Hubert Hazebroucq is a French dancer, choreographer and independent researcher who specialises in Renaissance and Baroque dances. Formerly a contemporary dancer in Lyon, he discovered historical dancing in 1998 and has been performing for several choreographers, like Christine Bayle (Cie L’Éclat des Muses), Marie-Geneviève Massé (Cie L’Éventail), Lieven Baert or Sigrid T’Hooft. He was also trained in Italian Renaissance dance by Barbara Sparti and Gloria Giordano.

As a choreographer, he aims to show and promote early repertoires with live music, and to bring together creation, emotion and research on Historically Informed Performance. He has his own dance company, Les Corps Éloquents, founded in 2008 and based in Paris, that collaborates with renowned musical ensembles, especially with Les Arts Florissants, led by William Christie, for Molière et ses musiques in 2022 (Versailles, Philharmonie de Paris,...). Hubert Hazebroucq is regularly invited as choreographer by renowned Early Music ensembles like Doulce Mémoire, led by Denis Raisin-Dadre. Their next project So tanzt die Renaissance will be presented at Potsdam in June 2024.

Hubert is regularly on tour in Europe with musicians such as the recorder player Julien Martin and starting a new project with the harpsichord player Jean-Luc Ho. He also presents at international festivals, like the Festival Oude Muziek Utrecht, which commissioned a spectacle about Watteau, Fête Galante for six dancers, in 2022.

Hubert Hazebroucq holds a Master Degree of Arts with a dissertation on ballroom dances in the Seventeenth Century. He is a board member of the French research society ACRAS 17-18. He was part of the research programme "Théâtre Molière Sorbonne", especially for the historical recreation of the intermèdes in Les Fâcheux and in Le Malade Imaginaire (2022), including experiments with the "bande de Violons", and has himself received several research grants by the Centre National de la Danse. He regularly presents lectures in international symposia and publishes articles on early dance techniques and poetics.

Holding the French State Diploma of dance teacher (DE), he is professor for Early Dance at the Conservatoire Régional de Paris and gives master-classes for dancers and musicians in French and international conservatories and universities (CNSMD of Paris and Lyon; koninklijke conservatorium Brussel; Temple University, (Philadelphia), Cornell University (Ithaca), Eastman School of Music (Rochester), etc. including at the Schola Cantorum Basiliensis) focusing on the relation between choreographic sources and musical interpretation.

From the autumn semester 2024-25 he will teach Renaissance dance at the Schola Cantorum Basiliensis.