50 East First Street #6 New York NY 10003 U.S.A. +1 347 873-6793 firstname.lastname@example.org
Groningensingel 1151 6835 HX Arnhem The Netherlands +31 642 080 109 email@example.com
Independent dance artist, educator, certified teacher of the Alexander Technique.
MFA Dance Research Fellow (Bennington College, VT, 2004); Alexander Technique Teacher
Alexander Technique Teacher Training Program (American Center for the Alexander Technique, New York, 1986); Ideokinesis (with Andre Bernard, 1975-1979); Contact Improvisation (with Steve Paxton, Stephen Petronio and others, 1973-1982); Anatomical Release Technique (with Mary Fulkerson, Nancy Topf and others, 1973-1978); Taiji and
Qigong (with Gerda Geddes and others, since 1973); Kinetic Awareness (with Elaine Summers, 1976-1979);
Body-Mind Centering (with Bonnie Bainbridge Cohen, Beth Goren, Genny Kapuler, and others,
workshops between 1974 and 2013); Yoga (Iyengar method, Masunaga’s Meridian Stretches, since 1975);
Meditation (T.K. Shih, Kabat-Zinn Mindfulness Training, since 1982); Cunningham and Graham
Techniques (1970-1975), Classical Ballet (1960-1973).
For the past four decades has practiced, taught, and advocated for explorative methods of dance making.
Her performance work and her teaching are informed by dance improvisation and mindful body practices,
including Ideokinesis, Taiji/Qigong, and the Alexander Technique, whose concepts, in particular, shape
her methodology. Teaches dance at major colleges and studios throughout the USA, Europe and Australia,
and was a faculty member of the European Dance Development Center (EDDC), Arnhem, Netherlands
(1990-2002). She is on the faculty of Movement Research, NY; teaches through the Trisha Brown Dance
Company Education Program in NY and elsewhere; is a regular guest teacher at ArtEZ School of Dance,
Arnhem, The Netherlands; and frequently teaches at Independent Dance, London and Tanzfabrik, Berlin.
Together with Vicky Shick, she has reset Trisha Brown’s Set and Reset/Reset at the Budapest Contemporary
Dance Academy, the Modern Dance Department of the Amsterdam Theater School, and at Princeton.
Currently creates and performs solo and collaborative work. Has performed throughout the United States,
England, Australia and Europe both in her own work, and as a member of leading groups in the field of
experimental dance, including Richard Alston’s Strider (UK) 1973-75, Dance Exchange (Australia) 1976-
79, and the Trisha Brown Dance Company (N.Y.) 1979-85, creating original roles in Trisha Brown’s Opal
Loop, Son of Gone Fishin’ and Set and Reset. As an improviser, she has worked with dancers, composers, video
artists, visual artists, poets and designers. Current projects include: Promenade, a series of improvised
durational performance/installations with visual artist Chris Crickmay and composer Sylvia Hallett;
Stephanie Skura’s structured group improvisation, Surreptitious Preparations for an Impossible Act, (performances
at Roulette, N.Y., April 2017); Yes, No, Maybe Too, duet project with s h i f t s/art in motion company
(performance at Les Hivernales, Avignon, February 2017). She is also involved in the development and
performances of on-going collaborative duets with, among others: Vicky Shick, your blue is my purple,
(performances at Sundays on Broadway, N.Y., May & October 2016); Gaby Agis, slapping legs and stepping out (performance at Siobhan Davies studio, London, January 2017); Bettina Neuhaus, Vapor Sketches,
(performance at ImprovXchange, Berlin, July 2015), Elena Demyanenko, Echo Archive (upcoming performances at EMPAC, Troy, NY, March 2018).
She danced her original role in Trisha Brown’s Opal Loop at Jacob’s Pillow, during their 85th anniversary celebration performances in August 2017.
Most profoundly influential, the New York post-modern, experimental dance movement of the 1960’s and
70’s, has given her current dance practice a foundation of respect for the moving body, a passion for
creativity and imaginative process, and an interest in experimentation. Through her performing and
teaching, she aims to communicate her love of full-bodied dancing and her interest in the practice of being
in the moment