Training, equivalences, training centres


Organized in partnership between :

DRLST association, “Atelier du Geste Rythmé” and CID, “Conseil International de la Danse”, that is the official dance organization for UNESCO, United Nations Organization for Education, Science and Culture.

Why these partnerships? The DRLST, because of its international vocation, had to organize an international training. Thus, the DRLST decided to associate to the “Atelier du Geste Rythmé” to get benefits from its experience in the training field. A partnership with the CID was established in order to achieve an international acknowledgement , since the values of the DRLST correspond to the ones of UNESCO.

The training draws its inspiration from the tradition of the Tour de France des Compagnons. They used to do their professional training by travelling, bringing their booklet which had to be signed at every stop-over by the “masters” in charge of transmitting them knowledge and experience. In the same way, the DRSLT training makes its participants travel in their home country and abroad (it requires to spend at least two weeks in a foreign country) and spend time with confirmed rhythm practitioners in the places in which they work and live.

At the end of every training module the CID issues an international certificate attesting that the participant has completed the 150 hours module. This certificate, recognized at an international level, gives a greater professional mobility.

PEDAGOGIC DIRECTION: France Schott-Billmann, doctor in psychology, psychoanalyst, dance therapist. She teaches dance therapy at the Art Therapy Master of Paris Descartes University, she wrote several books regarding the social and therapeutic functions of dance.

PEDAGOGIC RESPONSABLES : they coordinate the courses and the workshops in their own countries, they are in charge of the equivalences and agree a personalized program with each participant to the formation. This personalized program will last from 1 to 4 years, according to the chosen equivalences, the rhythms and the places where the workshops are set.

- in France : Paris : France Schott-Billmann,

- in Greece : Athens : Eleni Chatzigeorgiou,

Thessaloniki : Marianna Dracopoulou,

- in Israel (Tel-Aviv) : Ayelet Ranen,

- in Spain : Cynthia Granero,

- in Canada : Eleanor Hendriks,

  • - in Belgium : Nganga association : Francis Debrabandère, Annie Farvaque, Simon Vandewalle :

INTERNATIONAL MULTIDISCIPLINARY PEDAGOGIC TEAM : all our tutors are experts who connect an artistic mediation (music, dance or others) with their own domain:

doctors (Aline Strebler), psychologists psychoanalysts (Laetitia Micol), anthropologists (Katerina Stavrou), pedagogues (Patricia Raccah), musicians (Mathieu Vié, Henri Samba, Simon Vandewalle), dancers (Anne Vidick, Clément Collart, Agnès Dru, Georges Noulas, Svetlana Panova, Saadia Souyah), music therapists (Jean-Yves Collart, Willy Bakeroot), dance therapists (Constance Hirsch, Annie Farvaque, Ayelet Ranen, Eleni Chatzigeorgiou, Marianna Dracopoulou).

PLACES and tutors of the training :

France : Paris : Atelier du Geste Rythmé F. Schott-Billmann

KRT : Willy Bakeroot,

ADECAF : Henri Samba

Le Havre : Jean-Yves Collart

Greece : Athens , Eleni Chatzigeorgiou

Thessaloniki : Marianna Dracopoulou

Israel : Ex-prim, Ayelet Ranen

Belgium : Leuze : Simon Vandewalle, Annie Farvaque

Arlon : Anne Vidick


There is not a legislation concerning the profession of rhythm practitioner. Like the training of Atelier du Geste Rythmé, it can be considered mostly as an additional training.

Thus, it is addressed to professional musicians and dancers (artists or artistic mediators), workers in education (teachers, educators), in health (doctors, psychologists, psychomotricians, nurses), in social domains (workers in the social field, sociologists, educators…).

Even if it cannot guarantee a work, the DRLST training does not exclude the ones who are passionate of rhythm in all its forms, utopists, dreamers of a new world, people who try to resew the social fabric and/or people wishing to support peace all over the world, all the ones who desire to transmit this rhythmic transgenerational heritage, because of its values of freedom, equality, fraternity leading to civilisation and humanity.

AIMS: to train practitioners in using the rhythm mediation of musics, songs, dances, in order to reinforce the social bond and/or the therapy. Thus, they need theoretic and practical tools (rhythms, songs, dances, expression primitive), that could be used in the frame of a therapeutic or social project, and skills corresponding to the requirements of the European professional associations of “Danse Rythme Lien Social et Thérapie”.

ORGANISATION OF THE TRAINING: The DRLST training requires 450 hours divided in 3 modules :

  • - 2 modules of 150 hours each, corresponding to 300 hours of Expression Primitive (workshops proposed or validated by Atelier du Geste Rythmé). The modules correspond to UE 1-10 of the Atelier du Geste Rythmé training. They are organized in 12 UE of 25 hours, equivalent to ECTS (European credits – 25 hours), in order to harmonize the trainings at a European level.
  • - 1 module of specialization, 150 hours, based on a rhythmic practice different from Expression Primitive: 6 UE of 25 hours.

As for the Atelier du Geste Rythmé, also the DRLST training is organized in workshops according to a flexible structure. You are free to start whenever you feel to, in every moment of the year, to take part in the workshops following the order you wish, to choose your own rhythm and your own schedule.

MODALITIES OF DE RECRUITMENT (equivalent to the ones of the Atelier training, according to the different teaching systems in other countries) :

Baccalaureate+2 or 4, or validation of the professional or personal experience [VALIDATION DES ACQUIS (VAE)], especially if the professional experience regards therapy, art, social or education fields.

Preliminary audition (for instance through the practical participation to a workshop). The audition will allow to evaluate the level of dance (sense of rhythm, coordination) AND relational skills. Interview with a tutor who agrees with the participant his personalized schedule, giving a bibliography and a “feuille de route-roadmap” where to summarize the contents of the workshops.

PRINCIPLES OF THE TRAINING (identical to the ones of the Atelier training):

  1. The training is not organized according to a fixed annual program with a closed group. Everyone proceeds following his own rhythm, deciding in which workshop participate depending on his obligations and commitments. The whole price of the training has not to be paid in advance, you can pay the workshops one by one. You can choose your order. Thus, a “unique class” pedagogy is offered, mixing experts and novices.
  2. Theory and practice are transmitted at the same time, never in a dogmatic way.
  3. However, a personal engagement and a work to do at home is required:
  4. - you can select readings for each teaching unit from a bibliography given at the beginning of the training,
  5. - you will be given written or audio documents during the workshops, in order to revise and complete the oral teachings.

During the workshops everyday life unfolds along five fundamental axis:

practical learning of dance; participation in the collective life; theoretical teaching: classes, videos; group leading; analysis of the practice and group supervisions.

These axis structure the days and the teachings are alternated in a balanced way through an interaction between practice and theory: theoretical contributions, practical workshops, group conversations and video sessions for an self-evaluation, films and/or audio-visual documents, personal creations.

We can also suggest readings and research tracks (museums, films, performances, web sites) in order to nourish the participants' desire of knowledge. However, we hope to transmit such a strong curiosity to make them discover more by themselves.


Expression Primitive is an accessible, particularly powerful and effective form of dance. We prefer it among other dance therapy techniques because it corresponds to nowadays worries and concerns: the search for roots, the need of finding essentiality through simple, stylized, strong and shared forms. Expression Primitive experiments this essential in the pulsation. Since Expression Primitive transposes the vital beat of heart and breath in rhythm, the pulsation is alive, it lives and we are enlivened by this contact. As the Haitian dancer and choreographer Herns Duplan, founder of this technique, writes: “the pulsation is a perfect cycle: it appears, lives and disappears; thus, it obeys to a ternary law that governs all of us. When it repeats at regular moments of time, it becomes a frame of life, a way to fix, regulate, build and elaborate time” (www.

Expression Primitive is “the result of a deep blend” which has made aware its founder of the universality of the pulsation. This technique is marked by the works of the Afro-American choreographer and anthropologist Katherine Dunham, who wrote her thesis on Haitian voodoo and the sacred Caribbean therapeutic rituals in the fifties. Dunham, so sensitive to cultural blend and to universality, considered the pulsation the universal invariant that was present beyond the diversity of the forms of expression.

Dunham and Duplan's work have been continued by others. France Schott-Billmann has been teaching it since1976. Furthermore, she has added therapeutic basis drawn from human sciences (anthropology, psychoanalysis, ethology, palaeontology...).


The formation is conceived as a process starting from a personal experience, allowing everybody to work on his own implication in the observed processes.

The participation in the collective life is essential, since it focuses on the openness to the others, on the self-management and on taking responsibilities through its tutoring system in which the more expert ones take care of the new ones.

We think that what is at stake about dance can recall to be alive, to create bonds, to share. Sharing dances and rhythms can activate deep transformation effects on the self and it allows the invention of new modalities of living, more open toward ourselves, the group and the others.

This experience at the heart of the training cannot replace the therapeutic path that should be undertaken by all the ones who wish to dedicate themselves to a therapeutic or psycho-pedagogic relation. For the ones who wish to dedicate to the animation, it is suggested.


The evaluation is done through a continuous control, a practical exam and a research thesis.

a. Continuous control: the training develops autonomy and the sense of collectivity. The evaluations at the end of every workshop are self-evaluation made in small groups starting from a questionnaire.

b. Practical exam: it consists in leading a session simulating a professional situation (animation or therapy). Then it is asked to be able to argument the choice of the exercises during a collective discussion. The exam is filmed by an expert and the videotape is given to the candidate.

  1. c. The discussion of the research thesis during a training workshop. The thesis is about the application of the technique to a specific public.
  2. The training is attested by a certificate by the Atelier du Geste Rythmé. Depending on the previous background of the participant, the certificate will bring the mention “therapy”, “psycho-pedagogy” or “animation” through dance and rhythm.

Module 1 : Expression Primitive and first rhythms: 150 hours

UE-1, 2, 3, 4, : Expression Primitive practical classes (4 ECTS : 100 hours) (UE 6, 7 and 8 of the Atelier)

- France : France Schott-Billmann

- Greece : Athens : Eleni Chatzigeorgiou, Alexia Margariti, Katerina Stavrou, Antonia Katsika ; Thessaloniki :Marianna Dracopoulou

- Israel : Ayelet Ranen

- Spain (Valencia) : Cynthia Granero

- Belgium : Association N’Ganga

  • - Canada : Eleanor Hendriks

UE 5 : First rhythms (1 ETCS : 25 hours) (UE 4).

The rhythm : definitions. Jean-Yves Collart

Music and rhythm. The rhythmic structures of dance: pulsation, repetition, symmetry. France Schott-Billmann

The basis of rhythm. Freedom and repetition. Willy Bakeroot

The circle of drums. Francis de Brabandère

The village, space of reparation. Henri Samba

The primitivism in dance. France Schott-Billmann

The role of the musician. Mathieu Vié

UE-6 : Dance therapy (1 ECTS : 25 hours) (UE 5)

History and basics of dance therapy. Different approaches in dance therapy. Dance-rhythm-therapy. Workshops for peace: France Schott-Billmann, Eleni Chatzigeorgiou, Marianna Drocopoulou, Ayelet Ranen.

Module 2 : Rhythm in social bond and therapy: (150 ore)

  1. Theoretical approaches :

UE -7- : The body(1 ECTS : 25 hours) (UE 1)

Dr Aline Strebler, France Schott-Billmann

UE-8 : Different perspectives on the individual, on society, education, sickness, healing (1 ECTS : 25 hours) (UE 2)

Dr Aline Strebler, Katerina Stavrou, France Schott-Billmann, Willy Bakeroot.

UE-9 : Human and clinic sciences (1 ECTS : 25 hours) (UE 3)

Ø France Schott-Billmann, Willy Bakeroot, Patricia Raccah, Jean-Yves Collart, Laetitia Micol, Eleni Chatzigeorgiou, Marianna Dracopoulou

  1. 2. Applications:

UE 10 : Indications and specific public (1 ECTS : 25 hours) (UE 9)

Jean-Yves Collart , Antonia Katsika, Alexia Margariti, Patricia Raccah, Laetitia Micol, Cynthia Granero, Svetlana Panova, France Schott-Billmann, Eleni Chatzigeorgiou.

The two following UE, 11 and12, are equivalent to 50 hours of practical workshop at the Atelier du Geste Rythmé.

UE 11 : Practical workshop with a rhythm-therapist; leading a group session (1 ECTS : 25 hours) :

Jean-Yves Collart , Antonia Katsika, Alexia Margariti, Patricia Raccah, Laetitia Micol, Cynthia Granero, Svetlana Panova, France Schott-Billmann, Eleni Chatzigeorgiou.

UE 12: Workshop with different rhythm-therapists in dance and/or music (1 ECTS : 25 hours)


France: Svetalana Panova, Patricia Raccah, Laetitia Micol, Jean-Yves Collart

Greece : Eleni Chatzigeorgiou, Marianna Dracopoulou, Alexia Margariti, Catherine Stavrou, Antonia Katsika

Israel : Ayelet Ranen

Spain : Cynthia Granero

Canada : Eleanor Hendriks


France : Willy Bakeroot, Jean-Yves Collart, Pascal Michaud, Henri Samba, Mathieu Vié.

Belgium : Simon Vandewalle, Francis Debrabandère.

Module 3 : Specialization(150 hours)

UE 13,14,15,16 : Rhythms and dances from past and present oral culture (4ECTS : 100 hours) : choose a rhythmic practice which corresponds to the DRLST Charter criteria, in agreement with the pedagogic responsible or among the listed experts.

Choose from one of the lists of practices (traditional dances, ballroom, hip hop...), according to the option dance or music.

Traditional dances :

- Belgium : Anne Vidick (associazione Eclore)

- Greece: Georges Noulas (Teatro Dora Stratou), Katerina Stavrou

  • - Italy : Francesca Barbagli

Russian dances : Svetlana Panova

Indian tradition : Delphine Suiveng

Oriental tradition : Saâdia Souyah (Paris)

Oriental dance : Eleni Chatzigeorgiou (Greece)

Social dances : Ayelet Ranen (Israel)

The village : Henri Samba

Tales workshop : Willy Bakeroot

Traditional singing in group : Pascal Michaud

UE-17 : Analysis of the practice, supervision, case-studies (1 ECTS : 25 hours) (UE 9)

Jean-Yves Collart, Svetlana Panova, Eleni Chatzigeorgiou, Marianna Dracopoulou, Ayelet Ranen, F. Schott-Billmann

Studying published, reported or observed cases by therapists or students during their internships will allow to learn how to observe and intervene in different clinic situations in a dance therapy frame.

UE-18 : Methodology/thesis (1 ECTS : 25 hours) (UE 10)

- Evaluation criteria to validate an hypothesis. Current researches in France and abroad. Promote and alert to the interest of researching. France Schott-Billmann, Jean-Yves Collart.

- Methods for gathering data concerning the thesis (video : Mathieu Vié)

© DRLST // Atelier du Geste Rythmé