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This research focuses on secular dances, exploring the competitive aspect of dexterity that plays out among women. While gathering the dancers’ testimonies, it aims to analyze, using Laban notation, the specific physical skills required by each of these dances. This research focuses on secular dances, reconstructing them. In doing so, the project maps out “pelvic dances”: specifically, the Mahoran mbiwi, the Cape Verdean batuka, the Réunionese séga and maloya, and, beyond these, the Baka dances, the Puno dances, the Mayottean debaa, and the Mozambican tufo.

Building on the creation of a piece based on a reinterpretation of three solos by Ruth Saint Denis and group pieces by Ted Shawn (1906–1935), this filmed study gathers and weaves together the testimonies of the piece’s performers—Sherwood Chen, Ghyslaine Gau, Nitsan Margaliot, Calixto Neto, Pol Pi, and Cécile Proust—with the perspectives of scholars grounded in a tradition of critical thought, particularly from the Anglo-Saxon tradition —Homi K. Bhabha, Anne Décoret-Ahiha, Jane C. Desmond, Fabiana Ex-Souza, Federica Fratagnoli, Julia L. Foulkes, Olivia Gazalé, Olivier Marbœuf, and Rodney Willi…

The task is to create the complete score, in Laban notation, for an eight-part trio lasting thirty minutes, first performed in 1988. Commissioned by the Centre Pompidou and performed by Wilfride Piollet, Jean Guizerix, and Douglas Dunn, "Gondolages" is a choreographic experiment exploring combinations of the number 3 set to a rich musical montage (Strauss, Puccini, Cavalli, Captain Tobias Hume, Sor, Schumann, Alabama, and Granados). It includes an introduction that recounts the context of the work’s creation and the artistic intentions of the choreographer, the score includes documents explain…

The project aims to document breakdancing through photography: its constituent elements, its vocabulary, the categorization of its moves, and its practitioners. With the goal of providing insights into the dance movement, the research explores an oral culture, notably through the sequencing of images. By exploring different contexts of the practice and letting dancers speak about what they do, the project highlights variations, footwork, transitions, flows, attitudes, styles, and other terms used to describe the earliest forms of hip-hop dance, and questions the notion of their “authenticity” …

This project aims to create resources that explore the benefits of dance movement on pregnancy, childbirth, the postpartum period, the physiology of breathing, and the space provided for the fetus. Developed as part of an experimental laboratory exploring the intersection of dance and midwifery, the project combines two dimensions: a documented observation of the dancer’s pregnancy and an analysis of the impact on pregnancy of dance movements—such as pliés, arm positions, and inclinations, lateral bending, rotation and torsion, pelvic anteversion and retroversion, dégagés, and battements. The …

This study documents the quadrilles of the French West Indies and French Guiana (quadrille, haute-taille, boulangère) in terms of their choreographic characteristics, their history, their status in Creole societies, and their evolution—particularly in relation to the metropolitan contredanse. Based on a comparative analysis examining local transformations during the periods of slavery, colonial rule, and the contemporary era—specifically focusing on the French quadrilles that were popular in the 18th century—the project involves analytical work that draws on notational tools.

Drawing on his experience with house dance, Cassiel Gaube focuses this research on footwork: a complex and abstract fabric of locomotive movements that forms the lexical foundation of most traditional rural and contemporary urban dances. He begins by attempting to identify the variables—parameters—that define this class of movements. This analytical work then leads to the formalization of rating tools that make it possible to describe these movements as a function of the identified variables.

Drawing on various documents from her archives, this research aims to revisit a key figure in interwar dance, Nyota Inyoka (1896–1971), through bodily reflections and embodiments. By analyzing her artistic position within history, dance, and the European theatrical landscape, the project also explores the various forms of exclusion at work in contemporary dance circles.

This book of moving portraits, created in collaboration with artist and illustrator Valérie Dumas, is divided into two parts: one based on interviews with friends who are dancers, and the other consisting of a series of self-portraits drawn in ink and organized around twenty-one words—an alphabetical list ranging from “Amoureuse” to “Tristesse.” The book aims to offer a fresh perspective on disability and on dance, particularly as practiced by people with Down syndrome.

Aimed at raising awareness and fostering connections around the issue of accessibility in music and dance conservatoires, this action research project – carried out in Villejuif in collaboration with Pôle Arts et Handicaps 94 – examines the barriers and enablers for establishing public dance education that is truly accessible to people with disabilities, by developing a sensitive choreographic language.

Focusing on the music of Francis Johnson, a still relatively little-known African-American composer who published over three hundred cotillions, marches and waltzes, this project aims to create a series of audiovisual documents exploring French-inspired American choreographies from the early 19th century, reconstructed with the New York Baroque Dance Company.

This project, which involves notation and in-depth analysis, aims to characterise the technical fundamentals and physicality – including the ‘embodiment’ – that have defined the bodily dimensions of the works by choreographers Héla Fattoumi and Éric Lamoureux over the past thirty years.