Special Focus on Workforce • Feature interview - Sue Hoyle OBE •K nowing your worth as a freelance dance artist •W hat does Brexit mean for the UK dance sector?
• One Dance UK Conference 2018 • Best practice in dance leadership •M aking the case for diversity in boards of trustees • 4 0 years of The Snowman – win a family ticket pack!
Education • Geoff Barton on keeping dance on the curriculum • Celebrating 30 years of GCSE Dance • Cut out resources for teachers
Health • The Royal Ballet and dance science analysis • What to expect when you see a healthcare practitioner The One Dance UK Magazine Issue 5, Autumn 2018
Staff
Trustees
Philanthropy
Arts Fundraising and Sponsors
Andrew Hurst Chief Executive
Sue Wyatt Chair
With thanks to our funders
Cameron Ball Special Projects Coordinator
Anthony Bowne Principal, Trinity Laban Conservatoire of Music and Dance
With thanks to our project funders and supporters Birmingham Royal Ballet Canada Council Creative Scotland DanceEast Dancewear Central dance Immersion, Toronto Derrick Anderson Equity Garfield Weston Gordon and Co. Insurance Brokers Government of Quebec ISTD Leeds City College Leeds Dance Partnership Northern School of Contemporary Dance People Dancing Safe in Dance International Sport Fusion Ltd The Laws Family Trinity Laban Conservatoire of Music and Dance Zurich Insurance Group
Andrew Carrick Director of Edcoms
Jessica Choi Development Manager
Julian Flitter Partner, Goodman Jones LLP
Tim Cook Office and Membership Manager
Anu Giri Executive Director, Dance Umbrella
Stephanie De’Ath Manager, National Institute of Dance Medicine & Science
Vicki Igbokwe Choreographer and Director, Uchenna Dance
Tori Drew Dance in Education Manager
Piali Ray OBE Freelance Artistic Director and Choreographer
Claire Farmer Manager, National Institute of Dance Medicine & Science
Susannah Simons Arts Strategist
Rachel Gibson Organisational Change Manager
David Watson Director of Brand & Advocacy, Birmingham Royal Ballet
Helen Laws Head of Industry and Artist Support / National Institute of Dance Medicine & Science
Patrons
Hanna Madalska-Gayer Advocacy Manager
Carlos Acosta CBE Children and Young People Patron
Hollie McGill Marketing and Communications Officer
Peter Badejo OBE
Joanne McIntosh Senior Fundraiser Mercy Nabirye Head of Dance of the African Diaspora Susi Pink Head of Marketing and Communications Christopher Rodriguez Deputy Chief Executive/Finance Director Erin Sanchez Healthier Dancer Programme Manager Alan Tuvey Finance Manager Susanna Viale Office and Membership Administrator
Bob Lockyer Arlene Phillips CBE Richard Alston Champion of U.Dance and Young Creatives
Disclaimer Opinions, views and policies expressed in the One Dance UK magazine are those of the contributors and not necessarily those of the publisher, editor, One Dance UK employees or board of trustees. No responsibility is accepted for advertising, content, nor any harm, however caused, which results from editorial or advertising content.
Editorial and Advertising Cameron Ball Magazine Editor Hollie McGill Copy Editor Susi Pink Copy Editor Harry Fulleylove Copy Editor Advertising enquiries Contact Cameron Ball at cameron.ball@onedanceuk.org
One Dance UK Ensign House Battersea Reach Juniper Drive London SW18 1TA www.onedanceuk.org One Dance UK is a Company Limited by Guarantee. Cover Photo: Students training at the Laban Building, Trinity Laban Conservatoire of Music and Dance Photo by JK Photography
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With thanks to our Principal Sponsor
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Photos: Top: Royal Academy of Dance, photo Tim Cross; Bottom: Tannery Drift First School, photo Andrew Ford
Heather Benson Dance of the African Diaspora Programmer - International Development
Contents
5 Welcome by Sue Wyatt In the Spotlight 6 News 9 Membership 10 The Snowman Celebrates 40 Years – Win a Family Ticket Pack 12 One Dance UK Conference 2018 14 Feature Interview: Developing the Next Generation – Sue Hoyle OBE in Conversation with Andrew Hurst Special Focus on Workforce 19 Introduction by Andrew Hurst 20 Leadership: Perspectives on Skill, Inspiration, and Healthy Environments by Erin Sanchez 23 What Does Brexit mean for the UK Dance Sector Workforce? by Hanna Madalska-Gayer 24 How to Succeed in Today’s Arts Market by Matz Skoog 25 Professionalism in South Asian Dance by Magdalen Gorringe 26 Reflecting the Audiences They Serve by Simeilia Hodge-Dallaway 28 Supporting the Next Generation of Dance Artists by Cath James 30 Aiming Higher at Higher Education by Cameron Ball 35 Negotiating a Freelance Journey by Heather Benson A View from the Dancers’ Union by Charlotte Bence An Agent’s Perspective by Chris Manoe 38 What to Expect when You See a Healthcare Practitioner by Erin Sanchez 39 Leading the Way in Dance Healthcare Management – the Science Behind the Art. Dancer healthcare development with The Royal Ballet and The Royal Ballet School by Helen Laws 42 Mapping the Sector: Dance of the African Diaspora Survey Results 45 Leading the Next Generation for African Dance – Akosua Boakye BEM in Conversation with Beverley Glean MBE 46 Keeping Dance on the Curriculum by Geoff Barton 48 Leaps and Bounds in Primary Dance by Claire Somerville Pull-out Resources for Teachers 49 Modes of Transport for Early Years First Stages by Tori Drew 51 Boudicca the Queen Warrior for Key Stage 2 by Tori Drew Features 54 Happy Birthday GCSE Dance by Tori Drew 56 U.Dance 2018 Highlights 58 Book Reviews The One Dance UK Magazine | Autumn 2018 3
Welcome
Sue Wyatt Chair, One Dance UK
A warm welcome to the second anniversary issue of One magazine. We are pleased with how the magazine is growing, and the opportunity it gives us to celebrate your work. In our magazines this year we are investigating the state of the current UK dance sector, and here focus on the dance workforce. A huge amount of progress has been made since I wrote the introduction for the first issue of One in September 2016. Arts Council England welcomed us into the National Portfolio as the Sector Support Organisation for dance earlier this year, meaning that after only two years of operation we can plan long-term and build on the work that has been done so far, continuing to evolve to meet the changing needs of our sector. I am pleased that in this challenging political time our advocacy work is having an impact. We are a trusted partner to government, sharing open dialogue over a range of issues and policy areas. We have regularly given oral and written evidence to parliamentary select committees as well as government advisory committees. We have held discussions with DCMS, DfE, BEIS, the Home Office, the Foreign
and Commonwealth Office, Ministers, Peers, elected officials and Civil Service officials all within the last year. We submitted evidence to the Migration Advisory Committee on the sector’s needs from any future immigration system, are an active partner in the Creative Industries Federation’s EU and International Working Group, founding partners of the FreeMoveCreate campaign, and have set up our own Dance Sector Brexit Working Group to develop detailed case studies and articulate the significant impact Brexit could have on the dance workforce (and the art form itself). Our Brexit Report was circulated to ministers and officials in the days before the Chequers deal and the resulting White Paper. This lead to an invitation to meet the negotiating team whom we are providing with more detailed scenarios of the specific needs of those working in dance. We will continue to work constructively with government to highlight issues and develop possible solutions. And this is just one area of our work! Please do enjoy reading this issue of One.
Photos: Top: Brian Slater; In This Issue: Top: Stephen A’Court; Middle: Thomas Husbands; Bottom: Redpix
In This Issue Matz Skoog Page 24
Simeilia Hodge-Dallaway Page 26
Geoff Barton Page 46
Matz Skoog trained as a dancer in Sweden and in the former Soviet Union. After graduating from the Royal Swedish Ballet School, he joined the Royal Swedish Ballet, later joining English National Ballet where he was a Principal Dancer. He has also been a member of Netherlands Dance Theatre and Rambert Dance Company. In 1996 Matz was appointed Artistic Director of the Royal New Zealand Ballet, and from 2001 to 2005 he was Artistic Director of English National Ballet. Since 2006 Matz has pursued a freelance career as a teacher, artistic consultant and personal and professional development coach; working in these capacities with national dance companies and schools worldwide.
Having worked in managerial and artistic positions at various reputable mainstream theatres over the last ten years, Simeilia’s passion for increasing diversity within the arts led her to set up Artistic Directors of the Future to provide new pathways and more equal opportunities for aspiring culturally diverse leaders to succeed. She is the author of the first monologue book for Black Actors from Black British Plays, and a former manager of the Royal National Theatre’s Black Play Archive. In 2016, Simeilia became the Executive Producer for the international project, ‘Black Lives, Black Words’, founded by Reginald Edmund, steering London’s response to issues pertaining to the Black Lives Matter movement hosted at the Bush Theatre, London.
Geoff Barton was elected General Secretary of the Association of School & College Leaders in April 2017, following a 30-year career as a teacher and head teacher. He has worked as a consultant with QCA, the DfE and TDA, has written for leading education journals and given talks to a range of audiences on literacy, leadership and education issues. He is Patron of the English & Media Centre and a Leading Thinker for the National Education Trust.
The One Dance UK Magazine | Autumn 2018 5
In the Spotlight
News
MA Choreography The making of new work is at the heart of the MA Choreography degree programme, allowing professional development, critical reflection and research.
Theo Clinkard named as lead artist for TIN Arts and Yorkshire Dance’s Talent Hub
Photos: Top: Zoe Manders; Bottom: courtesy Royal National Orthopaedic Hospital
TIN Arts and Yorkshire Dance have named the lead artist for the Talent Hub, a new professional development programme for gifted dancers with a learning disability, autism or both. Choreographer and designer Theo Clinkard will start working with the dancers in February 2019 to create new work for national touring in late 2019 and throughout 2020. Following a call-out inviting dancers from Yorkshire and the North East of England to apply, 21 of 42 applicants were invited to take part in three selection days. The final selected dancers will be announced later this year.
They will receive individualised ‘wrap-around’ support and come together for intensive periods of training. With the principles of co-design at its heart, the Talent Hub aims to provoke a step change in the sector, enabling dancers with a learning disability, autism or both to progress professionally into dance companies or emerge as independent dance makers.
Applications are invited from professional and emerging choreographers for entry in January 2019, deadline 5 October 2018. centralschoolofballet.co.uk/ma
Theo Clinkard
Further information www.yorkshiredance.com
NHS Dance Injury clinic treats 1000th patient!
Breakin’ Convention 2018: Collaborations for healthier hip hop
The NHS dance injury clinic at the Royal National Orthopaedic Hospital (RNOH) in London was opened in 2012, as a result of the establishment of the National Institute of Dance Medicine and Science (NIDMS), and has now treated well over 1000 dancers. Clinical Lead, Dr Roger Wolman, and his team have treated teachers and dancers aged 8 to 85, from over 80 different genres including ballet, hip hop, Bollywood and aerial. This has given them a better appreciation of the physiological and biomechanical demands of these dance forms, enabling them to provide a bespoke service with better outcomes. Specialist dance injury treatment is available free here and at the Bath and Birmingham NHS dance injury clinics with a referral letter from your GP. Dancers can also access private treatment and screening services via NIDMS screening centres in London, Birmingham, and Edinburgh.
Since 2013, the Healthier Dancer Programme and Project Breakalign have worked with Breakin’ Convention to provide education and treatment for hip hop artists health and injury. Over the past five years, Project Breakalign, an international research project for hip hop artists, dance teachers, coaches, scientists and healthcare practitioners led by Nefeli Tsiouti, (Bgirl sMash), has undertaken research, provided educational workshops, and offered treatment for hip hop dancers across the world. Collaboration and support within the hip hop community
Dr Roger Wolman
Further information www.nidms.co.uk manager@nidms.co.uk
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also made it possible to present our Healthier Dancer Conference 2017 focused on the health and injury status of hip hop artists, with support from Michael ‘Mickey J’ Asante, Theo ‘Godson’ Oloyade, and Kenrick ‘H20’ Sandy of Boy Blue, Peter Maniam, Michelle Norton, and Jonzi D from Breakin’ Convention, Fredrick ‘Realness’ Folkes, Olivia Daniell, and so many others. It’s amazing to be a part of such an inspiring community of artists, so passionate about the power of the hip hop artforms – and here’s to many more collaborations to support the health of the artists!
Further information www.breakinconvention.com
Ambition thrives at Central
Central School of Ballet is an affiliate of The Conservatoire for Dance and Drama
Director: Heidi Hall Artistic Director: Christopher Marney Central School of Ballet, 10 Herbal Hill, Clerkenwell Road, London EC1R 5EG Reg. Charity No. 285398 Co. No. 1657717
Dancer: Rishan Benjamin Photo: ASH Photography
In the Spotlight
Membership
A round-up of some of the latest industry news. For more, go to www.onedanceuk.org/news
Dance is a viable activity for young disabled people, but their participation in the art form is often restricted by a number of barriers. One of the biggest barriers is the lack of training available that focuses on progression and development. Many dance classes for young disabled people are recreational in nature, focusing on creativity and fun. While such opportunities are clearly valuable, there is a gap in provision for those who wish to develop their abilities further. A number of organisations have recently pioneered initiatives aimed at addressing this gap. As one of the largest dance examination bodies in the world, the Imperial Society of Teachers of Dancing (ISTD) recognised the need to explore ways of making their syllabi more inclusive. The ISTD recruited two teachers of integrated groups and matched them with inclusive dance specialists to help them work on the ballet and modern syllabi for 12 weeks, translating specific exercises for their learners. Dr Imogen Aujla, Senior Lecturer in Dance and Course Coordinator MSc Dance Science at the University of Bedfordshire, employed an action research design in order to facilitate change during the research project and produce tangible outcomes
Dr Ann Hutchinson Guest celebrates her 100th birthday
Dr Ann Hutchinson Guest is the founder of the Language of Dance Centre and a world-renowned dance notation expert author, teacher, researcher, mentor, philanthropist and visionary. We congratulate her on this fantastic landmark celebration. Here, she reflects on her career in dance. “100 years is an amazing milestone. How fortunate I am that I am physically at least two decades younger. I find it very amusing seeing people’s faces when they discover my age. I am so grateful that I can still on its completion. Data move fluently, move around collection methods included observations, reflective journals the space, improvising using different directions, parts of the written by the teachers and body, gestural paths, timing, specialists, and focus groups dynamics, whatever comes out with dancers and parents. of the moment. I confess to being Early analyses indicate old fashioned, but it seems to that the specialists assisted me that contemporary dance the teachers in several ways, bodies are being used as athletic ranging from practical automatons and seem only to strategies in the studio such explore the next most amazing as imagery and differentiation lift. I am most interested in dance ideas, to discussions around as an art form. language use, optimal environments, and resources. I have had the privilege of studying with Martha The dancers enjoyed the Graham, which was a very process and felt they had positive experience. Studying learned new skills. This was supported by the clear progress the students had made in terms of both their technique and their confidence. Although analyses are ongoing, it is hoped that the findings will help to enhance pathways into dance for young disabled people and increase the accessibility of private studio classes. The full results of the project will be launched in February 2019.
Further information Research contact Dr Imogen Aujla imogen.aujla@beds.ac.uk Project contact ISTD Artistic Projects Manager Michaela Ellis mellis@istd.org
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ballet with Antony Tudor was enriching and revealing. Martha Hill was a wonderful mentor, she helped me enormously. In later years, I enjoyed very much working with my former teacher, Sigurd Leeder. As a dancer, a highlight was my part in the Jerome Robbins’ Charleston Ballet from the Broadway musical Billion Dollar Baby. I am happy that I have a DVD of the recording of a performance and I am hoping to get clearance to include it in my Language of Dance publication of the Charleston Ballet. I enjoy working with my many wonderful Language of Dance colleagues in furthering what I believe to be a valuable educational approach. The way my life has unfolded meant that there have always been interesting things to be involved in, goals to be reached, ballets that needed to be recorded and remarkable friends and mentors who contributed to the positive side of life and who helped keep life interesting.”
Further information www.lodc.org
Thank you for being a valued member of One Dance UK
Photos: Top: Brian Slater; Left: One Dance UK; Middle Left: Foteini Christofilopoulou; Middle Right: Brian Slater; Right: One Dance UK
Photos: Left: Rachel Cherry; Right: Courtesy of LODC
Translating tradition: a new action research project by the ISTD
Your support plays a crucial part in helping us raise the profile of dance in the UK
Calendar
For more information on these events and more, go to www.onedanceuk.org
23 September 2018 Dancers’ Health Networking Event Hospital Club, London A chance to network and access the latest updates and information in dancers’ health, including guest presentations, updates from the NIDMS and Healthier Dancer Programme teams. Free for members, £7.00 for non members.
23 November 2018 Trailblazers Showcase Northern Ballet, Leeds An evening mixed-bill showcase from Trailblazers Fellowship Starters Iris de Brito, Jamaal Burkmar, Dickson Mbi and Zinzi Minott, alongside the renowned RJC Dance Tickets from £8.00.
23-24 November 2018 One Dance UK Conference Leeds Take part in the conversation that influences and inspires change at Leading the Way: a stronger future for dance. Members receive 40% off, tickets start at £29.50.
www.bit.ly/DancerHealthNetworking
www.bit.ly/TrailblazersShowcase2018
www.bit.ly/Conf2018Tix
December One Dance UK AGM London Network and have your say at the One Dance UK Annual General Meeting, with high profile guest speakers and updates from the UK Body for Dance. Free for members.
info@onedanceuk.org The One Dance UK Magazine | Autumn 2018 9
The Snowman 40 years of family Christmas magic
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 Studies // Foundation Year
mdx.ac.uk
Photo: Herbie Knott
One Dance Advert Aug 2018.qxp_Layout 1 16/08/2018 12:46 Page 1
Forty years ago, Raymond Briggs’ beautifully illustrated book The Snowman transported children into the wintery wonderland of a boy and his magical snowman. Now, in its record-breaking 21st year at The Peacock, London, Birmingham Repertory Theatre’s twinkling production of The Snowman returns, as a magical mix of dancing and live music lift the boy and his friend from page to stage. Featuring choreography by Robert North, direction by Bill Alexander, design by Ruari Murchison, lighting by Tim Mitchell and unforgettable music and lyrics by Howard Blake including the timeless Walking in the Air - the production has been enjoyed by audiences of over half a million at The Peacock. Following its appearances at The Peacock 22 November 2018 – 6 January 2019, The Snowman will celebrate its 25th consecutive year at Birmingham Repertory Theatre, with performances from 16-26 January 2019. 10 The One Dance UK Magazine | Autumn 2018
“ Sadler’s Wells is extremely proud to have hosted The Snowman in London’s West End for over 20 years. The show never fails to delight audiences and is the perfect introduction to young children to the world of dance and theatre.” Katy Arnander, Director of Artistic Programme, Sadler’s Wells
Win Tickets! One Dance UK Member Exclusive One Dance UK have a Family Ticket Pack (4 tickets, must include one child) to give away for a performance of The Snowman at either The Peacock in London or Birmingham Repertory Theatre. To enter, simply go to One Dance UK’s Facebook or Twitter pages and share/ retweet the pinned post! Enter by 30 September 2018. Further information Terms and conditions apply. See www.onedanceuk.org for details. Offer valid for individual members or employees of organisational members. Membership to be valid as at 30 September 2018. Subject to availability. Peacock Theatre: Weekday performances only, not available from Fri 21 Dec – Mon 31 Dec. Birmingham Rep: Performances from 16-19 January.
FUELLING YOUR PASSION AND DEVELOPING YOUR ARTISTIC PRACTICE AS A CREATOR AND PERFORMER OF DANCE. 2018 OPEN DAYS • Saturday 6th October • Thursday 25th October • Saturday 17th November
University of Chichester Dance |
www.chi.ac.uk/dance
@UoC_dance |
@uoc_dance |
@chiuni |
University of Chichester
The One Dance UK Magazine | Autumn 2018 11
Leading the way One Dance UK Conference 2018
a stronger future for dance Conference 2018. 23 & 24 November, Leeds
Our conference this year focuses on the theme of Leadership. The programme offers all professionals, practitioners and students the opportunity not only to come together to learn about topics of interest and key issues but will also include some moments for indepth discussion and reflection. Each day will be structured to include keynote presentations, in-depth sessions on a range of topics as well as ample time for networking. There will be both informal and more structured networking where you will be able to meet fellow professionals with similar interest areas, such as dance healthcare teams, rehearsal directors, company managers and chief executives.
“ T he conference was fuelled with passion and commitment to pioneering all forms of dance.”
Leading the way - a stronger future for dance aims to bring the entire dance sector together. Whether you are an educator in a school or community setting, whether you are involved in the training and performance of dancers, leading a dance company or training institution, studying dance, supporting the healthcare of dancers, or are indeed a dance artist yourself, this conference is for you. It will create a vibrant platform for professional development, educational and networking opportunities, and deliver a programme that includes inspiring speakers and thought provoking discussion and debate.
One Dance UK Conference 2018
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Take part in the conversation that influences and inspires change
In association with
1 Bring your team
This is not a conference to send just one member of staff to. Each day will have parallel sessions running concurrently – so we encourage you to bring a team and take advantage of our special rates for groups of 5 or more.
5
Engage with a wide range of practitioners and professionals across many disciplines from different regions.
Take advantage of networking opportunities to catch up with former colleagues and make new contacts – connect with artists, teachers, students, professionals and leaders.
2 6
Gain an up to date awareness of the dance landscape in the UK.
Enjoy interactive formats to encourage discussion, collaboration and knowledge transfer.
Member Exclusive
One Dance UK Members can save 40% on all ticket prices
One Dance UK Conference 2017 attendee
3 7
reasons why you should be there
4
Be inspired by both established sector figureheads and emerging leaders of the future.
Participate in practical sessions and workshops designed to reinforce learning.
8
Share your insights and knowledge and learn from others in a collaborative and open way.
Feed your thinking, planning, and professional development and head back to work with new ideas, learning and knowledge of best practice.
How to buy tickets
Early bird tickets are now on sale with prices fromjust £29.50. Get yours here:
bit.ly/Conf2018Tix Photo: Re:generations 2016, Foteini Christofilopoulou
“ It was inspiring to see artists, performers and teachers come to together to extend their knowledge and engage in their practice.” One Dance UK Conference 2017 attendee
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Don’t Miss – RJC Dance and Trailblazers Showcase Friday 23 November
The evening mixed- bill showcase by One Dance UK Trailblazers Iris De Brito, Jamaal Burkmar, Zinzi Minott and Dickson Mibi sharing live and recorded excerpts from their fellowship journey alongside performances by renowned Leeds-based RJC dance. The One Dance UK Magazine | Autumn 2018 13
Developing the Next Generation
In the Spotlight
Sue Hoyle OBE was Director of the Clore Leadership Programme from 2008-2017, having previously been Deputy Director since the programme’s creation in 2003. During her illustrious career she has worked with, and helped develop, some of the brightest leaders in the arts. She spoke to One Dance UK Chief Executive Andrew Hurst about sustaining a career – and thriving – in the dance sector.
You have been instrumental in developing future generations of leaders for the cultural sector (including dance), but before your time at the Clore Leadership Programme you worked in dance for many years – can you share some of your thoughts and experiences of what is unique about working in dance? Dance provided the foundation of my education in leadership. I’ve been lucky to work for organisations like Sadler’s Wells, The Place, London Festival Ballet (now English National Ballet) and Extemporary Dance Theatre, where I’ve met many inspiring artists, educators and managers who were generous in supporting my development. Working in dance, I had first-hand experience of teamwork, of shared or ‘distributed’ leadership, in which everyone plays a part. In my view, dance practice is an exemplar. It embodies leadership and its qualities are inspiring and transferable. Dancers have both physical and intellectual agility. They are highly tuned to themselves and to other people, enabling them to get to the heart of a situation incredibly fast. Dancers are adaptive, alert to different environments and able to take complex decisions. They are disciplined and flexible, collaborative and entrepreneurial.
Photo: Clore Leadership Programme
In the Spotlight
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“The qualities I admire in dance practitioners are what are now seen as essential ingredients of good leadership, not just for dance, not just for the arts, but for society as a whole.” Sue Hoyle OBE
You must have seen many changes in the dance workforce, not least because of the many dance leaders you have come into contact with over the past ten years and more. What do you think are the specific requirements of leadership for dance if they are any different from other parts of the cultural sector? I don’t think the qualities that are needed for leaders in dance are that different from those in other areas of culture, or indeed in many other walks of life. Whatever their field of influence, leaders need to be self-aware, know what their strengths and vulnerabilities are, and work with people that will complement them. They need to be clear about their values, what they stand for, and the difference they want to make. They have to be interested in other people and in fostering and sustaining relationships; they have to be focused and work towards achieving consensus, especially when taking difficult decisions. Leaders have to be compelling communicators and really good listeners. They should welcome diversity, and embrace new ideas, perspectives and challenge. They need to be resilient, with an appetite for risk and they must be brave in trying out new things. Things don’t always work out the way you want, but leaders learn from failure and share those lessons openly. And importantly, leaders need to build networks of influence beyond their specialism and forge new partnerships, locally, nationally and internationally.
Since stepping down as the Director of the Clore Leadership Programme you have worked on some fascinating research on the current challenges to our sector, and in particular the wellbeing of those working in the arts – can you tell us what you have found to be the key issues that need to be addressed in order to improve the wellbeing, and resilience, of our workforce? The starting point for my research, which was on stress, burnout and mental health, was a belief that, for economic and moral reasons, the environment for those working in culture, as everywhere, should be happy, healthy and safe. We should aim to create workplaces where people can flourish professionally, where their dignity is respected and where their physical and mental wellbeing is not threatened. There are some wonderful projects, including those in care homes, hospitals and other health settings, which prove that the arts and culture are generally good for people’s health, but I wonder if they are specifically good for people working in the arts. Is the sector taking enough care of the health and wellbeing of its own workforce? A couple of recent reports made me stop in my tracks. Matthew Taylor in his Review of Modern Working Practices1 writes that “all work in the UK economy should be fair and decent with realistic scope for development and fulfilment” – what he terms “Good Work”. Stevenson and Farmer, writing about mental health and employers, state that “good work” is good for mental health. It consists of “autonomy, fair pay, work life balance, opportunities for progression and the absence of bullying and harassment”. 2 The One Dance UK Magazine | Autumn 2018 15
Photos: Hugh Hill
In the Spotlight
So I decided to explore each of these five elements of ‘good work’, and the extent to which they characterise the cultural sector. I found that we were sadly lacking in all areas. For example, whilst an independent freelance status brings with it a degree of autonomy and flexibility, it can also be a cause of exhaustion, stress and emotional strain. What might look like autonomy for some can feel like lack of control to others, as freelancers are dependent on external influences, including networks, agents and ‘fixers’ to find suitable work. They can be burdened by a lack of financial security, erratic work patterns, loneliness and isolation, inadequate resources for training and professional development, performance anxiety (for some) - and unpaid (or no) sick leave and holidays. Low pay for many, perceived insecurity of employment, fluctuating and uncertain income levels for almost half the sector who work freelance, combined with long hours are other contributory factors in causing stress and anxiety. For many of us working in the cultural sector, there is little separation between life and work: our social networks, out of work activity and, in some cases, partners and family members are all involved in the arts. A collective strength of the sector is motivation because of people’s passion for their work, but this also means that the cultural workforce rarely switches off. It can be a badge of honour to work long hours. Paid holidays, where offered, are often not fully taken. One of the consequences of the lack of clear pathways for career progression is the potential for loss of motivation and engagement, resulting in reduced commitment and productivity. In some cases, talent, skills and experience are lost, as people leave the sector. As for the absence of bullying and harassment, research suggests that cultural workplaces can be toxic, bruising and abusive. A recent survey by the Incorporated Society of Musicians (ISM)3, 16 The One Dance UK Magazine | Autumn 2018
In the Spotlight
to which over 250 musicians responded, “ In whatever field they are showed that nearly 60% had experienced working,a leader needs to discrimination, including sexual harassment or inappropriate behaviour, be agile,to be able to trust in the course of their work. their intuition and respond Some of the causes of stress and burnout might be described as ‘selfquickly and intelligently to inflicted’, and particular to the arts and relentless change.” culture, which is characterised by a Sue Hoyle OBE commitment to ensuring ‘the show must go on’, whatever the human cost. This is combined with a ‘Can-Do/Never Say No’ culture, which has great advantages but also requires huge reserves of resilience and stamina, at every level. There is a risk that we could accept this as the norm. One Dance UK is well ahead of the game in addressing some of these issues through the Healthier Dancer Programme. The Dancers Need Rest initiative highlights the need for ‘periodisation’, in which spells of intense training, rehearsal and performance are balanced with rest, when the brain and body have time to assimilate and store what has been learned each day. I would suggest that the principles of periodisation could be applied across many other areas of cultural activity. You have also been looking at leadership development opportunities for those working in the arts – are you able to share any of your findings on that with us? I have been working with a brilliant research team from King’s College London, and we’ve been struck by the lack of attention paid to spotting and developing leadership potential within organisations. Also, we’ve found evidence that structured training alone won’t develop leaders: people need to be given support and encouragement to put their learning into practice. We’ve looked outside the arts, and outside the UK, to see if there is anything we could learn from elsewhere. I was interested to read about initiatives in the voluntary sector and the USA to develop
Left: Clore Leadership Programme team, November 2016 Right: Sue Hoyle with Clore Fellowship Alumni Nii Sackey (left) and Kenneth Tharp CBE (Right) Further information ood Work: The Taylor Review of Modern Working Practices, G July 2017 Thriving at Work: The Stevenson/Farmer review of mental health and employers, October 2017 3 Dignity at Work: a Survey of Discrimination in the Music Sector, December 2017 4 leadershipacademy.nhs.uk/resources/healthcare-leadership-model/ 1
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CEOs, since I don’t think enough is being done in the UK’s cultural sector to develop and support those at the top of organisations. We also looked at models for enabling people to measure their own growth as leaders, and were impressed by one recently developed by the NHS4. Also, given the increasing convergence between the leadership qualities needed in different sectors, we wondered if there might be potential for more collaborative, cross-sectoral leadership development in which we learn from and with leaders in the voluntary, public and business sectors. Despite some progress, diversity, or the relative lack of it, is an important issue within our workforce – what can our leaders to do address this? Is there anything we can learn on diversity from outside the cultural sector? I think a more systematic approach is needed in identifying and developing talent, learning from examples in other professions. Organisations need to think holistically, and take urgent action at every level, including board composition, entry-level recruitment and artistic programming. In my view, targeted training programmes will not achieve their full impact until we see a change in organisational cultures and working practices. I am also concerned that the pipeline of future talent will diminish as fewer schoolchildren and young people have the opportunity to engage with dance on a regular basis. Can you share any insight or advice on how to sustain and develop a career in dance? My tips would be to work with different people, to stay interested in things outside dance, to continually challenge yourself, to stay curious and committed to learning, to ask for help when you need it and to take time for rest and reflection, for ‘periodisation’ as recommended by One Dance UK!
Contagion
A dance installation inspired by the Spanish Flu. Touring this Autumn. Create your own choreography and spread the dance virus: amostcontagiousdance.co.uk For free workshops contact: education@shobanajeyasingh.co.uk Part of 14-18 NOW, the UK’s arts programme for the First World War centenary.
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Special Focus on Workforce
Introduction
Andrew Hurst Chief Executive, One Dance UK
BA (Hons) Professional Dance Next start date September 2019 Career focused, physical, academic and vocational training for future dance professionals. Open Day 15 November 2018 in our state-of-the-art building in Newcastle.
MA Advanced Professional Practice (Dance) Next start date January 2019 Tutors include Rosie Kay and Björn Säfsten. Application deadline 5 October 2018.
This year marks a personal anniversary for me – 25 years working in dance; something I could hardly have imagined when starting my dance journey. As I’m sure it has for many of you, dance has given me the opportunity to travel far and wide and connect with inspiring people who have changed our lives. Our current workforce is passionate, committed, highly motivated and increasingly resilient in the face of significant challenges, and this issue of One looks at this, continuing the year’s focus on the state of the sector. Read about some of the challenges we face, and the support and solutions on offer. It also highlights some of the exciting people and work breaking new ground. We will always work hard to champion the great work you do, and I am particularly pleased that we will be able to celebrate the amazing work of some of the unsung heroes of dance at the One Dance UK Awards later this year alongside the One Dance UK Conference (see page 12). Building on the success of the inaugural Dance Teaching Awards last year, and the long-standing Jane Attenborough and Dance of the African Diaspora Lifetime Achievement Awards, we will recognise those making an impact through advocacy, healthcare for dancers, education, film and writing. I consider it a privilege to do the work I do on behalf of all of you, and am really pleased with the progress we are making. At the same time, I am aware there is still a lot of work to do but given the UK dance sector’s position on the global stage I feel confident that together we are stronger than ever: we can build an even more vibrant and diverse future for dance. I hope I will be around to enjoy all of our achievements in another 25 years.
Highlights
MA Advanced Dance Performance
Leadership: Perspectives on Skill, Inspiration, and Healthy Environments With Thea Barnes, Ingrid Mackinnon and Jaivant Patel
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0191 261 0505 dancecity.co.uk/learning-academy Email HE.enquiries@dancecity.co.uk
What Does Brexit Mean for the UK Dance Sector Workforce? How One Dance UK is advocating for dance
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How to Succeed in Today’s Arts Market With coach Matz Skoog
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Professionalism in South Asian Dance Combining a historic art form with professional expectations
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Reflecting the Audiences they Serve Working for diversity in boards of directors, with Simeilia Hodge-Dallaway
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Supporting the Next Generation of Dance Artists Exciting opportunities developing emerging leaders, with Cath James
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Aiming Higher at Higher Education How some of the country’s leading institutions are meeting the current workforce demands
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Negotiating a Freelance Journey With artists Gerrard Martin, Freddie Opuku-Addaie, Equity’s Charlotte Bence and Dancers Inc’s Chris Manoe
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What to Expect When You See a Healthcare Practitioner A step by step guide to accessing the most appropriate treatment
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Leading the Way in Dance Healthcare Management – the Science Behind the Art Dancer healthcare developments with The Royal Ballet and The Royal Ballet School
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Mapping the Sector – Dance of the African Diaspora The results of the sector-wide survey
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Leading the Next Generation for African Dance Beverley Glean MBE speaks to Akosua Boakye BEM
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Keeping Dance on the Curriculum With General Secretary, the Association of School & College Leaders Geoff Barton
Dancers: Jordan Robson and Cora Williams Photography: Neville Campbell
dancecity.co.uk 18 The One Dance UK Magazine | Autumn 2018
BA Dance BA Drama BA Music BA Musical Theatre BA Dance and Drama BA Music Production BA Creative Performance MA Making performance
edgehill.ac.uk
Photo: Brian Slater
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Pictured Edge Hill Graduates Theodore Fapohunda (Company Dancer - Company Chameleon) Callum Mills (Dance Artist - P&O Pacific Aria Cruises)
Next start date October 2019 Create and tour new work across the UK. Application deadline 13 April 2019.
The One Dance UK Magazine | Autumn 2018 19
Leadership Special Focus on Workforce
Photos: Left: Gabriel Mokake; Middle: Matthew Cawrey; Right: Thea Barnes
Perspectives on skill, inspiration and healthy environments, by Erin Sanchez
Leadership is the focus of the next One Dance UK conference (see page 12). If you’ve ever experienced a really exceptional leader, you know that leadership matters. But have you ever thought about what made the difference for you? Research looking at the behaviours of leaders in dance environments has indicated that perfectionism, creativity, anxiety, and general wellbeing can be positively influenced by leaders who support a few key concepts: giving those they lead a sense of autonomy, belongingness, and competence (Quested and Duda, 2010; Miulli and Nordin-Bates, 2011). I talked to three artists and leaders about their most inspiring leaders, about how they lead and keep a healthy environment, and how they’ve learned their skills on the job.
Ingrid Mackinnon Ingrid Mackinnon is an experienced professional dancer, rehearsal and movement director. She has worked with a variety of directors and organisations, including Royal Central School of Speech and Drama, Uchenna Dance, Royal Shakespeare Company, Vocab Dance and London Studio Centre’s Jazz Co. She is also Head of Dance at Wac Arts on the Diploma in Professional Musical Theatre.
Further information Miulli M. and Nordin-Bates, S. (2011) Motivational Climates: What They Are, and Why They Matter. IADMS Bulletin for Teachers Quested E, Duda JL. (2010) Exploring the social-environmental determinants of well- and ill-being in dancers: A test of basic needs theory. J Sport Exerc Psychol.32(1):39-60. 20 The One Dance UK Magazine | Autumn 2018
Jaivant Patel Jaivant Patel is an awardwinning independent dance artist, cultural producer, choreographer and creative consultant. He is Artistic Director of Jaivant Patel Dance, Associate Artist at Arena Theatre, Artist-InResidence at Midlands Arts Centre and a member of the board of directors for Dance4. He is also an independent artistic and quality assessor for Arts Council England. In 2017, Jai Jashn Dance, a non-profit community organisation under the umbrella of Jaivant Patel Dance was a recipient of The Queen’s Golden Jubilee Award for Voluntary Service.
Thea Barnes Thea Barnes is Resident Dance Supervisor with Disney’s The Lion King in the West End, where she has worked since 2001. She was the Artistic Director for Phoenix Dance Company from 1997-2000, as well as independent dance researcher. She danced professionally with the Alvin Ailey American Dance Theatre and Martha Graham Dance Company.
Special Focus on Workforce Ingrid The best leaders I have known are those who lead by action. Those who lead by simply Jaivant doing what they do and doing I have realised that leaders it well. The leaders who have aren’t always people in had the most impact on me are leadership roles i.e. artistic those that empower and leave directors. For me, Bisakha the door slightly open for Sarker and Nahid Siddiqui have others to do the same or more. had a massive impact on my professional career; looking at What are the key qualities all factors through many lenses, good leaders should have? being specific about approach and focus, the importance of Jaivant continuing artistic practice To remain humble, and to and having many layers to have an open-door policy; the work you do to enable the to have neutrality and accessibility of it. think of the bigger picture, I consider Tamara Rojo to and be considerate and be an inspirational role model compassionate. They should who continues a professional have confidence in others dance career alongside her less experienced, and respect, artistic director role. Paul Russ encourage and support at Dance4 taught me a great everyone around them. deal about organisational strategy, artistic policy and Thea how this links in with the Qualities observable in a wider dance ecology. leader are extensions of Who are the best leaders you have known, and how did they impact you?
Thea Martin Luther King, Jr. and Nelson Mandela inspired me because of their knowledge of the history and challenges facing all people within their purview and the solutions they offered in countering often quite difficult and troubling times. Charisma, oratory skills, disposition especially when challenged, and their ability to inspire people to believe in themselves and what they could accomplish when working towards agreed goals and ideals also illustrated what I believe are essential characteristics of a leader. Barack and Michelle Obama, like King and Mandela, are leaders who offer ideals and solutions people can believe in and pursue. In dance, Artistic Director Emerita of the Alvin Ailey American Dance Theatre, Judith Jamison, was an admirable role model and leader in her own right whom I admired for her stature and performance ethic, and who continues to be the inspiration in her organisation and beyond. Martha Graham was an artistic leader who saw in me the potential I could not fathom in myself. Graham used this insight to encourage all dancers in her company to be the “Acrobats of God” she believed they could be.
management style; how a leader manages to get a group with varied personalities and ideas of their place in the group to work together to accomplish independent and group goals. During ongoing, real time interactions and crisis times, variations of both an autocratic style, directing and making all decisions without discussion with workers and a participative style where the leader is open to input from workers on how to accomplish tasks given, can function positively. With experience comes an awareness of when best to use elements of both management styles. A leader must have a clear overview of what the overall goal is and what tasks need addressing. Management strategies evolve out of a creative or artistic vision of what the group is about and aspires to be. The leader has to know and share this vision with all involved for the vision to be successfully accomplished. Ingrid Empathy, patience and resilience.
Which challenges have you have faced working as a leader? Ingrid The idea that I’m working as a leader is new to me!! I’m just doing my thing! However, some of the challenges that I face now that I’m in a position to make decisions and affect change would be the time and financial resource. In the dance sector, I can see how the limited financial resource results in insufficient time to accomplish all that needs to be done. But, on the positive note, the sector is growing and training is getting even more creative on developing strategies to work within the resource available. I’m inspired daily. Thea With maturity and experience in different settings, I continue to develop the insight and strategies to encourage those who I work with to understand what I wanted to achieve and what I believed would get the work done. It is not enough to have a vision and not a convincing plan to achieve it. You have to convince those whom you work with to be as inspired as you are and assist them in their areas of skill and expertise to get the job done. They have to believe in you as much as you believe in them. Articulation of ideas and being clear about what is to be done and how, even when you have no sure answers, is part of the territory of being the one who leads. Also admitting when first attempts are not successful, being open to criticism, and not being afraid to admit when things go pear shaped. Then you must listen and see, and draw on those standing in front of you to make it all work.
What are some strategies you use to keep a healthy physical and psychological environment as a leader? Jaivant Having and continuing artistic practice has kept me grounded, I feel it keeps me informed about the current issues artists face. Taking time out when required to refresh when under pressure is important, as is talking to peers whose advice you can trust to air out frustrations and to listen to your concerns. Ingrid Coffee! And also remembering that everyone is human so we must communicate on that level at all times. Respect, kindness and laughter when you can. Thea Observation and reading material from dance and sport science journals have provided ideas I can draw on. I have found Psychology of Dance (Taylor & Taylor, 1995) useful for devising ways of working with dancers to enable individual aspirations, attitudes and approaches to enjoy the work. I always hope the manner of working assists and augments their individual visions in our context of work and beyond. I’ve also reviewed Applying Sport Psychology (Taylor & Wilson, 2005) to devise strategies to encourage camaraderie. Spirit, or shared ideals of how and what is to be accomplished, gets people to work together positively and effectively. Spirit helps immeasurably in accomplishing tasks to a high standard of excellence. I have also read business management books and articles on selfdevelopment to continually infuse and enrich my working practices and strategies. The motivation is to cultivate the kind of supportive, nurturing and productive working environment I believe works for all concerned.
Jaivant The belief that I have the ability to do the things that I do, and having to overcome existing preconceptions and inherited notions around diverse communities and creatives from these backgrounds. Leaders in established organisations can feel threatened by the work that I do, and working in a regional area can have limited resources and infrastructure “ The leaders who have had to enable the realisation of the most impact on me professional ambitions. Also, are those that empower the stigmas and complexities and leave the door slightly attached with being a member open for others to do the of the South Asian community same or more” and who identifies openly as a Ingrid Mackinnon homosexual man.
The One Dance UK Magazine | Autumn 2018 21
Special Focus on Workforce
What Does Brexit Mean for the UK Dance Sector Workforce?
© Merlin Hendy
Photo: A. Ayuso
By One Dance UK Advocacy Manager Hanna Madalska-Gayer
22 The One Dance UK Magazine | Autumn 2018
Since the June 2017 EU Referendum, One Dance UK have been speaking to our members and stakeholders across the UK and with Government to define what Brexit really means for dance in this country. Based on these discussions and the results of a survey* we’ve conducted of major dance organisations through to individual dance artists, and produced a comprehensive report which sets out what we learned and our recommendations of how to safeguard the conditions that will allow the UK dance sector to continue to thrive after the UK leaves the EU. Some key concerns have emerged: lack of clarity about future arrangements; the potential impact that restricted movement of people and objects across borders will have on dance artists and organisations – with special consideration being given to freelance dance artists in particular; a reduction in the availability of EEA migrants who make such rich contributions to our sector in the UK; the impact on future touring work; and the potential impact on the artform itself. 86% of our survey* respondents have said that Brexit will affect their UK based work and productions, for example by reducing their ability to bring artists and organisations into this country. Part of the success of the UK dance sector in maintaining an international reputation for the highest quality creative work is very much reliant on employing dance professionals from the EEA and beyond. One Dance UK members* have expressed concern that the sector “will see a huge reduction in dancers available to work with us, or at huge extra expense”… ”lost productivity and costs”… and a fear that recruitment costs “could as much as double…”.
Reduced access to EU workers “ International shows have a powerful impact could result in a “loss of a varied on audiences. Through them we look range of skills and professional, cultural and personal experiences differently at the world,understand,connect and empathise. Ease of movement is key that promote diversity and inclusion across our workforce to enabling this dialogue and exchange to and the work that we do”. continue,and for the UK to remain a global One Dance UK are advocating directly to government for a quick, and outward facing society.” Emma Gladstone, Artistic Director & CEO, Dance Umbrella easy and either no or low-cost, long-duration, multiple-entry visa or work permit arrangement for creative and cultural workers as well as reciprocal arrangements to enable cultural exchange without Dance is at the heart of increased bureaucracy or cost to our UK creative industries, organisations and artists touring a sector worth in Europe, internationally and the UK. We also advocate for the and growing at twice guaranteed status of EEA migrant the rate of the economy. workers already in the UK, in both employed and freelance positions, as eligible to remain and work in the UK. The UK dance sector Cultivating the UK workforce is made up of a is also key, and a big piece of the puzzle in achieving this is a commitment in real terms and strong workforce involving investment in dance education not only dancers but also now, to foster future generations a wide range of other roles of UK dance artists able to across the sector. perform at the highly skilled levels required to maintain the UK’s position as a global leader in dance. This includes not only vocational training and further and higher education, but also AVA Dance performing Grün Koncert, choreographed by Avatâra Ayuso in terms of embedding and recognising the value of creative and artistic subjects in primary and secondary schools. Look out for our report Movement Beyond Borders - The UK Dance Sector Outlook on Brexit and our guide to the key statistics and arguments so you can help make the case for dance.
£
£92 billion
40,000
Further information advocacy@onedanceuk.org Brexit Report: www.bit.ly/ODUKBrexitReport * One Dance UK ‘UK Dance Sector Survey – Impact of Brexit’ of members and stakeholders across the UK dance sector, carried out between December 2017 – April 2018. The One Dance UK Magazine | Autumn 2018 23
Special Focus on Workforce
Special Focus on Workforce
Professionalism in South Asian Dance
How to Succeed inToday’s Arts Market
“ A dancer’s first duty is to dancing: so how can he or she thrive and turn an all-consuming professional lifestyle into a diverse and successful on-going career, as well as being fully prepared for eventual career transition?” Matz Skoog
Three Tips for Professional Success
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Photo: Stephen A’Court
Vision
Dare to dream big. You can achieve dreams that precoaching seem impossible. An audacious vision is more likely to keep you motivated than a vague hope of achieving success.
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composers, to showcase their work without the help of a producer, agent or publisher. But navigating a career through this maze of opportunities requires both the ability to adapt to shifting circumstances and extraordinary determination – especially for dancers with their physically and mentally demanding daily routines. Enter coaching, not only as a one-off intervention but also as ongoing professional support. It is the perfect partner in the artistic creative process. The ethos of one perfectly complements the ethos of the other, providing experienced help for choreographers and dancers keen to develop their craft successfully, while helping them to cope with the multiple demands of career management. Coaching is totally objective and, for a dancer or choreographer, it would have the sole aim of maximizing their talents and skills. It would help them create action plans and not just make these come to fruition but go beyond what they may otherwise have thought possible. To thrive in today’s dance world demands resilience, mastery of many skills, and the drive to carve out a place within this complex, competitive system.
Independent operators face many challenges – cultivating patrons and making funding applications; finding collaborators and forging partnerships; developing marketing and social media skills; building relationships with suitable venues; coping with copyright issues and, crucially, learning to charge an appropriate fee or price. Artists have always faced these demands. Successful ones have always done so efficiently; in this respect nothing has changed. What’s different today is the magnitude of the task. So, now that skilled coaching is widely accessible, and assuming we accept it as being truly effective, what’s not to like about it? Given that, I would suggest that funding bodies should insist on providing, as a matter of course, coaching support for any artist or creative project that receives subsidy. We owe this to the taxpayers, to the wellbeing of a thriving arts market, and, most importantly, to artists and the creation of excellent art.
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A vision without a plan is nothing more than wishful thinking. Create sensible, achievable goals, make a step-by-step action plan; and write it down.
Develop the courage to take decisive action: your confidence will grow as a result and success will follow.
Planning
Seeta Patel
by Magdalen Gorringe
Further information Matz Skoog has worked for many years in the performing arts, as a principal dancer, artistic director, teacher and consultant. As a coach he now draws from that experience to enable clients to manage the multiple demands of a successful career in a complex job market. www.matzskoog.com
Courage
Photo: Stephen Berkeley White
by Matz Skoog
As career transition is no longer a rare event, coaching is becoming increasingly invaluable when moving from one chapter in life to another. It is especially useful for dancers to work on ongoing personal development throughout their careers, maximizing success, as well as ensuring that when their dancing days are done they are fully prepared to move on. Nowadays, dancers tend to move from company to company, and tougher competition brings in its wake a tendency for shorter dancing careers. For choreographers too, conditions are now much more complex than ever before. Success in today’s arts market demands great agility and readiness to change. Everyone involved in the arts needs to be a multiskilled entrepreneur. It isn’t and never has been enough to master only one chosen field in which to flourish. Most of the greatest and most successful artists were (and still are) multi-talented entrepreneurs: had they not been, they would never have produced their legacy of work. Today’s digital revolution brings with it matchless opportunities to explore new avenues of creativity. The internet allows aspiring professional dancers, choreographers, even
“ There is the implicit expectation that SouthAsian dancers will expand their versatility to perform Western contemporary as well as classical Indian dance forms to ensure their employment.” Magdalen Gorringe
For Indian classical (or South Asian) dancers in Britain, what distinguishes a ‘professional artist’ from an ‘amateur’ is complicated, historically and circumstantially. Historically practiced by dancers who combined this work with work as courtesans, the revival of these dance forms in India in the early twentieth century was accompanied by a deliberate distancing from dance as a profession or a means to earn a living. Unsurprisingly therefore, research conducted by Akademi on the subject in 1997 found that South Asian dancers in the UK felt that ‘professionalism should be… to do with excellence of performing standards… not taken as commensurate with the earning potential of the performer’ (Iyer, 1997:57).1 Turning to other commonly used markers, there is at present no vocational training school for classical Indian dance forms in the UK, and the forms’ character as primarily solo art forms means that it is harder to pass the unofficial, but pragmatic, test of auditioning for a place in a company - simply because there are so few companies to offer this opportunity.2
In this context, dancers who do take the leap to become professional do so against the tide, without infrastructural support (in the UK, for example, there is not a single regular professional class for classical Indian dancers). Against such challenges it is more remarkable that we have any dancers prepared to take this risk at all, rather than that we have so few. Is it important to build the profession? To sustain the huge richness of the British dance ecology, undoubtedly. Investment in training and in repertory companies will help raise the bar, and build employment – both crucial factors to create a critical mass of dancers who can be rightly termed ‘professional’. Further information For information on South Asian dance in the UK www.akademi.co.uk 1
Iyer, A. (1997) South Asian Dance: The British Experience, Routledge South Asian dancers can find Shobana Jeyasingh and Akram Khan Dance Companies are held up as examples of companies offering potential employment, when these choreographers have been very clear about their contemporary dance alignment and use almost exclusively contemporary trained dancers. 2
The One Dance UK Magazine | Autumn 2018 25
Special Focus on Workforce
Reflecting the Audiences they Serve
Special Focus on Workforce
“ Reflecting the diversity of our community in our organisational leadership is a statement of welcome, inclusion and opportunity.” Ed Matthews-Gentle, Vice-Chair, Dance Manchester
The importance of diversifying arts boards of directors,by Simeilia Hodge-Dallaway, Founder and Managing Director ofArtistic Directors of the Future.
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black, Asian and minority ethnic (BAME) representation in board leadership. In fact, the annual survey data for 2015/16 showed that only 9% of National Portfolio Organisation (NPO) Chairs define as BAME whilst 80% define as White and 11% prefer not to say. In 2016, ADF launched the first Diversifying London’s Theatre Boards action-focused event, in partnership with Independent Theatre Council (ITC) and Battersea Arts Centre at the National Theatre, bringing together over 70 participants including a wide-range of culturally diverse theatre artists, CEOs, Artistic Directors and trustees of theatre NPOs, buildings and organisations to proactively address this issue and act to make a change. All events included a request for organisations to submit a completed ADF Board Diversity Action Plan to outline their short, medium and long-term commitments to the diversification of their boards. In addition, ADF has piloted a unique Board Shadowing Programme with the support of artsdepot, Finborough Theatre and The Albany, providing our members of culturally diverse artists and leaders with an exclusive insight into reputable and leading establishments at board level. The successful programme has resulted in
Awakening by Chad Taylor, – commissioned a regional iteration taking place in autumn The to be developed as an outdoor work by Dance 2018, in partnership with the Yorkshire 5 Manchester with National Lottery funding Theatres: Sheffield Theatres, West Yorkshire through Arts Council England and supported by STUN, Dance of the African Diaspora at One Playhouse, Hull Tuck Theatre, Stephen Dance UK, and Waterside Arts. Joseph Theatre and York Theatre Royal. We are working hard to elicit change. Kwame Kwei-Armah, Suzann McLean and Doreen Foster’s recent appointments, helming the Young Vic, Peckham Theatre and Warwick Arts Centre respectively, means they join the very small pool of culturally diverse directors of major UK arts organisations. We are delighted to say that our actions in London and regionally have been met with enthusiasm, commitment and of course, actions by NPO and non-NPO organisations and our members who are dedicated to be a part of the change that they want to see. Further change needs to “ It is vital that we act to increase be a collective experience – valued, acted the diversity of boards by devising out and championed by all.
Photo: Brian Slater
Photo: Thomas Husbands
generation and economic growth. Britain has become significantly more diverse over the last two decades and it is predicted to increase further. However, culturally diverse artists and leaders remain on the periphery, excluded from key decision-making processes and unable to penetrate the glass ceiling that (irrespective of their experience) prevents them from being seen as anything except emerging practitioners. With other industries, including broadcasting houses, making real progress to diversify their organisations from the top down, arts organisations are at a crucial point to truly reflect the multicultural society they exist in. Trustees have the ultimate responsibility to recruit and appoint the artistic directors and leaders of their organisations. At Artistic Directors of the Future (ADF) and with many partners, we refuse to accept the starkly low amount of culturally diverse representation at governing levels at heavyweight organisations, so we aim to bring into focus the diversification of UK’s arts boards. This disparity was outlined by The Arts Council England’s published data report, Equality, Diversity and the Creative Case (2016) which evidenced the lack of
How and why have these One Dance UK members developed a diverse board? “ Part of a board’s strength relies on having clearly stated roles for each trustee. The impact of diversity is magnified by inclusivity: trustees should be passionate about achieving the aims of the organisation, and feel empowered to play their part in doing so. As an organisation that explores themes of culture and society, building diversity in an environment of creative excellence is in our DNA. Our board recruitment processes explicitly acknowledge the importance of bringing a wide variaety of backgrounds and experiences to the table, and with the Arts Council’s continuing emphasis on fundraising and philanthropy all board members have a stake in the financial and creative survival of the company.” Amanda Cupples, Chair, Shobana Jeyasingh Dance
Simeilia Hodge-Dallaway
I’ve always believed that sustainable change in the arts starts at the very top. For many of us, Boards of Directors (also referred to as Trustees for registered charities) are an invisible group of wealthy men and women, who work outside of the sector, appointed by the old fashion secret handshake. Now more than ever, organisations need to ensure they have an eclectic mix (including gender, cultural background, disability and age) of people leading the way. There are many reasons why board diversity is essential. The most obvious is because theatre organisations exist on taxpayers’ contributions, therefore, the role of the board is to reflect the public’s interest by ensuring that these public buildings uphold the legal, operational and financial stability of an organisation. To do this, surely a board will benefit from a group of diverse men and women who each offer a range of perspectives to stimulate ideas and lead to more effective decision making, networks to broaden the reach of the organisation and increase the talent pool to create a dynamic workforce and artistic programme. Besides, research highlights that people from diverse backgrounds bring a wider range of skills, innovation and creativity, business formation, job
Leading by Example
Further information Artistic Directors of the Future are open to work in collaboration with organisations across art forms to support the diversification of their boards and to engage with culturally diverse leaders and artists in the UK and internationally. www.adofthefuture.com
a sustainable strategy that increases accessibility through demystifying boards for potential culturally diverse persons,raising the visibility of existing boards and creating new pathways to board opportunities.”
“ Diversity is important for providing lots of different ways to think and look at issues and find answers. We have a small board, and we look to them to give us as wide a range of support and guidance as possible. First and foremost we look for individuals who have a passion for what we do, and an understanding of the way we work - and then we look at keeping as wide a range of experience and influence and background in the group as possible. This has naturally led to a diverse board.” Rebecca Marshall, Executive Director, Studio Wayne McGregor “ Greater Manchester is one of the largest metropolitan areas in the country. Reflecting the diversity of this community in our organisational leadership is a statement of welcome, inclusion and opportunity. Arts Council’s Creative Case and the recent Bazalegette Independent Review present powerful cases for the need to address diversity in the sector. Dance Manchester’s board & staff work with dedication to recognise talent and create opportunities for all regardless of class, ethnicity, religion or gender. Ed Matthews-Gentle, Vice Chair, Dance Manchester
Simeilia Hodge-Dallaway The One Dance UK Magazine | Autumn 2018 27
Special Focus on Workforce
Supporting the Next Generation of DanceArtists Dance professional practice at Middlesex Our highly flexible online distance education courses are designed for dance artists and practitioners looking to integrate their professional expertise with academic learning at a renowned centre for dance practice and research. // BA Professional Practice (Arts) // MA Professional Practice in Somatic Studies // MA Professional Practice in Dance (specialisation) // MA Professional Practice in Dance Technique Pedagogy
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Cath James
Photo: South East Dance
South East Dance (SED), a leading arts organisation focused on developing dance locally and as part of a national network. Cath James, Artistic Director and Acting CEO, writes about how South East Dance is supporting those entering the sector.
“ If independent artists are to continue creating innovative work, we must step in to provide that network.” Cath James
Being a trained dancer by vocation, I graduated alongside a community of gifted alumni. Yet I was somewhat unprepared for the reality of full-time work: I had no idea how to set up a business, create a project budget or market my work – and I wasn’t alone. Today succeeding in the dance industry, be it as a graduate or professional, comes with its own set of difficulties. How does one stay afloat as a projectfunded artist? Or negotiate the budding relationship between dance and technology? Issues like these come along with the more widespread challenges of preparing graduates for the world of independent work, coupled with equipping professional dancers to cope with early retirement. Dance development organisations such as South East Dance can help bridge that gap, pairing choreographers, artists and graduates with producers, mentors and companies to help broaden their professional skill set. Making the most of the industry awareness, networking opportunities and advice One Dance UK membership provides will also support your career growth.
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Mind The Gap is a new South East Dance initiative, in partnership with the Hofesh Shechter Company that does just this. The nine-month mentorship scheme sees seven recent graduates meet with dance artists from Shechter’s company to learn from likeminded individuals with a wealth of knowledge and experience. Graduates on the programme spend time with artists at the top of their game and learn about the fundamentals of touring, as well as the less glamorous side of a career in dance, like how to prepare for or recover from injury. Once newly qualified dancers have made the transition from student to professional there remains the question of continuing to thrive and progress in the sector. I often see artists with immense talent struggling to self-fund between projects, or unable to keep up with increasing demand to produce cutting-edge digital work, which often comes with a high price tag. Recognised dance organisations have an advantage in this area. With a web of connections and years of experience in the industry, they are able put artists in touch with the right producers or collaborators.
South East Dance’s Executive Producer Programme, which launches this month, exists to support emerging artists who are struggling to continue producing. The programme is designed to provide a safety net over 18 months, during which its beneficiaries will receive financial assistance, advice, mentoring and networking opportunities. My role involves identifying barriers that prevent our network of choreographers, producers and students from succeeding in their mission to create brilliant work. Certain obstacles are all too common – lack of funding, too few spaces to create work, and perhaps most significantly, artists left working in isolation with little guidance or developmental support. Developments such as The Dance Space, another of SED’s initiatives, hope to address these issues. Opening in Brighton & Hove in 2020, this new hub for dance will house a number of artist development programmes, ensuring artists continue to make work that will enrich and expand our sector for years to come. Further information www.southeastdance.org.uk @southeastdance
PROFESSIONAL TRAINING FOR DANCE ARTISTS
mdx.ac.uk/MAdance 21/07/2017 14:17
TRINITY LABAN CONSERVATOIRE OF MUSIC & DANCE
/ BA (Hons) Contemporary Dance with Foundation Year
/ BA (Hons) Contemporary Dance with International Foundation Year
/ BA (Hons) in Contemporary Dance / BSc (Hons) Dance Science / Masters programmes / Research degrees / Professional development programmes
photo: jk-photography
TRINITYLABAN.AC.UK/DANCE /TRINITYLABAN The One Dance UK Magazine | Autumn 2018 29
Aiming Higher Special Focus on Workforce
at Higher Education
As the needs of the dance sector are constantly changing, how are higher education providers preparing their graduates for the workforce? One Editor Cameron Ball talks to directors of some the country’s leading institutions for their insight.
Special Focus on Workforce There have never been more higher education and vocational training options for aspiring dance professionals in this country, and there is no shortage of applicants for the leading courses. At One Dance UK, we are listening to feedback from the sector on the issues facing dance in schools and in the professional sphere. As a stepping stone into the workforce, vocational and higher education institutions are affected by changes to both. Thus, universities and conservatoires must constantly review their content to ensure that their graduates are best equipped for the competitive profession they are entering into. Changing technologies, changing demographics and the realities of funding professional work mean the dance landscape is constantly shifting. One major shift in recent years is the advent of new ways of accessing dance, such as video sharing websites, virtual reality and social media. Director of Northern School of Contemporary Dance, Janet Smith, says, “The dissolving of boundaries between dance
and other art forms continues with companies blending dance with physical theatre, theatre, live art, music making, circus and film. There is more use of digital technology, often to offer immersive and durational experiences or installations, which may be interactive, including the use of technology by the audience.” NSCD’s undergraduate programme enables students to experience creation and performance in contexts including site-specific and digital as well as traditional theatre settings, and to engage with diverse artists who bring an increasing breadth of approaches, whist ensuring the underpinning rigor of the discipline. The School’s new MA in Dance and Creative Enterprise gives equal value to areas of business, enterprise and entrepreneurship, while also retaining strong commitment to embodied practice-based scholarship. Smith sees the teaching of research skills and nurturing both independent learning and creative collaboration as core curriculum in preparing future dance artists and leaders.
Urdang Academy’s graduates receive career talks on social media etiquette and YouTube promotion. Its Chief Executive, Solange Urdang, says the image they present, both in person and online, is key: “We know that, especially in the commercial dance industry, artists can be chosen to attend an audition purely from their online presence, and all commercial choreographers have to have a website and an online profile. This image extends to social media too, so we prepare our students for this eventuality.” Graduate pathways are different to how they were a decade ago. Changes in funding have meant small scale touring is less common, so how do graduates get their foot in the door? At Middlesex University, the dance courses are being redesigned to include greater emphasis on and practical experience of enterprise, business and marketing skills throughout their programmes. Head of Performing Arts, Dr Lesley Main, explains that the current need is for “… articulate, enterprising graduates who have the
confidence to both take initiative and contribute effectively to team/project situations. Our Dance students work on collaborative projects with students from Music, Theatre, Fine Art, Interior Architecture, Film, Photography, and more, and in external settings. Additionally, industry placements are essential and have a proven track record of success and, indeed, employment.” Colin Bourne Collins, Head of Dance Programmes and Programme Leader, BA (Hons) Contemporary Dance at Trinity Laban Conservatoire of Music and Dance, says “Our graduating students need to be well prepared to meet the changing demands of a constantly evolving dance landscape. Therefore, Trinity Laban’s BA (Hons) Contemporary Dance programme is designed to equip students to meet the requirements of today’s dance profession, yet at the same time they are trained to remain flexible, adaptable and open to new experiences and approaches.”
“ Our programmes push students to think beyond the current requirements of the dance profession to the future possibilities presented by this continuously developing art form.”
Photo: Josh Hawkins
Colin Bourne Collins, Trinity Laban Conservatoire of Music and Dance
Northern School of Contemporary Dance student Harvey Rose 30 The One Dance UK Magazine | Autumn 2018
The One Dance UK Magazine | Autumn 2018 31
Photos: Top Left: Urdang Academy’s ‘Strike’, photo Jon Applegate; Bottom Left: Students training at the Laban Building, Trinity Laban Conservatoire of Music and Dance Photo by JK Photography; Right: Middlesex University students performing Robert Cohan CBE’s ‘Forest’, photo by Andrew Lang
Special Focus on Workforce
Special Focus on Workforce
Urdang Academy
Middlesex University
R OYA L A L B E R T H A L L A N D B I R M I N G H A M R OYA L B A L L E T P R E S E N T
28 – 31 December 2018 • 7 performances only Trinity Laban Conservatoire of Music and Dance
“ Our courses are reviewed yearly to ensure we are keeping up with trends, as well as ensuring a strong foundation in all aspects of dance and musical theatre training are in place.” Solange Urdang, Chief Executive, Urdang Academy
There is increasing pressure on funding for arts subjects in schools (according to a recent BBC Survey of over 1200 schools, 90% of respondents said they had cut back on lesson time, staff or facilities in at least one creative arts subject1), and with the continuation of the EBacc this will surely have a knock-on effect to the skills of those entering higher education. All course leaders interviewed agreed that reduced access to the performing arts will mean it is children from lower income households who may struggle to experience dance outside the school system, which is to the detriment of their personal growth and, further, the country’s artistic future. As Lesley Main says, “The STEM/EBacc narrative perpetuated by the Department for Education needs to be countered loudly. The value of engaging with creative arts subjects in schools and beyond is evidenced frequently in
government and industry reports, as is the growth in jobs across the creative industries, and not just confined to digital arts.” Solange Urdang agrees that this needs to be addressed, with lack of support threatening to form “an elitist culture, which Urdang is known for breaking down. Casting directors are frustrated by this as they look for a range of performers for West End, touring or international productions. There is a real demand for BAME performers.” Dance science has been a major area of growth in recent years, for example with the establishment of the National Institute of Dance Medicine and Science, of which One Dance UK is a founding partner, working to ensure dancers have access to high quality healthcare and working with the Healthier Dancer Programme and higher education providers so knowledge is disseminated within education programmes. Dr Emma Redding, Head of Dance Science at Trinity Laban, says dance science links keep their dance courses relevant. “Choreographic demands are evolving constantly, and this means the physical demands placed on dancers are also changing fast. We run regular professional development workshops with our teachers,
32 The One Dance UK Magazine | Autumn 2018
and work closely with our therapists and dance science researchers to ensure we are offering relevant and effective training for today’s dancers.” Trinity Laban are introducing a new BSc in Dance Science in 2019 to meet the growing interest in the subject. Middlesex University is extending the dance science offer in their courses too, as Lesley Main explains. “At Middlesex, dance students are offered postural alignment screenings on entry and periodically after that, with a notable reduction in injury. In addition to dedicated modules, students also have the opportunity of working with postgraduate students in sports science on research projects.” Dance is a notoriously unpredictable career, and not everyone has the luxury of entering a company on a fulltime contract, so conservatoires are encouraging entrepreneurial spirit amongst their graduates, with ‘versatility in skills and techniques’ being a phrase used by all course directors. Janet Smith says there is a focus beyond pure performance at NSCD. “As well as future performers we are nurturing future dance makers, leaders and therefore employers. So we encourage students to discover and pursue what most excites them as individual artists and
help them build the necessary research skills, independence and creative enterprise. Ultimately we are aiming to ensure our graduates can achieve fulfilling, sustainable careers in dance and make a difference.” What is certain is external factors will continue to demand agility from dance course leaders to ensure graduate success. One Dance UK looks forward to working with our youth and school dance partners, higher education members and wider professional networks to encourage more dance career pathways and an even more vibrant, diverse, successful sector.
Further information Middlesex University: www.mdx.ac.uk Northern School of Contemporary Dance www.nscd.ac.uk Trinity Laban Conservatoire of Music and Dance www.trinitylaban.ac.uk Urdang Academy: www.theurdang.london Dance in schools and the Ebacc 1 BBC Schools Survey: www.bit.ly/BBCSchoolSurvey Bacc for the Future website: www.baccforthefuture.com One Dance UK dance in schools information: www.bit.ly/DanceInSchools Guidance on advocating for dance in schools www.bit.ly/AdvocateForDance Employability and training Watch the passionate debate on Emerging Artists: Training, Creativity & Choreography at the Dance UK Industry Wide Conference 2015: www.bit.ly/ DUKConference2015 Have your say at One Dance UK Conference, 23-24 November. See page 12 for information.
The magical, spectacular ballet returns! Featuring Birmingham Royal Ballet’s world-class dancers, the London Philharmonic Orchestra and projections by Tony Award-winning 59 Productions
Call: 020 7589 8212 royalalberthall.com
Birmingham Royal Ballet is registered charity No.1061012 and is funded by
Special Focus on Workforce
Negotiating a Freelance Journey An insight into the demands of balancing the budget as a freelancer, by Dance of the African Diaspora Programmer Heather Benson.
Many people at some point in their career experience a moment when they can decide how much their skills and experience are worth; allowing them the freedom to choose their work or employer. For independent dance artists and practitioners, especially those balancing creative risk-taking and basic life responsibilities, that freedom
Michele Scappa in NEVERSINK by Matthew Robinson for VERVE ’18 © Nicole Guarino
Shape the future of dance
BA (Hons) Dance (Contemporary)
New for 2019 entry: CertHE in Contemporary Dance (1 year) PGDip Arts Learning and Teaching in Higher Education
Open Day, Saturday 27 October 2018
Find out more:
nscd.ac.uk
Photos: Top: Courtesy Gerrard Martin/Unknown; Bottom: Sheli Ali
MA Contemporary Dance Performance (PAS) MA Dance & Creative Enterprise
Freddie I have turned down numerous opportunities; most of the time not mainly because of a low fee, but rather because of the Gerrard true ignorance in the terms & Negotiating fees has been conditions not synching with problematic. I feel that ‘fee the work at hand. Artists are transparency’ needs to be constantly striving to push addressed, especially for new their potential and finding artists entering the industry. invigorating ways to nurture Dancers work for very little and do not get the benefits their their growth, but they also need financial (not ‘in-kind’) talent, training and dedication support, to live and thrive demand. personally and artistically. This is the invaluable nourishment Freddie I’m passionately great at helping for the creative practices, artistic work(s) and the sector overall. others negotiate their fees, but I constantly find it hard to It is not enough, or an practice what I preach. We’re achievement, to pay the Equity consumed by chronic implicit or ITC standard minimum misconception in the sector that rates, specifically noting the we should endlessly do the work small print in the contracts because of the ‘award’ value in stating that they are a guide. the experience; its gains being I have turned down many more valuable than getting paid. opportunities because of this reason and the lack of Have you had to turn empathy in the statement being down work because of a used, “we are paying above low pay offer? What was Equity minimum” when the the consequence and/or rate is literally just above the benefit? minimum. What has been your experience negotiating your fee for projects?
Gerrard Martin
MA Contemporary Dance Performance (VERVE)
is often a luxury, competing with the need for survival. With increased attention being paid to compensation and benefits for artists, how do we sustain a financially stable career in dance without sacrificing the art? According to independent choreographers Freddie Opoku-Addaie and Gerrard Martin, it has been, and will continue to be, a journey.
Freddie Opuku-Addaie
Gerrard I have had to turn down some independent teaching work. Though I was interested in the role, I decided to refuse the offers. In the end I felt relieved, as I was neither compromising my artistry, nor gaining unnecessary financial stress.
What was the turning point where you realised your worth? Gerrard It’s been quite a journey! Most of my dance work, whether performing, teaching or choregraphing, has been amazing; however, I have had a few situations where the behaviour of certain artistic directors has been less than favourable. Despite some painful experiences, I survived, thrived, and have learnt a lot about myself in the process. Freddie The point has not quite turned yet, and I’m not sure if it will or if I need to take another turn which I’m seriously considering. I continuously work for and collaborate with inspiring people, whose diverse ‘otherness’ deserves to be valued and treated with the same respect as the majority; translating into how they are paid. Independent artists work above and beyond without the option for time out in lieu or overtime like those who benefit from full-time employment working for organisations. There is a research phase for every independent artist, partly involving the arduous back and forth pay negotiation, which needs an honourable fee to cover the artist’s time and effort.
The One Dance UK Magazine | Autumn 2018 35
Special Focus on Workforce
Gerrard Most of my funding revenue has been via Arts Council England. I believe in good rates of pay, and endeavour to pay my fellow artists accordingly – setting higher fees than the Equity and ITC standards, whilst staying within my budget. Freddie It depends on the nature of the artistic investigation and its realisation. In much of my work to date I have been choreographer, performer, part producer and cultivating collaborative relationships. Previously, I had not paid myself in reflection of the bigger picture of the roles I covered; this is changing. How? I’m breaking down the
roles, assigning a fee for each, then adding an additional 10% for the administrative overtime and skills research costs. What advice do you have for choreographers and independent artists about knowing their worth and navigating the sector? Gerrard When in doubt, seek advice; more importantly, listen to your inner voice and don’t be afraid to query contracts and/ or codes of behaviour. Do your research and remember that our profession is about fair exchange, and honest, open communication. Therefore, don’t sit in silence. Question, explore, stay solution-based, and be true to both your vision and your principles. Freddie An artist is like a rare fruit. The fruit (artist) should be expensive because of the logistics to get it to the
An Agent’s Perspective By Chris Manoe, Founder and Art Director, Dancers Inc.
Photos: Top: Charlotte Levy ;Bottom: Specular
Dancers Inc. represented artists (Left to Right) Aaron Bryan, Joel Ekperigin & Adam Robertson
36 The One Dance UK Magazine | Autumn 2018
market (sector), which is “ I am worthy of respect, simultaneously calculated and incalculable. I have found no matter where I am, for whom I work,or with there aren’t adequate systems to support safe dialogue whom I collaborate.” about navigating the weather Gerrard Martin of trying to get the fruit to the market. We are simply predicted to acclimatise when the lay of the land (funding) shifts, with the expectation that a single rain drop will make the artist bloom and flourish, still full of the juices (creativity). Knowing your worth is about immersing yourself in the practice beyond your frames of references.
Further information Freddie has curated Out of The System, a series of performances, workshops and talks as part of Dance Umbrella, which takes place 26 September to 21 October 2018 in venues across London. www.danceumbrella.co.uk/
“ It’s simply thinking about the other core provisions and support that should be rigorously fought for that significantly impacts an artist’s ability to do the work.”
Gerrard will be assisting the American choreographer Dianne Mcintyre for the English National Opera’s production of Porgy and Bess, premiering in October 2018. www.eno.org/operas/porgy-and-bess
In sharing my own thoughts on ‘knowing one’s worth’ as a performer, I start by asking everyone to total the hours, days, weeks and years spent honing their skills and training to become a dancer. It’s then important to add to this figure the cost of all classes, private tuition, training programmes, college education, dancewear, promotional images, transportation and essential healthcare. Lastly, I want them to look at all the sacrifices they have made in the name of their career. Special events they may have missed, social occasions they were unable to attend (due to rehearsals), work in the evening or weekends. Put a price on it. If you added all of the above into one round figure, it is the sum of the contribution to your career. Your payment forward to date. No external person on an audition panel, production team or creative owns a dancer’s ‘worth’. All rights belong to the individual.
Left: Gerrard Martin Dance Right: Via Kanana from Dance Umbrella’s Out of the System, programmed by Freddie Opuku-Addaie
Freddie Opoku-Addai
A View from the Dancers’ Union
Yet, it is so common that dancers, upon entering an audition room or casting, immediately hand all this power and worth, over to these strangers on a panel to control their feelings, sense of self and destiny. I implore all dancers to retain their power in these situations. If an audition doesn’t go your way, yet you have given it everything you can, then walk away with your head held high. Success may be a question of timing, but hold on to the fact that you have earned your right to it with everything you have paid out, and one day this will come back to you tenfold. When you believe your worth, everyone else will too.
Further information www.dancersincworld.com Instagram: @dancersinc
By Charlotte Bence, Low Pay/No Pay Organiser at Equity
Photo: Christian Ganet
When creating or producing work, how do you structure your working practices to adequately pay yourself and the artists your work with?
Special Focus on Workforce
“ Low pay means highly skilled professionals struggling to make a living, and is also a huge barrier to achieving the diversity the entertainment industry so badly needs.” Charlotte Bence
Low and no pay is a serious problem for Equity members who are too often expected to work for free, or for wages far too low to sustain a career. Equity’s latest survey of members’ pay showed almost half of respondents earned less than £5,000 a year from their professional work, and half had also taken some unpaid work that year. Dancers will be all too familiar with calls for music videos, small scale musicals, and even major commercials offering ‘experience’ and ‘exposure’ as the only reward for their hard work. Kylie Minogue, Rita Ora and Coca-Cola are just some of those who have been called out for this – check out #PayTheDancers to see the passionate reaction this issue provokes in dancers all over the world. If the only way to be seen and gain valuable experience is by working unpaid, most emerging professionals coming out of training saddled with debt won’t be able to afford to do so: you can’t pay
rent with ‘exposure’, and you can’t pay bills with experience. We believe that it should be talent alone (and not access to private wealth) that determines whether it is possible to sustain a career in the creative and entertainment industries, and we’re working hard to make that happen. We want to ensure that companies benefitting from public funding use union approved contracts. Responsible employers such as Hofesh Shechter recognise the importance of paying people properly and offering decent terms and conditions, and therefore use Equity agreements. We are also tackling problems with commissioning, so that choreographers are given budgets that include provision for fair wages – for example through our ground-breaking agreement with DanceEast. Equity believes that a fairer industry is possible, where everyone has a chance to make it, regardless of their background. But making this a reality requires all of us to get involved and play
our part. We really are stronger together, and the more of us pushing the campaign to make our industry better, the more successful we will be. If you want to see an industry that works for all of us – join your union and use the resources and networks like those One Dance UK provides. Get involved. Have your say. Make change happen.
Further information www.equity.org.uk
The One Dance UK Magazine | Autumn 2018 37
Special Focus on Workforce
Special Focus on Workforce
What to Expect WhenYou See a Healthcare Practitioner
Leading the Way in Dance Healthcare Management – the Science Behind the Art
How do you know which practitioner to choose, and which different treatments may be right for you? Perhaps you are seeing a new healthcare practitioner for the first time, or trying a new therapy or treatment; how do you know what to expect? By One Dance UK Healthier Dancer Programme Manager Erin Sanchez
The concept of a dancer as ‘artistic athlete’comes of age,writes Head of Industry andArtist Support and the National Institute of Dance Medicine and Science Helen Laws
Dancers in The Royal Ballet’s Mason Healthcare Suite
Choosing a practitioner Healthcare professionals with experience treating dancers or other athletes will be more likely to understand your needs and the physical and psychological demands of dancing, and thus provide efficient treatment. Develop a good relationship with your healthcare practitioners, so they can give you informed advice on you, your dancing, and your circumstances. It will also help ensure that you have someone you trust to seek advice early and regularly, so niggles don’t turn into something more serious. Choices include GPs and consultants (trained in all aspects of ill-health, not just injury management), physiotherapists, massage therapists, complimentary/ holistic practitioners, nutritionists, mental health professionals, fitness practitioners (such as personal trainers and strength and conditioning coaches), and sports and dance scientists. Also keep in mind that though it may not be the quickest route, GP registration entitles you to free comprehensive medical assessment and treatment via the NHS - a valuable resource for dancers with limited funds.
Step 2
Learn about the treatment What does the treatment aim to do and typically include? You can learn more about different treatments by visiting One Dance UK’s Which Practitioner? page (see link below), which lists information on different types of practitioners, including the work they do, and what they can treat, with links to further information.
38 The One Dance UK Magazine | Autumn 2018
Step 3
Learn about the practitioner What are their qualifications and experience in their specialist area, and with dancers? Do they have insurance and appropriate registrations with governing/regulatory bodies and professional associations/bodies? Some practitioners use protected titles, including the titles Chiropractor, Dietician, GP, Osteopath, Physician, Physiotherapist, Podiatrist/ Chiropodist, Psychologist, Radiologist, and Surgeon. These practitioners must be registered with the appropriate governing/regulatory body, or risk prosecution and a fine. You can check registration of practitioners through their regulatory body (also listed on the Which Practitioner? page). Practitioners not listed above do not have protected titles, including massage therapists, nutritionists, Pilates practitioners, homeopaths, naturopaths, etc. In this case, it is best to ensure that the practitioner you are seeing is a member of a professional association/body relevant to their practice.
Step 4
Know your rights For NHS services, refer to the NHS Constitution for England, Patient Rights Act (Scotland), and Citizens Advice website (England, Wales, and Northern Ireland). For private services, contact the regulatory or professional body for your practitioner, or refer to The Private Patients’ Forum.
Educate yourself about what to expect from treatment, including conduct of the practitioner. Do not be afraid to ask questions. You can also bring a parent or friend with you. If anything doesn’t feel right, don’t be afraid to stop the appointment and leave. If you feel that any conduct was inappropriate, contact the governing body or professional association to make a complaint. This will help to protect you and others in the future. Note for schools and companies When hiring healthcare practitioners, always ensure they are registered and in good standing with appropriate governing/regulatory bodies (for protected titles), or that they are registered with a professional association/body as described above. Letters of referral from former employers and patients, relevant to the age and requirements of your organisation are also recommended. Furthermore, it may be helpful to have a regular feedback opportunity with both the practitioner and students or dancers to enable open lines of communication regarding treatment and support required at your organisation.
Check our One Dance UK Healthcare Practitioners Directory, which lists dance specialist practitioners around the UK. www.onedanceuk.org/health-practitioners-directory Further information For questions, contact One Dance UK’s Healthier Dancer Programme at hdp@onedanceuk.org or 0207 713 0730, who will assist you with support from our Dance Medicine and Science Expert Panel and the National Institute of Dance Medicine and Science. You can also read our information sheet Finding a Dance Healthcare Practitioner, available via our website.
Photo: Mason Healthcare Suite ©ROH, 2017, photo Andrej Uspenski
Photo: Stephanie De’Ath and Anna Williams, Trinity Laban Health, Photo by JK Photography
Step 1
For those of us who have been striving to promote dancers’ health and fitness with the aim of reducing risk of injury and improving performance and career longevity since before the first ‘Healthier Dancer Conference’ in 1990 and the first national survey of dancers’ health and injury (Fit to Dance?, Brinson and Dick, 1996), it seems that we are now reaching a crucial time.
When the concept of an ‘athletic artist’ was gaining momentum in the nineties and 2000s, we relied on limited dance-specific evidence and borrowed from sports medicine and sports science. Now, we find ourselves at a tipping point in how the health and fitness of dancers is supported as several leading companies and training institutions begin to truly embrace a more
scientific, evidence-based “ Working separately, approach to helping dancers practitioners can stay at the top of their game. I spoke to Greg Retter, Clinical individually provide Director at The Royal Ballet, good rehabilitation, and Karen Sheriff, Healthcare but working together Manager at The Royal Ballet School, to gain insight into the results in an excellent recent developments in the way rehabilitation.” they now jointly approach the Greg Retter, Clinical Director, healthcare management of the The Royal Ballet dancers across the School and Company. The One Dance UK Magazine | Autumn 2018 39
Special Focus on Workforce
Special Focus on Workforce
“ The integration of sports and dance science in the dancers’ training and support sits absolutely comfortably and in synergy with artistic development and skill acquisition” Karen Sheriff, Healthcare Manager, The Royal Ballet School
Above: Students of The Royal Ballet School Left: Dancers in The Royal Ballet’s Mason Healthcare Suite
What does The Royal Ballet’s healthcare and sports/dance science integration look like? The stronger link between Company and School began when the Company tendered for a sports science service to complement and work alongside their existing healthcare team. St Mary’s University, Twickenham, was successful and began by sharing strength and conditioning services across the Company and School in September 2016. Karen Sheriff manages the White Lodge and Upper School healthcare teams which at each site consist of:
What are the priorities? The priority for the company is to manage injuries effectively; ensuring that all the dancers are exposed to the best model of practice as evidenced in the EIS model for Olympic Sport, with a Head of Performance Services (or Clinical Director) having oversight of all the disciplines within the MDT to provide an effective interdisciplinary service. The school’s key objectives are to optimise bone health, tendon health, wellness and resilience – and they are initiating research projects to inform these. The School is also aiming to develop dancers who think of themselves as athletic artists, • 2 Physiotherapists the difference being that they see it modelled around them •S trength and Conditioning and are given the tools to Coach achieve it. Sheriff gives the • Sports and Exercise example that at White Lodge Medicine (SEM) Consultant they are starting to break down (1/2 day a week) a skill acquisition syllabus for • Pilates Instructor years 7-11, identifying technical • Counsellor (P/T) skills for development and • Nurse (F/T) growth, and setting sports •N utritionist (1 day at each site – contracted through the science goals alongside them. A big change next year will English Institute of Sport be for each student to have and therefore buying into 50 minutes out of a ballet their wider organisational knowledge. The School is the class each week to dedicate first non-Olympic sport to be towards tailored strength and conditioning work. taken on by the EIS and it is Artistic management has been working well so far.) supportive of the change. •R ehabilitation Ballet Instructor at Upper School They join others such as (mirroring the Company) ArtEz in the Netherlands, who are shifting from traditional dance training methods to try out a more ‘periodised’
40 The One Dance UK Magazine | Autumn 2018
approach, using and adding to the growing sports/dance science evidence-base. The change is a calculated one, based on evidence, and necessary if training and prevention of injury is to improve and evolve to meet the current demands of the profession. Sheriff recognises it is a risk for directors to change a fundamental element of how dancers have been trained for so many years, to significantly reduce the technique timetable and trust that they will still improve in ballet. Improvements are already showing but Karen is looking forward to seeing the long term impacts of her team’s work. Retter stresses that from the Company’s perspective it is fantastic to have dancers coming from the School already cognisant of how to manage themselves effectively through the knowledge they’ve gained. The dancers arrive with a developed understanding of the additional physical, nutritional and psychological requirements needed, alongside dance technique, to succeed.
Science and technology in dance healthcare management In March 2014, The Royal Ballet Company began using a digital healthcare data management system to facilitate the MDT’s interdisciplinary working and monitor the effectiveness of their provision. Following a tendering process, Fusion Sport’s Smartabase offered the best solution for these reasons:
Photo: Left: Mason Healthcare Suite ©ROH, 2017, photo Andrej Uspenski; Right: Rachel Cherry
Impetus for change Retter joined The Royal Ballet in the new role of Clinical Director in 2013, following a review of healthcare services. Together, they wanted to implement a more streamlined and meaningful delivery of healthcare services for dancers with better integration across diverse provisions. The impetus for this review was in part a recognition by leadership that the field of sports/dance science had an important role to play in reducing and managing injuries. The board, Chief Executive, and Artistic Director, Kevin O’Hare, recognised their duty of care to provide excellent healthcare to the dancers, who use their bodies as their instrument. Having embedded a comprehensive multidisciplinary team (MDT) at the Company, it was clear there was also a need for more support at the School and Artistic Director Christopher Powney was keen to integrate a Healthcare Manager at The Royal Ballet School. Since September 2017, the School has built a healthcare team consisting of 21 members of staff operating across White Lodge and the Upper School. The key to the change has been the new leadership at both the School and Company coming from a viewpoint and understanding that supporting the dancers to be the best they can be requires investment.
and tracks utilisation of services across the Healthcare Suite. Fusion Sport has been supportive of developing Smartabase for use in the dance sector and the Royal Ballet School (September 2016), Birmingham Royal Ballet (2015) and Queensland Ballet (November 2017) have also started to use it, with others interested. The School is in a particularly good position to use the technology for education as well as healthcare management • I t works across different purposes. Since establishing their disciplines, so the MDT can share information in one space degree programme in 2017 the students take Healthy Dancer • I t provides a user-friendly modules; in Year 1, they attend repository for clinical notes nutrition, musculoskeletal and •T here is flexibility to be able to change forms and add modules injury management lectures and in Year 2 they study sport to make it dance specific psychology and sports science. •D ancers can interact with Students also track their wellness their profile and full medical daily via the app, including notes (Company dancers only) using a smartphone app, measures of fatigue, hydration, sleep quality/quantity, general enabling them to engage more positively and proactively with muscle soreness, sessional RPE (Rate of Perceived Exertion), and experiences in the Healthcare menstrual cycle. Acute chronic Suite workloads are automatically The Royal Ballet, as the first dance calculated to identify when dancers need to pull back or do company to use the platform, more. has invested heavily in it to ensure the system is truly fit for A traffic light system is dance purposes. Development incorporated where ‘red alerts’ of a bespoke scheduling module on wellness are flagged with the allows analysis of dancer healthcare team and dancers are workload alongside injury and then called to have a check-in health and fitness screening to ensure all is ok. The students data to understand and mitigate have been embracing the science against the most significant risk and technology at their disposal factors for injury. An appointment for education and healthcare module allows dancers to support, linking this vital support make and access appointment and knowledge with dancing information through the app, success. Some of the expertise is
also being fed into the School’s Associate classes, which train dancers from 8-17 years-old once a week in centres across the country. Digital ‘Dashboards’ are set up for the healthcare team to see key data at a glance, for example: •P rofiling scores – showing the individual dancer as well as where they sit within a cohort •R elative Energy Deficiency in Sport (RED-S) - adverse effects on health and performance when nutritional intake doesn’t cover energy demands of both training and normal metabolic processes •W ellness – a student-facing dashboard upon which students have to write a weekly reflection and an essay The dance sector is in a great position (compared with the competitive sports world) to benefit from using such a platform. Dance organisations using it are sharing their developments with each other, creating an international community where we will all be able to learn much more from each other. This includes the ability to look at the (anonymised) data across a range of different organisations collectively. The National Institute of Dance Medicine and Science (in which the Royal Ballet companies are partners) is hoping to be able to purchase a UK version of Smartabase so that medium and small-scale dance companies and schools can
benefit from the technology and sharing of expertise too. Measuring success Success for Retter and Sheriff is measured in a number of ways. They work to manage needs better but also enhance understanding of training, reducing injury, improving performance availability, and increasing dancer satisfaction. Having the wider knowledge and support network to call upon in tricky situations is also important to both the dancers and the healthcare team. It has been vital for the two institutions to work together for the benefit of students and the Company; utilising the expertise from both teams puts them in the strongest position. Working together on research projects and ongoing work and the strong link with St Mary’s University means they are managing dancers’ transitions into the profession much better and as Christopher Powney believes, “it is about creating the best dancers for the profession.” As Sheriff concludes, “there is still so much to discover but our teams are on it!”
Further information National Institute of Dance Medicine and Science: www.nidms.co.uk The Royal Ballet: www.roh.org.uk/about/the-royal-ballet The Royal Ballet School: www.royalballetschool.org.uk
The One Dance UK Magazine | Autumn 2018 41
Mapping the Sector
53.3 Part time 10%
r
HOW
tee an
rity
Other 4%
WHAT do they do?*
dancer
52.1%
choreographer
44.4%
artistic director
40.1%
teacher
35.2%
community dance teacher
33.8%
producer
28.2%
artistic administrator
19.7%
academic researcher
42 The One Dance UK Magazine | AutumnKaty 2018 Noakes and Oluwatoyin Odunsi *Mercy Nabirye, Heather Benson,
16.2%
Over 55 13%
HE dance lecturer
Age
11.3%
25%
23%
8.5%
28%
African Black British
fundraiser
6.1% are practising with a disability
White Caribbean
Black British
British Caribbean
Black
Black Caribbean
White British
Black African
Non-binary 3.4%
ha
Student 6%
AFRICAN
Male 25%
Under 25 11%
. by Gua r
Black British Caribbean
Unemployed 4%
Ltd
Female 70.3%
18% Full time 29%
Respondents were asked to openly describe their gender and ethnic identity** and to provide their age and disability status.
21.3
gistered C Re
WHO is working?
18 years C o mp a n y
are they working?
across UK regions; in the South West by Trinity Arts Centre (Bristol), in the Midlands by People Dancing (Leicester), in Yorkshire by Yorkshire Dance (Leeds), and two in London by The Place and Rich Mix.
de
Self-employed 48%
%
From Autumn 2017, the Dance of the African Diaspora (DAD) team* have conducted extensive research to better understand current sector practice sector. face research focus groups and one-to-one sessions, connecting on-the-ground with key independent artists, organisation leaders, venue producers and
% Sole Tra
Dance of the African Diaspora
On average, practitioners maintain a career in the sector for
Continuing research through Autumn 2018, the team will engage further with universities, organisations and individuals working within dance and beyond.
Watch this space! *Percentages represent instances where multiple options were selected The One Dance UK Magazine | Autumn 2018 43 Survey conducted from August to November 2017 by One Dance UK with our stakeholders and audiences. Infographic by Hollie McGill
Special Focus on Workforce
G IN 9 N 01 IO 2 IT T D SEP AU OR F
Leading the Next Generation for African Dance Artistic Director of IRIE! dance theatre, Beverley Glean MBE, talks to recipient of a British Empire Medal,Akosua Boakye, about her experience and expertise within the African dance sector.
BA (Hons) Diverse Dance Styles (Validated by University of Roehampton)
African, Caribbean, Contemporary & Urban Dance
Creating Dancers for the Global Community
Course Enquiries:
Akosua Boakye BEM
“ Dance from any culture should be celebrated.”
Become a qualified dance teacher We offer Ofqual-recognised, non-genre-specific training for Levels 4 to 6, part-time & flexi-pay. Apply
tq@bbo.dance | (020) 8748 1241 |
44 The One Dance UK Magazine | Autumn 2018
today at https://bbo.dance/tq @bbodance
Photo: Foteini Christofilopoulou
bbodance is a trading name of The British Ballet Organization Ltd., a Charity registered in England (No. 277177) and is a Company Limited by Guarantee (No. 1402656).
w: www.iriedancetheatre.org/ba-degree e: ba@iriedancetheatre.org t: 020 8691 6099
Which influences and experiences helped shape your career in education, dance and other performing arts? My parents are key influences who instilled in me certain moral characteristics: hard work, commitment, generosity and a love for what I do. Having grown up in Ghana, I was filled with the need and want to dance, specifically in African dance forms. When I searched institutions for training, these forms were not in the curriculum. I realised that the dominating offer was ballet and contemporary dance; sparking my decision to have a career in education. Becoming a teacher was the only way I could contribute to making a change in the lack of visibility of the African and Caribbean dance forms within UK dance institutions. At that time there were no recognised accreditation, pathways nor progression routes for African dance forms. However, now there is a BA (Hons) course at IRIE! dance theatre, accredited by University of Roehampton. We need to support this programme, as well as provide progression routes from secondary schools or communitybased programmes in order to create opportunities to study these forms through to MA level and beyond. During my dance journey I have many people to thank including Thea Barnes, Jane Carr and Stuart Thomas, for guiding me. Stuart Thomas in particular whipped me into shape. When I was ready, he gave me the opportunity to teach and develop my skills; helping me build confidence, learn from my mistakes and understand what it means to be a teacher of dance. In 2008, Thea Barnes called me about interviews for teachers to join Disney’s new ‘Cub School’ to train children for the roles of young Simba and Nala in the West End musical, Disney’s The Lion King. She has guided and mentored me for years, which led me to become the Children’s Casting Coordinator for the show.
With your focus on dance and cultures of the African Diaspora, can you describe the impact you have had on the curricula you have taught within the UK? Kensington and Chelsea College is where I formally introduced West African Dance into their BTEC dance curriculum. This has since developed into my current PhD research and is very much part of the work I do at Canterbury Christ Church University. At Kingston University, they have developed an urban dance curriculum which includes African dance styles. Since teaching there they continue to offer this form. I did not necessarily open the door as others taught there before me, but I contribute to the work and the impact other individuals make in education. What do you think are some of the challenges that educators and leaders in the sector face, specifically those working in dance of the African Diaspora (DAD)? Visibility. If the form is visible, individuals no matter what colour or creed will feel there is something to work towards. Those skilled to teach at an academic level still deal with issues of employability; no positions available for them to fill. The focus is still very much on ballet and contemporary forms, leaving little funds to support DAD forms. Other challenges are skills development, inclusion and employability. It is important for children to be aware of these forms to progress the work of trailblazers. Recently, you received a British Empire Medal in the Queen’s New Year’s Honours. What does this mean to you? Somebody somewhere was watching. I’m usually not speechless, but the call from the Cabinet Office about my nomination left me totally gobsmacked. It means a great deal for someone to think, “the work this person is doing is key.” Not only for now, but for the future. It’s great to be honoured for what you love doing and want to share. It is confirmation that I am on the right track. It motivates you to keep going. Further information Read and listen to the full interview in the summer 2018 edition of HOTFOOT Online magazine at www.bit.ly/HOTFOOTSummer2018. The One Dance UK Magazine | Autumn 2018 45
Special Focus on Workforce
Keeping Dance on the Curriculum
Special Focus on Workforce
The effects of dance in education are profound, writes General Secretary for the Association of School and College Leaders Geoff Barton Geoff Barton
“ Now we need to tell a bigger story about the centrality of dance in schools and colleges,and we need to tell it beyond the echo chamber of education.”
Students at Goldington Academy and Castle Newnham School
Photos: Rachel Cherry, Generations Dancing
I’m guessing a few people raised their eyebrows when they saw that I was one of the judges at last year’s inaugural One Dance UK Dance Teaching Awards. I’m not exactly known as a dance teacher myself, or as someone who studied dance, or as someone who has any expertise in dance other than attending many dance performances and being a Strictly Come Dancing junkie. But, as someone who was headteacher of a maintained comprehensive school for 15 years, nothing ever struck me more than the impact of dance on young people – and on staff. I saw children who were highly academic doing brilliantly in GCSE and A-level dance. My own son, Matthew, chose Dance as his GCSE option alongside History and French, and I couldn’t have been prouder. Then I saw pupils who weren’t deemed ‘academic’, who might indeed have been regarded by some of their teachers as disaffected or disgruntled. I’d see these young people in those lessons and then 46 The One Dance UK Magazine | Autumn 2018
see them in their dance lessons, or in lunchtime and after-school clubs. I saw the liberation that dance gave them, the discipline it gave them, the invigorating mix of teamwork, creativity and ambition. I saw young people freed from narrow labels of ability showing their true selves and doing it through dance. It’s why I fought always to retain dance as option choices at key stage 4 and post-16. It’s because I knew that the pupils who participated gained something special and significant. All of this you – as people on the inside of dance education – will already know. Like me, you understand why dance matters so much. Because there in Birmingham in July of last year, as I watched those proud dance performances on the stage of the Hippodrome as part of the U.Dance festival, I was reminded of the elemental nature of dance; of how this unique form of art allows human beings to tell stories through movement. I watched a succession of young people doing this.
And then, at the awards ceremony and after the performance, I met dozens of dance teachers – all so thrilled and privileged to be at the event, but also so vulnerable. One after another lined up to tell me that dance was being cut from the curriculum at their school. Too many said it was part of a marginalisation of the arts driven by the need to cut costs and balance budgets. On a night of great joy there was far too much personal uncertainty about what these teachers’ futures might hold. Which is why we need to tell the story better of why dance matters – the skills, the knowledge, the talent it builds, the foundation for later life it provides. Now is our best time to do this because employers and parents and some MPs are waking up to the grim reality that on our watch dance is being eroded amid a frenzy of cuts. We can’t let this happen. If we did, then dance would continue to exist in independent schools – where parents quite rightly see it
as an entitlement – whilst it withers in the state sector. Thus, as the government talks about social mobility, we would see opportunities for the self-expression that dance uniquely provides become the territory of the few in a diminishing number of schools. As I say, we mustn’t let this happen. I’m not a dance teacher. I never have been. I never will be. But I’m proud to reaffirm my commitment to this essential subject and to pledge my support to you in making sure that we fight to keep the opportunity to study dance alive in every school and college, for every child, from every background. Count me in.
Further information Find One Dance UK’s resources and information on dance in schools at: www.bit.ly/ODUKDanceInSchools Guidance on advocating for dance in schools www.bit.ly/AdvocateForDance
The One Dance UK Magazine | Autumn 2018 47
Teacher Resource
Special Focus on Workforce
Leaps and Bounds in Primary Dance
CUT OUT AND KEEP
Early Years Foundation stage: Modes of Transport: (Travel and Shapes) by Tori Drew
A focus on two schools putting dance at the core of their curriculum, by former Head of Children andYoung People’s Dance, Claire Somerville
This lesson can be spread over one lesson or two. The pupils will look at different modes of travelling whilst exploring different shapes and different ways they can travel in space.
It was during the “Beast from the East” that I ventured to Cleveland Primary School in Ilford to meet with fulltime dance teacher, Emma Bellerby, and Assistant Head, Tess Bhesania. Cleveland Primary has around 900 pupils and was graded as “Inadequate” by Ofsted seven years ago but, through the visionary leadership of their head teacher, Veena Naidoo, the school is now rated as “Outstanding” by Ofsted (2014). Indeed, evidence of the children’s enthusiasm at school was found by Ofsted during observed dance lessons. Emma explained that when she started out as the Dance Teacher Instructor, it wasn’t always easy to win over the hearts and minds of colleagues, but being a permanent member of staff proved to be very helpful. “The effect of having
someone who’s constantly here, constantly challenging or illuminating the reach that dance can have on education… I think that’s been our strength.” Assistant Head, Tess Bhesania, was keen to share how the school’s creative curriculum is underpinned by high-quality children’s literature which inspires pupils and generates powerful questions that the children explore in different ways across the curriculum. “When we started on this journey [of school improvement] we made sure we truly embraced creativity. When Ofsted visited, they really loved the connectivity of what we were doing and they could see the children were on a journey with their learning.” The children all have dance lessons every week and Emma auditions each year for her KS2 Dance Company. 98%
48 The One Dance UK Magazine | Autumn 2018
of pupils speak English as a second language and the staff have found that the universal language of using arts and dance throughout their curriculum has really enabled children to be curious, express themselves and develop their talents and knowledge. About 30 miles west at Central Primary in Watford, I also had the pleasure of meeting Dance Teacher and Creative Curriculum Lead - Jessica Bulaitis and Head Teacher Dr John Mynott on a sunny day last term. They have also seen how investing in a full-time dance teacher has enabled their pupils to flourish through their creative curriculum. They’ve found that dance has helped the school connect with their pupil’s families and wider communities through festivals in the town and through local arts and culture provision to widen the children’s experiences.
As John explains “Dance is part of who we are as a school, part of our character. [The children] are in a shared space, interacting without any barriers. We’re keen to ensure that everyone has access to dance and grows up with the opportunity to dance.” What was clear from both school visits was the dedication of the Senior Leadership Team to ensure all pupils have a creative curriculum in which dance plays a key part, not least by being taught by specialist staff on a full-time basis. Neither school delivered dance as “just a part of PE” and instead use it as a way of helping children consider their place in the world and understand their own thoughts and feelings. It’s also important to both schools’ values and culture, as John summarised “If we took dance away it would be a very dull place.”
Learning Outcomes By the end of this lesson students will be able to: • Identify and embody shapes and their forms • Understand different modes of transport • Demonstrate a musical response to music • Explore different concepts of traveling • Express interest in their own and others dances
Warm Up Musical statues: ask students to travel around the room and encourage them to travel in different ways (using space & dynamics) e.g. high, low, fast, slow, sideways, rolling, hopping, crawling etc. Stop the music and the students must freeze in a shape. Encourage the students to do different types of shape e.g. straight sided shapes, curvy shapes, small shapes and big shapes. Make sure you highlight some children who are holding interesting shapes.
Modes of Transport Play different songs to represent the different modes Introduction of transport, for example wheels on the bus for a bus. Share learning outcomes and discuss different modes Ask the pupils to develop the travel through different of travelling: car, bike, aeroplane, train, bus and boat. pathways from curvy to straight. An extension task Further questioning on why they use these travelling would be to develop the actions with turn, jump, and what is it like? Do this opening physically “what balance and change from high to low levels. This action does a train make?”. travel can be supported with cones marking train tracks, roads and flight paths. This task can be developed further through playing different pieces of music and asking pupils to choose what forms of transport the music sounds like.
Photo: Simon Richardson
Photos: Simon Richardson
Central Primary (Ignite Showcase)
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 www.onedanceuk.org
Teacher Resource
CUT OUT AND KEEP
Teacher Resource
CUT OUT AND KEEP
Boudicca the Queen Warrior KS2 Historical Cross-Curricula Dance Scheme of Work by Tori Drew
At the Station Teacher calls out a mode of transport and a shape that is stuck to the wall. When students arrive at the shape the teacher asks the pupils to become the shape; firstly, by themselves and next in pairs and then as a class or small groups. Creative Task Pupils choose two stations to travel between using their chosen shapes and travel mode. Performance and Appreciation Half a class perform their two stations travel and shape. The other half watch and feedback which travel they liked best and why? Extension task the students are asked what is at their chosen station. Resources Music available on YouTube: • 20syl - Voices Feat Rita J (Instrumental) • Joe Budden - Pump It (Instrumental) • Trap Remix - Thomas The Tank Engine Trap Remix • Junior Reid - Row Your Boat Reggae • Children’s Hip Hop - Twinkle Twinkle Little Star • Cars Race O’ Rama - Theme Song Remix • Tw20ty Below - Wheels On The Bus (Hip Hop Remix) • Pictures of shapes placed on different walls: E.g. Square, rectangle, circle, star, heart, hectogon, hexagon, kite and diamond • Cones
Photo: Simon Richardson
Access the Dance Teaching Frameworks
The story of Boudicca can come under the KS2 History National Curriculum area of The Roman Empire and its impact on Britain. Boudicca was born around 30AD and lived with her husband King Prasutagus and two daughters. They reigned over the Iceni Celtic tribe based in Norfolk and Suffolk in the East of England. When Boudicca’s husband died he left half of his kingdom to Boudicca and half to the Roman British empire (to help keep the peace), but the Romans claimed it. Boudicca led a rebellion over the Romans and defeated Camulodunum (now Colchester), Londinium (London) and Verulamium (St Albans). Roman general Suetonius Paulinus finally managed to defeat Boudicca at Fenny Stratford (Milton Keynes) on Watling Street. It is said that Boudicca drank poison when she was captured because she would have rather died than be a prisoner to the Romans. This resource will use the story of Boudicca through the dance elements of action, space, dynamics and relationships. • Actions (what they do) – travel, turn, jump, gesture, stillness, balance • Space (where they do it) – high, medium and low level; different directions and pathways, large and small movements • Dynamics (how they do it)– slower/faster; stronger/ lighter; smoother/jerkier • Relationships (who they do it with) - pairs, threes and small groups using mirroring, copying, action/reaction, unison/canon, symmetrical and unsymmetrical shapes, contact work of touch, push and pull, taking weight Week 1: Iceni tribe life (actions) Week 2: Roman army (space and dynamics) Week 3: The battle (relationships) Week 4: Group work (choreography) Week 5: Performance (performance and appreciation)
Week 1: Boudicca and Iceni Tribe Life (actions) Warm Up Ask students to travel around the room as if they were part of the Celtic tribe of Iceni. Talk about how the Celts were strong, fearless and wore cloaks of wool, thick and heavy in winter. Whilst the students are travelling ask them to perform different turns, jumps, balances, stillness and gestures to represent Iceni life: harvesting crops, heating iron to make weapons, blowing on the Carnyx (Celtic war horn), milking cows, moving huge earth stones, having a feast, thunder arm strike to represent their belief based on many gods, being awarrior and riding a chariot. Acquire Skills Teach a dance phrase based on an Iceni tribe member. For example: travel forward and back with warrior gesture, gallop to the right and left with arm swing to represent harvesting crops, roll on the floor right and left to represent they moved huge rocks by hand, step up with 4 stomps whilst hitting iron to shape it, turn to show off heavy winter cloak and finish with a one leg balance with crossed arms to represent their god of thunder Taranis. Choreograph In groups, students create their own Iceni tribe dance using dance actions: travel, turn, jump, gesture, stillness, balance. Can they develop this dance using canon? Can they develop the dance through performing more than one action at a time, for example a turn and a travel? Perform and appreciate group work What actions did you see? What characteristics of Iceni life did you see?
Access the Dance Teaching The Dance Teaching Frameworks Frameworks which outline the are available at: learning outcomes you can expect www.onedanceuk.org/resources to see when working with children across all Key Stages, including EYFS. 50 The One Dance UK Magazine | Autumn 2018
The One Dance UK Magazine | Autumn 2018 51
Teacher Resource
Week 2: Roman Army (space and dynamics) Warm Up Ask students to travel in the space like Roman soldiers. Ask them to travel on different space pathways: straight, curvy and zig zag. Ask students to travel with different dynamics: slowly, quickly, lightly, strongly, floppily, jaggedly etc. During warm up call out key Roman soldier equipment: curved shield, catapults, bow and arrow, pilon (throwing spear), legion flag, pugio (dagger), gladius (sword). Acquire Skills Teach different ways to travel: jump and travel (leaps and hops), turn and travel, roll and travel. Choreograph Ask students in pairs, or groups, to travel from one side of the room to the other imagining they are Roman soldiers. They need to set a pathway. Can they include changes of level? Can they add changes of dynamics?
Photos: Left: Wikipedia Commons; Right: Harris Academy, photo Brian Slater
Perform and appreciate group work What space and dynamics did you see? What effect did the change of dynamics have? Week 3: The Battle (relationships) Warm Up four to six students in each group before the warm ups. Recap all warm-up performed so far but call out Roman Legions formations that the students must form in their groups (based on Roman soldier formations): Wedge (triangle), tortoise (square), orb (circle), repel cavalry (line). Acquire Skills In the groups go through different relationship formations, different direction facings and closeness of the dancers. Then develop into how relationships can be used to show a battle without contact: question and answer, over and under, slow reactions, push and pull, mirroring, symmetrical and unsymmetrical. 52 The One Dance UK Magazine | Autumn 2018
CUT OUT AND KEEP
Choreograph Divide each group in two, half to be part of Boudicca’s tribe and the other half to be Roman soldiers. Ask them to go through the relationship concepts to create a non-contact battle. Can they perform different dance actions (week 1)? Can they add different space and dynamics (week 2)? Perform and appreciate group work What action, space, dynamic and relationship components did you see? Can you identify areas for improvement? Week 4: Choreography (action, space, dynamics and relationships) Warm Up Use elements of those that have been used so far. Choreograph Divide each group in two, half to be Iceni tribe and half as Roman soldiers. The dance will need a phrase by the Iceni tribe and a phrase by the Roman tribe, and then come together to perform a battle. Does the dance have a clear beginning, middle and end? Do you have a front, so you can present your dance to an audience? KS2 will need clear time limits to work on each section. Perform and appreciate group work Can you evaluate a group’s performance and identify areas for improvement and stating why? Week 5: Performance Students rehearse and then perform their group dances. Students feedback to others on positive aspects of performance or composition and give reasoning for their responses.
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This year celebrates the 30th anniversary of AQA GCSE Dance. Tori Drew, Dance in Education Manager, charted the development.
Happy Birthday GCSE Dance In 1986 GCSEs were introduced and two years later the first GCSE in dance was produced by the Northern Examination Association.
1992
In 1992 the Joint Matriculation Board (JMB) merged with Northern Examining Associate to form Northern Examinations Assessment Board (NEAB).
• Practical 50% •C oursework based on the student’s progress • Performance in a duo or group dance • Composition of a solo • Project areas •A practical and written demonstration from two chosen project areas given by the board: e.g. Notation, 20th century dance (e.g. Diaghilev), a dance style (e.g. jazz) and Staging the dance and Theme of own choice. • Written 20% (2-hour paper) • Candidates were given 30 minutes to view an unseen piece twice on video and answer questions on what they had seen.
1994
Composition was moved into its own unit and the coursework assessment was removed. The Set Study is a choice between teachers own choreography (that must have included two phrases from the board) or to use the board’s full study. In early days notation of the set study was supplied for the teachers.
1995
2011
GCSE Dance gained a new fourth unit of composition and James Cousins featured as a dancer on Zoe Logic’s 2011 Find It! set study. Two options of a set study were given between Find It! and Impulse. There was also a choice between two to four set works:
1980s/1990s 1988
2010s to Present
Ghost Dances (1981) by Christopher Bruce
I n 1995 the Set Study was choreographed by Wayne McGregor. This Set Study was a memorable teaching experience. Students loved the challenge of learning McGregor’s idiosyncratic style, combining unusual combinations of arm gestures, travelling steps and use of the torso. Ray Oudkerk
•A nd Who Shall Go To The Ball? (2007) by Rafael Bonachela, CandoCo. • Bird Song (2004) by Siobhan Davies Dance • Tek Warriors (1997) by Union Dance • Faultline (2007) by Shobana Jeyasingh • Ghost Dances (1981) or Swansong (1987) by Christopher Bruce • Nutcracker! (1992) By Matthew Bourne • Overdrive (2003) by Richard Alston • Perfect (2005) by Motionhouse •R omeo and Juliet (1965) by Kenneth MacMillan •R osas Danst Rosas (1983) by Anne Teresa de Keersmaeker • ‘Still Life’ at the Penguin Café (1988) by David Bintley
Insider Quotes 2016
The new 1-9 grading systems are introduced and the GCSE Dance specification develops: • Performance 30% • Set Study is broken into set phrases. Two of these are combined by the student or teacher as one set study. • Duet or trio that is 5 minutes long. • Choreography 30% • Solo or group choreography based on a task as laid out by the board every year. • Appreciation 40% • 1.5 hour paper. • New set works are added, and students are expected to study all six: • Artificial Things (2014) Stopgap Dance Company, Lucy Bennett • A Linha Curva (2009) Rambert Dance Company, Itzik Galili • I nfra (2008) The Royal Ballet, Wayne McGregor • Shadows (2014) Phoenix Dance Theatre, Christopher Bruce • Within Her Eyes (2016) James Cousins Company, James Cousins •E mancipation of Expressionism (2013) Boy Blue Entertainment, Kenrick H2O Sandy
1998
The term ‘practical’ was changed to ‘performance’ and the set study became only one option. The exam video was replaced with a set professional work. The first set work was Petrushka (1911) by Mikhail Fokine.
Above: Infra (2008) by Wayne McGregor Right: Petrushka (1911) by Mikhail Fokine
2000s 2000
The Associated Examining Board (AEB) merged with the NEAB to create the Assessment and Qualifications Alliance (AQA). Swan Song (1987) by Christopher Bruce was the set work. Our longstanding inclusion in the GCSE dance curriculum has been invaluable in deepening our connection with young people and dance educators across the country. It is crucial to our mission as Britain’s national dance company to provide young people with the chance to explore important works from our repertoire and inspire them to develop their own creativity. Julia Fitzelle, Joint Head of Learning and Participation, Rambert Dance Company
2002
2004
‘Still Life’ at the Penguin Café (1988) by David Bintley was the set work.
Cross Channel (1992) by Lea Anderson was the set work.
Dance education and inspiring the next generation has always been a core part of what we do, so to formalise this through our work being on the GCSE syllabus was an incredibly important achievement for us. Louise Richards, Executive Director of Motionhouse We hope that through the study of ‘Perfect’, we have inspired young people and contributed to their overall education and experience of the arts. Louise Richards, Executive Director of Motionhouse I think the creation of GCSE Dance was fantastic: it gives value to the art form and offers young people a chance to develop their analytical skills. Kevin Finnan, Artistic Director of Motionhouse
GCSE Dance began to be published under AQA branding and “Assignments” were dropped from the GCSE. The term “composition” was replaced with “choreography” and the programme note was added to the unit. Choreography was increased to 60% of the final mark.
2006
Front Line (2002) by Henri Oguike was the set work.
2008
Bird Song (2004) by Siobhan Davies was the set work.
oy Blue being on the GCSE Dance syllabus B is an exciting step for hip hop. Our work is being studied alongside the more traditional styles of dance, and that is an important step in allowing young people to experience the diversity and richness of the art form in modern day Britain. Kenrick ‘H20’ Sandy MBE and Michael ‘Mikey J’ Asante (Co-Artistic Directors of Boy Blue Entertainment)
2009 Penguin Café, 1988
54 The One Dance UK Magazine | Autumn 2018
For many of us who studied GCSE dance those works we watched have stuck with us for life and began our journey into the exciting world of dance. It’s an absolute honour to be a part of this next chapter of the dance GCSE and to have my work alongside such incredible artists and companies. James Cousins, Choreographer & Artistic Director, James Cousins Company
Top Left: Perfect (2005) by Motionhouse Top Right: Within Her Eyes (2016) by James Cousins
When Cross Channel was chosen for the GCSE I was amazed and delighted that students would be able to study work like mine. I now realise the true value of the study of professional dance works at school. It has immense impact, allowing many people to benefit from the extraordinary art form of dance and to appreciate work critically, thus enriching their cultural lives. Lea Anderson, Choreographer
2003
Left: Overdrive (2003) by Richard Alston Top: A Linha Curva (2009) by Itzik Galili Above: Bird Song (2004) by Siobhan Davies
Whatever your initial influences (there are bound to be many in the early part of your career) try to find your individual signature.For me,there is too much work that is derivative,where the influences have not been digested and used to form a personal language.To dancers I would say:enjoy every moment and stay open to learning something new every day. Don’t waste a moment because it is only when it is over that you realise how short a career it is.But,as long as it lasts,know that you are an extraordinary creature living an extraordinary life.”
Ray Oudkerk
Rishard Nelson from Union Dance in rehearsal (1995)
Top: Romeo and Juliet (1965) by Kenneth MacMillan
Christopher Bruce Liz Dale “ If someone wants to become a dance maker,take time to study and learn the craft.Firstly,observe other people’s existing works.It is especially important to work with choreographers and see how they go about their composition.When you are ready to begin choreographing, make sure you are properly prepared and have at least a rough idea of the structure of the dance.If you have chosen to make work with a theme,make sure you stick to the content of the theme or narrative. Don’t get lost in making movement which isn’t relative to the subject matter.
The set study Impulse included ‘free time’ that allowed students to perform their own interpretation of the timing and dynamics. Choreographed by Abi Mortimer.
Bottom Left: Emancipation of Expressionism (2013) by Boy Blue Entertainment Kenrick H2O Sandy Bottom Right: Artificial Things (2014) by Stopgap Dance Company - Lucy Bennett
I t is important that high quality inclusive dance, as seen with Artificial Things, is included on the GCSE dance specification because in addition to providing visible disabled role models; it opens young people’s eyes and minds to innovative ways of working with different bodies, and all the possibilities that can hold. It should also not go without mention that Lucy Bennett is the only female choreographer included in the Anthology, providing a positive role model for young women to aspire to. Siobhan Hayes, Interim Artistic Director StopGap Dance Company
It has provided the catalyst for the careers of many, many young dancers and creatives and it is hugely exciting to see the work of a former GCSE Dance student now appearing in the current anthology.As a subject that has been under threat of extinction numerous times in its 30 year history,we must be hugely grateful toAQA for continuing to be the only awarding organisation to offer it as a subject in its own right.Long may it continue!”
Heather Coke
“ The GCSE gives students opportunities to develop their own artistry and explore the significance of dance as an evolving human art form.Teachers have the opportunity to further integrate theoretical and practical study.As teachers become confident with the new specification,we want to see students create and perform in even more ambitious and powerful work.The new specification was also designed to give students the knowledge,understanding and skills needed for successful progression into the wide forms of post16 education available. GCSE Dance can bring a whole new culture,community and ethos to a school: ensuring KS3 dance can thrive,regular dance events take place,inclusion and team-building are nurtured and so much more.GCSE Dance alongside otherArts is critical to the question of social mobility. Students having access to assessmentbased curriculumArts courses is intrinsic to high-qualityArts and cultural education for all. The course not only teaches the students about Dance,but also facilitates collaborative skills,leadership,problem solving,critical thinking and the resilience to try out new ideas,be creative and explore different ways of learning.Whilst being challenging and holistic in its design, GCSE Dance is accessible and should offer an enriching experience to students.”
Further information www.aqa.org.uk www.onedanceuk.org
“ My personal involvement with GCSE Dance began at its inception,and I am proud to have been associated with its delivery and development during the last 30 years.As a young teacher,I was encouraged to get involved by the then Chief Examiner,Judy Smith,whose generosity and inspiring leadership helped me to develop the passion that led me to my current role.I believe that GCSE Dance provides young people with a valuable opportunity to explore a physical art form in a non-competitive environment and to engage in critical dialogue where their personal response is valued and encouraged.
of Lister Community School,Newham, London GCSE Dance teacher for 25 years “ On the use of assignments: I relished your own choice of assignment for the candidates.The first time I ran the course I did it rather badly as I got them all to do an independent written project which was an arduous task. Then on further understanding of the Specification I realised it could be a practical project, so I taught them a ‘cool’ lindy hop duet which I did for several cohorts, obviously improving over time, so that the majority of candidates scored A* on this.” Photos Page 54
Top Left:Lauren Cuthbertson as Juliet and Federico Bonelli as Romeo in Romeo and Juliet.Bill Cooper/ROH 2012;Top Middle:Francesca Hayward andTristan Dyer in Infra,The Royal Ballet © ROH/ Andrej Uspenski,2012:Top Right:Ghost Dances with Rambert’s Daniel Davidson Liam Francis and Juan Gil.Jane Hobson; Middle Left:ElishaWillis as the Ballerina, Alexander Campbell as Petrushka and DominicAntonucci as the Moor withArtists of Birmingham Royal Ballet in Petrushka. Bill Cooper;Middle Right:DanceTekWarriors dancer Rishard Nelson in rehearsal.Cindy Sasha.Middle:A Linha Curva with Rambert Dance Company’s Hannah Rudd,Carolyn Bolton,LukeAhmet,PierreTappon.Hugo Glendinning.Bottom Left:Overdrive with Nancy Nerantzi,Elly Braund and Oihana Vesga Bujan.Chris Nash chrisnashphoto.com; Bottom Right:Bird Song.Joel Chester Fildes. Page 55
Top Left:Perfect.Chris Nash chrisnashphoto.com;Top Right:Within Her Eyes.David Foulkes;Bottom Left: Emancipation of Expressionism.Nicole Guarino.Bottom Right:Artificial Things, photo by Chris Parkes. The One Dance UK Magazine | Autumn 2018 55
U.Dance 2018 Highlights
2018 13-15 July
Ipswich
1,400 watching live and at home via livestream
Celebrating the tenth anniversary of the nation’s annual youth dance festival For more information go to: www.u-dance.org We would like to thank DanceEast, hosts of U.Dance 2018
Partners: University of Bedfordshire Ipswich Borough Council English Folk Dance and Song Society National Youth Dance Company Thanks to all supporters and funders
2 ‘Maypole Remixed’ performances
Nearly 200 dancers and group leaders from 9 regions
4 career sessions
“ It was a great privilege to host the U.Dance national event this year and my colleagues and I enjoyed seeing the Jerwood DanceHouse work at its best - buzzing with young people and their energy. It was a truly happy and memorable weekend and we hope that some of the delegates will find their way back here as future professionals.” Brendan Keaney, Artistic Director and Chief Executive, DanceEast
16 dance artists leading workshops
8 U.Dance on screen films
Book Reviews
Review by ‘Funmi Adewole
Narratives in Black British Dance: Embodied Practices Edited by Adesola Akinleye Though accessible to a general audience, Adesola Akinleye has produced a multi-layered book which is of academic importance. One reason is the theoretical framework that Akinleye has devised for the presentation of these narratives. Akinleye does not cast Black British dance as an artistic genre, rather as a discursive genre. Her main methodology is a narrative inquiry. The analytical focus is placed on the lived experience of the individuals and what dance means to them. Akinleye writes, “Black British dance refers more to a
community of people that are created from the experience of toiling and negotiating the impact of a label, rather than a label that summarizes a community” (p.21). The sixteen articles in the book appear in three sections: ‘Paradigms’, ‘Processes’, and ‘Products’ with each section providing a different lens through which we can look at Black British dance. ‘Paradigms’ is about the negotiation of dominant Euro-American discourses by writers and the knowledge they produce. ‘Processes’ seeks to draw analytical attention to the creative processes used by Black dance artists, whilst alerting the reader to the danger of thinking with copyright issues and much more. Originally published in 1995, Look Before You Leap was a response to the ‘increasing range of difficulties being faced by choreographers’ (Whitley, 2012: 7). The layout is simple and accessible, being divided into five main chapters (along with sub-headings) and enabling the reader to dip in and out when desired. Part 1 discusses contracts, management and Equity, with Part 2 giving an overview of working in the UK and abroad. Part 3 provides the main bulk of the text, with detailed information on working in various fields of the dance sector, i.e. theatres, schools and site specific locations. The
2012 edition updates these, with additional advice on working with cruise ships, dance for camera, commercial music and motion capture. Part 4 concentrates on collaboration, with issues surrounding copyright and other policies tackled in Part 5. With Britain’s departure from the European Union looming, along with the changing nature of choreographers’ careers, perhaps it is time for another update to Whitley’s text. Many of the issues presented are perpetually relevant however and I would certainly recommend a read.
Review by Harry Fulleylove
Look Before You Leap: Advice and Rights Guide for Choreographers By Ann Whitley Updated and edited by Sally Brooker and Caroline Miller Despite its rather humble appearance, Ann Whitley’s Look Before You Leap (2012) is an essential resource for choreographers at any stage of their career. Whereas there are plenty of texts on the task of creating movement, for example A Choreographer’s Handbook (Burrows, 2010) and the evergreen The Art of Making Dances (Humphrey, 1958), Whitley’s prose is a rarity in that it addresses the stark reality of negotiating contracts, dealing
Practitioners and CV writing. The book encourages a very reflective practitioner by offering points to reflect upon at the end of each chapter, promoting best practice at all times. Each chapter also has an extensive bibliography, directing the reader to more indepth study of that specific area. The book is laid out in a logical and accessible way, with visual tables and diagrams to demonstrate the text. I am a graduate of the Diploma in Dance Teaching and Learning at Trinity Laban, and this book was not only an essential handbook for the course but also continues to be an extremely useful everyday
reference tool for my career as a dance practitioner. The detail and insight into the theoretical side of things as well as the practical elements of dance teaching and learning make it a guide to best practice that really does cover everything.
Review by Jessica Bulaitis
Dance Teaching & Learning: Shaping Practice (3rd Edition) Edited by Lorna Sanders Dance Teaching & Learning: Shaping Practice is a thorough guide to the pedagogical theories and practices around teaching dance to children and young people. There are four main sections; Teaching and Learning in Dance, Professional Knowledge of Dance Teaching, Critical Reflection on Dance Teaching and Dance Teaching in Practice. Chapters by various prestigious professionals go into depth on every area of the job, from learning styles and session planning, to safe practice, legal requirements for Dance
58 The One Dance UK Magazine | Autumn 2018
that all Black artists working with specific forms approach them from the same perspective. ‘Products’ is not about artworks, but the “products of resistance”, the practices and methods which practitioners have forged to sustain work, but which have also contributed to the development of the industry.
Purchase www.narrativesindance.com ISBN: 9783319703138
Purchase www.bit.ly/OneDanceUKShop ISBN: 978-0951563120
BA (Hons) Dance Education Delivered through distance learning, studying this programme will expand your knowledge and understanding of dance education across a range of sectors and is suitable for dance teachers of any genre.
Apply by 15 January 2019 via UCAS for our full-time programme to start September 2019.
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 Purchase www.bit.ly/OneDanceUKShop ISBN 978-1-5272-0012-8
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“The programme provided the perfect stepping stone to an alternative dance career.” BADE Graduate