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concept, choreography, text: Ivana Müller

performance, text: Katja Dreyer/Sarah van Lamsweerde, Pere Faura/Ricardo Santana, Karen Røise Kielland/Hester van Hasselt, Stefan Rokebrand/Jobst Schnibbe and Jefta van Dinther/Bill Aitchison

artistic advice, text: Bill Aitchison

sound design: Steve Heather

light, technique: Martin Kaffarnik

about the performance

While We Were Holding It Together won two out of three prizes that were granted at Festival ImpulseTanz – - the most important festival for independent theatres in the german speaking area; the first prize for the best off-theatre production as well as the prize of the Goethe institute.

While We Were Holding It Together creates images in becoming, always changing, depending on who is looking. Is it a rock band on tour? A picnic in the forest? A hotel room in Bangkok? We look, imagine and reinvent while searching for what is hidden and for what we want to see.

The piece negotiates the relationship between imaginary and physical, personal and collective, position of performer and position of spectator. Whilst continuously provoking shifts in perception and sense, staging a conflict between body and its representation, Ivana Müller creates a show that is disquieting, moving and yet genuinely funny.

about the choreographer

Following her studies in French language and literature in Zagreb, Ivana Müller

continued her professional development at the Schoolf for New Dance Development in Amsterdam. Today, critics describe her work as uncompromising theatre which minutely investigates various concepts and ideas which we usually take for granted.

Her work was initially presented to Zagreb audiences in 2000 at Dance Week Festival. Since this time her work is presented regularly at many prestigious locations throughout Europe, the Americas and Asia. She returns to Zagreb to the 25^th edition of the Festival, with her recent work which just recently was the London National Museum’s curatorial response to  the blockbuster exhibit of Greek Masterpieces at the Louvre.

In her works she investigates the body and its presentation, and the re-definition of own identity, as well as the position n of the imaginary and imagination and the relationship between the performer and the audience. She simultaneously brings together diverse artistic disciplines, including dance, visual arts, film and text, creating hybrid forms with  influences which vary from those cultural and philosophical to cognitive science.

She has collaborated with numerous artists, scientists, as well as companies including Groupe Dune and Christine de Smedt/Les Ballets C. de la B.  Since  2006 is one of the tutors at the  Piet Zwart Institute.

She was awarded last year by the Prins Bernhard Culturrfonds with their prestiogious biennial award, that is given to three emerging artitsts as recognition for their body of work.

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idea & choreography: Mateja Bucar
dance & choreography: I-Fen Lin, Mu-Yi Kuo, Pei-Jen Tsai, Reb Mur-Ji (Rebecca Murgi)
visual concept: Vadim Fishkin
music: Borut Savski

about the performance

The idea falls in the field of “GEOPOETICS” , that is when geographical, religious, ideological matters are approached to in a poetic way, in the sense as artists Yuri Leiderman once explained :
“It is the idea that politics, races, people are essentially transformed into in existent objects, like small ovals, boxes, lumps, closets. Then their status can become very flexible and unpredictable: a real character, a real people representative, but in fact just a representative of the corners near plinths or a representative of coffee stains…”

Today it is not just that most of our consumer objects are in fact Chinese: China has presented us with far more radical changes in social and family organizations. With its “one child” policy, China has shown that sibling relationships can be eradicated. In China we thus do not have brothers and sisters anymore. The lack of sibling rivalry, however, does not necessary bring contentment to people. The Chinese worry is that one-child families are creating “The Child Emperors” – narcissistic boys over-indulged by parental love who have problems forming social relationships.

China is also opening new ways of thinking through people’s beliefs in authorities and religion. Dostoevski in his “Brothers Karamazov” famously concluded that if God does not exist everything becomes permitted. Jaques Lacan, however, reversed this saying into: “If God does not exist nothing is permitted any longer.” China has created its own gods to escape this dilemma. The God of the Communist Party seems to thrive together with the God of Capitalism. A strange new brotherhood “Made in China” is emerging today.

Renata Salecl

about the choreographer

Graduated in studies of classical and modern dance at Ballet school Ljubljana and Centre de dance international Rosella Hightower, Cannes France, continued Biology studies at University of Ljubljana; in 1984 engaged in Slovenian National Ballet in Ljubljana and 1989 joined Dance Theatre Ljubljana and since 1992 working as independent choreographer.

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choreography:Thierry Smits

interpreters:Benjamin Bac, Lucius Romeo-Fromm, Michael Sears, Erica Trivett

soundscape and composition:Maxime Bodson

music: Antonio Vivaldi, The Four Seasons

texts: Peter Verhelst (Fluid Mechanics), Caroline Lamarche (Moss&Mould)

set design and accessories: Peter Maschke

lighting design and technical coordination:Thomas Beni

images and dramaturgy: Jacques André

costumes :Olivier Bériot

Production Compagnie Thor

In association with Kaaitheater, Théâtre de la Balsamine, CNCDC Châteauvallon

With the support of Ministère de la Communauté française de Belgique, Service de la Danse;

Commissariat général aux Relations internationales de la Communauté française de Belgique

about the performance

V.-Nightmares is a choreographic project of which the realisation covers a whole year, from winter 2006 to autumn 2007. Each climatologic season sees the creation of an independent piece in which one of the parts of Vivaldi’s Four Seasons are used. Each piece (Fluid Mechanics for spring, TAN for summer, Moss & Mould for autumn and ICE for winter) unites the same group of artists: a choreographer, four dancers, a set designer and a lighting designer. Certain pieces see, moreover, the contribution of a writer.

Like a perennial pictorial legacy, the metamorphosis of Vivaldi’s Four Seasons into a sombre, lucid “Vanity”, a nightmare in four variations, makes us think about the passing of time and presence of death. Outside all religions and the antipodes of all psychological portraits, this new production by Thierry Smits cultivates all the resources of the body on stage in its abilities to carry the ambivalence of our climaxes and our pain.

Following this vein, Thierry Smits explores an artistic collective’s abilities to metamorphose four dancers into performers able to work a moving set by Peter Maschke, into the vectors of original texts by Peter Verhelst and Caroline Lamarche, into shameless amateur video filmmakers following Jacques André’s instructions, into the carriers of Thomas Beni’s lights, and finally into the agents of Maxime Bodson’s sound production.

These metamorphoses, underlined by Olivier Bériot’s costumes, lead to a poetics of bodies and space that spawns a questioning of live art in which the composition also interrogates the fragility of creation, the dancers, and the audience’s practices or expectations.

These baroque decentrings, reversals, and unfoldings are mirrored in the sound metamorphoses of Vivaldi’s masterpiece and feed off those of the matter that is connected to each season on the set: fluids in the spring, fire in the summer, organic matter in the autumn, and ice in the winter.

The nightmare dances all over and unfurls an ambivalence linking climactic joy and morbidity with the double foci of culture and nature, humans and the universe. The variations on nakedness in all its states – associated with desire at times, disease at others, burning, the conquered mortal remains, or even cadaveric rigidity – are striking signs of this. Each climax – sexual, solar, predatory, or morbid – reveals its opposite in line with the seasons: biological contamination, irradiation, the power of violence, or the death-dealing, sterilising power of the world. Some might catch therein tantalising glimpses of the seasons that govern our age: the spring of corporeal fetichising in the prison of a look; the summer of the fascination of dehumanisation; the autumn of the dislocation of social ties; and the winter of the world’s sterilisation.

These perspectives’ vanishing points are found in a baroque general aesthetics to which the Four Seasons gives birth via its questioning of a problematic aesthetic heritage and the assembly of contrasting forms. So, the colours and materials of spring are largely “pop”, before sliding into a “modernist” summer that asserts the effacement of individuality; the mad baroque of autumn then relativises the various visions of humankind; whilst winter clings to the violent expressionism of a hot-and-cold contrast in the black and white of life and death.

The nightmare can continue to dance in these myriads of folds and metamorphoses, certain of coming across our various imaginary worlds and turning them into stages on which it can proliferate.

about the choreographer

Born in Koersel (Belgium), Thierry Smits studied ballet and modern dance in Brussels and Paris. After a short career as a dancer, he soon began choreographing.

With his first choreography, La Grâce du tombeur, presented in 1990 at the Halles de Schaerbeek in Brussels, he quickly gained international acclaim in the world of contemporary dance. Since then, he has been a tireless choreographer for his own company and other theatre companies and groups.

In his performances, oscillating between pure dance and dramatization, and in which his technical rigour and his gestural inventiveness are always present, mankind’s relationship to sex and the sacred frequently occupies a central role. The body – as object of desire, pleasure and finiteness – has been the very subject of Thierry Smits’ choreographic research over the past several years. This is not only because the body is obviously the matter and tool of the choreographer’s trade, but also with Eros délétère (1991), followed by the solo Cyberchrist (1995), Corps(e) (1998); and Red Rubber Balls (1999), Thierry Smits has founded his work upon the very notion of corporeality and the tensions that exist between the climaxing body, the ‘body as sex’, and the intimately diseased body that is doomed to disappear.

In addition to his work focused on complex subjects and linked to an element ‘outside’ dance, Thierry Smits concentrates on dance itself – referring to nothing other than itself -, as he had done for the first time in Soirée dansante (1995). With Richard Of York Gave Battle In Vain (2001), Dionysos’ Last Day / Stigma (2003) and D’ORIENT (2005), he continues this line begun previously, here giving priority to a study of form, choreographic composition, and the search for movement.

Thierry Smits’ work was recognized in 1995 when he received the SACD-Belgium prize, and again in 1998, for his creation Corps(e), for which he received the Belgium Océ prize for the performing arts of the French speaking community.

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concept & direction: Wayne McGregor

choreography: Wayne McGregor in collaboration with the dancers

dancers: Neil Fleming Brown, Catarina Carvalho, Agnès López Rio, Paolo Mangiola, Angel Martinez Hernandez, Anh Ngoc Nguyen, Anna Nowak, Maxime Thomas, Antoine Vereecken, Jessica M Wright

original music 1: Joby Talbot, performed by Navarra Quartet

original music 2: Jon Hopkins, performed by Jon Hopkins

lighting design: Lucy Carter

digital video design: Ravi Deepres

set & costumes: Patrick Burnier

about the performace

A diptych of contrasting works performed by ten dancers and set to live music, Entity follows the electrifying performances of Chroma, McGregor’s Olivier Award-winning work created in his role as Resident Choreographer for The Royal Ballet.

about the choreographer

Multi award-winning Wayne McGregor is one of the world’s most inventive choreographers, renowned for his physically testing choreography and ground-breaking collaborations across dance, film, music, visual art, technology and science. During the past 18 months alone he has created work for Glastonbury Festival, Paris Opera Ballet and The Royal Ballet. He has directed an opera at La Scala, Milan and was appointed to the prestigious position of Resident Choreographer of The Royal Ballet, the first in 16 years and the only one ever to come from the world of contemporary dance.

At 22 McGregor founded his own company, Random Dance, which was invited to be the first resident company at the new Sadler’s Wells in 2001. His career to date has taken him beyond the conventional stage, choreographing for films – Harry Potter and the Goblet of Fire – and creating site specific installations for Southbank Centre’s The Hayward, The Saatchi Gallery, the Houses of Parliament and for the Pompidou Centre in Paris.
Collaborators range from composer Sir John Tavener to neuroscientists and cognitive scientists currently driving the Entity research programme.

In 2007 Wayne completed a three year project to build an inter-disciplinary artist’s retreat on the remote African island of Lamu.

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director, choreographer & performer: Žak Valenta

dramaturg: Magdalena Lupi

set & light design: Lara Badurina

composer: Ivan Šarar

costumes: Trafik

about the choreographer

Žak Branko Valenta studied dance, mime and physical theatre. He graduated from the School of physical thetare in Londonu, and contidued with practicum at the Moving Academy for Performing Arts (Berlin, Amsterdam, Zagreb). He is active as dancers, performer, choreographer, director and educator.

As a performer he collaborated with the following choreographers and directors: Fritz Vogels, Karina Holla, Gerald Thomas, Postheatre, Nataša Lušetić, Larisa Lipovac, Ivica Boban, Martin Sondercamp, Josef Nadj, Jordi Molina, Xavier le Roy, Avanti display and others.

He has choreographed dance for theatre performances produced by:
HNK Rijeka, HNK Zagreb, DK Gavella, Mala Scena Zagreb,TRAFIK Rijeka, PROSTOR+ Rijeka, INTAKT Ljubljana, Plesni teatar Ljubljana. HKK Zadar and others.

As an educator he has taught at the Art Gymnasium in Ljubljana, the Modern Dance programme in Vienna, Dance Centre TALA, Studence Centre Zagreb, Studio Intakt Ljubjlana, AGFRT Ljubljana, Prostor + Rijeka, Hram Split, HKK Zadar, MAPA Berline.

He is member of the Association of Independent Artists Croatia, Croatian Associatin of Dance Artists, European Mime Federation.

He is recipient of the Vladimir Nazor Theatre Award for his performance in Imago directed by Nataša Lušetić.

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by Selma Banich

music: Dolly Parton, The Beatles

light: Mario Vnučec

design: offstudio

In co-production with Teatar &TD – CIIU, Kulturzentrum Minoriten Graz and Experimental free scene platform.

Supported by The City Office for Culture Zagreb and The Ministry of Culture of the Republic of Croatia.

about the performance

The close-ups of the fake genitalia renders them abstract. There’s a play between what’s recognizable and what’s unrecognizable. What do you think the desire for the “realistic” model is about?

Cindy Sherman interviewed by Therese Lichtenstein

about the author

Selma Banich was educated as a classical ballet dancer in Zagreb and Munich. Since 2001, she continued to develop her artistic practice thru workshoping with various dance artists in Croatia and abroad. She is a co-founder and program coordinator of the Experimental free scene, platform for education and research in performing arts. She works with co-authorship initiative OOUR, Zagreb based collaborative performance research group, and collaborates with transitive-fiction theatre Trafik, DB Indoš and House of Extreme Music Theatre, Sodaberg company and k.o. /combined operations. In her free time she works for La bella nippola records and as band staff for Bebè na Volè.

about the company

The co-authorship initiative OOUR was established by a group of authors from different fields of art who are willing to research the limitations of their own authorial dispositions and oppositional friction within the given performative concepts. So far the co-authorship initiative OOUR created and performed: Limb (2003), blackbox-the first box (2004), orangecut (2004), to be confirmed (2005), H (2006), Creation of Eve (2006), Salon (2007), Chew (2007) & Whitebox (2008). The group performed its productions at the various theatre events and dance festivals in Croatia and abroad. OOUR is the resident company at the EkS-scene work platform, Zagreb. OOUR productions are copylefted.

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choreography: Paulo Ribeiro

co-creation: Leonor Keil

music: Bernardo Sasseti, Gilbert Becaud, Barbara, Travadinha

dancers: Paulo Ribeiro, Leonor Keil

lighting design: Nuno Meira

video: Paulo Américo

duration: 55′ (no interval)

about the performance

Movement 1

There are projects that are invented and others that emerge imbued with urgency and vitality.

We launch ourselves, convinced that we should talk about the complicity, the adventures that life and creation have given us, the doubts, the living of life permanently in company… And I, not wanting to speak about what is ours, Leonor repeating that she wants to talk about love, that she is tired of being on stage to reflect upon the sorrows of life. I proceeded in saying yes without knowing very well what I really wanted to say… Afterwards, my inclination towards chaos and excess, led me to imagine three duets with very proper characteristics that cohabit in time yet in different spaces. Then the conditioning circumstances of the partaken interpreters made the short term dream impossible. After that, the doubt that clung on to my skin was, why am I on stage again, what’s the point?! The heart desires yet the body does not respond. Then Leonor, always positive and demanding, and then the heart overtaking the body and our duet speaking independent of us, without any imposition of matter or materials. It happens because this is how it should happen!!!!

Subsequently, Gonçalo M. Tavares, Bernardo Sasseti, Paulo Américo, Nuno Meira, Albino, Maria de Assis, Miguel Honrado, Lira and us realizing that malgré nous, nous étions là. Now, there’s no turning back!!

Paulo Ribeiro

Movement 2

1) Dance to reach the conclusion

2) There are movements better than others

3) The industry of muscles does not accept the exception of the muscle

4) Hesitation between perfection and disaster

5) The better side is the worse side

6) Requests to make me worse: please become clearer

7) There are questions better than others

The movement is possible

9) Misguided intensity contained within perfection

10) Training nudity.

and happiness is more important than reality, then.

Gonçalo M. Tavares in Livro da Dança [The Book of Dance]

about the choreographer

Paulo Ribeiro was born in Lisbon. Worked as a dancer in several companies in Belgium and in France before becoming known as a choreographer.

His first performance concerning choreographic creation, took place in 1984 in Paris, in the company Stridanse, in which he collaborated as a co-founder and which he took to several contests in the mentioned city, obtaining in 1984, the Humour Award, and in 1985, the 2^nd Award of contemporaneous dance, both in the Volinine contest.

In his return to Portugal, in 1988, he started collaborating with the Lisbon Dance Company and with Ballet Gulbenkian, for which he created Taquicárdia (Revelation Award of the Newspaper “Sete”, in 1988) and Ad Vitam, respectively. With the solo Modo de utilização, interpreted by himself, he comes to represent Portugal in the Europália 91 Festival, in Brussels.

His career as a choreographer expands in the international plan, from 1991 on, with the creation of works for renown companies, such as: Nederlands Dans Theater II (Encantados de servi-lo and Waiting for Volupia), Nederlands Dans Theater III (New Age); Ballet de Genève (Une Histoire de Passion); Centre Chorégraphique de Nevers, Bourgogne (Le Cygne Renversé). He still created for the Ballet Gulbenkian: Inquilinos, Quatro Árias de Ópera (in collaboration with Clara Andermatt, João Fiadeiro and Vera Mantero) and Comédia Off -1.

In the meanwhile, Paulo Ribeiro has been rewarded in 1994, with Acarte Award / Maria Madalena de Azeredo Perdigão due to his work Dançar Cabo Verde, a commend of Lisbon 94 - European Capital of Culture, conjointly produced with Clara Andermatt.

And, in 1995, he founds the Company Paulo Ribeiro, supported by the Ministry of Culture, for which he has been regularly creating choreographies, such as: Sábado 2, Rumor de Deuses, Azul Esmeralda, Memórias de Pedra – Tempo Caído, Orock, Ao Vivo, Comédia Off -2, Tristes Europeus – Jouissez Sans Entraves, Silicone Não and Memories of a Saturday with blue whispers.

Working with his own company allowed him to develop more effectively his personal language as a choreographer. The work Rumor de Deuses was distinguished, in 1996, with the awards: “Circulação Nacional”, attributed by the Instituto Português do Bailado e da Dança, and “Circulação Internacional”, attributed by the Centro Cultural de Courtrai, both concerning contest “Mudanças 96″.

Paulo Ribeiro has been receiving several other relevant awards: “Prix d’Auteur”, in the V Rencontres Chorégraphiques Internationales de Seine Saint-Denis, (France); “New Coreography Award”, attributed by Bonnie Bird Fund-Laban Centre (Great-Britain), “Prix d’Interpretation Collective”, attributed by ADAMI (France); Bordalo Award by Casa da Imprensa (2001).

In accumulation with his work as a choreographer, Paulo Ribeiro held, between 1998 and 2003, the position of General and Artistic Director of Teatro Viriato / CRAE (Centro Regional das Artes do Espectáculo das Beiras), that obtained, in 1999, the Almada Award of the Instituto Português das Artes do Espectáculo, owed to the activity developed in the area of Dance.

Between 2003 and 2005 he was the Artistic Director of Ballet Gulbenkian for whom he created the works White and Organic Beat, Organic Spirit, Organic Cage. “He remounted the performance of White Feeling to the Lorraine Ballet, originally created for the Gulbenkian Ballet, presented in Nancy in October 2006.

In September 2006, he reassumed his functions as general and artistic director of the Viriato Theatre.”

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choreographers & performers: Aleksandra Janeva & Melanie Munt

music: Fabrizio Rota

light design: Laurence Halloy

about the performance

Serious Series is the first collaborative choreographic work by Melanie Munt and Aleksandra Janeva in cooperation with musician Fabrizio Rot.

In the performance itself we can see a diverse series of research that they present us with in episodes of random order. Their genuine honesty and dedication in each of the presented material do at times appear absurd, and at the same time also touching.

We are forced to ask the question if at all appropriate at this time and age if something on stage – is a bad choice.

about the authors

Aleksandra Janeva was born in Macedonia in 1975. She graduated from the School of Rythmic and Dance in Zagreb, following which she attended dance schools in Brigge and in Liege, Belgium. She was awarded a scholarship with Jennifer Muller Company in New York and also DanceWeb in Vienna. She used to dance for the Zagreb dance companies: Studio of Contemporary Dance, Zagreb Dance Ensemble and BadCo, with the latter producing her first work which was awarded the Grand Prix in Luxembourg. In Germany she collaborated with Ismael Ivo and Anne Mondin, in France with System Castafiore, and in Belgium with Brice, Leoroux, David Hernandez and Melanie Munt.

Melanie Munt was ecucated as dancer at Die Etage in Berlin, the Rotterdamse Dansacademie in Rotterdam, the Martha Graham School of Contemporary Dance in New York and at P.A.R.T.S. in Bruxelles. Since 1999. she works in Belgium with Michele Noiret, Joanne Leighton, David Hernandez, Randi De Vilieghom and Bud Blumenthal. In 2002 she created a piece for the dance company of Michele Noiret – her first work – a solo Gerückt. Following this she formed her own company, Cie Melanie Munt, for which she has created Popsongs, Solo auf Schwellen, Co-Incidents & Co-Inc, La cacahouète, The Pulse Triptych (Petit Pulse, Pulse Solo & Pulse +), Babbel & encorps, Ce Faire à Voir (in collaboration with French Belgian choreographer – Barbara Mavro Thalassitis).

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creation: DD Dorvillier

performers: DD Dorvillier, Elizabeth Ward, and Michael O’Regan/Guenther Bernhardt

lighting design: Thomas Dunn

sound design: Seth Cluett

costumes: Kelly Horrigan, Jess Beebe, and the performers

about the performance

No Change or “freedom is a psycho-kinetic skill” plays with feedback, interpretation, and accidental associations, and engages the breaks and collapses of language brought on by the scattering of sounds, objects, bodies, and intentions. It’s itinerant identity as performance that reinvents itself in each new location, depends upon the economics and affects of the space itself and the institution that supports it. No Change or “freedom is a psycho-kinetic skill” plays with conceptual groundlessness, generating a chaotic terrain of in-between spaces and action as thinking.

“freedom is a psycho-kinetic skill” is a quote from Immediatisms by Hakim Bey

about the choreographer

DD Dorvillier is a choreographer, performer, and teacher, living in New York City since 1989. Her work has been shown in venues such as The Kitchen, PS122, and Danspace Project in NYC, as well as internationally in Australia, Spain, France, Austria, Japan, and Russia. She has been teaching SRT worldwide since 1995, as well her own approach to choreography and physical training. She is a double Bessie Award winner (Dressed for Floating, 2002), and a 2007 recipient of the prestigious Foundation for Contemporary Arts Fellowship. She has worked with Jennifer Monson, Jennifer Lacey, Sarah Michelson, Yvonne Meier, Karen Finley, Alain Buffard, Jan Ritsema, and Pavol Lishka, among others.

She is the Artistic Mentor of the 2008 danceWEB Europe Scholarship Program at ImPulsTanz.

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idea: Andrea Gotovina

choreography & performance: Andrea Gotovina, Roberta Milevoj, Ivan Blagajčević

choreographic advisor: Matija Ferlin

music: Andrea Gotovina, Ivan Arnold, Carlos Fagin

light design: Marko Bolkolvić

set design: Katja Taljat

about the performance

The performance is a result of a two month long research and creation of material based on the theme of melancholy. Starting from Victor Hugo’s quote, Melancholy is the pleasure of being sad, the authors (also performers) learn about and the research types of melancholym, its beauty and the atmosphere it brings about.

Allowing feelings to lead them into the known, and a step later into the unknown.

In this intimate atmosphere they relive the moments, pictures and conditions of melancholy past and present and through interpretation and regression they translate these into physical states

about the choreographer

Andrea Gotovina was born in Pula. She started dancing at the age of four. She began at the Studio Zaro in Pula under the guidance of Slavica Šenk. At the age of eighteen she went to study dance in Zagreb. She continued her dance studies in Liberdance Studio with Rajko Pavlić and also with the Zagreb Studio for Contemporary Dance. In 2001 she leaves for Amsterdam to study at the Dance Department of the Theater School, learning to be a dance educator specializing in contemporary dance and improvisation.

Between 2003 and 2005 she was guest student in the Department of Choreography at the School for New Dance Development (SNDO) were she deepens her knowledge in areas of improvisation and choreography. She started to choreographer while still a student and as dance teacher at the Music Academy in Amsterdam and at dance schools in Amsterdam. She graduated as a dance teacher in 2004.

Between 2003 and 2008 she is active as a dance teacher in both Croatia and in the Netherlands, as a dancer she collaborates with: Karni Keidar (Elephant, Somniferoum, The Fool), Marta Reig Torre (The Space Between), Nicola Hepp (Passion), Ron Bunz (Just Can’t Get Enough)…

She has created these works: Teleport (Pula), La Voisin (Amsterdam), Ruben (Curacao, the Antilles)