Testimonials

Ben Anderson, PhD candidate, University of Cambridge, participant in my Introduction to the Laban/Bartenieff Movement System (2024), Thanks again for the weekend, for both offering the introduction and being so generous with the time that we had in terms of helping us all with our own unique questions. I really appreciated it and really enjoyed the whole weekend.

Ulrika Kinn Svensson, director Fontys Dance Academy, Thank you for your valuable contribution at our symposium last week. We felt very privileged to have your here. You offered a beautiful framework for the rest of the day, with plenty to think about and reflect upon.

Anna Leon, theory curator, Tanzquatier Wien, Thank you Ali, for creating and facilitating this space, for working in a way that allowed connection and exchange, for interweaving on so many levels.

Theatre director Russell Lucas interviewed Alexandra about Movement Direction for his Youtube series 300 Thoughts for Theatremakers

Artist and movement educator Marguerite Caruana Galizia held a conversation with Alexandra after teaching class for dance artists at Independent Dance in London for her Pilates teaching site and blog

Kimberley Harvey, artistic director of Subtle Kraft Co, an inclusive contemporary dance company – I really appreciate the way you give ownership and choice to the people that you work with

Polena (Greece), dance artist, Thank you so much! This must be the most polite and detailed email I have received about a zoom class. Really inspiring, thank you!

Monika (Poland) I just wanted to thank for the classes. I am amazed with them. The explorations helped me to get in touch with something very deep in me (the core I guess) – the source of creativity, vitality, spontaneity.

Lucy (UK), artist and lecturer, The thing I find particularly useful in these classes is returning to the Bartenieff fundamental exercises each week. It’s really helping me see that it’s all my body, it’s all movement, these are just different lenses to look at that movement through, rather than another Laban thing and another Laban thing, like the next concept or chapter in a book. Working through the books gets so intense and overwhelming that I get stuck in my head. To keep going back to these basic movements it becomes simple.

Billie, actor, I’m from a theatre background and we do a lot of Grotowski, and use impulse work. But it has never worked for me. Every time we had an impulse-based class the teachers were pushing this rhetoric, striving to get to it, you have to listen to yourself, and the beginning of what you want to do. Today I wasn’t thinking of any of that, and it came so much more immediately and easily. Why in this setting was it possible? For years I’ve had teachers trying to get me that to that thing. The approach to this was a space of empathy.

Penny Randall-Davis, opera singer and educator, Thanks for your total and palpable support with the 1 to 1 sessions. It’s been intriguing. I very much appreciate your clarity and complete integrity. Not to mention your skill!

Giles Roberts, actor and writer – The exercises we worked through back in rehearsals remained vitally useful

Justyna Sochaj, Professional dance artist and educator – It gave me lots of space to learn and discover new things and rediscover what I already knew

Dan Edwardes, Director, Parkour Generations – Can’t recommend her strongly enough

Darren Suffolk, Director/producer, The Outlook Creative Group – commercial choreography for client BGL, Review of the Year

Fortunato Angelini, Choreographer, Researcher and Lecturer in Contemporary Dance – Her knowledge and mastery of Bartenieff Fundamentals and Laban theories are professionally taught

Laura Lee Greenhalgh, Dance artist, Graham Technique teacher – It was a really valuable experience

Claudia Chappuis, movement educator – My personal opinion is that she doing a great work here

Psychologies magazine featured by 1 to 1 movement coaching practice

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