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Graduating from a BA (hons) Performance Design & Practice at Central Saint Martins (University of the Arts London), Aline Derderian spent a year in Paris studying dance research. In 2016, she received the Leverhulme Grant for the Arts enabling her to pursue her path on the MFA Choreography programme at Trinity Laban Conservatoire of Music and Dance. Many trips to The United States and Armenia entailed a vivid wish to connect her performance art background, Armenian roots and postmodern dance influences in order to develop a choreographic process that questions and challenges the archetypal female dancing body as a catalyst for contemporary feminine performance writing and cultural survival.


She recently defended her PhD thesis at Rennes 2 University supervised by Marie-Noëlle Semet-Haviaras : Dance & Inter-act : From feminine diasporic gestures to choreographed performances. Derderian practice-led research explores innovative ways to envision a feminist historiography of dance through the lens of postmodern choreographer Anna Halprin, Southern California feminist activist performance art pedagogy, and Armenian female movement artists in diaspora.  Associate lecturer at Central Saint Martins from 2016 to 2020, Aline Derderian taught as an associate lecturer/tutor in set design for dance and choreography at the occasion of modules such as Dance Lab or Design for Dance in collaboration with Rambert School of Contemporary Dance & Ballet, Central School of Ballet and London Studio Centre. Aline currently choreographs, dances and performs with the company CONSENSUS & ALINE DERDERIAN she founded in 2014 and teaches choreography on the Fine Arts department of Rennes 2 University, Performing arts BA (hons) in Angers. Dance works include performances for Bouchra Ouizguen, Mette Sterre, Anatoli Vlassov, Scatter Dance Company, Dimitra Petsa, Corinne Lanselle…

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Armen Ohanian à Paris : Libération d’une princesse captive par une écriture dansante et dansée.  « Femmes dérangées, femmes dérangeantes /Disturbed and Disruptive Women ». Women in French UK-Ireland Biennial Conference. (IR)


"Dancing beyond memories: Armenian cultural heritage & corporeality (South Caucasian approaches to creative practices). A digital international conference under the direction of CONSENSUS & Aline Derderian". The University of Chicago Center in Paris. (US), (FR)


«Artistes-enseignantes au XXe siècle : la transmission au prisme du genre». École nationale des chartes, CNRS, AWARE (Archives of Women Artists, Research and Exhibitions) dans le cadre du programme de recherche «Histoire de la pédagogie de la création artistique XIXe-XXIe siècles». Performer et bâtir à la fin des années soixante : Pratique d’un discours corporalisé au sein du Feminist Art Program


« Partitions, Scripts, Enoncés performatifs ». D’Anna Halprin à Anne Collod : Jouer, Rejouer, Déjouer Blank Placard Dance (1967-

2017). Université Rennes 2 & Paris 1 Panthéon Sorbonne (FR)


« Enquêter, explorer, documenter: la création en recherche » (Colloque digital). Documenter la réécriture. L’attente éparse, étude d’une suite filmée/dansée. Centre National de la Danse (CND) – Pantin; Atelier des doctorants (FR)


« Atelier des Doctorants – Danse et Arts Visuels » (Colloque avec publication). Prendre et Faire corps : Anna Halprin, Auguste Rodin, Ruedi Gerber. Centre National de la Danse – Pantin (FR)


« S’entre-tenir et faire parler les savoirs du corps »  (Colloque).  A parler de mon corps j’ai fait danser le leur : chorégraphie d’un entretien. Festival de Danse de Cannes, Université de Cannes, Espace Miramar (FR)


“ PoP Moves : Moving Beyond Colonialty & Performance of the Popular ”. Choreographing togertherness as a material of contest. Roehampton University, London (RU)


Improvisation Summer School – Direction Alice Godfroy

Ecole d’improvisation et recherche en danse. Villa Arson Nice (FR)


Zooming in Inherited Culture and Choreography: Embodiment, Survival and The Armenian female body in Kanayk’". [Zoom sur « Héritage culturel et chorégraphie :Incarnation, Survivance et corps de femme arménienne dans Kanayk’»]. 

Invitée par Tony Thatcher, directeur du MA et MFA Chorégraphie, Trinity Laban Conservatoire of Music and Dance London (RU)


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In which measures can visual arts, dance and movement practices be envisioned as social/political tools for dance & performance practitioners in regions such as Armenia, where cultures, aesthetics and institutional programmes are patriarchally led, geographically excentered? Looking at visual arts, dance & performance studies from a decentralized perspective how can the moving body be a material of contest, liberation or a place of celebration for inherited culture? 


This digital conference will be held in English and gather female as well as non-binary identified creatives and scholars from South Caucasus, in diaspora or somehow related to the region with a dance, performance, visual art practice or academic agenda whom for the body is central to their work and who look at interrogating their sexuality, identity, corporeality in mirror to their cultural heritage in order to either transmit, protest, transcend it yet simultaneously acknowledging their singularity and how their roots impacted their artistic journeys. 


In the aim of unveiling unrepresented Armenian and South Caucasian personalities, this project focuses on contemporary art and how the complex, worldwidely majorly undiscussed political, religious, economical histories most oftenly remains a barrier for them to deploy their work locally or internationally. 

Recording of the conference


Aline’s dear notion of re-investment takes its origin in the work of Trisha Brown, who’s a major influence especially in terms of choreographic process. In Choreography as Visual Art, Susan Rosenberg describes

well Brown’s choreographic method of non-transition between each movement in her 1966 piece Homemade. Moreover, we need to remember the importance this statement gives to the film being projected while the choreographer is performing her piece. That way, the

myth of originality finds its relevance in regards to whatever directions, artistic choices and information

choreographers decide to share with the spectators.

In order to explore how the medium dance cannot only exist in its ephemeral form, CONSENSUS & ALINE DERDERIAN  productions always tend to challenge the dancer’s memory as archive for generating a familiar choreographic language yet constantly evolving with time, space, Other’s interactions and artistic formats. That is to say, since she graduated from Central Saint Martins, she is regularly invited to

guide Performance Design & Practice students throughout their creative journey regarding commissions with Rambert, London Central School of Ballet within the context of Design for dance projects or Trinity Laban. Leading workshop with scenography students helped Aline Derderian to define a choreographic procedure exploring how dance poetic can travel and vary according to the design it interacts with as well as the survival of improvisation as part of the performance.


That is what Second year BA students explored in 2015 with their revisited version of Pina Bausch’s Seasons March (1982) where performers would use the entire Granary Building in King’s Cross area, suggesting audience and students to follow their path and join the line walking in the water or

playing live music or their replay of Rosas Danst Rosas, Anna de Keersmaeker’s piece from 1997 and more recently at the University of Rennes with the re-investment of British choreographer Shobana Jeyasingh's repertoire piece of 2018, Contagion.

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Photo: Monica Alcazar Duarte

Interviews of alumni Poppy Sheppard & Pete Butler on their Design for Dance experience

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Art Direction
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