Lieven Baert (1962) is a professional choreographer, dance teacher, performer and theatre director. He trained as a dancer and actor/singer and is an expert in the field of European court dances between the 15th and late 19th centuries. He confirmed his career in 1987 under the direction of Jeanne Brabants as a dancer and choreographer for historical dance. Three years later, he received the award for best young talent (Prix de Vocation) in Belgium for his work in the field of historical dance.
He studied with Barbara Sparti (Italy) and Angene Feves (USA – 15th and 16th centuries), Francine Lancelot, Beatrice Massin, Anne-Marie Gardette (France – 17th/18th centuries), Elizabeth Aldrich and Sandra Hammond (USA – 19th century). Through self-study and research, he is bringing 19th-century original ballroom dances back to life in Belgium. He has led several dance evenings for the Brussels Operetta Theatre. As Maître de Danse, he has been directing historical balls at the current Opera Ballet Flanders and for various editions of the Festival of Flanders in Ghent and Antwerp since 2005.
As a choreographer at various historical festivals, he specialises in reconstructions of repertoire from the Middle Ages to the early modern period. As such, he devises special concepts based on the people and locations in question. Baert has a successful track record in managing highly diverse casts, enabling participants with different abilities to work together and promote each other’s potential to the best of their ability. At Bot, this is reflected in the collaboration between a professional crew and a choir consisting of enthusiastic amateur singers from the Brussels region and young professional students/soloists who can gain experience on stage.
As artistic director of the Historical Dance Institute in Ghent (IHDP vzw) since 1992, he organised two important symposia on historical dance in 1985 and 2000, in collaboration with the Universities of Cambridge, Stockholm and Ghent. These two world-class meetings continue to influence current developments in this highly specialised field.
In Belgium, he works with a permanent early music orchestra, La Cetra d’Orfeo, with which he enjoyed success throughout Europe between 1997 and 2020 with various performances related to early music and dance. Productions such as Ay Amor, Music at the Court of Albrecht and Isabella and The English Dancing Master with this ensemble conquered international stages.
He is also director and choreographer for the Brussels Operetta Theatre in Brussels. He started there as choreographer and dance master for the operetta balls and has directed 27 operettas to date. He is also responsible for the dances from the 19th and early 20th centuries that define the driving force of an operetta. The BOT is driven by a constant desire to ensure a high-quality approach to the operetta genre. With an emphasis on young talent, in collaboration with a professional orchestra and logistical resources, the BOT has always succeeded in staging its performances for a large audience. Despite these precarious Covid times, the loyal audience was still able to enjoy the operetta via a more than successful live stream. Although operetta is a historical theatre medium, Baert’s aim is to use his knowledge of the historical components to create a modern performance with great respect for the music.
Abroad, he has been the resident choreographer for the Landshuter Hochzeit (De) since 1997, a globally acclaimed reconstruction of a medieval royal wedding in 1475 with 75 dancers and seen by more than half a million visitors per edition.
Since 1997, he has assisted Barbara Sparti in Italy as a dancer and co-teacher, and continues to further her work in this field at the world-renowned FIMA Summer School and Festival in Urbino to this day.
During his 35-year career, he has danced, taught, choreographed and directed productions in Germany, Austria, Spain, Italy, Sweden, the United Kingdom, the Netherlands, Japan, Mexico, Russia and the United States.
In 2000, he initiated the dancers and musicians in an event at the Escorial near Madrid to celebrate the festivities surrounding Philip II of Spain and was invited to participate in various productions at the Teatro Classico di Madrid. In 2002, he also began teaching dance history at the Alicia Alonso Institute/Dance Faculty, Rey Juan Carlos III University of Madrid.
In 2016, he started a project with Durham University (UK) and Reed on Dance and Music in the northern part of England during medieval and Renaissance times.

About The Class

Dancing in the late 16th and first half of the 17th century.
Dancing to the music of Caroso, Negri, Kapsberger, Falconieri, Monteverdi and his contemporaries. Repertoire and choreography.

Italy and its dance masters and musicians were leading the way in dance and dance music in Europe in the 16th and early 17th centuries. Dance masters were invited from all over Europe and Italian violinists flooded the western European continent. Caroso and Negri published their famous dance books, and the art of dancing, “L’arte di ballare”, was a challenge for many dance students. In addition to the standard repertoire, sprezzatura, variation, improvisation and knowledge of dance styles from other countries, both in dance and music, were important elements in establishing oneself as a dancer, male of female. This class is for dancers who want to step outside the box and master the Italian and Spanish dance styles with that little bit of extra challenge. With carefully selected dances, repertoire or choreographies, we dance to beautiful or sometimes underrated music from this period. In addition to regular dancewear, dance shoes with heels for the canario are also welcome. If you can play castanets, please bring them with you. Knowledge of the basic repertoire of Caroso and Negri is required.

Level Of Skills Required

For intermediate and advanced dancers in late 16th century Italian style

What to wear

Everybody should bring comfortable clothes (T-shirts, trousers, leggings, etc.) and soft dancing shoes. During the class-work, ladies should not wear skirts, but trousers. At the concluding performance, a Baroque costume, or a token costume in the style of the period should be worn. Some ladies could wear male costumes (breeches, broad-sleeved shirts, waistcoats, semi-high thick heel shoes). Also bring with you clothing items which could be lent to the other dancers, please.

Maximum number of students

20

Teaching Languages

English, German, French, Italian, Dutch