Emilie Gallier

Contemporary dance, Improvisation, Laban notation

I teach since 2003, and it is principally through transmission that I increased my knowledge of dance. The context of a dance class or a workshop is a privileged moment to further understand movement, performance, improvisation and choreography. This suspended time with no pressure of production favors open-mindedness and adventures.
My teaching introduces with a light-hearted spirit my choreographic and pedagogical investigations. Writing movement, dance notation, and the performance of readership influence my teaching and bring in: the quality of movement analysis, the involvement of all senses in dance,functional movement, the quality of presence of the conscious body, the quality of dialogue and participation.

For over 12 years, I have taught in academic, professional and amateur contexts. In 2015, I teach regularly at the LAKcourses Leiden University, and I am a guest teacher at ArtEZ Institute of the Arts.

Examples of workshop:

Dance from Kinetography Laban
In this workshop you will learn basic principles of the dance notation system Kinetography Laban (also called Labanotation in US). We will read and perform the score (partituur) of the choreography Fan Dance by choreographer Andy de Groat. We will focus on fundamental and powerful movements of walking and turning as a group. You will discover that with very few signs taken from this way of writing movement, you can immediately visually perceive the choreography. This quick mode of transmission will provide you with inspiration and tools to further explore with dance.

Kinetography Laban

Our Lexicon, Our Dance
Our Lexicon begins with the spontaneous writing of dissociated words that are to become keywords. After many practices they form our lexicon, and constitute the matter for our dance. Along the sessions, writing very quickly leads to diverse experiences of reading with the improvising body. When words turn into a wordscape they form a very large page to be read. Sensing feet are the eyes with which we read. We exercise collective reading and seize the chance to play with rhythm, phrasing, repetition. A physical knowledge will grow from each participant. We progressively arrive to a lexicon of about 15 keywords. It is the group’s language of singular improvised movements that in the end form the identity of our dance.


The workshop approaches reiteration according to 3 points:
1. At the body scale, reiteration of the breathe, the physical rhythm.
2. In space, the path, the pendulum
3. At the scale of the group

Sync: Reading choreography
The workshop aims at challenging our understanding of notation and spectatorship. Experience being reader/theatre/spectator/performer via the book sync. We explore different types of encounter with the book by trying variable beginnings. We share our physical experiences of reading the choreography (with movements of thoughts, breathing, shifts of perspectives, mechanisms of expansion-retraction). We exchange our personal interpretations, and re-name/re-write/re-invent the score with newly generated movements of thoughts, imagination, and actions.


The score of the project ‘Horizon ’ developed by Emilie Gallier together with composer Daniele Ghisi is the concrete point of departure. We improvise with volume, frequency, and amplitude. Play with imagined spaces (particles, geodesics). Use our senses to distort reality. From that point of departure, the course trains the performativity of the group, in duration.