BA (Hons) Contemporary Dance with Foundation Year

After Transitions Will performed in Matthew Bourne’s Swan Lake completing two international tours, a UK tour and a Sadler’s Wells season. He then moved into more project-based work whilst developing an interest in teaching and in 2008 joined Trinity Laban as the Graduate Assistant for Technique.

Since then Will has taught at graduate and undergraduate level as well as many youth and community projects and more recently at Arts Educational Schools, London and as the Lead Teacher for the Centre for Advanced Training at Trinity Laban Conservatoire of Music and Dance. He is currently the Programme Leader for Contemporary Dance Foundation Programmes at Trinity Laban and is still performing and choreographing professionally. Will co-founded his own company called Anecdotal Evidence in 2013 and continues to make work under this banner.

She has taught for Trinity Laban, The Royal Ballet School, Urdang, Arts Educational Schools London, London Children’s Ballet, The Academy for Theatre Arts and Darren Ellis Dance.  She received the Lisa Ullmann Travelling Scholarship in 2008 to deliver dance workshops to under privileged children and young people in La Paz, Bolivia. In September 2014, she was awarded a place on Dance UK’s Teacher Mentoring Program. Lucy co-founded her own dance theatre company ‘Anecdotal Evidence’ with William Aitchison in 2013 making work that uses text and movement.  Other choreographic commissions for young people include creating ‘Fair-e-Tale’, a professional work for E.dance that toured schools in the North of England, as well as receiving commissions to create work for young people from U Dance, PrimarySteps and the Unicorn Theatre.

Lucy is currently the Lead Dance Teacher on the CAT Programme at Trinity Laban

Her research interests and publications are in Global Shakespeare and film, race theory, feminist Shakespeares, digital Shakespeares, and language and accents.

Her current publications include, but are not limited to, “Black Skin, White Masks: Izzat as an appropriation of Othello” for Indian Theatre Journal, Vol 5, ed., Sreedevi K. Nair, June 2021; “Indian Shakespeare Cinema and the Active Audience” for Shakespeare’s Audiences, ed. Matteo Pangallo and Peter Kirwan for Routledge’s Studies in Shakespeare series, 2021; “‘What doth your speech import?’: the implication of accents in Indian Shakespeares” for Shakespeare and Accentism, ed. Adele Lee for Routledge, 2021.

She was awarded her PhD in Shakespeare and Bollywood in 2018 from Royal Holloway, University of London and has recently co-edited a collection of essays on the impact of Indian Shakespeare Cinema in the West as part of the new Arden series Global Shakespeare Inverted, ed. David Schalkwyk David Schalkwyk, Silvia Bigliazzi, Bi-qi Beatrice Lei.

She is an active member of the Shakespeare Association of America, the British Shakespeare Association, and the Indian Shakespeare Association and has interests in organising academic events and has co-organised India-Pakistan-UK: Intertwined Narratives (2017) in collaboration with RHUL and Tara Arts, Indian Shakespeares on Screen (2016) in collaboration with BFI Southbank and Asia House, and the Shakespeare and Bollywood Conference at Royal Holloway University of London (2014). She is also the curator of shakespop.co.uk, an online space for academic and general interest discussions of Shakespeare in pop culture launched by the British Shakespeare Association in April 2022.

Koel is a member of the Centre for Educational Futures and teaches Integrated English on the International Foundation Certificate: Music and English; International Foundation Programme: Contemporary Dance and English; International Graduate Diploma: Dance and English; ISP Advanced (International Graduate Diploma option) within the Faculties of Music and Dance.

Koel frequently guest lectures on Global Shakespeare courses for several universities and public facing events across UK and India. She has previously taught Arts and Academic English within the Royal Holloway International Study Centre and has served as course leader, English Tutor and Pre-Sessional English Tutor within the Centre for the Development of Academic Skills at Royal Holloway. She also works as an Examiner for British Council and Cambridge Exams and serves on the registry and recruitment assessment boards on several UK universities.

Conference Papers 

Remixing the Classics: Digital Adaptation and the Literary and Dramatic Canon (Virtual), 2022 

Paper title: Mandaar or Macbeth in five parts: Digital Paratexts and how they shape our experience 

British Shakespeare Association Conference (Virtual), ‘Shakespeare In/Action’, 2021 

Paper Title: Shakespearean Echoes: the other side of the Indian Shakespeare Story 

World Shakespeare Congress (virtual), Singapore, 2021 

Paper Title: Shakespearean Echoes: the other side of the Indian Shakespeare Story 

European Shakespeare Research Association Conference (Virtual), Athens, 2021 

Paper title: Shakespeare in parts: the other Indian Shakespeare Story 

British Shakespeare Association Conference, ‘Race and Nation’, Swansea, 2019 

Workshop: Race, Nation and Digital Pedagogies in the 21st-century Classroom 

Armenian Shakespeare Conference, Venice, 2019 

Paper Title: What doth your speech import?’: the implication of accents in Indian Shakespeares 

European Shakespeare Research Association Conference, Rome, 2019 

Paper Title: Taking centre stage: Ophelia in Young Adult fiction 

Exoticism in Contemporary Transnational Cinema: Music and Spectacle, 2017 

Paper Title: Using Exoticism to Make Sense of Shakespeare: Examining the Mousetrap sequence in Haider 

Indian Shakespeares on Screen in collaboration with BFI Southbank and Asia House, 2016 

Conference: co-organiser 

Paper Title: Image as text in Arshinagar (2015), an Aparna Sen adaptation of Romeo and Juliet 

Shakespeare and Bollywood Conference, RHUL, 2014 

Conference co-organiser 

Paper Title: The Pivotal Role of Angoor in the history of Bollywood Shakespeares 

British Shakespeare Association Conference: Shakespeare: Text, Power, Authority, 2014 

Paper Title: Post postcolonial Shakespeare and Angoor, a Hindi Comedy of Errors 

Shakespeare Institute Graduate Conference: BritGrad 2014 

Paper Title: The Pivotal Role of Angoor in the history of Bollywood Shakespeares English  

UCL English Graduate Conference: Transformations, 2014 

Paper Title: Bollywoodizing the Bard: The Transformation of Macbeth into Bollywood Gangster film Maqbool (2004) 

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.

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

A British Council and Arts Council England recipient, Howard Davies Emerging Directors Grant Recipient, One Dance UK DAD Trailblazer Fellow, Marion North Recipient. She was on the choreographic team for the 2012 Olympics Opening Ceremony (NHS Section) and is a member of the internationally acclaimed performance collective Hot Brown Honey.

With over 23 years of teaching experience, she has worked and collaborated with a multitude of diverse artists and organizations. A well sought-out teacher, choreographer, judge and host, she has established herself as one of UK’s finest and a highly respected role model within the Hip Hop dance community.

Yami previously worked at RAD, UEL , and Irie Dance theatre.

Damien has undergone training with notable Street, Club and Funk style dance icons including, Elite Force (HipHop), Breed of Motion (Waacking), Mighty Zulu Kingz (Breaking) and more.

Performances include Brit Awards and principle dancer with London’s Big Dance Bus tour, while choreographic credits include The National Theatre and London 2012 Olympics opening ceremony.

Damien’s commitment to educating others earned him UK Dance Teacher of the Year (2014) as voted by Dance Today magazine. He has also headlined as a teacher for Unidance resulting in a 5 year tour of Russia, Azerbaijan and Ukraine.

As director of B-Better dance education company, Damien teaches many demographics and lists American School in London, Royal Academy of Dance and British Heart Foundation as former residencies.

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.

Ali graduated from Trinity Laban with a BA(Hons) in Dance Theatre and later gained her MA in European Dance Theatre Practice. She has a PGCE in Dance and is an experienced practitioner in teaching, performance and creative contexts.

Hannah is an independent dance artist and teacher based in London. Since graduating with an MA in Dance Performance (Trinity Laban) she has danced with Nina Kov, Masha Gurina, Nutshell Dance Company, SKADooSH Dance, Daisy Farris Dance Collective and as part of the Olympics Closing Ceremony directed by Kim Gavin.

Hannah teaches dance across a range of professional and educational settings and has been part of the Dance Faculty at Trinity Laban since 2014. She is also an Associate Dance Artist for English National Ballet (ENB) delivering open technique classes and creative workshops to a wide range of participant groups. From 2018-21 Hannah was the contemporary dance tutor at ENB School, delivering contemporary technique, creative workshops and audition coaching for all three year groups. She produced choreographic work for second year students as part of the Winter Showcase (2018/9), directed contemporary classwork as part of a showcase filmed at The Roundhouse (2020), and supported the rehearsal direction of works by Jose Agudo and Didy Veldman. She has taught on the BA programme at Bird College (2016-18) and as a freelance dance artist for City Academy, Springs Dance Company and University of Portsmouth amongst others.

Alongside teaching, Hannah has presented her own choreographic work as part of Resolution! Festival (The Place, London) and has extensive experience working with artists from other disciplines, most recently with visual artist, Emma Cousins. She has developed a keen interest in capturing movement (through film, drawing and text) collaborating with filmmakers and artists to gain new perspectives on the moving body and our relationship to wider contexts. Hannah has worked as Rehearsal Director on a number of short dance films including Michael Boucherie’s ‘OneShot’ (Trinity Laban), Lingjing Yin’s ‘Touch the Sound’ (YAMAHA) and Ron Arad’s ‘Curtain Call’ (The Roundhouse, London).

For the past few years, Kate has been creating a series of dance scores for use in everyday situations, with a particular focus on relationships and mood. Where and how these scores exist, in terms of location and medium, is an important aspect of this work.

Her current collaboration, with artist Lili Murphy-Johnson and dancers Kirsty Alexander and Lily Paine, is an exploration of the act of “doing” through film and dance and uses film as an integral part of the choreographic process.

Previous collaborations have been with dance artist Marina Collard, poet Carol Watts, and film maker Ros Cheshire.

As a dance animateur for Yorkshire Dance, Swindon Dance, Cambridgeshire and Rambert, Kate has taught in a variety of community settings. She has also taught at Barnsley College of Art, Lewisham College and London Contemporary Dance School.

As a ballet teacher, Reena has taught for organisations including Ballet Black, the Royal Academy of Dance, the Sylvia Young Theatre School, and the Centre for Advanced Training (CAT) programme at Trinity Laban Conservatoire for Music and Dance – amongst many others. For 15 years, she also ran her own school in London, running classes for up to 300 students at its busiest.

Reena completed a Master of Fine Arts in Dance Science (with Distinction) at Trinity Laban in 2021, part of which included a year-long research project looking at the sleep of professional ballet dancers and how this related to their workload, mood states and food choices. Since her Masters, she has lectured in Dance Science, ballet teaching & pedagogy, and other academic subjects at the RAD, Bird College and Momentum Performing Arts Academy. She joined the Faculty of Dance at Trinity Laban in 2024, and since then has taught Ballet, as well as lecturing in Dance Science topics and providing research project supervision for undergraduate students.