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© Tales to Disturb, photo by Kevin Canales



Laura Daelemans (Duffel °1999) is a dancer, choreographer and visual artist. She graduated from de! Kunsthumaniora for Contemporary Dance in 2017 in Antwerp (Belgium), as Bachelor in Dance from the ArtEZ University of the Arts in 2021 in Arnhem (The Netherlands), and is trained as a tap dancer. From a young age she was fond of drawing and as a child she won several colouring competitions. Drawing remained a constant in her life, leading to the further development of her visual work parallel to her dance studies. 


In 2020 Laura already started to choreograph at SALLY Dansgezelschap Maastricht (The Netherlands), I SOLISTI Belgian wind ensemble Antwerp (Belgium) and Theater aan de Rijn (The Netherlands). At the latter she created the solo performance 'Total eclipse' which got selected for Moving Futures (The Netherlands). 

In 2021 Laura joined I SOLISTI to be one of their four MAKERSpace Artists for the next four years. Laura was also selected to go in residency at Instável - Centro Coreográfico (Portugal) for 'That’s so Tapical' in collaboration with Margarida Constantino, hosted by Teatro Municipal do Porto (Portugal).

© Bjorn Frins

In 2022 Laura was invited to choreograph at the Seminar Hakibbutzim (Israel), MOSA Ballet School (Belgium), SALLY Dansgezelschap Maastricht and Theater aan de Rijn (The Jam). Next to that she started to create and direct her own production 'The Beehive' at I SOLISTI MAKERSpace in collaboration with composer/brother Frederik Daelemans and a multi-disciplinary artistic team in residency at DE SINGEL International Arts Centre (Belgium). 

In 2023 Laura was invited to join Talentlab, a collaborative project for 8 emerging makers by Toneelgroep Maastricht and VIA ZUID (The Netherlands). She also got invited for a new creation at Theater aan de Rijn in the frame of vier x vier, a concept to introduce the new generation dance makers by presenting four works made by four young makers. 'Tales to Disturb’ (vier x vier) will tour in Dutch theatres in spring 2024 and has been selected for Moving Futures and Hoogte 80 as well. In 2024 Laura also started creating her next I SOLISTI MAKERSpace creation 'MANA', was invited to choreograph a new piece 'Chariot' for the MOSA Ballet School (Belgium) end of year performance, and choreographed a music video for Frederik Martens shot by Kenneth Michiels. 


Laura has performed for Paula Niehoff, Liza Van Brakel, Toon Quanten and in her own work. She has been invited by the Codarts University of the Arts (The Netherlands), the ArtEZ University of the Arts, de! Kunsthumaniora for Contemporary Dance, the MOSA Ballet School, and SALLY Dansgezelschap Maastricht among others as guest teacher. As a visual artist Laura has worked with composers, choreographers, cabaretiers, poets, installation artists, and creates her own work as well. She is currently researching a potential merging her performative and visual work

Artistic vision and movement language

To me, dance means celebrating your emotions. Expressing your emotions through dance feels like growing a flower from a seed. For me to create art means to listen to your emotions and to give them shape for others to see. I feel the essence of art is communication, which simultaneously is the essence of who we are as people. I believe to be able to create this form of pure communication is the most beautiful thing there is, and therefore I strive to reach this any time I create. In my aim to create an experience for both the performers and the audience, I always work from intense emotions and try to remain true to them, both in my performative as visual work. 


I am currently focussed on the research and further development of my movement language. I connect everything that affects and moves me and let go of techniques I related to in the past. This results in my own artistic language which is based on enhancing the effect of images through which the body speaks. By delicately reshaping these images through especially focussing on details in the hands and face, I aim to clarify and intensify their expression. The first out of the three major elements on which this movement language is constructed, is dynamic energy. This is generated from the rhythm in which we experience emotions or from the groove extracted from the respective music.


The second element is indirect gestural expression. This element is initiated from the urge to express literally, and subsequently manipulated through a visual abstract filter. I am an illustrator as well which inevitably adds a visual layer to my work. I am passionate about creating new shapes and mechanisms with the body as if it were with pen on paper. By visually reshaping gestural movements, the literal meaning disappears and the motivation of the movement remains clear and prominent. This way I emphasise its emotional message rather than the symbolic connotation we have to the movement, which on a smaller scale resembles the core of my work.

The third and final element is grotesque facial expression. In 2020 I created an exercise that enables the attainment of my characteristic facial expressions when working with other dancers. These grotesque facial expressions combined with my choreographic approach bring about an absurd landscape of quirky movements grooving in odd coordinations, driven by strong emotional intentions: my movement language. 


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