Christine STANCZYK


After a Master degree in journalism and communication in the ULB (on the time when that was still called Licence) and some small jobs of freelance journalist and others, I decided “to change life” and to discover Cuba. Thanks to a grant, I had the occasion to discover the famous school of cinema of San Antonio of los Banos rested by Gabriel Garcia Marquez, where I followed some workshops of documentaries.
It was in 1989, year of the fall of the Berlin Wall and of the “periodo especial” in Cuba, i mean, one period when absolutely all missed with the population except house rum made and the houses of Trova, where I discovered fantastic musicians of an age already quite advanced.

A few years later, some of them would turn in the whole world (but good, I did not have nothing to do there…). One year later, returnd in Belgium with the desire this time for leaving for Mexico, where I worked two years for a center of the rights of the natives and product of the documentaries, in particular on Chiapas right before the great revolts.

Of return in Belgium, birth of my Arto son, like Lindsay.
I reinstall myself in Brussels and works for Lundis d' Hortense: plunged in the Belgian jazz, I organize in particular the internships “Jazz with the Green” and Jazz Tours. After 5 years of LDH and 2 other children (April and Lula), I am engaged by Informal European Theatre Meeting to coordinate “100 Artists in Palestine” a project of exchange between Palestinian and European artists: beautiful meetings with artists of all disciplines, intense and unforgettable moments between Jerusalem and Ramallah in full Intifada.

Fault of financial means, the project ends, but the contacts were created and certain projects imagined by the artists continue still today. After the music, the contemporary dance: I direct the Company Michèle Anne De Mey and become then producing and in charge of diffusion for the Company Mossoux-Kindness.
New travel, new meetings: rounds and international festivals, organization of internships within the company and abroad. For a few years, the social context and helping policy, inspired by Rob Hopkins and the movement of the transition, I have concentrated more on more local and engaged, in particular environmental sets of themes while keeping a link privileged with the culture and the artists whom I mix with the daily life.