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Core Faculty


Born in the South of Germany Sabine Fichter studied Modern/ Contemporary dance in Duesseldorf, Berlin and at the European Dance Development Centre (EDDC) in Arnhem (Netherlands). For ten years she had been working as a dancer with companies such as Neuer Tanz, Frey Faust Dance Company, Telos Dance Company and Exis Dance. She has presented her own choreographic work in Germany, Brazil and Argentina.

In 1997 she was certified as a Movement Analyst (CMA) by the Laban/Bartenieff Institute of Movement Studies (LIMS, New York) and is now a guest teacher on the European CMA training. In 2004 she received her Master Degree in LMA and Somatic Studies from Surrey University, UK. Since then she has taught somatic based movement classes, composition and Laban Movement Analysis at London Metropolitan University, the University of Limerick, Ireland and the Palucca Dance University in Dresden, where she has also been a research associate for InnoLernenTanz, a project which investigates innovative teaching and learning strategies.

She has been working as a somatic practitioner/movement therapist with children and adolescents at the Psychiatric Department of the Carl Gustav Carus Hospital, Dresden, for the past 18 years. Her main focus in the therapeutic work is on body oriented therapy for patients with eating disorders and body image issues.


Dance Program Director
Laban Movement Studies
Contemporary Dance


Giorgio Rossi studied mime in Milan at the circus school Quelli di Grok and then attended the Conservatoire National des Arts du Cirque et du Mime in Paris, where he worked with the company of J. Russillo. In 1980 he joined Carolyn Carlson’s dance company, taking part in performances of Undici Onde and Underwood and in Gluck’s opera Orpheus.

In 1984, with Michele Abbondanza, Francesca Bertoni, Roberto Castello, Roberto Cocconi and Raffaella Giordano, he founded the company Sosta Palmizi. Over 30 years, have worked more than 400 dancers and performers. More than 30 productions, which have exceeded 1500 replicas, he has traveled around the world.

In 1998, for the performance Piume, created with Simone Sandroni and with the text of Vasco Mirandola, Giorgio received the Danza & Danza critics’ prize for the best choreographer/dancer.

Through the years, he has worked with and for such artists as B. Bertolucci, T. Gillian, A. Pazienza, W. Vaccari, P. Fresu, P. Damiani, J. Balke, L. Kemp, D. Manfredini, Banda Osiris and D. Saluzzi.

In addition to his choreographic activity, he has devoted much time to teaching, with workshops and classes in Italy and abroad, including the Conservatory Duncan of Prague, National Academy of Beijing, Contemporary Dance Institute of Norway, Opera of Oslo, Academy of Rotterdam, Scuola Civica d’Arte Drammatica of Milan and at the Biennale of Venezia at the invitation of Carolyn Carlson.


Contemporary Performance


Mark Sieczkarek was born in 1962 in Inverness, Scotland and studied from 1973 until 1981 at the Royal Ballet School in London. Following his studies, he received an engagement as a dancer with Scapino Ballet in Amsterdam where his first choreographies came into being.

Between 1983 and 1885 he danced with the Penta Theatre in Rotterdam and then moved to the Tanztheater Wuppertal Pina Bausch, where he stayed with the ensemble until 1988.

Since then Mark Sieczkarek has been working freelance as a choreographer and dancer and has brought more than 30 of his own – and commissioned choreographies – to international stages, including the direction of dance projects in Krakow (Poland), Accra (Ghana), San Jose (Costa Rica) and Porto Alegre (Brazil). Mark founded his own company in 1998.
He was awarded the Encouragement Prize from the region of North Rhine-Westphalia (1996) and the Wolfgang-Max-Faust prize (1999).

In June 2017 he created the piece The Tired Queens Garden for the Tanztheater Wuppertal Pina Bausch during Underground V.




Carolina Basagni was born in Arezzo in 1964 and began to study ballet at 8 years old. At a young age, Evgheni Polyakov, artistic director of Teatro Comunale di Firenze, was impressed by her talent and invited her to join the company. In that period she started to distinguish itself whitin the group and she danced in several solo roles such as “Giselle” alongside Carla Fracci, Rudolf Nureyev and in the “La Silfide” whit Peter Schaufuss. At 17 she was awarded a scholarship to study at the School of American Ballet (SAB) in New York.

In 1984 she joined London Festival Ballet (now English National Ballet) and she interpreted many roles as soloist. In 1987 was invited to return to Italy as a principal dancer whit Aterballetto. During this time she danced in numerous classic, neoclassic and contemporary choreographies by Balanchine, Tetley, Alvin Ailey, Bigonzetti, Amodio.

She currently works as a teacher and Artistic Director of her own school beside her husband Fabrizio Betti who was a dancer also in many international companies.




Mitsuru Sasaki was born in Japan in 1944. In 1965 he studied Ballet under Hironobu Oikawa and Midori Takato, and Butho with Kazuo Ohno. In 1980, Mitsuru joined Folkwang Tanzstudio, a graduate program at Folkwang University in Germany, as a dancer and choreographer. Founded by Kurt Jooss, this program was also home to other dance moguls such as Pina Bausch, Reinhild Hoffmann, and Susanne Linke. Mitsuru studied modern dance with Hans Züllig, ballet with Brian Bertscher, and modern technique with Jean Cebron at Folkwang University. In 1988, he founded SASAKI Dance Co. Since 2015 he has been responsible for the contemporary Butoh class at the Accademia dell’Arte with Mark Wilson.

Contemporary Butoh is based on Japanese Butoh with ballet and dance theater techniques. Unfortunately, we lost Mark Wilson in 2015 but we are trying to find new movements with his steps.




Originally from Little Rock, Arkansas, Scott McGehee moved to Italy as a Fulbright Fellow in 1995 and has lived in Italy since. He received his Doctorate in European Intellectual History from Boston College in 1996 and is the President and Founding Director of the Accademia dell’Arte.

Scott’s research interest centers on the convergence of radical social thought with the organization of aesthetics perception and artistic expression. He has been active in the formation of the CrisisArt Festival and contemporary social movements including Occupy Wall Street. He continues to work on projects that explore the potential for collective and collaborative creation and has written on the subversive character of the Commedia dell’Arte. (Link Essay: the-pre-eminence-of-the-actor-in-renaissance-context-2.)

Scott gives lectures and seminars throughout the year at the Accademia on various topics including the history of cabaret, understanding Commedia politically, the commodification of artistic experience and related topics.

Hobbies are many, none of which are well developed, but he does have a knack for writing bad pop-songs.




Ashai Lombardo Arop graduated from DAMS in Bologna with a degree in Theatre, where she completed her experimental thesis on the anthropology of dance.

Her research covers a wide of diverse dances and investigates the historical connection and social expression that unites them. Her work encourages artists to embark on a path of interdisciplinary study within the language of dance, deepening the commitment with different styles: from southern Italian folk dance to flamenco, from traditional African dance to contemporary, etc.

She developed a unique style of dance that combines “Tammurriata campana” with the movements of the ecstatic African dances, which she called the “Tammurriata nera”, and a technique of ‘etnocoreutica’ practice, which consists of ritual tribal dances, using the breath as the common thread between the sacred and the profane, the body and soul.

Ashai has participated in various events as a solo dancer, which include: Womajazz Festival (Prato), Sarajevskazima (Sarajevo, Bosnia), Festival del Mediterraneo di Montpellier (France), Festival delle Culture (Bologna), 2° Anniversario dell’Archivio Sonoro Canzone Napoletana (Auditorium RAI – Napoli), the program Geo & Geo, Afroscopia (AMANI for Africa), Leuciana Festival (Caserta). She placed first with the group Cathartica Mediterraneo in the Ethnic Music category of “Terre in Moto 2006”. She has danced for Nuova Compagnia di Canto Populare, Marcello Colasurdo, Terìaca, Carlo Faiello, Teresa De Sio and Raiz degli Almamegretta. Besides her personal artistic projects, she is currently collaborating with Su-She-Duo (Irene Robbins, Keiko McNamara), the piazza band Caricamento, Associazione Nausika and Associazione Belleville Teatro.

As President of the Associazione Culturale Danzemeticce, her goal is to spread dance as cross-cultural vehicle. In Bologna, Ashai teaches dance and writes for the newspaper “Il Tamburo”, whose work is to promote immigration and interculturalism and has recently contributed, along with many other researchers from the Università di Bologna, to a forthcoming book on the use of dance as a vehicle for cross-culturalization.


Afro-Contemporary Dance


Emilija Dimitrijevic was born in Serbia and graduated in English Language and Literature from the University of Nis. Continuing her education in Italy, she received from the Uni-versity of Siena a BA in Foreign Languages and Literatures and a PhD in interdisciplinary studies that include the areas of literature, aesthetics, arts, and performance. Her original interest in language and literature has over the years evolved into an interest in several disciplines and a commitment to multidisciplinary inquiry. Her research interests lie in the field of the novel, theory, gender, and cultural studies, and her studies draw on the work of contemporary philosophers, social theorists, and psychologists. She is the author of essays on A.S. Byatt, Jeanette Winterson, Angela Carter, J. L. Borges, Danilo Kis, Henry James, Audrey Niffenegger, William Shakespeare, Robert Browning, and of the mono-graph Intimacy and Identity in the Postmodern Novel (2008).

Emilija Dimitrijevic is teaching the Philosophy of Art and Performance, the course aiming to encourage and enable students to take a stance in the discourse of art and performance.


Philosophy of Art and Performance


Gianni Bruschi is one of the founding members of Spazio Seme in Arezzo (Tuscany) where he is artistic director and where he teaches theatre, voice, and expressive movement. A singer and actor, he has trained with many Italian and foreign artists. He directs ensemble work related to voice, theatre, and dance in the Italian expressive culture, and he has held concerts in festivals around Italy and various Mediterranean countries such as France, Egypt, Albania, Greece, Morocco, Tunisia, Spain and India. He studied Belcanto and Opera with Slavka Taskova Paloetti, with whom he collaborate at the Fondazione Guido d’Arezzo. He got a degree in Italian Litarature and history of the theatre at Siena’s University; he got the status of “expert of education” on professional profile of Tuscany Region related to European Community. He is achieving a degree as a counselor at the Institute of Psychosynthesis of Roberto Assagioli in Florence.



Guest Faculty


Thomas Kampe has worked with dance, theatre and movement for the last 30 years as performer, choreographer, director and educator. He has taught somatic approaches towards movement education and creative practice in different settings around the world. Throughout his career he has coordinated international transdisciplinary initiatives that bridge performing arts, health and education. He currently works at Bath Spa University as Senior Lecturer for Acting. Thomas trained as a visual artist in Kassel, Germany and studied dance at the Laban Centre and at Middlesex University in London where he worked for 13 years with Austrian Ausdruckstanz pioneer and Holocaust survivor Hilde Holger (1905-2011). International artistic collaborations have included artists Liz Aggiss, Laura Belem, Carol Brown, Hilde Holger, Rosemary Lee, Julia Pascal, Colin Poole, German media-arts company ‘Blackhole-Factory’, Tanzinitiative Hamburg and Proforma Dresden. He is a teacher of the Feldenkrais Method ® which forms a foundation for his teaching, research and artistic practice. His most recent publications on Somatics and criticality include the chapter ‘The Art of Making Choices: The Feldenkrais Method as a Soma-Critique’ (Triarchy Press 2015), and ‘Eros and Inquiry – The Feldenkrais Method as a Complex Resource (TDPT 2015). Thomas is currently co-editing journal volumes for JDSP and the International Feldenkrais Federation (IFF) Research Journal.


Feldenkrais and Contact Improvisation


Iztok Kovač is a choreographer, teacher and dancer in Ljubljana, Slovenia. In the 1990s virtually out of nothing established the notion of the Slovene contemporary dance in the cultural space of Europe and beyond. In 1993 he established the international dance company En-Knap in Leuven, Belgium, under the wings of Klapstuk Festival; a year later the group moved its headquarters to Ljubljana, where he established EN-KNAP Productions. After 14 years of project-based work, in 2007 Kovač founded the international dance company EnKnapGroup, the first permanent ensemble for contemporary dance in Slovenia, thus beginning working on a repertory basis. Two years later EN-KNAP Productions was entrusted the management of the Španski Borci Cultural Centre in Ljubljana, where Iztok Kovač is the artistic director, and programmer of the domestic and international programme. In addition to 34 own projects, artistic direction and pedagogical work, his opus includes also six dance films. In 22 years, his EN-KNAP has introduced and established its own esthetics inside the European space and formed its trademark, into which many acclaimed coproducers have invested from the outset. For his work, Iztok Kovač has received prominent domestic and international awards.


Movement Composition


Tomi Janežič has been listed by international critics as one of the most interesting European theatre directors of his generation, and has been internationally recognized as one of the experts in the field of acting creative techniques.

He obtained his degrees in theatre directing from the Academy of Theatre, Radio, Film and Television in Ljubljana (Slovenia), and was later educated in Slovenia and abroad, particularly in the field of various acting techniques and psychodrama. Janezic is also a certified psychodrama psychotherapist and studied Group Analysis.

Janežič teaches theatre directing at University of Ljubljana. He lectured and participated as an invited artist in almost twenty different countries around Europe, in Russia and United States.

His performances have toured on international theatre festivals in Vienna (Wiener Festwochen), Brussels (Kunstenfestivaldesarts), Moscow (Golden Mask, Moscow Footlights), Belgrade (BITEF), Sarajevo (MESS, Sarajevo Winter), Zagreb (Eurokaz, Gavella Evenings), Firenze (Fabbrica Europa), Nitra (Nitra International Theatre Festival), Budapest (Budapest Spring Festival), Rotterdam (Paradise Regained), Munich (Tanzwerkstatt Europa), Skopje (MOT), Ljubljana (Exodos), Timisoara (TESZT), Sfantu Gheorghe (Reflexfest 3), St. Petersburg (Balkan Theatre Spaces), New York (Performance Mix), Tanzhaus Düsseldorf, Rijeka (International Small Scenes Theatre Festival), Ohrid International Festival, Dubrovnik Summer Festival, Piatra Neamt International Theatre Festival, Novi Sad (Sterijino pozorje), Užice (Yugoslavian Theatre Festival), Split (Split Summer Festival, Marulić Days), Maribor (Borštnik Meeting), Podgorica (Biennial of Montenegro Theatre) etc.

He has received over thirty international prizes and awards, among them two MESS Golden Laurel Wreath awards, BITEF audience award, award of the jury of international association of critics, four Sterija awards, Bojan Stupica award etc. and has been recently nominated for Russian Golden mask award for best directing and best performance and Norwegian Hedda Award for best directing.




Janez Janša is contemporary artist who in 2007 together with two other Slovenian artists changed his name into the name of the conservative, two times prime-minister of Slovenia. Before and after this radical artistic gesture Janša has been working as theatre director and performer of interdisciplinary works that focus on the relation between art and the social and political context surrounding it, reflecting the responsibility of the performers as well as the spectators. Many of his works deal with the very status of performance in neoliberal societies. He created e.g. (together with Peter Šenk) a Refugee Camp for the Citizens of the First World (2004) and devised We are all Marlene Dietrich FOR (with Erna Ómarsdóttir, 2005) as a performance for soldiers in peace-keeping missions in the tradition of famous army entertainment shows. In his exhibition Life in Progress (2008) the audience itself reenacted famous historical performance art actions. For Janez Janša artistic practice, theoretical reflection and political involvement are not separated: He is also the director of Maska, a non-profit organization in publishing, artistic production and education, based in Ljubljana, Slovenia and edited several books on contemporary dance and theatre. He is author of the book on early works by Jan Fabre, (La discipline du chaos, le chaos de la discipline, 1994).

He is currently fellow at the International research center Interweaving Performance Culture at the Freie Universitaet in Berlin and Honorary Visiting Professor in the Department of Drama, Theatre and Performance at the University of Roehampton, London.


Lecturer for Contemporary Performance Art


Domenico Pietropaolo is a Professor of Italian and Drama at the University of Toronto, where he is also a Senior Fellow of Massey College and the immediate past principal of St. Michael’s College and a former director of the Graduate Centre for Study of Drama.

His main research interests are in Medieval Studies, theatre history, the Commedia dell’Arte tradition and grotesque dance. His published research includes the books Dante Studies in the Age of Vico, The Baroque Opera Libretto (co-authored with Mary Ann Parker), and The Semiotics and Pragmatics of Stage Improvisation. He has also published numerous articles in literary and theatre history, fields in which he has edited several volumes of essays.


Lecturer: Stage Improvisation and the Culture of Movement


Tatjana Macic is an interdisciplinary visual artist, writer, researcher and theoretician based in Amsterdam, the Netherlands. She studied art at the Academy of Art and Design AKI in Enschede, and got her Master’s degree from the University of Amsterdam, where she wrote a thesis about curating, politics and innovation in turbulent times. She is deploying her artistic practice as an agency for critical thinking and to blur boundaries between visual art, theory, curating and written and spoken language. This results in an eclectic body of works, such as performances, installations, paintings and interventions in public space. Her work has been shown amongst others at the Stedelijk Museum Amsterdam, the 53rd Venice Biennale Collateral Events, the Online Biennial of Internet Art – The Wrong, the Massachusetts Museum of Contemporary Art (MASS MoCA), Cabinet Gallery in New York, USA, Gallery of Academy of Fine Arts in Sarajevo Bosnia and Herzegovina, Centre for Contemporary Art in Negotin, Serbia, Hilversum Museum in the Netherlands, the Royal Dutch Institute of the Tropes in Amsterdam, Arti et Amicitiae in Amsterdam, Scryption Museum in Tilburg, FAD in Barcelona, Spain and Kunst Vlaai in Amsterdam.

Tatjana Macic teaches Artistic Research at the Royal Academy of Art in the Hague, where she developed an interdisciplinary study curriculum which brings together visual and performing arts, theory and philosophy. She is a chair of the jury of the annual Thesis Award of the Royal Academy. In addition, she actively engages in the fields of Arts and Culture as an adviser, lecturer, board member, creative thinker and speaker. Some examples of such engagement are: advisor for the Amsterdam Fund for the Arts (AFK), advisor of the mayor of Amsterdam as a member of the Commission for Art spaces (CAWA) and an independent researcher for Platform BK.

She is a founder of Urgent Matters / Srettam Tnegru, an initiative for art, research, dialogue and exchange. Dealing with artistic urgency, experimentation and research, and by shaping a dialogue between theory and practice, discourses and agencies, whilst testing the framework of public talks and exhibition making, Urgent Matters / Srettam Tnegru questions conditions and forms for artistic practice, research and critical thinking.


Lecturer and Guest Workshop: RHIZOME: Theory, Artistic Practice and Urgency

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