two hundred students for initial training, and trainees in annual advanced training, seventy to eighty professionals in advanced training, as well as foreign or Erasmus students. There are courses in the acting profession, live performance administration, costume conception, light conception, sound conception, costume-design with cutting or production options and stage direction, technical direction, playwrighting, stage direction and scenography. Thanks to its equipment – set and costume workshops, two working theatres and an amphitheatre, a sound studio, rehearsal rooms etc. – this school is the only one in Europe to provide teaching covering all of the forms of knowhow linked to theatrical creation. The presence, under the same roof, of all the stage professions, allows for the setting up of laboratories, trials, hypotheses, fictional projects and performance workshops, entrusted to professional stage directors, invited to lead an artistic project conceived and produced at the ENSATT, and presented to audiences at the school, or on tour. Accessible through an entry exam, the teaching at the ENSATT leads to a master’s degree for seven of its courses, a general degree and a professional degree in partnership with the University Lyon 2 for another two, and a specialised master’s in partnership with INSA for yet another.
École nationale supérieure des beaux-arts de Paris
École Nationale Supérieure des Beaux-Arts trains students destined to create art at the highest level. The five-year course leading to a Master combines the basics of an artistic education with an exploration of the key issues surrounding contemporary art. Teaching is organised around studios coordinated by renowned artists, which is combined with the acquisition of a wide variety of techniques, from traditional ones that the school is seeking to preserve to the most modern. The school grew out of the Académie Royale de Peinture et de Sculpture, which was founded in the 18th century, and is home to collections containing more than 450,000 works and one of the largest contemporary art libraries in France. In 2012, the Beaux-Arts de Paris created an original doctorate in association with four other Paris art schools, including the Conservatoire National Supérieur de Musique et de Danse and the École Nationale Supérieure des Arts Décoratifs, which also take part in Camping. The students of the Atelier Danse, Chorégraphie et Performance (director Emmanuelle Huynh), created recently at the Beaux-Arts de Paris, will be participating in Camping for the second time.
Escola Livre De Dança Da Maré,
Rio de Janeiro
The Maré Free Dance School (ELDM) was created on the initiative of the choreographer Lia Rodrigues and the association Redes de Desenvolvimento da Maré. Since 2011, the ELDM, whose central aim is to provide broader access to the arts, and in particular contemporary dance, has been offering dance training in the working-class neighbourhood of Maré in Rio de Janeiro: it organises free beginners’ classes that are open to all the neighbourhood’s inhabitants and more advanced training for a select group of Young 17- to 26-year-olds to prepare them for careers as professionals. Since it opened, the ELDM has taught more than 600 students of all ages from the 16 different communities that make up the Maré neighbourhood. It currently has approximately 300 students.
École Supérieure d’Art de Clermont Métropole,
The École Supérieure d’Art de Clermont Métropole offers a general training in the visual arts, while providing teaching which is both demanding and open (drawing, volumes, writing, performance, stage arts, choreographic practice, sound, installations, a Fab Lab, theories…) which allows each student to nourish their artistic projects, and enrich their personal practices with an involvement in contemporary creation. Reflections about movement, the creation space, and relations with the body, which are carried out by the ESACM, take on many forms: a “gesture” workshop, and a cycle of lectures on contemporary dance, to which can be added our participation in the Camping initiative. In collaboration with a dancer and choreographer, as part of their research, the school makes choreographic practice into both a subject and a tool for bringing the body into play in contemporary artistic practices, while opening up the field of knowledge to new creation spaces for its students.
Extensions, La Place
de la Danse, centre de développement
chorégraphique national Toulouse / Occitanie
For over seventeen years, the professional training programme has been accompanying the entirety of the artistic policy of the Centre de Développement Chorégraphique National Toulouse Occitanie, newly baptised La Place de la Danse and, in this way, participates in the renewal of the local choreographic scene. Initially set up to give professional and advanced dancers permanent access to training, this programme now provides, in an artistic plurality, a teaching connected to the professional world. The presence of guest choreographers and performers in this training project, but also sometimes in the programming, means that its educational propositions are as close as possible to the demands, evolutions and perspectives of the dancing profession. The organisation of encounters and lectures on dance contributes, alongside the presentation of performances, to the broadening of choreographic culture. This two-year programme is addressed mainly at a group of ten young dancers, selected by audition, but the daily lessons remain open to all professional and pre-professional dancers, as well as some of the courses on the Extensions programme. The 2016-2018 class has been through several creations, including: je suis... by Fanny de Chaillé, then Walking the line and Hear by Benjamin Vandewalle and Chiens et Loups by Olivia Grandville.
The Hong Kong Academy for Performing Arts (HKAPA)
The Hong Kong Academy for Performing Arts, established in 1984, is a leading tertiary institution in performing arts in Asia. It provides professional undergraduate education and practice-based postgraduate studies. The study encompasses Chinese Opera, Dance, Drama, Film and Television, Music, and Theatre and Entertainment Arts. Its educational philosophy reflects the cultural diversity of Hong Kong with emphasis on Chinese and Western traditions, and interdisciplinary learning.
The School of Dance offers three tracks, Ballet, Contemporary, and Chinese Dance at bachelor of fine arts level and a practice based master of fine arts degree. The students come from a variety of backgrounds and nations, with a common goal to acquire the skills to communicate their artistry through the body. Regardless of a dancer’s area of expertise, the School of Dance exposes students to a broad swath of experiences and opportunities necessary to a contemporary dance artist. A wide range of artistic practices and methodologies, both studio based and theoretical, underpin the curriculum.The school’s mission is supported by a strong faculty and a diverse programme of visiting artists and artists-in-residence, drawn from both Hong-Kong and abroad.
K-Arts – Korea National University of Arts, Séoul
Korea National University of Arts (K-Arts)‘s mission is to foster and to inspire today’s young artists blessed with great passion and talent to achieve their maximum potential. Despite its short history, the school of dance has established an international reputation for producing top quality dancers with excellent techniques and sophisticated artistry. Beginning with France Lyon Conservatory in 2000, Korea National University of Arts has executed cultural exchange agreements with many institutions including the State University of New York (SUNY) Purchase College, Beijing Dance Academy, Ochanomizu University, Conservatoire de Paris, California Institute of the Arts, Trinity Laban Conservatory, and Palucca University. With the establishment of the K-Arts Dance Company in 1997 which consists of the school faculty and students at Korea National University of Arts, the school becoming the launching platform for professional dancers. One of the major focuses for K-Arts’ School of Dance is to provide professional level performance opportunities to our students in Korea as well as abroad. Our students have performed in California, New York, Washington DC, Paris, Lyon, London, Helsinki, Stockholm, Beijing, Kuala Lumpur, Hanoi, and Tokyo.
KASK of Conservatorium – School of Arts, Gent
The Drama program at the Royal Academy of Fine Arts (KASK) educates students to develop an artistic practice in the domain of the performing arts that is personal. The program encourages students to position themselves, both practically and discursively, in relation to contemporary developments in the performing arts, but also to experiment in a search for artistic forms. Cross-pollination between artistic disciplines is therefore strongly encouraged. In this regard, the program benefits greatly from being embedded in the multidisciplinary School of Arts. It aims to educate ‘autonomous dramatic artists’ (rather than players who primarily execute the director’s vision). For that reason, students are not required to decide at the start of the program which forms of theatre or performance they want to make or which roles in the creative process they want to take up. Instead, during their training, students endeavor into different forms and functions, so that they can gradually define their own personal (often heterogeneous) practice as performer, theatre maker, actor, writer, director, and so on. It combines an intensive performance training in the studio, where basic performance skills are acquired, with theoretical classes and an artistic coaching that should lead to the development of an autonomous artistic practice. The program consists of a three-year academic bachelor (Dutch only) and a one-year academic master (both in Dutch and in English).
La Manufacture – Haute école des arts de la scène, Lausanne
A veritable ‘laboratory school’, the Manufacture offers young artists a space to create and experiment, enabling them to acquire and develop the basics of their profession while exploring the theoretical and practical aspects of contemporary artistic creation. Basic knowledge and skills are instilled through modular training courses, seminars and practical and experimental workshops led by professionals famous on the international scene. Oriented towards practice and creativity, the Bachelor of Contemporary Dance, creative option, enables students to familiarise themselves with numerous choreographic languages, meet renowned personalities from teaching and the professional milieu and to develop their own artistic creativity.
National Taiwan University of the Arts,
New Taipei City (NTUA)
National Taiwan University of Arts (NTUA) was established as the National School of Arts in 1955. The last half a century of development at NTUA developed in parallel with Modern Taiwan Art History. In the early history of the school, many well-known and accomplished artists taught at NTUA, establishing an entirely new chapter in which the arts could develop for Taiwan. The university is made up of five colleges which include the College of Fine Arts, the College of Design, the College of Communications, the College of Performing Arts, and the College of Humanities. In addition to day division undergraduate programs and graduate programs, there are also Extended Bachelor Degree Courses, two-year in-service BA programs, and in-service MA programs. The university is home to about 5400 students.
The University's strategic development plan is, recently, developing the former Taipei Paper Factory as second part of campus, where contains several largescale workspaces ‘Big Studio’ for Fine arts, Design, Theater and Dance students. The venue also includes specialized classrooms, which are part of efforts to consolidate an industry-university cooperative research program. Second, the University develops active alliances with international strategic partners. Third, the University interrelates the disciplines represented at National Taiwan University of Arts (NTUA), and thereby create added value for teaching and research.
The dance programme of Ochanomizu University in Tokyo offers a multifaceted and comprehensive approach that places great emphasis on physical activity and expression. Ochanomizu University is the only national structure of its kind to offer students a four-year dance course. As the teaching of dance has only recently been incorporated into Japanese university curricula, the school has made innovative scholarships available. The techniques of modern dance, improvisation, creation, kabuki dance and martial arts are all featured in the university programme."
Founded in 1995, P.A.R.T.S. is primarily an artistic project, an attempt to translate thirty years of artistic practice – that of Anne Teresa De Keersmaeker and other choreographers – into a training programme. Concurrently, it is a future-looking laboratory. The training is based on two curricula: a three-year cycle during which students develop an advanced dance technique, an awareness of the body, a theatrical and musical sensibility and theoretical concepts; and the one-year Research Studios that deepen this knowledge and have students apply it in their choreographic practice.
Academy of Dance (SEAD)
Salzburg Experimental Academy of Dance is a school about work – creative work, technical work and intellectual work. SEAD students are highly challenged to invest themselves into the growth of their personal and artistic maturity. SEAD is a shelter and support system for developing artists and a vital training ground for performers and choreographers.
The curriculum of SEAD rests on the philosophical position that making art engenders knowledge. The premise that learning is by doing, thinking is by making, dictates the structures of SEAD’s classes and requirements. The emphasis is on how-to-work daily and in a sustained manner. With a faculty that rotates throughout the year, SEAD provides students with opportunities to work with renowed and innovative artists from around the world and to engage in a range of classes, workshops and performances. SEAD offers opportunities for students to choreograph and present their work, to teach in the public adult and children’s education program offered by the house, to perform in and outside school, to participate in exchange programs abroad and to create and make life long contacts. Students are included in every aspect of SEAD’s national and international performing and educational activities. As part of a network of leading institutions in contemporary dance, SEAD offers the student opportunities to connect with innovative figures and future developments.
Taipei National University of the Arts, Taipei (TNUA)
Taipei National University of the Arts (TNUA, formerly known as National Institute of the Arts before 2001) was founded in 1982, with Theatre Arts as one of its founding departments. The following year, the Dance Department was established. Since its establishment, the School of Theatre Arts has been fostering talents of theatre arts in Taiwan. Emphasizing both performing art and academic training, which incorporates the essentials of Eastern, Western, traditional and modern theatre, the school now has bloomed with BFA, MFA, and PhD programs. The variety of the faculty continue to lead young talents becoming alumni into the spectrum of theatre, TV and movie industries, academic study, education, and other art forms in Taiwan and the world. Since the establishment of the School of Dance in 1983, a world-class faculty of choreographers, performers, and scholars has led the program and developed dance artists, educators, writers, and administrators in the arts. The accomplishment of the faculty and alumni lead the contemporary dance scene in Taiwan and around the world.
Master de création
littéraire et Master Danse
The master’s in literary creation, provided by the University Paris 8 since 2013, is one of the few courses of this sort in France. It is based on the founding tradition of University Paris 8, with the place it reserves for creators in its teaching and research activities. It is presented as a school of literary art, favouring work in studios and experimenting with workshop forms. It welcomes 20 students per year to a literary project, whether this will appear in a book or not. Alongside their personal projects, the students are encouraged to carry out group schemes, with partner institutions such as La Maison de la Poésie, l'Espace Khiasma, or the Centre national de la Danse… Last year, this master’s inaugurated a literary webradio, “Radio Brouhaha”.
Since 1989, Université Paris-8’s dance department has provided an experimental place for students to reflect on, practice and exchange about dance, introducing them to the tools needed to work in the field of choreography. It offers four interlinked approaches to dance, corresponding to various moments and dynamics since the department was created: a philosophical approach to the body in dance as the source, material and mechanism of choreography and its perception; research into the dancer’s work, the conditions of his or her expressiveness, his or her training methods and performances considered through the prism of gesture; the analysis of choreographic works – the historical, aesthetic and cultural contexts that have determined discourse on dance and an analysis of works as well as the history of dance itself; anthropology and the analysis of practices that lie outside so-called “stage” dance.
University of the Arts – School of Dance
The training provided by the School of Dance at the Philadelphia University of the Arts encourages students to take risks and discover themselves in order to become artists and express their uniqueness. The programme asks them to develop the ability to think critically and build their identity as artists. They are incited to reveal themselves as committed individuals whose choreographic practice is a testimony to both great skill and the authenticity of their intention and ambition. While pursuing a pedagogy that interweaves practice, theory and the development of critical thinking, the school is also highly active in collaborations and exchanges on both undergraduate and MFA levels.
University of California
The Dance program at University of California, Santa Cruz focuses on the student's individual growth within the spectrum of theater arts theories and practices and a general humanities education. The technical training is intensive, but not at the expense of an expansive experience in the university environment. The program does not aim to mold students into any of the systems of dance which survive from strong individual artists. Instead it aims to provide students with the means to recognize the formation and effect of a variety of performance styles, to contextualize the uses of dance and movement outside the area of performance, and to develop their own choices in forming a personal style, liberating them to choose the paths they wish to follow. The dance curriculum values foundational work in physiologically correct movement principles and mechanics; conscious use of the craft of movement for the realization of personal intentions in performance and choreography; and understanding of a wide variety of styles in dance performance, history, and ethnology. Since 2012, the UCSC Theater Arts Department has been able to offer a Dance minor, for students interested in deepening their dance training and education.