photo credit: Snorri Sturluson 

Jeanine Durning is an Alpert Award winning choreographer, performer and teacher, from New York, whose work has been described by The New Yorker as having both “the potential for philosophical revelation and theatrical disaster.” 

Since 1998, Durning has created both solo and group works, presenting nationally and internationally. Her most recent projects are centered around a procedural practice she calls nonstopping. In 2010, Durning premiered her critically acclaimed solo inging (based on a practice of nonstop speaking) in Amsterdam, and has since then been performed the work over 50 times across Europe (Stockholm, Berlin, Zagreb, Kristiansand/Norway and Leuven/Belgium), the US (NYC, Los Angeles, San Francisco, Milwaukee, Williams College, UMBC), in Toronto, Canada. Durning’s work has been supported and awarded by two New York Foundation for the Arts Fellowships in Choreography, the Alpert Award for Choreography, the Movement Research Artist in Residence, the Rauschenberg Foundation Residency, and MANCC, for example.

Durning began her collaboration with Deborah Hay in 2005 when she was invited to join the New York cast of O, O. She has since performed and toured multiple works of Hay’s including If I Sing to You, As Holy Sites Go, As Holy Sites Go/Duet with Ros Warby, and Tenacity of Space with the Dance On Ensemble. In addition, Durning has worked in the capacities of choreographic assistant, coach to several of Hay’s SPCP solo adaptations as well as on Tenacity of Space for Dance On Ensemble, and from 2011-2013 worked as consultant to the Forsythe Company’s Motion Bank Project on Ms. Hay’s choreographic and scoring practices.

Durning has an ongoing teaching practice since 2000, facilitating classes/workshops/ateliers in movement and choreography. Durning has taught at numerous institutions across the US, including at UCLA/WAC and Eugene Lang/New School, and in Europe, including The School for New Dance Development (SNDO) in Amsterdam and The Inter-University Centre for Dance (HZT) in Berlin.

Durning holds a BFA in Dance from NYU/Tisch School of the Arts and a Masters in Choreography from Amsterdam School of the Arts (AmCh). She is currently working on a new solo project dark matter/selfish portrait and has upcoming projects, commissions, teaching and performing in Poznan, Sofia, Zagreb, Belgrade, London, and Toronto.

Ros Warby is an award winning Australian dancer and choreographer. She has been presenting her critically acclaimed solo work throughout Australia, Europe and the USA at numerous festivals and venues since 1990 including the Venice Biennale; Dance Umbrella - Royal Opera House, London; Sydney Opera House; Adelaide and Melbourne Festivals; South Bank Centre, London; TBA Festivals/PICA and DTW New York amongst others. Warby has also performed with various companies and artists including Russel Dumas’ Dance Exchange, Danceworks, Lucy Guerin Inc. and the Deborah Hay Dance Company. Recognized for her unique performance work in all these contexts Warby is the recipient of the Robert Helpmann Award, The Age Critics Commendation Award, an Australia Council Fellowship, several Greenroom Awards and the Sidney Myer Performing Arts Award.

The creation of her work has benefited from the rapport she nurtured with her creative team over the past 25 years. With Warby, designer Margie Medlin and composer Helen Mountfort created an elaborate interplay between the elements of dance, film, music, sound and light, and crafted a dialogue between these forms, where they coexist in a manner rarely achieved in multi- disciplinary work. Warby and Medlin’s cinematic version of SWIFT was televised in 2007 on ABC and has been screened at international festivals worldwide.

Warby began her long and fruitful association with Deborah Hay in 1998, performing 1,2,1 and then attending her first Solo Performance Commissioning Project in 1999 where she learnt FIRE. She has since performed and toured many of Hay’s solo adaptations including FIRE, Music, The Pitcher (The Match), and No Time To Fly, as well as multiple ensemble works including The Match, If I Sing to you, As Holy Sites Go, As Holy Sites Go/Duet, and Tenacity of Space. In 2011/12 Warby worked with Deborah Hay as part of the Forsythe Company’s Motion Bank Project on a trio and then duet version of If I Sing To You. Consequently Warby, alongside Jeanine Durning, has toured As Holy Sites Go/ Duet extensively between 2012 to the present. Warby has served as assistant to Deborah Hay in multiple settings including Figure A Sea with the Cullberg Ballet, Tenacity of Space with the Dance On Ensemble,  and In the Dark, (SPP) as well as serving as coach to multiple artists working on Hay’s SPCP solo adaptations.

Warby currently serves as an Adjunct Assistant Professor in the department World Arts and Cultures/Dance at the University of California Los Angeles (UCLA), is a certified Alexander Teacher and continues to create new solo and ensemble work.

Laurent Pichaud is a choreographer and dance performer, artistic director of the x-sud  art/site, and guest artist-researcher in the Dance department of Paris 8 University.

Laurent’s process, both as a creator and researcher, centers around the use of choreographic gesture outside of traditional artistic or stage-oriented contexts. His work has two premier focal points. The first largely comprises site-specific practices and community projects created with non-dancer inhabitants. The second is his multifaceted collaboration with Deborah Hay, for whom he has been a performer (O,O – 2006), choreographic assistant (since 2008), co-choreographer (indivisibilities – 2011), and archivist (since 2014). Most recently, he has additionally taken on the role of translator for Hay—his expanded translation of My Body, the Buddhist—Mon corps, ce bouddhiste—was published in 2017, serving as a tool to study how writing functions for both documentation and transmission in the choreographic process.

In 2018, he began a creative PhD at Paris 8 University titled Engaging site-specificity inside the work of Deborah Hay as a further evolution of the relationship between his creative and research processes and his central collaboration.