This season

The 2018-2019 season is noteworthy by the collaboration with an associate artist, the choreographer Olivier Dubois. Several programmes will be presented, regrouping artists as diverse as  Maguy Marin, Pierre Pontvianne, Rachid Ouramdane, Thomas Hauert, Hofesh Shechter, Barak Marshall or Alexander Ekman...  Dancers from all three years of the course participate in the Geneva programmes. 

Artiste associé - Olivier Dubois

The directors of Ballet Junior de Genève wanted to include an associate artist in their organisation in order for  the dancers to collaborating regularly with a an important choreographer of our times and forge extra links with the profession.

Welcoming such an artist with his close collaborators gives a new tone to the Ballet Junior de Genève's activities and opens up exciting new artistic collaborations. During two years , the associate artist will be accompanying a groups of student/dancers and making their work known to the public.

"A higher education course needs to be turned towards the professionl world. When the subject of collaborating with an associate artist came up, our choice naturally fell upon Olivier Dubois, a rigorous artist with a very personal vision who knows how to bring student dancers with sensitivity to another dimension. His approach never ceases to enrich our own thoughts and helps us evolve our teaching actions. We are very pleased he accepted to embark on this adventure with us."

Patrice Delay & Sean Wood



Maguy Marin photo Tim DouetMaguy Marin

Maguy Marin studied ballet at the conservatoire de Toulouse. She joined the Ballet de Strasbourg, then changed directons and went to the Mudra School when it opened in 1970 in Brussels. Three intense years that were decisive in her future path. She was soloist for four seasons with the Ballet du XXème siècle , directed by Maurice Béjart, where she also took her first steps in choreographing. In 1978, she worked with Daniel Ambash after which her creative outlet took flight, especially following her award at the Concours chorégraphique international de Bagnolet.
Her style turned itself towards a certain french Dance theatre, which was being developped by Pina Bausch in Germany, integrating non-danced theatrical elements in her works. She was to become one of the most prominent new french dance choreographers, noteably with her now legendary work "May B" along with her contemporary version of Cinderella, created in 1985 for the ballet de l’Opéra de Lyon, which has been shown over 460 times since.
In 1987 she began a long-standing collaboration with composer Denis Mariotte. As director of the Centre chorégraphique national de Créteil et du Val-de-Marne from 1985 then of the Centre chorégraphique national de Rillieux-la-Pape from 1998 to 2011, she then established herself in Toulouse in 2012 before settling her company in a space in Sainte-Foy-lès-Lyon : Ramdam, an art center created in 2015. The space allows individuals to give rise to more ambitious projects in partnership with companies.


Thomas Hauert 500pxThomas Hauert

Having built a dancer career with a.o. Anne Teresa De Keersmaeker, David Zambrano and Pierre Droulers, Swiss Thomas Hauert founded his company ZOO in Brussels. In 1998, he initiated Cows in Space, a piece for five dancers which was consequently awarded at the Rencontres de Seine-Saint-Denis. Since then, he has created more than 15 performances with ZOO a.o. Jetzt (2000), Verosimile (2002), Modify (2004, Swiss Dance Prize 2005), Walking Oscar (2006), Accords (2008), You’ve Changed (2010), From B to B (with Àngels Margarit, 2011), Like me more like me (with Scott Heron, 2011) the piece for young audience Danse étoffée sur musique déguisée (2012), Mono (2013), the solo (sweet) (bitter) in 2015 and his last group creation inaudible (2016). In 2010, director Thierry De Mey also took Accords as a base to create the film La Valse, co-produced by European television channel Arte. In addition to his work for ZOO, Thomas was also commissioned to create Hà Mais (2002) with Mozambican dancers, as well as several pieces for the school P.A.R.T.S in Brussels. In 2010, he created a new work for the Zurich Ballet, Il Giornale della necropoli, in 2013 Pond Skaters for the Toronto Dance Theatre and in 2014 the piece Notturnino for the British company of disabled and non-disabled dancers Candoco Dance Company en in 2015 The Measure of disorder for the collectif LaBosla Group based in Barcelona. Presented on more than 200 stages in 34 countries, the work of Thomas first develops from research on movement, with a particular interest in improvisation-based processes exploring the tension between freedom and constraint, individuals and the group, order and disorder, form and formlessness. Regularly invited to participate in improvisation events, he also has a deep interest in the relationship between dance and music. Thomas teaches regularly at P.A.R.T.S. and was Valeska-Gert-guest professor at the Freie Universität Berlin during the winter 2012-13. He was also invited to collaborate in The Forsythe Company’s “Motion Bank” project (ongoing). Since 2013, Thomas Hauert is the academic director of the bachelor degree in contemporary dance opened within the theatre academy La Manufacture in Lausanne.


Rachid OuramdaneRachid Ouramdane

Born in Nîmes in 1974, Rachid Ouramdane is both dancer and choregrapher. Upon obtaining his diploma at the Centre National de Danse Contemporaine d’Angers in 1992, Rachid Ouramdane launched straight into choreographing and dancing which brought him to work in France and abroad with Meg Stuart, Emmanuelle Huynh, Odile Duboc, Christian Rizzo, Hervé Robbe, Catherine Contour, Jeremy Nelson, Alain Buffard, and Julie Nioche, with whom he cofounded in 1996 the association Fin novembre.
The projects he develops take root in the conceptual upheaval that dance went through in the 90's with the two-fold questionning : on the notions of a performer and of a choreographer, and of the production methods and circulation of works. Very quickly , his works used video as a way of reflecting on physical memory. 
Since 2007, with his company L'A., his work took a noteable turn towards articulating between dance and documentary. One important aspect of his research concerns questions of identity, starting with his own and his parents of algerian origin. In 2007 he went in residence at the Théâtre de Genevilliers. He continued his association with the Bonlieu Scène nationale of Annecy, started in 2005 and then was associate artist at the Théâtre de la Ville in 2010. At the Festival d'Avignon he presented his piece "Exposition Universelle" in 2011. Whilst accompanied by the musician Jean-Baptiste Julien, he questioned in this choreography official aesthetics: " In what way does an ideology take shape in sensitive forms? Which expectations from the powers at be does the work of art come to serve? Which stigmas does political history leave on bodies?"
Aside from his artistic projects, Rachid Ouramadane is involved internationally in teaching and engaging within workshops, conferences, research in France, Romania, The Netherlands, Brazil, USA,...
From 1st January 2016, he is the director alongside Yoann Bourgeois, of the centre chorégraphique national de Grenoble.


barak marshall2Barak Marshall

Born and raised in Los Angeles, USA, Barak Marshall is the son of the dancer, choreographer and musician Margalit Oved. He became involved in dance quite by chance in 1995 and, since then, Barak has quickly made his mark as one of the principal Israeli choreographers. His work draws its sources from the dynamism, physicality and energy of Israel while looking back at the colourful traditions and ancient rituals on which its unique contemporary society is founded.
In 1998 Barak Marshall received the First Prize and the Author's Prize at the prestigious Bagnolet International choreographic competition of Bagnolet as well as the Bonnie Byrd Prize for New Choreography and the National Prize of the ADAMI
Barak Marshal has created several pieces for the Batsheva ensemble, the Philadanco Dance Company, the MDT Dance Company and the ABCD Dance Company. He has been the resident choreographer at the American Dance Festival in 1998 and 1999 and has been asked to create two new pieces for the Israel Festival.
In 1999 Ohad Naharin invited Barak Marshall to become the resident choreographer for the Batsheva Dance Company.
Barak is also a singer of oriental and classical music. He has performed as a soloist with Yo-Yo Ma and the Silk Road Project. This year his work was awarded first prize at the Joyce Foundation A.W.A.R.D. Show which took place in Los Angeles. He has received a grant for his next production with Margarlit Oved and Tamir Muskat of the Balkan Beat Box.
He recently created a the piece "Castaways" for Rambert Dance Company in London.

‘A phrase of mouvement is a phrase of meaning. My work is like body sign language' 


 Hofesh Shechter Hugo Glendinning webHofesh Shechter

Hofesh Shechter graduated from the Jerusalem Academy before moving to Tel Aviv and joining the celebrated Batsheva Dance Company where he worked with Ohad Naharin and other choreographers including Wim Vandekeybus and Paul Selwyn Norton. In Tel Aviv he studied drumming and percussion. As a result he began to experiement and develop his own music while also taking part in many projects which include dance, theatre and body percussion.
In 2002 he moved to UK
In 2004 Hofesh was commissioned by The Place Prize to create the sextet "Cult". This work received the Audience Choice award. From 2004 to 2006 Hofesh was an Associate Artist at The Place and received a commission from the Robin Howard Foundation for which he created his best known work "Uprising", a piece for seven dancers.
In 2007 three major dance venues, The Place, Southbank Centre and Sadlers' Wells, commissioned Hofesh to create "In your rooms", a work which won the Critics' Circle Award for Best Choreography in 2008.
In 2009 Hofesh created "The Choreographer's Cut" for which he repeated his famous double programme "Uprising / In your rooms". In the same year he was asked by the Brighton Festival to create the work "The Art of Not Looking Back".
Hofesh has created and set works for a number of different companies such as Bare Bones Dance Company, Edge and Verve, CeDeCe Ballet (Portugal), Hellenic Dance Company (Greece), Bern Ballet (Switzerland), Skanes Dansteater (Sweden), Carte Blanche Dance Company (Norway) and Cedar Lake Contemporary Ballet (New York).
Hofesh has choreographed works at the Royal Court Theatre: Motortown by Simon Stephens (2006) and The Arsonists (2007) in collaboration with the director Ramin Gray. He was also the choreographer of the award winning production of Saint Joan at the National Theatre in 2007 and he choreographed "Maxxie Dance", the routine that introduced the well-known Channel 4 TV series "Skins".
Hofesh is an Associate Artist of Sadler's Wells and the Hofesh Shechter company is Resident Company at Brighton Dome. Recently Hofesh has created "Political Mother" and "Sun" both of which received immediate international recognition.
In April 2015 Hofesh made his choreographic debut with the Royal Ballet with "Untouchable", for which he also composed the score.Born in 1972 Olivier describes himself as an author rather than a choreographer. Intensity of gesture and power of engagement on stage are key strengths of his works.
He created his first solo "Under cover" in 1999.
In 2005 he produced the duo "Féroces" with Christine Corday. In 2006 he created "Pour tout l'or du monde" as part of the Sujet a vif event in Avignon.
He has both taught and directed workshops abroad: National Opera of Vienna, National School of Athens, National Opera of Cairo, Troubleyn/Jan Fabre, the Preljocaj Ballet, École des Beaux Arts de Monaco.
In 2007 he founded the COD (Compagnie Olivier Dubois) and that same year he received the jury prize from the Syndicat professionnel de la critique for his accomplishments as a dancer and for the piece "Pour tout l'or du monde".
At the Avignon Festival in 2008 he created "Faune(s)" which was based on Vaslav Nijinski's "L'Apres-midi d'un faune". For this piece he worked with Dominique Brun, Christophe Honore, Sophie Perez and Xavier Boussiron.
In 2009 he choreographed "La Périchole" by Offenbach for the Opera companies of Lille, Nantes and Limoges in a production that was directed by Bérangère Jannelle. The same year he created "Révolution" for 14 dancers: this was the first part of his Trilogy. There then followed "L'Homme de l'Atlantique (based on Frank Sinatra, for the 2010 Biennale de la danse in Lyon, "Rouge" (second part of the Trilogy 2011) at "Envers et face a tous" (2011).
"Tragédie", was created for the Avignon Festival of 2012 with 18 dancers as the final part of the Trilogy
In 2013 he created "Elégie" with 17 dancers for the Ballet National de Marseille as part of the Marseille-Provence 2013 events.
His latest work "SOULS", choreographed for six dancers from six African countries, was shown in Cairo in December 2013.
In January 2014 he succeeded Carolyn Carlson as director of Centre Chorégraphique National de Roubaix Nord Pas-de-Calais.
In 2015 he collaborated with Yan Duyvendak on the musical "The Sound of Music" created for the festival La Bâtie in Geneva.
As a performer he has performed works by, among others, Jan Fabre, Sasha Waltz, Angelin Preljocaj, Andy Degroat, Nasser Martin-Grousset, Cirque du Soleil and Karine Saporta.

"L‘invitation ne pouvait être plus belle ... Déployer une vision partagée de l’interprète de demain. Cette proposition audacieuse et rare qui m’est faite aujourd’hui par la direction du Ballet Junior de Genève me réjouit. C’est l’occasion unique d’associer une approche pédagogique d’excellence inscrite depuis plusieurs années au sein de cette formation à une vision artistique singulière. C’est offrir ainsi à ces jeunes danseurs la capacité de déployer un savoir unique : celui de l’interprète dansant et pensant comme une « école » de l’interprète, faite d’exigence et de plaisir. Cette opportunité, je la partagerai avec eux, comme un dialogue, un échange de valeurs fondamentales de ce qui mène nos vies : la Danse."

Olivier Dubois


pierre pontviannePierre Pontvianne

After training at the Conservatoire de Saint-Étienne, Pierre Pontviane continued at the École Supérieure de Danse de Cannes. He won an award at the Prix de Lausanne in 1999. In 2000 he joined the Nederlands Dans Theater where he worked with many different choreographers in creation such as Jiri Kylian, Ohad Naharin, Hans Van Manen... In 2002, he decided to become freelance, working in Holland, Germany, Belgium and Norway alternating independant projects and international companies (Frankfurt Ballet, Carte Blanche).
In 2004, he founded with Emilie Tournaire the company PARC.

In 2015 he danced in Maguy Marin's work MAY B.
Since 2014 he has been artistic collaborator in projects by choreographer Mehdi Walerski (Oslo Opera, NDT and Ballet BC).
It is with his own company that he has been directing since 2012 that Pierre Pontvianne has been developping his choreographic research.
In 2012, he created the solo "Souffle". In 2013 the SACD in France invited him to create a choreographic object in collaboration with Marie Barbottin, Punkt. (Vif du Sujet Itinérant au Festival June Events).
In 2014 he created the duet "MOTIFS", in 2016, the solo "Janet on the Roof" for the dancer Marthe Krummenacher.
The company PARC is an associate of the project RAMDAM art center.


alexander ekman 500Alexander Ekman

Alexander Ekman was born in Stockholm, Sweden in 1984. He trained at the Royal Swedish Ballet School and, having graduated, he joined the Royal Swedish Ballet. From August 2002 to mid-2005 he was a leading dancer with Jiri Kylian’s Nederlands Dans Theater II (“NDT2”). In the 2005-2006 season he danced with the Cullberg Ballet in Sweden where he was swiftly asked to create two pieces for the company.
Ekman’s first choreographic work was in Stockholm and then, in 2004 and 2005, for the Nederlands Dans Choreography Workshop in the Netherlands. His works are characterised by completely innovative ideas and a witty sense of humour. In 2006 he won the second prize and the Critics prize in the Hanover International Choreographic Competition with his work “Swingle Sisters”. Additionally the “BalletTanz Yearbook 2006” mentions Ekman as a “young choreographer to watch”. In November 2006 Ekman made his choreographic debut for the NDT2 with his work “Flockwork” which he created for his former fellow dancers. Exactly one year later, in November 2007, Alexander Ekman created “LAB15” this time for the well-known Nederlands Dans Theater I (NDTI).



Mix 21 - from 21 to 23 December 2018

May B by Maguy Marin (excerpt)

MayB 01

First staged in 1981, "May B" overturns everything you thought you knew about contemporary dance. It's like an explosion whose shock waves have never stopped.
Inspired by Samuel Beckett writting, "May B" is imbued with the drama, the sense of humour and the saving cynicism that are the author's trademarks. 36 years after its creation, Maguy Marin's piece has become one of contemporary dance's most emblematic works, the world over and has made an impression on the history of the performing arts by its poignant power. To the music of Franz Schubert, Gilles de Binche, the dancers collide and circulate in packs and mobs.
Reconciling dance and drama, the performers act out the comedy about the impossibility of living together whilst navigating around the tragic incapacity of staying alone. One of Maguy Marin's key works from her repertoire, "May B" has toured round the world, surprising audiences who are both taken by laughter, as well as overwhelmed by the power of this revolutionary dance-theatre. Combining gut-feeling choreography, dramatic setting and breathtaking visual work, the piece still shines audaciously.

AOW by Pierre Pontvianne

aow 01

"Using a choreographic and musical process of weaving and unraveling, I focus my attention towards creative drivers that can seem as tangible asthey can impalpable: immediate intuition / transference of forces / collision / infinte / music of the moment.

For me, AOW is about the world's simultaneity torn apart or how our relation to time, space and events can be defined by what we choose to watch."


Rhapsody on a Theme of Accords de Thomas Hauert

rhapsody 01

Concept : Thomas Hauert
Choreography : Liz Kinoshita, Mat Voorter
Costumes: OWN
Music : Rhapsody on a theme by Paganini, Op 43, by Sergueï Rachmaninov

This original work, choreographed for the Ballet Junior, is inspired by the choreographic methods used in Accords (2008) of ZOO/Thomas Hauert.  

Rhapsody on a Theme of Accords plays with variations on the theme of unison.  Dancing in unison is commonly used in set choreography, but here the process of dancing together proves to be radically different: the dancers are generating the unison instantly using improvisational scores.  It’s a “democratic” process based on individual freedom and attention to the other.  For the dancers, this is a challenging way of performing: they are responsible for the invention and implementation of their own movements on stage, but also for the creation and development of group structures.  They must adapt their individual role within a dynamic constellation whose mechanisms are constantly changing. The cognitive abilities of such a system far exceed the mere sum of the individual abilities of the dancers. To a large extent, it relies on intuition – a neurophysiological faculty developed through experience.  It is a practice in leading and following, sharing and giving space to each other in a somewhat utopian microcosm on stage, like a model for society at large.  In the space of one show, there is indeterminacy, retrospective justification, the tinker’s (bricoleur) improvisation, limited vision, opportunities discovered too late, temptation to follow familiar paths, and an open future.


Mix22 -from 22 to 24 February 2019 - Festival ANTIGEL

Tenir le Temps by Rachid Ouramdane

Tenir le temps01

photo: Thomas Florestan
Who has controle over what in today's societeis of varying equality?  is Rachid Ouramdane's questioning. «I had in mind, for this piece, of submitting the 16 performers to a mechanism that overwhlemd them, made of rythmical actions, domino effects and chain reactions».
Dans ce précipité de danse, les corps témoignent d’une situation de crise, où le lien de l’individu au groupe est en constante négociation. Ensemble, sans être à l’unisson, dans les jaillissements de solos et de duos, les interprètes manifestent une formidable pulsion de vie.
Entre mouvements continus, vides et pleins, tensions et abandons, "Tenir le temps" apparait comme l’une des pièces les plus dansées de Rachid Ouramdane.
La partition du compositeur Jean-Baptiste Julien répond à l’écriture du chorégraphe.
Ils nous rappellent que l’art de la répétition, du canon et du leitmotiv est une notion fondatrice qui a bouleversé le champ de la scène.


1972 de Barak Marshall

1972 01 600px
photo: Thomas Florestan

In his more recent works, Marshall has been particularly drawn to power dynamics and the role of the underdog. A piece he created for Inbal Dance Theater,1972, celebrates a Mizrahi nightclub in Shkhunat Hatikva, a southern Tel Aviv neighborhood. Set to Mizrahi and Arabic music and with a cast of performers clad in polyester disco dress, 1972 examines this oppressed class of Israeli society in their moments of celebration and escape. The piece also features transvestites, who in 1970s Israel were often Mizrahi Jews at the time low on the totem pole in a country plagued by issues related to race, sexuality, and class.
Marshall maintains a dual status as both an insider and observer. With no official dance training, he brings a fresh take to the possibilities of choreographic creation, and his works have an unsurpassed originality. On a personal level, his upbringing outside of Israel has given Marshall a unique perspective on his heritage, especially its Yemenite side.
“I always found it interesting, the different ways my Mizrahi culture was viewed. I grew up L.A. in the 1970s and it was all about multiculturalism. I was super-proud to be Adenite and felt huge support from my community,” revealed Marshall. “However, in Israel, it was the total opposite. There are and continue to be major prejudices toward Mizrahi Jews. It still shocks me. There is so much more work to do.”




Political Mother de Hofesh Shechter

PolMo photo gregory batardon8D1A6526web

Choreography and music: Hofesh Shechter
in association with Hofesh Shechter Company
restaging: Sam Coren
musical score: Hofesh Shechter in collaboration with Nell Catchpole and Yaron Engler
Lighting: original concept by Lee Curan , adapted by Arnaud Viala
Costumes: based on original concept by Merle Hansen

Political Mother (originally a full-length work created in 2010) brims with Hofesh’s emotional and gritty complexity. Pulsating music, extraordinary ensemble sequences, and cinematic editing make Political Mother a dance experience like no other. This specially devised extract aims to capture some of the passion and anarchy of the original work, which has toured internationally since its conception, to critical acclaim.

Political Mother (full length version) premiered on 20 May 2010, at the Brighton Festival, UK.


Création Olivier Dubois

AuditionDubois BJN 0008
Coproduced by and programmed within the season of the "Association pour le Danse Contemporaine" (ADC) à Genève.


A dissertation about the confined anatomy of an audition.
An encounter2.0 with a disembodied and dehumanised approach faces their beating hearts, their valliant physiques,
By no longer touching, no longer meeting.
By no longer meeting, no longer liking?



"Tenir le Temps" de Rachid Ouramdane
"Political Mother" de Hofesh Shechter
"Pulsework" d'Alexander Ekman