Meetings, discussions and reflections are proposed throughout the Festival with choreographers, dancers, company directors, researchers and teachers.


Wednesday 29 November – 2pm – Cineum (Cannes La Bocca) 

You are a teacher or student and would like to take part in the selection of films for MOV’IN Cannes. 

All you have to do is join the screening panels to discover the artistic issues involved in making a dance film, with a special appearance by choreographer and director Tanin Torabi. 

Free admission, subject to availability. 

Information and booking: Julie Parisse – 04 92 99 33 78 – 

Tanin Torabi is a dance artist and filmmaker based in Iran. Her work spans choreography, live performance and film, and she is interested in exploring the connection between the three. Coming from a Sociology background, Tanin graduated with an MA in Contemporary Dance Performance from the University of Limerick, Ireland. With more than 10 years of experience in dance filmmaking, she is known for her single-take short films in urban spaces of Tehran. Her films have received numerous awards such as “Jury Prize”, “Creative Vision Award”, “Best Artist Film”, “Best Inspirational Film”, to name a few. Premiering in more than 100 cities worldwide, her films have also been studied in many academies internationally. In 2019, she was introduced by Dance Magazine as one of the “9 Screendance Artists You Should Know”. Tanin’s latest film works are: Until, In Plain Sight, The Dérive and Invisible Point. Alongside her filmmaking she has created a number of solo dance performances performed in Iran and Europe, and directed movements of alternative theaters in Tehran. Since 2020, she has been performing in pieces by the renowned NYC based choreographer Yoshiko Chuma online. She is the recipient of a 6-months residency in Cité Des Arts in Paris (2023-2024) supported by Institut français to expand her research and artistic exploration to live performances that incorporate moving images. This interdisciplinary approach allows her to delve deeper into her practice, merging elements of dance and film to create unique and thought-provoking performances


Sun. 26 November – 10am – Palais des Festivals

What measures have been put in place to help young dancers enter the professional world? Are they in line with the needs of the profession? How are these issues tackled abroad? This round table, organised in partnership with the Ministry of Culture and the Centre National de la Danse, will invite those responsible for higher education courses to discuss their practices. Experiments developed in the region, such as the Coline professional training course and the Groupe Grenade, will also be presented. 

DANCE WORKSHOP N°11 - Encountering a work of dance

What does it mean to be a spectator of a dance work? How can we support them in their relationship with a piece of choreography? Is it a question of educating the viewer’s eye? What tools should be made available? This workshop invites Festival audiences to a number of events based around the question of dance mediation practices: 

Sunday 26 November 
From 4pm to 5pm, then from 7.15pm to 8.15pm – Palais des Festivals – Cannes 

A workshop bringing together spectators and dance students from the Université Côte d’Azur and the Pôle National Supérieur de Danse Rosella Hightower will focus on Birget, ways to deal, ways to heal by Elle Sofe Sara. The piece will be preceded by a time to sensitively awaken the eye, which will continue after the performance by sharing the perceptive experience each person has gone through. 

This workshop is limited to 20 people. Please register with 

Saturday 9th December
2.00 pm to 5.00 pm – Palais des Festivals – Cannes

An afternoon of reflection based on the sharing of experiences invites artists, researchers, performing arts professionals and audiences to question the practices of disseminating knowledge about dance works. 

With the participation of Éva Felix (Cie Ginett’, Nice), Philippe Guisgand (Université de Lille), Jessica Piris (Théâtre de la Licorne, Cannes), Lise Saladain (CDCN La Manufacture, Bordeaux) and Olivier Chervin (Numeridanse, Lyon). 

Free entry subject to availability

Sunday 10th December
3.00 pm to 4.30 pm – Théâtre Palais Stéphanie – Cannes

Following the creation of Sous les fleurs by Thomas Lebrun, a stage edge will be offered using mediation devices developed by students from the Savoirs du corps dansant master’s programme at the Université Côte d’Azur as part of a seminar looking at issues of non-binarity from a gender studies perspective. 

Co-ordination: Sarah Andrieu, Amélie Clisson and Axelle Locatelli 
Scientific Committee: Sarah Andrieu, Federica Fratagnoli, Alice Godfroy, Axelle Locatelli, Marina Nordera and Joëlle Vellet 
Organised by: Université Côte d’Azur, CTELA, EUR CREATES – Arts et Humanités
In partnership with the Festival de Danse Cannes – Côte d’Azur France and the PNSD Rosella Hightower Cannes – Mougins 

With the support of the Dance Researchers Association 

Transmission of a choreographic creation process" seminar

Thurs. 7 December and Fri. 8 December - Théâtre de la Licorne (Cannes La Bocca)

The seminar offers a time to meet and practice with renowned choreographers, at least one of whose works is programmed in the Festival. The question of how to pass on the creative process will be at the heart of this training session, addressed by two choreographers from very different artistic backgrounds. Two points of view, two ways of approaching creation, two pedagogies will respond to each other from one day to the next, so that each participant can draw on the tools of transmission to be reinvested with his or her students.

Day 1 - Training with Lara Barsacq

Thursday 7 December 2023 from 9am to 12pm and from 1.30pm to 4.30pm at the Théâtre de la Licorne.

Lara Barsacq was 17 when she left the Conservatoire National Supérieur de Musique et de Danse de Paris in 1991. Her first professional engagement took her to Israel, with the Batsheva Company. Ohad Naharin asked her to choreograph a piece for the Batsheva Company. On the strength of this experience, she decided to take up choreography herself. She went on to create choreographic works for the Batsheva ensemble, the CNSMD in Paris, independent companies in Israel and Amsterdam (Danswerkplaats), and also on her own account.

In 2002, she decided to take some time out to focus on her career as a performer, curious to explore the world of other choreographers and creators. After 15 years of encounters, she returned to choreography, bringing with her a wealth of experience that now encompasses her talents as a dancer, choreographer and performer. Lara also works regularly as an outsider on other projects, notably for Talk Show and Garcimore est mort by Gaël Santisteva, with whom she is developing her choreographic work. In 2016, she began to imagine new projects for shows that would take their source in the past, while resurrecting forgotten female figures from the history of dance.

Day 2 - Training with Wendy Cornu and Julie Alamelle

Friday 8 December 2023 from 9am to 12pm and from 1.30pm to 4.30pm at the Théâtre de la Licorne

Trained at the CNDC in Angers (2000-01) and the CDC in Toulouse (2002), Wendy Cornu has experimented with various techniques for the body in movement (Feldenkrais, Alexander, Buto, Body-Mind Centering, etc.) and has worked with many choreographers (Dominique Dupuy, Thierry Bae, Serge Ricci, Carlotta Ikeda, Louise Burns, Marco Berrettini, etc.). A performer notably for Emanuel Gat, Georges Appaix, Pierre Cottreau and Geisha Fontaine, she quickly developed her own research work and created the Compagnie Mouvimento, which she has directed alongside Julie Alamelle since 2009. “In each of my creations, I question the notion of composition and compositional support. […] From 2017 onwards, I reexamined the fundamental underpinnings of my practice to devote myself to choreographic research that is totally driven by music. The music then becomes the primary medium, initiating the movement of the bodies and my choreographic writing. The dance is constructed as an instant composition. In his founding principle, the improvising dancer does not give priority to form, but to what underlies it: energy, perception, sensation”.

Open to teachers, educational advisors, project managers, companies and cultural professionals Places are limited Please register at