Staff A-Z

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 an academic and teacher her aim is to enable understanding through demystification of bodily and artistic processes. This is engendered by her knowledge of anatomy and physiology as well as Rudolf Laban’s praxis and supported by her creative practice. She is the author of the Essential Guide to Contemporary Dance Techniques published by Crowood in 2020. Her research encompasses choreographic practice and movement analysis; she recently presented with Lizzi Kew Ross on the material of process at the Craft and Art Symposium in London (Feb 2020). She is a specialist in Labanotation and a fellow of the International Council of Kinetography Laban. She has presented papers at conferences around Laban Praxis and contributed to Preston-Dunlop (2013) Laban Man of Theatre. Dance Books: London. Among others, she has scored Yvonne Rainer’s Trio A (with Jouke Kolff) which she has also reconstructed for educational proposes and also for the MOVE: Choreographing You exhibition at the Hayward Gallery London in 2010.

Her choreographic work includes independent solo and group works and commissions: Presenting 16 original works in Britain and internationally between 1999-2019.

Qualifications and Educational Background

Melanie Clarke is an alum of Trinity Laban graduating with a BA Honours Dance Theatre degree and a MA degree in Dance Studies focusing on Dance in Education, Dance Documentation and Reconstruction, and Choreography. After passing with Distinction Melanie joined the Trinity Laban faculty.

She is an accredited External Examiner (AdvanceHE) and has undertaken this role for Greenwich University and Suffolk University.

Marina works across painting, performance and video, presenting work internationally in galleries, theatres and found sites. After many years of working in the contemporary dance field, she studied for an MFA in Fine Arts in Rome. As a performer, Marina has worked with ceramicist Claire Twomey, Florence Peake, Dog Kennel Hill Project, Carol Brown Dances, CandoCo Dance Company, Joe Moran among others. She has taught in professional and educational settings both nationally and internationally and since 2010, she has worked as a Biodynamic Craniosacral Therapist in Hackney, London. Marina finds that both her dance practice and Craniosacral practice inform one another and enrich, as well as deepen, her curiosity about the body.

In recent years, Marina has presented solo and collaborative work in contexts including FESTENFEST at APT (London), Tanz Namedy Festival (Germany), Ambedkar University (Delhi/London), Progetto Esthia (Italy). and in Rome – at La Nuova Pesa, Atelier San Lorenzo, Castello di Rocca Sinibalda and RUFA Space among others.

www.marina-collard.com

photo: Rachel Cherry

Jo Cork is an independent dance and film artist. She has been working with film and screendance since 2014. She has an an MA in Screendance and has enjoyed working as a performer (with choreographers including Elizabeth Streb, Gary Clarke, Wayne Sables, Tempered Body Dance Theatre, Fleur Darkin and Lea Anderson), as a choreographer, screendance practitioner and filmmaker, and in dance education and community settings.

Since completing the award winning dance film, Sensate, Jo has developed numerous works including films, multi-screen/device and hologram installations, and pieces utilising QR codes and elements of augmented reality. Her works have been shown across the globe in festival settings, art galleries and museums, as well as in less conventional spaces including pubs and restaurants. Collaborators include Zoonation, H2Dance Company, One Dance UK, Candoco, Milap, The Place, Birmingham DanceXchange, Motion Dance Collective, and Divya Kasturi Company, to name a few. “

Choreographic work includes My Fair Lady (PPA), The Classical Brits, Comedy Shuffle (BBC3), “Canvas Bag” for Tim Minchin, Shakespeare’s Happy Endings (BBC4), The Terence Higgins Trust, Nickelodeon TV, movement for actors in feature films, “Degas – A Passion for Perfection” (Exhibition on Screen) and over 30 small, medium and large-scale performance pieces for Students in vocational training.

He has taught Classical Ballet and Pas de Deux since 1997 for performing arts colleges, conservatoires, international summer schools, dance companies and open classes.

Kasper’s music compositions include 7 ballet class albums, music for dance, a full-length musical (The Trash Christ), The Makins & Cornish Songbook, a brass quintet, clarinet sonata, Oratorio for Baritone – choir & string orchestra, Christmas carols, a string quartet, song cycles and works solo piano.

www.kaspercornish.bandcamp.com

She studied Theatre at Dartington College of Arts in the 80s, where she first encountered Release Dance with Mary Fulkerson and Contact Improvisation with Steve Paxton and Mary Prestidge. As a performer, Kathy has worked with Steve Paxton, Laurie Booth, Yolande Snaith and Motionhouse Dance Theatre, Michael Mayhew, Jia-Yu Corti and Florence Peake. Her practice is also informed by studies in education, psychology, shiatsu, and an MA in Dance and Somatic Well Being.

Kathy’s previous work includes: performing with Motionhouse Dance Theatre, Jai- Yu Corti and Florence Peake; collaborations with choreographer Yolande Snaith and theatre directors Richard Gregory and Tim Wheeler; research and performance-making with choreographer/composer Sarah Goldfarb; site-specific work with composer Charles Hayward; improvised music and dance with composer Paul Bartholemew; and Live Art with Michael Mayhew. Kathy is a member of SoFt, a collective of artists with a mutual curiosity for exploring ensemble performance, CI, and improvised music.

My career spans from working alongside young talented dancers at the Centre for Advanced Training here at TrinityLaban to developing my own business in coaching and rehabilitating women in and beyond their maternal years. My skills as a movement and exercise practitioner include assessing functional movement patterns, posture and mobility and prescribing appropriate exercise programmes that aim to enhance movement quality and musculoskeletal function, whilst also managing and alleviating pain and injury.

My exercise approach is to re-order, organise and re-establish good movement patterns. I aim to rebalance muscle activity, address joint function, challenge muscle co-ordination and continually progress and load the body in different ways so it ultimately arrives at a place where it is stronger and simply works really well.

As a dancer, Zoi has worked with Kirstie Simson, Yvonne Rainer, Felix Ruckert and Siobhan Davies, among others. She launched her choreographic career in 2006 and her professional portofolio includes, among other works: Can You See Me? (2006), Dromi (2007), Limen (2007), Goddesses in Exile (2008), In The Process of … (2010), Little Creatures (2011), You May! (2012), The Chapter House (2014), Side Effects (2015), Peregrinus (2017), Vanishing Points (2018), When Pillars Evaporate; Work in Progress (2019).

She is the recipient of important UK choreographic awards such as the Robin Howard Foundation Award 2008, the Bonnie Bird Choreography Fund Award 2009 and the CFC Award 2010 by the Company of Angels, Sadler’s Wells and The Place, and has participated in Aerowaves, a well-renowned European Dance Platform. She has received several commissions (eg Greek National Ballet) and her works have been presented at venues/festivals such as: Fast Forward Festival 4, ROH2, Arnolfini, BE Festival, Lilyan Baylis, the Athens and Epidaurus Festival, the Kalamata International Dance Festival, Operaestate Veneto Festival at the Scala of Milan, Europe in Motion Festival and Springloaded at The Place.

She has participated in several international European Dance Research programs such as the Choreoroam, Big Intensive, Europe in Motion, and she is funded/commissioned by institutions such as the Arts Council England, the Hellenic Centre for theater and dance, the Onassis Cultural Centre, among others. She is a Research Fellow at the Trinity Laban Conservatoire of Music and Dance in London and teaches internationally at institutions/festivals such as: Impulstanz Festival, Sasha Waltz Company, Independent Dance, National Dance Academy of Rome, Athens State School of Dance (KSOT) among others.

Her research is focused on notions of time and the passing of images. It reflects the direction of her practice away from the conventional theatre space and towards off-site installations and interactivity, investigates the qualities and conditions of spectatorship, and draws from the larger social for the development of choreographic activity.

As a strength and conditioning specialist for dancers, Khyle works to provide specific prehabilitation and performance enhancement training strategies to support dancers in training and performance, helping to establish a high athletic capacity to support genre specific technique and reduce physical limitations to creative work. His research looks into the athletic development and competency of dancers.

As a performer, Khyle has performed internationally with numerous makers and companies; working with STREB Extreme Action, Dance Theatre of Ireland, Upswing Aerial, Generating Company, Luca Silvistrini, Arthur Pita, Liam Steel. Khyle is also creative collaborator, maker, choreographer, and rehearsal director in dance theatre and musical theatre genres. He has worked extensively with British Youth Music Theatre; and Rachel Birch-Lawson, touring their work internationally.

Next followed work with BalletBoyz and Rambert Dance Company, shifting into contemporary dance. He was particularly inspired by the work and technique of Merce Cunningham and also appeared in works by Christopher Bruce, Doug Varone, Mark Baldwin, André Gingras and Aletta Collins. He started choreographing while at Rambert. The first piece What Rainbow? was performed at Resolution (The Place). As a choreographer, his works have been commissioned by English National Ballet, Transitions Dance Company and the Royal Conservatoire of Scotland.

He is currently an associate artist at The Print Room in London, under the Artistic Direction of Anda Winters. Works include Jealousy (2012), and the critically acclaimed Elemental Trilogy, Flow (2012) and Ignis (2013).

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 current research is a practice-based PhD at Roehampton University supported with an Arts and Humanities Research Council scholarship on the Techne Doctoral Training Partnership. She is exploring the role and place of care in the work of community dance artists. Her PhD Blog notebook can be found here.

She regularly teaches the Vietnamese Women’s Group at Woolwich Common Community Centre and has worked as a dance artist with Greenwich Dance, leading weekly outdoor family classes and dance walks, Amici Dance Theatre Company and Magpie Dance, teaching extensively in mainstream and SEND settings. 

Her 10+ years in Higher Education includes; MA/MFA Dance Leadership and Community Practice at Trinity Laban Conservatoire for Music and Dance, and previous roles with Royal Academy of Dance (RAD), Imperial Society for the Teachers of Dancing and Canterbury Christchurch University. 

Lizzie has presented her work at conferences and written about inclusion and community dance for Animated and the RAD’s Focus on Education. She is trustee for Amici Dance Theatre Company. 

While successfully auditioning for the Council for Dance, Drama and Musical Theatre: Aspiring Dance Mentoring Scheme, Under the direction of Liz Dale – Director of Dance at ISTD – and Hannah Dye – Head of Programming for Breathe Arts and Freelance Producer for English National Ballet – André was scouted to join the Centre for Advanced Training (CAT) Programme at The Place: London Contemporary Dance School. After nearly 3 years, André graduated from The Place: CAT accepting a fully funded place at London Studio Centre (LSC). During his time at LSC André took some time out to attend The Ailey School – the training ground for the world renowned Alvin Ailey American Dance Theatre – Summer Intensive in 2013, before returning to LSC where in 2014 he graduated with a Bachelor of Arts Degree.

Following graduation, André joined the ensemble of The Lion King, Germany where he was trusted with the responsibility of teaching Company Class. On returning to the UK André joined the West End Production of Wicked in the prestigious Ribbon Boy Track before going on to play Paul in Kiss Me Kate at The Watermill Theatre choreographed by Oti Mabuse – for which André was the Dance Captain and was nominated for the BroadwayWorldUK: Best Supporting Actor Award.

Having worked in the Arts industry for two decades, André has danced, taught, assisted, created work and been mentored both nationally & internationally. Working with world class artists, theatres and organisations including: Richard Alston, Denzil Bailey, English National Ballet, Thea Barnes (1952-2018), James Bennett, the Southbank Centre, the Olympic Ceremonies, Royal Academy of Dance, Artistry Youth Dance, Nikolai Foster, the Royal Albert Hall, Rebecca Howell, Richard Jones, Ellen Kane, Trinity Laban, Paul Liburd, Oti Mabuse, Mandy Montanez, Alex Parker, Joan Peters, Richard Roe, Jane Sanig, Tamara Saringer, David Shrubsole, Judine Somerville, Christian Storm, the CDMT, Disney Theatrical Productions, Eric Underwood, Antoine Vereecken, Buddy Watkins, Nikki Woollaston and Sadler’s Wells. Which André continuously utilizes to inspire his work in the studio, on stage and off stage.

Catherine graduated magna cum laude from Barnard College of Columbia University in New York City, with Bachelors in both Dance and Physics. During her undergraduate studies, she studied abroad at the dance conservatory in the Victorian College of the Arts, University of Melbourne, Australia. After finishing her Bachelors, Catherine moved to Switzerland to pursue a combination of her passions of dance and science. At the Institute of Sport Science, University of Bern, Catherine completed both a Master of Science in Sport Science Research and a Master of Advanced Studies in Dance Science summa cum laude.

In addition to her teaching at Trinity Laban, Catherine works as a researcher in Dance Science alongside Dr. Andrea Schärli – analysing postural stability during rotation, with a particular focus on the influence of a stabilizing head coordination (spotting) on balance. She has additionally contributed to a variety of dance science research projects, including a Delphi Method survey, a dance intervention with older adults, an imagery intervention with pre-professional dance students, as well as bio-mechanical analyses of a rehabilitation program progression.

Through her research, Catherine has presented her work at numerous international conferences, including those of the International Association of Dance Medicine and Science, Performing Arts Medicine Association, and the International Society of Biomechanics. Catherine is a dedicated member of the International Association of Dance Medicine and Science, serving on the Student Committee and the Research Committee.

Qualifications & Background:

• MSc Sport Science Research, Institute of Sport Science, University of Bern, Switzerland
• MAS Dance Science, Institute of Sport Science, University of Bern, Switzerland
• BA Dance, Barnard College of Columbia University, New York
• BA Physics, Barnard College of Columbia University, New York

Teaching experience:

• Module Leader, M502a Research Lab, MSc/MFA Dance Science, Trinity Laban
• Lecturer, Researching Dance Science, BSc Dance Science, Trinity Laban
• Lecturer, CAS Motor Learning and Training, MAS Dance Science, University of Bern

Outputs:

Haber, C., Klostermann, A., & Schärli, A. (2019). Biomechanical analysis of balance and spotting in multiple rotations of ballet dancers. In W. Herzog (Ed.), Abstract book of the International/American Society of Biomechanics ISB/ASB 2019. University of Calgary.

Haber, C. Schärli, A. (2019). Biomechanical analysis of the Dance-Specific, Graded Rehabilitation Program. Proceedings of the 37th Annual Performing Arts Medicine Association International Symposium. Los Angeles, California, USA.

Haber, C. (2019). Measuring a Pirouette: Tackling the challenge of quantifying dance. The IADMS Blog. Measuring a Pirouette: Tackling the challenge of quantifying dance | International Association for Dance Medicine & Science (iadms.org)

Haber, C. Schärli, A. (2018). Defining spotting: A Delphi Method study evaluating expert opinions on the characteristics and uses of spotting. In R. Solomon and J. Solomon (Eds.), Proceedings of the 28th Annual Meeting of the International Association for Dance Medicine and Science. Helsinki, Finland.

Haber, C. Schärli, A. (2018). The Yoyo Schedule: A biomechanical analysis of a graded rehabilitation program for dancers. In R. Solomon and J. Solomon (Eds.), Proceedings of the 28th Annual Meeting of the International Association for Dance Medicine and Science. Helsinki, Finland.

Haber, C., Schärli, A., Klostermann, A., & Hossner, E.J. (2017). Measuring a ‘spot’: A methodological approach to developing and defining dance-specific measures. In R. Solomon and J. Solomon (Eds.), Proceedings of the 27th Annual Meeting of the International Association for Dance Medicine and Science. Houston, Texas, USA.

Schärli, A., Haber, C., Klostermann, A., & Hossner, E.J. (2017). Gaze behavior in dance: The relevance of spotting in pirouettes. Proceedings of the 35th Annual Performing Arts Medicine Association International Symposium. Snowmass, Colorado, USA.

Lenartowicz, A., Simpson, G., Haber, C., & Cohen, M. (2014). Neurophysiological signals of ignoring and attending are separable and related to performance during sustained intersensory attention. Journal of Cognitive Neuroscience, 26(9), 2055-2069.

Henrietta has a 25 year dance artist practice, most significantly as founder member of collective Dog Kennel Hill Project (DKHP) since 2004. DKHP produce performance research work across theatre, gallery, screen and unusual sites, within a range of producing partnerships such as Whitechapel Gallery, Dance Umbrella, and Brighton CCA.  

Roles as a dancer/collaborator from late 90s onwards include Ricochet Dance Productions and Rosemary Lee projects and movement direction with visual artists. She has taught regularly in higher education undergraduate contexts, significantly Trinity Laban (2002 – 2013).