Moses Olayinka Akintunde was born on April 14, 2005, in the Bariga area of Lagos, Nigeria. He is currently developing a choreographic approach integrating elements of his indigenous dance tradition with classical contemporary techniques as a tool for his artistic innovation and invention.
His professional journey began in 2019 with the Society for the Performing Arts in Nigeria (SPAN), following the completion of his dance education at the Footprints of David Art Academy, where he established his artistic foundation.
Since September 2024, Moses has been enrolled at Cndc Angers (2024-2027) for further development that will help him navigate through the future.
Moses has worked and studied with leading choreographers and directors in the arts, including Mathilde Monnier, Professor Wole Soyinka (Africa’s first Nobel Laureate), Noé Soulier (director, Cndc—Centre national de danse contemporaine), Maud Blandel, Anne Marie Porras (Founder of Epse Danse, Montpellier), Emmanuelle Huynh, Qudus Onikeku, Wanjiru Kamuyu, Alesandra Seutin, Sahar Rahimi, Milan Tomášik, Nico Ricchini, Cecily Campbell,
Trisha Brown Dance Company, Christopher Huggins, Jonathan Hollander (Founder, Battery Dance Company), Salia Sanou, among others.

Danielo Belcher was born in Port-au-Prince, Haiti. He discovered dance at the age of seven in middle school, under the guidance of Jean-Aurel Maurice, whom he then followed to Jacmel when Maurice opened his dance school there. For eleven years, Danielo developed a rich and diverse training program, combining classical, contemporary, and jazz dance, Haitian folk dance, and hip-hop techniques. At the same time, he trained in salsa and acrobatics, developing a physical and mixed approach to movement at an early age.
In December 2020, at the age of eighteen, he moved to France to join Epsedanse in Montpellier, directed by Anne-Marie Porras. There he followed the Scène 1 course for dancer-performers.
Selected from among twelve young European talents, Danielo participated in Arte’s international project I Dance My Story in Hamburg, supervised by Storm, Philippe Almeida, and Viola Luise, among others. This experience resulted in a collective creation and a documentary film highlighting his experience.
In 2022, he joined the S2TMD class at the Lycée Clémenceau in Montpellier, in partnership with the Cité des Arts – Conservatoire à Rayonnement Régional, specializing in contemporary dance. He has performed in several works from the repertoire and contemporary creations, presented notably at the Agora de la Danse, the Cité de la Danse, and the Grand Avignon.
In 2024, he obtained his S2TMD baccalaureate and the Diploma in Choreographic Studies with honors. He passed the Technical Aptitude Exam and joined the Cndc in Angers, where he is preparing for the National Higher Professional Diploma in Dance and a Bachelor’s Degree in Arts, specializing in dance.
In his artistic work, Danielo seeks to combine academic techniques with the heritage of traditional dance in order to develop his own choreographic language.

Andrea Berlioz is a contemporary choreographic artist, trained at the CRR de Paris and at the Cndc-Angers.
His work focuses on musical and theatrical dramaturgy, the notion of spectacle, precision within madness, and humor.
He began contemporary dance at the Pina Bausch Conservatory in Montreuil. He then entered a dual curriculum at the CRR de Paris (initial cycle, CS + DEC and CPES), where he worked with choreographers such as Ioanna Paraskevopoulou, La Horde, and Héla Fattoumi and Éric Lamoureux. He also took part in several open stages there, where he discovered his interest in choreography.
He was subsequently admitted to the Cndc, under the direction of Noé Soulier, where he worked in particular with Maud Blandel, Mark Lorimer, and Emmanuelle Huynh.
At the same time, he is a very passionate spectator and a great admirer of the work of Pina Bausch (Kontakthof), Olivier Dubois (Tragédie), and Maguy Marin (Umwelt).
He also practices magic at a professional level. Winner of two competitions, he writes, stages, and performs Tricher est un Art, a one-hour solo constructed as a demonstration of the artistic nature of magic. This practice, which he brings closer to theatre and contemporary circus, is a significant influence on his artistic identity.
Fascinated by the stage and live performance in general, he also practices music with passion and theatre as an amateur.
He believes in total art and aspires to orient his artistic research in this direction.

Camille Chafâa grew up in the suburbs of Paris in a family context marked by her father’s history of migration. As a young girl, she was interested in questions of identity and the transmission of heritage.
She began her journey by practicing flamenco, which shaped her relationship with rhythm and a strong physical commitment. She continued her academic training at the Lycée Georges Brassens in Paris, where she took classes in contemporary and classical dance.
She then enrolled in a dual degree program in Literature and Performing Arts, specializing in contemporary dance, at the University of Cergy-Pontoise and the Conservatoire à Rayonnement Régional de Cergy. This training fostered a cross-disciplinary approach to dance, combining practice, reflection, and writing.
Camille joined Atlantique Ballet Contemporain for two years, where she performed works by Mathilde Monnier, Alban Richard, and the Sine Qua Non Art company. In 2024, she joined the Cndc in Angers, where she was particularly influenced by the approaches of Maud Blandel and Bruce Chiefare.
Her work is part of a research project focusing on intense physicality, political issues, and multidisciplinary formats. She created LUPA, a piece questioning the hypersexualization of the female body.

Alma Douki began her approach to movement through various artistic practices such as painting, tennis, swimming, and classical ballet at the Russian Cultural Center in Tunis. Gradually, dance took a central place in her life, and she turned toward contemporary dance, drawn by its freedom and multidisciplinary nature.
Before joining the Cndc’s higher education program in Angers in 2024, she studied interior architecture, developing a strong interest in large-scale structures, scenography, and the relationship between space and the body. She discovered the pleasure of linking architecture and dance, conceiving the body as a living element within a space to be constructed.
From 2019 to 2024, she danced with the Sybel Ballet Théâtre company, where she received the transmission of May B by Maguy Marin and took part in several creations, including Goual and Frontières de l’invisible. It was also within the company that she discovered breakdance by observing other performers practicing it, becoming fascinated by rhythmic precision, core control, and virtuosity in the relationship to the floor.
At the Cndc, she has notably taken part in workshops led by Maud Blandel, Cecily Campbell, Cyril Baldy, and Volmir Cordeiro.
Today, her artistic path is shaped by exploration of rhythm and structure of the body, in a constant dialogue between the architecture of gesture and the spatial composition of movement.

Born in the suburbs of Paris, Erwan is a contemporary dance performer whose movement is expressive, vulnerable, and sensually grounded. Shaped by history, personal origins, and an ongoing inner dialogue, his work engages with questions of identity, spirituality, and transformation. His practice seeks to reveal the body as both an emotional landscape and a site of inquiry.

He began his training in Modern Dance and jazz before progressively moving toward contemporary dance. He was trained at the Conservatoire à Rayonnement Régional of Annecy, where he earned a S2TMD arts-focused high school diploma and a Diplôme d’Études Chorégraphiques.
Erwan later pursued advanced training internationally, notably at The Alvin Ailey School in Manhattan, New York. There, he deepened his practice of modern dance techniques such as Graham and Horton, while also engaging with ballet and vernacular dance forms. This formative experience in the United States allowed him to participate in choreographic research labs and to collaborate with inspiring artists, strengthening his interest in cross-disciplinary dialogue and the social and artistic responsibility of the dancer.

Since 2024, he has been training at the Centre national de danse contemporaine (Cndc) in Angers, directed by Noé Soulier, where he is pursuing the National Higher Professional Diploma of Dancer alongside a Bachelor’s degree in Performing Arts. His current work focuses on developing a contemporary dance practice that is both physically rigorous and conceptually driven, where movement operates as a tool for thinking as much as sensing. His research explores bodily states and the relationship between physicality, abstraction, and inner narrative, with a strong commitment to the ongoing evolution of contemporary dance.

I’m a scenic artist from Costa Rica. I’ve been dedicated to scenic arts since 2019, where I started studying theater in “Taller Nacional de Teatro”. Since 2021 I’ve been an independent artist working as an actor.
In August 2022, I took my first workshop with Mexican dancer Pedro García, which deeply impressed me and made me realize I wanted to develop those physical abilities.
Later, different workshops in Costa Rica led me to work closely with choreographer Sol Carballo, and by February 2023 we created a piece together. Through this collaboration, I expanded into international work, including participation in Festival Kinissis in Santiago de Chile, where I created my first solo. During this time, I met Marion Sparber in Chile, who introduced me to the Cndc.
Since starting formal training, I have developed a strong interest in combining theater, dance, poetry, and music to create a cohesive universe, focusing on strong physicality to deepen the relationship between movement and text.

Mia Helena Jacob is a Berlin-born contemporary dancer and emerging choreographer whose work explores the tension between discipline and unpredictability in movement.

At the age of nine, she began her professional ballet training at the State Ballet School of Berlin. Having grown up in the disciplined world of classical ballet, Mia now develops a more intimate form of expression that challenges the rigid conformity of her ballet background. By reshaping both past and present inspirations, she aims to develop a bodily language that pursues precision within unidentifiable bodily forms and states.

Alongside her artistic training, Mia studied Philosophy and History at Humboldt University of Berlin, an academic background that shapes her critical approach to movement, authorship, and collaboration.

In pursuit of a personal movement language, Mia is currently studying Contemporary Dance and Choreography at the Cndc d’Angers. While improvisation is the central tool in her research practice, she also places strong value on participating in other artists’ projects and engaging in creative collaborations as part of her ongoing exploration.

Mia most recently performed in ATMEN/LAUSCHEN, which premiered at the Bayreuther Festspiele in 2025, where she also contributed as a choreographer to the development of the piece. Her performance fall4me, a collaborative work with artist Hendrik Arns, has been touring art festivals across Germany for over two years.

Ella Lacharme—Nivon is a dancer, performer, and choreographer. She initially pursued a career in the visual arts. Her keen interest in the body was expressed through sculpture, painting, video, and photography. In 2022, she entered the CPES program at the Clermont-Ferrand Conservatory, where she developed a rigorous yet sensitive approach to movement. She has performed excerpts from the repertoires of Dominique Bagouet, Loïe Fuller, and the Compagnie L’Esquisse, and co-created Serre tes yeux, with Lili-Prune Pradet, a piece about childhood.

After two years of training, she joined the 2024-2027 class at the Cndc (Centre national de danse contemporaine) in Angers. There, she began exploring family bodily memory with the solo Les Mules, created from recorded archives. In 2025, she created MONO, a piece in which the dancers interact with massive stones, experiencing their weight and imprint. She also performed in a revival of Solo Olos by Trisha Brown and in the piece La Rumeur choreographed by Maud Blandel.

Today, her research is part of a desire to bring out states of heightened sensitivity, both for the performer and the audience. She uses a variety of approaches to explore various themes such as memory, the connections between two bodies, the links between the intimate body and the social body, and the notion of impediment.

Elsa Legroux commence enfant la danse au conservatoire de Mâcon. Elle y suit une formation mêlant contemporain et classique, tout en pratiquant la musique - guitare, basse électrique - et le théâtre.
C’est dans ses années de lycée qu’elle afirme sa vocation pour la danse contemporaine en intégrant le conservatoire du Grand Châlon, où elle interprète des pièces du répertoire de Salia Sanou (d’un Rêve), Denis Plassard (Arena) ou encore de la Compagnie Laflux (Les Astéracés).
Son entrain la motive à auditionner pour l’école supérieure du Cndc-Angers qu’elle intègre après l’obtention de son DEC et du baccalauréat.
Pendant ses études supérieures, elle suis les atelier de nombreux artistes comme Libby Farr, Volmir Cordeiro, Milan Tomasik ou Defne Erdur ; participe à la transmission de plusieurs projets dont Solo Olos (avec Cecily Campbell de la Trisha Brown Dance Company), Organon (Noé Soulier) et une création de Maud Blandel : La Rumeur.
Elsa s’intéresse de plus en plus à la photographie et aux arts martiaux en pratiquant le judo et le jiu-jitsu brésilien. Ces disciplines viennent nourrir sa danse, offrant fluidité et élan, sa relation à l’autre ainsi que ses chorégraphies où se mêlent répétition de mouvements, poses, travail autour de la couleur et de l’atmosphère. Elle conçoit chaque pièce comme un petit univers qu’elle étoffe en s’appuyant sur différentes formes d’art lors du processus de création : littérature, photographie, modelage…

Séraphine Lemonier est une danseuse pour qui le mouvement est un langage et un espace de rencontre entre corps, musique et émotion. Formée dans les conservatoires parisiens, elle acquiert une solide technique contemporaine et obtient un baccalauréat technologique, spécialité danse.

Depuis 2019, elle anime des ateliers chorégraphiques pour enfants et adolescents au sein de l’association Samokat, mêlant danse, cirque, théâtre et marionnettes. Cette expérience nourrit son désir de transmission et révèle la créativité et la sensibilité de chacun. Elle travaille également comme danseuse soliste pour la compagnie musicale Dodeka.

En 2024, elle intègre le Cndc d’Angers, où elle prépare le DNSPD et une licence Art mention Danse, explorant une danse à la fois physique et sensible. Franco-russe et trilingue, Séraphine fait de la danse un espace d’expression libre et un dialogue poétique entre les corps et l’expression.

Rebeka is a Slovenian dance artist, interested in moving and re-moving, setting rules and pre-setting loopholes. Through her choreographic practice she is exploring different forms of translation and interpretation, between bodies and spaces.

After finishing her studies at the Contemporary Dance High School in Ljubljana, Slovenia, Rebeka continued her education in Sweden at New Education for Contemporary Dance. She is currently studying a bachelor’s degree in dance and choreography at Cndc-Angers in France.

Since beginning her dance education, Rebeka has performed in works across Slovenia, Sweden and France, choreographed by artists such as Maud Blandel, Helena Franzén, and repertoire of the Trisha Brown Dance Company.

Following the co-creation of the full-length work Abirble (2022), she developed a strong interest in creation, which she continued exploring in Sprehod (2024), a work for six dancers. She has also received several awards for her short solo works, notably at the OPUS 1 International Competition of Young Dance Creators. Currently, she is engaged in collaborative creative processes with Igor Salvi and with T+ Collective. Rebeka wishes to keep researching and creating with the playful, the curious and the organized.

Dimitra Prekka is a dancer and choreographer based in France and born in Thessaloniki, Greece. She trained in classical and contemporary dance at the Aspa Foutsi Dance School, and later at the Arts High School of Thessaloniki, participating in intensives at the English National Ballet School. Dimitra received a BSc in Politics & Philosophy with first class honours from the London School of Economics and Political Science (LSE). Missing the connection between body, mind, and creativity that only dance allows, she returned to dance, joining the school of the Centre national de danse contemporaine (Cndc) – Angers.
As an intepret, Dimitra has worked with choreographers Dimitris Kyanidis, Sofia Papanikandrou, and Alexis Tsiamoglou in Greece. She has also participated in works by Maud Blandel (La Rumeur, 2025), William Forsythe (Improvisation Technologies, 2025), and Trisha Brown (Solo Olos, 2024) within the Cndc context. As a choreographer, she collaborated with Inès Preston to create the duet See, you had spit after all (2025) as well as made the movement for Jac Williams’ Tryweryn (2025) video for Cwmni Da (Wales). She currently focuses on multi-media approaches, incorporating materials such as fabric, along with projections, lighting, and electronic music.
Dimitra is also a social science researcher. At present, she is working for Dr Seeta Peña Gangadharan at the LSE, while having previously worked for the think tanks Autonomy and UCL’s Constitution Unit.

Inès Preston is a French performer. Initially trained in Jazz, Contemporary, and Hip-hop dance in Toulouse, she pursued her multidisciplinary career between the Regional Conservatory of Toulouse in Jazz Dance and Toulouse Jean Jaurès University, where she obtained a Bachelor’s degree in Cinema and Audiovisual Studies (2024).
During these years, she carried out numerous photographic and cinematographic projects and explored the relationship between dance and image in order to create hybrid worlds.
Inès is currently part of the 2024-2027 class at the Centre national de danse contemporaine (Cndc) in Angers, where she is exploring new ways of bonding through relationships, images and bodies.
Working with artists such as Emma Bigé, Volmir Cordeiro, Nadia Beugré (Camping CN D), and Maud Blandel, for whom she performed La Rumeur (2025), Inès is particularly interested in the field of performance and queer representations in dance. The body is at the center of her practice, both a reflection of external projections and a carrier of deep memories, emotions, and identities.
By adopting a transdisciplinary approach, she created the solo Zone Grise (2024), in which she explores the ambiguity of the spectrum of consent, and co-created with Dimitra Prekka the duet See, you had spit after all (2025), which questions the influence of cinema in the creation and normalization of binary gender roles.

Maly started dancing with modern jazz, then discovered, thanks to music videos, a keen interest in certain urban dances such as Krump and Dancehall. At the same time, Maly practiced contemporary dance in workshops from the age of 12.
It was through numerous workshops that she explored different disciplines and that the young artist made contemporary dance a real playground and a mixture of her various passions, notably by integrating urban dance into her movement research and combining it with her musical background. In addition, this young student is greatly influenced by a keen interest in the humanities, which guides her thinking between individual desires and being as a collective.
From a young age, Maly also practiced music, starting with the accordion and then lyrical singing. She is currently a student at the Cndc and, as a choreographer, she is creating her first piece, 3XFILTREES, a trio performed during Cartes Blanches, in May 2025. That same year, she directed Marivaux’s Jeux de l’amour et du hasard with the association Les Tréteaux. At the same time, she diversified her stage practice with jazz concerts as a singer.

Igor Salvi is a dancer, choreographer and college researcher based in France. Working in different contexts (performances, documentaries), their choreographic work focuses on queer social and community issues. Their approach always has in common horizontal and collaborative ways of creating in which spectators have an important role: particularly in pieces micro micro micro (2024) with the collective MACRO MACRO MICRO-ONDES, or also do lune / c’est juste un autre message (2025) in collaboration with Rebeka M. Počivavšek.
After a bachelor’s degree in dance at the University of Strasbourg and at the Conservatory of Strasbourg, they participated in an international exchange program with Université de Québec à Montréal (UQÀM), before integrating the promotion 24-27 of the Cndc school. As an interpret, they worked with scenographer and performer Pauline Jacquet (Corpus Mo(n)strea, 2023), and with choreographers Helen Simard (192 tâches, 2024) and Maud Blandel (La Rumeur, 2025).
They are at the moment fascinated by stones, mattresses, harpsichord, spirals, trolleys, failure, desire, and the “living-togetherness”, searching to create links between singular obsessions and collective experiences.