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summer main event

research or die.

b12 summer main event


location: eden***** studios


Jone San Martin Astigarraga & Mikel R. Nieto

dance on ensemble / the forsythe company



usually music in dance is understood as a trigger for movements, or as a background noise or soundscape. both of them are a reduced way to understand the relationship between dancers and composers. this workshop is focused in this gap, proposing another approach in dance through a different way of using music and listening by dancers. jone san martín, together with mikel r. nieto, sound artist, propose a working situation, in which movement and sound will be approached as parallel activities in order to discover all the possible relationships that can occur between them. san martín will transmit william forsythe’s improvisation technologies and use them as a tool to articulate complex movements, which will interact with the sound landscapes proposed by nieto. through the practice of listening, the body’s responding capacity will be enhanced and ready to deliver that exact and unique movement, which each situation needs. a place to improve the expertise of improvised dance through sound.

some workshops offer group improvisation or partnering. these workshops elements may or may not be possible and the teachers and choreographers will modify their workshops accordingly in line with the health and safety measures required at the time. please stay flexible. thank you!

jone san martín astigarraga was born in donostia/san sebastian in the basque country. since 2015, she has been living in berlin. she is a dancer, performer, choreographer and teacher of the improvisation technologies developed together with william forsythe. first, she studied with mentxu medel in san sebastian, then at the institutt del teatre in barcelona and at mudra international, the school of maurice béjart in brussels. after working as a freelancer within spain and belgium, she joined the ballett frankfurt, under the direction of william forsythe, where she danced from 1992 until 2004. she then joined the forsythe company, where she remained until 2015. she was part of the first edition of dance on ensemble in berlin, and will also collaborate with the second edition. she has created several works, and tours worldwide with the sólo/conference on forsythe’s choreographic notation, legítimo/rezo. throughout the years, she has worked and collaborated with william forsythe, nacho duato, jacopo godani, saburo teshigawara, fabrice mazliah, agnès chekroun, carlotta sagna, jan lawers, jan fabre, josh johnson, tim etchells, matteo fargion, rabih mroué, deborah hay, jan marteens, ersan mondtag, johannes wieland, mikel r nieto, emanuele soavi, and susanne kennedy. additionally, she was given a carte blanche on scenic arts by donostia in 2016.


mikel r. nieto studied art in san sebastián, madrid and in barcelona. he collaborated for years with audiolab at arteleku in san sebastián, in projects like soinumapa, the basque country sound map, and hots! radio. he is part of the mediateletipos platform, writing several texts about sound, noise, listening and musical networks. in 2016, he curated and coordinated the listening observatory, in collaboration with josé luis espejo and xabier erkizia, during the european capital of culture in donostia/san sebastián. he has been working in collaboration with dancers and choreographers in many contemporary dance projects, creating sound designs for dance pieces, such as jone san martín, who worked with william forsythe for more than 20 years in the ballet frankfurt and the forsythe company. he also collaborated with pascal merighi and thusnelda mercy, who worked for pina bausch for many years. his first book, black on black, called dark sound, was published by gruenrekorder and it was described as the dark book of the soundscape. his second book, in collaboration with the anthropologist, tim ingold, and the philosopher, carmen pardo, called a soft hiss of this world, was printed white on white and is focused on the loss of snow in the landscape because of the antrophocene and how it affects language and the soundscape through the sound of snowflakes.



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