BA (Hons) Contemporary Dance

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

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

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

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

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

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

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

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

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

Qualifications and awards:

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

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

AFHEA Associate Fellowship Higher Education Academy

Inspire Seminars – The Royal Ballet School

RYTT Dynamic Yoga, The Yoga Edge

Alongside her research, Rebecca teaches on the BA Contemporary Dance, BSc Dance Science, MA Performance, MA/MFA Dance Science, and Graduate Diploma programmes at Trinity Laban. She supervises dissertation students and teaches release-based contemporary technique, research methods, dance history, and culture perspectives in dance.

Rebecca completed her PhD at the Centre of Dance Research in 2019. She holds an MA in Dance with Distinction from London Contemporary Dance School (2010) and a BA (Hons) in Dance Theatre with First Class Honours from Trinity Laban (2008). Rebecca has worked as a visiting lecturer at Bird College, Coventry University, London Studio Centre and the University of London. In 2019 she was invited to be a member of the contemporary dance technique assessment panel at the English National Ballet School.

Rebecca is co-editor of ‘Digital Annotation and the Understanding of Bodily Practices,’ a special issue of the International Journal of Performance Arts and Digital Media. As a dancer, Rebecca has worked with Yvonne Rainer and Cat Patterson, performing in Yvonne Rainer: Dance Works (2014) and the BBC4 documentary Dance Rebels: A Story of Modern Dance (2015).

Education:

2019: PhD in Dance, Centre for Dance Research, Coventry University

2010: MA in Dance (with Distinction), London Contemporary Dance School

2009: Post-graduate Diploma in Performance (with Distinction), London Contemporary Dance School

2008: BA Dance Theatre (First Class Honours), Trinity Laban

Publications:

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

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

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

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

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

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

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

Stancliffe, R. (2017) Zoi Dimitriou’s The Chapter House [review]. Journal of Dance and Somatic Practices 9(2), 305-309

Meehan, E., Blades, H. & Stancliffe, R. (2015) Editorial. Journal of Dance and Somatic Practices 7(1), 3-5

Selected presentations:

Chappell, K., Redding, E., Crickmay, U., Stancliffe, R., Jobbins, V., & Smith, S. (2021) Bodies of Evidence. Contribution of dance to health and wellbeing: Debating research methodologies and impact. Wellcome Centre for the Cultures + Environments of Health, 19 April, i-symposium.

Howard, S. & Stancliffe, R. (2019) ‘Beyond the Walls: Performative Dissemination in Arts and Health Work. Paper presented at the Building Bridges in Applied Arts and Health, Education and Community: From the Past to the Present and Future conference, 7–10 August, Telford, Shropshire.

Stancliffe, R. (2018) ‘Video Annotation as an Analytic Practice’. Research seminar at Trinity Laban Conservatoire of Music and Dance, 7 November, London.

Godoy, M., Kräftner, B., & Stancliffe, R. (2018) Panel at the Perform. Record. Enrich. Share: Opening up and publishing processes in performance creation colloquium, October 24th, Zurich University for the Arts, Zurich.

Allain, P., Naccarato, T., Stancliffe, R. Stansbie, L., & Whatley, S. (2018) ‘REF Panel’. Panel at the Dance Dialogues: Discipline, Practice and Futures event, 7 September,

Awards:

2020: Longlist nominee for Dance One UK’s Rising Star award

2019: Fellow of the Higher Education Academy (FHEA)

2015: Winner of the Coventry School of Arts and Design poster competition

2015: Coventry University PhD Studentship, Centre for Dance Research

2008: The Sylvia Bodmer Memorial Fund Award for Outstanding Achievement in Choreological Studies

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

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

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

Qualifications

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

Outputs & Publications

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

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

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

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

Marina has danced for Kim Brandstrup and theatre director Deborah Warner, Dog Kennel Hill Project, Siobhan Davies Dance Company, Carol Brown Dances, Candoco Dance Company, Florence Peake, Sarah Warsop, and Tony Thatcher among others. She is continuing to work as a dancer and rehearsal director for Joe Moran and is currently dancing for Gary Lambert.

As a dance maker, Marina is interested in collaborating with artists from other disciplines and has a long-term creative partnership with filmmaker Tom Paine, creating a number of live and video works shown in the UK and Europe. She recently collaborated with dance artist Kate Johnson to create Body in and as Space for TripSpace Projects in collaboration with the Hayward Gallery, London. Marina has collaborated with ceramicist Claire Twomey in Piece by Piece at P3 Gallery London, visual artist Antonia Bruce and composer Paul Whitty among others. Current collaborations include The Stillness Project with photographer Rachel Cherry (Catalyst Digital Artist Award), writer Gemma Seltzer and a new research project with Kate Johnson.

Alongside her career in dance, Marina works at Trinity Laban Health as a Biodynamic Craniosacral Therapist as well as having a private practice in Oxford. Marina has taught movement research for dancers and bodyworkers for Independent Dance based at Siobhan Davies Studios. She has set up a movement research group with Francoise Wright-Brown, Kirsty Alexander, Kathy Crick, and Steve Lane. Marina’s treatment approach is informed by her career in dance and her own experience of receiving a wide range of treatments throughout that time.

Teaching Experience 

Marina has extensive teaching experience in professional and educational settings both nationally and internationally. She has taught both professional classes and company classes and been sent by the British Council to teach in India, Russia, and Canada. Marina has been a visiting lecturer at Trinity Laban, teaching technique and choreography for 15 years and for the past 8 years has been involved in the MA Choreography programme. At London Contemporary Dance School, she has taught technique classes and performance projects to undergraduates and is often involved in teaching and externally assessing the postgraduate performance course, Edge. Other institutions where she has worked include Northern School of Contemporary Dance, Central Saint Martin’s (Design for Dance Module), Centre National de Dance Contemporaine (Angers, France), Attakkalari Centre for Movement Arts, Bangalore India.

Alongside this, Marina teaches workshops in collaboration with Biodynamic Craniosacral Therapist Steve Haines in London and in Zurich, at the Da-Sein Institut. She has also assisted on Body Intelligence’s undergraduate training for Biodynamic Craniosacral Therapists.

Creative Outputs

Solo work:

Most recently Marina has been making a solo work, And so It Goes On,  created in support of Chisenhale Dance Space Refine Residency. The piece will be performed in France this summer. Her previous solo, Still Going, a collaboration with Tom Paine, has been performed in several venues in the UK and will be performed at Gati Dance in Delhi this summer.

Creative Residencies:

Marina has previously taken part in PAL Choreographers Lab at Bore Place, where she worked with artist Anna Best and composer Paul Whitty. This led to further collaboration with these artists in residency at Beaconsfield, Vauxhall. Other residencies include Sound Moves choreographic residency at The Place and PAF in Reims, France. Marina has received a number of commissions including a summer collection commission in 2006 at The Clore Studio, Royal Opera House.

Educational Commissions:

As well as her teaching work Marina has worked on several choreographic commissions for final year students at a number of dance conservatoires. Commissions include London Contemporary Dance School, Trinity Laban Conservatoire of Music and Dance, INTOTO  Dance at London Studio Centre (part of the University of the Arts).

Marina was an associate artist at Bath Spa University 2004-2006 and has also made works for Coventry University and Roehampton University.

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