Eve began to take lessons at the academy at the age of 7, studying music and classical dance, and later completed the full cycle of drama. She also took drawing lessons with the artist Perrine Moreau. However, when the time came to make life’s big decisions, she found herself gravitating towards linguistics. She gained her masters in Romance Language Philology and her teaching qualification at the ULB (University of Brussels). She then went on to spend seven years working as an editor in the domain of occupational safety and health an ergonomics.
Eve always felt the need to exercise the body as well as the mind and so, alongside all of this, she experimented with different types of dance. It was by immersing herself in the culture of the Middle East (Lebanon) that she discovered an unique experience : Oriental dance. She then began to train intensively as of 1996 with renowned professors such as Gudrun (BE), Myriam Szabo (PT), Kamellia (FR), Serena Ramzy (GB), Annie Nganou (FR), Lulu Sabongi (BR) and the Egyptian artists Shokry Mohammed, Suraya Hilal, Gamal Seif.
Body and movement
In a quest to explore the very foundations of movement, she explored various pathways such as qi gong, la Danza Duende, the Feldenkrais method and tried her hand at contemporary dance, mime and even aerial silk. For years she especially practised traditional Tibetan yoga (an understated approach which is focused on internal work), attended study weekends of Malkovsky's Danse libre with Suzanne Bodak in Paris, and get trained in Noh theatre and aiki (essence of martial arts), benefiting from the exceptional teaching of Masato Matsuura Sensei (Japan).
Furthemore, thanks to her contacts with cultures where dance plays a prominent role (The East, Africa, Carribean), she encounters authentic dance of the people, who make it different from stage adaptations and the Western way of moving.
Rhythm and music
In addition to the link between movement and music demonstrated by Malkovsky, she acquired the basics of rhythmics at the Jaques Dalcroze Institute in Brussels, adapting those principles to her own teaching. She regularly trains with rhythm specialists such as Arnould Massart and Brigitte Platteau and takes part in workshops such as the "TaKeTiNa" method and Dalcroze trainings.
She organises projects in which she collaborates with either academic or traditionally-trained musicians and incorporates her own observations and experiences.
Her interpretation of natural movement is then a completely coherent one, linking the body, rhythm and the circulation of energy.