BA (Hons) Contemporary Dance

In 2012 Mr Amundsen graduated from The Royal Academy of Dance, Professional Dancer’s teaching Diploma(PDTD).

As a dance teacher Kim has been teaching Ballet, Contemporary, and Boris kniaseff Floor Barre technique (learned from Jaqueline Fynnaert in Paris) for Ballet and Contemporary Companies and Colleges across the UK and internationally. Such Companies and Organisations include:

Moving Art A Nordic Dance Company, Matthew Bourne’s Adventure In Motion Pictures, Randon Dance Company, The Place, Murley Dance Company, Colin’s Performing Art, Master’s Performing Art, London Studio Centre, Dance East Academy, Pineaple Dance Studio, Central School of Ballet, Oslo Danse Ensamble, GDT(Free daily classes for Professional Dancers, Norway), Baardar Performing Art Academy, Akademi, London Amateur Ballet, D&B School of Performing Arts (head of Ballet). Lecture at Kington University, Dance East CAT, Lecturer of Ballet and Contemporary dance at Trinity Laban Conservetoire of Music and Dance (present) Acosta Dance Centre (present) The Hub studios London (present).

She studied Theatre at Dartington College of Arts in the 80s, where she first encountered Release Dance with Mary Fulkerson and Contact Improvisation with Steve Paxton and Mary Prestidge. As a performer, Kathy has worked with Steve Paxton, Laurie Booth, Yolande Snaith and Motionhouse Dance Theatre, Michael Mayhew, Jia-Yu Corti and Florence Peake. Her practice is also informed by studies in education, psychology, shiatsu, and an MA in Dance and Somatic Well Being.

Kathy’s previous work includes: performing with Motionhouse Dance Theatre, Jai- Yu Corti and Florence Peake; collaborations with choreographer Yolande Snaith and theatre directors Richard Gregory and Tim Wheeler; research and performance-making with choreographer/composer Sarah Goldfarb; site-specific work with composer Charles Hayward; improvised music and dance with composer Paul Bartholemew; and Live Art with Michael Mayhew. Kathy is a member of SoFt, a collective of artists with a mutual curiosity for exploring ensemble performance, CI, and improvised music.

Jo Cork is an independent dance and film artist. She has been working with film and screendance since 2014. She has an an MA in Screendance and has enjoyed working as a performer (with choreographers including Elizabeth Streb, Gary Clarke, Wayne Sables, Tempered Body Dance Theatre, Fleur Darkin and Lea Anderson), as a choreographer, screendance practitioner and filmmaker, and in dance education and community settings.

Since completing the award winning dance film, Sensate, Jo has developed numerous works including films, multi-screen/device and hologram installations, and pieces utilising QR codes and elements of augmented reality. Her works have been shown across the globe in festival settings, art galleries and museums, as well as in less conventional spaces including pubs and restaurants. Collaborators include Zoonation, H2Dance Company, One Dance UK, Candoco, Milap, The Place, Birmingham DanceXchange, Motion Dance Collective, and Divya Kasturi Company, to name a few. “

As a choreographer Matthew Harding has received awards for the work, he has produced both independently and with Urban Interface Dance UK. These productions have taken place at theatres throughout the UK and venues such as , Sadlers Wells, Royal Albert Hall, The Place, Brighton Fringe and Internationally.

Matthew Harding is also the founder and director for Wolfpack Dance Collective UK.

Matthew Harding is a well-respected international Judge for Hip Hop International Judging at competitions within Europe and Internationally.

Alongside his own choreographic research, that led him to create and perform site-specific and stage works for venues across the UK and Europe, Giacomo has worked with several choreographers including Eliot Smith, Dora Frankel, Mathieu Geffré, Shobana Jeyasingh and Dam Van Huyn, performing in works for stage and camera as well as delivering a wide range of dance workshops.

Giacomo worked and studied with internationally acclaimed artists such as Jorge Crecis (Towards Vivencia), Katie Lusby (Gecko), David Zambrano (Flying Low) and Hannes Langolf (DV8), whose artistry and teachings influence his current movement research.

Giacomo is also a certified Yoga Instructor and has been teaching in different yoga studios across London since 2019.

Qualifications and awards:

BA (Hons) Contemporary Dance, Trinity Laban Conservatoire of Music and Dance

MA Contemporary Dance Performance, London Contemporary Dance School, University of Kent

AFHEA Associate Fellowship Higher Education Academy

Inspire Seminars – The Royal Ballet School

RYTT Dynamic Yoga, The Yoga Edge

Rebecca has a BA (Hons) in Dance Theatre with First Class Honours from Laban (2008) and an MA in Dance with Distinction from London Contemporary Dance School (2010). She completed her PhD at the Centre of Dance Research in 2019.

Rebecca’s research and evaluation activity focuses on arts and health, participatory arts practices, and digital media and methods. She is the Principal Investigator for ‘The Language of Pain’ (2023-present), a co-produced research project exploring the expression of pain narratives through arts-based methods. Interested in the postphenomenological experience of our encounters with digital media, Rebecca also explores online and blended environments for community arts practice and what best practice looks like.

Rebecca is author of the forthcoming monograph Video Annotation in Dance and Performance (Palgrave Macmillan) and has co-edited special issues of Theatre, Dance and Performance Training (Training for Movement, Physical Activity and Health, 2025) and International Journal of Performance Arts and Digital Media (Digital Annotation and the Understanding of Bodily Practices, 2021). Her works has been published in International Journal of Performance Arts and Digital Media, Theatre, Dance and Performance Training, [insert name of journal for dance and wellbeing research].

Rebecca’s forthcoming monograph Video Annotation in Dance and Performance (2025, Palgrave Macmillan) explores how we can work with time-based media to develop the analytic capacity and deep attention of human (rather than computational) subjects. She has co-edited special issues of Theatre, Dance and Performance Training (Training for Movement, Physical Activity and Health, 2025) and International Journal of Performance Arts and Digital Media (Digital Annotation and the Understanding of Bodily Practices, 2021). Rebecca’s work has been published in edited books (Intellect, Palgrave Macmillan, Routledge) and journals including International Journal of Performance Arts and Digital Media, International Journal of Qualitative Studies on Health and Well-being, and Theatre, Dance and Performance Training.

She is the Principal Investigator for The Language of Pain (2023-present), a co-produced research project exploring the expression of pain narratives through arts-based methods. Interested in the postphenomenological experience of our encounters with digital media, Rebecca also explores online and blended environments for community arts practice.

Rebecca is an editorial board member for International Journal of Performance Arts and Digital Media. She is a peer reviewer for International Journal of Performance Arts and Digital Media, International Review of Sport and Exercise Psychology, Journal of Dance and Somatic Practices, Journal of Dance Education, and Thinking, Skills and Creativity.

Rebecca has a BA (Hons) in Dance Theatre with First Class Honours from Laban (2008) and an MA in Dance with Distinction from London Contemporary Dance School (2010). She completed her PhD at the Centre of Dance Research in 2019.

Selected publications

Stancliffe, R. (forthcoming, 2025). Video annotation in dance and performance: Attention, thinking and thinking. Palgrave Macmillan.

Stancliffe, R., Wakeling, K., Evans, L. & Howard, S. (2022) ‘Beyond the Walls’: The Artist-Researcher and Performative Dissemination. In R. Prior & T. Fischer (Eds.) Applied Arts and Health, Education and Community: Building Bridges. Intellect.

deLahunta, S., Rittershaus, D., & Stancliffe, R. (2021) Editorial. International Journal of Performance Arts and Digital Media 17(1), 1-6

Stancliffe, R. (2021) Differentiating (an)notation practices: an artist-scholar’s observation.  International Journal of Performance Arts and Digital Media 17(1), 69-85

Stancliffe, R. (2021) Moving (together) in a distributed setting: The impact of online music and dance delivery for older adults’ lived experience. In L. Bissell & L. Weir (Eds.) Performance in a Pandemic. Routledge.

Stancliffe, R. (2019) Training the Analytical Dance Eye: Video Annotation for Dance. Theatre, Dance and Performance Training 10(2), 273-288

Stancliffe, R. (2018) Video Annotation for the Articulation and Transmission of Dance. In S. Ellis, H. Blades, & C. Waelde, C. (Eds.) A World of Muscle, Bone and Organs. Coventry University, pp. 358-381.

Stancliffe, R. (2018) Mediating and Visualising Steve Paxton’s Material for the Spine. In S. Whatley, R. K. Cisneros, & A. Sabiescu (Eds.) Digital Echoes: Spaces for Intangible and Performance-based Cultural Heritage. Palgrave MacMillan, pp. 213-230

Simonetta Alessandri studied Ballet, Modern, Contemporary and Jazz dance in Turin (Bella Hutter school and Teatro Nuovo school) in Rome (Mimma Testa school) and she obtained the TC at the Royal Academy of Dance. In the early 90s, she started to study Contact Improvisation and Improvisation with the foremost teachers: S. Paxton, N. Stark Smith, A. Harwood, J. Hamilton, J. Skinner, D. Heitkamp, and R. Saporah. In 2002 she completed a 4-year programme to become a qualified teacher of the Feldenkrais Method. She is currently working on an MA in Choreography at London Contemporary Dance School.

Luke began his dance training at the Northern School of Contemporary Dance and then went on to complete his BA Hons degree at Laban in 2008. In 2009 he joined post graduate dance company Edge at London Contemporary Dance School.

Professionally he has performed for a variety of companies internationally alongside working with visual artists performing in galleries (Tate, Hayward Gallery)

His choreographic work has been shown at Canterbury Festival, Saddlers Wells (Damn Fine Dance at Elixir Festival), The Place, Siobhan Davies Studios, Move it 2016 and Arts Depot.

Luke also has a passion for teaching and has delivered classes and workshops with Greenwich Dance, The Place, Circus Space, Independent Dance, Laban, Surrey University, London Studio Centre, Salzburg Academy of Experimental Dance, Shobana Jeyasingh and Candoco.

Through her extensive performance and creative work, Alice has become increasingly focused on the subtleties and interplay of audience/performer, and the relationship of event and site. This informs her ongoing collaboration with architectural research fellow Dr Rachel Sara, with whom she has co-authored and presented this research in various contexts. These ideas have informed a series of choreographic works including ‘Body Stories in a Peopled Space – v.1 & v.2’ created in collaboration with dance artist Clare Baker and presented at the AHRA Transgressions conference – MShed Bristol, ICA, Blackheath Halls, ‘Rosemary Butcher in the Present Tense’ at Siobhan Davies Studio. Alice and Clare have most recently devised and presented Betweens and Aparts, a collaborative performance project at Tate Exchange in collaboration with Dr Rachel Sara and composer Ronen Kazokoro with Dance and Music students from Trinity Laban and Architecture students from the University of the West of England.

Alice has taught at Trinity Laban for over a decade, teaching Contemporary Dance Technique, Improvisation and Performance. Her technique class aims to develop an articulate, efficient and expressive use of the body in motion, informed through her wide-ranging experience in dance and somatic movement approaches, including her diploma in Pilates Matwork Teaching, and her broad experience of devising and improvisational processes, varied audience/performer relationships and performance contexts influence her approach to rehearsal direction, improvisation and performance mentoring.

Qualifications

• MA – Contemporary Dance – London Contemporary Dance School/University of Kent
• BA (Hons) – Contemporary Dance – London Contemporary Dance School
• Diploma – Art, Media & Design – University of the West of England
• Diploma – Pilates Matwork – The Place/Pilates Foundation

Outputs & Publications

• Sara, A and Sara, R. (2006) ‘Between the Lines – Experiencing Space through dance’ Transactions Vol. 3, Issue 1, April, pp 95-105
• Sara, R in collaboration with Sara, A (2015) Between dance and architecture. In V. Hunter (Ed.), ‘Moving Sites: Investigating Site-Specific Dance Performance’(pp 62-77). London: Routledge.

As a freelance teacher Christine has taught Rambert Dance Company, NDT 2, Scapino Dance Company, Charleroi Dance Company, Jonathan Burrows Group, AMP, and Scottish Dance Theatre. Christine also teaches on the International Dance Course for professional dancers and choreographers. She teaches Evening classes at the Place in London.

Rahel is a certified Body-Mind Centering practitioner and holds an MA in Arts: The Body in Performance. She teaches dance, improvisation and performance practice for different organisations in the UK and abroad. At the moment she is a guest lecturer at Trinity Laban, teaching contemporary technique (BA) and choreography (MA). 2016 she was acting artistic director of Transitions, MA in Performance, and in 2017 acting head for the MA Choreography at Trinity Laban.

Rahel has worked in collaborative contexts, amongst others, with dancer/choreographer Wally Cardona (NY), filmmaker Ruth Schlaepfer (CH) and company Pool (CH).
For over 20 years she worked, amongst others with Rosemary Butcher, Iztok Kovac (for film), Philippe Gehmacher, Charles Linehan, Liz Roche Cie, Ricochet Dance Company.

Marina works across painting, performance and video, presenting work internationally in galleries, theatres and found sites. After many years of working in the contemporary dance field, she studied for an MFA in Fine Arts in Rome. As a performer, Marina has worked with ceramicist Claire Twomey, Florence Peake, Dog Kennel Hill Project, Carol Brown Dances, CandoCo Dance Company, Joe Moran among others. She has taught in professional and educational settings both nationally and internationally and since 2010, she has worked as a Biodynamic Craniosacral Therapist in Hackney, London. Marina finds that both her dance practice and Craniosacral practice inform one another and enrich, as well as deepen, her curiosity about the body.

In recent years, Marina has presented solo and collaborative work in contexts including FESTENFEST at APT (London), Tanz Namedy Festival (Germany), Ambedkar University (Delhi/London), Progetto Esthia (Italy). and in Rome – at La Nuova Pesa, Atelier San Lorenzo, Castello di Rocca Sinibalda and RUFA Space among others.

www.marina-collard.com

photo: Rachel Cherry

Clare has produced and toured her own work for the last 10 years and has also received a number of international commissions. These include She Has Fallen and Now She is Awake for The First Physical Theatre Company, South Africa: Between The Corridors, a large scale site-specific work set in an old turbine hall in Copenhagen for The European City of Culture, and Flock for SMD Denmark. She has danced with numerous companies including the Rosemary Butcher Dance Company, the Gregory Nash Group, The Cholmondeleys, Oracle Dance Company, Fin Walker, and Emily Burns.

Stella has 20 years’ experience as a dance artist: performing nationally and internationally, teaching extensively in schools, colleges, community and health settings. She also leads professional development opportunities with teachers, dance artists, and professional dance companies.

She is Artist-in-Residence at Great Ormond Street Hospital for children, where she engages children and their families to find joy in moving. She also leads Breathe Dance at Guys & St Thomas’ hospital, and Dancing for Health at Trinity Laban Conservatoire of Music and Dance developed with Headway the Brain Injury association.

Stella worked with artist Lucy Evans to choreograph I grew out of that a long time ago, a duet exploring reflections from creative interventions in adults living with dementia. She has had international success with award winning dance film Porcelain (Directed by Roswitha Chesher) featuring the relationship of a married couple in their 60s.

As faculty at Trinity Laban Conservatoire of Music and Dance, Stella lectures on the soft and hard skills of teaching dance, within education, community, and inclusive practice.

Describing herself as an ‘academic artist’, Sonia has over thirty years experience as a performer, teacher, choreographer, director, mentor, researcher, consultant and author. She has had a long performing career: As a dancer/singer with the innovative electric voice dance company, La Bouche, she toured extensively with original electronic music and dance works by the company and commissioned choreographers, including Lloyd Newson, Lea Anderson, Ashley Page and Lidy Mouw. La Bouche performed in a wide variety of contexts including televised appearances, the theatre circuit, clubs and festivals, including Glasgow Mayfest, the Edinburgh Fringe and Glastonbury Festival Pyramid stage. The company also produced several albums, culminating in a record contract with CBS Records. Sonia also performed with V-Tol Dance Company and with several independent choreographers, most recently in site-specific work with Athina Vahla and Lizzi Kew Ross.

Sonia is an established dance technique teacher and has regularly delivered workshops and masterclasses in the UK and internationally. During her teaching career, she has provided professional level classes and company class for many high profile companies including Adventures in Motion Pictures, Balletboyz, Candoco, the Cholmondeleys, Clod Ensemble, DV8, Hofesh Schecter, Protein Dance, Random, Shobana Jeyasingh, Siobhan Davies and Springs Dance Company. She has directed and choreographed for her own company, Blueprint Dance Company, and co-directs Double Vision Dance Company with Amanda Gough, working on several large scale site-specific community commissions.

In her role as a consultant in safe and healthy dance practice, Sonia provides professional development for companies, agencies and training institutions.  She is Co-Founder of Safe in Dance International (SiDI), developing a range of Healthy Dance Certificates for dance practitioners to evidence their knowledge in this area, also working with awarding bodies and universities worldwide to integrate healthy dance principles into teacher training and practice. She is co-author of “Safe Dance Practice: An applied dance science perspective”, which has become a seminal text in the field. Sonia has presented at several conferences, as well as authoring and co-authoring a number of research and Journal articles. Her research interests range from dance specific fitness to the embodied practices of dance technique teachers. These combined interests have led to qualifications as a Personal Trainer, experience as a member of the International Association for Dance Medicine and Science Education Committee, an External Examiner role in Dance and Fitness and peer reviews of Journal and book proposals. As a portfolio practitioner herself, Sonia’s main focus is to combine all these fields so that dance science, pedagogical research and an understanding of the conditioning needs of dancers can together inform training, performance and curriculum planning.

Qualifications

• 2014: Fellow of the Higher Education Academy (FHEA)
• 2003: MSc Dance Science (Distinction), Laban
• 1984: Advanced Performance Course Diploma, Laban
• 1983: BA (Hons) Dance Theatre, Laban
• 3 A-levels, 11 O-levels, St Joseph’s Comprehensive, Workington

Performances

• 2010-12: Lizzi Kew-Ross – “Without Warning”
• 2000-08: Athina Vahla – “The Listening Post”, Science Museum site-specific commission 2008, “Wrestling an Angel” 2004, “Sonia Says” 2000 and 2002
• 1997-2003: Erica Stanton – “Gravity” 2003, Erica Stanton/Marion Gough – “Locus” 1997-8.
• 2001:Mothers of Invention – “My Mother, My Daughter, Myself”.
• 1996: V-TOL – “By Force of Fantasy”.
• 1994-5: Nikky Smedley and Dancers – “Talking of the Sex of Angels”
• 1992: Scott Clark – “In the Upper Room”
• 1991: Julie Blackman – “Anatomy of a Conversation”.
• 1990-93: Dale Thompson “Monolith” 1990 and “Mandala” 1993.
• 1986-91: Dancer/singer with  electric voice dance performance group, La Bouche (dance, voice and live sound mixing). Several albums of original songs/music and recording contract with CBS Records 1990. Choreographers: Lloyd Newson, Ashley Page, Lea Anderson, Pete Purdy, Lidy Mauw, the company. Extensive national and international touring and TV appearances: Edinburgh Fringe, Glasgow Mayfest, Glastonbury Festival Pyramid Stage and Theatre Tent, “Harty in Edinburgh”, “Acropolis Now” for Scottish TV, “Celebration” for Granada TV, “01for London”, “Folio” for Anglia TV.
• 1986: Scott Clark – “Heaven Somewhere”.
• 1985 : Philip Grosser – “U-Totem”
• 1984 : Luis Gonzalez – “Night Song”.

Choreography and Direction

• 2015: “Sphere of Influence” Double Vision (with Amanda Gough) commission for TrinityLaban Centre for Advanced Training students.
• 2012 – 2015: New works for  TrinityLaban BA1 Performance Project, “Experimental Wings”, “Imprints and Shadows”, “Black Velvet Blanket” and “The Butterfly Effect”.
• 2011: “ABBVN” for Virginia Rep Touring Company. Commissioned by James Madison University, Virginia, USA.
• 2011: “The Stone Diaries” Double Vision with Amanda Gough, Laban BA3 Commissioned Work.
• 1997-present: Co-director of Double Vision Dance Company with Amanda Gough. “After Images”  site specific piece for 50 local children and the Company at Lacock Abbey, commissioned by National Trust/Lacock Education 2003. “Sowing the seeds” site-specific piece for local children and the Company at the Courts Garden, commissioned by National Trust/Lacock Education 2002. “In:site” for Double Vision and “In:sense” for local community dancers, Millenium Project commissioned by the Derngate Theatre, Northhampton 2000. “Double Vision, Second Sight” full length A4E lottery funded work which also commissioned choreographer Fiona Edwards 1998. “Sonnet” choreographed and performed with Amanda Gough 1997.
• 1996-99: “Slipstitch”, “Satellite”, “Lexicon”, and “Circa ‘74” for Lewisham College Touring Company.
• 1996-7: Director and choreographer of Arts Council funded Shawbrook Summer school, Co Longford, Ireland. “Prophecy” 1996, “Between wind and water” 1997.
• 1992-4: Recipient of Arts Council bursary to train as an Artistic Director, Thamesdown  National Dance Agency, Swindon. Artistic Director and choreographer for Blueprint Dance Company, “Dreaming Like a Tall Man” 1992, “Common Denominator” 1993.
• 1994: Artistic Director of  the “Kaleidoscope” Project, a European Union funded venture initiated by The Council For Dance Education and Training to explore, in a cross-cultural context, the role of Dance in the National Vocational Qualification framework.

    “Terra Incognita” created in Rotterdam on eight dancers from Great Britain, Greece, Italy and Portugal.

• 1994: Workshops and performance project with South East London schools, including the Brit School, and Blueprint Dance Company.
• 1992: Collaboration with composer Philip Chambon  – “Shoal”
• 1984-5: Co-founded Group 6 Dance Company, workshops in schools around the UK, Edinburgh Fringe Festival, Bath Festival, Chelsea Arts Fair fashion show.

Interests and Achievements

• London 2012 Olympic Games Opening and Closing ceremonies volunteer performer -Industrial Revolution Pandemonium Drummer and Marshall.
• Costume design for Mark Bruce “Angel” 1996 and Mark Bruce/PJ Harvey collaboration “Dance Hall at Louse Point”, Queen Elizabeth Hall 1997.  Costume realisation Erica Stanton/Marion Gough “Locus” 1997. Costume design and realisation Double Vision Dance Company “Double Vision, Second Sight” 1998.
• University College Union Branch Executive representative (Treasurer) 2011-2014
• Sports First Aid Certificate – St Johns Ambulance.

Teaching Experience

• 1991 – present: TrinityLaban Conservatoire of Music and Dance

Senior Lecturer: Dance Technique, Dance Fitness, Performance and Repertory modules, Choreography, Dance Science and Well-being modules, Academic Tutor, Undergraduate and Masters Project Tutor, Component and Module Leader, Student Union master classes.

Education/Learning and Participation: Career Days, Teachers Days, CAT Programme, DTAP pilot.

Initiatives and teams: Injury Report, Dancer’s Physique Report, Working Practice sessions, Blue Sky sessions, Health Research team.

• 2014 – 2019: Bucks New University, External Examiner for BA Dance and Fitness.
• 2005: University of Roehampton, Anatomy and Kinesiology lecturer.
• 1999-2004: Lewisham College, External Examiner for Dance Technique.
• 1997: De Montford University, Dance Technique and Repertory.
• 1995-96: Lewisham College, Dance Technique teacher.
• 1985 – present:

Professional/company classes, summer schools, festivals, workshops:  Greenwich Dance, The Place Artist Development, South East Dance, Hampshire Dance, TrinityLaban, James Madison University London summer school.

Company teacher: Adventures in Motion Pictures, Bare Bones, Candoco, The Cholmondeleys, Clod Ensemble, DV8, Hofesh Schechter, Imlata, New Adventures, Protein Dance, Random, RDC Youth, Shobana Jeyasingh, Siobhan Davies, Springs Dance Company, V-Tol.

International master classes: Ireland, Venice Bienalle, Naples, USA.

Professional and company development activities and mentoring: BalletBoyz Dancers’ Training Course, Candoco, Maelstrom Dance, Greenwich Dance, University of Roehampton.

Creative Outputs

• 2015: Co-author of “Safe dance practice: An applied dance science perspective” published by Human Kinetics.
• 2014: Senior Associate for Safe in Dance International (SiDI). Development of the “Healthy Dance Practice” initiatives.
• 2009 – 2013: Member of Steering Committee, Lead Assessor and Consultant for Trinity College London “Certificate in Safe and Effective Dance Practice”.
• 2006 – 2014: Member of Education Committee (including Deputy Chair role), International Association for Dance Medicine and Science (IADMS).
• Publications and presentations

Presenter: NIDMS and Dance UK Healthier Dancer Programme, “Strength and Conditioning in Dance” Conference, Elmhurst School of Dance, October 2015.

Resource paper: “Dance Fitness”. Irvine S., Redding, E., Rafferty, S.

IADMS website https://www.iadms.org/displaycommon.cfm?an=1&subarticlenbr=303

2010: “Considerations for the integration of fitness into dance training”.

Journal of Dance Medicine and Science, 14 (2): 45-9.

2009: “Development of a high intensity dance performance fitness test”.  Redding, E., Weller, P., Ehrenberg, S., Irvine, S., Quin, E., Rafferty, S., Wyon, M., Cox, C. Journal of Dance Medicine and Science, 2009, 13(1): 3-9.

2009: “Dance Specific Fitness class”. Quin, E., Irvine, S., Rafferty, S. Redding, E. IADMS 19th Annual meeting, The Hague, Netherlands.

2007: “The effects of a one year dance specific fitness training programme on undergraduate modern dance students; An experimental study”. Rafferty, S., Redding, E., Irvine, S., Quin, E. Abstract, Journal of Dance Medicine and Science 2007, 11(1):16.

2006: “The effects of a one year dance specific fitness training programme on undergraduate modern dance students; An experimental study”. Redding, E., Rafferty, S., Irvine, S., Morant, R. (2006), Conference proceedings IADMS 16thAnnual Meeting, West Palm Beach, Florida. Recipient of Lisa Ullman Travel Scholarship to attend.

2004: “Leadership in Dance: An application of the Leadership Scale for Sport to dance technique teaching”: Presented IADMS 14th Annual Meeting, San Francisco, 2004. Recipient of IADMS Student Travel Award to present. Published, Rafferty, S., Wyon, M. Journal of Dance Medicine and Science, 2006, 10, (1&2), 6-13.

2004: “Leadership behaviour in dance”. Dance UK Magazine, Issue 53, p. 21.

Other: “Warm-up and Cool Down” presentations, Move It and NDTA conferences

Damien has undergone training with notable Street, Club and Funk style dance icons including, Elite Force (HipHop), Breed of Motion (Waacking), Mighty Zulu Kingz (Breaking) and more.

Performances include Brit Awards and principle dancer with London’s Big Dance Bus tour, while choreographic credits include The National Theatre and London 2012 Olympics opening ceremony.

Damien’s commitment to educating others earned him UK Dance Teacher of the Year (2014) as voted by Dance Today magazine. He has also headlined as a teacher for Unidance resulting in a 5 year tour of Russia, Azerbaijan and Ukraine.

As director of B-Better dance education company, Damien teaches many demographics and lists American School in London, Royal Academy of Dance and British Heart Foundation as former residencies.

Lauren Potter (FHEA) is an independent dance artist/teacher (with a strong interest in the practice of performance).

Originally trained at The Place, she performed with London Contemporary Dance Theatre for many years, was a founder member of Siobhan Davies Dance, and then worked with a range of companies and choreographers such as DV8, Rosemary Butcher and Second Stride.

She recently taught and led on the Locating Practice Unit of the PG Expanded Dance Practice at London Contemporary Dance School and had previously fulfilled the role of Artistic Director for ‘Edge’ – The Postgraduate Performance Company at LCDS.

She has also recently been involved in the Aerowaves touring performance of ‘Because I Can’- a solo by Eva Recacha and a film work ‘Sentence’ by Rosemary Lee and Hugo Glendinning, currently being shown as part of Digital Dance Umbrella 2024.

As an educator, David lectures on the Bachelor and Master Programmes at Trinity Laban Conservatoire of Music and Dance where he specializes in choreological studies based on the body of work developed by Rudolf Laban. Beyond academia, David offers movement masterclasses, workshops and retreats internationally since 2018. He also contributes his expertise in yoga to various movement communities including the Ferus Animi / Terra Nova collective.

From the lens of social justice, David founded kindredpacket, a grassroots movement uplifting East and South East Asian (ESEA) communities through culturally sensitive practices of wellbeing. As part of Britain’s East and South East Asian Network (the organization that initiated ESEA Heritage Month in the UK), he delivers Active Bystander Trainings across England and Wales. His work with queer communities include being a facilitator for We Create Space, a global platform advocating wellness for queer leaders and being on the advisory board for Rendez-Vous Dance, championing LGBTQIA+ stories, past and present through performance and education.

David’s research interests include:

• the relationship between body and home
• queering theoretical and pedagogical praxis of movement
• Eastern philosophies of movement and spirituality
• movement as a social practice of embodied placemaking

Qualifications and awards:

• BA (Hons) Architecture, University of Sheffield
• MA Dance Performance, Trinity Laban Conservatoire of Music and Dance (Distinction)
• Specialist Diploma in Choreological Studies (Distinction)
• 2014 Sylvia Bodmer Award for Outstanding Achievement in Choreological Studies

Ali graduated from Trinity Laban with a BA(Hons) in Dance Theatre and later gained her MA in European Dance Theatre Practice. She has a PGCE in Dance and is an experienced practitioner in teaching, performance and creative contexts.

Heidi’s research aims to resituate and reframe choreography and curation, exploring how they can move and subsequently move other things.

Currently, Heidi is busy with a series of choreographic works, titled Amplified Edition. This series seeks to queer the relationship between the body, sound and space toward activating and re-centring choreographic material which are otherwise situated in the background or hidden from view.

Her ongoing curatorial project Fest en Fest, thinks with choreography and its potential and seeks to rehearse new relations between artist, curators and audiences and choreographing alternative models for producing, presenting and congregating. H2DANCE continues to place the festival in new relations and spatial settings, enabling different forms of entanglements troubling current choreography definitions. It is as much about curating choreography as choreographing the curatorial.

Heidi recently finished her MRes in Advanced Practises with her research project; Queer Choreo Curation – off-score, wobbles and conviviality (2023). The project addresses forms of sociality and various kinds of social settings, working from highly scripted and unscripted forms, scores and off-scores as a way to queer and expand choreographic practises. Queer Choreo Curation formed part of Fest en Fest – LAB 2023 which was centred around the convivial as a way to think and experiment with questions of networks, relations, ecosystems, and infrastructures.

Qualifications and Background:

1992-95: Trained as a dancer at London Studio Centre
2021: Fellow of the Higher Education Academy (FHEA)
2020 – 23: MRes in Advanced Practised, Visual Cultures Department at Goldsmiths, University of London

Creative Outputs

Selected choreography:

Skinned (2022). Commissioned and performed by Emilyn Claid. Funded by The Arts Council of England.

Amplified Edition N ° 2 (2022). Funded by Nordic Culture Fund and Arts Council England. Co-produced by Rosendal Teater NO, Roehampton University, Firstsite/Colchester Arts Centre Colchester, Peterborough Museum/METAL Peterborough and Dance4 UK.

Vi & Oss & Andre (2021). Funded by Norwegian Arts Council – Fond for Lyd og Bilde. Co-produced by Sentralen Oslo NO

Amplified Edition (2019). Funded by Arts Council England & Nordic Culture Fund, The Norwegian Foreign Ministry. Co-produced by Rosendal Teater, DansiT and Black Box Teater NO, Dance4, MetalCulture & Earl Street Creative Space, Dansens Hus SE, and Dance All Year Along DK.

Strangers & Others (2017). Funded by Arts Council England, Arts Council Norway, Nordic Culture Fund, Region Värmland Sweden, Dance4 Nottingham UK and supported via South East Dance and Jerwood Charitable Foundation Dramaturg in Residence programme. Co-produced by Dance4, Laban Theatre and Metal UK, Nordic House IS, Region Värmland and Dansens Hus SE, Bergen Dansesenter and Liikelaituri FI.

STAGING AGES (2015). Funded by Arts Council England, Norwegian Arts Council, Swedish Arts Council and Region Värmland, Sweden. Co-produced by Riksteatern SE, DansiT NO, Trestle Arts Base, St Albans, DanceEast Ipswich, The Place London and Pavilion Dance South West UK.

SAY SOMETHING (children) (2014). Funded by SEANSE, SPENN, Norwegian Arts Council – Kunstløftet NO

DUET (2013). Funded by Arts Councils of England, Norway and Sweden, Region Värmland SE and Fond for Lyd og Bilde NO. Co-production DansiT NO, Studiotrade Cologne DE, Dans i Värmland SE, South East Dance and The Place UK. Supported by Escalator East to Edinburgh and The British Council Edinburgh Showcase. The audience vote winning Place Prize version was commissioned for The Place Prize for dance sponsored by Bloomberg in 2012.

SAY SOMETHING (2011). Funded by Arts Council of England, Nordic Arts and Culture Fund, Norwegian Arts Council, Swedish Arts Council and Buskerud Fylkeskommune, Fond for Lyd og Bilde NO, Säffle Kommun, Dans i Värmland SE and Arts and Grants Kensington and Chelsea UK. Co-produced by Choreodrome and Something Happening at The Place, Scenerommet, NO Union Scene NO, Medborgarhuset, Säffle SE, Devir CAPA PT, Hextable Dance, Laban Theatre, London Studio Centre and Goldsmiths College UK.

To Die For (2007). Co-production: Hedmark Teater NO. Funded by Statens Kulturråd and Värmlandsoperan SE and Royal Norwegian Embassy. Supported by Laban Theatre and Greenwich Dance Agency UK

På Gränsen (2005). Co-production Dans i Värmland and Värmlandsoperan SE.

COW the udder way (2004). Shrinking Cities, reinventing urbanism competition. Funded by German Federal Cultural Foundation. Winning entry.

Silent Movie (2004). Funded by The Arts Council England, London and Embassy of Sweden. Supported by Laban.

Curation:

FEST EN FEST – LAB (2023). Co-production with Sadler’s Wells and Dance Umbrella UK. Funded by the Nordic Culture Fund, The Royal Norwegian Embassy London, The Swedish Embassy London and The Finnish Institute.

FEST EN FEST (2022). Funded by Arts Council England, Cambridge Junction, The Royal Norwegian Embassy, Embassy of Swedish London, Embassy of Iceland and the Finnish Institute. Partnering with APT Gallery, NO Format gallery, Sadler’s Wells, Trinity Laban, VSSL, Firstsite og Cambridge Junction UK.

FEST EN FEST – PERFORM EUROPE (2022). Feminist Futures Towards antiracist and intersectional stages. Funded by Perform Europe, EU-funded project.

FEST EN FEST (2022). Funded by Arts Council England, Embassy of Sweden London, Royal Norwegian Embassy, Embassy of Iceland, Finnish Institute, Cambridge Junction. Partnering with APT Gallery, No Format Gallery, VSSL, Trinity Laban, Cambridge Junction, Sadler’s Wells, Roehampton University, Firstsite, Goldsmiths University of London

Fest en Fest – YOUTH – FÔLEGO (2022). Funded by Iceland Norway Lichtenstein Grants, EEA Grants Norway and Portugal. Partnering with Academia de Produtores Culturais Lisbon.

Fest en Fest – LAB (2021). Funded by Arts Council England, Royal Norwegian Embassy, Embassy of Sweden, London Contemporary Dance School, Roehampton University and Cambridge Junction.

Fest en Fest (2020). Funded by Arts Council England, Vision Mixers, Nordic Culture Fund, London Contemporary Dance School, Embassy of Sweden, Royal Norwegian Embassy Supported by Trinity Laban Conservatoire of Music and Dance, Cambridge Junction, London Contemporary Dance School, Goldsmiths University of London, Colchester

Arts Centre, Roehampton University, Gaff@The Fuel Tank, Shapes Lewisham

Fest en Fest (2018). Funded by London Contemporary Dance School, Opstart Nordic Culture Fund, Royal Norwegian Embassy, Embassy of Sweden

Grants:

2017: Artist International Development Fund Arts Council England
2015: Miscellaneous grant from Arts and Culture Norway
2012: Miscellaneous grant from Arts and Culture Norway
2010: Miscellaneous grant from Arts and Culture Norway

As an academic and teacher her aim is to enable understanding through demystification of bodily and artistic processes. This is engendered by her knowledge of anatomy and physiology as well as Rudolf Laban’s praxis and supported by her creative practice. She is the author of the Essential Guide to Contemporary Dance Techniques published by Crowood in 2020. Her research encompasses choreographic practice and movement analysis; she recently presented with Lizzi Kew Ross on the material of process at the Craft and Art Symposium in London (Feb 2020). She is a specialist in Labanotation and a fellow of the International Council of Kinetography Laban. She has presented papers at conferences around Laban Praxis and contributed to Preston-Dunlop (2013) Laban Man of Theatre. Dance Books: London. Among others, she has scored Yvonne Rainer’s Trio A (with Jouke Kolff) which she has also reconstructed for educational proposes and also for the MOVE: Choreographing You exhibition at the Hayward Gallery London in 2010.

Her choreographic work includes independent solo and group works and commissions: Presenting 16 original works in Britain and internationally between 1999-2019.

Qualifications and Educational Background

Melanie Clarke is an alum of Trinity Laban graduating with a BA Honours Dance Theatre degree and a MA degree in Dance Studies focusing on Dance in Education, Dance Documentation and Reconstruction, and Choreography. After passing with Distinction Melanie joined the Trinity Laban faculty.

She is an accredited External Examiner (AdvanceHE) and has undertaken this role for Greenwich University and Suffolk University.

For the past few years, Kate has been creating a series of dance scores for use in everyday situations, with a particular focus on relationships and mood. Where and how these scores exist, in terms of location and medium, is an important aspect of this work.

Her current collaboration, with artist Lili Murphy-Johnson and dancers Kirsty Alexander and Lily Paine, is an exploration of the act of “doing” through film and dance and uses film as an integral part of the choreographic process.

Previous collaborations have been with dance artist Marina Collard, poet Carol Watts, and film maker Ros Cheshire.

As a dance animateur for Yorkshire Dance, Swindon Dance, Cambridgeshire and Rambert, Kate has taught in a variety of community settings. She has also taught at Barnsley College of Art, Lewisham College and London Contemporary Dance School.

Stephen trained at Rambert School of Ballet and Contemporary Dance and began his professional career before graduation, working with Lloyd Newson, David Massingham and co-founding Triptych Dance Company as a choreographer.

After graduation, he began an apprenticeship with Rambert Dance Company before joining Diversions (now National Dance Company Wales).

Stephen began a long relationship with Mark Bruce Company, who he has worked with on many productions, as well as David Massingham Dance, Random Dance Co. (now Company Wayne McGregor,), Matthew Bourne’s New Adventures, V-Tol, Red Rain, Irish Modern Dance Theatre, English National Ballet and opera productions for ENO, ROH, Glyndebourne and Opera Glass Works.

Stephen has worked with many choreographers including Christopher Bruce, Matthew Hawkins, Richard Alston, Darren Ellis, Jo Fong, Seeta Patel, Etta Murfitt, Arthur Pita, Michael Keegan Dolan, Gaby Agis, Kate Flatt, Anthony van Laast and Alexandra Reynolds.

Theatre directors include Howard Davies (National Theatre), Stephen Pimlott (Apollo Theatre), Braham Murray and David Threlfall (Royal Exchange, Manchester), Robert La Page and Atom Egoyan.

Stephen was a dancer and principal understudy for Andrew Lloyd Webber’s Bombay Dreams (original cast) and has also worked in theatre, film and TV as both actor and dancer.

In 2005, Stephen studied professional photography at London School of Communication and worked at Amberroom Studios before turning freelance. He continues to work as a photographer specialising in arts and creative editorial.

Before joining Trinity-Laban Stephen taught at Rambert School, Northern School of Contemporary Dance and London Studio Centre, as well as providing classes and workshops for professional companies to this day.

In his early career, Daniel worked as a dancer with Michael Clark and Matthew Hawkins, as well as appearing as Tadzio in Britten’s Death In Venice at Glyndebourne.

After moving to the Big Apple, aged 20, Daniel worked for many years with Merce Cunningham, performing around the world in theatres including Palais Garnier & Théâtre de la Ville (Paris), Staatsoper unter den Linden & Schiller Theater (Berlin), the Roundhouse, the Barbican, Tate Modern (London), Festival Theatre (Edinburgh), Kennedy Center (DC), New York State Theater, Brooklyn Academy of Music, the Rose Theater & City Center (NYC); with musicians including Radiohead, John Paul Jones, Sigur Rós, Takehisa Kosugi & Sonic Youth.

He was a core member (actor, videographer, musician) of Marisela La Grave’s inter-media group Magnetic Laboratorium  for many years, and has worked with, (among others), Philippe Parreno, John Kelly, Irish Modern Dance Theatre, Paulina Olowska.

In 2013/14 he was Curator for the Dance Program for the exhibit Dancing Around the Bride: Cage, Cunningham, Johns, Rauschenberg, and Duchamp at the Philadelphia Museum of Art.

In 2018 he performed a free-improv trio as part of the Hoping for Palestine benefit with guitarist Thurston Moore and drummer Steve Noble, with an audience of 1,700 people at London’s Roundhouse.

His 2019 staging projects for the Merce Cunningham Trust include Night of 100 Solos: A Centennial Event — for the occasion of Merce Cunningham’s 100^th birthday — at London’s Barbican, as well as staging Merce’s work on the Royal Ballet and Dance On Ensemble.

Robert Anderson teaches dance improvisation and contact improvisation for actors and dancers in Higher Education and in a variety of settings in the UK and abroad. Robert has been passionately involved with contact improvisation since 1996. Influential teachers have included Kirsty Simson, Nancy Stark Smith, Martin Keogh, Ray Chung, Charlie Morrissey, Angus Balbernie and Rick Nodine. Robert has taught workshops in Austria, South Korea, Sri Lanka, Reunion, Northern Ireland, France, Switzerland, Germany, Hungary, Israel, Poland, Czech Republic, Russia, Spain, Ukraine, and Italy.

Robert directed London Contact Improvisation (2001 – 2021), a community-based organisation, which delivered a programme of classes, workshops and jams at Moving East and Caxton House. He was also part of the curator team for CI36 in Pennsylvania (2008) and the European Contact Improvisation Teachers Exchange in Ormskirk, England (2009).

Alongside teaching and organising, Robert is actively involved as performer, director and collaborator in many performance projects. Robert has been a company member of Touchdown Dance since 2002. He performed in TACT (2002) and Closer (2005) which throughout the UK. He has also performed in many choreographies and improvised works by artists including Joe Moran, Kate Brown, Tino Seghal, Jovair Longo, Meghan Flannigan, Adriana Pegorer, Lalitaraja, Sarah Shorten, Magdalena Radlowska, and the improvisation collective SoFt.

Next followed work with BalletBoyz and Rambert Dance Company, shifting into contemporary dance. He was particularly inspired by the work and technique of Merce Cunningham and also appeared in works by Christopher Bruce, Doug Varone, Mark Baldwin, André Gingras and Aletta Collins. He started choreographing while at Rambert. The first piece What Rainbow? was performed at Resolution (The Place). As a choreographer, his works have been commissioned by English National Ballet, Transitions Dance Company and the Royal Conservatoire of Scotland.

He is currently an associate artist at The Print Room in London, under the Artistic Direction of Anda Winters. Works include Jealousy (2012), and the critically acclaimed Elemental Trilogy, Flow (2012) and Ignis (2013).

Hilary holds a BA in Psychology and Linguistics, ARAD and PDTC Teaching certificate from the Royal Academy of Dance, and has recently completed her Pilates Teachers Qualification with the Pilates Foundation, UK. She has more than 12 years experience as performer and dance teacher and has worked with a wide spectrum of dancers both abroad and in the UK.

Gary Lambert trained at the Royal Ballet School and worked with the Royal Ballet as a graduate. In 1983 he joined London Festival Ballet (now English National Ballet) dancing for two years, working with choreographers Glen Tetley, Alvin Ailey, Sir Frederick Ashton, Roland Petit and Christopher Bruce before moving on to Rambert Dance Company in 1985. Whilst with Rambert, he worked and danced in works by Richard Alston, Merce Cunningham, Glen Tetley, Robert North, Ian Spink, Michael Clarke, Christopher Bruce, Lucinda Childs, Siobhan Davies, Ashley Page and Laurie Booth, receiving national and international acclaim for his performances as a dancer. In addition to dancing, he has choreographed works for Rambert Dance Company and Phoenix Dance Company, where he was Assistant Artistic Director from 1993-96,  presenting  works in Phoenix Dance Company’s Repertory nationally and internationally, such as the Cultural Olympiad in Atlanta 1996. Other commissions include works for English National Ballet, Scottish Dance Theatre, Ricochet Dance Company, Loop Dance Company, Tambuka Dance Company (the National Contemporary Dance Company of Zimbabwe) Ffin Dance and Trinity Laban Conservatoire of Music and Dance.

His independent roles such as choreographer, teacher and performer, led him to co-establish the company Small Axe in 1992, an Arts Council of England project funded Dance Company, with a national touring and educational profile. The company received acclaim for the work Cold Ground Drifting at the International Choreographic Competition in Groningen, the Netherlands in 1994, winning first prize. His collaborations include projects as a dancer and choreographers with the likes of artists such as Laurie Booth, Requair, Storm Garden, Actual Factual, 97-98 and Rosemary Butcher, Scan, 2001. In 1992 he choreographed Meantime for the BBC 2 Dance House Season, directed by Peter Mumford with music by John Mark Gowen. In 1994 his choreography and improvised performance Five Dances for the Five Floor Project was a response to Hans Peter Kuhn’s sound installation for Art Angel. In 1995 he choreographed Movements in 8 for Phoenix Dance Company, in collaboration with the Jazz composer Orphy Robinson and Artistic Director Maggie Morris.

In 1999 Gary presented XXL, an original digital site-specific performance work at the Arches Glasgow, commissioned by the Tramway in collaboration with DJ’s Carl Cox and Dave Clarke, setting an installation dance performance within a clubnite environment. Degrees of Freedom a solo work, commissioned by Edinburgh Dance Base was performed at the Edinburgh festival in 2004. It was performed again that year at Laban’s Bonnie Bird Theatre and again in 2005 at the Royal Opera House, Covent Garden, summer collection, at the Millennium Theatre, Cardiff and Paris. In 2010 the solo was re-worked for the Albany Theatre, Deptford as part of “Our Lives in Dance”, an evening of solo works by independent dance artists. Gary was previously Senior Lecturer in Contemporary Dance in 2004 at Trinity Laban Conservatoire of Music and Dance where he has worked since 1998, teaching Cunningham based technique, Choreography and creating commissioned works. He was Guest Artist at White Oak, Jacksonville University MFA programme in the USA. In 2012 he was appointed Creative Director at Tanz@Namedy, establishing a dance programme for the Princess Von Hohenzollern at Burg Namedy, Germany, presenting works by European and British artists. He was awarded the Howard Gilman Fellowship in 2013 by the Howard Gilman foundation, to undertake a MFA in Choreography at Jacksonville University, Florida, which he completed in 2015. He is currently engaged in developing new work in response to his research.

Lizzi trained at Roehampton and London Contemporary Dance School, and is a choreographer and teacher, and the Artistic Director of Lizzi Kew Ross & Co, formed in 2012.

Recent choreographic credits include December 1952, the graphic score by Earle Brown for Chelsea Space, and performed at the South Bank as part of Move, Choreographing You at the Hayward Gallery, 2010; Harmony of the Spheres at The Royal Observatory, Greenwich. Colourscape on Clapham Common, directed by Stephen Montaque; Please visit the churchyard for Celebrate the City Festival with music by James Keane; Loss of breath at Selfridges Project Ocean; Speak but one word to me, a commission for Dance United in response to the William Morris exhibition; Without Warning, a movement, sound and light piece, inspired by images in Brian Keenan’s memoir, An Evil Cradling at Laban Theatre and at The Old Vic Tunnels, London, with composer Natasha Lohan; Concert Conversations at Royal Academy of Arts, Piccadilly, with dancers and pianists, playing John White’s, First set of Duets 1974. Lizzi co-directed with Douglas Finch, In the Moment Improvisation Festival – 350 performers over three days in site-specific locations; Edgelands, with the British Contemporary Art Group, poets and dancers in response to the theme of urban edgeland and space, opened in Marylebone Crypt in April 2016 and touring nationally till 2018.

Projects for 2017-2019 include Stations of the Resurrection with installation artist Mark Dean for St Pauls Cathedral, and Midnight Closedown, Chance of Rain, with composer Josh Spear, an elegy on the Shipping Forecast for the 150^th celebrations of the Cutty Sark at the NMM.

Visit Lizzi Kew Ross’ website for more information.

Hannah is an independent dance artist and teacher based in London. Since graduating with an MA in Dance Performance (Trinity Laban) she has danced with Nina Kov, Masha Gurina, Nutshell Dance Company, SKADooSH Dance, Daisy Farris Dance Collective and as part of the Olympics Closing Ceremony directed by Kim Gavin.

Hannah teaches dance across a range of professional and educational settings and has been part of the Dance Faculty at Trinity Laban since 2014. She is also an Associate Dance Artist for English National Ballet (ENB) delivering open technique classes and creative workshops to a wide range of participant groups. From 2018-21 Hannah was the contemporary dance tutor at ENB School, delivering contemporary technique, creative workshops and audition coaching for all three year groups. She produced choreographic work for second year students as part of the Winter Showcase (2018/9), directed contemporary classwork as part of a showcase filmed at The Roundhouse (2020), and supported the rehearsal direction of works by Jose Agudo and Didy Veldman. She has taught on the BA programme at Bird College (2016-18) and as a freelance dance artist for City Academy, Springs Dance Company and University of Portsmouth amongst others.

Alongside teaching, Hannah has presented her own choreographic work as part of Resolution! Festival (The Place, London) and has extensive experience working with artists from other disciplines, most recently with visual artist, Emma Cousins. She has developed a keen interest in capturing movement (through film, drawing and text) collaborating with filmmakers and artists to gain new perspectives on the moving body and our relationship to wider contexts. Hannah has worked as Rehearsal Director on a number of short dance films including Michael Boucherie’s ‘OneShot’ (Trinity Laban), Lingjing Yin’s ‘Touch the Sound’ (YAMAHA) and Ron Arad’s ‘Curtain Call’ (The Roundhouse, London).

As a dancer, Zoi has worked with Kirstie Simson, Yvonne Rainer, Felix Ruckert and Siobhan Davies, among others. She launched her choreographic career in 2006 and her professional portofolio includes, among other works: Can You See Me? (2006), Dromi (2007), Limen (2007), Goddesses in Exile (2008), In The Process of … (2010), Little Creatures (2011), You May! (2012), The Chapter House (2014), Side Effects (2015), Peregrinus (2017), Vanishing Points (2018), When Pillars Evaporate; Work in Progress (2019).

She is the recipient of important UK choreographic awards such as the Robin Howard Foundation Award 2008, the Bonnie Bird Choreography Fund Award 2009 and the CFC Award 2010 by the Company of Angels, Sadler’s Wells and The Place, and has participated in Aerowaves, a well-renowned European Dance Platform. She has received several commissions (eg Greek National Ballet) and her works have been presented at venues/festivals such as: Fast Forward Festival 4, ROH2, Arnolfini, BE Festival, Lilyan Baylis, the Athens and Epidaurus Festival, the Kalamata International Dance Festival, Operaestate Veneto Festival at the Scala of Milan, Europe in Motion Festival and Springloaded at The Place.

She has participated in several international European Dance Research programs such as the Choreoroam, Big Intensive, Europe in Motion, and she is funded/commissioned by institutions such as the Arts Council England, the Hellenic Centre for theater and dance, the Onassis Cultural Centre, among others. She is a Research Fellow at the Trinity Laban Conservatoire of Music and Dance in London and teaches internationally at institutions/festivals such as: Impulstanz Festival, Sasha Waltz Company, Independent Dance, National Dance Academy of Rome, Athens State School of Dance (KSOT) among others.

Her research is focused on notions of time and the passing of images. It reflects the direction of her practice away from the conventional theatre space and towards off-site installations and interactivity, investigates the qualities and conditions of spectatorship, and draws from the larger social for the development of choreographic activity.

A British Council and Arts Council England recipient, Howard Davies Emerging Directors Grant Recipient, One Dance UK DAD Trailblazer Fellow, Marion North Recipient. She was on the choreographic team for the 2012 Olympics Opening Ceremony (NHS Section) and is a member of the internationally acclaimed performance collective Hot Brown Honey.

With over 23 years of teaching experience, she has worked and collaborated with a multitude of diverse artists and organizations. A well sought-out teacher, choreographer, judge and host, she has established herself as one of UK’s finest and a highly respected role model within the Hip Hop dance community.

Yami previously worked at RAD, UEL , and Irie Dance theatre.

Raymond has guest taught for various dance companies around the world including English National Ballet, National Ballet of Portugal, Singapore Dance Theatre, Rambert Dance Company, Richard Alston Dance Company, Pheonix Dance Theatre, New Adventures, Company Wayne McGregor and highlights includes International Ballet Gala in Malaysia featuring principals and soloists from San Francisco Ballet, Hamburg Ballet and Boston Ballet. He has coached dance students for the Adeline Genee Awards and the Asian Grand Prix. Raymond is also a guest tutor at the Dance Masters International in New Zealand.

Choreographic commissions include for the National Ballet of Portugal, Hong Kong Ballet, Ballet Black (Royal Opera House), Hong Kong Academy of Performing Arts, Dance Space Malaysia and the BBC.

Raymond has produced and choreographed two ballet productions, La Sylphide (Slovenia) and The Sleeping Beauty (Malaysia).
In October 2015, Raymond premiered his piece ‘Unbroken Silence’ in the USA at YourMove Modern Dance Festival, New Jersey.

Raymond was invited to Hong Kong in 2017 where he choreographed ‘The Architecture of Wu’ for the Hong Kong Academy of Performing Arts.

In June 2018, Raymond was awarded Master of Arts in Dance Technique Pedagogy by Middlesex University.
In 2021, in response to the pandemic, Raymond produced, choreographed and directed his film Monoi/Mazi (Alone/Together), using purely non-professional dancers who survived Covid 19 virus.

Raymond has been Lecturer in Dance for London Contemporary Dance School and Rambert School of Ballet and Contemporary Dance and is currently Lecturer in Dance at the Trinity Laban Conservatoire of Music and Dance.

Raymond has just wrapped up filming the TV drama To Be Continued as Choreographer and Movement Director (2022).

While successfully auditioning for the Council for Dance, Drama and Musical Theatre: Aspiring Dance Mentoring Scheme, Under the direction of Liz Dale – Director of Dance at ISTD – and Hannah Dye – Head of Programming for Breathe Arts and Freelance Producer for English National Ballet – André was scouted to join the Centre for Advanced Training (CAT) Programme at The Place: London Contemporary Dance School. After nearly 3 years, André graduated from The Place: CAT accepting a fully funded place at London Studio Centre (LSC). During his time at LSC André took some time out to attend The Ailey School – the training ground for the world renowned Alvin Ailey American Dance Theatre – Summer Intensive in 2013, before returning to LSC where in 2014 he graduated with a Bachelor of Arts Degree.

Following graduation, André joined the ensemble of The Lion King, Germany where he was trusted with the responsibility of teaching Company Class. On returning to the UK André joined the West End Production of Wicked in the prestigious Ribbon Boy Track before going on to play Paul in Kiss Me Kate at The Watermill Theatre choreographed by Oti Mabuse – for which André was the Dance Captain and was nominated for the BroadwayWorldUK: Best Supporting Actor Award.

Having worked in the Arts industry for two decades, André has danced, taught, assisted, created work and been mentored both nationally & internationally. Working with world class artists, theatres and organisations including: Richard Alston, Denzil Bailey, English National Ballet, Thea Barnes (1952-2018), James Bennett, the Southbank Centre, the Olympic Ceremonies, Royal Academy of Dance, Artistry Youth Dance, Nikolai Foster, the Royal Albert Hall, Rebecca Howell, Richard Jones, Ellen Kane, Trinity Laban, Paul Liburd, Oti Mabuse, Mandy Montanez, Alex Parker, Joan Peters, Richard Roe, Jane Sanig, Tamara Saringer, David Shrubsole, Judine Somerville, Christian Storm, the CDMT, Disney Theatrical Productions, Eric Underwood, Antoine Vereecken, Buddy Watkins, Nikki Woollaston and Sadler’s Wells. Which André continuously utilizes to inspire his work in the studio, on stage and off stage.

Having also studied dance vocationally at London Studio Centre, Leanne still enjoys participating in dance and now applies dance science techniques when in class and also when teaching young students. As an active member of the International Association for Dance Medicine and Science, Leanne has previously volunteered as part of their Student Committee and is now currently a member of their Promotions Committee.  Leanne is also a qualified Group Exercise to Music instructor and hopes to incorporate this within her work in Dance Science in the future.

Since graduating Leanne has worked as a Graduate Intern in both the Dance Science and Health department at Trinity Laban and now also works as a Lecturer on the BSc Dance Science programme as Module Leader of Researching Dance Science. Leanne also teaches Dance Science to the first year students studying at Bird College. Leanne is also Communications Coordinator for The Bridge Dance Project which is a cooperative endeavour between leaders in the dance medicine and science field, and in the competition / commercial dance field.

For the 2019-2020 Academic year Otis was a Graduate Intern in Dance Technique and Programme Support at Trinity Laban after which he obtained an Associate Fellow of the Higher Education Academy accreditation (AFHEA) before becoming a Lecturer in Dance from February 2021. He Teaches Classical Ballet, Cunningham based and fusion contemporary dance styles combining training methods explored spanning his fourteen-year career and currently teaches at Bird College and on the Centre for Advance Training programme at Trinity Laban.

Otis is currently engaged with CIE 7273 (Geneva) after re-joining the Company for the creation of Ever 2021 and the revival of Tarab. He is involved in various creative processes and re-staging’s maintaining a professional practice to inform his educational approach.