Sasha studied at London Contemporary Dance School 1982-1986 subsequently working as a freelance dance artist and teacher. In 1987 she co-founded Reflex Dance Co with Paul Douglas, performing duets commissioned from choreographers: Aletta Collins, Earl Lloyd-Hepburn, Jonathan Lunn and Peter Purdy which toured nationally and internationally. In 1991 Sasha joined Motionhouse Dance Theatre, where she created a number of original roles. In 1994 Sasha made her first appearances with Siobhan Davies Dance during the company’s tour of Turkey. During this period, Sasha performed in Wanting to Tell Stories, White Bird Featherless and, on returning to the UK, in the premier of The Glass Blew In. In the same year Sasha performed with Yolanda Snaith Theatre Dance in a site specific piece and became a founding member of Small Bones Dance Company, directed by Paul Douglas. Sasha worked with Small Bones until 1999, creating many original roles, acting as Artistic Adviser to the Director and making a significant contribution to the development of the company through her teaching and creative input to the choreographic process.In 1999 Sasha joined Siobhan Davies Dance Company as a full-time member. While with SDD, Sasha created many distinctive and original roles appearing in ten of the company’s works including Wild Air, White Man Sleeps, Of Oil and Water, Birdsong and Two Quartets. In 2008 Sasha assisted Siobhan Davies in remounting and creating new material for Carnival of the Animals for Rambert Dance Company.

Sasha is a highly regarded freelance dance teacher and has taught professional classes and workshops at Movingeast, Greenwich Dance Agency, for Independent Dance, the Henny Jurriens Foundation, Amsterdam and Dansens Hus, Copenhagen on a regular basis over many years. Sasha has also taught courses at studios in Philadelphia and in Chicago, USA and in St. Petersburg, Russia.

Sasha developed and sustained long term relationships with many dance companies in the UK leading classes for DV8, Riccochet, Motionhouse Dance Theatre, V-Tol, Small Bones, CandoCo, Rambert Dance Company, Shobana Jeyasingh Dance Company, The Plesni Theatre Dance Company in Llubljiana, Slovenia, Bernardo Montet Dance Company in Tours, France and Siobhan Davies Dance Company.

In addition to her considerable experience as a dance artist, over the past 25 years Sasha has immersed herself in the study of Aikido and Kashima Shinryu swordsmanship – two Japanese martial arts. She began her study of Aikido with Paul Douglas, in 1984 and has also studied with Japanese masters Inabea Sensei, Kanetsuka Sensei, Sekiya Sensei and Yamaguchi Sensei. As holder of 4th Dan in Aikido, Sasha is a senior member of Tetsushinkan Budojo at Movingeast and sits on the examining committee. Sasha continues to participate each year in seminars programmed by The International Shiseikan Budo Association, which facilitates advanced learning in Japanese martial arts.

Her long-term research in martial arts has informed Sasha’s understanding of fundamental issues pertaining to somatic knowledge and has had a profound influence on her approach to the teaching of dance. Sasha has augmented these substantive experiences with other complementary studies such as in Yoga, The Feldenkrais Method® and Klein Technique and has woven these into the fabric and substance of her teaching.

In conjunction with her teaching career, Sasha continues her work as a performer. In 2010 she performed in Unsignal together with Lauren Potter, Annie Lock and Marina Collard, choreographed collaboratively with and directed by Joe Moran. In 2011 Sasha performed in Differ & Repeat, a choreographic collection of live performance, film and installation curated by Joe Moran.




DATE: 3 JUNE 10:30 – 12:30 & 14:30 – 17:30
FEE: 1250HKD


Performed by Renee Stewart

TIME: 19:30
VENUE: 5F Sheung Wan Civic Centre Theatre


Drawing on over twenty five years of experience as both a dance artist and practitioner of the martial art, Aikido, I teach my own unique approach to release-based technique. I use structured sequences of movement, whilst encouraging a personal exploration of the use of breath, qualitative change, rhythm and dynamic.

Combining imagery with the physical process, I aim to increase sensory awareness and to impart an understanding of an integrated relationship between body and space. Starting slowly and mindfully, allowing participants time for self-reflection and recognition, I build the class gradually through more complex articulate movement progressing to a dynamic sequence towards the end of the class.

Through my methodology I instil a sense of fluid ease in the body whilst developing connective strength, clarity, complex articulation and a broad spectrum of energy. I teach partly in silence and use music where I believe it will support the quality and phrasing inherent in the choreography. In developing movement for choreography I am interested in stimulating the individual dance artists’ inherent movement potential. This is achieved through a directed process that engages the artist in discourse and creative exchange

With an understanding of the body as a resource for movement the workshop will begin with directed improvisations. Through play and exploration individuals will evolve short choreographed sequences and be encouraged to consider phrasing, qualitative nuance and spatial orientation. With the emphasis on an embodied practise explorations will focus on the individuals’ kinaesthetic experience that requires the mover to engage imaginatively as well as physically.


Performed by: Renee Stewart

I see the body as a means by which to create spatial maps, I am also interested in creating and communicating an understanding of an internal map – a cartography of the body.  I am drawn to the work of land artist Richard Long because the work he creates has a rhythm and a presence that has both purpose and a transience that marks time and energizes space. I am also drawn by the physical effort involved in his art works and by an understanding that, by fulfilling the intention or promise to complete an undertaking or act with integrity and purpose this act becomes an artwork in itself.

In forming choreographed material I am interested in working from and building on a ‘natural’ state of consciousness. French dance academic and writer Lawrence Louppe suggests in her book Poetics of contemporary dance that ‘ …neutral movements or body states (expressly unaccented and without design) have their own lyrical quality as much as any overtly spatialized and musicalized movement. The main thing is to work first of all on the organic conditions of this poetic emergence. Once this fertile choice is made the body becomes a formidable tool of consciousness and sensation’ Louppe (2010).

The solo was made possible with support from The Conservatoire for Dance and Drama, (CDD) London Contemporary Dance School (LCDS) and Movingeast Centre for Dance and Martial Arts.

Renee Stewart

Dance artist Renee Stewart was born in London, United Kingdom and grew up in Los Angeles, CA. She recently graduated with a first class B.A. Hons Degree from The London Contemporary Dance School where she studied Contemporary Dance for three years in London. Renee has worked with several companies and choreographers including Jacob Jonas The Company (USA) Susan Sentler (UK) and Didy Veldman (UK). Renee’s first work with choreographer Sasha Roubicek was ‘Milestones’ (2016) which she performed with LCDS third year touring company LC3



Contact Us

We're not around right now. But you can send us an email and we'll get back to you, asap.

Not readable? Change text. captcha txt

Start typing and press Enter to search