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“I believe that dance should acquire its own literature as much as any other art form”

Angelin Preljocaj, [translated from French]

Dance notation is the ability to give dance a written language. It is a reflexion on paper of bodies language. It captures movement without freezing it, transcribes it on a support. In this way it becomes a trace, capable of crossing time and continents.

Dance notation guides transmission, but leaves a crucial role for both the choreographer and performers to make it their own. In this way, as a written material, it contributes to the living character of dance that is perpetuated through the ages. We can define it as heritage and choreographic lithography: it makes the ephemeral a legacy.

I have been formed to dance notation with the Benesh system by attending the four-year postgraduate programme at the Conservatoire National Supérieur de Musique et de Danse de Paris.

Notation came to me quite naturally because I am an avid drawer and have always been looking for a way to combine dance and writing. Over the years, I experimented with different notation system. The first time I saw Benesh notation, something very instinctive, very visual occurred. Some sort of intuition, I would say.

Throughout my professional experiences, I have experimented with various fields. I have assisted Clothilde Vayer and wrote a part of Rudolph Nureyev’s Swan Lake at the Opéra National de Paris in Benesh notation. In a much more contemporary style, I also assisted the choreographer Ohad Naharin and Gil Carlos Harush during two months at the Opéra National du Rhin.

I am currently working on various notation projects. Do not hesitate to send me an email for any proposal.