MOSAIC 2016 - November 17, from 5:30pm - 8:30pm

Save the Date for this year's MOSAIC, which will take place at LIMS new Manhattan space located at Bryant Park South!

Details will follow soon, but you can count on unique Performance Interventions with Preeti Vasudevan and Flavia Tapias, live Interview & book signing with Martha Eddy, public speaking quick coaching sessions with CMAs, a glass of tea or beer, and many friends to have fun with! 

A Fabulous Year! CMA Preeti Vasudevan, LIMS 2015 DPA Award, is invited as Artist in Residence at NYU

Preeti Vasudevan is an exponent of Bharatanatyam (classical Indian dance) creating new provocative contemporary works from the Indian tradition, and is the first Indian choreographer to be invited as an Artist in Residence at New York Live Arts to research and develop a new commissioned work for 2017. As an educator, Vasudevan’s educational website, Dancing for the Gods, has been developed to build a cultural bridge through creative Indian dance and used in NYC Public Schools. At CBA, Vasudevan will work with a ballet dancer to develop a series of movement studies (etudes) deconstructing and re-combining specific elements of both ballet and Bharatanatyam forms. A solo performance will showcase sections of the work and the project will be documented in detail using Laban Motif Notation, providing a resource for choreographers and dance scholars interested in the ways in which a new dance idiom can emerge from an open encounter between ballet and a non-Western classical form.


Move­ment isn’t designed to be “effi­cient.” It’s designed to be expres­sive, com­mu­nica­tive, socially mean­ing­ful, adap­tive, and (to some degree) effi­cient, all at the same time.

Excerpts from Dr. Lavine's article  - "A tribute to Irmgard Bartenieff"

" Few peo­ple have even heard of her. 

But of all the teach­ers, men­tors and inspi­ra­tional peo­ple I’ve been exposed to, Irm­gard Barte­ni­eff has had the biggest influ­ence on the way I under­stand human move­ment and health.

She was born in Berlin in 1900, stud­ied with Rudolf Laban and other nota­bles of Ger­man Expres­sion­is­tic mod­ern dance, fled the Nazi regime for New York, stud­ied phys­i­cal ther­apy, and was a pio­neer in polio treat­ment, dance ther­apy, and dance ethnog­ra­phy. She was the founder of the Laban Insti­tute of Move­ment Stud­ies (later renamed the Laban/Bartenieff Insti­tute of Move­ment Stud­ies), one of the world’s fore­most train­ing pro­grams for schol­ars, teach­ers, chore­o­g­ra­phers, prac­ti­tion­ers, ana­lysts, non-verbal com­mu­ni­ca­tion spe­cial­ists, ethno­g­ra­phers, and all those who work in the move­ment field.

Though she died in 1981, she’s still decades ahead of her time in her views of movement. For exam­ple, she grasped that move­ment is adap­tive, that it forms the inter­face between the human being and the envi­ron­ment. Par­tic­u­larly the social envi­ron­ment.  That means that move­ment sys­tems (like the Alexan­der Tech­nique or Feldenkrais) that empha­size “effi­ciency” or “ease” in motion are miss­ing at least part of the point.  Move­ment isn’t designed to be “effi­cient.” It’s designed to be expres­sive, com­mu­nica­tive, socially mean­ing­ful, adap­tive, and (to some degree) effi­cient, all at the same time.

She also devel­oped a keen under­stand­ing of the “three-dimensionality” of move­ment, par­tic­u­larly through her pio­neer­ing work dur­ing the polio epi­demic of the 1950’s.  These chil­dren suf­fered from mus­cle con­trac­tures; the treat­ment of the day con­sisted in try­ing to stretch their mus­cles to main­tain their length. Irm­gard dis­cov­ered that a more effec­tive approach involved mobi­liz­ing her patients’ limbs and trunk through all their pos­si­ble ranges of motion while at the same time fos­ter­ing “verticality.”

These and sim­i­lar insights led to the devel­op­ment of “Barte­ni­eff Fun­da­men­tals,” an evolv­ing group of ther­a­peu­tic and body aware­ness exer­cises that embody core move­ment prin­ci­ples. I use them every day in my practice.

I value the con­tri­bu­tions she’s made to my work and that of many others"

 - Full text, and others articles from Dr. Lavine, can be found at


Moving Stories: Digital tools for Movement, Meaning, and Interaction

 The Laban/Bartenieff Institute of Movement Studies (LIMS) has been partnering in a cutting-edge research in the rapidly growing field of arts and technology design including motion capture, human-machine interaction, robotics, and animation. The four-year project, called "Moving Stories: Digital Tools for Movement, Meaning and Interaction," is being funded through a grant from the Social Science and Humanities Research Council of Canada (SSHRC).

The team is led by Thecla Schiphorst, a LIMS' Certified Laban Movement Analyst, who is Associate Professor at Simon Fraser University's School of Interactive Arts and Technology. Other participants include: 

- The University of Illinois' eDream Center (Emerging Digital Research and Education in Arts Media Research)
- The Emily Carr University of Art and Design
- The University of British Columbia Department of Theatre
- Credo Inc., specializing in developing digital tools for human movement and dance

"We are very excited to be a member of this cross-disciplinary partnership," says Karen Bradley, LIMS' Interim President and a principal researcher for the project. "Studying the role of human movement in all aspects of society is the heart of our work at LIMS. The understanding of the complexities of somatic movement will significantly enrich this effort to create new methods and new technologies for communication and creative interaction."

Currently, Bradley and Karen Studd are the lead investigators from LIMS. Bradley also directs the graduate program in dance at the University of Maryland's School of Theatre, Dance, and Performance Studies. Studd is a faculty member at LIMS and at George Mason University. Both are LIMS Certified Movement Analysts and teachers of Laban Movement Studies internationally.

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The BANNER PHOTO is an artistic work based on Labanotation that Thecla developed collaboratively with Sara Fdili Alaoui and Karen Bradley for LIMS' Partnership with the exhibition "Coding the Body", at ApexArt, 2014.

CMA Regina Miranda gives conferences and Master Classes at the University of Maryland

Invited by Karen Bradley, Director of Graduate Studies in Dance, at the School of Theater, dance and Performance Studies of the University of Maryland, Regina Miranda, LIMS' Executive Director / Director of Arts & Culture, had a full agenda at the University of Maryland! She gave a conference on "Creative Cities: Development of Cultural Processes and Competences"; shared her long research on homeless women, which led to different outdoor performances in socioeconomically deprived neighborhoods; introduced "Body-Space Connections - BSC", her theoretical contribution to the Laban field, and met with scientists, architects and faculty members, who are developing amazing new ventures in the field!