BMC® is a system developed by Bonnie Bainbridge Cohen that integrates experiential anatomy, developmental movement, embryology, and somatic psychology. It’s taught through movement, touch, and perceptual inquiry.

I teach BMC in both structured and exploratory formats, ranging from focused study of body systems and developmental processes to more open-ended movement research, depending on the group and context.

For more information, see this page.

Based on BMC but stripped back and extended with Laban Movement Analysis and Irmgard Bartenieff’s “Fundamentals”.

Progressing from floorwork to standing and walking, these classes emphasis the breath, dynamic alignment of the spine, connecting the periphery of the body to the centre, and mobilising and stabilising the joints, particularly the hips, shoulders, lower back, and neck.

These classes are well-suited for people new to somatic practices or those recovering from illness or injury.

I teach the Six Viewpoints based on Mary Overlie’s pedagogy at the end of her life — six materials that can be separated, noticed, and played with, and the nine laboratories with which to do so. It’s a perceptual and embodied practice that strengthens both abstraction and storytelling, and is particularly useful for performers, makers, and educators who want to analyse, generate, or develop their work.

It offers a structured way to get closer to your own artistic voice while expanding your ability to engage with other people’s processes.

I teach the Viewpoints through movement, discussion, and composition tasks — as both a lens for perception and a tool for creating and performing.

Helping people make and unmake dances.

My teaching here blends compositional tools, improvisation scores, dramaturgical feedback, and perceptual frameworks to support creative processes — whether solo or ensemble — often in or cross-disciplinary and site-specific work.

My goal is always to help participants be closer to their own artistic voices. I work with a range of people, from those engaging in compositional practice for the very first time to seasoned choreographers and directors.

I teach neuroinclusive strategies for movement, thinking, and making.

Dance with the Brain That You Have supports movement educators in reflecting, adapting, and growing more inclusive practices — drawing on cognitive science, somatics, and compositional tools. Visual Thinking for Beautiful Brains is a playful lab for neurodivergent or “neurospicy” minds to rethink how they externalise thought. Scribbles, not structure.

These workshops, designed for both practitioners and neurodivergent individuals, focus on rewiring the way we teach, think, and create — not to “fix” anything, but to develop practices that work with our brains, not against them. If you’ve got a different context or question, I can jam with that.

I help creative groups see what’s going on — and what’s trying to happen beneath the surface.

Sometimes that means untangling interpersonal gridlock. Sometimes it means sharpening what’s already working and helping it evolve further. I draw from Gestalt therapy and systemic coaching to support clearer communication, deeper collaboration, and process-awareness that doesn’t kill the vibe.

I’ve been brought in when rehearsals stall, collaborations fracture, or institutional roles collide — often helping groups regroup and reimagine from the inside out. I do this in rehearsal rooms, roundtables, staff meetings, and anywhere artists, educators, producers, or administrators need help getting unstuck or going deeper without getting lost.