Upcoming Workshops 2025–2026
Workshop & Residencies
Each year, AFI offers a selection of workshops dedicated to contemporary dance practices. These workshops typically run for 2–3 days, usually scheduled over a weekend, and focus on current trends, research methods and artistic approaches within the contemporary dance field.
Topics covered include contemporary dance techniques, improvisation, instant composition, choreographic practice, and somatic approaches.
Registration & Fees
Participation in AFI workshops requires payment of the corresponding workshop fee. Early-bird discounts may be available until the deadline specified in each workshop announcement.
Cancellation Policy
Cancellations must be submitted via email to: artfactoryinternational@gmail.com
Refund conditions are as follows:
- Cancellation up to three weeks before the workshop: 75% refund
- Cancellation up to two weeks before the workshop: 50% refund
- Cancellation after the two-week deadline: no refund
Full Refund Cases
A full refund will be issued if:
- the workshop is sold out at the time of your registration,
- you are offered a place from the waiting list but can no longer participate,
- the workshop is cancelled by AFI.
Rauf Yasit
RUBBERLEGS WORKSHOP
Discover Rauf “Rubberlegz” Yasit’s movement style in this immersive workshop. You’ll experience a detailed breakdown of his unique method, presented in his signature experiential format. Learn diverse movement techniques, explore concepts, and patterns to confidently express yourself on the floor, with your feet and hands, and in partner work. Knee pads and long sleeve tops recommended.

RubberLegz
Rauf Yasit, known internationally as RubberLegz, is a Los Angeles–based choreographer, director, dancer and visual artist originally from Germany. Trained in folk dance as a child and later self-taught in Breaking, he developed a distinctive movement language recognized for its extreme contortion, architectural shapes and fluid complexity.
Since 1998, he has gained global recognition as both performer and educator, competing, judging and teaching worldwide. His work evolved into contemporary dance from 2007 onward, leading to collaborations with major institutions and artists such as William Forsythe, Paris Opera, Bodytraffic, Jacob Jonas The Company, PACT Zollverein and numerous international companies.
Awarded Best Dancer 2019 by Danza&Danza Magazine for his groundbreaking hybrid language, RubberLegz continues to create across dance, film, photography and design. He is also Associate Producer of Films.Dance, a global platform dedicated to dance on film.
from Tanz Theater Pina Bausch
MARIA MAGGIPINTO
Maria Maggipinto will guide participants through a creative journey inspired by the unique improvisation “method” developed by the renowned German choreographer.
Participants will be led into creating choreography, simple movement phrases or concrete actions through a series of questions and thematic proposals designed to stimulate an introspective exploration. The workshop sessions will focus on dance technique, improvisation and composition.
The experimental process will be encouraged through themes and questions that foster inner investigation, multi-layered sensitivity and an awareness of space and environment.
The work aims to develop awareness, observation skills and a creative–compositional mindset.

Marigia Maggipinto
Maria Maggipinto began her professional career with the Niccolò Piccinni Ballet Company under J. De Min and Roberto Fascilla. After joining the Rome-based company Danzatori Scalzi, she toured internationally and took part in Franco Zeffirelli’s film Il Giovane Toscanini.
She studied extensively in Rome and Europe with leading figures of modern and contemporary dance, including Viola Faber and Libby Nye (Limon Technique), Roberta Garrison (Cunningham), Richard Haisma (Nikolais), Matt Mattox (Jazz), Jean Cébron, Hans Züllig and the Folkwang tradition under the direction of Pina Bausch.
From 1992 to 1999 she danced with the Tanztheater Wuppertal Pina Bausch, performing in 14 works and taking part in new creations such as Tanzabend II (1992), Schiff (1993), Trauerspiel (1994), Danzon (1995) and Fensterputzer (1997). She later returned as a guest for several editions of the Tanztheater Festival (2000–2002).
Her international career includes collaborations in the United States with the Mutation Theater Project and teaching at the American Dance Festival at Duke University (2003–2005). In Italy, she worked with Emilia Romagna Teatro in Dopo la Battaglia, directed by Pippo Delbono and winner of the 2011 UBU Prize.
She has served as guest teacher at DanceHaus Academy in Milan (directed by Susanna Beltrami) and collaborates with the Pina Bausch Foundation, offering workshops during major retrospectives at Bundeskunsthalle Bonn and Gropius Bau Berlin (2015–2016).
Her creative work includes Two But Not Two (2019) and the 2021 production Miss Lala al Circo Fernando, directed by Chiara Frigo for OperaEstate Festival and Zebra Cultural Zoo.
Maria Maggipinto continues to work as a freelance artist, teaching workshops and masterclasses across Italy and Europe.
Ultima Vez Repertory
BY EDUARDO TORROJA
The workshop will focus on the energetic and physical repertory vocabulary from the three first pieces of Ultima Vez: “What the Body Does Not Remember”, “Les Porteuses de mauvaises nouvelles” and “The weight of a hand”. It is about movement “as a theatrical act”.
Participants will follow the creation process going from the origins of the material, the working transitions until the final performed results. This vocabulary will be also the starting point to a guided development of the participants’ own choreographic work. Creating their compositions through the form, the emotion, the strong theatrical atmosphere and the intention of the proposed material.
We will explore and confront this material through improvisations, floorwork, contactand partner work, group forms and objects’ manipulation. To arrive to this vocabulary participants will work with a wide range of concepts such as: tension, instinct, chaos, sensuality, risk, trust, protection, dependency, power, strategies, neutrality, physical extremes. Please foresee note book and sneakers.

Eduardo Torroja
Eduardo Torroja born in Madrid, Spain, where he studied dance and theatre. In 1986 moved to Brussels to collaborate with Wim Vandekeybus as a choreography assistant, trainer and performer for the very first Ultima Vez productions “What The Body Does Not Remember”(1987), “Les Porteuses de Mauvaises Nouvelles”(1989), “The Weight of a Hand”(1990), “Blush”(2002) and “Sonnic Boom”(2003) and the film “Roseland”(1991). During the nineties, he worked with Rosas – Anne Teresa De Keersmaeker in “Erts” and “Mozart -Concertaria’s: Un Moto di Gioia”. And also with Needcompany – Jan Lauwers – Grace Ellen Barkey in “Rood-Red- Rouge”, “Morning Song”, “The Miraculous Mandarin”, “Caligula” and “King Lear”.
Has restaged and directed the Ultima Vez remakes of “What The Body Does Not Remember” (1995, 2002 and 2013) and “Les Porteuses de Mauvaises Nouvelles”(2004). He is given Ultima Vez repertoire workshops in Leuven, Volgograd, Brussels, Madrid, Amsterdam, Seville, Rotterdam, Lisbon, Tokyo, Sao Paulo, Seoul, etc…
Kidd Pivot and Crystal Pite improvisation
with Jiří Pokorný
The workshop will focus on the energetic and physical repertory vocabulary from the three first pieces of Ultima Vez: “What the Body Does Not Remember”, “Les Porteuses de mauvaises nouvelles” and “The weight of a hand”. It is about movement “as a theatrical act”.
Participants will follow the creation process going from the origins of the material, the working transitions until the final performed results. This vocabulary will be also the starting point to a guided development of the participants’ own choreographic work. Creating their compositions through the form, the emotion, the strong theatrical atmosphere and the intention of the proposed material.
We will explore and confront this material through improvisations, floorwork, contactand partner work, group forms and objects’ manipulation. To arrive to this vocabulary participants will work with a wide range of concepts such as: tension, instinct, chaos, sensuality, risk, trust, protection, dependency, power, strategies, neutrality, physical extremes. Please foresee note book and sneakers.

Jiří Pokorný
Jiri is a Czech choreographer based in The Hague, Netherlands. He graduated from the Prague National Dance Conservatory in 2000 and went on dancing with Laterna Magika in Prague. Three years later he joined Nederlands Dans Theater 2 in The Hague and continued his carrier with NDT1. After seven years in NDT, Jiri joined Vancouver based company KiddPivot under the leadership of Canadian choreographer Crystal Pite. Jiri has worked with many renowned choreographers such as Jiri Kylian, Mats Ek, Ohad Naharin, Paul Lightfoot, Sol Leon and Crystal Pite among others. Jiri has performed in prestigious theatres world wide, including Paris Opera, Sadler’s Wells London, Teatro Real Madrid, Teatro Liceu Barcelona, Joyce Theatre New York and many more.
In 2013, Jiri transitioned on to making his own works as a freelance choreographer and since then he has collaborated with companies and production houses across Europe and North America. To name few, he created pieces for NDT, Aterballetto in Italy, Basel Ballet, National Theater Mannheim, Budapest Dance Theatre, Chamber Ballet Prague, North West Dance Project in Portland ( US ) and Korzo productions in the Hague.
Jiri’s engagement with dance education has also its importance due to a numerous collaborations with dance schools such as Royal Conservatory in The Hague, Juilliard School in New York, Arts Umbrella Vancouver, NDT’s Summer Intensive and Architanz Tokyo.
Jiri directs his own educational program for young choreographers The Pioneer Project in Korzo Theatre, The Hague.
physicology and creative tools
Jos Baker


Jos Baker
Jos worked for Peeping Tom as a dancer, actor and collaborator, principally with the productions 32 Rue Vandenbranden, and A Louer. Since then he worked for DV8 Physical Theatre on the production of John then began directing and performing in the promotional events for Petit Bateau’s Cedric Charlier collection. Other stage works include In the process of.. by Zoi Dimitriou and Plastic Junkies by Antonin Comestaz.
On film Jos made several music videos and short films, including: Forgot to live by Ay Wing, and Let it Roll by Mustard Gas and Roses directed by Koen Mortier, J’te Ramene directed by Yves Housmann and Biegga savkala duoddariid duohken lea soames by Elle Sofe Henrikseni, as well as several commercials.
He has created several of his own works, including: Creature Man Don’t Tell Me, Feedback, What do you do?, We were youth, Tidal Breath, Let us not ask where it leads, Understanding Sugar and Of no fixed abode.
He also teaches internationally, offering a range of classes and workshops for professional dancers at intstitutions including SEAD, Ballet Junior de Geneve, PARTS Summer School, TrinityLaban, The Place, Amsterdam Thea- tre school, Northern School of Contemporary Dance, Codarts, Deltebre Dansa, El Danseu Festival, Tripspace Projects, Ravnedans, Jetsummer, Staatstheatre Kassel and many others.
Jos started his dance training at the age of 7 with Oxford Youth Dance and then continued his formal education first at The Laban Center London and then at PARTS [Performing Arts Research and Training Studios] in Brussels. Throughout this training he has studied many techniques and approaches, including: Ballet, Release, Cunningham, Graham, acting, Capoueira, Popping, Salsa, Tango, Contact Improvisation, Flying Low, Passing through, Forsythe improvisation Technologies, Labanetics, Physiology and Physics.
Past editions
Dec 2020
Dec 2020
Dec 2020
Dec 2020
Dec 2020
Dec 2020
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