Membership Directory 2019-2021
(in progress – by February 22, 2021. Includes information sent by members.)
Naoko Abe is a sociologist, specialising in social interaction and human movement, with a research focus in Robotics. She obtained a PhD in Sociology from École des Hautes Études en Sciences Sociales (EHESS) in Paris in 2012. In 2011, she graduated in kinetography Laban from the Conservatoire de Paris (CNSMDP). In 2015, she was a Postdoctoral Fellow at the Laboratory for Analysis and Architecture of Systems – French National Centre for Scientific Research (LAAS-CNRS) in Toulouse. In 2016-2017, she was a Renault-Junior International Research Fellow at the EHESS France-Japan Foundation (FFJ). Since July 2018, she has been a Research Fellow at the Centre for Robotics and Intelligent Systems, the University of Sydney.
Certified Professional Labanotator, Stager, and Teacher. Sandra notated 50+ works as resident notator for the Paul Taylor Dance Company and DNB staff notator. She has staged works around the world including the Paris Opera, La Scala, White Oak Dance Project, and American Dance Festival. Sandra also holds Benesh Institute advanced notation and elementary teaching certificates. She has published articles in Dance Magazine, Dance Teacher, and conference proceedings of both CORD and ICKL.
In the fall of 2017, Sandra and Leslie Rotman launched Aberkalns & Rotman Dance Notation Consultants at http://www.dancenotation.info/.
Sandra is currently an Archive Project Associate with Mark Morris Dance Group and their Dances for the Future Labanotator, which is part of MMDG’s Above & Beyond project.
Born in Casablanca (Morocco). In 1964 after receiving an award in operetta and staging at Casablanca’s Conservatory she studied Kinetography Laban with Jacqueline Challet-Haas at École supérieure d’études chorégraphiques in Paris and received a notation certificate in 1966.
Interested by the graphicsof Kinetography and the precision it would get with mechanical means, she conceived in the 70’s a typing method for the notation L/N “ball” for IBM Selectric typewriter. Among others she typed the scores of Screenplay (Job Sanders) and Confetti(Gerald Arpino) for the DNB.
In the 90’s, with the development of computers, Alagna developed GraphLaban, a library of notation symbols to use with architectural design software, as well as a training guide. Since then, she has been copying scores for notation students and individuals at the Centre national du mouvement and for publications. She also translated in Spanish-language some teaching manuals, facilitating the introduction of notation in Spain.
She has a BA and a PhD in Aesthetics by the Universidad Autónoma de Madrid (Spain). Her PhD research focused on dance documentation. She has Certificates in Advanced Labanotation and Delivery Language of Dance. For a decade, she taught movement analysis, notation and Language of Dance to undergraduates at the Conservatorio Superior de Danza “María de Ávila” in Madrid. She has also examined on Labanotation at the Laban Centre in London, and taught degree courses on dance anthropology and postgraduate seminars at the London Contemporary Dance School. She was a member of the Contexts, Culture and Creativity: Enriching E-Learning in Dance project at the University of Surrey (2011-13). She has been a long standing member of ICKL acting as Assistant Treasurer (2000-2005) and of the Language of Dance Association. In 2010 she became a member of the Dance Research Association (Danza+Investigación) in Spain, and in 2014 she became a member of the Board of Trustees of the Language of Dance Trust in the UK. She has presented numerous papers at conferences, published specialist articles and book chapters. She currently works in the Faculty of Education and Language Studies at the Open University in the UK.
ICKL Assistant Treasurer, 2018-2021,
ICKL Research Panel Member, 2016-2019
Béatrice Aubert studied ballet and contempory dance at Nantes Conservatoire national de région then at Lyon Conservatoire national supérieur de musique et de danse, and performed in various dances companies. She passed her teacher’s degrees both in contemporary dance and ballet. For 12 years, starting in 1997, she worked with Béatrice Massin as dancer, assistant choreographer, choreographer and teacher. From 1994, she studied Kinetography Laban with Jacqueline Challet-Haas at Paris Conservatoire national supérieur de musique et de danse and graduated in 1999; she became an ICKL member in the same year. She is the author of dance scores for choreographers including Dominique Bagouet, Claude Brumachon, Beau Geste & Lolita, and Béatrice Massin. After teaching dance five years in Morocco, she is now based in the city of Morlaix, in French Brittany. She has been a Fellow of ICKL since 2015.
ICKL Secretary, 2018-2021
Marion Bastien studied notation in France and in the United States. She has notated works by Georges Appaix, Christine Bastin, Dominique Bagouet, August Bounonville and Philippe Decouflé, has taught notation at the Conservatoire de Paris, Université Paris 8 and Paris 10, and has restaged solos and duets (Hanya Holm, Rosalia Chladek) or choral works (Albrecht Knust).
In 2004, she joined the Centre national de la danse in Paris, an institution created by the French Ministry of Culture, where she works to date on dance research and dance heritage’s projects.
Member of the European Seminar for Kinetography (1985-1994) and member of ICKL since 1987. She became ICKL Fellow in 1995 and has contributed to ICKL organization as Secretary (1996-2001, 2014-), Chair (2005-2007) and Board member (2011-2013).
After years of professional training in classical, character, and Russian dance, and touring the world with dance companies, Natalia Beliaeva came to France in 1999. A teacher in both classical and character dance, Dance Captain, choreographer, and show director, she works with the creative team at Disneyland Paris for all their live shows. Today, she continues to develop in the dance industry and in her artistic research. She studied notation at the Conservatoire national supérieur de musique et de danse de Paris (CNSMDP) and graduated in 2017. She is particularly interested in the notation of movement and in Motif notation and in a project to communicate that expertise in Russia.
Olivier Bioret is a dancer, choreographer and notator. Trained at the Conservatoire de Paris (CNSMDP) for both contemporary dance and notation (with Noëlle Simonet), he has danced with choreographers like Claire Jenny, Béatrice Massin and Hervé Robbe. Choreographer for the company FACE–B, he created Les Glycines- Samarcande, Un autre Saint Sébastien, Hortichorégraphie and Précoces Récoltes. He has notated works of Lucinda Childs and Daniel Larrieu, and restaged pieces of Karin Waehner and Doris Humphrey. He is now lecturer at the CNSMDP.
Odette Blum, Professor Emerita, Department of Dance, The Ohio State University. A former Director of the Dance Notation Bureau Extension for Education and Research at OSU. 50 years of directing dances from the score including works by Horton, Humphrey, Jooss, Lampert, Maslow, Sokolow, Tamiris. Scores notated include Massine’s The Three Cornered Hat, Humphrey’s Water Study, Margaret Morris Movement in Labanotation (revised edition 2011) with 2 audio CDs, the basic technique of the first modern dancer in the U.K. Publications include Dance Perspectives # 56 “Dance in Ghana”, a DVD: Motif Description: Introducing the Elements of Dance. She is a Fellow and former Chair of ICKL. Currently she is a free-lance teacher and director and continues with her notating/editing of dance scores.
After obtaining her Bachelor’s degree in Dance and Circus and her Technical Aptitude Examination in Contemporary Dance in Toulouse (France), she is now studying with Dr. Henner Drewes in a Master’s degree in Dance Composition specialized in Movement Notation/Movement Analysis at the Folkwang University of the Arts in Essen (Germany). She is interested in all aspects of live performance, and has participated as a dancer, performer or choreographer in multidisciplinary projects that link several artistic fields (Part dance/literature project, Mic Mac d’Oc dance/theatre project, In Situ In Corpore dance/architecture project, O Viva Fiamma dance/opera project). The notation and analysis of the movement now allows her to expand her field of research and focus on the composition of the dance movement.
[Photo © Caroline Prévôt]
Dance Studies at Hochschule für Musik und Darstellende Kunst Wien, Theaterschool Amsterdam, Temple University Philadelphia USA, University of Surrey, Labanotation Institute
Choreographer for a number of festivals i.a. Staatsgalerie Stuttgart, Wiener Konzerthaus, Klangforum Wien, Tanzquartier Wien, Philharmonie Luxemburg, Festspielhaus St. Pölten, Bregenzer Festspiele, Odeon Wien, Berliner Sophiensäle, Machol Shalem Festival
Prizes: Max Brand Preis, Theodor Körner Preis for Science and Art, Austrian Ministry for Culture
Since 2006 Head of the Institute of Dance, Bruckner University Linz, since 2015 University Professor for Movement and Dance Research
Guest teaching: i.a. Ballettschule der Wiener Staatsoper; Universität Salzburg, Hochschule für Musik und Darstellende Kunst, Frankfurt; Conservatorio Superiore de la Danza Valencia, Alicante
Curatorships, Juries: Jury Member of Dance Heritage Fund Germany 2012 and 2013; Juries for professorships at Hochschule für Musik und Darstellende Kunst, Frankfurt; Staatliche Ballettschule Berlin
Published scores: de-archiving movement ed. by Rose Breuss and Claudia Jeschke
[Photo: Andreas Kurz]
Professor of Dance at Kenyon College, earned BFA degrees at the University of Illinois. She completed Labanotation studies at The Ohio State University and is a Certified Movement Analyst. Brodie worked professionally in Chicago and has since danced with HighJinks Dance Company and Double Edge Dance.
She presents her research internationally, has published in The Journal of Dance Education, and co-authored the book Dance Science and Somatics: Mind-Body Principles for Teaching and Performance. In 2010 Brodie was a Fulbright Scholar in Egypt, teaching at the Academy of the Arts, the Cairo Ballet, and the Egyptian Modern Dance Company.
After completing a Master’s degree in Dance at Sorbonne University (Paris 4), Christine Caradec graduated in Laban Notation at the Paris Conservatoire national supérieur de musique et de danse. She was then appointed as teacher of contemporary dance by the City of Paris while keeping a wide spectrum of activities besides teaching: artistic creation, performing and notation. She has built an eclectic experience in very different environments.
Since 2005, she has collaborated with contemporary choreographers, among them Aurélien Richard with whom she is researching the usage of Laban notation in the process of choreographic creation. She has notated works by Malkovsky, Karin Waehner and Dominique Dupuy and reconstructed works or excerpts of works by Kurt Jooss, Rudolf Laban (with Elizabeth Schwartz), Albrecht Knust, Doris Humphrey, Rosalia Chladeck and Karin Waehner. In 2016-2017, she will be part of a project led by the Mary Wigman Foundation and the Osnabrück Ballet, to reconstruct Totentaz from Mary Wigman. Christine Caradec is a Fellow of the International Council of Kinetography Laban since 2015. [Photo © Fanny Brancourt]
Chilean/Australian Dr. Mauricio Carrasco attended the Catholic University in Santiago where he graduated in classical guitar. He holds two Master degrees from Geneva Conservatory and a PhD from University of Melbourne with a thesis in Contemporary Music Theatre and Monodrama. He has given master classes and lectures in Conservatoriums and Universities in Argentina, Australia, Brazil, Colombia, Chile, England, France, Italy, Portugal, Spain and Switzerland. He has been a resident artist at the French Cité des Arts and Centre Intermondes, Bundanon Trust in Australia, CMMAS in Mexico and HH Art Spaces in India. He is a member of the Swiss new music Ensemble Vortex where he explores Labanotation and is an Associate Professor at the Austral University in Chile, School of Sound Arts.
ICKL Vice President
She has been a dancer and Laban notation teacher and notator since the sixties. She studied notation with Diana Baddeley-Lange in Paris and Albrecht Knust at the Folkwang Hochschule in Essen, Germany. She created the specialised training in Kinetography at the Conservatoire national supérieur de musique et de danse de Paris (CNSMDP) in 1990.
She has been a fellow of the International Council of Kinetography Laban (ICKL) since 1961, and director of the Centre national d’écriture du mouvement since 1975. She has co-founded the European seminar of Kinetography Laban (ESK) led by Prof. Roderyk Lange.
She has published numerous articles in various magazines and written and translated books on Dance pedagogy and Laban notation. She was made “Chevalier de la légion d’honneur” by the French State in 2011 in recognition of her 50 years of service to the development of Kinetography in France.
Melanie Clarke trained at Trinity Laban Conservatoire of Music and Dance in London, U.K. She has a BA Honours in Dance Theatre and an MA degree in Dance Studies (distinction) focusing on Education, Dance Documentation and Reconstruction, and Choreography. In 1998 Melanie joined the Trinity Laban faculty and has had a number of management posts including BA1 Coordinator, Diploma in Dance Coordinator and is currently Programme Leader for the Dance Diploma Programmes. She is a Teaching Fellow of Trinity Laban and a fellow of the Higher Education Academy. She teaches Release-based technique, Choreological Studies, improvisation and choreography as well as creating new choreographic work on the students and tutoring student led projects. Melanie has also taught independently for dance companies such as; The Cholmondeleys and Featherstonehaughs, and Tanzcompanie Giessen as well as on International Summer Schools. She has danced with a variety of companies including Dance Republic (Sheffield); Twisted Collision (Manchester); Henrietta Hale and Co, Ben Ash & Rachel Lopez (London). Her choreographic work includes independent solo and group works and commissions, touring to venues such as The Lillian Baylis Theatre, Laban Theatre, Michaelis Theatre, The Place, the Bloomsbury Theatre in London and the Nakano Zero Theatre, Tokyo, Koblenz Stadttheater, TanzArt Geissen, Germany. As a choreographer she explores the relationship between expressive and formal structures in movement as well as investigating the communicative use of energy. As an educator her aim is to enable understanding through demystification of bodily and artistic processes. This is engendered by her knowledge of anatomy and physiology (with a focus on Fascial systems) as well as Rudolf Laban’s praxis and supported by her creative practice. Her research encompasses choreographic practice and movement analysis. She has scored Yvonne Rainer’s Trio A (with Jouke Kolff) which she has also reconstructed on students at Trinity Laban as part of repertoire projects and also for the MOVE: Choreographing You exhibition at the Hayward Gallery, London in 2010. She collaborated with Valerie Preston-Dunlop on the re-creation of Laban’s Swinging Temple and contributed to Preston-Dunlop’s book Laban Man of Theatre. Her book entitled Essential Guide to Contemporary Dance Techniques is due for publication by the Crowood Press in March 2020.
Photo 2019 by James Keates
Professor of Dance, University of California, Irvine. Certified Professional Labanotator and Teacher. Notator of works by Balanchine, Robbins, Graham, Limón, McKayle, Jean Erdman, Joyce Trisler, Isadora Duncan, and others. Notator for the American Dance Legacy Initiative and for Chinese dance projects at University of Iowa and University of Hawai’i. Notator for Daniel Lewis’s book The Illustrated Dance Technique of José Limón; also notated technique fundamentals of Hanya Holm. Reconstructor of works by Nijinsky, Humphrey, Loring, Tamiris, Weidman, Holm, Parsons, and Eve Gentry. Fellow of ICKL since 1991 and a member of the Research Panel from 1991-95.
Chair of ICKL Research Panel, 2018-2019
Raphaël Cottin studied classical and contemporary dance at the Conservatoire national supérieur de musique et de danse de Paris (CNSMDP) between 1992 and 1999, and then graduated in Kinetography Laban in 2009 after studying with Noëlle Simonet. He worked for several choreographers and dances now for Thomas Lebrun at the Centre chorégraphique national de Tours (France) and tours with him in France and around the world (South America, Canada, Europe, Russia, China). He obtained a research grant from the French Ministry of Culture in 2010 in order to work on the latest symbols created in LMA in “Shape”, under the tutelage of Angela Loureiro (CMA-LIMS), regarding his notation skills. He is also choreographer for his own company La Poétique des Signes (www.lapoetiquedessignes.com) and uses Kinetography Laban in many aspects of his work. He became Fellow of ICKL in 2013 and was the onsite organizer of the 29th ICKL conference in Tours in 2015. [Photo © Frédéric Iovino]
Nena Couch is Head of The Ohio State University Libraries’ Thompson Library Special Collections. Publications include “Choreography in Cholera: The Extended Life of Dance Notation” (A Tyranny of Documents, PAR 28); The Humanities and the Library (co-edited with Nancy Allen); and others on performing arts documentation and librarianship. She was awarded the Harvard Theatre Collection’s Howard D. Rothschild Fellowship for research in Dance (2000), and the Theatre Library Association Distinguished Service in Performing Arts Librarianship Award (2012). Couch currently serves on the Dance Heritage Coalition board and Dance Notation Bureau Professional Advisory Committee.
Dr. Tina Curran directs the dance educator certification program in the Department of Theatre and Dance at The University of Texas at Austin. She cofounded the Language of Dance Center in the USA with Dr. Ann Hutchinson Guest. She is also on faculty at the Dance Education Laboratory in New York City where she co-teaches Laban Movement Analysis and Language of Dance for Dance Educators with Frederick Curry. She is a master Language of Dance Certification Educator, a certified LN teacher and Staging Director (from Labanotation score) and continues to pursue studies in Laban Movement Analysis. Her areas of expertise include dance literacy, dancing legacy and dance educator preparation and professional development.
Noel de Dios Flores (1992) is currently studying a MA in Ethnomusicology and Ethnochoreology at the Faculty of Music University of Belgrade. He graduated in Percussion by the Higher Conservatory of Music of Vigo (Spain). He received an introduction to the dance notation by Selena Rakočević at the Department of Ethnomusicology University of Belgrade.He is interested in dance notation applied to dance research, ethnochoreology, anthropology of dance, dance ethnography, pedagogy of dance and cultural heritage; particularly in Galician traditional context (Spain).
Sinibaldo De Rosa explores the role of body movement in processes of socio-cultural differentiation across multiple performance practices and ethnographic contexts. He earned a PhD in Drama from the University of Exeter, a Diploma in Movement Notation (Laban) from the CNSMDP, a ResMA in Turkish Studies from Leiden University and a BA in Cultural Anthropology from Bologna University. He published on the journal Performance Research, and in the edited books Ritual Tanz Bühne and Aesthetic and Performative Dimensions of Alevi Cultural Heritage. He is a member of the Society for Dance Research Executive Committee, a massage therapist and a carer for the elderly. In 2020, he was awarded an Ivor Guest Research Grant to notate extracts of Yeşim Coşkun’s piece 4Kapı 40Makam (‘4Doors 40Planes’).
He is a dancer and scholar, specializing in representation methods for movement and dance (movement notation, digital representation methods, software development). He studied Eshkol-Wachman Movement Notation and Kinetography Laban, and obtained a PhD at the University of Leipzig. Since 1994 Henner Drewes has been teaching notation and movement. In 2006 he was granted the Dance Sciences Award NRW for his proposed project “From Notation to Computer Generated 3D Animation”. Together with Claudia Jeschke he initiated the research project “Visualizing (the Derra de Moroda) Dance Archives” in the Department for Dance Studies at Salzburg University. Currently he teaches Kinetography Laban and coordinates the MA Movement Notation Movement Analysis study programme at the Folkwang University of the Arts in Essen.
Ambre Emory-Maier, a native of Allentown, PA, is the Director of Education for BalletMet Columbus and Associate Director of BalletMet 2. She was the former Director of Education and Outreach for North Carolina Dance Theatre (NCDT) now Charlotte Ballet. Ms. Emory-Maier also worked as an artistic associate for NCDT 2, the apprentice company of NCDT. Ambre completed her MA in Dance Reconstruction and Directing from City University of New York and holds a BA in Communications from SUNY Geneseo. Previously, she was a faculty member and Assistant Chairperson in the University of Hartford/Hartford Ballet’s Dance Division. During her 14 years in Connecticut, Ambre worked closely with The Connecticut Opera as a choreographer. Ms. Emory-Maier’s dance training and performance experience have been unique including pedagogical study in the Vaganova method, modern dance study in the Limon and Humphrey/Weidman styles and certification by The Dance Notation Bureau to teach Labanotation. In addition, Ambre trained with noted ballet masters, Truman Finney, Wang Shao Pen and Michael Uthoff and toured the U.S. as principal dancer with Polite Society, a vintage ballroom dance company. Ms. Emory-Maier has presented nationally at the NDEO, NCAAPHERD, and CORPS DE BALLET conferences. Ambre is nationally certified at the 500-hour level by The Yoga Alliance ® to teach Hatha yoga. Her most recent article, “The Wiggle Jig: A Comprehensive Outreach Program Developed by BalletMet” was published in April 2016 in Dance Education in Practice journal. Currently, Ms. Emory-Maier is finishing her MFA in Choreography and Performance at The Ohio State University.
Clarisa Falcón Valerdi, studied ballet in Mexico and Cuba, contemporary dance in New York at the Merce Cunningham Studio and the Nikolais and Louis Dance Lab. She danced in different independent ballet and contemporary dance companies. She worked briefly in the National Dance Company of the INBA. She has worked in the main dance schools of Mexico and has been invited to teach in Guatemala, El Salvador and Bolivia. She is currently a teacher of ballet, contemporary dance, motif notation and Labanotation at the National School of Dance Nellie and Gloria Campobello of the INBA and at the School of Dance of Mexico City. She has a bachelor’s degree in pedagogy and a master’s degree in education. She holds the teachers certification in Labanotation of the Dance Notation Bureau.
Siân Ferguson is a dance teacher, notator and director with many years experience in the US and Europe. She trained at the Laban Centre in London. After completing her Masters Degree in Dance Research and Reconstruction at the City College of New York, she danced for several years in New York City. She has notated at venues including the Paul Taylor Dance Company, the Dance Theater of Harlem, and the Juilliard School. Her notated works can be found at the New York Public Library. She has taught at City College of New York, SUNY Purchase, Hofstra University, Stanford University and others. She staged L’Apres Midi d’un Faune for the Oakland Ballet. She currently resides in San Jose where she teaches Contemporary Dance at San Jose Dance Theatre.
Dancer, teacher and researcher of dance and education, graduated from Academia de la Danza Mexicana (ADM), where she studied pedagogy, education, and artistic research. She has a PhD in Social Sciences from the UAM-Xochimilco. She is a LODC Certified LOD teacher. She is member of the National System of Researchers. She was a teacher and director of the ADM. Since 1995, she has been a researcher in the Cenidi Danza José Limón. She has researched dance education.
She is the author of: Danza y currículo. La Academia de la Danza Mexicana y el bailarín integral (México, INBA/ Cenidi Danza José Limón, 2009); Escenarios rituales. Una aproximación antropológica a la práctica educativa dancística profesional (INBA/Colegio de Estudios de Posgrado de la Ciudad de México, 2005); and with Josefina Lavalle, Programa de desarrollo de la creativ- idad por medio del movimiento y la danza. Paquetes Didácticos (México, Conaculta/ INBA, 2006). She is a teacher in the Master of Desarrollo Educativo, línea de Educación Artística at the UPN, and in the Master of Dance Research at the Cenidi Danza.
Mara Frazier is Curator of Dance at the Jerome Lawrence and Robert E. Lee Theatre Research Institute at The Ohio State University. Previously, she was a Media Designer at McGraw-Hill Education. She has been a Dance Specialist at The Arts and College Preparatory Academy in Columbus, Ohio; a lecturer with the Department of Dance at The Ohio State University, and a Dance Heritage Coalition Hidden Collections Fellow for TRI’s Special Collections Library. Mara has a Bachelor of Fine Arts in Dance Performance from The Ohio State University, an Intermediate Teaching Certification in Labanotation from the Dance Notation Bureau, and a Master’s of Fine Arts in Dance, also from Ohio State.
ICKL Chair, 2016-2019
János Fügedi PhD (1953) is a senior researcher at the Hungarian Academy of Sciences, Research Centre for Humanities, Institute of Musicology. He notates and analyzes East-European traditional dances, leads the internet publishing of a dance knowledgebase, author/co-author of dance monographs. He’s a professor at the Hungarian Dance Academy teaching Laban-Kinetography for BA and MA students. He’s been a fellow of ICKL since 1989 and the Vice Chair of the Board of Trustees since 2007. He was a member of Research Panel between 1991-1997, chaired the Research Panel at the 1997 conference of ICKL. He got his PhD in Education and Sport Sciences in 2003 at the Eotvos Lorand University, Budapest, and was rewarded by the Hungarian Dance Association the price “For Dance Research” in 2013.
Claude Gamba studied ballet at Paris Opera ballet School and Rosella Hightower Dance Center in Cannes. He started as a professional in 2000 at Paris Opera Ballet, Zurich Ballet, Scala di Milano, Ballet de Monte Carlo.
Principal Dancer with Ballet Trockadero in 2008 and Nice Opera Ballet in 2012.
He danced different ballet styles, and interpreted ballets of choreographers such as Alvin Ailey, George Balanchine, Nacho Duato, Serge Lifar, Ohad Naharin, Glen Tetley, Jerome Robbins, Dwight Rhoden…
He worked many years with Wilfride Piollet on her technique “Barres Flexibles” and was introduced to Kinetography Laban by Noëlle Simonet.
He studied further with Noëlle Simonet at Conservatoire national supérieur de musique et de danse de Paris, and graduated in 2018.
Jorge Gayon, PhD, is a movement-actor, choreographer/stage director, choreologist, and ethnoscenologist who specializes in expressive movement. He is the author of the Laban-Decroux project, in which Laban’s movement analysis tools are applied to the study of Etienne Decroux’s actor training method. This project led him to the conception of the LAMA (Laban’s Active Movement Analysis) perspective for training performers and composing/coaching performances. A member of the ICKL since 1995, he has collaborated with the Laboratory for Research on Performing Arts (CNRS-France) and CENIDI-Danza “José Limón” (INBA-Mexico) and is a founding member of the Centro Mexicano de Estudios Coreológicos, A.C.
MA, CMA, LOD Certification Specialist and Professor Emeritus, University of Wisconsin-Stevens Point. She received National Dance Education Organization’s Outstanding Dance Educator Award in Higher Education (2006) for bringing national recognition to the dance program. Her research focuses on the assessment- based teaching she created using Language of Dance® and Laban Movement Analysis, and those she developed at the Dance Education Laboratory in New York City. The Associate Director for the Language of Dance Center, USA, she teaches for the LODC and DEL. Gingrasso serves as Associate Editor for the Journal of Movement Arts Literacy and for Dance Education in Practice and Journal of Movement Arts Literacy. She has served on the NDEO Board as the Director of Resources Review and as the Treasurer of the International Council of Kinetography Laban.
Doris Green, MA. Retired Fulbright Scholar/US Department Cultural Specialist; President, Pan African Performing Arts Preservation Association. She is an ethnomusicologist, musician, dancer, certified teacher of Labanotation, creator of Greenotation, a system for notating the percussion instruments of African ensembles. Greenotation enables one to notate the music, and align it with the dance movements, creating an integrated score with a conterminous relationship just as it is in Africa. Born in Brooklyn, did her undergraduate and graduate studies at Brooklyn College and New York University respectively. She was a faculty member at Brooklyn College wining three CUNY Faculty research Awards. She also taught at New York University, New School for Social Research, and Adelphi University. Her awards enabled her to teach and conduct research throughout Africa. With the Fulbright award she taught in Ivory Coast and the Gambia.
Willow Green is a rising junior at Kenyon College studying Dance and Arabic. Willow focuses their dance studies on inclusive practices and community building, and they are interested in dance as a communal form of storytelling. Additionally, they serve on Kenyon’s LGBTQ+ and Transgender committees and serve as a peer mentor through Kenyon’s KEEP scholarship. When they’re not studying, they enjoy volunteering at Kenyon’s student-run farm and writing poetry.
ICKL Assistant Secretary, 2018-2019
Graduated from the Conservatoire National Superieur de Paris (1998), she has notated works by Ashley Page, the Crowsnest Trio, Liu Feng-Shueh, Thierry Malandain, Anthony Egea and Mourad Merzouki as well as variations from the ballet repertoire. She is member of ICKL from 2005, fellow of ICKL since 2009, member of Research Panel from 2011 to 2015, assistant treasurer of the ICKL board of trustees from 2011 to 2017, and currently assistant secretary.
Patty Harrington Delaney is an Associate Professor in the Division of Dance at Southern Methodist University where she teaches choreography and Dance and Musical Theatre History. She served as chair of the Division from 2012-2018. Patty is a specialist in Laban Studies and holds certifications in Laban Movement Analysis/Bartenieff Fundamentals, Directing from Labanotation Score and Motif Writing and was also awarded Professional Notator status by the Dance Notation Bureau. Her Labanotation scores include José Limón’s La Malinche, Leni Wylliams’ Sweet in the Morning, and Pilobolus’ Alraune. Her educational DVD on La Malinche won a Silver Award at the Houston International Film Festival and The University of Texas Press and Dance Chronicle have published her writing. She has restaged masterworks including Lester Horton’s The Beloved for renowned companies such as Philadanco and the National Dance Theater of Jamaica and her choreographic credits include numerous musicals for producing organizations such as Dallas Summer Musicals and television commercials for companies such as Samsung as well as concert works for professional companies and educational institutions. Patty, along with seven other alums of the BFA and MFA dance programs at SMU, founded Dancers Unlimited, a modern dance company that remained an active force in the cultural life of Dallas for 25 years by performing the works of renowned choreographers such as Judith Jamison, Moses Pendleton and Bill Evans.
PhD, CMA, Language of Dance Specialist and Franklin Method Practitioner. She teaches dance wellness and Bartenieff Fundamentals, pedagogy, LMA, and senior thesis writing at Loyola Marymount University, Los Angeles. Her teaching and research aim to inform disciplinary practices, provoke personal development, and deepen dancers’ understanding of their potential as artists, educators, researchers, writers, and healers. She has staged Nijinsky’s L’après-midi d’un Faune and Parsons Etude. Geographies of Dance: Body, Movement, and Corporeal Negotiations (Lexington Books, 2013), Journal of Dance Education, Journal of Imagery Research in Sport and Physical Activity, Dance: Current Selected Research, and Research in Dance Education feature her writing. She is Editor-in-Chief of the Journal of Movement Arts Literacy(digitalcommons.lmu.edu/jmal/), a new online, academic journal about using dance-based dance literacy.
Choreographer, performer and teacher for dance and movement notation. She graduated in movement analysis and Kinetography Laban in 1998 from Conservatoire national supérieur de musique et de danse de Paris. Fellow of ICKL since 2005, Chair of ICKL Research Panel from 2011 to 2015. Teacher for notation at Freie Universität Berlin (Germany) and Universität Bern (Switzerland). Member of National Jury for Swiss Dance Prizes, Expert for Professional Dance Education in Switzerland and for Dance at the Johnson Foundation. Founder and director of Hermesdance, based in Bern, Switzerland (www.hermesdance.com).
Dancer, writer, researcher. Beatriz holds a BA in Anthropology and Literature, and completed the program Choreomundus: International Master in Dance Knowledge, Practice and Heritage in 2018. She is experienced in western contemporary dance. Her dance practice in contact improvisation led her to an inquiry based on ethnochoreology and phenomenology, wondering how the backgrounds of practitioners remain immanent in an improvisatory practice. She has participated in multicultural performances and site-specific interventions including museum galleries in Norway, Hungary, and London; and also staged choreographic works in Guatemala City. She has written the poetry book Hacia la tempestad [Magna Terra Editores, 2016]. Currently, Beatriz is an independent researcher in collaboration with Centro de Danza e Investigación del Movimiento at Universidad Rafael Landívar in Guatemala City.
Anja Hirvikallio, born in Finland, studied dance and Kinetography Laban at the Folkwang University of the Arts in Essen. She is since 1997 lecturer for Kinetography Laban at the University for Music and Dance Cologne, Center for Contemporary Dance.
Anja Hirvikallio is Fellow member of the International Council of Kinetography Laban and member of the European Seminar of Kinetography Laban.
Miriam Huberman combines choreological studies, injury prevention, dance history and dance education in her work. BA in History (UNAM); MA in Dance Studies (Laban Centre for Movement and Dance). Huberman has taught choreological studies and injury prevention in the BA in Dance programs of the Academia de la Danza Mexicana, Universidad Autónoma de Baja California and Universidad de Sonora, as well as in the MA in Dance Research of CENIDI Danza. Her articles on dance have been published in Este País, Interdanza, Revista de la Universidad de México. She is a founding member of the Centro Mexicano de Estudios Coreológicos, A.C. Currently, she is giving choreological counseling to dance companies for the Dirección de Danza, UNAM.
Core member, ICKL President
Ann Hutchinson Guest first studied Laban notation at the Jooss-Leeder Dance School at Dartington Hall, Devon, England. After graduation she stayed on to notate Kurt Jooss’ Green Table and three other Jooss ballets. Returning to New York City, she became one of the founders of the Dance Notation Bureau until 1961 while performing and teaching. In 1959, together with Albrecht Knust, Sigurd Leeder and Lisa Ullmann, she was a co-founder of the International Council of Kinetography Laban, and one of the core members to whom Laban had entrusted the responsibility of guarding the system and overseeing its further development.
She has served as President of ICKL since 1987. Ann Hutchinson Guest is author of several notation textbooks and many ICKL technical papers. Labanotation, her major work, has largely contributed to the radiance of the Laban system in the English speaking world.
Zhi-Wei Jing [井志伟] is a lecturer in the School of Humanities and Social Sciences at Beihang University, China. She received an MFA from Peking University. Her research interests are dance theory and practice, dance education, aesthetics of dance, and human movement analysis. She teaches “Dance Appreciation”, “Introduction to Dance Aesthetics”, and “Movement Analysis and Practice” at Beihang University. She is a member of China Dancers Association.
Chommanad Kijkhun gained her PhD in Thai Dance from Chulalongkorn University and received royal commissions as Full Professor in 2013. She was selected by SPAFA to study Labanotation course with Rhonda Ryman, Dr. Chua SooPong, Judy Van Zile, Ilene Fox, Luo Bing Yu and Zhang Ling Ling. She applied Labanotation for The Essence of Thai Male Classical Dance and The Creation of Thai Dance Notation researches.
She was Dean and Head of master’s degree program in Performing Arts at Suan Sunandha Rajabhat University (SSRU). In 2009, she was the onsite organizer of the 26th ICKL Conference, held at SSRU. Since 2015 she retired from SSRU.
Currently, she is an assessor of academic research for lecturers from all over Thailand to receive academic status in performing arts and also takes a position of Civil Servant subcommittee in both public and private universities.
KLEINROK Aleksandra (1985). PhD in Historical Musicology in 2017 with a dissertation Warsaw’s 19th-century Salon as a Site of Cultivating National Musical Traditions (Institute of Musicology of the John Paul II Catholic University of Lublin). She holds a degree in Musicology from the University of Warsaw (2009) and a postgraduate degree in Dance Theory at the Fryderyk Chopin University of Music (2011). In 2013, she completed training at the Institute of Choreology in Poznań, led by Prof. Roderyk Lange and Urszula Loba-Wilgocka (MA). She has published articles on dance theory, Silesian culture, the concept of cultural borderland, and aspects of time and rhythm in Polish folk art. She is a member of the Polish Choreology Forum, the Polish Seminar in Ethnomusicology and the Warsaw Laboratory of Kinetography.
Henrik Kovács is an associate professor at the Hungarian Dance Academy, teaching kinetography, and folkdance methodology. He earned his first degree at the Szent István University as a rural development agriculture engineer, exploring how a folkdance ensemble could develop a local community. He subsequently obtained his BA and MA at the Hungarian Dance Academy in relation to the teaching of folk dance. As a former deputy head of a dance elementary school he graduated as a public education leader at the Budapest University of Technology and Economics. He completed his PhD in ethnography at the University of Debrecen. Kovács has been an amateur folkdancer from the age of 6, and a teacher from the age of 14 as assistant one of the best amateur folkdance ensemble in Hungary. He participated in the Leonardo, Euroesthetica program and is the author of several articles on dance methodology and kinetography.
Vincent Lenfant currently studies kinetography Laban in the proficiency cycle at the Conservatoire de Paris (CNSMDP). During his notation course at the Conservatory, he restaged Totem Ancestor by Cunningham, solos from The Green Table (the Death and the Profiteer) by Kurt Jooss, choreographies by Jean Cébron (I am alone with the beating of my heart, Starting point and an excerpt of Espace) and some exercises taught by Gundel Eplinius. He also notated works by Rachid Ouramdane and Emio Greco. In 2016, Vincent Lenfant obtained a Master in dance studies (Université Paris 8). In his thesis/dissertation, he analyzed how the Lyon Opera Ballet restaged One Flat Thing, reproduced by William Forsythe in 2014.
ICKL Board Member, 2016-2019
Professor of Dance in the School of Performing Arts and Catalyst Fellow of the Institute for Creativity, Arts, and Technology at Virginia Tech. She received an EdD from Columbia University where she was a Teachers College Fellow and Certifications as Professional Notator, Labanotation Teacher, and Laban Movement Analyst from the Dance Notation Bureau. She currently serves on the DNB Board of Directors. Dr. Lepczyk is an ICKL Fellow and recently completed two terms as Chair of the Board of Trustees. She is co-editor of five volumes of Dance: Current Selected Research and is a member of the Review Boards for Journal of Movement Arts Literacy and The Virginia Journal. Her scholarship is in movement analysis, dance style research, and digital choreography.
Marisol Limón Silicéo is a dancer, teacher and dance researcher. She graduated from the National School of Folk Dance as Bachelor and Professional Dancer in Folk Dance, is a Certified Specialist in the Language of Dance (LOD), and is part of the LODC Mexico team. She has participated as a teacher and choreographer in the professional training in Folk Dance at the National School of Folkloric Dance and the School of Fine Arts of Chimalhuacán. She coordinates the Dance courses in the Bachelor of Arts and Humanities at the Artistic Education Center of the National Institute of Fine Arts of Mexico.
Beginning 2017, Liu has served as a dance teacher, researcher and interdisciplinary artist at Jiang Nan University. She holds a BA from the department of dance at Wuhan Conservatory of Music and received an MFA in costumes, culture, and dance performance. Liu is certificated in Elementary Motif Notation by the DNB, and has completed the Introduction to Laban Movement Analysis course offered by LIMS in 2018.
Since 2007, she has been using Labanotation in both research and practice. She has hosted numerous Laban-related research programs and published four articles related to Labanotation in the Beijing Dance Academy Journal and in other Chinese journals as well. In her dance lessons, she uses Labanotation as a main method of analysis and movement creation as a means of better understanding the structure of the human body and her dancer’s movements, consequently introducing more students to Laban and the Labanotation system.
Anaïs Loyer studied notation at the Conservatoire national supérieur de musique et de danse de Paris (CNSMDP) and graduated in May 2017. She received a Master’s degree from Nice University, her thesis explored how a notation score can allow space for the dancer’s interpretation and the choreographer’s creativity. She teaches notation and Motif notation at Nice University.
ICKL Board Member, 2019-2022
Certified Labanotation teacher and stager; Currently Director of Library Services at the Dance Notation Bureau (DNB). Mei holds an MFA degree in Dance Performance and Labanotation from The Ohio State University, a BA from Hunter College, City University of New York, and an AA from Tainan University of Technology, Taiwan. Mei has taught Labanotation and Motif Notation both in the U.S. and China. She serves as one of foreign notation experts at Beijing Normal University Laban Research Center.
Her publications can be seen in the DNB Library News, Dance Chronicles: Studies in Dance and the Related Arts, Performing Arts Resources and Journal of Beijing Dance Academy. She has also implemented and launched DNB library projects, including Online Digital Archive, DNB Notated Theatrical Dances Online Catalog, and Library Guidelines for Codifying DNB Score and Cataloguing Terminology.
Lidia Luis González holds a degree in Ethnochoreology. She is professor of the Faculty of Arts of the Degree in Ethnochoreology of the Benemérita Autonomous University of Puebla, Mexico since 2012, and dancer of the traditional dance company XANAT of the Benemérita Autonomous University of Puebla since 20010.
She certified in Language Of Dance (LOD), level 1 in 2012 and level 2 in 2015.
She did collaborate to the international thematic network Sound Kinetic Identities and Diversities: Matachines generic complex and its identity practices in various cultural regions of Mexico and the southern United States in 2015.
Since 2016, she currently collaborates with Etnocoreología Radio [Radio Ethnochoreology] for the project “People Dance and Tradition”.
MA Yu [马昱], PhD, Associate professor，Graduated from the Dance Deparement, Art and Communication College, Beijing Normal University. Dr. Ma was invited to New York by the Martha Hill Dance Fund. She is currently on the faculty of the Dance Department, Xi`an Conservatory of Music, Shaanxi province, China.
Marcus Vinicius Machado de Almeida is Professor at the Federal University of Rio de Janeiro (UFRJ), in the Department of Body Art at the Physical Education School where he teaches “Philosophy and Dance”, “Music and Movement” and “Notation for Dance”. He holds a Master in Visual Arts from the Federal University of Rio de Janeiro, and a PhD in Physical Education from the State University of Campinas. He received a postdoctoral fellowship in Psychology from the Fluminense Federal University and was certified in Laban Movement Studies (CMA) by the Laban/Bartenieff Institute of Movement Studies (LIMS). He has completed Labanotation courses at the Dance Notation Bureau. He also serves as Coordinator of the Bachelor in Music Therapy (UFRJ).
Paloma Macías Guzman, PhD, is a spanish dancer, teacher and researcher. She studied Spanish dance with Ana María Sánchez, Manolo Vargas and Mercedes Amaya. She is a CMA and a certified specialist in Language of Dance. She teaches theoretical and practical subjects at the National Institute of Fine Arts. She has created reading excercises and a record of Oscar Tarriba ́s Spanish dances using motif writing. She is a founding member of the Centro Mexicano de Estudios Coreológicos A.C.
Sheila Marion is a fellow of ICKL and taught Labanotation at Arizona State University and The Ohio State University. She was Director of the Dance Notation Bureau Extension at OSU from 1995 to 2007. She is currently retired and living in Montana.
After completing a Bachelor of Music degree at Victoria University of Wellington (New Zealand), Keith McEwing studied various forms of dance, including Baroque dance with Wendy Hilton and Jennifer Shennan. Becoming proficient in the Baroque dance notation system Beauchamp–Feuillet, he then studied with Roderyk Lange at the Centre for Dance Studies (Jersey Is.) in 2008 and at Fundacja Instytut Choreologii (Poznan) in 2009. Keith is a music curator at the National Library of New Zealand, and teaches Taiji Quan as well as Renaissance, Baroque, Ballroom and Latin dance. In 2008-09 he completed a Master of Arts thesis on the Baroque-dance form, the Chaconne.
Beth Megill is a professor at Moorpark College with a specialty in modern, jazz, choreography, improvisation and dance notation. She founded Megill & Company in 2001 with her sister Heather and has produced four original musicals and ten evening length dance programs. The mission of MeCo is to create dance works that are vibrant, quirky, meaningful, intellectual and entertaining. Beth is also active in CDEA and NDEO, frequently presenting on dance literacy and jazz dance pedagogy. She is founder of LAdancereview.org and enjoys tweeting about life, dance and art at @bethmegill.
Gábor Misi is a computer programmer MSc. He was a performer in an amateur traditional dance group in Hungary for 15 years and led field works filming dance in 20 Transylvanian villages. He taught Kinetography Laban for 5 years at the Hungarian Dance Academy. He is a contributor of the Institute for Musicology of the Hungarian Academy of Sciences. He is a fellow member of the International Council of Kinetography Laban (ICKL). He is a member of the International Council for Traditional Music (ICTM) Study Group on Ethnochoreology and a founding member of the Hungarian Society of Ethnochoreology. His research areas include analytical methods for Central European traditional dances, theory of Kinetography Laban and computer-aided dance analysis
ICKL Newsletter Editor
Born in Istanbul, Sungu Okan graduated from Mimar Sinan Fine Arts University State Conservatory Ethnomusicology and Folklore Department. She completed her masters degree on 2007 with a thesis on “Iraqi Turkmen’s Socio-Cultural Relations with Turkey and It’s Musical Reflections”. She produces and hosts classical music programs, writes concert program notes and attends ethnomusicological fieldworks at the Balkans and several regions in Anatolia. Okan is a lecturer at MSGSU Istanbul State Conservatory. She started learning Labanotation via courses of DNB with Mei-Chen Lu. She attended the 2015 Conference of ICKL in France. In 2017, she has been given a scholarship from the Embassy of France in Turkey and she attended Noëlle Simonet’s Laban Notation class at CNSMDP.
Performer, pilates and dance teacher, work with adults and children. Master’s Degree in Tourism and Recreation, Postgraduate Studies in Theory of Dance – the Frederic Chopin University of Music. Finished Choreology and Kinetography workshops – the Institute of Choreology. Member of Warsaw Laboratory of Kinetography, Member of the Polish Forum of Choreology. Graduated internship The Ex Nunc: Ex Nunc Centrum voor Moderne Dans Den Haag – training methods and techniques of Laban Based Modern Dance and Laban Movement Analysis.
She is a choreographer and movement researcher based in Essen, Germany. She studied dance at the Folkwang Hochschule (2005-2009). In March 2013 she obtained her MA in Dance Composition specializing in Movement Notation/Movement Analysis after two and a half years of study with Dr. Henner Drewes (Institute of Contemporary Dance, Folkwang University of the Arts). Her choreographic handwriting ranges between abstract and theatrical narrativity of movement. One of her strongest interests is the synergy among fields of creativity and knowledge, which she pursues in her own projects, e.g. the dance theatre piece Body of Word (2011) and the multimedia dance performance/artistic research project as far as abstract objects (2014).
Intermedia Master’s student at Concordia University in Montreal, Laure Plan is a digital artist who mainly creates interactive installations.
After 12 years of amateur contemporary dance, her relationship with the body and movement has influenced her artistic work towards a walking practice in the urban space, from wandering to random displacements, and has divided her research into 2 axes.
The first is based on the body trace, the movement retranscription, its writing, its documentation (new types of maps, choreographic scores, etc).
The second focuses on traces made without knowledge. Our movements are constantly tracked and located via GPS then analyzed by algorithms in order to anticipate our behaviour. What happens when technology fails or has no signal? What does it mean to be “here”?
Richard Allan Ploch, MA, RDE, Artistic Director of Acanthus, a chamber-sized Ballet Company and Adjunct Faculty of Dance at Hillsborough Community College and University of Tampa in Tampa, Florida, has been teaching ballet for over 40 years. He received his MA in Dance specializing in Labanotation from Ohio State University. He is a Certified Teacher of Labanotation and Labanotation Stager. He includes as his mentors and principle teachers: George Zoritch, Nenette Charisse, Peff Modelski, John Calandar, Rosalind Pierson and Ruth C. Petrinovic. An active choreographer, he currently devotes most of his choreographic energies to Acanthus. Ploch is active in several international dance organizations.
Hanna Raszewska-Kursa (1982) – dance theoretician and critic, freelancer. Graduated Postgraduate Studies in Theory of Dance at the Fryderyk Chopin University of Music. Graduated the Choreology and Kinetography training workshops at the Institute of Choreology (Poznań) led by Prof. R. Lange and Mgr U. Loba-Wilgocka. Ph.D. candidate at the Institute of Art of the Polish Academy of Sciences. Member of the Polish Forum of Choreology and the Forum of Dance Art Communities Association. Chairwoman of the “Thought in the Body” Foundation [Fundacja “Myśl w Ciele”], leader of main program: Warsaw Laboratory of Kinetography [Warszawska Pracownia Kinetograficzna]. Main interests: dance theory, movement studies, Kinetography Laban, 20th-21st Century Dance History.
firstname.lastname@example.org [Fundacja “Myśl w Ciele]
Michael Richter is a Language of Dance® (motif notation) Certification Specialist and an authorized Sensory Awareness leader. He cofounded and directed Move, Dance, and Yoga, which provided dance integration and professional development residencies to 40 elementary schools in Los Angeles. Michael was a professor of Creative Dance at California State University, Northridge and returning faculty for the Curriculum-in-Motion program at Jacob’s Pillow Dance Festival in western Massachusetts. He is currently co-developing and co-teaching the online Language of Dance Master Practitioner certification series, in addition to the Dancing Reading Online group, for international teachers and choreographers.
ICKL Treasurer, 2016-2019
Rachael Riggs Leyva is a dance director, notator, scholar, and teacher. She earned her MFA in Dance Directing, and received PhD in Dance and Literacy Studies at The Ohio State University. She holds Advanced Theory and Intermediate Teaching certifications through the Dance Notation Bureau, and is teaching faculty for the Teacher Certification Course in Labanotation. Riggs Leyva notated the first Labanotation score of Trisha Brown’s choreography, a duet from M.O.. Her research explores novel approaches to documenting and archiving dance. Riggs Leyva has taught and staged works from score at The Ohio State University and Denison University.
Agustí Ros (Barcelona 1952). Actor, dancer, choreographer. Dance and Kinetography Laban teacher. Currently is retired since 2018. Degree in Dramatic Art (acting) by the Institut del Teatre Barcelona and in Fine Arts (painting) by the University of Barcelona. He has participated as a choreographer and motion consultant for actors and dancers in dance, opera, theater, cinema and television. PhD ‘Performing Arts’ program at the Department of Catalan philology at the Autonomous University of Barcelona. He was professor of Kinetography Laban at the Superior Dance Conservatory of the Institut del Teatre (Barcelona, Spain) 2002-2017, and Superior Dance Conservatory of Alicante (Alicante, Spain) 2003-2017.
ICKL Research Panel Member, 2018-2021
Leslie Rotman has notated 24 dances and staged over 20 productions from score. Her notation credits include 4 works by George Balanchine, 3 works by Antony Tudor, 5 works by Laura Dean and dances by other notable choreographers such as Mary Wigman, Martha Graham, and Murray Louis. Several of her scores have undergone the rare DNB certification process, during which she was privileged to have worked through the rigorous theoretical checking with distinguished notators Ann Hutchinson Guest, Mária Szentpál, Muriel Topaz, Odette Blum, Ray Cook and Ilene Fox. On the staging side, Leslie has set works for prominent companies such as Hamburg Ballet, Frankfurt Ballet, Rose Ballet of Tokyo and Kansas City Ballet as well as for many universities and regional companies. Leslie was with the DNB for 24 years, eventually becoming Director of Staging. She taught all levels of Labanotation including Advanced Theory and Professional Notator Training. She was head of The Antony Tudor Project and co-chair of the Artistic Advisory Committee. Leslie is a Certified Professional Notator, holds a BA from Adelphi University and an MFA from Sarah Lawrence College.
He has a MA in Dance Research in Dance Research in the CENIDID (Centro Nacional de Investigación, Documentación e Información de la Danza José Limón) and a BA in Folk Dance from the National School of Folk Dance. He has danced with various Folk Dance Groups in Coahuila and Mexico City, and with them traveled to various states in Mexico and the United States. He was a member of the Association of Folk Choreographers of Mexico (2005 to 2012). With the Sound Library of the Instituto Nacional de Antropología e Historia (INAH) he collaborated in the issue of the discs 55 and 57, where he worked with Dr. Jesús Jáuregui, an Anthropology specialist in the field of Mariachi.
Hannah Russ earned her B.A. degree in Dance and Chinese Area Studies from Kenyon College in 2018, where she found a deep interest in the use of Labanotation as a tool for movement preservation, research, and the creative/choreographic process. She has since earned certification in elementary and intermediate Labanotation and completed the Teacher Certification Course in China following the 2017 ICKL conference. After receiving a Fulbright Student Research/Study grant following graduation, she enrolled as a Student at the Nanjing University of the Arts where she spent 10 months conducting research on Labanotation in China. This past year, she became the Administrative Associate and Library Newsletter Editor for the Dance Notation Bureau.
Rhonda completed advanced studies in Labanotation in 1983 and was elected Fellow of ICKL in 1989. She served as Canadian Consultant to SEAMEO SPAFA (1991-1995), conducting a series of workshops in South East Asia to assist local artists in documenting regional dance forms. She has staged works including Doris Humprey’s Partita and Ann Hutchinson’s reconstruction of Nijinsky’s L’Après-midi d’un faune, and has authored and edited numerous publications on dance technique and repertoire including dictionaries on RAD and Cecchetti vocabulary, working with artists and educators in Toronto, New York, London, and SE Asia. Her recent research uses DanceForms computer animation software to represent dance movements and repertoire. In 2010 she retired from the University of Waterloo, Ontario, Canada, where she taught for over thirty years. Most recently she co-authored Benesh for Ballet, a series of ebooks available in from Apple iBooks.
Shelly Saint-Smith MFA, BA (Hons), is a Senior Lecturer in Dance Studies at the Royal Academy of Dance (RAD) in London. She has been actively involved with ICKL since 2005; she became a Fellow of ICKL in 2006 and served as Chair of the Research Panel from 2008 to 2011. Shelly has presented her own research at the 2007, 2011 and 2013 ICKL conferences, as well as in the UK and Europe. Shelly studied Labanotation and directing from score at the University of Birmingham, UK, and The Ohio State University. She is Programme Manager of the MA in Education (Dance Teaching) at the RAD, teaches notation and Laban studies to undergraduate and postgraduate students, and directs excerpts from dance works for undergraduate modules in performance. She also works with the Dance Notation Bureau as a mentor for Advanced Labanotation students completing their score reading projects in London. In 2010 she was awarded funding to begin the process of documenting and preserving the RAD’s Karsavina Syllabus and is currently notating the fundamentals of flying trapeze.
Machiko Sato is a dancer and dance researcher, as well as a postdoctoral research fellow of Ochanomizu University, Tokyo, Japan. Her activities and research focus on methods of theatrical dance’s choreography.
-Historical theater dance studies mainly focus on choreography in the early 20th century
-Notation studies, especially Kinetograhy Laban, Stepanov and Nijinsky’s music note system
-Digital movement representations (notation-based 3D animation and robotics as collaborative research)
She studied dance history, aesthetics, and dance notation at the graduate school of Ochanomizu University and the Dance Notation Bureau. In 2019, she received her doctorate from the Ochanomizu University on the topic of “Vaslav Nijinsky’s Ideas on Dance: Based on the Choreographies of L’Après-midi d’un faune (1912), Jeux (1913), and Le Sacre du printemps (1913) under the supervision of Prof. Dr. Yayoi Izaki.
Since 2019, she has been received a fellowship from Ochanomizu University on the topic of “Analysis of Nijinsky’s Body Formative Method: A New Era of 20th Century Ballet in Dance Notation”. From 2018 to the present, she has also been involved in digital representing dance and movement as collaborative research with information science technology and robotics under the direction of Prof. Dr. Katsushi Ikeuchi, robotics research manager at Microsoft Research.
Kyung-Eun Shim is an adjunct professor at the department of dance of the SEJONG University in Korea. In 2016, she completed her PhD with “Groupe de recherche Apprentissage et Contexte” (GRAC), an interdisciplinary research group, at École des hautes études en sciences sociales (EHESS) in France. Earlier, she studied Laban notation at the Conservatoire national supérieur de musique et de danse de Paris (CNSMDP) and graduated (proficiency diploma) in 2008. Her main research interests lie in the fields of dance theory, motion analysis and dance education.
Dancer and teacher, she has been teaching Kinetography Laban at the Conservatoire national supérieur de musique et de danse of Paris since 2000, after her own studies with Jacqueline Challet-Haas in the 1990s. She has been a Somatic Movement Educator in Body Mind Centering® since 2012. She builds different projects dealing with notation with her company Labkine (www.labkine.com), making bridges between creation, research and pedagogy. She has realized in collaboration with Lise Daynac two DVD to give a global approch of the Laban system to all people interested by motion study, by its analysis, its exploration and its interpretation. She is Fellow of ICKL.
Dancer, researcher, performer, lawyer, interpreter. While working with the body she seeks inspiration in the movement awareness techniques, theatre pedagogy and within her kids. In those seemingly distant areas she juxtaposed and embraced perfectly. Skoczelas proves that one can be creative in every area of interest. Hence the means and skills acquired on the job may be perfectly blended into the forms of her artistic expression. Took part in projects in Poland and abroad. Membership: Polish Choreology Forum, Warsaw Laboratory of Kinetography, ICKL. Skoczelas examines the relationships between the ordinary means of everyday communication and the movement.
ICKL Board Member, 2018-2021
MFA Supervisor and Executive Deputy Director at China Laban Research Center in the School of Dance at Beijing Normal University, received her BA and MA from Beijing Dance Academy. Her teaching and research areas include Chinese folk dance, Labanotation, and Laban movement analysis. Yi began her career as a professional Chinese folk dancer. In 1994 and 2000, Yi was the champion and runner-up for the 4th and 6th Taoli Cup Dance Competition, Folk Dance, Youth Group. After obtaining her MA in 2007, Yi became a lecturer at the School of Dance at Beijing Normal University. From 2007, Yi studied Labanotation with Bingyu Luo, one of the pioneer Labanotation scholars in China, and later on with the Dance Notation Bureau. Yi has had several articles on Labanotation published in Journal of Beijing Dance Academy, International Creative Dance Forum and Art Criticism and was one of the translators of the Chinese version of Labanotation (authored by Ann Hutchinson, published in China in 2012). For the past years, Yi has been actively involved in ICKL and was the onsite organizer of the 30th ICKL conference in Beijing in 2017.
Yiran Tang [汤怡然] is currently an undergraduate student at The Nangjing University of the Arts (NUA), majoring in “choreology’, the study of dance history and writing of dance criticism. She attributes her interest in Laban studies to the famous Chinese dancer, Dai Ailian. Some relatively short time ago, in her dance history class, her teacher spoke about how Dai Aillian had devoted herself to the research and promotion of Labanotation in China, igniting Tang’s curiosity about the subject. As a result, she began to study more about Laban and Labanotation. At the end of 2018, she completed two of the three LIMS Certification Program introductory courses: Introduction to Bartenieff Fundamentals and Introduction to Laban Movement Analysis. Starting this year, she began learning Elementary Labanotation.
ICKL Research Panel Member, 2016-2019
Born in Taiwan in 1970, began classic and Chinese traditional dance at an early age. She studied at the Chinese Culture University in Taiwan then went in France to study Kinetography Laban at Conservatoire national supérieur de musique et de danse de Paris (CNSMDP), with teacher Jacqueline Challet-Haas and tutor Marion Bastien. She graduated in 1997. She currently is a Labanotator with one of the top dance companies in Taiwan, the Neo-Classic Dance Company, led by Liu Feng-Shueh. Since 1997, she has notated for the company historic reconstructions of ancient dance from the Tang Dynasty (The Joy of Drinking a Toast, PaTou) and modern artistic creations (The Rite of Spring, Ambushed From All Sides, Spark, Figurines, Vast desert, solitary smoke rises straight). Tsui has been an ICKL member since 1995 and a Fellow since 2011.
Judy Van Zile is Professor Emerita of Dance at the University of Hawai‘i at Mānoa. She holds advanced and teacher certification in Labanotation, and is a Fellow of ICKL. Her research, which often includes Labanotation scores, focuses on dance in Asia (particularly Korea), movement analysis, and issues of identity. She has presented at national and international conferences, and has published widely in books and journals. Her volume Perspectives on Korean Dance (2001) was recognized with a 2003 Outstanding Publication Award from the Congress on Research in Dance, and in 2017 she received a special award from the Korean Dance Critics Society for research on Korean dance and for work to disseminate information about Korean dance outside of Korea.
ICKL Research Panel Member, 2016-2019
Victoria Watts, Chair of Dance at Cornish College of the Arts and newly elected as a Fellow, is a dance educator, scholar and activist whose professional engagements have spanned Europe, North America, and Australia. She holds a PhD in Cultural Studies from George Mason University, an MFA in Dance from The Ohio State University, and a BA (Hons) Dance in Society from the University of Surrey. She is certified to Advanced level in Labanotation and Benesh Movement Notation. Her doctoral thesis combined her interests in visual culture and theories of embodiment with a comparative analysis of four scores of Balanchine’s Serenade in an investigation of the ways movement notation systems encode changes in embodied subjectivity. She has published on notation in Dance Research and Dance Chronicle.
Lynne Weber, Executive Director and Board Chair of the Dance Notation Bureau since 2005, is a Certified Notator, Reconstructor, Teacher, (Elementary-Professional levels), and Certified Movement Analyst (CMA). She notated works of Tudor, Massine, and Joffrey, and full-length Sleeping Beauty. She danced with the Milwaukee Ballet Company and modern, opera, and operetta companies and choreographed for the Public Theater. Lynne earned an MBA from the Wharton School, an MSE in Computer Science from the University of Pennsylvania, and a BFA in dance from the University of Wisconsin, Milwaukee and was Adjunct Faculty in Information Technology, Touro College.
ICKL Vice Chair, 2019-2021
She serves as Associate Dean, College of Arts and Sciences, Director of Ohio State University’s Urban Arts Space, and Executive Director of The Arts Initiative overseeing the institution-to-institution partnership between Royal Shakespeare Company and Ohio State, and the Town and Gown Advisory Committee for the Arts. She is Professor of Dance, received her BFA from The Juilliard School, her MFA and PhD from Texas Woman’s University, is a Certified Professional Notator and Teacher, and ICKL Fellow. She serves on the Board of Trustees of the Dance Notation Bureau in New York City, New York; International Council of Kinetography Laban Labanotation; and Opera Columbus.
Si-Hyun Yoo, MA, PhD, is a Certified Movement Analyst as well as a certified Labanotation teacher. She studied Korean dance at Ewha Womans University in Korea, and Motif Writing and Labanotation at The Ohio State University. She received her PhD in Art Education at the OSU with Manuel Barkan Dissertation Fellowship Award in 2000. She has notated a number of traditional Korean dances and taught at many Korean Universities. She worked on the national research project “Oral History of Korean Arts” for the Korea National Archives of the Arts, and served as a head researcher at The Korea Dance Resource Center. She is a co-founder of the Korea Laban Movement Institute in Seoul, Korea, and currently works as the Director of Education at the Laban/Bartenieff Institute of Movement Studies in New York.
Yang Zhao [赵阳] is currently engaged in a PhD in education in Scottish country dancing at the University of Edinburgh. She graduated with Cohort Choreomundus – International Master in Dance Knowledge, Practice, and Heritage in 2018. While enrolled in an MSc in Dance Science and Education at the University of Edinburgh in 2016, she was actively engaged in learning Scottish dancing.While completing a BA in Dance at Beijing Normal University, she authored “British Dance Science Education System and Inspirations,” Minzu University of China Press (2015). Her passions include dance education, as well as cultural and anthropological theories related to movement.