Membership Directory

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.

ICKL Assistant Treasurer, 2018-2021,
ICKL Research Panel Member, 2024-2027

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.

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.

My name is Balázs Lőrincz, I live in Hungary. I am a student of the Hungarian Dance University, studying in the folkdance specialization of the Dancer and Coach BA program, this is where I first met with Laban kinetography. I have been dancing before, in amateur folk dancegroups. I started dancing in Szolnok, Hungary, in the art education institution of my elementary school, in third grade.

In the Hungarian Dance University I am studying dance notation from Nóra Oláh mainly, but it is a reoccuring topic in the lessons of Dávid Dudás, Henrik Kovács and Péter Lévai, also we learn with the help of János Fügedi.

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).

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.

Dharakorn Chandnasaro studied Thai theatre and dance, ballet, and contemporary dance at Srinakharinwirot University in Bangkok, Thailand. In 2015 he received his Dr. Fine and Applied Arts degree in Dance and Performance from Chulalongkorn University in Bangkok, Thailand. He also completed certificates in Elementary and Intermediate Labanotation from Dance Notation Bureau in New York, USA. His research interested are creative dance, dance notation, movement analysis, ethnochoreology, Thai theatre and dance, Southeast Asian dance, and gender diversity performing arts. Currently, he is an Assistant Professor and Chair of Department of Dance, Faculty of Fine Arts at Srinakharinwirot University in Bangkok, Thailand.

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

ICKL Treasurer, 2024-2027

Estelle Corbière studies Kinetography Laban with Noëlle Simonet in Conservatoire national supérieur de musique et de danse de Paris (CNSMDP). She graduates in 2010. In 2013, she collaborates with the directors Marion Crépel and Bertrand Guerry for the documentary Écrire le mouvement, which presents different uses of notation in the choreographic, educational and therapeutic fields. She was awarded grants by the Centre National de la Danse (France), Support for Research and Heritage in dance, for the notation of the choreographies of Olivier Dubois, Révolution in 2013 and Tragédie in 2014. She recreates Les Caractères de la danse of Francine Lancelot, based on the score written by Béatrice Aubert, for the piece Caractères of Bruno Benne. She has been teaching Kinetography Laban at the CNSMDP since 2021.

Professor Emerita of Dance, University of California, Irvine. Certified Professional Labanotator and Teacher. Notator of works by Balanchine, Robbins, Graham, Limón, McKayle, Jean Erdman, Daniel Nagrin, Joyce Trisler, Isadora Duncan, and others. Notator for the American Dance Legacy Initiative, ADLI’s New Dance Group Project, 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. Reconstructed works by Humphrey, Weidman, Holm, Tamiris, Nijinsky, Humphrey, Eugene Loring, David Parsons, and Eve Gentry. Fellow of ICKL since 1991.  Research Panel member 1991-1995.

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]

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, MFA, MA, is an Assistant Professor of Dance at Kent State University. She has worked in the dance field for over thirty years and remains passionate and committed to providing a positive impact on dancers, teachers and the community. She is the former Director of Education, Equity and Community Engagement for BalletMet and BalletMet 2 Associate Director. Ambre brings her acknowledged kinship with dance, yoga, meditation and mental health to her practices. She has reconstructed dozens of dances from Labanotation scores, most recently George Balanchine’s “Three Themes” from The Four Temperaments and Rainbow Etude choreographed by Donald McKayle. She is certified to teach Labanotation. Her additional research focuses on British sociability and 19^th century ballroom dances.

Research Panel Member, 2023-2026

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’Après-midi d’un Faune for the Oakland Ballet. She currently resides in San Jose where she teaches Contemporary Dance at San Jose Dance Theatre.

ICKL Treasurer, 2024-2027

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.

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.

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; Research Panel Member, 2024-2027

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.

Research Panel Member, 2024-2027

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).

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.

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.

Jian Kim is a professor in the Department of Dance at Sangmyung University in Korea, where she teaches Korean Dance and other dance programs. Courses which she deals with include Fundamental Principle of Korean Dance, Korean Dance and Performance Curation Practice, Arts Research for Korean Dance. Jian Kim has operated two projects. First, since 2017, she has operated school art instructor project which supported by Ministry of Culture, Sports and Tourism. Another project is about life cycle dance education supported by the Ministry of Education. Specifically, research is being conducted on the development and implementation of dance programs for the life cycle for infants, children and adolescents, adults, the elderly, and the people with disabilities. She is the lead author of Introduction to Arts and Culture Arts Education and she also translated Dancer Wellness which is originally published by Virginia Wilmerding in the US . Jian Kim is the vice-president of the Korean Society of Dance Studies, the editor-in-chief of the Society of Korean Dance Studies, and the associate editor of the Research in Dance Physical Activity. She is the artistic director of THE Dance: MAC and she is successor of National Intangible Cultural Heritage No. 92 Taepyeongmu and Seoul Intangible Cultural Heritage No. 45 Hallyangmu.

Moonjoo Kim is dancer, performer, and choreographer who was born in South Korea. In Korea, she has won prizes in multiple competitions for the solo piece. She holds a Bachelor in dance from Korea National University of Arts (BA 2020). As a bachelor, she studied traditional Korean dance. During the exchange program at the Folkwang, she worked in the project with the Bochum Symphony Orchestra in 2018, as a dancer. In order to deal more with the body and movement, she has been studying dance composition (MA), majoring in movement notation/movement analysis at the Folkwang University in Essen since 2020. Since coming to Germany, she has worked with Consol Theater and Ehrenfeld Studios as a dancer.

KLEINROK Aleksandra (1985). PhD in Historical Musicology in 2017 with a dissertation Warsaw’s 19^th-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.

Zuzanna Kupidura – music teacher specialized in Émile Jaques-Dalcroze method, choreographer, and dance researcher. Graduated master’s studies in Rhythmics (2017) and Choreography and Theory of Dance (2019) at The Chopin University of Music. In 2016 graduated from the Choreology and Kinetography training at the Institute of Choreology (Poznań) led by U. Loba-Wilgocka. As a dancer and choreographer worked with The Jan Kochanowski Popular Theatre in Radom. Member of a Polish Forum of Choreology and Warsaw Laboratory of Kinetography. Lecturer at The Chopin University of Music (2017-2019) and The Academy of Music in Kraków (2018-2019). Rhythmics Department’s teacher at Karol Szymanowski Complex of State Music Schools No 4 in Warsaw.

Marius Ledwig, born on April 4, 1995 in Düsseldorf, Germany. After graduating in BA Dance at the Folkwang University of Arts in 2019, he is focusing on Movement Analysis and Movement Notation in the Master studies of Kinetographie. He has performed in productions at Musiktheater im Revier in Gelsenkirchen, Aalto Theatre in Essen and Wuppertaler Tanztheater Pina Bausch. Inspired by diverse aesthetics and the method of recontextualization he approaches holistic art forms.

Jung Min Lee is a university lecturer and dance researcher in Seoul, South Korea. She received a bachelor’s and master’s degrees in dance from Ewha Womans University and Ph.D. in Art from Sungkyunkwan University. She currently teaches “Theory of dance education” at Chungnam National University and continues her research with an interest in movement analysis, notation, and education of Korean dance. Her achievements include the publication of a Korean co-translation (2021) of Your Move written by Ann Hutchinson Guest & Tina Curran. She received a certificate of completion of Taepyeongmu (Great Peace Dance), a National Intangible Heritage, in 2010 and has inherited the dance so far. She is also a member of the Conservation Society of Taepyeongmu and the Institute of Kang Sun Young Dance Inheritance.

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.

Mónika Lisztes is a Hungarian performing arts manager and heritage professional. After obtaining her Bachelor’s degree in natural sciences, she completed a preprofessional program in contemporary dance and somatics in Budapest.
Her work to-date has focused on dance education and dissemination. Currently, she serves as the manager of the ZeroPlus Performing Arts Education program.
Her scholarly projects include the study of dance dictionaries to explore how ballet technique has been communicated to non-professionals. In her latest project, she is digitizing and creating an online edition of Albrecht Knust’s Dictionary of Kinetography Laban (Labanotation).

Beginning 2004, Liu has served as a teacher of modern dance technique, researcher and interdisciplinary artist at the department of dance in 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 Labanotation and Intermediate Labanotation by the DNB, and has starting CMA training by LIMS in 2018.

Since 2007, she has been using Labanotation and Laban Effort in both research and practice. She has hosted numerous Laban-related research programs, and published two monographs in China as well as more than ten academic articles related to Labanotation in the Beijing Dance Academy Journal and in other Chinese journals as well. In her teaching of modern dance, 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 to prompt training of modern dance technique, consequently narrate for more students to Laban movement theory and the application of Labanotation system.

Panagiota (Giota) Loukisa is a registered teacher of the Royal Academy of Dance (RAD) for the last 20 years, a Tutor and Practical Teaching Supervisor for the RAD’s CBTS and DDTS programmes, an associate teacher of classical ballet and modern dance of the Imperial Society of Teachers of Dancing, and a choreographer.

Giota holds a MA in Education (Dance Teaching) from the RAD and received the RAD Teaching Diploma and RAD Teaching Certificate.   She is certified in Elementary Motif Notation and Elementary Labanotation from the Dance Notation Bureau.  Her research interests focus on the links between dance notation and cognition. Giota is also a painter and holds a BA in International Economics and Finance by the Athens University of Economy and Business.

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, 2024-2027

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. Hungary, Mexico, and China. She serves as one of the 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, among others. 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.

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.

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, dance and pilates teacher, dance researcher.
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, led by Roderyk Lange) Member of Warsaw Laboratory of Kinetography, Member of the Polish Forum of Choreology. She is the author of article about Kinetography in polish publications.2012 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 scholarship holder in 2019 of the  Polish Ministry of Culture and National Heritage for her original project “Kinetography meetings”.

ICKL Board Member, 2022-2025 

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).

See https://vimeo.com/foteinipapadopoulou/

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) – Graduated Master’s Degree in Polish Literature Studies (the Warsaw University, 2006), a diploma of Postgraduate Studies in Theory of Dance (the Frederic Chopin University of Music, 2011), the Choreology and Kinetography training (the Institute of Choreology, 2011). In 2022 she defended with distinction her doctoral dissertation entitled “Comicality in Dance and Choreography Art in Poland in 21st Century”. Dance critic and researcher; freelancer. In 2011-2019 academic lecturer (Theories of Dance, 20th-21st Century Dance History). Member of the Polish Forum of Choreology, the Forum of Dance, the ICKL, founder of the “Thought in the Body” Foundation and the Warsaw Laboratory of Kinetography.
[Photo © Marta Ankiersztejn]

mysl.w.ciele@gmail.com [Fundacja “Myśl w Ciele]

Website: https://hannaraszewska.wordpress.com/in-english/

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.

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.
Leslie was recently Research Panel Member (2018-2021).

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.

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 post-doctoral researcher at Ochanomizu University, Tokyo, Japan. Her research focuses on theatrical dance and dance notation studies mainly in the 19-20^th century. Since 2018, she has been involved in conserving and restoring dance in the e-tangible heritage form as collaborative research with information science technology and robotics. She is the author of several articles, including “The Concept of ‘Plastique’ in Dance at the Beginning of the 20^th Century,” in The Journal of Japanese Society for Theatre Research (2021); “Digital Reconstruction of Ballet from Dance Scores written in Stepanov’s Music Note System,” in IPSJ SIG Technical Report (2021); “Dancing Robots: An Interview with Katsu Ikeuchi and Machiko Sato.” DNB Library News (2021).

Born in Cottbus/GDR in 1957.
Studied Kinetography Laban with Mária Szentpál from 1982 to 1989 and at Folkwang University 1991/92.
Study of philosophy, dance teaching, dance and theatrescience, musictherapy.
Taught Kinetography Laban at Theatreuniversity in Leipzig, University in Salzburg and Dance University Palucca School Dresden.
Worked as a notator at dance archive in Leipzig, State opera in Dresden and in Hannover.
Worked as movement teacher for educators and teachers, physio-/ergo-/ musictherapists, at the European Academy of Healing Arts (www.eaha.org).

Kyung-Eun Shim studied notation in France with Noëlle Simonet at the Conservatoire national supérieur de musique et de danse de Paris (CNSMDP), and graduated in 2008. She has notated works by Merce Cunningham, Thierry Malandain and a number of Korean traditional dances. After completing her master’s and doctoral degrees in art aesthetics at the Paris-Sorbonne University, she received her PhD at the École des hautes études en sciences sociales (EHESS) in France. She returned to Korea in 2015 and has taught at several universities in Seoul. She analyzed Taepyeongmu while teaching Kinetography Laban at the Traditional Graduate School of the Korea National University of Arts. She is a trainee of Cheoyongmu dance, registered in UNESCO as an intangible cultural asset of Korea. Her main work is research professor at Sejong University’s Sejong Dance Contents Research Institute. Her research domain is interdisciplinary and she is collaborating with the fields of ethno-anthropology, cognitive psychology and cultural technology engineering. She is also an international director of the Korea Dance Society, a director of the Korean Dance Education Association, and a researcher at the Korean Traditional Culture Research Institute.

Research Panel Member, 2021-2024

Noëlle Simonet is a dancer, notator, Somatic Movement Educator in Body Mind Centering and the artistic director of the LABKINE company. (www.labkine.com), From 1999 to 2021, she teaches Kinetography at the Conservatoire national supérieur de musique et de danse of Paris (CNSMDP). She collaborated on the creation of Wilfride Piollet books: Les Barres Flexibles and Synthèse des barres flexibles by notating all the exercises of her technique. With the help of 3 scholarships from the CND, she realizes: The choreographic score – Tool for transmission, tool for creation : #1 Floorplan, #2 Transfers and turns and #3 Body-Space. A new scholarship (2021) allows her to collaborate with Vincent Lenfant for the notation of Red Notes from Andy Degroat. She teaches for the « Advanced course in Labanotation » of the DNB. She is a member of the research panel ( ICKL).

Katarzyna Skiba – dance researcher and educator, a member of Warsaw Laboratory of Kinetography. She holds a PhD in cultural studies and MA in Indology from the Jagiellonian University in Krakow. Her doctoral thesis was focused on the issue of national identity in South Asian dance. She conducted several research projects, funded by the Jagiellonian University (Faculty of Philosophy), École française d’Extrême-Orient, National Science Centre (Poland) and Polish Ministry of Culture, National Heritage and Sport. She is an author of 15 scientific papers devoted to dance history, anthropology and aesthetics. She was trained in Kathak, Flamenco, Oriental Dance and American Tribal Style. Currently she works at the ‘Mazowsze’ National Folk Songs and Dance Ensemble.

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 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.

PhD. Choreographer, educator, dance historian, since 2008 teaches Dance Composition and Dance History at Jāzeps Vītols Latvian Academy of Music. Master’s degree in Choreography was received at JVLMA, has completed doctoral studies at Latvian Academy of Culture and has got PhD Doctoral thesis: “Modern Dance in Latvia in the First Part of the 20th Century”.
As a professional dancer and choreographer worked in different dance styles; was artistic director of dance company Allegro (1997-2010); with contemporary dance performances has participated in international dance festivals.
She has participated in several local and international scientific conferences and has published research articles. She is currently assisting to Julie Brodie in the Latvian folk dance notation project.

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, 2023-2026

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.

Dr. Lan Zhou
Founder of Red Dancing Star
Included in the Dictionary of 《Chinese Dance Educationists 》
China Central Television (CCTV) Guest of Honor

Zhou Lan graduated from Hangzhou Normal University majoring in Dance. Based on her love for dance teaching and child psychology research, she pursued a Master’s Degree in Applied Psychology (MAP) from the European University of Madrid and a Doctoral Degree in Psychology (PsyD) from the University of Durham, UK.

Dr. Lan Zhou founded the Hangzhou Red Little Dancing Star Art Troupe Dance Training School in 2012, and has been dedicated to children’s dance aesthetics for more than ten years. Author of the book 《Lighting the Light in the Heart》

She has also published several academic papers on psychology combined with dance teaching.