Elisa Cotroneo is a Registered Somatic Movement Educator and Therapist and Executive Director of ISMETA. In practice for over 40 years, she has worked extensively within private practice and schools creating workshops, retreats and online courses focusing on creativity, imagination and experiential embodied education. Elisa passion for embodied spirituality has been inspired by many of the somatic pioneers and through her work with indigenous elders from across the Americas, India and Tibet.

Tiago Gambogi is a Brazilian contemporary dancer, actor, clown, pole artist, director, choreographer, artivist, researcher and teacher, working for over 20 years in the UK, Brazil and internationally. His transdisciplinary holistic work encompasses improvisational contemporary dance, clowning, performance art and site-specific art approaches to create a powerful new artistic hybrid form dealing with the performative and the non-performative in pursuit of new creative responses and a dialogue with companies involved in socio-environmental crises.

Celia Weiss Bambara is the artistic director of the CCBdance Project. Her practice based work intersects choreography, improvisation and movement research in contemporary and African diasporic practices through the lenses of inter-culturalism, race, travel, diaspora and translation. She is an assistant professor of dance at UNC Asheville.

Jana Schmueck co-founded Prospect Dance Company with Anne Dietrich. Since 2014 they are artistic directors and founders of TanzART. TanzART is a center for contemporary dance in East Germany, offering classes, workshops, artist in residence programs, performances, and productions with a focus of intercultural and international exchange. As a freelance dancer she performed at festivals in Ludwigshafen, the Centre National de la Danse -CND in Paris, Movimentos, the Ecole des Sables / Senegal and the Festival " Un pas vers avant" Côte d'Ivoire or Via Thea

Rae Johnson, PhD, RSW, RSMT, BCC is a somatic psychotherapist, social worker, and movement therapist whose work focuses on the intersections between embodiment and social justice. Rae chairs the Somatic Studies in Depth Psychology PhD program at Pacifica Graduate Institute in California, and is the author of several books – including Elemental Movement, Knowing in our Bones, and Embodied Social Justice.

Peter is a dancer and choreographer living in Berlin, teaching and performing internationally. He is a co-founder of P.O.R.C.H. summer-education program at ponderosa-dance. His most recent performances were with Keith Hennessy and together with Jenniffer Lacy for Antonija Livingstone. Fake Healing was a regular practice during these projects as a warm-up and a deepening of the relationships between the performers, an exercise on beauty.

Aida Curtis, CLMA, is an Iranian-American writer, performer and MA candidate in Somatic Psychotherapy at the California Institute of Integral Studies in San Francisco, CA. She has conducted research on the presentation of Fear and Femininity in the movement of murder victims in Dario Argento's horror film Suspiria (1977), and presented this research at the European Pop Culture Conference in 2017. Her study of Laban / Bartenieff Movement Analysis and depth psychology have informed her reflections on embodied relationality, intergenerational trauma and intergenerational resilience. Aida currently teaches movement, writes about movement, and is training as a child-centered play-therapist in the UCSF Infant-Parent Program, Early Childhood Mental Health strand.

David Bloom is a cis-male choreographer, dancer, teacher, father, filmmaker, bodyworker, pianist, and tea collector. Graduated from the M.A. Choreography course at HZT Berlin. David has taught in many contexts, including HZT Berlin, Tanzquartier Vienna, Tanzfabrik Berlin, Human Architecture Lab in St. Petersburg, K3 in Hamburg, the Masters of Contemporary Dance Education in Frankfurt, the Rietveld Academy for Fine Arts & Design in Amsterdam, & the ImPulsTanz Festival in Vienna.
More info at: https://davidbloom.info

Jane Turner began her performance career with the Scala Ballet, Barcelona, and has led TURNING WORLDS dance theatre company since 1990, creating performance and participatory projects. Jane’s research focuses on self-organizing systems as performance composition in interdisciplinary contexts. In 2018 this has involved collaboration with the beefriendlytrust, the creation of the CFC Cabaret for the Junction, Cambridge, work with Duckie cabaret producers and choreographer Rosemary Lee, and conference presentations at TaPRA Aberystwyth and PoPMoves, Paris.

Timothy Taylor has broad experience as an interdisciplinary artist. His work crosses different genres of performance including dance, straight drama, musical theatre, comedy-sketch and song recital. He has worked with and for performing arts practitioners including Lucy Bailey, Martha Clarke, Luke Dixon, Matthew Hawkins, Bill T Jones, Michael Keegan-Dolan, Jacky Lansley, David McVicar, Ian Spink, Jane Turner, Ultz, Sian Williams and the Kosh.
Timothy holds a PG Cert in Adult & Community Education obtained at the Institute of Education in 2003, a PG Cert in Performance Innovations at London Metropolitan University in 2010 and an MA in Contemporary Art achieved through practice-based research at Manchester Metropolitan University in 2012.

Eszter Gál (HU) is a dancer, teacher, working at the University of Theater and Film Arts in Budapest, a certified Skinner Releasing Technique teacher on an Introductory and Ongoing level. Creating her artistic work since 1993 and teaching internationally since 1998. She is one of the co-founders of IDOCDE (www.idocde.net), researching documentation of Contemporary Dance Education. Her core interest is somatic-based movement research, improvisation performance and community work for dance education.

Sarah Whatley is Director of the Centre for Dance Research (C-DaRE) at Coventry University, UK. Her research focuses on somatics, smart learning environments for dancers, dance and disability, reimagining dance archives and dance documentation. She works often with artists, and experts in other disciplines, including law, anthropology, psychology, digital media and computing science. She is founding Editor of the Journal of Dance and Somatic Practices and sits on the Editorial Boards of several other Journals. 

Sara and Hervé are multifaceted dancers, choreographers and teachers. Sara received her professional training at Institut del Teatre in Barcelona and Hervé at Rudra Bejart School in Lausanne. As of 1995 they share most of their experience as performers in various European companies till they found their own dance ensemble in Bcn.
At present they direct Obrador de Moviments Center with a clear focus on somatic techniques applied to arts of movement and dance. Sara is a Certified Feldenkrais Practitioner and Hervé is currently organizing and following Barcelona V Training Program.

​

​

Nicole Bindler’s performance work and teaching have been presented at festivals and intensives throughout the U.S., Canada, Argentina, Europe, and in Tokyo, Beirut, Bethlehem, Mexico City, and Quito. She has taught at Temple University, University of the Arts, and the University of Pennsylvania. Her writing has been published in Critical Correspondence, Contact Quarterly, Emergency Index, Jewish Currents, BMC® Currents, Curate This, Journal of Dance & Somatic Practices, Somatics Toolkit, and thINKingDANCE. She currently serves on the Earthdance Diversity, Equity, and Inclusion Committee.

Jules Pashall is a white, fat, genderqueer, and Jewish somatic therapist and performance artist currently living in Oakland, California. Jules is completing their master’s degree in Somatic Psychotherapy from the California Institute of Integral Studies and recently published “thank god i’m fat: gifts from the underbelly,” a chapter in Diverse Bodies, Diverse Perspectives: Towards a More Inclusive Somatics, edited by Don Hanlon Johnson. Jules is passionate about individual healing as a tool for collective liberation.

Eva Karczag: practices, teaches, and advocates for explorative methods of dance making informed by dance improvisation and mindful body practices. Teaches at major colleges and studios throughout USA, Europe and Australia. Has an MFA (Dance Research Fellow, Bennington College, VT); was on the faculty of European Dance Development Center, Arnhem, Netherlands; certified Alexander Technique teacher. Member of the Trisha Brown Dance Company (1979-85); since mid-1980s, functions as an independent dance artist, performing solo and collaborative work internationally.

Bettina Neuhaus: independent dance artist and certified Skinner Releasing Technique (SRT) teacher. She has been working internationally in the field of performance for 3 decades, collaborating with dancers, musicians, visual artists, poets and philosophers. Has an MA (Dance Creative Practice) from Trinity Laban Conservatoire London and an MA equivalent (Music/Movement) from Folkwang University of Arts, Essen. Teaches SRT and Instant Composition extensively at major academies and studios across Europe and South America.

Neuhaus and Karczag have been working together for over 10 years on performance projects, lectures and co-teaching workshops.

Andrea Haenggi (CH/USA) has a research-based creative practice she calls Ethnochoreobotanography that employs her roles as an interdisciplinary artist, choreographer, dancer, embodied scientist, somatic movement educator (CMA/RSMT) and EPA agent. Her sensual-bodily-tough works confront audiences with a world beyond humans.
She is on the faculty of the Laban/Bartenieff Institute of Movement Studies in New York, holds an MFA in Creative Practice from Transart Institute/Plymouth University UK and is a Swiss Canton Solothurn Dance Prize 2008 recipient.

Trude Cone lives in Amsterdam and has worked at the Amsterdam University for the Arts for 40 years. She is a Body Mind Centering practitioner, Neuro Physiological Psychological therapist, and Rhythmical Movement consultant. The last 12 years she is the counselor for students with stress and or functional related organizational problems that are interfering with their studies. She developed a counseling method Moving Thought: the hidden choreography influencing our lives which includes a movement class as well as counseling traject to help get them moving and organizing again. She also teaches workshops in this method for professionals in Europe.

Mark Walsh has dedicated his life to embodied learning. He founded the Embodied Facilitator Course, Embodied Yoga Principles, The Embodiment Podcast and The Embodiment Conference. He has taught in fifty countries and made embodiment available online through a YouTube channel that has over 13 million hits. He has a degree in psychology, 20 years yoga experience, an aikido black-belt and has trained with various body-mind masters and in various approaches, including Non Violent Communication, body psychotherapy and meditation. His corporate clients have included Ikea, Unilever, L’Oreal, Virgin Atlantic, Shell and The House of Lords. He has also worked with peace and trauma projects in Israel/Palestine, Afghanistan, Ukraine, Brazil, East Africa and with the Sierra Leonian Army.

Johannes Birringer is a choreographer and media artist; he co-directs the Design and Performance-Lab at Brunel University London where he is a Professor of Performance Technologies in the School of Arts. He has created numerous dance-theatre works, video installations and digital projects in collaboration with artists in Europe, the Americas, China, and Japan, and has taught dance-technology workshops all art venues across the world, including EMPAC (New York), Performance Space (Sidney) and KAIST (Seoul). His digital oratorio Corpo, Carne e Espírito, created with composer Paulo C. Chagas, premiered in Brazil at the FIT Theatre Festival (2008). DAP-Lab’s interactive dance-work Suna no Onna was featured at festivals in London (2007-08); the mixed-reality installation UKIYO went on European tour in 2010. The futurist dance opera for the time being (Victory over the Sun) premiered at Sadler’s Wells in London, 2014. A series of immersive dance installations, metakimospheres, began touring in Europe in 2015-18. His film-concert Sisyphus of the Ear (music by Paulo C. Chagas) premiered in Ufa and Moscow (2016) and has traveled widely, most recently to Beijing, China (October 2018). Ephemeral Edgespace (metakimosphre no. 6), a ritual dance performance-installation, with Haein Song and Claudia Robles Angel, was shown at ISEA 2018 at Durban City Hall, South Africa. He is founder of Interaktionslabor, a media lab located in a disused German coal mine, and has spearheaded new transdisciplinary dance-research projects, including the books Dance and Cognition (2005), Dance and Choreomania (2011), and Things that dance (2019).
Website: http://www.brunel.ac.uk/dap



+++
Michèle Danjoux is a fashion designer, experienced educator and co-director of DAP-Lab (http://people.brunel.ac.uk/dap/arch.html). Her academic positions have included: Principal Lecturer and Programme Leader for MA Fashion and Bodywear at De Montfort University and Senior Lecturer in Fashion Design at Nottingham Trent University. Currently she is Research Coordinator at the London College of Fashion, University of the Arts London. Danjoux’s artistic interests centre on design through and as performance, and involve collaboration with dancers, choreographers, musicians and media artists. In 2018, Danjoux was awarded a PhD by the London College of Fashion for her investigations into Design in Motion: Choreosonic Wearables in Performance, an interrogation of the interrelations of body, movement, sound and garment in the generation and exploration of “sounding” costumes to be worn in mediatised performance. She has presented her work at international conferences, published in peer-reviewed journals and her designs have been performed at Kibla Multimedijski Centre, Slovenia; MediaLab Prado, Madrid, Spain; Le Cube, Centre Création Numérique, Paris; Watermans Art Centre and Sadler’s Wells, London.

​

​

Doerte Weig’s fascination is to uncover how the different facets of human physicality relate to socio-political transformation. Doerte has a PhD in social anthropology and experience researching about and with moving-sensing bodies: for example with hunter-gatherers, dancers, movement meditation practitioners, and castellers (builders of human towers). Doerte believes that we cannot think the future of education, work, or future societies without taking into account the sensoriality of our moving bodies.

Sandra Reeve is an Honorary Fellow at the University of Exeter, UK where she completed her doctoral thesis on the Ecological Body. ‘Move into Life’ is her annual programme of autobiographical and environmental movement workshops which stimulate her movement research in complexity thinking, sustainability and performance. She both facilitates and creates small-scale ecological events. She is a movement psychotherapist and supervisor.

​

Working across the fields of performative arts, artistic research and somatics, Nathalie Fari's main research focus is in exploring the relationship between the body and space through the notions of site specificity, embodiment, mapping and translation. Having explored several movement practices, from dance to acrobatics, to improvisation, to yoga (she is certified in the ashtanga vinyasa yoga system) and lately conscious dance, Nathalie is currently doing a PhD on the topic of performer training for a site specific performance practice at the Academy of Music and Drama in Gothenburg.

For four decades, Glenna Batson has advanced multi-disciplinary approaches to embodiment studies as catalysts for artistic growth, teaching, performance and wellness. Her scholarly writings and research bridge across multiple disciplines, articulating points of correspondence between dance, somatic movement arts, embodied cognitive science and phenomenology. Professor emeritus of physical therapy (Winston-Salem State University USA) and a Fulbright Senior Specialist, Glenna currently is an independent teacher in dance and somatic education. She co-created Human Origami with Susan Sentler as practice research to support a trans-disciplinary perspective on the performative (www.humanorigami.com). She is the author of Body and Mind in Motion, Dance and Neuroscience in Conversation, and editor/contributor to Dance, Somatics and Spiritualities: Contemporary Sacred Narratives.

Susan Sentler is a dance artist working as choreographer, teacher, researcher, director, dramaturge and performer. Former member of the Martha Graham Ensemble and senior lecturer with Trinity Laban Conservatoire of Music and Dance (18 years), Susan has taught and performed globally for over 30 years. Susan’s multidisciplinary installations speak of a honed somatic relationship to image. She currently is a lecturer in the School of Dance & Theatre at LASALLE College of the Arts, Singapore.

Martha Eddy, CMA, RSMT, EdD, advocate of Somatic Movement Education & Therapy, author of Mindful Movement the Evolution of the Somatic Arts and Conscious Action and published lecturer on neuro-motor development & social justice is founder of BodyMind Dancing. She created the first Somatic Movement Therapy Training (SMTT); SMTT is now rebranded as the Dynamic Embodiment SMT (DE-SMT). Her somatic studies began in the 1970s working directly with Irmgard Bartenieff & Bonnie Bainbridge Cohen.

Currently, Nadine is the artistic director of her own Dance-Theater company, "Proyecto 3er Espacio" and Director of the Arts at West End House, Boys and Girls Club of America.

Works as a dance artist for and is professor for contemporary dance at the Palucca University in Dresden. Since 2001 she maintains a private practice as a certified Feldenkrais practitioner. In 2011 she founded the community dance ensemble, ArtRose. Coogan studied at the Juilliard School and is currently a doctoral candidate at Coventry University. Her research investigates the potentialities of somatically informed learning with dance with people of all ages. She is editor of the book: Practicing Dance: A Somatic Orientation.

Gill Wright Miller (BFA, MA, PhD) is Professor of Dance at Denison University. Over 40 years, her focus has shifted to somatic experiences inherent in movement and adapting studio research to include precise somatic analysis. Recent work includes editor of Exploring Body-Mind Centering: An Anthology of Experience and Method (2011), featured speaker at the Encontro International de Prácticas Somáticas e Dança (2018), and publishing “Feminism and Somatic Praxis,” in the Companion to Feminist Studies (2019).

Satu Palokangas (FIN) is a certified Teacher and Practitioner of Body-Mind Centering®, Laban/Bartenieff Movement Analyst, Dynamic Embodiment Practitioner, ISMETA registered Somatic Movement Educator & Therapist and holds MA in Live Art and Performance Studies. She has taught somatic methods since 1997 and currently teaches eco-somatics, embodied anatomy, developmental movement and somatic movement therapy at a Dance Movement Therapy Training in Finland and in the University of the Arts in Helsinki.

Funmi Adewole began her career in performance when she relocated from Nigeria to Britain in the 1990s. She holds a masters degree in Postcolonial Studies from Goldsmiths College and PhD in Dance Studies from De Montfort University where she now lectures. She continues to perform as a storyteller and practice as a dance dramaturge mainly with choreographers who draw from social dance forms or work in a cross disciplinary context.

Christa weaves her skills as a Dancer and Choreographer into her work as a Body Oriented Systemic Therapist with a specialty in Trauma. Currently she is working in an adult psychiatric clinic in Berlin as well as in her private Practice and teaching Embodiment internationally. She integrates her therapeutic as well as artistic experience and spiritual practice in an approach she coined “Radical Presence – moving with playful compassion”.

Dancer, choreographer, SME/SMT(Dipl IBMT), political/visionary being, interested in the intersection of somatics, art and politics, part of the Global Water Dances Performance Collective Berlin since 2010.