Membership Directory

Vesna BAJIĆ Stojiljković, PhD is a professor of choreology at the Academy of Dance AMEU,  Slovenia and professor of ethnochoreology, Laban kinetography and choreographic composition at the Belgrade Dance Institute, Serbia. She is a founder and artistic director of the Academic Cultural-Artistic Association Kolo in Koper, Slovenia. She is a co-author of two monographies about Serbian well-known choreographers Desanka Desa Đorđević (2014) and Branko Marković (2017). She published PhD in 2019 named Stage Folk Dance and Music. Processes of (re)defining structural, dramaturgical and aesthetic aspects of stage presentation of traditional dance and dance-music in Serbia (Institute of Musicology SASA). Her research interests include: structural and formal dance-music analysis, notation of kinetic and space composition, stage folk dance and music. She is a member of ICTM and ICKL.

Mark Bankin is a choreographer, Fulbright Scholar, and dance archivist based in New York. He has a Masters degree in Kinetography Laban from the Conservatoire national supérieur de musique et de danse de Paris (CNSMDP), is the first foreigner permitted to study dance at the National Minority University of China where he contributed to reporting that exposed the Uyghur genocide, and spent the past five years creating an award-winning movement notation archive of an endangered dance called Gorshay with the Tibetan Diaspora. He has worked as a Butoh dancer in Japan, studied at the Pina Bausch School in Germany, and is a commissioned choreographer with New York Foundation for the Arts. He currently works as a movement notator with Core of Culture’s Bhutanese Dance Archive and teaches yoga specializing in supporting people with brain/spinal injuries, strokes, and chronic illnesses.

ICKL Chair, 2024-2027

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.

Research Panel Member, 2021-2024

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
https://www.epodium.de/epodium-digital/e-zine/

[Photo: Andreas Kurz]

Research Panel Member, 2023-2026; Research Panel Chair 2024-2026

Julie Brodie, Professor of Dance at Kenyon College, earned BFA/MFA degrees at the University of Illinois, and she completed Labanotation studies at Ohio State University. Brodie is a Certified Movement Analyst and a Fellow of the International Council of Kinetography Laban.  Brodie stages dances from scores, and she has presented her work, taught, and performed internationally. Brodie was a 2010 Fulbright Scholar in Egypt and a 2016 Fulbright scholar in Rīga, Latvia.  She has published in The Journal of Dance Education, The Journal of Movement Arts Literacy and is co-author of the book Dance Science and Somatics:  Mind-Body Principles for Teaching and Performance. Brodie was awarded the Kenyon College Trustee Teaching Excellence Award for senior faculty in 2022.