About
I (Ségolène Tarte) am an Oxford-based independent dance artist and choreographer with a strong ballet background and a keen interest in butoh; and I am always curious about other dance forms and creative collaborations across the arts.
Classically trained in France (Paris, Conservatoire Frédéric Chopin, class of Mme Geneviève Guillée de l'Opéra de Paris) and Switzerland (Bern, professional classes of Ivana and Jiri Halamka), I was part of a semi-professional company (City Ballett Halamka) for 5 years in Bern, Switzerland.
Until around 2008, I had been concentrating on the regular high-level practice of ballet, with only occasional excursions to the "neighbour" dance forms. With experience comes curiosity, and I started to experiment more regularly with various dance vocabularies and choreographic processes. Stepping out of my comfort zone (although, to be fair, in the comfort zone there is still ample room for improvement!), I'm continually learning new expressive forms of dance and endeavouring to choreograph, all in an effort to find my own dance vocabulary.
My main dance inspiration styles are ballet, contemporary, and butoh.
I have taken part in various dance projects with local choreographers and companies (with Fiona Millward, with Ballet in Small Spaces, with Ana Barbour, with Café Reason Butoh Dance Theatre) as well as created and shown my own work (including as part of as part of Avid for Ovid) at the Pegasus theatre, at the Old Fire Station, at the Burton Taylor Studio, at the Ashmolean Museum.
I am also a member of the Oxford Dance Forum steering group.
Finally, I am a qualified ISTD teacher (Diploma in Dance Pedagogy), and I teach ballet in Oxford.
I can be contacted on:
Follow me @dancingconvolu1
facebook page : @dancingconvolutionsOxford
Oh, and, I used to also be an academic (PhD in Biomedical Engineering), doing research first in computer-assisted surgery and radiotherapy as an image processing expert (about 8 years), then, for another 10 years, conducting research at the crossroads between imaging technologies, ethnography of expertise, and the study of ancient documents (in classics, egyptology, cuneiform studies, mediaeval studies, and more generally in the digital humanities). If you're interested, have a peak there: charades.hypotheses.org.
Classically trained in France (Paris, Conservatoire Frédéric Chopin, class of Mme Geneviève Guillée de l'Opéra de Paris) and Switzerland (Bern, professional classes of Ivana and Jiri Halamka), I was part of a semi-professional company (City Ballett Halamka) for 5 years in Bern, Switzerland.
Until around 2008, I had been concentrating on the regular high-level practice of ballet, with only occasional excursions to the "neighbour" dance forms. With experience comes curiosity, and I started to experiment more regularly with various dance vocabularies and choreographic processes. Stepping out of my comfort zone (although, to be fair, in the comfort zone there is still ample room for improvement!), I'm continually learning new expressive forms of dance and endeavouring to choreograph, all in an effort to find my own dance vocabulary.
My main dance inspiration styles are ballet, contemporary, and butoh.
I have taken part in various dance projects with local choreographers and companies (with Fiona Millward, with Ballet in Small Spaces, with Ana Barbour, with Café Reason Butoh Dance Theatre) as well as created and shown my own work (including as part of as part of Avid for Ovid) at the Pegasus theatre, at the Old Fire Station, at the Burton Taylor Studio, at the Ashmolean Museum.
I am also a member of the Oxford Dance Forum steering group.
Finally, I am a qualified ISTD teacher (Diploma in Dance Pedagogy), and I teach ballet in Oxford.
I can be contacted on:
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Solo in Prague in 2002, with City Ballett Halamka (Bern, Switzerland).
Choreography and costume: S. Weissbarth
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Follow me @dancingconvolu1
facebook page : @dancingconvolutionsOxford
Oh, and, I used to also be an academic (PhD in Biomedical Engineering), doing research first in computer-assisted surgery and radiotherapy as an image processing expert (about 8 years), then, for another 10 years, conducting research at the crossroads between imaging technologies, ethnography of expertise, and the study of ancient documents (in classics, egyptology, cuneiform studies, mediaeval studies, and more generally in the digital humanities). If you're interested, have a peak there: charades.hypotheses.org.