Feature Interview
“For dancers, not being able to practise and exercise their discipline to a high level is akin to a racing driver only being allowed to drive their racing car up and down their driveway.” Christopher Hampson
Photo: Helen Maybanks
Could you describe the impact that the COVID-19 pandemic has had on Scottish Ballet and how you have been responding to it? At the beginning of lockdown in March 2020, there was no chance of performing, touring or even training, so we looked to augment our output through other means. Our artistic and engagement work has moved online. We’ve created live streams for communities that engage with our dance health work, and initiatives for frontline key workers within the NHS. We’ve also created new dance films, which premiered as part of the Edinburgh International Festival, alongside making and distributing our first ever feature film, The Secret Theatre One of the most important elements of our pivot towards the screen was, and continues to be, to take our audiences and supporters with us. We’ve found as a company that we are agile and resilient in collaborating and creating work to keep our communities engaged.
The Brexit transition phase ended on 31 December 2020, with new rules coming into effect on 1 January 2021. How have these changes affected you? We are yet to experience any direct or immediate impact as our supply chains and visa processes are yet to be tested, due to us not being on tour. Looking ahead, visa applications already take a considerable toll on resources. I can’t imagine this will get any simpler as we move into the future.
One continuing challenge is, even when there is the opportunity to return to the studio, the dancers need to be brought back up to ‘performance’ standard safely and injury-free, which takes time and patience from all involved. The excellent working relationship between our Artistic and Performance Medicine Teams has been vital in supporting our dancers through their own personal journeys.
How have recent events reshaped international partnerships and In what ways do you believe collaborations? COVID-19 has transformed the COVID-19 has had the most immediate dance landscape? What do you impact. The pandemic hit when we think will be its long-term effects were in New York with our main on the sector? company and our Youth Exchange Over the last five years, we had group. We’d managed to open This Is already committed significant My Body, a double bill of MC 14/22, resources to developing our work choreographed by Angelin Preljocaj for digital platforms through our and Sibilo, choreographed by Sophie ground-breaking Digital Seasons. This Laplane, at The Joyce Theater, but it allowed us to boldly stride on in the closed after a few days. digital space during this last year and This led to the cancellation of the same be brave in our decision making to bill, and our important London presence quickly grasp that live performance at the Linbury Theatre at The Royal and touring would have Opera House, and the cancellation of The to take a back seat for a while. Crucible US tour to the Kennedy Center However, the impact on the dancers, and Spoleto Festival (2020). choreographers and all our artistic We’re thankful that we continue support staff has been immense. to have meaningful connections and They have needed to tap into their relationships, and this year we’ll be resilience and have greater autonomy working virtually with our friends at – not something which comes Move NYC – whom we collaborated naturally to dancers who are used to with last spring when in New York working together, collegiately. with our Youth Exchange. The One Dance UK Magazine | Spring 2021 15
