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Annex 1
GRACE ELLEN BARKEY
Choreographer
Barkey studied dance expression and modern dance at the Theatre School in Amsterdam, and after her
graduation worked as an actress and dancer.
She choreographed several productions before she joined Needcompany in 1986 and became the
company's choreographer. She provided the choreography for Need to know (1987), ça va (1989), Julius
Caesar (1990), Invictos (1991), Antonius und Cleopatra (1992) and Orfeo (1993). She also acted in several of
these productions, as well as in The Snakesong Trilogy - Snakesong/Le Voyeur (1994), Caligula (1997) and
Needcompany’s King Lear (2000), Images of Affection (2001) and Goldfish Game, the first full-length feature
film by Jan Lauwers and De Filmfabriek.
In 1992 she presented the first performance of her own, One, at the Theater Am Turm Probebühne in
Frankfurt. This was followed by Don Quijote (1993), Tres (1995), Stories (Histoires/Verhalen) (1996) and
Rood Red Rouge (1998). In 2000, she created a new dance production called Few Things. It was received
very enthusiastically both at home and abroad. (AND) is the sixth of her productions to receive
infrastructural support from Needcompany. Grace Ellen Barkey gained more and more international
support.
Annex 2
Profile of Collaborators and Composers
KOSI HIDAMA
Collaborator
After a six-year stint at the Tokyo Ballet, Kosi Hidama came to Belgium, where he joined the company
led by Michelle-Anne De Mey. He danced in Sonata 555 and was involved in the creation of Pulcinella.
In 1994 he started dancing in Rosas, the company of Anne-Teresa De Keersmaker. He took part in the
creation of Amor Constante, Màs alla de la Muerte, Verklärte Nacht and Woud, as well as the reruns of Kinok
and Mozart Arias, un moto di gioia. In 1998 he danced for the Company Pierre Droulers in L’air, du vent.
Hidama’s first piece as a choreographer was 3 pieces for Clarinet Solo. In recent years he has worked
mainly in Yokohama, Japan. In 1997 he created his first group choreography, Present Present, at the ASK
workshop organised by the prestigious Kanagawa Arts Foundation. Soon after he made L.S.D.S. to
music by George Van Dam and Ryoji Ikeda, specially composed for this work. This production led to
a second performance called With Violence of Gravity, Elegance of Fall. Few Things was his first production
with Grace Ellen Barkey. He also appears in Images of Affection, the latest piece by Jan Lauwers and
Needcompany.
TIJEN LAWTON
Collaborator
Lawton, who was born in Vienna of a British father and a Turkish mother, was raised in Austria, Italy
and Turkey and ended up in Great Britain. From 1984 to 1988, she took a course in dance and music
at The Arts Educational School in London and from 1988 to 1991 at the London Contemporary
Dance School. During this latter course she spent a year as an exchange student at the Julliard School
in New York. This was followed by short courses in Paris and Istanbul. In 1991 she co-founded Foco
Loco, a company concentrating on research and development in all areas of dance. In 1992 she joined
Emma Carlsson & Dancers and toured Great Britain and Germany in the show Inner Corner. In 1996 she
came to Brussels to work in several productions by Pierre Droulers: Le Beaux jours (1996), Lilas (1997)
and Multum in Parvo (1998), followed by international tours. In the meantime she composed the first
two of her own choreographies pieces: Je n’ai jamais parlé (1997) and Plus forts que leurs voix aiguës (1998).
Her collaboration with Jan Lauwers commenced with her participation in the revivals of Caligula and
Morning Song as an actor and dancer.
Since then she has been a constant figure in Needcompany productions. She has appeared in
Needcompany’s King Lear, Images of Affection and Goldfish Game. Few Things was her first production with
Grace Ellen Barkey.
JULIEN FAURE
Collaborator
Julien Faure was born in France. From 1995 to 1998 he studied on the INSAS art course in Brussels.
After that he worked with Pierre Droulers on the creation of Multim in Parvo, which was commissioned
by the KunstenFestivaldesArts. He then worked with various choreographers such as Karin Vyncke,
Julie Bougard and Jean-François Droure.
In 2001 he produced his own first choreographic work Sonata #1-Et si demain voit le jour. His work in
(AND) is the first time he is collaborating with Grace Ellen Barkey.
BENOIT GOB
Collaborator
He studied painting at the academy of art in Liège and then continued studying at INSAS in Brussels.
In 1998 he joined Wim Vandekeybus’ dance company Ultima Vez and danced in several productions
including The day of heaven and hell, In spite of wishing and wanting and Inasmuch as life is borrowed. His work in
(AND) is the first time he is collaborating with Grace Ellen Barkey.
ANGELIQUE WILLKIE
Composer
Started her dance career in Canada, where she worked with celebrated choreographers such as Benoît
Lachambre, Ginette Laurin and Jean Pierre Perrault. She then went to Tours in France where she
worked for Jean-Christophe Maillot’s company. In 1993 she danced in a work by Karin Vyncke.
Willkie is a dancer who is highly in demand on the international scene. She has worked for Kiri Mc
Guigan (Kunstlerhaus Mousonturm in Frankfurt) and Lea Anderson (The Place, London). In 1999 she
joined Alain Platel's C. de la B. company for La Tristeza Complice and Sidi Larbi Cherkaoui’s Rien De
Rien. As a singer she performed in company including ZAP MAMA, dEUS, Die Anarchistische
Abendunterhaltung, Voice Mail and Speaking T and others. (AND) is her first production with Grace
Ellen Barkey.
MAARTEN SEGHERS
Composer
Studied at the RITCS in Brussels, while simultaneously creating his own work (theatre and
compositions). In 2001 he created the play Angel Butcher with the Daemmerung company. His
collaboration with Needcompany started with Images Of Affection.
ROMBOUT WILLEMS
Composer
Willems studied guitar and orhestral conducting. SInce 1984 he has worked as a guitarist and
conductor for various theatre and dance companies and became increasingly interested in composing.
In 1985 and 1986, together with Reinbert de Leeuw and Roland Kieft, he conducted Cornelis de
Bondt’s De Deuren Gesloten and was a guitarist with the Schönberg Ensemble and with the Nederlands
Blazers Ensemble in Louis Andriessen’s de Materie and de Stijil.
From 1987 to 1992 he wrote the music for several theatre productions, including Cornelis de Bondt’s
De Deuren Gesloten and was a guitarist with the Schönberg Ensemble and with the Nederlands Blazers
Ensemble in Louis Andriessen’s de Materie and de Stijil.
From 1987 to 1992 he wrote the music for several theatre productions, including die Bochel and Mezzo,
mezzo, mezzo. From 1993 to 1998 he composed many pieces on commission to Needcompany, works
that were characterised by their independent nature and a particular view of the whole theatrical event.
April 1996 saw the premiere of the complete, adapted version of The Snakesong Trilogy with the
Kammerenensemble Neue Musik Berlin conducted by Roland Klüttig in Brussels, followed by an
international tour. Willems also wrote the music for Salomé, a play by Toneelgroep De Apprel, directed
by Jules Terlingen, followed by Lysistrata, a production by De Nieuw Amsterdam company and
directed by Aram Adriaanse.
Annex 3
Credit List
Concept/Choreography
Grace Ellen Barkey
Created and performed by
Tijen Lawton
Kosi Hidama
Maarten Seghers
Angélique Willkie
Benoît Gob
Julien Faure
Music
Rombout Willems
Maarten Seghers
Angélique Willkie
Music mixed by
Grace Ellen Barkey
Set
Lot Lemm, Jan Lauwers
Costumes
Lot Lemm
Lighting concept
Joris De Bolle
Stagaire assistant
Alysa Grifo
Producer
Needcompany