Gabi dan Droste is active in dance and theater for young audiences and projects of cultural education. In her productions for children she builds up network structures: currently with the scenographer Sabine Hilscher and the media artist Mark Coniglio (SO SEH ME THAT - VIRTUAL FUTURE CHEST), with the choreographer Martin Nachbar and the composer Boris Hauf (I AM YOUR, SISTERS, KinderTheaterHaus Hannover , 2016); with raumlabor berlin and the composer Bruno Franceschini (KAPUTT, Theater of the Young World Leipzig, 2014 // NOCHMAL !, Research Theater Hamburg / Tanzhaus NRW, 2013). She brings programmatically artists who do not come from the children's theater and connoisseurs of this field together in order to explore in new dialogue and new ways of expressing the children's theater, and it combines artistic work for children and work with them. In the last season she worked on a special occasion with 8 to 12-year-olds of the children's club at the Parkaue Junges Staatstheater Berlin. Her work focuses primarily on world premieres and the coordination of collective development processes in the border area between visual and physical theater as well as participative strategies and performative modes of play. She is international. In 2015 she worked as an artist in residence with artists in South Africa in various theater projects, in February she was guest in the Kopergietery in Ghent (Belgium), in May she will be in the TAK Liechtenstein. She writes and lectures internationally on dance and theater for and with children. In her most recent texts, she focuses on implicit knowledge of the arts, artistic / aesthetic research and education processes and the perspective of children. Her teaching in theater education and art for young audiences takes place in different contexts, e.g. for the Bosch Foundation, Berlin University of the Arts, University of Leipzig. Gabi dan Droste was a technical assistant at the Children and Youth Theater Center in Germany (2002-2012) and project developer / dramaturge at the Theater der Jungen Welt in Leipzig (2012-2013). 
Su trabajo se centra principalmente en los estrenos mundiales y la coordinación de los procesos de desarrollo colectivo en el área fronteriza entre el teatro visual y físico, así como las estrategias participativas y los estilos de actuación.
Escribe y da conferencias a nivel internacional sobre danza y teatro para y con niños. En sus textos más recientes, se centra en el conocimiento implícito de las artes, la investigación artística / estética y los procesos educativos y la perspectiva de los niños. Su enseñanza en educación teatral y arte para audiencias jóvenes se lleva a cabo en diferentes contextos, como la Fundación Bosch, la Universidad de las Artes de Berlín, la Universidad de Leipzig.
Gabi ha liderado el trabajo durante los últimos años para establecer una Red Internacional de Danza para la infancia y la Juventud.

Jack Timmermans – De Stilte



How to develop as an autonomous company and how to be supported by institutions and politics in the Netherlands? What is the system of funding in the Netherlands and what are the consequences for the policy of de Stilte? How do we develop on the long run in a cycle of 4 years. What kind of policy benefits all parties: art(ist), audience, politics? What did de Stilte want to achieve and how did they succeed? A universal story within a specific situation. Where to begin as an enterprise and how to proceed.

Jack Timmermans Finishing his education at the Dance Academy Brabant, Jack Timmermans starts teaching at the Mikojel Academy in Sittard in 1979. Simultaneously, he starts his four year career at Danserscollectief where he dances and choreographs in a collective of four young professional dancers. In 1987 he accepts a fulltime position at the Fontys Dance Academy in Tilburg, creating multiple choreographies for his students of the departments jazz dance, expressionistic dance theatre, dance expression and folkloristic dance. His gained experience in creating makes Jack Timmermans decide to reduce his work as a teacher by two days and expand his activities as a freelance choreographer. It marks the origination of his own company, De Stilte, in 1994.
Su experiencia adquirida en la creación hace que Jack Timmermans decida reducir su trabajo como profesor y ampliar sus actividades como coreógrafo independiente. En 1994 crea su propia compañía, De Stilte. Con su segundo espectáculo,se da cuenta de su afinidad dirigida a niños, niñas y jóvenes.

“Ever since I was just a little child I have experienced imagination – both my own as well as that of others - as my salvation. I heartily wish that kind of imagination for every child in the world.”




Fátima Anlló Researcher and cultural manager. Doctor in sociology and anthropology. Her main areas of interest are cultural policies and collective action, especially everything related to the participation of citizens in the arts and democratic development. She is currently founder and director of the Observatory of Creation and Independent Culture (OCI). In recent years she has carried out annual research on the situation of independent dance in Spain, early music and cultural vitality studies in various cities. She is a member of the research group Grupo de Estudios sobre Sociedad y Política (GESP) created between the UCM and the UNED; the Mesa sectorial de Artes Escénicas del Consejo de Cultura del Ayuntamiento de Madrid and the Consejo de Asesoras de la Asociación Mujeres en las Artes Visuales Contemporáneas (MAV). 
En la actualidad es fundadora y directora del Observatorio de Creación y Cultura Independiente (OCI). En los últimos años viene realizando investigaciones anuales sobre la situación de la danza independiente en España, de la música antigua y estudios de vitalidad cultural de diversas ciudades. 
Es miembro del grupo de investigación Grupo de Estudios sobre Sociedad y Política (GESP) creado entre la UCM y la UNED; de la Mesa sectorial de Artes Escénicas del Consejo de Cultura del Ayuntamiento de Madrid y del Consejo de Asesoras de la Asociación Mujeres en las Artes Visuales Contemporáneas (MAV).

es_ESSpanish en_GBEnglish