Berlin Faculty: Summer Dance Residency

Current Faculty

Pamela Pietro, Director

Pamela Pietro received an BFA from Florida State University and MFA from University of Washington. She is an Assistant Arts Professor at New York University, Tisch School for the Arts. Pamela has performed professionally with Anthony Morgan Dance Company, Michael Foley Dance, RaceDance and bopi’s black sheep/dances. She was a dancer and the rehearsal director for Houlihan and Dancers from 1991–1999, artistic director Gerri Houlihan and rehearsal director for the New World Dance Ensemble Australian Tour in 1994. Pamela served as Mark Haim’s assistant for the Saint Joseph Ballet projects (2002,2004,2007) and part of their summer faculty in 2004. She has been on the faculty at the American Dance Festival since 1997 and a guest teacher with the ADF linkage programs to Guangdong Dance Company in Guangzhou (China) and the Dance Library summer conference in Tel Aviv, Israel. Pamela has been on the faculty at Florida International University, New World School of the Arts, Hollins University, New York University Tisch School for the Arts, Dance New Amsterdam and a guest artist at universities all over the country. Pamela's choreography has been presented by Dancespace in Miami, Booker School for the Arts in Sarasota, Florida, Momentum Danza Company in Panama, Meredith College in Raleigh, NC and presented at the ACM Multimedia Conference in Santa Barbara, CA. She is a certified personal trainer and Pilates instructor as well as the assistant to Irene Dowd in New York City. Pamela received the first place award for academics and performance from the National Society of Arts and Letters in 1985. Her latest research was presented at the Hawaiian Arts and Humanities Conference in Waikiki in 2007. Pamela choreographed and performed a new solo “Down is Down” in Phoenix, Arizona at the Ice House as part of the dulcedance company’s season. She will continue working on this solo and beginning a multi-media collaborative project with musician and PhD candidate Allen Fogelsanger.

Recently, Pamela received the David Payne-Carter Award for Teaching Excellence 2012/2013. She fulfilled her 17th summer as a faculty member at the American Dance Festival where she taught contemporary technique, choreographed a new piece, taught a series of somatic classes to the Durham community, mentored 3 ADF/Hollins University graduate students on their thesis performances. She also continued her work with Irene Dowd in assisting her in a Neuromuscular Workshop at the ADF, as well as developing new material for our workshop in the summer of 2014. She has been asked to be a judge for the On Your Way, talent scholarship program, which awards scholarships to winners in acting, classical voice, creative writing, dancing, filmmaking, musical theater, filmmaking, and visual arts. All participants gain valuable exposure and feedback, and create online portfolios in the process. Pamela is working on a new piece for the company Sumeet Nagdev Dance Arts in Mumbai, India for 2014.

Giada Ferrone

Giada Ferrone, born and raised in Florence, Italy, has worked as a performer, educator, choreographer, curator and producer in New York City since 1998. She is the Artistic Director of The Nutcracker NYC (a contemporary dance production), Dance HUB Italia (a three-weeks dance intensive in Italy), the Dance Accompanist Training Program (for musicians interested in playing and composing for dance) and a series of educational outreach programs investigating the many educational discrimination policies in the US with the positive intersection of dance and art.

Ferrone is one of the first professional dancers to graduate from Marga Nativo’s training program at the Florence Dance Center in Italy, as well as one of the founding members of the Florence Dance Company. Her professional debut was with the company first ever performance in 1988, at the age of 14. She graduated cum laude with a BA in Dance from Suny Empire State College.

Ferrone's teaching philosophy is anchored around a strong belief in active pedagogical research, intellectual and personal investigation. She was Assistant Professor of Dance at Hofstra University where she taught ballet technique for seven years. She has worked for the notable Eliot Feld Public School for Dance and Ballet Tech, teaching company class and technique for students 6th through 12th grade. Ferrone created a curriculum-based ballet program for children ages 8 through 18, which she ran at the Peridance/Capezio Center for over 10 years. 

An international master teacher with an extensive background as ballet mistress, she guest teaches in festivals and universities across Europe and Asia; most recently, at Balettakademien in Stockholm, Sweden, SEAD in Salzburg, Austria and Central Drama Academy in Beijing, China.

Ferrone has taught ballet and partnering at NYU Tisch School of The Arts since 2008. She has been a full-time member of the Faculty at NYU since 2013 and is currently serving as Tisch’s Second Avenue Dance Company co-director.

Ferrone choreographs contemporary collaborative works with performers and musicians who possess strong independent voices. The movement esthetics have a strong base in classical ballet and require extreme physicality, improvisation abilities and a deep emotional commitment. 

Her work has been presented and produced nationally at Saint Mark’s Church, Purchase, the Construction Company, Theatre of the Riverside Church, Hofstra University, Rose Theatre at Lincoln Center, the Manhattan Movement Arts Center, the Aldous Theater, the Ailey Citigroup Theater, Jack Crystal Theater and internationally at the Florence Dance Festival, the Mugello Dance Experience and the Agropoli Summer Festival in Italy. 

Ferrone has been facilitating the artistic exchange between Europe and the U.S. by serving as tour manager/producer for both dance companies and independent musicians. She has organized and directed performances, lecture demonstrations and workshops abroad for Niles Fords' Urban Dance Collective (NYC) and for Pietro Pireddu's Maktub Noir (London/Florence). While at Tisch she has had the privilege to support the artistic process of many relevant contemporary choreographers such as Janet Wong (Bill T. Jones), Diane Madden (Trisha Brown Dance Company), Kirsten Foote (Limon Dance Company), Cindy Salgado (Crystal Pite), Rashaun Mitchell (Merce Cunningham Dance Company), Netta Yerushalmy, Stefanie Batten Bland, Bobbi Jeane Smith, Loni Landon, Gregory Dolbashian (Dash Ensemble), Shannon Gillen (Vim Vigor), Nathan Trice, Vita Osojnik, Charlotte Boye-Christenson, Cora Bos-Kroese (NDT), Richard Chen See (Paul Taylor Dance Company), Arcell Carbuag (Ronald K. Brown Evidence), Madboots, Sonya Tayeh and Ori Flomin.

She has also produced an extensive number of music performances in Italy with the collaboration of avant-garde musician Robert Boston.

Ayman Harper

Born in Houston, Texas in 1979 Ayman Harper trained as a contemporary and classical dancer, choreographer and teacher at the Houston Ballet Academy while attending the High School for the Performing & Visual Arts. At the age of seventeen, Ayman began his career with Hubbard Street Dance Chicago. In 1999 Harper moved to Europe to join Nederlands Dans Theater II where he worked with a broad spectrum of established contemporary artists.

In 2001 Harper was approached by William Forsythe, which led to the beginning of his inspiring relationship as dancer, guest choreographer and stager for the company. The latter of which has brought him to various companies around the globe such as Pacific Northwest Ballet, Lyon Opera, SemperOper Dresden, Hubbard Street Dance Chicago and most recently Bodytraffic.

Ayman has worked with choreographers Twyla Tharp, Jiri Kylian, Ohad Naharin, Paul Lightfoot, Johan Inger, Sol Leon, Daniel Ezralow, and William Forsythe.

Parallel to his career as a dancer Harper has continued to choreograph with invitations from The Forsythe Company, NDT II, Hubbard Street Dance Chicago II, Bayerisches Staatsballet II Munich, and various German State Theaters and universities. Harper's work ranges from social projects to site-specific installations to creating musicals.

He has collaborated with fellow artists Arto Lindsay, electronic musicians Matmos, Alexander Ekman, Tino Sehgal, Ivan Liska, Antony Rizzi, Richard Siegal, Prue Lang and is currently a guest professor at P.A.R.T.S under the direction of Anne Teresa De Keersmaeker and NYU Tisch Dance Summer in Berlin Program (2017, 2018)

Ayman will be working with STRUT Dance on William Forsythe's methodology and choreographic principles as they build towards the delivery of Forsythe's One Flat Thing, Reproduced.

Judith Sanchez-Ruiz

"My art comes from a busy mind. It is a dance full of subtext and images, poems that deliver themselves through my body. I dance with my organs to understand whom I am. While I love improvisation as a medium to express the content of a fresh and spontaneous art, I pursue a choreography that deals with the radical transformation of qualities and textures in relation with body architectures and geometrical shapes. Most of the pieces I have done are juxtaposing technically demanding choreography with open space of improvisation."

Judith was born and raised in Havana, Cuba. At the age of eight, she received a scholarship to attend the National Sports School Eduardo Sabory in Havana and continued her studies as a student of the Cuban National Ballet School Alicia Alonso. Her first encounter with modern dance was at the age of eleven when she entered the National Art School Cuba in 1983 where she graduated with a diploma in modern and folkloric dance in 1990.

Judith moved from Cuba to New York in 1991 and subsequently relocated to Berlin in 2011.

Her professional career spans 27 years in various styles and techniques ranging from classical to modern dance, integrating both release technique and improvisational research.

Judith has been choreographing, performing as well as staging her own work since 1993, whilst being simultaneously employed as a company dancer with Danz Abierta Company, Cuba (1991-1996), Mal Pelo Company, Spain (1997-1999), Trisha Brown Dance Company, New York, US, (2006-2009) and Sasha Waltz & Guests, Berlin, Germany (2011- 2014).

She has worked with independent choreographers such as David Zambrano (1997), Jeremy Nelson and Luis Malvacias (2001-2002), DD Dorvillier (2002) and Deborah Hay (2012), amongst many others. She was an active member of the independent dance scene in Cuba and New York and currently in Berlin. She is both cooperating with artists as well as creating her own work in which she explores a variety of formats: from “silence solos”, duets, trios and group pieces to complex multidisciplinary performances.

For several years, Judith was strongly committed to improvisation as a performance form involving live music. From 1996-2009, she collaborated with my former long-time partner, (2011) MacArthur Fellow composer and drummer Dafnis Prieto on an ongoing investigation into the dynamic interplay between dance and music.

Judith has collaborated on several improvisation projects involving live music with innovative composers and visual artists, amongst whom Steve Coleman (1997), Henry Threadgill (2002, 2008), Jonathan Cramer (2002), Stephen Talasnik (2010), Sun K. Kwak (2010), Kentaro Ishihara (2010-2011), Burt Barr (2008), Ian Trask (2011) as well as with photographers Anna Lee Campbell (US), Anja Hitzenberger (Austria), Octavio Tapia (Chile) and Manuel Moncayo (Mexico).

In 1997, “Un Lugar”, one of her early pieces created together with the Cuban Jazz band Columna B, was awarded a Stanford Jazz Workshop Residency, thanks to the support by the Doris Duke Charitable Foundation. Subsequently she has been commissioned to create choreographic work by Aaron Davis Hall, via their Fund for New Work through the Jerome Foundation (2002), for Danspace Project St. Marks Church NY – within the commissioning initiative supported by NYSCA (2004-2005) and the commissioning initiative from the Andrew W. Mellon Foundation (2009-2010) – as well as for the Whitney Museum NY with composer Dafnis Prieto (2007).

She was artist-in-residence at Movement Research, NYC from 2003-2004 and 2011-2012. Judith has presented her work internationally in theatres, festivals, museums and galleries and been a recipient of various grants, amongst which E-Moves of Harlem Stage (2008), the Cuban Artists Fund (2009), Lower Manhattan Cultural Council (2006, 2009).
In 2008,  she was awarded through the Meet the Composer’s Creative Connections Program with the support of the Department of Cultural Affairs, New York State Council on the Arts, Virgil Thomson Foundation and the National Endowment for the Arts.

In the same year, she was an invited by the performer and media artist Jonah Bokaer to co-create a duet that will later become “Replica”, a multidisciplinary collaboration with renowned American visual artist Daniel Arsham which toured extensively in the US and Europe (2009-2010).

“Replica” was commissioned by the Cultural Programs of the National Academy of Sciences (CPNAS), Washington, D.C with support from the Harman Center. The collaboration was made possible thanks to the support from the Mid-Atlantic Arts Foundation in partnership with the National Endowment for the Arts and the Trust for Mutual Understanding, the New Museum, U.S. Artists International, the Institut Valencià d’Art Modern, Valencia, Spain, and the Musee Carré d’Art in Nîmes, France.

Judith established JSR Company in New York City to promote her choreographic activities. As a company JSR received commissioning support from the Storm King Art Center, NY (2010) as well as the Guggenheim Museum’s Works & Process Performing Arts Series (2010).

The company was awarded grants by the American Music Center’s Live Music for Dance Program (2010), Lower Manhattan Cultural Council (2010), The Rockefeller Brothers Fund and the Field (2010-11), Baryshnikov Arts Center in the frame of their Martha Duffy Resident Artist Spring Program (2011) and DMAC – Duo Multicultural Arts Center (2011).

In 2010 she served as an evaluator for Creative Capital’s MAP Fund. In the same year,  she was a Movement Research panelist for Judson Church Performance and acted as a member of the Artist Advisory Council at Movement Research, NYC.

In 2008 Judith was awarded “Mujeres Destacadas” (Outstanding Women) by “El Diario”, the Spanish newspaper in New York, and was selected by Dance Magazine as one of the 25 Dancers to Watch in 2010.

After her relocation to Berlin in 2011, Judith's cooperation with Australian dancer Rachel Arianne Ogle was successfully granted support by Australia’s Department of Culture and the Arts to develop a new piece, “A la Muerte Que Me Distes Le Faltaron Alas”.

A year later, in 2012, she started a choreographic collaboration with Berlin-based Mozambiquan performer Edivaldo Ernesto. “There is a name for it” (2012-2014) was presented at Radialsystem, Berlin, Germany, at Tanzfestival im Kulturzentrum Tempel, Karlsruhe, Germany, at Ofestival, Garage 29, Brussels, Belgium, at BOUGE B, deSingel, Antwerp, Belgium as well as at Gdansk Dance Festival, Gdansk, Poland.

“Noise”, her most recent collaboration from 2016, was premiered at Tanz_House, Salzburg, Austria (2016) and toured to Argentina to be presented in the frame of the Festival EL CRUCE, Rosario, and at El Porton de Sanchez Theater, Buenos Aires (2016) as well as to Notafe Festival, Estonia (2017). Further dates in Hong Kong for 2018 are already confirmed.

Thanks to their recent exposure in China, they have been invited to create a choreography for Chinese contemporary dancers from different provinces of China, starting in November 2017, with a tour planned for China and Europe in 2018.

In 2015, JSR Company premiered “Micro Revolution”, a site-specific performance with 11 artists at ACUD art center Berlin, collaborating with sound designer Jassem Hindi, pianist Sebastian Schunke and opera singer Atalyá Tirosh. “Sebastian Schunke Meets Judith Sánchez Ruíz” was a collaboration with German Jazz pianist Sebastian Schunke and premiered at Pavillon Hannover, Hannover, Germany, in February 2016. The improvisational project “Mirror Equation” was performed at Flutgraben, Berlin, in July 2016.

“Encaje”, Judith's most recent work – on hypocrisy, drawing from the diaries of writer Anaïs Nin – was presented as a work-in-progress at Festival Deltebre Dansa, Spain, July 17, 2017, and received a residency award at Choreographisches Centrum Heidelberg in Projekt der TANZAllianz, Heidelberg, Germany, the same year. It will premiere at the 14th Guangdong Dance Festival, Guangzhou, China in November this year. A US tour is planned for 2018.

In the six years after moving from New York City to Berlin, she was able to establish herself not only as a choreographer but also as a teacher at major institutions of higher education in dance throughout Europe.

She has been creating work and teaching at the Conservatoire National Supérieur de Musique et de Danse de Paris, France (2015, 2016, 2017), SNDO Amsterdam, Netherlands (2017), den Danske Scenekunstskole (the Danish National School of Theatre and Contemporary Dance) (2010, 2014), at Norges Dansehøyskole(Norwegian College of Dance), Oslo, Norway (2014), at the Modern Dance Theater School, MTD, Amsterdam, Netherlands (2015) and also at the University of Music and Dance Cologne, Germany (2014, 2015, 2016).

Judith has been invited to teach and give summer workshops at Dance Umbrella Festival, London, Coda Oslo International Dance Festival, Oslo, Tsekh Summer School, Moscow, Objectif Danse, Marseille and NYU Tisch Dance Summer in Berlin Program (2017, 2018).

Meg Stuart

Meg Stuart, born in New Orleans, is an American choreographer and dancer who lives and works in Berlin and Brussels. The daughter of theatre directors, she began dancing and acting at an early age in California and regularly performed in her parents’ productions and those made by family friends. She made her first dance studies as a teenager focusing on simple movement actions. Stuart decided to move to New York in 1983 and studied dance at New York University. She continued her training at Movement Research where she explored numerous release techniques and was actively involved in the downtown New York dance scene.

Invited to perform at the Klapstuk festival in Leuven in 1991, she created her first evening-length piece, Disfigure Study. In this choreography, Stuart approaches the body as a vulnerable physical entity that can be deconstructed, distorted or displaced but still resonates and has meaning. Her subsequent piece, No Longer Readymade (1993), toured extensively and launched her artistic career in Europe. Interested in devising her own structure through which to develop artistic projects, Stuart founded Damaged Goods in Brussels in 1994. Together they have worked on over thirty productions, ranging from solos such as XXX for Arlene and Colleagues (1995), Soft Wear (2000) and the evening-length solo Hunter (2014) to large-scale choreographies such as Visitors Only (2003), Built to Last (2012) and UNTIL OUR HEARTS STOP (2015). Other projects include video works, installations and site-specific creations, of which Projecting [Space[ (2017), is the most recent.

Improvisation is an important part of Meg Stuart’s practice. She has initiated several improvisation projects such as Crash Landing and Auf den Tisch!. In 2016 Stuart hosted City Lights – a continuous gathering in the Berlin HAU Hebbel is Ufer, in collaboration with an all-female group of local artists.

Stuart strives to develop a new language for every piece in collaboration with artists from different creative disciplines and navigates the tension between dance and theatre. Previous collaborations include works developed with visual artists Gary Hill and Ann Hamilton and composers such as Hahn Rowe and Brendan Dougherty. Residencies with Schauspielhaus Zürich (2000-2004) and Volksbühne am Rosa-Luxemburg-Platz in Berlin (2005-2010) led to collaborations with Stefan Pucher, Christoph Marthaler, and Frank Castorf. Through improvisation, Stuart explores physical and emotional states or the memories of them. Her artistic work is analogous to a constantly shifting identity. It constantly redefines itself while searching for new presentation contexts and territories for dance.

Alongside her work as a choreographer, Stuart regularly teaches workshops and master classes at dance schools, festivals, and institutions. In the book Are we here yet? (2nd edition, 2013), she reflects on her practice in conversation with editor Jeroen Peeters and describes the exercises, tasks, and narratives that she uses in workshops and the creative process. 

Her work has traveled the international theatre circuit and has also been presented at Documenta X in Kassel (1997), at Manifesta7 in Bolzano (2008) and at PERFORMA09 in New York. In 2008, Meg Stuart received a Bessie Award (New York) for her oeuvre and a Flemish Culture Award in the category of the Performing Arts. The Akademie der Künste (Berlin) awarded Meg Stuart the Konrad-Wolf-Preis in 2012. Tanz Magazine honored her as Choreographer of the Year 2014. In that same year, Stuart was honored with the Grand Prix de la Danse de Montréal. In 2018, La Biennale di Venezia awarded her the Golden Lion for Lifetime Achievement in the category of dance.

Meg Stuart/Damaged Goods has an on-going collaboration with Kaaitheater in Brussels and HAU Hebbel am Ufer in Berlin. As well as the NYU Tisch Dance Summer in Berlin Program (2017, 2018)

2017 Faculty

Eleanor Bauer

Eleanor Bauer is a performer and choreographer working at the intersections of dance, writing, and music. Her work is a profound synthesis of physical, conceptual, effective, emotional, formal, and aesthetic understandings. From talk shows to evening-length ensemble pieces, her versatile works range in scale, media, and genre, traversing different methods and categories of performance. Her solos ELEANOR! from 2005 and (BIG GIRLS DO BIG THINGS) from 2009 exemplify the humor, wit, and sensuality that mark her work. 

Originally from Santa Fe, New Mexico, Bauer is the daughter of a ceramicist and an architect. Her concept of creativity thus is bound to container-ness. With the empirical concreteness of a ceramicist with her hands in the mud, Bauer speaks about the body as a "dirty container: everything that passes through and over it leaves its trace. Dancing is turning that dirty container over and shaking it to see what comes out." With the collaborative ethic of an architect who conceives of a program to unify all the interests and conditions of a project, Bauer sees choreography as a coordination of time and place, context and culture, conditions and collaboration.

Bauer has collaborated with musician and composer Chris Peck since 2003, creating several works together over the years, including the trilogy of A Dance For The Newest Age (the triangle piece), Tentative Assembly (the tent piece), Midday and Eternity (the time piece). With their political sci-fi experimental musical and dance concert Meyoucycle, Bauer and Peck pushed the depth and breadth of their collaboration, opening up a whole new terrain of co-authored entanglement between writing, dance, and music, which will continue even further in their forthcoming production, New Joy to premiere in February 2019 at Schauspielhaus Bochum in Germany.

In 2018, Bauer premiered a new work with Cullbergballeten and Yung Lean at Sweden's Way Out West music festival in Gothenburg and to sold out shows at Dramaten in Stockholm. Bauer premiered A lot of moving parts, a new solo with live music by WATT clarinet ensemble, at Lafayette Anticipations in Paris within the Eschelle Humaine program of Festival d'Automne. In the fall of 2019, Bauer will premiere a new choreography with Nora Dance Group in London. 

Bauer has worked as a performer with, among others, choreographers Xavier Le Roy (low pieces, Retrospective, and Le sacre du printemps 2018), Trisha Brown (Accumulation and Floor of the Forest at Documenta 12), Boris Charmatz / musée de la danse (levée des conflits, enfant, expo zero and 20 dancers for the 20th century), Anne Teresa De Keersmaeker / Rosas (The Song), David Zambrano (Soul Project), Mette Ingvartsen (why we love action), and Veli Lehtovaara (Thus, solo within Clandestine Sites: Displaced). She has collaborated as a choreographer and performer with visual artists Matthew Barney (River of Fundament, Drawing Restraint 24, and Redoubt), and Emily Roysdon (by any other name). She has performed with music groups The Knife (leading Miguel Gutierrez's Deep Aerobics as a crowd-warmer for the Shaking The Habitual/Shaken Up tour), Ictus ensemble (as MC and vocalist in This is not a pop song and as co-creator and performer of Meyoucycle), and Arjan Miranda (Poltergeist music video).

Bauer studied at Idyllwild Arts Academy in California, holds a BFA in Dance from New York University's Tisch School of the Arts, completed the Research Cycle at P.A.R.T.S. in Brussels, and is currently a PhD candidate in Choreography at Stockholm University of the Arts. She has been producing her pieces via GoodMove vzw in Brussels since 2007 and was artist in residence at Kaaitheater in Brussels from 2013-2016. She co-founded the open-source format for exchange of practices in the performing arts called Nobody's Business in 2015 ( together with Ellen Söderhult and Alice Chauchat. She continues to teach, write, lecture, and organize contexts for an exchange of knowledge in the arts, including her after talk format PROTO TALKS.

Nir de Volff

Born in Israel, he studied dance and started his first steps into the local professional companies at Suzanne Della Center. In Tel Aviv he was guest for Pina Bausch’s Viktor at the Israeli opera house. In 2000, he moved to Amsterdam and started to create his own work. In 2004, he moved to Berlin and created his first piece for Sophiensaele Tanztage festival. In summer 2007, he grounded his company TOTAL BRUTAL. Since then, the company has been working at Dock11, Sophiensaele, at the prestigious Schaubühne am Lehniner Platz on a collaboration project with the theatre director Falk Richter and at Maxim Gorki theater. Nir de Volff collaborates as well with artists such as the group She She Pop at HAU Berlin, and Katarina Niminnen at Volksbühne Berlin. De Volff creates international cultural exchange projects mixing social-political subjects with entertainment values. In the past few years he developed a movement method called USE-ABUSE which he teaches worldwide in important dance and art centers. TOTAL BRUTAL works with a wide range of professional performers and with different theatre, ranging from small to national. The work has been seen in theatres such as Oper Frankfurt, Grand Theatre Groningen, Rotterdamse Schouwburg, ZIL Culture Centre Moscow, SESC Pinheiros (São Paulo), Esplanade Theatre (Singapore), Bangkok National Center for Dramatic Art, Stadttheater St. Pölten (Österreich), Warehouse 2 ( Jaffa Port), Tel Aviv, Ponec Theatre (Prag), Teatro Alle Tese (Venedig), Old Court Building (Macao), Amphithéâtre de Gesù (Montréal), among others cities in Germany and around the world. 2016 De Volff’s new production was in the frame of the prestige Austrian Wiener Festwochen Festival 2016. De Volff’s youngest work "Come as you are # 2017" presented as a research-work in progress with three Syrian dancers (refugees) living in Berlin and reached an outstanding success.

Johannes Wieland

Johannes Wieland hails from Berlin, earned his BFA at the Amsterdam University of the Arts and worked in various companies with an extensive array of choreographers before going to perform as a principal at the Béjart Ballet Lausanne. ready for a radical change, he then relocated to New York City where he received his MFA in contemporary dance and choreography at NYU Tisch School of the Arts in 2002. 

His company Johannes Wieland, founded in New York that same year, facilitated the foundation for his body of work and since 2006 he holds a permanent position as the artistic director and choreographer at the Staatstheater Kassel. Aside from choreographing and teaching for companies and universities, his critically-acclaimed pieces have been invited to tour internationally for festivals and events. He is a first prize winner of the “Kurt Joss prize”, and has been awarded numerous other prizes, recognitions, scholarships, and grants. Johannes is a nominee for the German theatre prize “der faust” in 2016 for his creation “you will be removed”. Johannes is the co-director of b12 – the new festival for contemporary dance and performance art in Berlin.