top of page


Vera Tussing graduated from London Contemporary Dance School, and has worked as a dancer, director and creator throughout the UK, Belgium, Canada and across Europe. In 2011 she premiered Trilogy with Albert Quesada, based on an initial commission from ROH2 at the Royal Opera House. This was followed by the stage pieces You Ain't Heard Nothing Yet (2012) and T-Dance (2014), as well as the movement- sound installation Sound Bed. The performance, The Palm of Your Hand premiered in 2015, followed by Mazing (2016). In 2017 a recreation of The Palm of Your Hand, making the work accessible to blind and partially sighted audience members, was undertaken as The Humane Body Project with ImPulsTanz (Vienna), Kaaitheater (Brussels) and The Place (London). This recreation premiered at CND, Paris. Both, Two, a duet in collaboration with Esse Vanderbruggen premièred at Kaaistudio's (Brussels) in 2018.

The duet cycle began with Both, Two but is further explored in the online digital project @duetthecity, in collaboration with the photographer Stine Sampers, and in an emergent sculptural practice, featured as part of Performatik 19 (Brussels). In October 2019, Tactile Quartet(s), a performance which expands her research in tactility into the discipline of music, premiered at Kaaitheater, Brussels. Vera is currently in the final stages of another creation running under the title Un-Staging Tactility ( premiere end of 2023 at Kaaitheater).

A central theme of Vera's work is how the different senses combine to structure our perception, and the creation of unique, inter-personal encounters between audience and performer. She is currently artist-in-residence at Kaaitheater (Brussels), and formerly Workplace artist at The Place (London), IN/FINITY Artist, Research Associate at South East Dance (Brighton) and KAAP-maker (Oostende/Brugge).

Vera does voluntary work as part of voices of dance –  a Belgian-based initiative that promotes dancers/performers rights. She is also in support of ENGAGEMENT, an artist-led movement tackling sexual harassment, sexism and abuse of power in the Belgian arts field.

DSC_0128 (1).JPG




Nina Wabbes - Producer Current Works


Michael Picknett - Composer, Performer, Theatre Maker, Light Designer 

(Current and past projects)


Quatuor MP4 -


Esse Vanderbruggen - Dancer, Performer, Co-creator

(Tactile Quartet(s), @duetthecity, Both, Two, INFINITY)


Yoh Morishita - Dancer, Performer (Tactile Quartet(s) and Tactile Quartet Research)


Bun Kobayashi - Dancer, Performer (Tactile Quartet(s), Both, Two)


Gorka Gurrutxaga Arruti

(The Palm of Your Hand #2, Tactile Quartet Research)


Clara Levy - Violinist, Performer (INFINITY, Tactile Quartet Research)


Sofie Durnez - Costume Designer

(Both, Two, Mazing, The Palm of Your Hand)


Jivan van den Ende - Costume Designer (@duetthecity, Both, Two, INFINITY)


Zoltan Vakulya - Dancer, Performer

(Tactile Quartet(s) Mazing, The Palm of Your Hand #1 and #2, T-Dance)


Bert van Dijck - Light Designer (Both,Two, The Palm of Your Hand #2)


Seb Kann - Artist (Tactile Quartet(s) Both, Two, Mazing)


Ben McEwan - Dancer, Performer

(Sound Bed, The Palm of Your Hand, T-Dance)


Alessandra Rocchetti - Photography / Designer  


JS Rafaeli - Writer / Dramaturgy

Gosia Machon - Webdesign / Visual Artist (Mazing, T-Dance, YAHNY,

Beautiful Dance, Your Eyes, Oh Souvenir, Icarus Project, YHANY)

Stine Sampers - (@duetthecity)


Thomas Saulgrain - Performer, Artist (Mazing)


Meri Pajunpaä - Dancer Performer (The Palm of Your Hand, T-Dance)


Ruben Martinez Orio - Percussionist (The Palm of Your Hand)


Zoilly Molnar - Videographer 


Lucie Beauvert - Designer, Set Design

(Tactile Quartet Research, Both, Two, The Palm of Your Hand)


Solene Weihnachter - Dancer, Performer (The Palm of Your Hand)


Typhaine Delaup - Dancer, Performer (The Palm of Your Hand)


Robin Haghi - Dancer, Performer (T-Dance)


Camille Prieux - Dancer Performer (T-Dance)


Elisabeth Borgermans - Dancer Performer (Sound Bed)


Ian Garside (Sound Bed)


Ann Pidcock  (Sound Bed, YAHNY, Icarus Project)


Arne Lievens - Light Design 


Thomas Vantuycom - Dancer Performer (Sound Bed)


Petra Söör (Sound Bed, YAHNY and many more)


Thomas Vermaercke - Light Design (Mazing)


Erik Nevin - Dancer, Performer (The Palm of Your Hand research)


Muriel Hérault - Dancer, Performer... (INFINITY)


Albert Quesada Dancer (Co-Creator Trilogy)


Klein Verzet Production (till 2017)

If you think this part needs an edit...just email me:






Tactile Quartet(s) (2019)

Supported by: Flemish Authorities , Co-production: Kaaitheater

Residencies: STUK, Kunstenwerkplaats Pianofabriek, Wpzimmer, workspacebrussels, Arts Printing House Vilnius

Tactile Choreographies/Sculptures Reserach (2017-2019)

Supported by: IN/FINITY TOPAZ

Both, Two (2017)

Supported by: Flemish Authorities, Kaaitheater, KAAP, The Place, IN / FINITY Support, Research

Residencies: Vlaamse Gemeenschap, South East Dance, The Place, CND Paris, Tanzhaus Zuerich, ImpulsTanz , BUDA, STUK, KAAP, De Markten, Cc 't Vondel, De Warande, Stems Gallery / Cindy Daignault, Klein Verzet

The Palm of Your Hand #2 (2017) 

CND Paris, Impuls Tanz Vienna, The Place London, Kaaitheater Brussels - European Grant

Current Resident/Associate: Resident at Kaai Theater, Workplace Artist at The Place, Kaap Maker, Associate at South East Dance & IN-FINITY artist

Mazing (2016) 

Supported by: Flemish Authorities, STUK, Kaai Theater, Vrijstaat O, De Werf, Workspace Brussels // Commissioned by The Place, Piano Fabriek, Work Place at The Place

The Palm of Your Hand (2015) 

Supported by: Flemish Authorities, Co-produced by STUK, Leuven (BE), The Place (UK) Life Long Burning/workspacebrussels with the support of the Culture Program of the European Union (BE) Commissioned by The Place (UK) with additional support from Klein Verzet (BE), Public funding by the National Lottery through Arts Council England Dance East (UK), Pavilion Dance South West and Royal Academy of Arts, London (UK)
Traject Subsidies - Flemish Community (2015)

T-Dance (2014) 

Supported by: Flemish Authorities, STUK, Leuven, The Place,London, Workspace Brussels, wp Zimmer, Antwerp (BE)

You ain't heard nothing yet' (2012) 

Supported by: Flemish Grant Vlaamse Overheid, STUK in Leuven, Monty Antwerp (BE), Ontwikkelingsgerichte Grant, Flemish Community Brussels (2012)

Sound Bed (2011) 

Supported by: STUK Leuven (BE),Cinematic Bed- originally commissioned for Comma 40, Bloomberg, Bloomberg Space, London (UK)


Trilogy (2011) 

Supported by: Flemish Grant Vlaamse Overheid, Monty, Antwerp, Vooruit, Gent, BUDA Kunstencentrum Kortrijk (BE)

The Icarus Project (2010) 

Commissioned for The Place Prize, Sponsored by Bloomberg (UK)

Your Eyes (2009) 

Originally commissioned by ROH2 for 'Firsts' at the Royal Opera House, London (UK)

Beautiful Dance (2007)

Supported by: Residency at PARTS Summerschool (BE), Selected by Aerowaves 2010 (UK)


Workspace brussels; PARTS Summerschool, Brigittines Brussels (BE), BUDA Kunstencentrum; Kortrijk; WP Zimmer Antwerp (BE) Pianofabriek Brussels, Kaai Studio Brussels, STUK Leuven, DeWarande Turnhout (BE); Monty Antwerp (BE), Bains Connective, Brussels (BE); Kaai Studios Brussels (BE), Pact Zollverein, Essen (D); Choreodrome at the Place; Royal Opera House, London (UK); DeVIR CAPa, Faro (PT), Dance House Glasgow; Dance Base Edinburgh (UK); ChoreoRoam Project: Rotterdam, Dance Ateliers Rotterdam (NL), Centre for Dance Zagreb (RS), B-Motion Festival Bassano (IT), Dances Huis Copenhagen (D), Conservatorio Superior de Danza Madrid(ES), CCN de Montpellier Languedoc Roussillon (FR), CND Paris (FR), Dance East (UK), Graner Barcelona (ES), La caldera Barcelona (ES), Arches, Glasgow (UK). Arts Printing House Vilnius (LT)...and more.


Kaai Studios, Brussels (BE), Vrijstaat O Oostende (BE), STUK Leuven (BE), De Werf Brugge (BE), CC t’Vondel Halle, Kortrijk Schouwburg (BE), kunstenwerkplaats pianofabriek BrusselsTrip The Light Fantastic Toe, London (UK); Storm Op Komst, Turnhout (BE), Sant Andreu Teatre (SaT!) Barcelona (ES); Sala Trono, Tarragona (ES); Mousonturm, Frankfurt (DE) ,Trip Korte Metten, Theaterzaal, Vooruit, Ghent (BE), WP Zimmer; Monty, Antwerp (B) BCSTX; Teatre Tantarantana, Barcelona (ES); Brigittines, Brussels (B), Open Arts Café, London (UK) Linbury Studio at The Royal Opera House, London (UK); Dampfzentrale Bern (CH), Beursschouwburg Brussels (BE), Dansmakers Amsterdam (NL), Batard Festival, Veem House Amsterdam (NL), StaatsTheater Mainz (DE), Ludwigshafen (DE), Central Saint Martins London (Uk), Royal Academy of Arts, London (Uk), Museum M, Leuven (BE), Bloomberg Gallery, London (UK), CND Paris (FR), IMPULS TANZ Vienna...and more.





"...magical, stimulating and thought provoking" 

South East Dance

"Le choréographe crée Both, Two, explorant les possibilités du due" 

– La Libre Belgique


"Movement, and especially the encounter with movement is who we are"

Interview with Vera Tussing, Esse Vanderbruggen and Sebastian Kann, 2018


...reminds you quite strikingly of the consoling and stimulating power of touch – a nudge that a lot of us in this digital age could do with" 

– Dance Tabs (EN)

"They (Vera Tussing & Jan Martens) give our network society a human face again.

– Review de Standard (NL)

"United in our personal experience of dance and music, leaving all our troubles behind.

– Review Veto (NL)

"What this highlighted easily we can get in touch with each other, yet how difficult maintaining that touch is"

– The National Student (EN)

"You can’t say everything with words but with gestures you can say a lot. For me dancing is feeling. If you can’t speak, you can say it in dancing, moving, feeling. (audience member)It feels good, pleasant and relaxing. You feel like you want to move with them and hold each other. (audience member)

– De Biechtstoel (De Zendelingen) in Stadsschouwburg Sint-Niklaas (NL)



"They (the dancers) respect your limits but manage to take you out of your comfort zone to enjoy the closeness.

– Review De Standaard (NL)


"The choreography remains abstract but by participating ourselves, we seem to understand and feel it better. It makes the piece accessible and comprehensive. It is clarifying for the uninitiated dance spectator and enriching for the dance lovers.

– Review Etcetera (NL)

"The dancers search the dialogue with the audience in various charming ways. This created not only very intimate moments, but also insights in the origins of the choreographic patterns. The audience is gradually taken on a spatial experience. The Palm of Your Hand deals with the essence of touch and how touch connects is to each other. It is a very friendly and warm show, a pleasant contrast with the individualistic life we lead in this digital age. 

– Review Theaterkrant (NL)

"Like a beautiful conversation between friends, skilfully and delicately balanced between listening and speaking, without one being more important than the other.  

– Brochure cnd (FR)

"Die Zuschauer werden zu Mitspielern, die Verbindung mit ihnen, ihre Reaktionen bestimmen die Choreografie und werden selbst zu einem Tanz."

– Programme Staatstheater Mainz (DE)


"Captivating, intriguing and very abstract..."

– Review Theaterfullstop (EN)

"I was trying to understand to what degree communication is possible in a space that is already socoded for behaviour."

– Interview with Vera Tussing by Sebastian Kann (EN)


"Visual stimulants often dominate productions. But what happens when you have to rely on your sense of hearing and touch?"

– Interview with Vera Tussing (EN)



"In Tussing’s work...sensory sharing becomes the deliberate point. And she makes it happen so dextrously, so benignly that she sends us out of the theatre feeling unnaturally alert and refreshed."

– The Guardian


"The performance is subtle and clever, managing to both lighthearted and thought-provoking"




"the work develops subtly like a gradual crescendo, increasing in momentum and impact."


'Vera Tussing’s The Icarus Project searched for delicate rhythms, reaching on tiptoe for sounds made by claps, slaps, strokes, pokes and scratches to be amplified by microphones positioned overhead. The three lithe female performers were graceful and the choreography structured simply but to beautiful effect.'

Alexandrina Hemsley, 22nd of September at



"...together they create a "listening experience" for the audience whereby the very different musical compositions are danced (rather than danced to) and what is realised onstage is not the physical presence of the performers, but the idea driving the movement."

– (EN)


Firsts 09, Linbury Studio Theatre at The Royal Opera House

‘.... provocative…… quirky and humorous..’



'Jumping and padding across the floor, Albert Quesada and Vera Tussing performed an excerpt from Beethoven's Sonata No.13, entirely with their feet. It was refreshingly different, simple and understated. Despite a lot of repetition in movement, the score allowed for gradual variation and development, with arms used to give more power to specific beats and floor patterns weaved to slow the tempo. Plain clothes, black woolen hats and backs to the audience kept all attention on the rhythms and patterns created. As the choreography came to an end, the lights dimmed and a traditional piano version of the Sonata was left playing. As I listened I could not help but envisage the skipping figures playfully marking out the music.'

– Sarah Smith, dance critic of Metro, London


Resolution! 2008, Robin Howard Dance Theater, 14th of February 2008

'It's curious how powerful something as simple as closing your eyes can be. Invited to do so by Albert Quesada and Vera Tussing at the opening of their Beautiful Dance, the ears were treated to the sound of rhythmic beats in the dark. To me it sounded like a body being massaged (wishful thinking: it had been that kind of a day) but on opening my eyes, it turned out Quesada and Tussing were tapping out complex syncopated patterns with their feet.

Using this simple technique, supplemented by gently humorous shadow projections, Quesada and Tussing ingeniously inveigled themselves inside Beethoven's Sonata No 13 in E Flat Major as played by Glenn Gould. Spare and skilful, punctuated by sections of complete stillness, this engaging duo mirrored the spirit of the music in their percussive limbs, producing an understated delight.'

– Keith Watson, dance critic of Metro, London

bottom of page