Getter Lauk teaches and researches traditional dance. She has taught children and adults in hobby groups, (higher) schools, festivals and other events. She found her way to traditional dance through the Tartu Dance Club, which she later led for several years. What fascinates her most is the material hidden in archives and how what has been recorded can be used and studied today. Based on archival materials, she has researched the dance culture of Old Võromaa.

Born and raised in Crete, Greece, Sofia Filippou (1995) is a sister, daughter, friend, lover, cross-contaminator, mover, poetess, partly academic, most often art-making human, working at the intersection of dance, embodied storytelling and ecological imagination.

Often engaged in site-responsive performances, Filippou creates spaces where human and more-than-human narratives intertwine. She holds a BA in Drama and Dance (Royal Holloway UoL) and an MA in Contemporary Physical Performance Making (Estonian Academy of Music and Theatre).

Rooted in a desire to cultivate practices of deep sensing, her works are poetic explorations of world-making; worlds that exist at the edge of things.

The TantsuRuum residency brought her to Estonia in 2020, and she has since then been based in Tallinn. In March 2023, her collaboration with dance artist Eline Selgis titled ABOUT US// choreographies of hugging, received the Estonian Theater Award for Best Dance Performance 2022. 

Dreaming of tasting the interweaving of known and unknowable, she works with sensing & intuition and follows the body as a main source of wisdom and knowledge. She aims to get bodies into dialogue. She likes bodies; moving bodies, resting bodies, delusional bodies,  bodies of water, bodies of dissonance…She also likes stories, riddles, rolling on the floor, and speaking into a microphone. Sometimes she likes to sing. 
She always likes to dance.

Indrek Kornel is an interdisciplinary choreographer, dancer, and movement educator whose work is grounded in improvisation, functional movement research, and embodied systems thinking. His movement research is informed by pre-Pilates methodology transmitted through Deborah Lessen, based on the work of Eve Gentry, as well as by improvisation practices experienced with David Zambrano, Ruth Zaporah and many others.
He has a higher education in Choreography and IT – working with databases, system migration, and information architecture. This dual practice shapes his artistic approach: working with existing structures—physical, conceptual, or experiential—and focuses on reorganizing and translating them into clearer, more accessible forms for the body.
His work engages contradiction as a creative force: how to feel at ease inside opposing impulses, how to become unstuck, and how to find freedom not as absence of structure, but through awareness, timing, breath, and connection. Informed by self-determination theory, his practice treats movement as play—creating frames where attention, choice, and possibility can unfold without censorship.

Rob began his professional formation as a competitive gymnast in 1978, ending in 1994. In 1992 he enrolled in the BFA Program of Theatre and Dance at the University of New Mexico in Albuquerque, New Mexico.

In 2002 he moved to Brussels to work with the dance company Ultima Vez. Since then, for the past 18 years, he has continued to regularly give workshops and classes both in Belgium and abroad.

Actor, dancer, composer, and teacher, his work and research have been enriched through a wide range of creative and collaborative encounters including the studies of physical theatre, aikido, contact improvisation, capoeira, massage therapy, traditional polyphonic singing, and imagery-based practices. Notable encounters include Albuquerque – based theatre group q-Staff, Utopia Danza-Teatro, Chorea Theatre Association, David Hykes, Gardzienice Center for Theatre Practices, Teatr Zar and the Grotowski Institute, the former Workcenter of Jerzy Grotowski and Thomas Richards, and the School of Images led by Dr. Catherine Shainberg

Ephia Gburek holds a BFA in dance from Columbia University, New York City. She studied intensively with Min Tanaka and Kazuo Ohno in Japan and was a member of the Berlin-based butoh company of Anzu Furukawa, appearing in Furukawa’s final production, GOYA: La Quinta del Sordo. Following her interest in ritual dance, she traveled to study traditional dances in Ghana and in Indonesia. Guided by collaborations with mentors Nia Love and Diego Pinon, she created early works which were a fusion of performance and ritual. In 1998, she co-founded Djalma Primordial Science, a performative and pedagogical collaboration with electro-acoustic musician Jeff Gburek. From within this partnership of listening, she focused her dance on the instability of the body and its relationship to the environment: her dancing body becomes a prosthesis for the viewer to discover the space that surrounds and composes us.  Between 2002-2007 their productions (MYOPIA)2, Ci-gît, and Mirrorminded Curiousitease toured widely in the United States and Europe.

Since 2007 Ephia is based in France where she concentrates her work on the relation of body and object, the flux between the animate and the inanimate world. She collaborated with puppeteer Alexandra Vuillet, followed a formation with Claire Heggen, and participated in the creations of the company Scolopendre which incorporate shadow theater, mask and object manipulation. In 2009, her project with dancer Yael Karavan entitled CONTRE-IMAGE was in residence at CCN Rillieux la Pape-Cie Maguy Marin, MICADANSE and Atelier Carolyn Carlson in Paris. In 2011 she established Les Chercheurs de Djalma; this group of ten dancers meet regularly to distort the frontiers between individual and group, body and object, dream and daily reality.