ONE Magazine | Autumn 2020 by One Dance UK

Special Focus on Creative Futures • Tamara Rojo CBE in conversation • Dance Consortium talks touring • CIF on dance’s next steps

Industry • Supporting artists of colour • The best lockdown dance content • Equity’s plan for a sustainable future

Education • Creative solutions at The Place • Returning to dance safely • Celebrating 2020’s graduates The One Dance UK Magazine Issue 9, Autumn 2020

Welcome

Photos: Top: Brian Slater; Left: Sasha Damjanovski; Middle: Mike Henton; Right: Hugo Glendinning

Andrew Hurst Chief Executive, One Dance UK

2 The One Dance UK Magazine | Autumn 2020

Welcome to the Autumn edition of One magazine, in what we can all agree has been an eventful year to date. I am very proud of the way the One Dance UK team has been so agile in responding to the needs of our sector, and has worked hard to address these. There is always more to do, but I hope that you have seen some benefit to our recent work. Through our advocacy work, dance has had a strong representative voice with Government. We have been championing the importance of dance in education, promoting dancer health and wellbeing, ensuring a return to dance in a safe way, and working to amplify the voices of dance professionals of colour. Please see page 5 for further detail on the various schemes One Dance UK has introduced. The One Dance UK Awards are just around the corner, and we hope they have provided a boost for the wider dance sector. This year more than ever

we can see how passionate and creative the dance sector is, and it is so important that we recognise and celebrate our colleagues and friends. This summer saw the U.Dance national youth dance festival go digital for the first time, with over 5000 young dancers registering for free online sessions with some of the best and having their talents showcased to a digital audience. We want to continue to inspire the next generation of dancers and dance leaders, and our recent Celebrating the Class of 2020 campaign demonstrates our support for those graduating from higher education in dance. Whilst the sector is in a state of flux to say the least, we know that dancers are highly resilient and resourceful. As the UK’s body for dance, One Dance UK exists to support, promote and fight for dance in its many forms. By supporting each other and advocating for dance, we can rebuild and thrive.

In This Issue

We would like to thank the expert contributors who have been involved in this issue of One

Amanda Parker Director, Inc Arts Page 10 Amanda Parker is the founder and Director of Inc Arts, a national arts collective campaigning for greater inclusion in the arts sector workforce. She is also the Editor of arts news and features journal Arts Professional. Amanda is Chair of artsdepot and sits on the board of Albany Theatre and Film London. She is a former TV and radio producer, and campaigns manager across arts, screen and education sectors.

Caroline Norbury MBE Chief Executive, CIF Page 16 Caroline Norbury MBE is the founding Chief Executive of Creative England and the Chief Executive of the Creative Industries Federation. Caroline sits on the Creative Industries Council. She is a non-executive director of Crowdfunder; a member of BAFTA and the Royal Society of Arts and a trustee for the PRS Foundation, a charity supporting new music and talent.

Clare Connor Chief Executive, The Place Page 32 Clare Connor is Chief Executive of The Place and has taken the organisation through its ambitious 50th Anniversary and new transformative vision for the future. In 2018, she was named 'one of the most influential people in dance in London' in the Evening Standard’s Progress 1000. Clare’s leadership career in the performing arts and education sectors spans over 20 years. She was Director of Business Development at the Southbank Centre, Director of Stratford Circus Arts Centre and taught in further and higher education. The One Dance UK Magazine | Autumn 2020 3

Contents Welcome by Andrew Hurst One Dance UK Advocacy: On Your Side

Editorial and Advertising

In the Spotlight 6 News 9 One Dance UK New Graduate Membership 10 Special Feature: Beyond Black Lives Matter - How to Build an Anti-Racist Dance Community by Inc Arts’ Amanda Parker with voices from the sector Special Focus on Creative Futures 15 Introduction by Laura Nicholson 16 Rebuilding and Reimagining by Creative Industries Federation's Caroline’s Caroline Norbury MBE 20 Duty to Lead: In conversation with English National Ballet’s Tamara Rojo CBE 22 Tours: Up in the Air? In conversation with Dance Consortium’s Ros Robins - A Message from SOLT/UK Theatre’s Julian Bird 26 Strength in Unity by Equity’s Paul W Fleming and Yukiko Masui 28 Advice: Getting Back to the Studio 30 The Mindset for Returning to the Stage and Studio with Prof Joan Duda and Britt Taget-Foxell 32 Despite it All... by The Place’s Clare Connor 34 Grade Expectations by Rambert Grades’ David Steele 36 Celebrating the Class of 2020 by Amy Williams 38 Making Room for the Zoom by Tori Drew 40 Contagious Content: When Dance Goes Viral by Lara Coffey 43 Pandemic Dance by dance critic Graham Watts OBE 46 Lockdown Learning: Reflections from the National Centres for Advanced Training (CATs) by Chloe Travers and Alexandra Henwood 48 On Yellowface and a Way Forward for Diverse Audiences by Phil Chan Cut-Out Resources 49 Information Sheet: Core Stability for Dancers 51 Teacher Resource: Bubbles (KS1-KS2) with Making a Move by Louise Jaggard 53 Teacher Resource: Screen Dance Scheme of Learning (KS3) by Tori Drew with Sima Gonsai and Dani Bower Features 55 One Dance UK Awards 2020 56 U.Dance Digital 2020 with reviews by winners of the U.Dance Writing Challenge 58 Book Reviews

Front Cover: Birmingham Royal Ballet Principal Dancer Brandon Lawrence, photo by Drew Tommons at Virtuoso Dance Photography One Dance UK Dance Hub Thorp Street Birmingham, B5 4TB onedanceuk.org 4 The One Dance UK Magazine | Autumn 2020

One Dance UK is a Company Limited by Guarantee.

Lara Coffey Head of Marketing and Communications Cameron Ball Magazine Editor Dani Bower Images Editor Chloe Sprackling Copy Editor Katie Stevens Copy Editor Advertising enquiries Contact Amelia Bickley amelia.bickley@onedanceuk.org Funders and Supporters With thanks to our funders

With thanks to our project partners, funders and supporters Akademi BFI Southbank Dance Consortium Dance Hub Birmingham Equity Garfield Weston Gordon and Co. Insurance Brokers Harlequin Floors National Centres for Advanced Training (CATs) National Youth Arts Wales National Institute of Dance Medicine and Science (NIDMS) People Dancing Rambert Royal Opera House Scottish Ballet Safe in Dance International Tramway YDance

Dance has a unique and important role to play in education, health and wellbeing, community cohesion, social mobility and diversity, as well as being a great UK art form. That’s why ever since One Dance UK was founded we have advocated tirelessly on behalf of the dance sector. Throughout 2020, One Dance UK has been working hard to highlight your concerns with the relevant Government departments. In our discussions with ministers and officials, we’ve stressed the broad range of settings that you work in and therefore, the various ways our sector could be affected.

Design tm-studio.co.uk

• We meet regularly with DCMS, the Entertainment & Events subgroup which is part of the Cultural Renewal Taskforce, and various working groups to address the challenges around reopening to ensure dance is represented. • We submitted written evidence on the impact of COVID-19 on the dance sector to the DCMS Select Committee and Welsh National Assembly. • As the Subject Association for dance we continue to work with Arts Council England and DfE on how dance education can be graded appropriately and resume safely • We advocate heavily on support for freelancers, and on guidance for learning, participation and voluntary activity in dance, and how the announced rescue package may find its way to those most in need • Our Return to Dance weekly webinars help the sector raise questions, concerns and learn about decisions impacting their working lives, whilst allowing us to provide guidance and support based on actual government recommendations.

One Dance UK Staff Tori Drew Dance in Education Manager

Cameron Ball Special Projects Manager

Frederick Hopkins Head of Membership and Business Development

Dani Bower Marketing and Communications Manager Dann Carroll Project Manager Lara Coffey Head of Marketing and Communications Barny Darnell Membership Manager Tamar Dixon Dance of the African Diaspora Administrator

Our work doesn’t stop there

One Dance UK acts as the Secretariat for the All-Party Parliamentary Group - a group of MPs dedicated to the promotion of dance as an important part of healthy living. Through this and our additional work with the Government and other sector bodies, we fight tirelessly to ensure the dance sector remains at the top of the political agenda. No matter what happens, you can count on us to make sure your voices get heard on all the key-matters that affect the UK including the following: Brexit, immigration, diversity, health, wellbeing and performance, education, accessibility, disability, and much more. Further information

The entire team continues to work hard to celebrate, champion and connect you, and provide the support you need. You can always reach out to us to find out more about our advocacy work by emailing info@onedanceuk.org

Board of Trustees

Andrew Hurst Chief Executive

Amelia Bickley Business Development and Membership Assistant

Photo: Dani Bower for One Dance UK

3 5

One Dance UK Advocacy: On Your Side

Jessica Lowe Administrator, Dancers’ Health, Wellbeing and Performance Hanna Madalska-Gayer Advocacy Manager Mercy Nabirye Consultant Head of Dance of the African Diaspora Laura Nicholson Head of Children and Young People’s Dance

Patrons

Christopher Rodriguez Deputy Chief Executive/ Finance Director

Julian Flitter Chair (Acting) Partner, Goodman Jones LLP

Susannah Simons Arts Strategist and Director of Partnerships, Marquee TV

Carlos Acosta CBE Children and Young People Patron

Erin Sanchez Manager of Health, Wellbeing and Performance and the National Institute of Dance Medicine and Science

Anthony Bowne Principal, Trinity Laban Conservatoire of Music and Dance

David Watson Executive Director of Audiences & Media, National Museums Liverpool

Peter Badejo OBE

Chloe Sprackling Marketing and Communications Assistant Katie Stevens Office Manager

Andrew Carrick Director of Carrickworks Anu Giri Executive Director, Dance Umbrella

Alan Tuvey Finance Manager

Vicki Igbokwe Choreographer and Director Uchenna Dance

Amy Williams Dance in Education Manager

Denise Nurse Legal Consultant

Bob Lockyer Arlene Phillips CBE Sir Richard Alston Champion of U.Dance and Young Creatives

Piali Ray OBE Freelance Artistic Director and Choreographer The One Dance UK Magazine | Autumn 2020 5

In the Spotlight

News

By Lucy McCrudden, Founder, Dance Mama

IRIE! brings dance to London’s Borough of Culture By Beverley Glean, Artistic Director, IRIE! dance theatre

Photo: Top: Pierre Tappon; Bottom: Hannah Parnell

IRIE! dance theatre

6 The One Dance UK Magazine | Autumn 2020

Something that unites us in these difficult times is pivoting our prepandemic position to weather the storm and strengthening ourselves for the future. As founder of the platform www.dancemama.org, I have seen that this period, more than any other, has amplified our need for self-management. COVID-19 has been the catalyst to move a facet of Dance Mama – our Project Management Masterclass course – online as we navigate through. Dance Mama is making available the approaches I have used in my 20-year career managing world-class pioneering projects (including The Place’s Centre for Advanced Training and the suite of projects traversing a wide-range of demographics as Head of Learning at Rambert) to help individuals make their project ideas into form. Over three weekly sessions, participants will follow the cycle of idea conception, delivery, to evaluation which can be applied to many artistic participatory projects.

Discount for One Dance UK members One Dance UK members, or employees of member organisations, can obtain a place with a £50 discount (full price £105). Sessions will be held online: Wednesdays 23, 30 September and 7 October, 8-9pm and Thursdays 24 September, 1 and 8 October, 10.30-11.30am.

Against the background of a global pandemic, which has held communities hostage for the past six months, February 11, 2020 seems an age ago. This was the day that London Borough of Lewisham was pronounced London Borough of Culture (BOC) for 2021. Due to COVID-19, however, BOC will be delivered in 2022. The anticipation of the wait, while eagerly trying to read faces for hints of approval and a sense that it ‘might be us’ was agonising. But it was us, and IRIE! dance theatre’s contribution to this incredible opportunity for the borough of Lewisham was not simply to dance, but to share our story of over 35 years in the borough and represent its people and culture. The bid, entitled Cultural Activism, is a call to celebrate the diversity of Lewisham and inspire local people to take action on issues that are important to them and their community. Events will include artist-led tributes to the Rock Against Racism movement, a large-scale dance performance, and a climate change carnival. Among the hundreds of social, cultural and creative activities taking

place throughout the year, one of the activities IRIE! has proposed is to showcase ‘quadrille’. This folk dance can be found all over the Caribbean, however we will focus on quadrille as practiced in Jamaica. Strongly linked to English country dance styles, this was a popular social dance after Emancipation, which was the day Africans in British colonies received freedom from slavery (August 1, 1834). Quadrille is performed in three styles; Ballroom, Camp and Contra. Camp style in particular was fashioned by the slaves mimicking their owners, making this formal ‘square dance’ more open and inclusive. This is exactly why IRIE! intends to reimagine quadrille for Lewisham’s BOC celebration: to engage the community as a whole. Through dance and ‘mento’ (a uniquely Jamaican fusion of African and European musical tradition), all can share the richness of Caribbean culture that has contributed to our multicultural society and shaped our local identity.

Level 3 Student Success

“Something magical happens when you take a group of people who have never met before, place them in a studio and allow them the time to share their passion for dancing together.To have the opportunity to explore, experiment and create as artists recaptures and reinforces the elements that make dance such a wonderful learning, sharing, health promoting experience.”

Further information dancemama.org

Further information iriedancetheatre.org, iamlewisham.uk

Claire Pring Level 3 Award Course Leader

Sharon Watson leads Northern School of Contemporary Dance into new phase

NSCD student performes NEW GROUND at Riley Theatre, Leeds

Photo: Jane Hobson

Project Management Masterclasses

A round-up of some of the latest industry news For more, go to onedanceuk.org/news

Congratulations are in order! In May this year One Dance UK were proud to announce that the first One Dance UK cohort had passed their Level 3 Award in Supporting the Delivery of Dance in Physical Education and School Sport. To begin their qualification, the learners attended two days of face to face training with primary dance expert Claire Pring. Over the course of a weekend they identified the benefits of dance for primary children, explored different types of stimuli and how movement can be created. The learners went on to plan and deliver a series of engaging primary dance lessons, putting their knowledge in skills to the test, whilst continually reflecting on their practice. We send our congratulations to our Level 3 graduates, and the very best wishes for their developing dance teaching careers. The qualification has been developed to impart the skills, knowledge and understanding in

learners to allow the purposeful delivery of dance activity sessions within a Physical Education and School Sport environment. These skills include a deeper understanding of the benefits associated with dance, knowledge of a range of dance activities appropriate to learners in a given school setting (primary or secondary) and the ability to appropriately plan, deliver and review dance sessions linked to a relevant key stage.

Sharon Watson has officially stepped into her new role as Chief Executive & Principal of the prestigious Northern School of Contemporary Dance (NSCD) in Leeds. Sharon began her tenure in May, while the coronavirus situation in the UK was at its peak. Despite the challenges this posed, staff quickly adapted, taking teaching provision online, and coordinating virtual projects which have seen their final year degree students graduate with flying colours (63% achieving a first, 37% achieving a 2:1). Formerly the longest-standing Artistic Director of Phoenix Dance Theatre, Watson is now the fourth Principal in NSCD's 35-year history, following Janet Smith MBE, Gurmit Hukam and founding Principal Nadine Senior MBE. NSCD is currently preparing to welcome new and returning students for the Autumn term with a 50:50 blend of online/studio learning, reduced class sizes and strict social bubbles. NSCD is also extending

the provision of its Coronavirus Hardship fund into the Autumn term to support students through potential financial difficulty as a result of the pandemic. Of this new direction, Sharon Watson said: “To be guiding the School through this next chapter of delivery is a pleasure and an honour, if a little different to what I thought it would be! Despite the new challenges, we remain focused on ensuring the continuation of studies in the best way possible, building on the exemplary work which already exists. Students of NSCD are renowned worldwide, this is certainly something to be proud of and to continue to build on.”

Further information One Dance UK hopes to run the qualification again in early 2021. If you would like know more about the Level 3 Award, or express your interest in completing the qualification, email Dance in Education Manager Amy Williams at amy.williams@onedanceuk.org

Further information Watch digital work created by NSCD’s graduating class of 2020 at: nscd.ac.uk/future-now-2020 The One Dance UK Magazine | Autumn 2020 7

In the Spotlight

Membership

News

New Graduate Membership scheme – supporting the next generation

Project X presents We Dance Our History Project X is a multi-disciplinary, collectively run organisation based in Scotland, platforming dance of the African and Caribbean Diaspora. They collaborate with artists and organisations to deliver bespoke workshops, facilitate conversations, and produce and curate performances and events in Scotland and beyond. For Black History Month 2020, Project X will be showcasing commissioned digital dance works created by artists of the African and Caribbean diaspora, based in Scotland. The commissioned artists have been invited to create dance works which elaborate their own individual stories of being part of the

diaspora, and how we hold our black history in the present. Throughout October, tune in to their Instagram and other social media platforms to witness the myriad of compelling, visceral and emotive dance works.

“We are the diaspora. Our heritage is in our movement and with this, we dance our history.”

Further information projectxplatform.co.uk @ProjectXDance

Alison Ray presents The Unknown Soldier Alison Ray MA has worked professionally for various choreographers from Europe, Africa and the UK. Her latest work, The Unknown Soldier, is an interdisciplinary installation/ performance work based on the Black British War veterans who fought in WW1 & WW11. These soldiers came from the UK, The Caribbean and Africa. The installation/performance sheds light on their war effort through the performance mediums: dance, live music, text and projections. Watch this space for more info on performances and workshops. Further information alisonraydancecompany.co.uk @AlisonRayDance

Discover dance at Middlesex Join us at our outstanding London campus to build the skills and knowledge for the career you want.

// BA Dance Performance // BA Dance Practices // BA Professional Practice, Arts and Creative Industries

Foundation Years available Professional Practice postgraduate courses available

www.mdx.ac.uk/perform

Dance UK Advert 182x127mm_AW.indd 8MDX788 The One Dance UK Magazine | Autumn 2020 1

24/07/2019 15:27

Photos: Left: Delegates at Regenerations International Conference 2019, photo Dani Bower for One Dance UK; Right: Participants at U.Dance 2018, photo Brian Slater

Black History Month Highlights October 2020

In January 2020, One Dance UK launched the New Graduate Membership (NGM) scheme to support dance students across the UK who are about to graduate from higher educational training. The NGM scheme provides them with a foundation in the essentials of business, health, wellbeing and digital brand building as ways to equip emerging artists and dance professionals. There is minimal financial impact on students/graduates and the scheme provides them with a road map for provisions they can build into their portfolio careers. Working closely with educational partners and industry experts, the One Dance UK team construct and deliver a meaningful series of workshops that combined with the wider NGM membership offer, aim to support our educational partners and their students in building post-graduate support networks. The sessions are tailored to each partner ’s requests, and cover a broad range of topics ranging from business development and marketing to health and wellbeing, and can be delivered in person or online, along with supplementary supporting documentation. Each student also becomes a member of One Dance UK and receives all the standard membership benefits plus a direct route to One Dance UK staff with any questions or concerns they may have.

" We care about our members and we care about the future of the sector, so helping new graduates to thrive is something we are very passionate about. We really want to help the next generation of dance professionals build a lasting, fulfilling and profitable career in dance." Fred Hopkins, Head of Membership and Business Development

Educational partners who have recently signed up to the scheme, such as Middlesex University, Plymouth Conservatoire and Northern School of Contemporary Dance provide One Dance UK with invaluable insight and support in our journey to improve the lives and careers of dance professionals. The work and commitment to the success of their students they and others like them demonstrate is what enables us at One Dance UK to provide programmes like NGM and we look forward to working even more closely with them and others in the near future. Further information If you would like any more information about the One Dance UK New Graduate Membership Scheme please email membership@onedanceuk.org or call the office on 0207 713 0730. The One Dance UK Magazine | Autumn 2020 9

Beyond Black Lives Matter Special Feature

Special Feature

Amanda Parker Director of Inc Arts UK

How to build an anti-racist dance community by Amanda Parker, Director of Inc Arts UK, which campaigns for greater inclusion in the arts sector workforce.

In the dark times Will there also be singing? Yes, there will also be singing About the dark times. Bertolt Brecht, motto to Svendborg Poems, 1939

Photo: Sasha Damjanovski

Photo: Stuart Hollis, photo courtesy Serendipity UK

“It is not an easy time to be ethnically diverse in the arts. It never has been, but now others have a sliver of insight into just how challenging it is.

10 The One Dance UK Magazine | Autumn 2020

It’s because of this that we should all be championing and celebrating those ethnically diverse makers who have so far managed to sustain and develop their artistic practice, despite the daily challenges.” Amanda Parker

As we went into lockdown I, like so many others, found myself in an almost overwhelming number of Zoom meetings. Despite the horror of circumstances, I was struck by the warmth and collaboration of the creative community, which came as naturally as breathing. Whilst I fully understood that there was more darkness to come, I was reassured by the collective reimagining that took place across geographical boundary and artistic practice, that, yes, there would still be both singing and dancing. But then data laid truths bare: ethnically diverse people are at higher risk of fatality from COVID-19 infection. Suggested factors contributing to the poor outcomes range from the front line (read, ‘low income’) roles diverse workers held, through to underlying health disadvantages common to people working at the margins, facing daily stress resulting from micro aggressions and financial and societal exclusion. Then the brutal murder of George Floyd ripped the lid off the long sustained and everyday complacency around ethnicity. Diverse – and at risk Ethnically diverse people in the UK are more likely to work in jobs that are at risk from COVID-19 related furloughs and layoffs in the short term. And in the creative and cultural sector, a sector with poor traction with ethnic diversity in the workforce, the diversity that exists is found in jobs and roles most at risk of redundancy. As the sector continues to reimagine our post-COVID landscape in terms of ‘delivering and developing our core offer’ and ‘taking productions back to the essentials’ there is a well-placed fear that this means that the areas where there is most diversity are also at most risk of being excised from cultural productivity. Our young, diverse emerging talent is already seeing training and development being put on pause. Front of house roles are cut to the core. Those independent practitioners who are making outstanding contributions to the UK’s health, wellbeing and engagement through producing community based work, and projects that address and redress social isolation are all now wondering how the government’s emphasis on ‘protecting the crown jewels’ of the arts relates to them, and their future careers. Recent Arts Council England guidelines for those making redundancies includes a clear recommendation to retain ethnic diversity in our cultural production: ‘it is vitally important that decision making and the treatment of people does not result in less favourable treatment of employees due to a protected characteristic. Do not make decisions based on protected characteristics, such as which employees are given extra hours, chosen to work from home or made redundant’. However, here’s the reality: • In the UK, dance has some of the highest levels of ethnic diversity amongst its performance community, though it’s nothing to write home about: at 15% of the permanent staff workforce being ethnically diverse (compared to some 10% in theatre)1. • Ethnically diverse workers in all sectors already earn less than their non-diverse peers. Office for National Statistics figures suggest a gap of between 5% and 10% between earnings for the UK’s white workforce and black workforce. The One Dance UK Magazine | Autumn 2020 11

Special Feature

• And within dance there is a widely held belief, and welltrodden argument, that less status is ascribed to nonWestern classical dance forms – from which we can fairly confidently assume that this translates into salaries too. Barriers to progress Inc Arts is working with a cohort of black dance practitioners, who have shared with us their concerns about a safe supported return to work. They face the medically verified knowledge that whilst there is no vaccine, they remain more at risk from a COVID-19 infection. As a result, ethnically diverse dancers fear that their higher risk from infection may further disadvantage them. If choreographers and companies choose to work with dancers at less risk from infection, rather than establish and implement the robust impact assessments that Inc Arts and others have been lobbying for, then ethnically diverse dancers find themselves in a triple bind of risk to health, earnings and career development. There have been reports that this eschewing of ethnically diverse workers is already happening in some pockets of the sector. This is not a micro aggression, or an unwittingly unfortunate by-product of our collective uncertainty about managing infection rates: it’s a racist outcome that sits most heavily on those already disadvantaged within the creative community. The dance community has huge scope to reimagine its future: there’s great appetite for dance engagement amongst under 18s. In London, the move east for both English National Ballet, and Sadler’s Wells East (in 2022) offers exciting potential for systemic change.

Special Feature

However, there is still much work to do for these and other organisations seeking to engage with the ethnically diverse communities they’ll soon find themselves in. The slipperiness of the term ‘community engagement’, the persistent downgrading of dance forms that are not within the Western classical cannon, the strong hierarchy of status that persists in many conversations and decisions about dance forms and funding, serves to disadvantage those who are not just building the talent pipeline, but are also the talented dancers who deserve greater funding, recognition and reward.

We can encourage organisations to rethink their leadership model: a hierarchy that sits with a small body of nondiverse leaders at the top means that the routes to leadership are narrow, and inflexible. Can we reimagine our leadership practices, so that roles are shared in a flatter structure, that nurtures and develops diverse leadership? Our funding models also need rethinking: they need to recognise the value of ethnically diverse dancers and leaders – punching above their weight, in the face of disadvantage, not just in creativity but in supporting the UK’s health, wellbeing, community engagement and artistic talent development. Isn’t it time for a funding route that is applicable to only ethnically diverse artists, that is managed and assessed by their diverse peers? This will create great opportunity in the future for this talent to be developed, amplified, celebrated and remunerated. And finally, our diverse dance community needs to take on what for many is unappealing. You may not have come into the sector to be an administrator, a bid writer, a fundraiser but developing these skills will mean you are less at the mercy of others’ artistic decisions – especially while opportunities for creating works are reduced. But these are the skills that will see us through current times, so that we can all one day be dancing - to the singing about the darkness that once was.

Creative future thinking For ethnically diverse dancers and practices to thrive in an anti-racist future sector, we need four things to happen. The first is to truly ensure that ethnicity is not lost in redundancy rounds. This requires radical thinking around what our ‘core artistic offer is’, because we already know that the majority of what ends up on stage is not diverse. The ‘core offer’ must face the audiences and communities we work within, and this fundamental revision of ‘artistic outcomes’ means organisations can value, and retain those dancers who are creating works and building learning and training opportunities that speak to those people under-represented in the sector. We can lobby government, (including being represented via One Dance UK’s All-Party Parliamentary Group), arts councils, and our local MPs, to ensure that section 159 of the Equalities Act (which allows for positive consideration of those with protected characteristics) can apply not only to promotion and recruitment, but also to redundancy and dismissal decisions.

Further information incarts.uk Follow Inc Arts’ #CultureNeedsDiversity campaign: incarts.uk/%23cultureneedsdiversity Arts Council England Diversity statistics 2018/19; diversity of permanent workforce 1

A Message from One Dance UK

Mercy Nabirye

Consultant Head of Dance of the African Diaspora, One Dance UK Our vision at One Dance UK embeds an underlying principle for Dance of the African Diaspora to thrive and be valued as part of the necessary diversity across the sector. It is our duty to maintain this custodial role and bring voices to the forefront towards a permanent change. This lockdown has brought into light the structural weaknesses present in our society at many levels and what I see with the current affairs is a triple crisis – with economy, health and race relations. The overarching message in the voices we have highlighted allude to the fact that returning to ‘business as usual’ will not be sufficient to prevent future crises. We need to reposition and ‘begin again’, albeit working within the parameters of a somewhat unknown future still unfolding.

Photos: Left: The Unloved; Right: Giya Makondo-Wills

Pawlet Brookes

Chief Executive and Artistic Director, Serendipity UK Nurturing the work of black dance practitioners has always been integral to the work that we do at Serendipity. Black Lives Matter has addressed the urgency with which we need to amplify voices from across the Black Diaspora, to make a positive change and to tell our own story. I think that the words of Toni Morrison capture this: “This is precisely the time when artists go to work. There is no time for despair. No place for self-pity. No need for silence. No room for fear. We speak. We write. We do language. That is how civilizations heal.”

12 The One Dance UK Magazine | Autumn 2020

Brandon Lawrence

Principal Dancer, Birmingham Royal Ballet The severity of recent incidents during the COVID-19 pandemic has forced the question of race, privilege and equality to be asked yet again. This played on my mind and provided the seeds for BODIES, a short film made entirely in lockdown with a team of five. I felt compelled to speak through art and collaborate with passionate individuals to create this film. I believe my growth thus far has taught me that although we are all from different walks of life, we should endeavour to treat each other with respect and understanding, no matter our backgrounds. Remembering always: racism is taught, not inherited. Watch the BODIES film: bit.ly/BODIESFilm

Photos: Top: Yves Salmon; Left: Still from BODIES - A Davy Lazare Film; Right: Vitae London

Voices from the Sector

Kamara Gray

Artistic Director, Artistry Youth Dance The core purpose of Artistry Youth Dance has always been to promote diversity in dance. BLM has reminded us of the urgency in which dance schools, and the wider industry, must be spaces where our black students and dance artists can flourish. Anti-racism must be embedded within an organisation’s policies, procedures, and practices. I have organised panel discussions with leading dance and musical theatre schools and created resources for young people. It’s now time for the dance industry to hold itself accountable, invest in, and implement the strategic changes needed.

HomeBros: Kurty Swift and Unkle TC

Artistic and Creative Directors, Choreographers, Teachers and Dancers We believe dance is art and it’s a gift for anyone. As young black men and creatives we know the difficulties & struggles that come along with trying to be successful and push your craft. In terms of our role in the Afro Dance community, we always preach ‘authenticity’ and representing Africa and the culture properly. We always strive to pass down knowledge to the next generation so they understand and see the importance of African dance styles and the history of our culture wherever we go around the world. As black African men, who teach, mentor & create, we have a responsibility to protect and preserve our culture and history so it doesn’t get diluted or lost or just treated as another trend. Our slogans are “Feeling First” and “Keep It Authentic.” The One Dance UK Magazine | Autumn 2020 13

Creating r o f s r e c n a d the Global Community 14 The One Dance UK Magazine | Autumn 2020

tyles S e c n a D e s r e iv D ) BA(Hons of Roehampton) sity

er (Validated by Univ

By Laura Nicholson Head of Children and Young People’s Dance

Course Enquiries

rg/ba-degree .o e tr a e th e c n a d www.irie etheatre.org e: ba@iriedanc 99 t: 0208 691 60

mber 2021

pte Auditioning for Se

Photography: Irven Lewis. Graphic design: Darryl Hartley

Photo: Dani Bower for One Dance UK

, n a e b b i r a C , n a c Afri d n a y r a r o p m e t n Co e c n a D n Urba

Introduction

Creative Futures

Special Focus on Creative Futures

The expression ‘the new normal’ has become firmly established in our vocabulary over recent months. In this edition of One we explore what this new reality might entail for the dance industry. It still feels almost impossible to fully comprehend the changes and challenges we have endured this year, both as a society and as a sector. Until recently, the suggestion of theatres standing empty, schools closed, exams cancelled and live dance activity grinding to a complete halt would have seemed unfathomable. There is no doubt too that there are many more challenges ahead. What is extraordinary, however, is the level of creativity, resilience and adaptability demonstrated across the dance sector. Organisations and individuals immediately found new ways of safely being creative and inspiring and educating others through dance. We have learned together, shifting and improving our practices. Here at One Dance UK we moved much of our Children and Young People’s offer to an online format, with the U.Dance Digital festival engaging 5,000 participants in a vibrant celebration of dance. Working in new ways has forced us all to ‘tear up the rulebook’ and look afresh at our offers, providing plenty of learning opportunities as we move towards a ‘hybrid’ offer combining live and online work. One Dance UK continues to advocate passionately and fiercely for dance. Our Return to Dance webinars have supported you to navigate and interpret the range of government guidance. More than ever we must celebrate the value of dance and it feels especially poignant to see so many nominations for this year’s One Dance UK Awards. Dance may not save lives, but it certainly changes and improves lives for the better. We have never been prouder or more privileged to represent you at this time.

Rebuilding and Reimagining By Creative Industries Federation's Caroline Norbury

Duty to Lead In conversation with English National Ballet’s Tamara Rojo CBE

Tours: Up in the Air? In conversation with Dance Consortium’s Ros Robins A Message from SOLT/UK Theatre’s Julian Bird

Strength in Unity By Equity’s Paul W Fleming and Yukiko Masui

Getting Back to the Studio: The Mindset for Returning to the Stage and Studio With Prof Joan Duda and Britt Taget-Foxell

Despite it All... By The Place’s Clare Connor

Grade Expectations Introducing the new Rambert Grades syllabus by David Steele

Celebrating the Class of 2020 Thoughts from the industry's next generation by Amy Williams

Making Room for the Zoom How community dance sessions have fared online by Tori Drew

Contagious Content: When Dance Goes Viral The coupling of social media and dance by Lara Coffey

Pandemic Dance An unexpected online season of dance content by Graham Watts OBE

The One Dance UK Magazine | Autumn 2020 15

Rebuilding and Reimagining Special Focus on Creative Futures

Special Focus on Creative Futures

“Creativity doesn’t just happen by itself. There is a whole – now fragile – ecosystem to support it, from arts in schools to cultural funding to government support for investment and creative exports.” Caroline Norbury MBE

Photo: Mike Henton

Caroline Norbury MBE Chief Executive of the Creative Industries Federation

16 The One Dance UK Magazine | Autumn 2020

Whether it has been through devouring a book a day, binging on Netflix, or finally surrendering to the TikTok craze, these past months have highlighted the importance of creative content to our individual wellbeing. And through rainbows displayed in windows, choir rehearsals over Zoom, or even spontaneous dance classes in the street, where physical isolation has been imposed, we have used creativity to bring us together like never before. However, whilst creativity and culture has been getting us through this crisis, many of the two million people working in the UK’s creative industries - from performers to dance teachers to set designers to sound engineers - have seen their work dry up overnight. The Creative Industries Federation commissioned research from Oxford Economics that showed the creative industries are projected to feel the economic hit of COVID-19 twice as hard as the wider economy. The report projected that over half of jobs in music, performing and visual arts could be at risk. The government’s £1.57 billion rescue package is hugely welcome - but with many creative practitioners and organisations still facing an uncertain future, it is by no means a fix. Creative industries are integral to all of us, not just for those who depend on them for their livelihoods.

What is a community without its theatre, its cinemas, its music venues, its dance schools? What would our country’s cultural offering look like without our creative organisations and institutions? I May Destroy You creator Michaela Coel speaks about her introduction to the creative world aged just eight, when her local youth theatre reserved places for children from low income families. Maxine Peak credits her time with the Octagon Youth Theatre in Bolton as opening her eyes to an acting career. Small scale community projects like this build the next generation of creative talent and are at the heart of our creative offering to the world. The UK is a global leader in creativity. After the recession of 2008, our creative industries were one of our biggest success stories. Earnings and employment grew steadily. Creative industries contributed £111bn to the UK economy in 2018, more than the automotive, aerospace, life sciences and oil and gas industries combined . Between 2017 and 2018, our growth rate was more than five times that of the economy as a whole. But with the impact of COVID-19, what has become clear is that the things that have made our industries so profitable - our flexibility as mainly small businesses, our agility, the high

Photo: Dani Bower for One Dance UK

Caroline Norbury MBE, Chief Executive of the Creative Industries Federation, looks at the impact of COVID-19 on the arts and the need to work together to build a stronger future.

level of commitment from so many self-employed people, and the key role we play in entertainment and the arts— have become the very things that have left us so vulnerable in times of crisis. Whilst parts of our sector begin to make the slow return to ‘business as usual’, for many in the creative sector, ‘business as usual’ just isn’t working- and it hasn’t been for a long time. The self-employed, freelancers and smaller organisations are the lifeblood of creative industries. Yet they are also those who will be hardest hit, economically. Creative employment can be mobile, flexible, and collaborative. But it can also be unstable. We don’t need a reset, we need a rethink. And we need to work together. That’s why this summer, we convened hundreds of our Federation members from across the country to do what creative practitioners do best: imagine. To imagine a world where creativity is placed at the heart of our culture, at the heart of our regeneration and the heart of our education system; a world where great ideas can be transformed into new realities; a world where the UK leads the globe in innovation and creativity, and in which creators are supported and valued as intrinsic parts of

Motionhouse artists

The One Dance UK Magazine | Autumn 2020 17

Special Focus on Creative Futures

Photo: David Sandison

this process. The result is Creative Coalition: A Plan to Reimagine1, a publication detailing our collective vision for a creative future, covering everything from creative education; to apprenticeships and training; to support for entrepreneurs and freelancers; to protection for ideas; to research and development; to a national strategy for creative investment. We now need to come together like never before. We need to work collectively and in partnership with one another; we need to make common cause with those who want to regenerate our high streets; help our health service to become more resilient by playing our part to improve wellbeing and mental health; and educate our young people so they grow up intellectually curious, able to think the unimaginable and make

18 The One Dance UK Magazine | Autumn 2020

it happen. In doing so, the creative industries need to reach out across the country and join up better with those from other industries, with educational institutions, and with government at a national and local level, to turn ideas into practical solutions. The UKâ&#x20AC;&#x2122;s creativity evolves from the dance groups rehearsing in church halls, from the weekly open mic nights at local music venues, and from the after-school theatre club at the community centre. It culminates in ideas that are behind some of the biggest brands in the world - from books that have turned into blockbuster film franchises, to internationally renowned performances, designs and innovations. Creative industries are not only the industries of the future, they have the power to build a better future for everyone.

â&#x20AC;&#x153;Creativity is the lifeblood of the UK.It is nurtured in thousands of tiny venues the country over.â&#x20AC;? Caroline Norbury MBE

Further information creativeindustriesfederation.com 1 View Creative Coalition: A Plan to Reimagine: bit.ly/CIFReimagine

Duty to Lead Special Focus on Creative Futures

Special Focus on Creative Futures

In recent months Tamara Rojo CBE, Artistic Director of English National Ballet, has been part of the government’s Cultural Renewal Taskforce, joining other industry leaders from the arts, culture and sport. Chaired by Culture Secretary Oliver Dowden, the taskforce’s aims have been to assist these industries in their revival. Chief Executive Andrew Hurst discusses with her the important role she has played in representing dance on the taskforce, and the next steps for the company and the wider dance sector.

“As painful as this situation has been it is also an opportunity to reflect and revalue our business model and social purpose.” Tamara Rojo CBE 20 The One Dance UK Magazine | Autumn 2020

The dance sector has been hit especially hard by the pandemic crisis, despite dance artists having shown admirable resilience. What do you think makes dancers particularly resilient in these tough times? The training itself, the constant feedback, the shared view that criticism is a tool to continue growing and the neverending urge for improvement help develop an inner strength. Lately, however, what this period has demanded from everyone involved in dance is beyond anything we could have prepared for. I feel particularly for so many freelancers in our sector who have seen all their projects and income drop completely in a matter of days. No one can prepare for this and no one should be expected to sail through it. As a sector we will all need to try our very best to restart as soon as possible so that we not only serve our audiences at this very difficult time, but we can hire all the talent again soon. We have both been involved in developing the DCMS performing arts guidance for return to work. When you were first approached about joining the Cultural Renewal Task Force, what motivated you to join? Duty. I knew from the beginning this was going to be a difficult and probably thankless task but one I could not turn my back on. One very positive thing has been how most of the sector shared this sense of purpose and responsibility and how we came together to make the case to government. Dance touches so many lives, enhancing the wellbeing of people of all ages. What were the key messages for you to pass on to Government about our artform? The were two main lines of discussion when lobbying: One is the financial case. The huge benefits for the UK economy from a healthy creative industry which in normal times brings £111 billion and employs millions of people, and all the related industries that benefit from the

English National Ballet in Akram Khan's Giselle

What next for the company? Our first performance will be our internal annual competition for young talent in the company, Emerging Dancer. We will be performing it in our home at London City Island to a reduced live audience and it will be broadcast live as well . The experience of sharing digital content during the pandemic has been incredibly positive for us. We had over How do you think the sector will recover? Or how do you 4 million people join our free classes online and over one hope the sector would recover? million watched our archive performances shared weekly I sincerely hope and believe the sector will recover, although on our Wednesday Watch Parties. The public has been very I do think it will take longer than we would like, and generous, and we have received donations from many who many expect. I also think some things will change forever, watched. We will continue to create during the autumn for like the importance of sharing content digitally to reach our digital audience and we are planning some shows for international audiences and with those who cannot attend reduced audiences in the near future. live performances. What are three words or themes as advice you would You must have had to be creative and make some tough like us to carry with us for the next months? decisions to safeguard the future of the company, Care, hope, conviction. and around the return to work, which affect dozens of employees at English National Ballet (ENB) as well as the audiences you reach. What advice do you have for people who have to make decisions that affect their organisation and their art at times like this? It is an incredibly difficult situation. We are a small organisation and we all know each other personally. Everyone at ENB is incredibly dedicated and loves the company. As only a third of our income comes from subsidy our business model relies heavily on box office, international touring, and fundraising income. As performances dried up overnight and fundraising income was heavily reduced, we did have to make some really painful decisions. There is no easy way to make them and all I would say is that being clear, Further information honest, and transparent throughout the process is the best bit.ly/CulturalTaskforce way forward. ballet.org.uk performing arts, tourism, travel, hotels, restaurants etc. The other, of course, is the intrinsic value to society of the arts - and dance in particular - and its importance for the identity of the UK and its international influence and reputation. Without forgetting all the work that dance organisations do around the UK for their local communities with young and elderly people, and in creating support groups and networks.

Photos: Laurent Liotardo

Tamara Rojo CBE Artistic Director of English National Ballet

Tamara Rojo as Frida in Broken Wings by Annabelle Lopez Ochoa

The One Dance UK Magazine | Autumn 2020 21

Tours: Up in the Air?

Special Focus on Creative Futures

“The last few months have been an opportunity for us all to pause and reflect on the work we might create in the future and to ask ourselves some challenging questions.” Ros Robins

The logistics around mounting a successful tour are complicated at the best of times. With most theatres closed around the country and a staggered return to the studio, how does dance get touring again?

Dada Masilo's Giselle, Autumn 2019 22 The One Dance UK Magazine | Autumn 2020

Ros Robins Executive Director, Dance Consortium

Photo: Simon Hadley

Photo: Laurent Philippe

One Editor Cameron Ball spoke with Ros Robins, Executive Director of Dance Consortium, which brings engaging contemporary dance from different parts of the world to UK audiences via its network of member theatres.

What is the landscape looking like for Dance Consortium presenting touring productions next year? For Dance Consortium and its 18 member theatres the landscape for touring productions for next year is ever changing. International touring into the UK is of course made more complex by the conditions in the company’s country of origin. We were due to be hosting a company from Brazil in the autumn and from America in the spring, both countries with high rates of the virus. The UK theatres that are planning to take the tour are concerned about the financial risk that presenting an international company entails and are committed to give the visiting company the best possible platform and audience for their work – all of which will be compromised if social distancing is still in place. Autumn 2021 is looking more hopeful so we will keep our fingers firmly crossed. What are some examples you've seen of companies and artists presenting works to fit with current guidelines? There has been some brilliant work created by international and UK dance artists on digital platforms over the past few months. It was wonderful to see Rosie Kay’s 10 Soldiers again and to have a glimpse into the creation process behind ZooNation: The Kate Prince Company’s Message in a Bottle. This year Dance Consortium celebrates its 20th birthday and we are celebrating this milestone by sharing the work of some of the amazing international companies that we have toured over this period – including the Alvin Ailey Dance

Company; Dada Masilo; Nederlands Dans Theater and Dance Theatre of Harlem – all of which has helped keep existing audiences engaged and introduced new audiences to their work. We can’t wait to welcome these audiences back into regional theatres to experience the extraordinary opportunity of seeing these companies live again. What sorts of contingencies would you recommend are in place for those looking to tour work going forward? Given that we start planning tours at least two years in advance it is not usually feasible to bring in a replacement tour at short notice. I am concerned that this may mean that planning tours from countries with a large number of outbreaks becomes more difficult which would in turn be disappointing for Consortium members who are committed to tour work from across the globe. Dance Consortium has such an international outlook, bringing important works to UK audiences. What are your key focuses going forward? The members of Dance Consortium remain committed and are currently reviewing tours by international contemporary dance companies for 2021 and beyond. The companies we tour represent dance styles and influences not normally seen on UK stages; in particular work by black artists and artists of colour from across the globe. This work brings a light and shade to the largely commercial The One Dance UK Magazine | Autumn 2020 23

Special Focus on Creative Futures

A Message from Julian Bird, Chief Executive, Society of London Theatre/UK Theatre

Acosta Danza, Rooster

Julian Bird Chief Executive, Society of London Theatre/UKTheatre

As artistic people we respond to the world around us. How do you think this eventful period will affect future creativity, not just for Dance Consortium but for the sector in general? 24 The One Dance UK Magazine | Autumn 2020

The ability of the arts to respond to the crisis demonstrates the very real creativity and resilience of the sector. The flexibility to move work online or outdoors will help ensure future sustainability, rather than being detrimental, although this will depend on the business model of the organisation and, for many in the dance sector, for example the ballet companies, will never replace core business. The Black Lives Matter campaign has brought home the importance of diversity and equality within our organisations and the work we create, particularly work that is touring if it is to appeal to the diverse populations of the UK. Even international touring coming to the UK will need to be able to speak to the local. How do we work with venues to help build relationships with local audiences? And above all, how do we converse with and listen to our venue partners to ensure that the work we present is the best fit for us and them?

It is inspiring to see how a number of companies have increased their work online and we have seen many examples of dance companies sharing classes and releasing content. At the time of writing, a number of outdoor venues have opened under the regulations, and companies like the Royal Shakespeare Company have been staging outdoor community work. In the current climate everyone is going to have to adapt and be innovative and you are likely to see an increase in solo work if shows have to open with strict social distancing as it will not be economically viable or practical otherwise. Clearly we all have to stay alert as changes happen – the virus seems to hit different towns, cities and communities at different times. We, along with other bodies such as One Dance UK, will continue to seek to share the best information we have to help artists plan safely for the future. Further information solt.co.uk uktheatre.org

How much do theatres contribute to the wider economy?

260,000 £1.28b Workers employed

Annual ticket revenue

34m

£133m

Annual visitors

Further information danceconsortium.com

Photo: Pamela Raith

Photo: Alastair Muir

theatres whose programmes, for understandable commercial reasons, tend to be dominated by touring musicals. It will continue to be important that alongside presenting performances by the international companies the theatres also offer a programme of outreach and participation - making the global local. The programmes of workshops, discussions, masterclasses etc. will help the member theatres rebuild relationships with their local communities and partners. We hope that in 2021 companies will again be able to leave their countries of origin to tour internationally and that our UK theatres will be able to welcome back audiences to see their extraordinary work.

Looking to 2021, overall we remain hopeful that theatre can get back up and running soon – including touring shows, big and small. Of course, until we have clarity on dates it is very hard to plan, and we have the added risk for touring productions of issues around local lockdowns and the impact on tour schedules. We are working closely with government on guidelines and we have a working group looking specifically at the issues around touring (from digs to travel to technical production issues). We anticipate these all feeding into future guidance for the industry. Many subsidised companies in Europe have already opened with social distancing and Phantom of the Opera and Everybody’s Talking about Jamie have opened successfully in South Korea under a ‘safety first’ protocol. Here in the UK, negotiations are ongoing with regards to touring but with the continued uncertainty around dates it appears that finalising deals is proving difficult for many people.

Annual VAT payments

Source SOLT/UK Theatre 2018 The One Dance UK Magazine | Autumn 2020 25

Strength in Unity Special Focus on Creative Futures

Special Focus on Creative Futures Equity attends the May Day protest for workers' rights, Trafalgar Square

Equity, its Dance Committee and its activists have been working with industry partners to support its members and defend our sector. Secretary General-Elect Paul W Fleming, and Yukiko Masui, Chair of the Equity Dance Committee, look to the future as to what a sustainable, resilient industry could - and should - look like.

Photos: Top: Equity; Bottom: Lucija Romanova

Yukiko Masui Chair of the Equity Dance Committee

“Our Four Pillar Plan is not just for survival,but is a bold vision for regularly funded artists in an industry with a dynamic, creative freelance workforce at its core.” 26 The One Dance UK Magazine | Autumn 2020

The Four Pillar Plan Equity’s Four Pillar Plan applies to every sector in which we organise from theatre, TV and film to audio, variety and dance. It’s an ambitious approach which has been formed by dance artists alongside all the professions we represent, having a massive positive impact on the futures of all our members, and by extension the wider dance sector. The Four Pillars are: • Protecting the Workforce • Protecting Infrastructure • A Safe Opening Subsidy • Equalities Protecting the Workforce The nature of a freelance dance artist’s work is that the work fluctuates.

To sustain long lasting careers, a minimum income guarantee is needed, as well as the average freelancer wage. Critically, we refer always to the ‘workforce’ - that is to say not just those who are working at any one time, or even regularly doing so, but also the diverse pool of artists who are often faced with, or choose, long periods of non-working. The culture of freelance artists only being paid for the contracted work needs to improve, which means preparation and administrative work should also be considered into the fee. Comparatively, full-time employees can receive paid training and keep developing their skills, supported financially by their companies. Equity advocates that freelance workers should be able to access free training to keep developing their skills throughout their career. Although Arts Council England have made recent positive moves to this effect, this requires sustained funding. We’ve made big improvements in the way Arts Council England assesses applications for funding. It’s clear that terms equivalent to union standards should be used as a minimum (which is also the case in Wales, Scotland and Northern Ireland) but also that a minimum is a minimum. Additional skill, experience and innovative creative practice from freelancers should be acknowledged with a rate of pay above the basic. There is still much to do to stop dance artists receiving only the Equity minimum for most jobs throughout

a long career. Adequate funding is part of the solution, but devolving funding decisions to local boards of artists and audiences is a critical way to break that culture. With a lack of an easy way to create clear pay grade guidelines, and legislation around age discrimination making it more complex, only a shift in levels of funding and the culture of funders can fix this issue. In the absence of the government providing a minimum income guarantee, we believe the arts councils should respond, and, alongside organisations, create ‘Regularly Funded Artists’. This would provide money not just to work, but to live too, and provide space for freelancers to grow and develop. It would be exciting to see independent dance artists being funded on a longer term to realise projects, work with organisations, have creative autonomy and cover their living costs. This will allow artists to keep focused on creating work, without the added pressure of making ends meet.

Photo: Equity

Paul W Fleming Secretary General-Elect, Equity

The current crisis has clearly highlighted how vulnerable our freelance dance workforce is. The effect of COVID-19 has been magnified by the pandemic of precarity which has affected the sector for decades, let alone 6 months. Freelance dance artists make up 70% of the industry’s workforce, but the support from government needs improving. Equity’s Dance Committee isn’t here to just complain: we’re here to campaign. Lockdown has allowed us to gather as freelance artists and build our collective voice. As individuals, many have felt powerless and lost in this crisis, but together we have found new hope for what our industry could be.

Protecting Infrastructure To date, this is the only pillar in live performance which the government has come close to supporting. The £1.57 billion, while it is very welcome, has the majority allocated for organisations, principally buildings, and there have been delays with this funding being delivered. It shows that levels of funding are not enough: it’s how, where and when they arrive which is critical to keeping the good

Equalities Fellow artists have left this industry temporarily or permanently due to COVID-19. We have to explicitly protect more precarious artists - those who are disabled, working class, older, black and/or people of colour. We’ve won improved recognition of these challenges in the reopening health and safety guidance - but this has to be a permanent, conscious change. It is the responsibility of Equity and every artist to ensure that those with privilege are fighting at the front to end the structural inequalities which favour them, not just listening to, but acting Safe Opening Subsidy on, the long-articulated experiences of Separate to the funding package, the these artists. Monitoring is important government has announced VAT relief of pay, exposure, status, and how often on most ticketed performances - which people in these groups are interviewed is exactly the approach which we and auditioned. It’s not radical to want need to support the safe opening of to see laid bare the true extent of gaps the sector. However, this may now be in income and opportunity so, together, rendered pointless for many, with the we can fix how and where they occur. window being brief, and without an We hope to see these changes extension, this support will not arrive as we slowly transition into a new in time for the meaningful reopening of normal. We believe that we can come the wider sector, likely in 2021. out on the other side with a stronger, Ensuring that artists and companies more democratic, anti-exclusionary, can be less dependent on ticket and transparent industry which recognises other commercial income is the only the real value of freelance dance artists. way we can ensure that art is being produced at this moment, and in the aftermath of the crisis. So we need bold thinking: ending match funding for projects permanently, and measures to provide central government discounts Further information Equity’s Dance Committee on tickets - like a Eat Out to Help Out bit.ly/EquityDanceCommittee scheme for the arts - are a good way to put dance on an accessible and a Equity’s Four Pillar Plan bit.ly/EquityFourPillarPlan sustainable footing. terms of engagement which Equity, One Dance UK and other advocacy partners have won for dance and other arts sectors. Freelance dance artists need infrastructure too. Small scale venues across the UK are under threat, and there is no clarity about what meaningful support might reach them. It’s not good enough to just think that physical spaces are places for permanent companies. As we look beyond the crisis, these are the spaces which need investment, development and promotion as hotbeds of creativity.

The One Dance UK Magazine | Autumn 2020 27

Special Focus on Creative Futures

Getting Back to the Studio Autumn has arrived, and we are all focused on the developments that September will bring as we look forward to returning to dance activities. Whether you are in a company, vocational training, primary or secondary school, a youth group, private dance school, or leading classes in a community centre, we all want to find ways to continue to dance. In the past few months, the UK government released guidance and roadmaps to steer the return to professional and non-professional performing arts activities following the lockdown. One Dance UK and the National Institute of Dance Medicine and Science (NIDMS) provided regular webinars for a variety of contexts. These outlined the requirements of the guidance and supporting practical implementation of government guidance across the dance sector to help everyone to return to dancing safely. Here are some key tips everyone can follow.

Special Focus on Creative Futures

Everyone

Look after your physical and mental health A healthy body and mind will support you in navigating challenges you may encounter in the coming months, as well as reduce your risk of becoming ill. See page 30 for advice from psychologists Joan Duda and Britt Tajet-Foxell.

Protect yourself and those around you from infection Follow guidance about social distancing, hygiene, and other measures at home and when you go out.

Stay up to date and follow government guidance If you are unsure of which guidance to follow, please seek advice.

Further information Guidance relevant to dance, plus practical suggestions and FAQs can be found at: onedanceuk.org/returntodance

As an employer Stay Up to Date gov.uk/government/publications/staying-covid-19secure-in-2020-notice

Staying COVID-19 Secure in 2020 We confirm we have complied with the government’s guidance on managing the risk of COVID-19 FIVE STEPS TO SAFER WORKING TOGETHER

We have carried out a COVID-19 risk assessment and shared the results with the people who work here We have cleaning, handwashing and hygiene procedures in line with guidance We have taken all reasonable steps to help people work safely from a COVID-19 Secure workplace or work from home We have taken all reasonable steps to maintain a 2m distance in the workplace Where people cannot keep 2m apart we have ensured at least a 1m distance and taken all the mitigating actions possible to manage transmission risk

Signed on behalf of employer Employer

Who to contact:

Is your space fit for purpose? Fit to Dance Space Charter In 2016 One Dance UK and Equity joined forces to develop the Fit to Dance Space Charter. The charter is designed to encourage a minimum standard for all dance spaces across the UK. Among the first venues to sign up were the Royal Conservatoire of Scotland, Sadlers Wells and Rambert. Another was Creation Box, a small venue in Lambeth, London which won ‘Outstanding Studio Award’ at the 2015 Dance London Inspires Awards. Four years later the charter is to be relaunched with some updated criteria and some crucial additions to reflect current health and safety guidelines in relation to COVID-19. Now more than ever, safe dance practice is key to the dance industry. The updated charter reinforces these fundamental safety standards for dance spaces. The 2020 Fit to Dance Space Charter is designed to be achievable for all dance spaces, large and small, celebrating good practice and therefore encouraging better and safer practice. The charter is a voluntary scheme. Signing up will publicly demonstrate a dance space's commitment to wellbeing and protection, which is vital for the long-term health and safety of dancers in 2020 and beyond.

As a teacher or dance leader

Use creativity as well as common sense How can you see your practice in a different way to address the requirements set out in the guidance for your work? Consider as many possibilities as you can, and keep in mind, the simplest solution may be the best one.

Consider the resources available to you Resources could be anything – the basics of people, space, money and equipment, or as broad as a green space nearby and good weather, borrowing different props for an activity, a proactive friend or parent who could help make signs or masks. Use resources effectively and realistically to address guidance.

Discuss ideas with others and test/pilot Try out what you’ve planned and adjust if necessary – dress rehearsals are key.

Further information bit.ly/FitToDanceSpace

Employer representative signature

Employer name

Date

Your Health and Safety Representative (or the Health and Safety Executive at www.hse.gov.uk or 0300 003 1647)

28 The One Dance UK Magazine | Autumn 2020

The One Dance UK Magazine | Autumn 2020 29

Special Focus on Creative Futures

The mindset for returning to the stage and studio

As the dance community returns to the studio and the stage, how do we ensure we return safely and, crucially, with the best frame of mind to work to our best? Each situation is unique, and it is important to feel secure and supported. Erin Sanchez talks to Prof Joan Duda and Britt Tajet-Foxell, both members of One Dance UK’s Dance Medicine and Science Expert Panel, about where your head is at given this crazy pandemic year, and some tips to make sure you find a healthy and strong state of mind to go from here.

Embrace transition Some parts of lockdown may have been helpful or beneficial – reduced pressures, increased freedom, greater time with family. Be sensitive to how this transition feels; both challenges and what you appreciate or look forward to. (BTF)

Be supported We are social distancing, but that does not mean we should socially isolate! The current challenges may be physical, psychological, and economic. They can make things difficult now and may last a long time. It’s okay to get support for anything you experience over the long term, not just in the immediate future. Use support that keeps you positive, moving forward, finding viable and healthy solutions. (JD)

Accept concerns of yourself and others Some may feel anxiety about infection risk, re-infection risk, or danger of infecting people in one’s family or household. All of these concerns (and others) are normal and expected. Learn about the protections in place for you, and speak to people you trust and who know what the science says. It is okay to feel concerns, important to listen to them and be informed so those concerns don’t bring unnecessary stress or constraints. (JD)

Musical Theatre Syllabus

Prof Joan Duda Professor of Sport and Exercise Psychology University of Birmingham Joan Duda, PhD is one of the most cited researchers in her discipline and is internationally known for her expertise on motivation, engagement and optimal functioning/well being within sport and dance. She has created the Empowering DanceTM training programmes that are being delivered to coaches, parents and dance instructors through One Dance UK, and via international partners. Joan regularly consults with performing artists, including dancers representing diverse genres, and was the performance psychology consultant for the Birmingham Royal Ballet for many years. She represented the University of Birmingham as a founding member of the National Institute of Dance Medicine and Science.

Urdang International Syllabus Bringing London’s West End Training to the World For ages 5 to 16+

Britt Tajet-Foxell Consultant psychologist, The Royal Ballet Britt originally trained as a physiotherapist and began working with the Royal Ballet Company in this capacity in the early 1970’s. This work lead to a fascination with the psychological aspects of injury and recovery and eventually undertaking a second degree in psychology and an MSc in occupational psychology. Britt then returned to the Royal Ballet working as a consultant psychologist, a position she has now held for over twenty years. Britt also has extensive experience working with Olympic athletes, previously holding positions with the British Olympic Medical Institute and the Norwegian Olympic Team and working with individuals such as British Rower James Cracknell, focusing on performance and rehabilitation psychology.

Build up slowly As you return to training, your body and mind will be less physically trained and fit than before. Remind yourself to take small steps, listen to the signals you are getting and build skills gradually, before performance demands are eminent. (BTF)

Manage your expectations We don’t know what will happen in the coming months. Focus on familiar routines, take things as they come – mental and physical health, fitness, and performance problems may arise. Take things a day at a time and a step at a time. (BTF)

Innovative, modern and progressive pathway for students to develop acting, dancing and singing skills Opportunity for schools wanting to increase revenue and offer musical theatre classes www.theurdang.international The Old Finsbury Town Hall Rosebery Avenue, London EC1R 4RP +44 (0)20 7713 7710 • info@theurdang.international

Taking aspiring young performers to the next level

r ou y ok n! bo tio i d au

Urdang Associates has been designed to enhance existing skills and complement current training. This exclusive course incorporates all the skills required for a successful training in Musical Theatre and Dance.

6 7

Be aware of information overload You might be being bombarded with information from many sources. If you feel overwhelmed, consider limiting some information inputs until you feel more able to engage with them. Perhaps consider what information you need, and why you are seeking additional information – to make yourself feel better? To answer a specific question? (BTF)

30 The One Dance UK Magazine | Autumn 2020

Remember why you started dancing and the fundamental reason why you continue to dance. The virus, the pandemic do not effect that love, your harmonious passion for this performing art. These motivations remain inside of you. Keep remembering and nurturing these positive feelings. They will get us through this. (JD)

Start Date 06 SEP 20 Entry By audition only

Training the next generation of performers

To request an application form please email: associates@theurdang.london

Celebrating Technical And Upbeat Dance Genres Worldwide bit.ly/Urdang-Associates

www.theurdang.international

The Old Finsbury Town Hall Rosebery Avenue, London EC1R 4RP +44 (0)20 7713 7710 • associates@theurdang.london

Urdang is accredited by the Council for Dance, Drama and Musical Theatre

Despite it All… Special Focus on Creative Futures

Special Focus on Creative Futures

Clare Connor, Chief Executive of The Place, explains how the recent seismic changes have necessitated a change in future planning and outlook for the many artists who rely on the space to learn, create and perform.

Photo: Hugo Glendinning

Clare Connor Chief Executive, The Place

32 The One Dance UK Magazine | Autumn 2020

From June to July, the Class of 2020 from London Contemporary Dance School worked with commissioned dance artists Jamila Johnson Small, Leah Marojevic, Fernanda MunozNewsome and Thick & Tight for their respective graduate commissions. Collected together under the title Cyber Rats…Despite it All, each piece, in startling different ways, reflects the contemporary spirit of The Place. The resulting works are love letters to the power of dance. They speak volumes about the ingenuity and courage of the collaborators. None of the pieces mourn the loss of the live stage or indeed a live audience but instead embark on a fearless adventure into new performance territories with unabashed performances that you would ordinarily expect from seasoned performers. In all four works, there are messages here for us as audience members to let go, to encounter a cinematic experience, to take an audio walk (highly recommended!), select dancers in a gaming console-style performance (mind blowing!) or meander through an intimate gallery in your own time and space. After such an intense period of lockdown and restraint, exploring these works was nothing short of exhilarating. A chance to experience dance and creativity born out of a deep collaboration and ultimately a trust built quickly and intensely between the artists and the graduating student-artists. The commissioned artists have all spoken

about how their expectations of the process were quickly surpassed, as everyone involved responded to difficult situations of isolation and restricted movement by finding new ways to engage, uplift, and take care of each other. The resulting works demonstrate new ways to perform intimacy and connection, affirming the potential sociality of both social distance and social media. On closing the building in March we quickly established an agile culture, with short term goals devised and revised, firstly to adapt and then to build a more proactive response to enable us to take more difficult decisions in support of more radical changes. Our mission of “powering imagination through dance” has proved itself as our “north star” guiding us through. In doing so, it has served as a dynamic cradle for the shifting goals and actively places emphasis on our values rather than on bricks and mortar. We have learned so many things over the past six months but below are three that rise to the top: • We have worked to stay connected with as many people as possible. Indeed, through our online provision of classes and performance we have engaged with some 15,000 people – the same amount as we might have expected for the same quarter period pre-COVID but now

Left: Margherita Giuliodori in An Effort in Camp by Thick and Tight, part of London Contemporary Dance School's graduation work Cyber Rats... Despite it all. Right: Filming Ballet Introduction with Michelle Ballentyne, part of Autumn term online classes

“In the future, I hope that The Place is not judged purely by our balance sheet post-COVID but by the quality and bravery of the work that was created during this period and by what comes forward subsequently. If the last four months are anything to go by… I am genuinely excited!” Clare Connor

reaching people all over the world! • We have taken our work online, We have also managed to create but our young people were already a safe environment to support 18 there waiting for us to catch up! independent artists through our What they of course know is how research residency programme to give feedback quickly with a like Choreodrome, vital to the new work or a dislike. By their standards, our creation ecology. We worked with evaluation methods are ossified artists to create 50 bespoke films for and so in this digital space we have our 14 partner primary schools in learned from them how to close the Camden to help children stay active feedback loop. and support their well-being. This was illustrated in our recent These films have seen views in LCDS International Summer School their thousands and the comments was attended by over 80 people back from children and staff have from all over the world. One of the been humbling to say the least. We participants explained how different have since taken the opportunity to the experience had been because reach out to visionary Council leader they had received individual in Camden, Georgia Gould, to help feedback such that they felt seen us work across the entire borough heard and had consequently with the health and wellbeing team. improved. In fact, they said “With what I have learned in this week, I • Our wonderful board have put could have written a book.” Adults their arms around the organisation talk about “reimagining” the world, and unequivocally supported us but young people don’t need to to “make learning visible.” We do that - they just “imagine”. We have built webinars for artists and would achieve far more if we could online programmes of performances engage more readily and urgently for audiences and supported our in a dynamic learning environment associate artists Frauke Requardt and enable young people to have and Daniel Oliver to take their work more say in the world that they from stage to screen in their own inherit. Our job and challenge are home. Of significance, our third-year to “imagine” the future of dance undergraduate students presented together. their entire category of self-driven work titled Negotiated Project online Further information via The Place website, further theplace.org.uk promoted on our social channels. The Watch LCDS’ Cyber Rats: bit.ly/ThePlaceCyberRats views of their work far surpassed what has ever been achieved through Online Classes: bit.ly/ThePlaceOnlineClasses the one-day exhibition. We will never Choreodrome: bit.ly/ThePlaceChoreodrome go back now. The One Dance UK Magazine | Autumn 2020 33

Grade Expectations Special Focus on Creative Futures

Rambert Grades is a new benchmark in contemporary dance training and education, grounded in process and creativity that supports teachers to enable and develop emergent talent. Its Director David Steele reveals a practical framework, where examination is just part of the journey.

Photos: Left: Guillaume Kayacan; Right: Hugo Glendinning; Bottom: Camilla Greenwell

The Rambert Grades Philosophy Originally the vision of Rambert School’s Principal and Artistic Director, Amanda Britton, who has, together with the Company’s Chief Executive Helen Shute, brought the two institutions together to create Rambert Grades, a new addition to the Rambert family. Rambert Grades celebrates and embraces the skills and understanding that each person brings to their performance of the material. The belief that surrounds and informs all areas of the Rambert Grades syllabus - technique, creative, and performance - is one that is grounded in the nurturing and support for the development of the individual’s voice. The content is geared to open interpretation that is uniquely informed by the individual student’s own understanding of the world fed by their questions, their heritage, and personal experiences. Rambert Grades comes alive through the input of each learner who takes the material, embodies it, and makes it their own. This is reflected in our pedagogical and assessment processes where the essential message is about balancing training, nurturing individuality and celebrating the creative spirit.

The Rambert Grades Offer Rambert Grades offers Ofqual accredited qualifications , Level 1 - 3, in Contemporary Dance, divided into Graded Examinations (Grade 1 - 8) in line with other UK performing arts focused awarding bodies. The examinations offer students the opportunity to validate learning, evidence achievement and demonstrate their ability to succeed. At the heart of Rambert Grades is a passion for the artform, creativity, technical training and individual performance style. Our syllabi content can be achieved by a diverse range of learners, is inclusive for dancers with disabilities, those with a dance background or those who may be new to the art form. For us, the question of professional relevance has been absolutely at the root of our thinking: how to create a syllabus that actually has bearing and a connection with the breadth of contemporary dance practices that are currently being explored professionally. To this end we are delighted to be commissioning newly created works for the Rambert Grades syllabus from influential contemporary dance makers Hofesh Shechter, Alesandra Seutin and Benoit Swan Pouffer. Further information Rambert Grades will launch this October. For more information and an application pack please go to rambertgrades.com

Special Focus on Creative Futures

WHATEVER YOUR STYLE, WE’VE GOT IT COVERED

Packed with news, interviews and features from all areas of stage and social dance, Dancing Times magazine has it covered To subscribe visit dancing-times.co.uk, or ring 017 7839 2039 Or, why not download a digital copy for your tablet or smartphone right now at pocketmags.com

One_Dance_v2.indd 1

25/08/2020 11:52

RAMBERT GRADES

“The combined experience, expertise and innovation of Rambert and Rambert School enables Rambert Grades to train, develop and support dance teachers in delivering a contemporary dance training programme of the very highest quality. I’m most excited about the opportunity Rambert Grades offers all young people, and in ensuring their diverse experiences and individuality are intrinsically valued in Rambert Grades.” Ray Oudkerk, Chair of the Board of Rambert Grades

Clockwise (From top left): Alesandra Seutin, Hofesh Shechter and Benoit Swan Pouffer who are creating new works for the new Rambert Grades syllabus 34 The One Dance UK Magazine | Autumn 2020

www.mdx.ac.uk/perform

The One Dance UK Magazine | Autumn 2020 35

Celebrating the Class of 2020 Special Focus on Creative Futures

Special Focus on Creative Futures

The graduates of 2020 have emerged into a dance sector unrecognisable from when they began their courses. One Dance UK ran a campaign celebrating and supporting these future dance leaders and continues to advocate for those at all levels within the dance sector.

Throughout my time studying at university, I have worked to unfurl the connection between the moving body and language composition, shaping an investigation into the evocation of re-creative detailing. Graduating in the face of vast unknowns, I draw from my continued encouragement to navigate uncertainty with presence and adaptability, from the dance faculty at Middlesex University, to explore how dance can remain active, in imagery and sensation, in a time when live performance exists primarily as a memory. This moves me to further write about dance performance, sharpen my written artistic voice and challenge my understanding of dance criticism methodology, as I transition from student to graduate and look towards the emergence of renewed dance practices. ballet company auditions. I have used the time to find and sign with an agent to open doors for commercial ballet or theatre work. I have strengthened other skills such as singing and collaborated with artists worldwide for video projects. I remain passionate to push forward despite the situational barriers.

My time on the Dance Performance and Teaching degree course at UCLan has taught me many new things about myself as a dance artist, choreographer and teacher, as well as helping me to find my love for dance again. Due to the pandemic my degree was unfortunately cut short. I know that, for myself and many others, we felt that we had been robbed of this important time - it was a shock not to be dancing with my peers in the studio every day. The help and advice from lecturers throughout the pandemic lifted everyone’s spirits and has been my driving force to keep going. Something I have discovered through my degree is my love for choreographing abstract contemporary dance, and I am going on to complete a Masters in Contemporary Dance Choreography at The University of Salford. My degree has shaped the person I am today, helping me to find out who I am as a dance artist and how I move.

Abbie Jones BA (Hons) Dance Practices Middlesex University

Giorgia Lock BA (Hons) Dance Performance and Teaching, University of Central Lancashire

Throughout my time at Northern, I have learnt that we are all so much more than just dancers. Modules like Festival and Teaching taught us that we are also leaders, co-ordinators, marketers and producers. Rehearsal periods taught us that we are diligent and resilient. Research projects showed us how creative and collaborative we could be. I don’t question our ability to lead and create, to stand up for what we believe and to set high standards for our industry.

Trinity Laban not only hones the technical training and professional development of an individual but also guides them to becoming a more curious and honest dancer in their movement and individuality. I have emerged having learnt to be bold yet sensitive in the decisions I make as a mover. We were taught to be excited by what you do and to dance with the space you are in, no matter where you find yourself and to search for those curiosities that drive you forward, especially when in a pandemic! I intend to continue to share these experiences with others through teaching and project work.

Being part of the wider institution of the Royal Conservatoire of Scotland has had many benefits across my three years there, including an incredible framework and action plan should a global pandemic happen to affect your degree! I’ve had several incredible opportunities to collaborate with a number of other students in different disciplines which has really broadened my network - an increasingly important part of success in any industry. One of my standout moments of the degree was being able to fully stage, costume and light a piece of my choreography Surveillance for the graduation performance in 2018, after winning the choreographic competition!

Charis Crudgington BA (Hons) Dance (Contemporary) Northern School of Contemporary Dance'

Liliana Della Valle BA (Hons) Contemporary Dance Trinity Laban Conservatoire of Music and Dance

Rosie Mackley BA Modern Ballet Royal Conservatoire of Scotland (in partnership with Scottish Ballet)

36 The One Dance UK Magazine | Autumn 2020

My overall experience during my time at the University of East London has been fantastic! I have learnt so much studying on the BA (Hons) Dance: Urban Practice programme, from the full range of practical dance styles to the theoretical knowledge I have gained. The course has helped me become the person and performer I am today; it has boosted my confidence in dance as well as in general life. Finishing my degree during a pandemic has been the most mentally challenging experience I have faced, but with the support of amazing lecturers and wonderful friends I have exceeded my expectations and achieved a first-class degree. My plan for the future is to have my own dance fitness company, welcoming all levels of dancers and movers, and to run dance classes for children and young people in my community.

Ebony Taylor-West BA (Hons) Dance: Urban Practice, University of East London

Photos: Top Left: Brian Slater; Top Right: Toby Gregory; Left: Larissa Pinkham; Middle Left: Andrew Wilson; Middle Right: T Moorse; Right: One Dance UK

Photos: Left: Kitty Denton; Middle Left: Christian Piccini; Middle Right: Andy Ross; Right: E West

Dance in Education Manager Amy Williams spoke to graduates from some of One Dance UK’s member institutions to find out more about their experiences, course highlights and future ambitions.

I learned so much during my PGCE year, from how to organise a lesson for a huge range of dance abilities, to supporting hundreds of students as we entered a global pandemic. As a student myself during this period, I really felt the impact of having to move everything online and I had some trepidation about the future. However, with the skills I gained during my studies at the Royal Academy of Dance, I am now even more determined to pursue my passion and to instil this in others through dance teaching.

Zoe Cartlidge PGCE: Dance Teaching Royal Academy of Dance

Throughout lockdown I have been inspired by the determination and resilience of my London Studio Centre (LSC) teachers, professionals and colleagues. I have maintained fitness and technique with support from LSC who provided a wealth of classes and talks with a variety of working graduates which gave a well-rounded outlook into future employment possibilities. When opportunities arise, I am eager to put their advice into practice and hope to travel abroad for ballet company auditions. I have used the time to find and sign with an agent to open doors for commercial ballet or theatre work. I have strengthened other skills such as singing and collaborated with artists worldwide for video projects. I remain passionate to push forward despite the situational barriers.

COVID-19 presented few logistical challenges to completing my degree, for which I am very grateful. However, the repercussions of the pandemic and consequent challenges faced by the wider arts sector with regards to closures, cancellations and redundancies have been devastating to bear witness to. Nevertheless, despite having completed my studies amidst uncertain global circumstances, I would say that the experience has only reaffirmed my desire to support the health and wellbeing of artistic individuals as a future dance science practitioner.

Angela Wilson BA (Hons) Theatre Dance specialising in Classical Ballet London Studio Centre

Tabitha Moorse BSc (Hons) Dance Science (Applied Performance) University of Chichester

Graduating online in the middle of a pandemic would have sounded like an impossible idea, until I found myself doing exactly that! In a time of uncertainty, the past 4 years have taught me how to strive in unfamiliar situations. From my first day of being thrown into choreography class, to finally writing an 8,000-word dissertation, I’ve accomplished more than I ever thought I would. Dance students have a resilience to succeed and a creative thought process which helps them stand out in a crowd. Congratulations to my fellow class of 2020!

Lucy Erridge BA (Hons) Dance University of Surrey

The One Dance UK Magazine | Autumn 2020 37

Making Room for the Zoom Special Focus on Creative Futures

Special Focus on Creative Futures

How community dance leaders are responding to changes to traditional structures, by Tori Drew, Dance in Education Manager.

38 The One Dance UK Magazine | Autumn 2020

highlights that teaching her classes online, and therefore removing the potential challenges of travelling to a venue, reduced physical barriers for her participants, understanding how to use and navigate around new technology, and internet issues became a new (and often frustrating!) challenge for both participants and teachers. “Ensure you have a few sessions at the start to teach your participants how to use Zoom rather than diving straight into material” Helen advises. It’s sound advice – Helen’s classes are now fully attended every week with her participants now doing more dance than usual because of how easy they are to access. Teaching vulnerable participants how to use technology for dance classes has been a great additional skill, in fact for some participants there has been the added benefit of “making use of online videotelephony to contact family and their social group” comments Rachael Hawkins, Volunteering and Public Engagement Coordinator of falls prevention programme Dance to Health. Of course, there have been challenges creating movement suitable for online delivery for all of us, not least for those working in inclusive dance. Chris Radford, dance artist of Man Made Youth Company advises “Keep it simple and effective, assume everyone

is in a shoebox space and on the slipperiest floor to make sure everyone dances safely.” Although the lack of space has been a challenge for Freewheelin, where dancers usually thrive off travelling patterns, this has allowed an adaptation of “new movement material”. Both Chris and Helen talk about the challenge of having adaptations for all your movements because their participants don’t necessarily know how to modify for themselves. Jamaal O’Driscoll, Artistic Director of O’Driscoll Collective, talked about the importance of “responding to the energy of the room” when online, especially if the class is prerecorded, and how to build confidence of participants through the screen. Jamaal was surprised how a prerecording of his work One%, shown at the community online MidSummer Festival, was received. Feedback showed a sustained connection with audiences in energy and feeling, showing it is possible to ‘connect’ through digital platforms. Freewheelin, also part of this festival, were happy they had the opportunity to have their work broadcast amongst pieces from the professional sector with higher budgets and technical capability, demonstrating that this new digital age can help further break down barriers to opportunity for certain groups.

“ As soon as lockdown started DanceXchange wanted to maintain a point of connection, a sense of community and the opportunity to have fun, especially when we all needed it most.” Alexandra Henwood, Head of Learning & Participation at DanceXchange

Photos: Left: Paradance UK; Right: Ryan Charles

Since March, many teachers and students in the dance sector have been frantically rearranging their furniture to make room for dance classes suddenly moving online. Whilst the shift from a dance studio space to a living room has been accepted by many professionals, students and teachers in order to keep dancing, how has this shift towards digital been received by community dance groups? From dancers in the older generation, to those with disabilities, youth groups and those who may not usually engage in dance, making room for dance, figuratively and literally, has been a focus. Those running sessions in the community dance sector have faced both challenges and successes when moving online. It is not only the challenges of creating a safe environment in which to lead classes that need addressing when moving online. Rebecca Randall, Artistic Director of interACTION, recognised that “access is the first priority.” Indeed, considerations need to be made regarding your participants access to wi-fi and skill with technology as this in itself can be a barrier to those wanting to take part in online classes. However, when these barriers are addressed, the results can be excellent. Helen Mason, Director of Freewheelin, a completely inclusive dance group in Birmingham which runs classes aimed at those with mobility restrictions,

Freewheelin'

DanceXchange Vogue teacher Jason Andrew

Celebrations of online teaching are echoed by all the teachers who recognise the importance of a social aspect being upheld and the sense of routine for both participants and teachers. “It’s quite humbling to know you act as one of the anchors people use to get through the week” Rachael comments. It has “kept the participants going” Helen adds, allowing the groups to “stay connected to others and to their bodies” Rebecca concludes. Indeed, there have been many comments on the importance of online classes in contributing to participants’ overall wellbeing. As the wider dance sector figures out how to safely return to dance in the studio, it appears that many in the community sector are willing to hold on to their safe place online. “We will continue our online offer and continue to explore ways to make the provision as accessible as possible. We’ll also take forward our spirit of resilience, ensuring no matter what the future holds” Alex exclaims. For some of those who find physical access a barrier to dance classes, online delivery could be the way of the future. Online teaching has also been a powerful tool to educate and expand participants’ understanding. Jamaal teamed up with Tesco for a popping and breakin’ online tutorial to raise money for programmes that support

Black Lives Matter. “It was important to give back to the styles that have given us so much and to the Black culture it derived from. Offering access to dance online has allowed this.” Teaching dance to community groups has encouraged a new ‘thinking dancer’ through a desire to be more creative and self-motivated, whilst having the comfort to do so in their own homes. Chris agrees, reflecting that “… students have been able to grow faster as they are more willing to take risks without the fear of being judged.” So perhaps we look can forward to a new age for community dance where both the physical and digital can co-exist. Perhaps Rebecca summarises the future of community dance online best, when she stresses the importance to “…ensure that everyone can continue to live lives enriched with a variety of different experiences and opportunities”. It seems that both mental space and physical space are made for Zoom.

Further information becca.website dancetohealth.org dancexchange.org.uk/event-type/classes freewheelindance.com manmadeyouth.wordpress.com odriscollcollective.com The One Dance UK Magazine | Autumn 2020 39

Contagious Content: When Dance goes Viral Special Focus on Creative Futures

Special Focus on Creative Futures

Gracefully pirouetting in the pouring rain, 11-year-old Anthony Mmesoma Madu cuts a striking figure. Barefoot on concrete and mud, he dances with determination for a single camera, focussed on him – a testament to the commitment and passion of all the young dancers he trains with at the Leap of Dance Academy in Lagos (founder: Daniel Ajala Owoseni). When the school filmed the video, it was not with the intention of ‘going viral’. Yet within days of it being uploaded to the internet, the 45 second clip had been shared globally across social media, becoming a symbol of hope and grace in the face of adversity - not just for dancers who may be finding their lives turned upside down by COVID-19 - but by everyone who viewed it. For two weeks the video was everywhere you turned online and on TV – until that is – it began to fade into viral oblivion. Over the past 12 months we’ve seen a huge surge in viral dance videos – arguably down in part to the success of the sometimes-controversial app TikTok. With 800 million worldwide 40 The One Dance UK Magazine | Autumn 2020

users (and counting) one - perhaps unexpected - trend that has become all the rage is dance challenges. Walk into any school, college or university in the UK right now and it’s almost guaranteed that the students, regardless of what they study, can tell you what the Renegade or Out West dances are – they will probably even be able to perform them for you. Dance challenges on social media are where users set a short piece of choreography for their followers to emulate, in the process, creating viral dance trends that are shared from TikTok to Instagram to Twitter and beyond. When they work, they work well - not only do they catch on quickly, they also have the coveted longevity that so many viral videos lack. It’s not a case of simply sharing one video that will eventually lose its impact: done right, you can have millions of users worldwide taking your content, repurposing it and sharing it for you – over and over again. This is an exciting concept for dancers and dance companies, who can look to this sudden

“ TikTok has definitely been a fun addition to the social media roster. I love how dance is so encouraged on the platform. I think spreading dance in any way, shape or form is helpful to the overall awareness and love of dance which is always important for the future of the art.” Alex Wong, Former Miami City Ballet Principal and Social Media Influencer

Alex Wong

Photo: Dani Bower for One Dance UK

Photo: Alex Wong, photo Dancers and Dogs

With the world moving their lives online like never before, Head of Marketing and Communications Lara Coffey explores what it means to go viral and how dance is dominating the digital world. explosion in viral dance content for outreach, accessible engagement and building brand partnerships in ways previously unexplored. Take the United Nations' International Fund for Agricultural Development (IFAD). IFAD aims to fight world hunger by promoting rural agriculture, an unlikely partnership for dance perhaps, yet in 2019 that’s exactly what happened when IFAD commissioned MTV award-winning choreographer Sherrie Silver to create a 15 second choreography challenge for TikTok. The #danceforchange challenge encouraged audiences to upload and hashtag videos of themselves dancing along. The result? 1.2 million views on the original video, and an additional 105.4 million views of videos on the hashtag on TikTok alone. That’s not to say that TikTok is the only platform on which dance is succeeding. With heightened sharing capabilities between TikTok, YouTube, Facebook, Twitter and Instagram, success is not limited to one platform anymore. But along with the possibility

of sharing your work more widely also comes one of the murkier sides of viral success – how do you control your work when it reaches such a scale? At less than a minute long, the choreography to the aforementioned Renegade has amassed millions of views across the internet and major TikTok influencers such as Charli D’Amelio have become synonymous with it. However, the dance was never created to be a TikTok challenge. It was actually created on a smaller video app called Funimate and choreographed by a 14-yearold called Jalaiah Harmon – who initially received no credit for her choreography and its success. In the modern world, where going viral often gives creators the opportunity to make money or build a brand, not receiving credit is devastating, but all too common. Jalaiah went on a one-woman crusade across the internet begging influencers and other accounts to credit her for her work. She was largely met with silence and in some cases even with backlash from other commenters.

Did You Know?

Number of new social media users every second in 2020

3.8b

people worldwide use social media. That’s roughly 50% of the world's population

1.95b

Facebook is still the market leader with a total addressable audience of around 1.95 billion – that’s nearly half of all social media users!

330m

Twitter has more than 330 million monthly active users The One Dance UK Magazine | Autumn 2020 41

Special Focus on Creative Futures

After months of trying to claim credit, Jalaiah was contacted by the global head of content for another social video app called Dubsmash, who put her in touch with a New York Times reporter. The resulting story catapulted Jalaiah to fame; she now has over 2 million followers and is widely credited across all apps as the creator of the trend. Jalaiah’s story isn’t uncommon in its beginnings, though the happy ending is somewhat rarer. Obtaining ownership and credit over choreography which is put out into the world with the sole purpose of going viral is hard – when the goal is to be shared so widely that you reach millions in minutes, how do dancers protect their work and make sure they benefit from it? There is no clear answer. Whilst apps move to put things in place such as Facebook’s copyright protection algorithm for music, and TikTok’s ability to embed the source of videos/ sounds in the bottom of reposted challenges, it’s still all too easy for work to take on a life of its own. But that doesn’t mean that there is no future in viral content for dance. The lockdown of 2020 has shown a global appetite for dance not only as performance and inspiration but also as an opportunity to get involved.

It is impossible to ignore the opportunities that creating shareable content offers us as a sector in terms of engagement and growth, and even financial gain. In terms of standard marketing this sudden uptake of digital dance also offers interesting new ways of working with brands, reaching potential new audiences, receiving donations and financial support and targeting campaigns to people that previously may not have registered dance as an interest. It is worth remembering that the rise of viral dance does not necessarily require you to actually go viral in order to benefit from it – though it obviously helps! Perhaps finally, the best example of viral success is back where we started this article, with Anthony Mmesoma Madu. We’re happy to report that at the time of going to print, Madu had been offered a scholarship by American Ballet Theatre and Ballet Beyond Borders. Leap Academy in Nigeria, where he trains, has also received an unexpected influx of donations to help train more students who also want to learn to dance like Anthony. So, whilst the video itself may no longer be top of your feed and whilst Anthony has no plans to become an influencer – the legacy of his viral success will get to live on in the dancers of tomorrow. And we can ask for no better campaign than that.

Pandemic Dance Special Focus on Creative Futures

Did You Know?

550m

Since March, opportunities to watch live dance have fallen off the COVID cliff edge and, in this age of coronavirus, dance – like so much else in our lives – has gone online. Graham Watts OBE, Chair of the Critics’ Circle Dance Section, gives his insight into the standouts of an unexpected season of online dance works.

As of late 2019, 500 million users log in to Instagram daily

40%

UK residents who reported consuming social media more during lockdown

2nd

YouTube is the second-largest search engine in the world, after Google

800m

TikTok reports having 800 million monthly active users worldwide and by mid 2019 was the third-most downloaded app in the world

Graham Watts OBE Chair of the Critics’ Circle Dance section Graham Watts is a freelance dance writer and critic writing regularly for Dancing Times, Shinshokan Dance magazine (Japan), DanceTabs.com, and Bachtrack.com. He has written the biography of Daria Klimentová (The Agony and the Ecstasy) and contributed a chapter about the work of Akram Khan to the Oxford Dictionary of Contemporary Ballet and on Shobana Jeyasingh to the third edition of Fifty Contemporary Choreographers.

Source Stats taken from WeAreSocial, Statista, Hootsuite and Sprout. Data correct at time of going to print.

Photo: Paul Wilkinson

Photo: Anthony mmesoma madu by Leap Dance Academy;

He is Chairman of the Dance Section of The Critics’ Circle and of the UK National Dance Awards and regularly lectures on dance writing and criticism at The Royal Academy of Dance and The Place. He was nominated for the Dance Writing Award in the 2018 One Dance UK Award and was appointed OBE in 2008.

42 The One Dance UK Magazine | Autumn 2020

Accessing past favourites Companies initially responded by providing access to online classes and opening up their archives to show heritage works: English National Ballet ransacked their vaults to create Wednesday Watch Parties with a different ballet each week for three months although viewers had to be on their mettle since access lasted for just 48 hours until the film disappeared. Every ballet company has provided similar pre-existing film of treasured works, via websites, Facebook and YouTube. UK-based contemporary dance companies had a similar programme of archive retrieval. Shobana Jeyasingh Dance provided a series of SJD Shorts and Luca Silvestrini’s Protein made available full-length films of LOL and Border Tales (ensuring that the dancers were paid for these digital repeats). In place of a planned live show at the Edinburgh Festival, Rosie Kay Dance Company gave an online premiere of her hit show, 10 Soldiers. This digital presence filled a gap and featured some rare treasures also allowing UK audiences access to a plethora of international works: Martha Graham Dance Company uploaded early filmed work in Martha’s Matinees, including a 1940s performance of Appalachian Spring; and Dance Theatre of Harlem showed a 1984 film of Arthur Mitchell’s Creole Giselle. However, many films were not intended for

external viewing and there are just so many static camera shots and poorquality viewing experiences that one can take! Creativity in confinement Opening up the archives provided some solace to audiences deprived of dance but did little for those who make and perform the art. Viewers could choose any number of online classes to join or watch but, for the dancer, that’s just taking care of the instrument. Every dancer needs new work to perform and losing the greater part of a year out of already limited careers has been frustrating. This is particularly the case when lockdown coincided with retirement, which was the fate of married dancers Francois Rousseau and Julie Gardette, who left Norwegian National Ballet after 20+ year careers with no opportunity to take their farewell bows on stage. Their response was to ask Annabelle Lopez Ochoa to make a work by Zoom and the resultant Where do the birds go? was filmed in their living room (the birds in question being plaster wall decorations). Prior to the pandemic, Lopez Ochoa was sceptical about what could be achieved by making dance on film. However, that initial experience made the Amsterdambased choreographer realise that the process of editing replicated the feeling of choreography. She had to make the empowering decisions about where and how to look at the The One Dance UK Magazine | Autumn 2020 43

Special Focus on Creative Futures

Left: Scottish Ballet presents Indoors by Sophie Laplane, edited by Eve McConnachie Right: Viktorina Kapitonova in Swan Lake Bath Ballet 44 The One Dance UK Magazine | Autumn 2020

Guillaume Côté and Heather Ogden (Principals at the National Ballet of Canada) made Bach to the Barre around their domestic life (including vacuuming and a nightly battle for the remote) and Côté took spatial limitations to the ultimate with three intimate portraits of himself, Greta Hodgkinson and Sara Mearns just performing through close-up facial expressions in a black surround. Cuban flamenco dancer, Irene Rodriguez, produced a film at the opposite bodily extreme with Me Reto (I challenge Myself), showing just her legs in split-screen (filmed separately wearing different coloured shoes), keeping pinpoint harmony through complex compás. Dancing outdoors is also well represented with Melanie Hamrick’s Ghost Light, performed to The Rolling Stones’ Living in a Ghost Town, featuring a dozen dancers from The Royal Ballet in London’s empty streets; and DNB’s Floor Eimers does the same on her own in the unadventurously titled Ballerina dances in the Empty Streets of Amsterdam.

The annual showcase for European contemporary dance, Aerowaves, went digital in 2020 leading to the experimental Twenty20 FRAMEWORKS, a series of eight digital films streamed live via Zoom, in June, including work by Léa Tirabasso (The ephemeral life of an octopus) and Joy Alpuerto Ritter (working with Lukas Steltner on LIVE rOOms). This innovation was also reflected in the dozen or so short films presented by Carlos Acosta in BBC4’s Dance on film, the best of which were Kate Morrison’s Anatomy of a Crooked Spine; Jamiel Laurence’s Do I Have Free Will?; and Acosta’s own reworking of The Dying Swan for Celine Gittens. The opportunities for experimentation with dance on film appear to be in creative hands.

innovative solution in Safe Distance Ballet (by Remi Wörtmeyer), featuring a 3-metre wide tutu that enabled Kira Hill to dance with anyone! Having real-life partners in ballet companies gave some special advantages as The Royal Ballet demonstrated when Francesca Hayward and Cesar Corrales danced together in Morgen, an emotional world premiere by Wayne McGregor. Big issues have been tackled in dance films during the pandemic. In Nubody, Sonia Sabri produced a hard-hitting work on the appalling practice of female feticide. But the most seismic and constant event during the pandemic was the global #BlackLivesMatter campaign, which several new digital dance films have attempted to address. Three of these stood out. In the US, Israeliborn choreographer, Ronen Koresh collaborated with three significant black dance artists (Zane Booker, Rennie Harris and Raphael Xavier) to create The Elephant Is in the Room, made to the poetry of Karl Mullen (part of an excellent triptych of films made by the Koresh Dance

2020 visionaries The biggest limitation has been the requirement for social distancing meaning that only those who live together can dance in contact. This has led to the plethora of split-screen, conjoined solos although Dutch National Ballet came up with an

Company). Lopez Ochoa had a similar visceral impact with Say their Names and Australian dancer, Juliet Burnett, crafted a very powerful short film, featuring dancers from six continents, entitled Injustice. Having ploughed through as much new output as I have been able to find during the lockdown one overriding concern has been that where dancers have not been salaried members of companies, they have rarely been paid. Digital dance seems impossible to monetise. The quality is also variable and as much attention is needed for professional camerawork and editing as with the choreography and performance. The requirements for musicality are also different because the digital process often leaves performers’ two beats behind the music if it is being transferred digitally. However, the plethora of effort during the age of coronavirus has shown that even when the stage is taken away, choreographers continue to find a way to make powerful statements in challenging times (just so long as they have a good camera).

“ Although the stage has been prohibited, choreographers have used film to continue to make challenging statements in dance.” Graham Watts OBE

Photo: Ryan Chapstick

dance. Lopez Ochoa is now prolific, having made eight new dance films (and counting) during lockdown. The Netherlands has been the world leader in new digital dance during the age of coronavirus. Paul Lightfoot and Sol León said their farewells, as artistic director and advisor, to Nederlands Dans Theater with two powerful full-scale, filmed works (respectively Standby and She Remembers). Dutch National Ballet (DNB) has also been busy, producing several new dance films, including the Prometheus Project, three visually spectacular pieces by Wubkje Kuindersma, Ernst Meisner and Remi Wörtmeyer; Gently Quiet by British choreographer, Peter Leung; and Hold On by Milena Sidorova, one of many films cutting together images of dancers performing in their homes. This milieu of home dancing has mined every angle: from doors in Sophie Laplane’s Indoors for Scottish Ballet to bathrooms in Corey Baker’s Swan Lake Bath Ballet. Hannah Rudd choreographed Where We Are for five British-based dancers to perform from their respective rooms.

Special Focus on Creative Futures

The One Dance UK Magazine | Autumn 2020 45

Lockdown Learning

Special Focus on Creative Futures

Reflections from the National Centres for Advanced Training (CATs)

Special Focus on Creative Futures

“The opportunity to train more frequently, at their own pace, has allowed students' creativity to soar ”

Maintaining momentum through lockdown and beyond, by Chloe Travers, DanceEast Centre for Advanced Training Coordinator, and Alexandra Henwood, DanceXchange Head of Learning and Participation, on behalf of the National Centres for Advanced Training in Dance.

CAT students take part in an Alvin Ailey Intensive

Photo: Stephen Wright Photography

CAT students at DanceXchange

46 The One Dance UK Magazine | Autumn 2020

The past few months have seen the ways in which we work alter drastically to meet the challenges of lockdown. We have refocused our programmes and stepped outside our usual training structures and methods. Whilst we have certainly encountered a variety of difficulties, there have also been many beneficial discoveries, which we are confident will continue to have a positive impact long after lockdown. By fully embracing digital dancing, whether that be live streaming performances, participating in technique classes via Zoom or exploring creative tasks via prerecorded videos on YouTube, we have been able to respond to our evolving environments and continued to pioneer, promote and deliver best practice in prevocational dance training. Navigating the challenges

Photo: Rachel Cherry

The National Centres for Advanced Training in Dance (CATs) have been engaging and supporting young dancers since 2004; assisting young people to access high-quality pre-vocational dance training, regardless of their personal circumstances. Supported by the Department for Education’s Music and Dance Scheme, the twelve CATs are based at leading dance organisations across the country. The National CATs work with over 900 students, providing means-tested grants to enable greater access to dance training.

of lockdown has united the National CATs in a profound way, sparking innovative ways of working together and strengthening our connection. These new ways of training have enabled our students to access a number of high-quality dance experiences that they would not usually have been able to. A positive of us all training at home is that barriers such as time and travel have been reduced, which opens various opportunities. Recently, we were able to connect students from each centre in a digital workshop with New Adventures and Sir Matthew Bourne; enabling students across the country to train together and work with world renowned artists. Our awareness of space has been considerably increased recently; we’ve all had to adapt to new physical dance spaces whilst our regular venues have been closed. Perhaps what has been the most noticeable is the space that is now between us whilst we dance. Being able to regularly train together, albeit remotely, has continued to provide a much-needed social element to our week, as well as a sense of normality and structure to our daily lives and ultimately has enabled us to maintain a sense of self. Even within the midst of a pandemic, dance has continued to provide a sense of relief and joy to many. However, dancing in lockdown has presented several challenges and has certainly been a rather steep learning curve. There are a number of possible barriers

to digital training which have made it more difficult for some young people to engage during lockdown. We have noticed this most in the lower number of participants engaging in our outreach work, which has resulted in a national decrease in applications to join the CATs. As we learn more about the various possibilities of digital dancing and the best ways to overcome digital barriers, we look forward to feeding this learning into our future work so that our provision is as accessible as possible. One of the great outcomes of this opportunity to reflect on and refocus our training has been the ability to incorporate a broader range of skills, which have sparked greater versatility and enhanced students’ technique and creativity. Through digital dance training, students have been able to access classes led by a wider range of artists more regularly, which has enriched and broadened their knowledge and understanding of dance. In addition, being able to access a more flexible training schedule has empowered students to better balance the demands on their time. The opportunity to train more frequently, at their own pace, has also enabled their confidence and creativity to soar. Being able to support students in developing a wider variety of skills has resulted in our students becoming more innovative and it has been so exciting to see such unique, multi-faceted artistic voices flourish within challenging

conditions. Arguably, the skills that dance training offers, such as resilience, adaptability and creativity, have been great preparation for navigating such unfamiliar circumstances. During the recent months we’ve noticed our students, from all across the country, mature in their approach to training: adapting to the shifting circumstances, displaying their passion and commitment for dance and becoming more intuitive, resourceful dancers. Our students have noted themselves that they feel a greater sense of autonomy and self-motivation - all key traits of a strong and successful dancer. As we now start to move back into the studio, we’re really looking forward to re-engaging with the aspects of dance that we have sorely missed during lockdown. That said, the National CATs are committed to not discarding the learning and benefits that this digital dance revolution has provided us. Moving forward, we will endeavour to provide our students with a richer dance experience by embracing the best of both practices and ensuring that the barriers to each are reduced. There have been lots of exciting discoveries through our adaptations over the past few months and we are excited to continue to realise new ways of working to ensure that we match our dynamic and shifting industry and best support our students. Further information nationaldancecats.co.uk The One Dance UK Magazine | Autumn 2020 47

Special Focus on Creative Futures

On Yellowface and a Way Forward for Diverse Audiences By Phil Chan, arts consultant and author of Final Bow for Yellowface: Dancing Between Intention and Impact.

Phil Chan Arts Consultant and Author

Photos: Top: Eli Schmidt; Bottom: Beau Pearson, courtesy of Ballet Wes

“With a largely homogeneous audience being the audience when ballet’s ‘classics’were created, it is no wonder that depictions of other cultures didn’t have to be authentic or have any cultural integrity. ”

Ballet West’s Kyle Davis in Lew Christiensen The Nutcracker from 2018

48 The One Dance UK Magazine | Autumn 2020

My work on the issue of cultural representation in dance began in earnest when then-Artistic Director of New York City Ballet, Peter Martins, invited me to advise them on updating George Balanchine’s The Nutcracker. On one hand, he didn’t feel comfortable changing work that wasn’t his own but equally couldn’t ignore the growing tide of letters from audience members and patrons asking the company to better represent people of colour. What began as a conversation about how to tone down some bobbing and shuffling and embarrassing make-up for a Christmas classic, has grown into a larger conversation about how to truly include non-white people. At the heart of my work with Final Bow for Yellowface is questioning: from whose point of view we are restoring our classical repertory and for whom? Most of the ballets we think of as ’the classics’ originated in Russia in the 19th century, and are synonymous with the French choreographer, Marius Petipa. His audience were his patrons, the imperial elite of Russia. With international travel being expensive, long, and dangerous, the theatre was often the best place to see the world. There was also limited information about authentic dances or peoples from these exotic foreign lands. In fact, many orientalist ballets were set outside of Europe in order to convey ideas taboo in Western society at the time, like sexuality, magic, and other politically inconvenient ideas. But what happens when these ballets, and the important dance tradition contained in them, collide with a diverse audience in the 21st century? How do we not just say, well, some of our repertory is ‘racist,’ and it has to go? I think our success is due in large part to the space we occupy in the conversation. We are not advocating eliminating ballets that

don’t fit in with the current times, we are instead advocating for our field to be a bit more creative in how we interpret them for our audiences today. With Final Bow, we are just as much about focusing on solutions as we are with the problems. To that end, I have been collaborating with the brilliant dance scholar Doug Fullington on new American versions of the ballets La Bayadere and Le Corsaire that retain and even restore Petipa's choreography but that make the stories about US instead of THEM. This isn't so different to the approach by Dance Theatre of Harlem's Creole Giselle, which is set in Louisiana instead of Austria, or Royal Danish Ballet's Napoli, which is now set in the 1950s. Our Bayadere takes place in 1930s Hollywood and mirrors the plot of Singin' In the Rain. Imagine Nikiya as Debbie Reynolds, Gene Kelly as Solor, and the dramatic Lina Lamont as our Gamzatti. Our version is complete with a Busby Berkeley Kingdom of the Shades fantasy. Instead of dancing Bayaderes at an Indian temple, we have dancing Cowgirls on the set of a Hollywood picture. Same choreography, different setting. Our Corsaire is sort of like the plot of Ocean’s Eleven, taking place at the Miss Ocean’s Beauty Pageant hosted at the Pirate's Cove Casino at Atlantis Beach. There are scheming showgirls, gunslinging beauty queens, and a Pasha who thinks you can just grab women - if you're famous enough. And it's all still Petipa and follows the original librettos quite closely. For those of us trying to build new and diverse audiences for ballet today, isn’t this a better way to tell a story? Purchase Final Bow for Yellowface: Dancing Between Intention and Impact is available in paperback. Purchase the book and find more information at yellowface.org.

One Dance UK Information Sheet

Core Stability for Dancers By Warrick McNeill, Updated by Druanne Roberts, 2020 Figure 1: The central cylinder consisting of the diaphragm, corset of abdominal wall, pelvic floor

What is ‘core stability’? Simply put, core stability is the ability of an individual to maintain control of the centre of the body whilst moving. It requires a mix of co-ordination, control, body awareness and strength. It is the ability to hold the body steady and maintain balance whilst performing complex movements, and results in an underlying smoothness and appearance of effortlessness. If a dancer’s core stability is poor, they may have difficulty in maintaining good posture, or dynamic alignment during small or large movements. They may also start developing excessive tension elsewhere – this is often in the hip flexors (front thigh muscles) or neck and shoulders. They might also hold their breath while dancing. Good core stability will enable a dancer to move smoothly and efficiently and will minimise the risk of injury throughout the body. It should be emphasised that improving core stability is all about improving control, which is not the same as improving strength. Other disciplines such as Pilates or yoga can be used to improve body and spatial awareness, and thus improve core stability. Traditional Pilates teachers may talk about the ‘powerhouse,’ and dance teachers often instruct dancers to ‘pull up,’ or to ‘work their abdominals’, though actually this often encourages too much rigidity, and the focus should be less on the actual muscles working and more on how the movement feels – smooth movement and balance of the whole body is desired. Core stability concepts came out of physiotherapy research on back pain in the 1990s; our understanding of it has changed a lot since then and continues to evolve. In short, the core muscles tend to be the deeper, more invisible muscles of the torso. They are difficult to feel in isolation, as they are designed to function as a team, and the best measure of how well they are working is how smoothly a movement of any body part can be performed.

CUT OUT AND KEEP

How much effort is required to stabilise the core? The best answer is ‘just enough’. Usually this is effort up to about 25% of maximum voluntary contraction (MVC) for postural loads (moving your own limbs, or trunk). Engage your abdominals as hard as you can (100% effort), halve it (50% effort) and halve it again (25% effort) – quite gentle, isn’t it! Faster movements or higher loads will need greater than 25% MVC to stabilise the load. A body with good core stability will be ready to respond automatically to movement and will be less prone to potentially injurious loads or movements. With poor core stability a body will be less likely to respond appropriately with a correct supportive strategy and so will be more susceptible to injury. It is worth bearing in mind that it is not normal to be able to ‘feel’ the core muscles working when they are doing their job properly; they are wired up to the brain in a different way from the movement producing muscles such as the quadriceps and hamstrings found in the thigh. It is better to focus simply on the quality of your movement as a measure of the core function, as if you try to feel them working, you’re probably overdoing it and tending towards rigidity.

About the core muscles The core itself can be thought of as a cylinder (Figure 1); the wall of the cylinder comprises of a corset of abdominal muscles – the Rectus Abdominis (RA), the External and Internal Obliques (EO, IO) and the Transversus Abdominus (TA) – and the deep spinal muscles such as Multifidus (MF). The bottom of the cylinder is formed by the muscles of the pelvic floor and the top is formed by the diaphragm; the main muscle used when breathing. The core is the key link to the pelvic and shoulder girdle and therefore bears influence on movements in both the upper and lower portions of the body. Whilst it is theoretically possible to work the core muscles in isolation, the key function of these muscles is to work together. It is the balance of how much each muscle contributes to overall stability that can dictate the shape and ‘look’ of the abdominal area. A dancer who only concentrates exercises on a single part of the core can significantly reduce the core’s efficiency of support. For example, a dancer that only uses abdominal curls (half sit ups) can narrow the area between the lower ribs, giving it a ‘square’ look, creating a horizontal line pulled in above the umbilicus (belly button) that leaves the lower abdominal area looking under toned and ‘pouching’ out. The One Dance UK Magazine | Autumn 2020 49

One Dance UK Information Sheet

Teacher Resource

About the core muscles continued...

Core stability exercises

It is important for dancers not to hold their breath during exercises that require secure and stable centres. Breath holding means that the diaphragm muscle has to do a disproportionate amount of the support work for the centre of the body, (this support is then immediately lost when breathing starts again). Also, during the breath hold, other muscles of the core all contract at once and do not get exercised as they should. Choosing a breath hold strategy is a common mistake, and can replace ‘stability’ with ‘rigidity’. This can place a huge strain on the pelvic floor musculature, and also reduce the dancer’s ability to perform flowing styles of movement, in addition to increasing the overall appearance of tension.

For dancers in particular, Pilates remains one of the best methods of improving core stability.

Our understanding of the concept of core stability, both as medical professionals and as dancers is still growing. The more we understand the core, the more apparent the amazing and intricate interplay of these muscles becomes. Distinctions between different actions of the individual muscles are becoming less and less relevant as it becomes clearer that none of the muscles work in isolation. For example, all of the core muscles mentioned above play a role in the simple movement of breathing in and out, in addition to the roles they collectively play in balancing and helping control flexion, extension and rotation of the body. The core muscles also have a more subtle postural function. They not only send information about the position of the body to the spinal cord, which triggers balance reflexes, but also to the brain; and the brain reacts by sending even more precise instructions back down to the muscles.

The pelvic floor The pelvic floor can be useful to carefully engage, as gently pulling up the pelvic floor assists with stabilising the pelvis, lower abdomen and spine. The pelvic floor is at the bottom of the core group of muscles and can allow a dancer to remain released in the diaphragm area so breathing can continue. Though less common, having too tight a pelvic floor can be as much of a problem for athletic women, as can a pelvic floor that is not engaged enough. The best way to deal with this is to remember that the pelvic floor is an equal partner in core stability. If you are a breath holder you can seriously overload the pelvic floor, resulting in serious problems with bladder control (and erectile dysfunction for males). If you feel a weakness in this area think of gently engaging the pelvic floor (remember the 25% rule) but don’t overdo it. For more information see One Dance UK’s information sheet on The Pelvic Floor in Dancers.

By Louise Jaggard

Exercising the core muscles as an integrated group of muscles should be divided into exercises that are done at or below 25% MVC. This is aimed mainly at improving the brain’s efficiency of turning the core muscles on. Exercises above 25% MVC are aimed at increasing strength, however this is not necessarily part of improving core stability.

Getting back into schools has been of great concern for many dance teachers. Thoughts about the safety of the children and ourselves inevitably means changes to delivery, but this doesn’t mean that creativity needs to take a back seat.

Initially exercises should be very simple and focus on trying to keep one area of the body relatively still as another is moving, ideally whilst in a supported position such as lying down. As exercises progress the focus should be on increasing the challenge in terms of coordination & balance, and coming up into less supported positions, kneeling, standing at the barre, and onto free standing, then more dynamic sequences.

Making a Move is written by dance specialists Louise Jaggard, Claire Pring and Jo Cone and is a resource pack for those working with primary aged children. It is a collection of 30 ideas that have been devised to respond to the current guidelines. Each is in a stepby-step format that clearly outline progression and differentiation to enable the creative experience that we know inspires.

Exercises should address movement and forces in all directions; flexion, extension and rotation type movements. It is advisable that you obtain advice and supervision from a chartered physiotherapist.

Making a Move will support you to deliver strong, successful lessons. Bubbles is an example lesson plan from the book.

It is crucial to understand that the core muscles do not just have one task. The TA alone, for example, is now understood to have a least six distinct functional segments, each doing different things at different times. On either side of the body, the upper fibres of the TA assist with rotation of the torso in one direction, whilst the lower fibres assist with rotation in the opposite direction; the middle fibres are involved in controlling tension in the thoraco-lumbar fascia, whilst the lower fibres play an important role in compressing the sacroiliac joints in the pelvis. All this without even touching on the upper and lower fibres interplay in assisting breathing control. Core stability is a skill-based concept, it has very little to do with strength. The most common misconception in core stability is that the stronger the abdominal muscles become the better the core stability will be. This is simply not true. Strength and control are completely different things. It doesn’t take strength to walk a tightrope or perform a good pirouette, but it does take exceptional stability, control and coordination. The control and interplay of all the muscles in this area happens at a subconscious and reflexive level, so, the best way to train better control is simply by moving; picking out individual muscles to strengthen won’t help nearly as much.

Introduction Mindfulness is the practice of being in the moment by paying attention to what is happening inside and outside of the self. It may involve breathing deeply, meditating, visualising or simply savouring the moment. Mindfulness is often observed as ‘flow’. Whilst Making a Move includes opportunity for choreography, it also offers a variety of improvisation tasks, which is where this state of flow can arise. Participants leave worries or stresses behind and allow their mind and body to be freed. This sense of exploration and ‘play’ is vital to a child’s development and contributes to a more holistic awareness, enhancing wellbeing. Mindfulness can help children to cope with big emotions and challenges in their lives. Enabling children's voices to be heard is important; even more so when freedoms may have been removed or restricted due to the COVID-19 pandemic. Dance recaptures a sense of freedom, exploration and ownership. Throughout Making a Move, participants are presented with 'questions' within the safety of a structure; this exploration means there is no ‘wrong’ but instead encourages a breadth of self-expression. The following Bubbles lesson plan allows opportunity for children to engage in the moment and let go of stress, whilst having fun and interacting (at a safe distance) with others.

Photos: Tannery Drift First School, photos Andrew Ford

Concepts about the core

Bubbles (KS1-KS2)

CUT OUT AND KEEP

Warm up • Ask the children to find a space and make a small shape, then increase in size, followed by decreasing again. • Repeat several times finding different ways each time – these might use the whole or just part of the body. • Use words such as expand/deflate, grow/shrink, open/close... • Add the music and describe what you see the children doing.

Designed to pull out and keep, we will offer fresh ideas for lesson plans for various Key Stages in each issue of One magazine. For further resources and teacher information, go to onedanceuk.org

Teacher Resource

Creative exploration • Ask the children to find different ways of making rounded/curved shapes with their bodies. • Ask the children to make several of these shapes using different body parts each time. • Then take the next two minutes to smoothly inflate like a bubble, into a curved shape, before deflating again. • Add the music and describe what you see the children doing. • To increase the level of challenge the children could include balances or turns. • Discuss what eventually happens to a bubble…it pops! • Ask the children to show ‘popping’ actions. • Add the music and allow 2 minutes or so for them to explore these actions • The pops are likely to include jumps – check safety aspects. Devising • Link the children into pairs facing each other. • Ask one child to inflate into a curved bubble shape. Their partner ‘pops’ it by using a sharp jabbing action. • Add the music & ensure the children alternate. Encourage the children to find different ways of performing the jab to pop the bubble.

Cool down • Ask the children to separate again and imagine bubbles floating around them. Ask the children to reach and catch the bubbles. • Encourage the children to twist and reach in different directions. Suggested music L’Autre Valse d’Amelie by Yann Tiersen

CUT OUT AND KEEP

Things to consider during social distanced dance lessons onnection C Although children cannot currently lift, counter-balance or even touch each other, consider how they can still connect together during the session. Mirroring, canon and question/answer type movements (such as the ones in the bubble plan) are all possible whilst maintaining social distancing. Building the relationships between dancers is not only a key component of a high quality class, but also provides human interaction, a sense of normalcy and a shared experience at a time when they can't be physically close together. Fun There is a natural joy in movement and most people are more likely to do something when they enjoy it, especially children. This is particularly important when, according to recent Sport England data, there has been a significant reduction in physical activity in children aged 16 and under during lockdown. Consider the interests of the participants - what do they enjoy? Which themes will engage them? How could they be involved with decision-making and planning? Creativity The vast majority of the movement content that children have accessed online during lockdown has been in the 'copy me' vein. Dance is inherently creative, as are children, and provides an outlet for wellbeing as much as physical fitness. Allowing children to respond creatively to open-ended activity enables them to process, express and connect with both themselves and the dance content at a deeper level.

Further information primaryschooldance.co.uk One Dance UK members will be able to purchase Making a Move at a discounted rate of £10.00 (see Members' Area at onedanceuk.org). Alternatively the book can be purchased for the full price of £20.00 at: doodledance.org.uk/making-a-move-book 52 The One Dance UK Magazine | Autumn 2020

Teacher Resource

Screen Dance Scheme of Learning (KS3)

CUT OUT AND KEEP

By Tori Drew with contributions from Sima Gonsai and Dani Bower

Inspired by U.Dance on Screen 2020 and the U.Dance Digital 2020 session Creating Dance for Screen.

Lesson 1: Preparation 1. Students to watch and analyse the below U.Dance on Screen 2020 entries at: vimeo.com/439299127 Luisa Lazzaro - Echoes Bryn Chaytor Wilson - Tuhara

'Screen dance', sometimes referred to as 'dance for camera', is where choreography and film are combined to create a dance piece. • Consider the actions, space, Screen dance can highlight small dynamics and relationships used movement details and allows dance and how the performers interact to take place in a range of settings with the locations. Describe at other than on stage. least three moments in these two clips and explain why you think This scheme of learning will allow they are effective. students to explore the screen • Rewatch the two films and analyse dance genre, using site-specific the filming and editing choices in locations and allowing for social relation to the movement. How distancing measures to be upheld. does the movement complement As with all activities, a thorough or contrast with the location? risk assessment should take place For example -if the movement ahead of delivery, which considers is angular and sharp does this the spaces used and ensuring that reflect the setting? Does the students have suitable footwear. movement frame or relate to the lines of the background? How Learning Objectives does watching dance on screen Through this Scheme of Learning, allow the audience to see more (or students will: see things differently) than when • Learn how to plan and watching dance on stage? choreograph a dance film. • Learn how dance, the camera and 2. S tudents to research two key chosen location can work together. dance film makers and note how • Develop basic filming and editing they may inspire their work: skills, including selection of shots. • Sima Gonsai is an award-winning director, filmmaker, programmer Equipment required and educator in screen dance. • Smartphone, tablet or other filming Sima looks at narratives and history device. of spaces (simagonsai.com) • A film editing app/software such • Litza Bixler is a choreographer, as iMovie, FilmoraGo, Final Cut Pro, filmmaker, movement director, artist Flowblade or Windows Movie Maker. and writer who has produced work • An open or outdoor space such as a on stage, screen, mountains and playground, garden or sports hall/ galleries. Litza looks at commercial gym. All spaces should be subject stories. (litzabixler.com) to a risk assessment. Ensure the location has a good source of light.

Lesson 2: Skill acquisition & exploration 1. Warm up • Pulse raiser: jog on the spot, star jumps, side steps. • Strengthen: 8 squats, 8 lunges on each leg, plank for 16 counts. Repeat 3 times. • Mobilisation: roll down and up the spine then smoothly circle all the joints in the body. 2. Skill acquisition for site-specific work Depending on the setting being used students should be taught the key skills needed to safely move in and around that setting. This may include: • Practicing landing safety from a jump with bent legs. Stepping up onto a step with the right foot, perhaps then lifting the left knee or building up to a hop. • Transferring body weight onto your arms when leaning on a sturdy surface. 3. Exploration of setting Students should physically explore their setting, trying out the range of movement possibilities. Students should be reminded of safe practice at all times. 4. Planning and preparation Students to work in pairs: one to be film director and one to be dancer (if there is time, they can swap roles). Students to plan their screen dance. They may wish to consider: • Any narrative, theme or mood they want to communicate. • The structure of the screen dance and creating an effective beginning, middle and end. • Which movements they found most interesting during the exploration part of the lesson. • What inspiration can be taken from the clips they saw in the preparation. The One Dance UK Magazine | Autumn 2020 53

Teacher Resource

5. Cool down Students trace shape of objects in space with different body parts to bring their heart rate down and then circle body joints with stretches in between. Lesson 3: Choreography (can be done over more lessons if needed) Working in the roles of dancer and director, students to begin creating their screen dance. Give students time to experiment with both movement and filming options. They might start to consider: • Music, which will help pace edits and movement. • Movement that frames the location and types of shots. What will the camera see? • Dynamics that reflect the objects/buildings in the location • Small gestures that can be used as close ups that reflect the background • Objects, such as benches, railings, pillars as places of interaction Lesson 4: Film planning 1. Rewatch the dance films from Lesson 1, plus Shaun Dillon’s Can't Press Repeat, (bit.ly/ CantPressRepeatFilm) with a focus on the film shots, angles and techniques used. The students may wish to consider: • Is there anything blocking or framing the dancers? • What details of the dancers and locations does the camera include? Why might the film maker have made these decisions? 2. Students plan how their choreography will be filmed through a storyboard, which can then can be tested and replanned if necessary. Students should plan out the storyboard with instructions for a camera operator. They must consider picking up some details from facial expressions, close-up of body parts and of the location. Considerations might include: • Where do you want the audience’s focus and attention to be? • Where would close up shots (such as of the hands, feet, or facial expressions) be effective? For a powerful and strong effect the camera angle might to be low looking up at you showing your dominance. For a weaker, smaller feel the camera then might want to zoom right out and be above you, looking down on the movement. For these filming cuts it’s important to play and experiment, and see what is visually interesting. • Ensure that the filming is not just recording the movement: the way it is filmed and edited will be part of the creative process.

Further information Interested in a dance film workshop for your school? Sima Gonsai holds Screen Dance training programmes lasting from one and five days, with tailored sessions delivered to artists who practice in dance, film and music simagonsai.com/training 54 The One Dance UK Magazine | Autumn 2020

CUT OUT AND KEEP

Lesson 5: Filming Students work with their partners to film their pieces. Tips for successful filming: • Shoot in landscape mode. Make sure your device laptop or phone or camera is on a steady surface or ask students to plant their elbows on a steady surface, using a clean camera lens • Take a test video and mark your boundaries and clear away anything you don’t want in frame • Do not use digital zoom as it decreases the quality Students edit film and layer with music. Lesson 6: Showcase You may wish to consider concluding the scheme of learning by having a mini screen dance festival, showcasing the students’ work and allowing them to analyse and evaluate the success of their peers’ work. You may include an option to have prizes for ‘Best Edit’ or ‘Best Choreography’ as if they were at a film festival.

Screen dance top tips Bryn Chaytor Wilson, Director of Tuhara 1. Make sure to schedule a time when you examine the area in which you are filming in order to give you ideas of potential camera angles and dance movement prior to filming. 2. Don’t just select friends as your dancers, select people who you know will be committed to the process every step of the way. 3. Have some fun experimenting with the different tools available on your editing software and see if you like the changes it makes to your film. Luisa Lazzaro, Director of Echoes 1. In terms of shots I tested angles and shot size during rehearsals then storyboarded the film before the shoot days, so I knew on the day which movements were going to be filmed in mid to close up as well as wide. 2. It is important to know your dancers, how they move and best express themselves. 3. If you work as part of a team it can be useful to discuss ideas beforehand as well as during the work with other people who work with you. They can offer new ideas.

One Dance UK Awards 2020

Celebrating the vibrant UK dance landscape Now in their third year, the One Dance UK Awards are back to shine a spotlight on those who’ve impacted the dance industry over the past year. These awards are a chance for us to celebrate the resilience, innovation and creativity that has kept the heart of our sector beating, even in times of adversity. We were due to be heading into Wales for the first time to celebrate with you in person, however as with most things this year, we’ve had to change our plans. Instead, we’ll be coming to you digitally with a special broadcast, celebrating our award recipients and highlighting some of the amazing work that’s been created during the past twelve months.

Congratulations to the 2020 Shortlisted Nominees:

People’s Choice Award: Have your say!

Dance in Wales Award • Emma Mallam, Motion Control Dance • Groundwork Pro • Pauline Crossley

This year, you can have your say by voting for who you want to receive the People’s Choice Award. Cast your vote via our website by 27 September.

Primary Dance Education Award • Charlotte Penn • Janet Sandikli • Tina Vallance Secondary Dance Education Award • Hilary Roche • James Golds • Laura Arnold Inspirational Lecturer at College, University or Conservatoire Award • Carla Trim-Vamben • Claire Nicholson • Shantel Ehrenberg Inspirational Community Dance Practitioner Award • Charlotte Armitage • Gemma Conelle • Kamara Gray Inspirational Work in Education & Outreach Award • Impact Dance • MovementWorks • Shaper/Caper Dance for Wellbeing Award • Jamie Berry (BBoy Flexton) • Lauren Proto • Sandra Golding Research in Dance Award • Charles Linehan • Mickael Marso Riviere • Nigel Charnock Archive Dance Healthcare Practitioner Award • Katy Chambers • Dr Nicoletta P. Lekka • Sofia Ornellas Pinto

Dance Healthcare Team Award • English National Ballet School Healthcare Team • London Studio Centre Student Welfare • Royal Ballet School Healthy Dancer Programme Applied Dance Science Award • Dr Lucie Clements • Dr Manuela Angioi • Sonia Rafferty Innovation in Dance Award • Far From The Norm, Botis Seva • Towards Vivencia • Wilkie Branson Dance Campaign Award • Dance Consortia Northwest Dance • Connects Campaign M&S “Go Jumpers” Campaign • University of East Anglia Tap Dance Society #TapOut Campaign Dance Programming Award • Phil Hargreaves • Rubicon Dance • Serendipity Dance on Film Award • Corey Baker – Swan Lake Bath Ballet • National Dance Company Wales – Reflections • Wilkie Branson - TOM Dance Advocacy Award • Hot House Dance • Pavilion Dance South West - Surf the Wave • Yorkshire Dance Rising Star Award • Alexandra Henwood • Ellie Bishop-Williams • Vickie Louise Simmonds The recipients of the prestigious Lifetime Achievement Awards and the Jane Attenborough Award will take place during the awards ceremony.

The People’s Choice Award recognises an individual or organisation who has made a significant contribution to the dance industry throughout the last twelve months. Three final shortlisted nominees will be announced and featured during the ceremony. Who you can vote for: • 2Faced Dance Company • Austyn Farrell • Avatâra Ayuso • Ballet4Life • Eliot Smith • Greenwich Dance • Janet Smith MBE • Javier Torres • Joss Arnott • Kate Stanforth • Louise Ryrie School of Dance & Drama • Möbius Dance • Marcelino Sambé • Sander Blommaert • WILDHAWK Studios For more information and to cast your vote, go to onedanceuk.org/one-dance-uk-awards/

U.Dance Digital 2020 U.Dance, the national youth dance festival, moved online in 2020 in what became a true celebration of youth dance. Thousands of young dancers from around the country took part in free masterclasses and information sessions with the industry’s finest, showcased their talents in the U.Dance Choreography and Writing Challenges, viewed the best youth dance in official watch parties and were treated to an exclusive online premiere from Rambert2. One Dance UK would like to thank the many event partners, sponsors, contributors and volunteers for making U.Dance Digital 2020 such a success.

“ Having been involved with the U.Dance National Festival for many years, I have seen the inspiration it gives young dancers from across the country to meet others who as passionate as them about dance. This year it was thrilling that, through the help of technology, we could enable you to create and learn more about the thing you love.” Sir Richard Alston, Champion of U.Dance Clockwise from Top L: Dame Darcey Bussell, Layton Williams, Sir Richard Alston and Kenrick 'H20' Sandy MBE leading sessions at U.Dance Digital 2020

56 The One Dance UK Magazine | Autumn 2020

U.Dance in Numbers

3 days

30 sessions

industry experts

5000 participants

U.Dance in Review

The first U.Dance Writing Challenge saw many high-quality entries from young people around the country. Guest Panellist Graham Watts OBE, Chair of the Critics’ Circle Dance Section, selected two winners, Lottie and Lucy, and here they look back at their U.Dance Digital 2020 experience. Discovering Dance Online

Becoming a Chameleon

Prior to my experience with U.Dance Digital, I explored each class available on the official website, and was overwhelmed by the variation of pathways I could take, which therefore made it hard for me to pick which ones I should take part in. Firstly, the ‘Dance Across Many Genres’ careers chat with Akosua Boakye BEM showed how a young person should prepare themselves for the industry, by suggesting that to make themselves versatile, a dancer should expose themselves to various different styles and develop their voices, creating new opportunities and pathways. Following this, I attended the Choreographer Careers Chat with Richard Chappell, during which we were informed that it is vital for a choreographer to have an awareness of their bodies, plus an eloquence in how they present creative ideas. Moreover, he provided us with advice about this sector of the industry - allow the unexpected! Furthermore, I took part in Paul Smethurst’s ‘New Adventures’ masterclass, learning a unique phrase from the acclaimed Romeo and Juliet. During this, I was able to expand my creative skills through creating a new and individual phrase; expressing a story within my movement. Then, during the ‘Costume Supervisor’ careers chat with Lydia McDonald, I was able to widen my understanding of costumes within the arts. Moreover, she illustrated that it is important for her to understand what the designer envisions, in order to produce suitable costumes. Finally, I took part in the West End’s Six the Musical masterclass, where I was taught an upbeat phrase by its choreographer, Carrie-Anne Ingrouille. By taking part in this class, I was able to fully experience new styles, plus broaden my understanding of the West End! Overall, my experience with U Dance Digital was an incredible opportunity worth grasping, enabling me to embrace and learn about various aspects of dance!

Three days dancing from my living room. U.Dance Digital 2020 turned the tables, taking the digital stage to thousands nationally - one being me. My sofa was Strictly Come Dancing’s judges’ panel and the mantelpiece a barre onstage at a Royal Opera House rehearsal. Although there was no live audience, I danced like no one was watching, even if my cat seemed critical. Virtual adventures began alongside prima ballerina Darcey Bussell, and another day was spent preparing for anything with a RAMP fitness warm up with dance fitness coach Khyle Eccles. The Royal Ballet’s Zenaida Yanowsky gave tender quality to her teaching of Swan Lake’s Dying Swan solo with imagery, and phrases were built on layering gestures in the Kathak masterclass with Vidya Patel. Kenrick ‘H20’ Sandy from Boy Blue tested groove with coordination; maintaining downbeats, adding footwork and arm patterns. Pizzazz was perfected in the Latin masterclass with Strictly’s Aljaž and Janette. I can still hear Aljaž saying “one leg bent, one straight!” and I’m still practicing whilst brushing my teeth. Listening to some of the industry chats made it clear: there is no set format into dance. Steven McRae, principal dancer with The Royal Ballet came from a motorsport family but like an ‘unleashed lion’ went to ballet. His in-class tip: visualising a dog cone on his head during barre creates tunnel vision to work on himself. Well if a principal dancer does it… this may catch on. Contemporary dancers Faye Tan (NDCWales) and Liam Francis (Rambert) discussed ‘preparing for luck’ and having a ready approach when change brings opportunity. Arriving at the wrong audition or small talk with a stranger could be a career turning point. Being a chameleon has its perks. The U.Dance Digital festival was the perfect habitat for enjoying new classes, adding nuance to your favourite style, and learning what drives dance lovers everywhere. All this inspiration - from my living room.

By Lucy H, a student at Landau Forte College, Derby, currently GCSE Performing Arts/ Dance, with interests in various styles of dance, including contemporary and lyrical

By Lottie H, 16, a dance student at the Brit School who loves contemporary dance styles, reading and choreography

The One Dance UK Magazine | Autumn 2020 57

Book Reviews Movement Directors in Contemporary Theatre Conversations on Craft By Ayse Tashkiran

Purchase ISBN: 9781350054462 bit.ly/MovementDirectorsBook Review by Lucy Erridge

Essential Guide to Contemporary Dance Technique By Melanie Clarke

Purchase ISBN: 9781785006999 bit.ly/EssentialContemporaryDance Review by Lottie H Winner of the 2020 U.Dance Writing Challenge 58 The One Dance UK Magazine | Autumn 2020

Movement directors have been making a name for themselves across the arts sector, from live theatre to television and film. However, they still rarely receive the credit and acknowledgement they deserve. Ayse Tashkiran is a key advocate for the field of movement direction and through Movement Directors in Contemporary Theatre is creating a platform for movement directors to be recognised by a wider audience for their contribution to the industry. Tashkiran is an associate artist of the Royal Shakespeare Company, alongside her role as Co-Course Leader of the MA/MFA Movement: Directing and Teaching at The Royal Central School of Speech and Drama. Her knowledge of the industry is vast, which is apparent as she documents the growth of movement directors in contemporary theatre. She explores this through a series of detailed interviews and conversations with leading practitioners, such as Jane Gibson, Kate Flatt, Toby Sedgwick, and many more industry leaders.

The book opens up discussions on key aspects of the creative process, how to make a name for yourself and what it is truly like to work with bodies of all backgrounds. However, the main idea presented by all interviewees is there is no one correct way or approach to movement direction. As long as there is passion and an openness to learn, you can succeed. Tashkiran’s own passion and experiences set out the foundations for this highly informative and insightful book, which is highly recommended for all those who have a desire to choreograph, movement direct or simply have a curiosity for how a production gets moving.

This book is required reading for aspiring contemporary dancers. Melanie Clarke, Trinity Laban Programme Leader, Labanotation specialist and contemporary dance lecturer dives into three major western techniques: Cunningham, Graham and Release. The fundamentals of these techniques become clear, as applied to the framework of a dance class. Studio photos, choreographer quotes and practical notes underpin analytical content from expert contributors. Every page provides a wealth of knowledge. Clarke puts equal emphasis on physicality and the mind when approaching dance, saying her writing is "not a series of ideals [to] conform to", but a promoter of purposeful study. This idea of embodied practice runs throughout. To her, being a sponge for learning experienceenriches your “performative intention”. Spanning these three generations of dance, there are recurring themes with one being a dancer’s ever-

changing understanding of their own body. As a student, the material on dynamic alignment was particularly interesting to me. Although dancers might view alignment as fixed positions, Clarke reiterates how breathing deeply eases the body and brain, maximising muscular range. For functional alignment, the system as a whole must “support moving”. This science forms a foundation for many principals: Graham’s contractions, Release’s ‘shape flow’, or even feeling out Cunningham’s time structure in quick transitions. It’s hard to do justice to such a comprehensive body of work in this brief review. Using Rudolph Laban's pedagogy, this resource unpacks how to be a self-aware and successful dancer. These techniques establish concepts for adapting your own artistry. By informing young people of the body’s capabilities, a new generation of trailblazers will arise.

Learn Today, Teach Tomorrow Our flexible distance learning BA (Hons) Dance Education degree will enhance your teaching skills and tailor your study towards your own interests and needs as a dance teacher.

Apply now for our full-time and part-time programme to start September 2021.

Find out more www.royalacademyofdance.org/bade faculty@rad.org.uk +44 (0)20 7326 8086

/RoyalAcademyofDance @RADheadquarters /royalacademyofdance Royal Academy of Dance 36 Battersea Square, London SW11 3RA

LEARN / TEACH / DANCE Royal Academy of Dance® is a charity registered in England and Wales No. 312826 Photo by Tim Cross

“The programme has expanded my knowledge and views on many aspects of teaching and my personal practice has developed as a result.” BADE Graduate