ONE Magazine | Spring 2019 by One Dance UK

Special Focus on Resilience • Dancer pathways - inspiring new careers after dance • Celebrating important milestones with organisations nationwide • Building mental resilience

• Interview - Sir Richard Alston • International links with IABD • Rehearsal direction - getting the best from your dancers • Win tickets to NDCWales’ Spring tour!

Education • The value of postgraduate study •U sing ‘restorative practice’ in schools • U.Dance 2019 at Southbank Centre! • Cut out resources for teachers

Health • Dancers tell their injury stories • ‘Workload quantification’ in dance • NEW information sheet Hormones and Dance Performance The One Dance UK Magazine Issue 6, Spring 2019

Welcome

Andrew Hurst Chief Executive, One Dance UK

Welcome to the Spring issue of One, which takes resilience as its special focus. Over the past year we have been assessing the current state of the sector, most recently with research into the role and impact of freelancers. We have been struck by the huge personal resilience of the individuals working in our sector, which itself has had to bounce back from significant changes in the national landscape. We are seeing significant investment in helping arts organisations build resilience by adapting and responding to these changes, including the programme we took part in, led by Michael Kaiser and his team. Take a look at Michael’s fascinating insights on this subject on page 21. As ever, One Dance UK is working hard to ensure we grow a stronger, more vibrant and more diverse dance sector. Our industry wide conference, held in November in Leeds, was a hotbed of debate and discussion, which we hope offered new ideas and approaches we can all take forward into our work. Save the date for Re:generations 2019 - this year’s conference at The Lowry in Salford. Join us there and have your say. On a more direct level, we are creating more

opportunities to reach you, our members, so we can connect, hear directly about your needs and respond. This year, we are hosting a wide range of member networking events across the country, with a variety of themes. Take a look at the calendar on page 12 – we look forward to welcoming you at one or more of these. Another upcoming highlight is #DancePassion in collaboration with the BBC – originally planned to be a day of dance content across their channels, there will now be a whole week of content from 31 March to 6 April. As you may know, this summer One Dance UK is relocating to the new Dance Hub building in Birmingham, with a brand new extension to the Birmingham Hippodrome nearly complete. Our new home is right in the centre of the country which will position us perfectly to build our important networks nationwide. We are really proud of how One magazine is developing, and this issue contains a wide range of content, with lots of useful information and interesting articles from dance professionals. We hope you will enjoy it, and as ever, we welcome your feedback.

In This Issue

NEW Contemporary syllabus launched Available for teachers and professional dancers who work across different settings including: dance schools, colleges, BOOK NOW secondary schools and youth dance. for Teachers Courses NEW Affiliate Contemporary Membership introduced – for teachers who are not already ISTD members, enabling them to submit students for exams.

with DVD and syllabus notes

Go to www.istd.org/contemporary for more information 2 The One Dance UK Magazine | Spring 2019

Photos: Top: Brian Slater; Top Middle: Ewa Krasucka; Bottom Middle: David Harty; Bottom: Dr Allan Johnston

CREATED BY ROSS McKIM MA, PHD, NBS (IDP)

Amanda Eyles Page 22

Denise Saunders Thompson Dr Allan Johnston Page 32 Page 46

Amanda Eyles has been working as a ballet mistress, rehearsal director, and Benesh notator for 25 years. A graduate of the Arts Educational Schools in London and the Rambert Academy, she began her career at The Royal Ballet. Throughout her career she has combined assisting choreographers on new work and reviving and rehearsing existing ballet pieces. She has worked with dozens of leading choreographers worldwide. Amanda currently works with The Royal Ballet as assistant and rehearsals director in charge of new work, in particular Wayne McGregor CBE’s pieces. Her productions are staged across the world.

Denise is the President/CEO of The International Association of Blacks in Dance, a non-profit dance service organisation. Her nonprofit/for-profit management and philanthropic career spans over 20 years of executive director and program director experience. Denise has advised organisations on administrative, programmatic and fundraising issues including strategic plans, policy and procedures, communications programs, budgeting and contracts. She has pioneered top-ranked courses on the collegiate level (graduate and undergraduate) in artistic development, entrepreneurship, fundraising, grant writing, leadership, management, and production. Denise currently serves as a Professorial Lecturer for the Graduate Arts Management Degree Program at American University. In 2015, she concluded 17 years of service at Howard University in the capacities of Professor and Theatre Manager/ Producing Artistic Director.

Dr Allan Johnston, MBBS, MRCPsych, Cert.Med.Ed(IU) is a Consultant Psychiatrist specialising in Sports Psychiatry. He works with athletes across a range of sports, dance and performance disciplines, including ballet company members and vocational dance students. He has recently been appointed by the The English Institute of Sport (EIS) as Sports Psychiatrist to the Mental Health Expert Panel supporting Great Britain’s Olympic and Paralympic athletes. He is also Consultant Performance Psychiatrist for football’s League Managers Association (LMA). Allan is Medical Director and Sports Psychiatrist for Synergy Medicine Ltd and has developed an independent sports medicine service in Leeds.

The One Dance UK Magazine | Spring 2019 3

In the Spotlight

Contents

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

Editorial and Advertising

Welcome by Andrew Hurst

5 6 12 14 19 20

In the Spotlight Beyond Borders – Great Women in Dance Member Competition – Win Tickets to NDCWales’ Spring Tour! News Membership and Calendar – Dates for your Diary Feature Interview: Sir Richard Alston in Conversation with Laura Nicholson Learning and Participation at Richard Alston Dance with Katie Vernon-Smith U.Dance 2019

21 22 24 28 29 30 32 34 35 36 38 40 41 43 45 47 49

Special Focus on Resilience Introduction by Michael Kaiser Maximising Efficiency in the Studio by Amanda Eyles Celebrating Milestones Across the Dance Sector by Tiah Parsan Strength through Networking: Building Resilience in South Asian Dance with Parbati Chaudhury and Seetal Kaur Can Dance Give a Career Resilience? by Susi Pink Guiding the Way by Ellen Chambers Global Partnerships & Infrastructures: The International Association of Blacks in Dance by Heather Benson Talking Feet by Annette Walker Spotlight on Canadian Cultural Treasures by Mercy Nabirye Dance Mama: Be Part of a Movement by Lucy McRudden Dance at Postgraduate Level by Cameron Ball Healthcare Choices: Quality Care by Erin Sanchez Injury Stories by Erin Sanchez Resilience in Dance - Building Psychological Skills by Dr Allan Johnston How Much? How Fast? How Soon? Three Simple Concepts for Progressing Training Loads by Tim Gabbett New Information Sheet: Hormones and Dance Performance Using Restorative Practice in Schools by Tori Drew

51 53

Cut-out Resources for Teachers Create and Dance: Alice’s Adventures in Wonderland for Key Stage 1 and 2 by Royal Opera House Inclusive Dance Resource: Life on Mars by Tori Drew

Features 55 Your Dance Ambassadors 2018-19 by Hollie McGill 56 Conference 2018 Review 58 Book Reviews

Cover Image Monique Jonas, Elly Braund and Melissa Braithwaite in Richard Alston Dance Company’s Brahms Hungarian Choreography Sir Richard Alston Photo Chris Nash

One Dance UK’s new home, Dance Hub Birmingham development Image Austin-Smith:Lord 4 The One Dance UK Magazine | Spring 2019

Beyond Borders – Great Women in Dance

Susi Pink Head of Marketing and Communications Cameron Ball Magazine Editor Hollie McGill Copy Editor

One Dance UK members, the All-Party Parliamentary Group (APPG) for Dance and VIPs were recently treated to a private view of the exhibition Beyond Borders – Great Women in Dance. This photographic exhibition, displayed in the 12 Star Gallery at Europe House, was curated to celebrate the creativity and cultural diversity that is the hallmark of the European Union, and mark the rich cultural exchange between the UK, Europe and the rest of the world and to highlight the importance of international cultural exchange to the health of the dance sector. From some of the UK’s most renowned dance companies to

Tiah Parsan Copy Editor Advertising enquiries Contact Cameron Ball cameron.ball@onedanceuk.org Arts Fundraising and Philanthropy With thanks to our funders

With thanks to our project funders and supporters

Akademi BFI Birmingham Royal Ballet Canada Council Creative Scotland DanceEast Dancewear Central dance Immersion, Toronto Derrick Anderson EFDSS 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 Rambert Royal Opera House Safe in Dance International Southbank Centre Sport Fusion Ltd The Laws Family Trinity Laban Conservatoire of Music and Dance Zurich Insurance Group Design TM tm-studio.co.uk

Photos: Top: Jamie Smith; Bottom: Afterimage by Fernando Melo, performed as part of NCDWales’ Awakening Tour. Photo by Rhys Cozens

freelance dance artists across all genres of the artform, the significant influence of international artists is an integral part of the UK’s cultural fabric. Amongst them, two of the UK’s national dance companies which were founded by female immigrants – The Royal Ballet companies by Ireland’s Ninette de Valois, and Rambert by Poland’s Marie Rambert. The exhibition was organised by One Dance UK with the kind support of Jane Pritchard, John Travis and the European Commission Representation in the UK. Photography was drawn from the collection of John Travis and the bbodance collection.

Above: Attendees at Beyond Borders – Great Women in Dance

Win free tickets to NDCWales’Awakening! Exclusive Member Competition To celebrate the release of our Spring 2019 edition of One, we are giving away two free tickets for National Dance Company of Wales’ Spring tour of Awakening! NDCWales’ Mixed Bill has choreography by Fernando Melo, Caroline Finn, Lee Johnston and Marcos Morau. Enter our prize draw by telling us the theme of our Spring magazine, your favourite article and why, for your chance to win.

Grand Theatre,Blackpool Wednesday 27 March 2019 19:30

Email comms@onedanceuk.org with your answer by Friday 22 March 2019. Good luck!

Sherman Theatre, Cardiff Wednesday 1 May 2019 19:30 Thursday 2 May 2019 19:30

More information bit.ly/AwakeningComp

Talies in Arts Centre, Swansea Thursday 4 April 2019 19:30

“ Three unique dances to amuse and amaze.”

Lawrence Batley Theatre, Huddersfield Tuesday 9 April 2019 19:30 Aberystwyth Arts Centre, Aberystwyth Wednesday 24 April 2019 19:30

Theatre Severn, Shrewsbury Tuesday 7 May 2019 19:30 The One Dance UK Magazine | Spring 2019 5

In the Spotlight

News

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

Re:generations 7-9 Nov,Salford

Transmission Roots to Branches

The Imagination Museum bringing museums to life through dance

We are excited to announce the international One Dance UK Conference 2019, Re:generations! With a focus on dance of the African Diaspora (DAD) and dance in the digital space, this event aims to bring the dance community together to stimulate critical debate, share current practice, research and innovation and encourage new perspectives for the future. Taking place at The Lowry, Salford, the theme for Re:generations 2019 is the digital space. We will explore the ways digital technologies can be used for artistic innovation and creative practice, and to unite global communities through online platforms whilst increasing the visibility of diverse work to mainstream audiences. The conference provides an international platform connecting UK artists, practitioners and scholars with global leaders from Africa, USA, Canada, the Caribbean, Europe and beyond.

Across the three days there will be panel discussions, lecture demonstrations, masterclasses, workshops, academic paper presentations, performances, networking events and more! The conference will provide continuing professional development (CPD) for dance teachers, healthcare practitioners and other dance professionals, in addition to bespoke programming for producers, new media practitioners and executive artistic leaders. A key event will be the launch of the report for One Dance UK’s ‘Dance of the African Diaspora Mapping Research’; presenting the current state and needs of the DAD workforce.

Made By Katie Green is a contemporary dance company specialising in responding to historical artefacts and heritage sites through dance. With support from the National Lottery through Arts Council England (Strategic Touring programme) and local partners, the company will be sharing a new version of their danced history tour, The Imagination Museum: Mayflower 400, with at least 20 new heritage partners across Lincolnshire, Nottinghamshire, Hampshire and Plymouth from 2019-2020. Performances begin in the ‘Pilgrim Roots’ area in and around Retford and Gainsborough in May 2019.

Re:generations the digital space Conference 2019

Save the Date 7–9 November The Lowry, Salford

Transmission - Roots to Branches is a new feature-length documentary investigating and celebrating the full spectrum of jazz dance. The film is now in its post-production phase, and its production team are looking for a few final investors (‘associate producers’) to see the film through to its completion. It will be released digitally and on the film festival circuit, with options being explored for educational projects. It is an in-depth, cinematic and timeless documentary which is destined to become a source of inspiration for decades to come. Drawing from interviews with over 70 experts worldwide, this film investigates the art form, from its roots in African rhythms and movement brought to the Americas by way of the transatlantic slave trade, to the early founders of theatrical jazz, to the styles we see today, which themselves continue to evolve. The cast of experts captured is second to none. This monumental achievement is essentially down to the belief, passion and transatlantic hard work of three Brits: Lisa Donmall-Reeve (Producer) of LDR Creative, Khadifa Wong (Director) and Zak Nemorin (Assistant Director). Transmission – Roots to Branches is only months from completion, and is eagerly awaited, evidenced by the rapturous reaction from a short preview shown at the Los Angeles Dance Film Festival on 24 January. “The term jazz dance often evokes imagery of splayed jazz hands, sassiness, and musical theatre razzmatazz – all valid, but through testimony and evidence, the film demonstrates how much more there is to this genuine art form.” says Zak Nemorin, Head of Jazz Dance at Millennium Performing Arts, whose original concept was to create a film that would help to elevate the status of jazz dance.

6 The One Dance UK Magazine | Spring 2019

Susan Stroman

Arlene Phillips CBE

Craig Revel-Horwood

Jason Samuels Smith

Debbie Allen

Further information To find out more about joining the movement, supporting the project or to organise a screening near you, please contact lisa@ldrcreativellc.com To donate via the film’s fundraising page, please visit: bit.ly/transmissionjazz

Photos: Top: The Imagination Museum, Made By Katie Green. Photo Owen Benson; Bottom Right: Simon Richardson

Photos: Vibecke Dahle, Darly Getman and Tom Clark

Further information bit.ly/ODUKRegen2019

Chita Rivera

Excitingly, this funding has enabled Made By Katie Green to launch a new forum for the dance and heritage sectors, also called ‘The Imagination Museum’, aimed at sharing and exploring ways of moving in museums, online and in person. The Imagination Museum website is a place for dance artists and museums/ heritage sites to share events, opportunities, experiences and resources. Join the consortium to be able to add content to the site and to have access to discussion events where you can meet other artists/ museums interested in working collaboratively and begin plotting your own projects.

Above: The Imagination Museum (Sarah Blanc, Megan Griffiths and Lucy Starkey)

Further information www.imaginationmuseum.co.uk Twitter @TIMdancemuseums Facebook @TheImaginationMuseum Instagram @imaginationmuseum

First Dance Specialist RED-S Clinic Launches

The best in South Asian youth dance comes to Southbank Centre

The National Institute of Dance Medicine and Science (NIDMS) is pleased to announce the expansion of the London NHS Dance Injury Clinic to include the UK’s first RED-S/Endocrine clinic. Previously known as the Female Athlete Triad, Relative Energy Deficiency in Sports (RED-S) refers to health concerns caused by a lack of energy available to support both exercise and normal physiological functioning. See page 47 for a NEW One Dance UK Information Sheet on this topic. Dancers who are experiencing symptoms that may be as a result of RED-S such as weight loss (sudden or gradual), periods stopping, periods less regular and infrequent, periods much lighter, increased frequency of injuries (either soft tissue or bone), or any bone stress injury, can now be referred to NIDMS’ London dance injury clinic to receive care, treatment and

Akram Khan, Shobana Jeyasingh, Aakash Odedra: Akademi was with them all at the start of their careers. This year, Akademi marks 40 years of nurturing excellence in South Asian dance. As part of these celebrations, Akademi is partnering with One Dance UK’s U.Dance, to present the National South Asian Youth Dance Competition, NAVADAL, at Southbank Centre on 20 July. This is presented in collaboration with Imperial Society of Teachers of Dancing (ISTD) and Centre for Advanced Training (CAT) Yuva Gati. The winners of the competition will have the opportunity to perform in a special showcase at the Purcell Room on the same day. NAVADAL – meaning ‘new shoots’ in Hindi – is a biennial showcase of the rising stars of South Asian dance in the UK and forms a key part of Akademi’s work in developing professional pathways into the wider dance sector. Numerous participants

advice from specialists. The new NIDMS RED-S/ Endocrine clinic will be jointly run by Dr Roger Wolman and Dr Nicky Keay at the Royal National Orthopaedic Hospital, Bolsover Street. Dr Roger Wolman, Consultant in Rheumatology and Sports and Exercise Medicine (SEM) has been leading the London NHS dance injury clinic since 2012, where he has treated over 1000 dancers over the past seven years.

Further information For referral information to the RED-S clinic please visit nidms.co.uk/red-sclinic or contact the NIDMS manager on manager@nidms.co.uk or 020 7713 0730

have had the opportunity to progress into Akademi’s artist development programmes and productions. Applications will open soon, followed by shortlisting by a panel of judges.

NAVADAL entrants

Further information navadal@akademi.co.uk akademi.co.uk/navadal The One Dance UK Magazine | Spring 2019 7

In the Spotlight

News One Dance UK Awards 2019

NewYear Honours

• Innovation in Dance Award   • Dance on Screen – Impact Award • Lifetime Achievement in Dance Education and Learning Award   • Dance Personality of the Year Award   • Dance of the African Diaspora Lifetime Achievement Award • Jane Attenborough – Lifetime Achievement in Dance Award

We were delighted to see dance shining so brightly in the recent New Year Honours announcements. The focus on the dance sector demonstrates how the UK is a leader in the artform across many genres and recognises the strong contribution that dance – in all its diverse forms – makes to the nation. The awards were as follows:

Nominations will open on 29 April, International Dance Day, for the One Dance UK Awards 2019. We are keen to ensure that this year’s One Dance UK Awards build on the success of 2018 and that they are fully representative of our sector. The process begins with nominations, and ensuring that we reflect today’s diverse sector is entirely dependent on the range, breadth and diversity of the nominations that are made. Help us spread the word about the One Dance UK Awards 2019 so that hopefully we can broaden the reach and ensure that they represent all parts of the sector. Currently the 2019 categories are as follows:

Teaching Award   • Outstanding Secondary Dance Teaching Award                 • Inspirational Community Dance Practitioner Award • Rising Star Award for Dance Teaching   • Most Supportive Senior Leader or Governor Award • Inspirational Lecturer at College, University or Conservatoire • Dance Healthcare Practitioner Award   • Dance Healthcare Team Award   • Dance Science Award   • Research in Dance – Impact Award Dance • Advocacy Award   • People’s Choice Award • Best use of Dance by a Brand Award   • Dance Writing Award • Outstanding Dance Programming Award

We would really appreciate your support – please do encourage • Richard Alston is awarded friends and colleagues to a Knighthood for services to nominate something or somebody dance that they would like to see be • Prof. Veronica Lewis MBE recognised for their contribution. becomes CBE for services to Nominations will close at the end higher education in dance, of July 2019. drama and circus arts in the UK and abroad Further information You can find out more about the Awards • Manchester Award • Anthony van Laast MBE Categories, the Awards Ceremony and • Leeds Dance Partnership Award   becomes CBE for services to Sponsorship on our website: bit.ly/OneDanceUKAwards2019 • Outstanding Primary Dance dance and choreography • Farooq Chaudhry becomes OBE for services to dance and dance production • Darius James Williams becomes OBE for services to ballet and community dance • Sujata Banerjee becomes MBE for services to dance The recent Parents in Performing development and will be starting • Pratap Pawar becomes MBE Arts (PiPA) Balancing Act work in the dance, music and for services to dance, culture survey identified that 79% of opera sectors in April 2019. and community cohesion respondents working in the • Anita Young becomes MBE performing arts had to turn Get involved for services to classical ballet down work due to caring Individuals and dance education responsibilities. However, 40% If you are a member of Equity, • Sheena McDonald becomes of respondents wanted to work Spotlight or One Dance UK, MBE for services to Highland more. 37% of respondents with you can sign up to take part in dancing caring responsibilities changed the PiPA My Family Care trial, a • Irene Hayes gets BEM for their work role and 45% changed service which provides access to services to dance and the their work location. Of those a wide range of family-friendly community in Southwark who had left the industry, 43% resources, including last minute, • Babette Langford gets BEM cited caring responsibilities as flexible, UK wide childcare: for services to children in the main push factor. pipacampaign.com/mfcpilot stage dance and theatre in For the past three years, There are limited spaces London PiPA has been working with available, with two places • Xander Parish becomes OBE the theatre sector to raise currently available for One for services to dance and awareness of the challenges Dance UK members. Please UK/Russia cultural relations facing carers and parents in the email pipamfc@gmail.com with performing arts and working in the headline ‘Dance’. Places are partnership with organisations allocated on a first come, first to find appropriate, sustainable served basis. solutions to support and retain our workforce whilst increasing Organisations business resilience. After a To find out more about our period of rapid growth and business support programme achievement PiPA are moving and partnerships please email: Left: Hikaru Kobayashi, onto the next phase of their pipacampaign@gmail.com PiPA Ambassador

Photo: Venture Studios

Parents in PerformingArts – One Dance UK member opportunity

8 The One Dance UK Magazine | Spring 2019

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The One Dance UK Magazine | Spring 2019 9

In the Spotlight

News

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

Advocating for the dance sector

#DancePassion One Dance UK’s dance of the Sunday 31 March – Saturday 6April African Diaspora sector research

Advocacy is a major part of One Dance UK’s work in building resilience for the UK dance sector. One key element of this is our role as the Secretariat of the Dance All Party Parliamentary Group (APPG) – a group of parliamentarians from across the political spectrum who come together to discuss particular issues of concern. The Dance APPG was created over 10 years ago ‘to promote dance as an art form and as an important element of healthy living and the fight against obesity, and to promote its education and social benefits.’ One Dance UK manages the group’s activities, including regular meetings and guest speakers from the dance sector in Parliament, site visits and performances.

One Dance UK is working closely with BBC Arts, dance companies and artists across the UK on #DancePassion. It will be an opportunity to share the love of dance, with a celebration online and on-air. Driven by social media and the BBC’s unrivalled reach, #DancePassion will showcase the country’s dance sector in all its variety. Live streams will feature on social media platforms as well as a BBC #DancePassion website for audiences to explore and enjoy the full range of content live and on-demand. There will be performances and insights including behind the scenes access, rehearsals and conversations. Audiences will be encouraged to engage with live streams to ask questions,

Now co-chaired by Nic Dakin MP and Baroness Gloria Hooper, support for the group has grown considerably over the years. Just last year, One Dance UK hosted over 60 political guests at performances including Candoco’s Double Bill; Rambert’s Life is a Dream; Birmingham Royal Ballet’s Fire and Fury; and English National Ballet’s Nutcracker. Turn out at the last performance had the largest ever number of political guests at a Dance APPG theatre event to date, including Arts Minister Michael Ellis MP. One senior government arts official commented that attending the performance “really helps to add context to the work we’re doing”.

The 2019 programme began with a private view of a special photographic exhibition Beyond Borders – Great Women in Dance (see page 5). We will also be hosting a performing arts ‘drop-in’ in parliament in the spring, alongside the Association of British Orchestras and UK Theatre, offering an opportunity for politicians to find out more about dance and the important role of the arts.

Arts Minister Michael Ellis MP speaking at the Dance APPG AGM 2018

Further information You can play a part in asking your local MP to join and support the APPG – contact advocacy@onedanceuk.org for more information.

The role and impact of freelancers in the UK dance sector:research project Freelancers form an essential but under-researched part of the UK dance industry. The aim of this project was to generate up-to-date evidence about the working lives of freelancers, the contributions that they make to the sector, and how organisations like One Dance UK can better support them. Researchers from the University of Bedfordshire were commissioned by One Dance UK to conduct a study exploring these areas, to inform the work that they and partner organisations do to support and advocate for this valuable work. To gather comprehensive insight into freelancers’

experiences and contributions, an online survey captured information from over 500 participants, and followup interviews provided further details regarding the perspectives of both current freelancers and those who have transitioned into permanent employment. A range of self-employed roles were represented: performers, creators, educators, managers, producers, healthcare providers and researchers, with many people performing a multitude of roles within a portfolio career. Organisational representatives were also interviewed to better understand the support that they offer and the extent to which it meets the needs of freelancers. Early analyses indicate that the participants had high levels

10 The One Dance UK Magazine | Spring 2019

of wellbeing and contributed to the sector and society in numerous ways. However, freelancers expressed concerns regarding pay and contract negotiations in relation to their level of education, the time commitment involved, and physical demands of the job. Many respondents supplemented their income with additional employment, both within and outside the sector. Freelancers demonstrated strong engagement with peers, using networking and word of mouth to find opportunities and access support. Preliminary findings also highlight areas where organisations could direct resources, such as improved communication, strengthening regional networks, and affordable provision of both artistic and business-related development opportunities.

“ To gather comprehensive insight into freelancers’ experiences and contributions,an online survey captured information from over 500 freelancers.”

Further information beds.ac.uk/rimap/projects

Further information bit.ly/BBCDancePassion

Since August 2017, the dance of the African Diaspora (DAD) team has been conducting extensive research to uncover the current trends and needs for support within the UK sector. We would like to thank all the individuals, organisations and institutions that have supported and contributed to the research project. Without these voices we would not be able to raise the profile of the art forms and individuals working within dance of the African Diaspora. We conclude this spring with our final consultations, meeting with various venues, universities and institutions supporting work within dance and other arts industries. Later this year, we will publish and launch the full DAD Sector Mapping Report during our

Re:generations Conference 2019 (see page 7). At the launch we will present recommendations in response to our findings and provide a world café for leading individuals and organisations to critically debate the future for DAD in the UK and beyond.

Further information info@onedanceuk.org

Central School of Ballet announces commencement of building works at new London premises

Photo: Bill Cooper

Photos: Top: One Dance UK; Bottom: Rachel Cherry

By Lindsay Jenkins MSc and Natasha King MSc, Dance Science, University of Bedfordshire

share, like and celebrate their own dance passion. Look out for #DancePassion From Sunday 31 March to Saturday 6 April - a national moment in celebration of dance.

Building work has commenced on Central School of Ballet’s new premises in the South Bank community of Southwark. Central’s £9million project for a new home involves the full relocation of the school to SE1. In March 2017, Central announced a campaign to raise £6million to finance the development. Now, less than two years later, under £1million is required for the final stages of the Paris Gardens building. Support to date has come from individuals, major Trusts and Foundations and from two loans; £3million from Southwark Council and £600,000 from the Arts Impact Fund. Fundraising continues in earnest to repay the two loans. Students on Central’s undergraduate and postgraduate degree programmes will begin using the new South Bank premises during the academic year 2019/20. An official opening

of the new building attended by Central’s Patron, HRH The Countess of Wessex, will take place in 2020. The new Paris Gardens premises will feature amenities to rival dance training facilities anywhere in the UK; seven studios, a fully-equipped studio theatre, and study and resource centres. The fit-out will include a state-of-the-art health suite providing psychology, nutrition, physiotherapy, Pilates and recovery from injury programme. The aim is to become a hub for a dynamic dance community combining excellence in dance training for those aiming for a professional career and a programme of opportunities including dance classes and performances for people living in Southwark.

Further information centralschoolofballet.co.uk The One Dance UK Magazine | Spring 2019 11

In the Spotlight

Membership Discover dance at Middlesex

Thank you to everyone who completed our recent membership survey. The findings revealed how much our members value the opportunity to meet and network with each other. Creating a forum for the dance community to come together is a valuable part of what we do and enables connections to be made and for ideas to emerge. So, we have developed a programme of events for members and the dance community to meet, connect, learn and collaborate. Networking events are free for One Dance UK Members and take place at a variety of

locations in the UK, throughout the year. The format usually includes a welcome, a short speech or presentation on a current topic of interest and we also build in plenty of time for networking and making new connections. See below for our calendar of events – and save the date in your diary. We look forward to seeing you there!

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

Foundation Years available Professional Practice postgraduate courses available

For information on these events and more, go to www.onedanceuk.org

May 2019 Member Networking South West Region - coinciding with Surf the Wave UK Dance Showcase

19 September 2019 Health and Well Being One Dance UK, Birmingham

2 December 2019 One Dance UK Annual General Meeting One Dance UK, Birmingham

BA (Hons) Diverse Dance Styles (Validated by University of Roehampton)

Members Help Desk If you have any questions about your membership, booking onto our events and conferences or about our programmes and campaigns do get in touch. Our membership team is here to help. Just call the members help desk on 0207 713 0730

3 March 2019 Dancers’ Health Citizen M Hotel, London

www.mdx.ac.uk/perform

Right: Delegates at the One Dance UK Conference 2018

Calendar

15 February 2019 Member Networking and Private View of Beyond Borders - Great Women in Dance 12 Stars House, London

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

G IN 9 N 01 IO 2 IT T D SEP AU OR F

Photos: Top: Brian Slater; Calendar Top L: Jamie Smith, Bottom L, One Dance UK, Bottom R:Foteini Christofilopoulou; all others Brian Slater

Expand your network with One Dance UK

21 July 2019 Children, Young People and Dance in Education Southbank Centre, London

12 The One Dance UK Magazine | Spring 2019

8/9 November 2019 Re:generations International Conference The Lowry, Salford

African, Caribbean, Contemporary & Urban Dance

Creating Dancers for the Global Community

Course Enquiries: w: www.iriedancetheatre.org/ba-degree e: ba@iriedancetheatre.org t: 020 8691 6099

The One Dance UK Magazine | Spring 2019 13

Sir Richard Alston

Sir Richard Alston has been creating dance for over 50 years and his company,which is closing in 2020,has been resident atThe Place for the past 25 years.In that time,he has played a major role in the world of contemporary dance,developing a unique and distinct dance language and shaping his particular approach to the art form in this country. Sir Richard is also the Champion of One Dance UK’s U.Dance andYoung Creatives programmes, which give opportunities for young people to perform and create new works.Head of Children andYoung People’s Dance, Laura Nicholson, talks to him about his long career in dance. 14 The One Dance UK Magazine | Spring 2019

Sir Richard Alston

Photo: Hugo Glendinning

Photo: Dancers Joshua Harriette and Monique Jonas in Brahms Hungarian. Photo Chris Nash

A Lifetime Dancing In your long career you will have seen many developments and changes to our industry. What are some of the shifts that have informed your work? There have been financial changes causing a change in the whole climate of the arts, but I’ve been very fortunate to have been able to pursue my strong belief in consistency; dancers working together every day year upon year. I’ve worked for a long time and how I work now is still hugely informed by what was around when I started - I either have great loyalty, or am a stick-in-themud, depending on opinion! I was astonished when I realised this company has gone on for 25 years. It hasn’t felt that long. It is the artists who have matured in my lifetime who

have influenced me most. Some of the major choreographers who I have learnt from, watched and loved have now died. I was very lucky to have known Frederick Ashton when I was at Rambert. Merce Cunningham, of course, was hugely influential to me and had an amazing presence. He was wonderful, but I never subscribed to his idea of dance and music being separate. To me, that flies in the face of nature. Trisha Brown I was hugely inspired by. All these people reached a maturity, which is something very precious. I honestly feel that I have begun to finally understand what I did in the last five years. When I am in the studio now, I know more about what I am doing. That probably sounds a bit silly, but it is true.

The One Dance UK Magazine | Spring 2019 15

Feature Interview Your advocacy for dance amongst young people is well known and highly valued, not least in your role as One Dance UK’s Champion of U.Dance and Young Creatives. What inspires you about the next generation of dancers and choreographers? I love seeing young people of school age with loads of potential and energy, who love moving, jumping and turning, who are very happy doing things that are very challenging. I find that very straightforward. As they get older, it seems to me, they are told that it is a bit juvenile to be jumping around. Instead, there is a lot of ‘why don’t you sit down and work out what your piece is about?’ I have never once in fifty years sat on the floor in a studio and thought about what to do next. I go into the studio to make steps, get up and dance and make movement material. You can always drop it or change it, but don’t sit on the floor and think about it. That just doesn’t resonate with me. I find young people so exciting, because they do what human beings love doing. There is something very joyful, exhilarating and cathartic about moving and young people embrace that without complication. When you are young you can get into a muddle emotionally. When I used to take dance class, I’d come out feeling clearer. I think that’s why so many people go to the gym; it’s cathartic and clears your head. However, it’s much more fulfilling to dance!

“ I advise young people to be feisty, brave and go for what they really love.That’s what I do - I make dance and choose music that I love. I love that extraordinary moment when dance and music meet.” Sir Richard Alston

16 The One Dance UK Magazine | Spring 2019

proportions but it took time If you were starting for her to gradually become a out now, in the current star. climate, do you think I think that is a healthy your journey might be approach for choreography different? too. The trouble with today’s I often think I wouldn’t make it now. Having said that, when world is that everyone is looking for something you’re young you can deal immediate, creating a very with a lot of things. When artificial kind of pressure. I see I created Strider, we did young choreographers with what we wanted to do. We talent, but they seem to be in performed a lot outside; we such a rush. I did lots of work performed in art galleries. I in order to learn and hid out of was rebellious then. I think now it’s really quite the light on purpose. I was a kind of backroom boy. daunting. We live in a climate Now, I want to reach a where it is almost the norm wider audience and I am to have no job. In the 60s and very appreciative when they 70s this was a very different support my work, but for country, a different sort of a long time I didn’t want world. I was at art college success. I wanted to see where before I started dancing, and I could get with the work we all knew we were going without any pressure. It’s very to have a job and we were all there to develop our creativity. hard for young people now - they need that kind of early We were nurtured in a very success and it puts them in the unpressured way. spotlight much too early. When I first started being fascinated by dance, it happened to be the time when you could see Margot Fonteyn at the last part of her career. She was the most amazing and musical dancer. “ I love being in the studio and working with dancers. I have always thought to myself that it took her a long That is where the resilience time to get there. When she comes from - I have never started out, she was a young lost that excitement.” girl, a rather special kind of Sir Richard Alston exotic beauty, with perfect

Carmine De Amicis and Ellen Yilma in Brahms Hungarian

One Dance UK Young Creatives is returning in 2019, which is a programme that aims to develop the choreographic talents of young dance makers from around the UK. What advice do you have for budding choreographers? Young Creatives is my favourite thing that One Dance UK does. I am thrilled that it has carried on. I find it absolutely fascinating and moving that young people fearlessly take on really serious subjects. They might be making a piece about a very tricky subject such as dementia or a friend who has died and they just take it on. Time and again, with Young Creatives I am really touched by what they do. I do think that now, for young choreographers, you have got to really want to do it because the opportunities are so patchy, and competition is so great. Be nice and be approachable. There is a certain idea that to be gifted you have to be mean and aggressive. Rubbish, that’s all I can say.

Fifty years in this competitive profession is an amazing achievement, showing your remarkable resilience and creative output. You have said that you have no desire to stop making dance. What inspires you to keep going? I love being in the studio and working with dancers. That is where the resilience comes from - I have never lost that excitement. I am learning all the time. I think I am making very good work at the moment, there is no point being coy about it. The way that I make dances is not chic or fashionable. There is a lot of work around now that people think is exciting because it is abrasive, and I don’t fit into that – but I have to say audiences still love what I do. I have made so much work and a lot of it has been about learning, but because this company will only last until next spring, every piece I make until then is so precious. It is giving me an edge, to make sure I don’t make a mediocre piece I simply can’t do that now.

Photo: The Place

Photo: Dancers Carmine De Amicis and Ellen Yilma in Brahms Hungarian. Photo Chris Nash

Feature Interview

You are known for using music as a main inspiration for your choreography, but the music you have used has a remarkable variety in style. Is there something you look for in your musical choices? I have listened to loads of music all my life and I can still remember the first pieces of music I heard. Music sort of ‘finds me’ and suddenly later it just seems to be the right moment to choreograph to it. I am an eager and inquisitive listener and have a genuine love for a wide range of music. I think it is very important to have that kind of hunger to understand things. I’ve made dances to The Ink Spots, Tina Turner, John Cage and Mozart. This season I made Brahms Hungarian. It has been in the back of my mind for 10 years that I wanted to make a dance to that. There have been one or two times when I have chosen a piece of music because of something intellectually interesting about it, rather than because I love it. I have learnt from that. You have to wait for that gut reaction that tells you that this will be really exciting.

As Richard Alston Dance Company leaves The Place in 2020, what does the next chapter look like? It’s a blank page. Right now I am terribly keen to pay all my attention to this company and make sure that we go out feeling proud and working to a very good standard and not let it in any way peter out. You can’t let yourself think that because the time working with your own dancers is over that the golden part of your life is finished. The other companies I have worked with have been wonderful and it is an absolute joy to have my repertoire in a programme with wonderful choreographers like Balanchine, Ashton, Tudor and Cunningham. It is the daily work that I love about dance. I’m fascinated by the language and how the body can articulate things. That is why I keep going and why I have had this company for 25 years. It is very sad that it is closing, but all good things come to an end. We are in a different kind of climate now. Finally - what is your ‘top tip’ for remaining resilient? Very simply, do what you love. Hold on to what you believe in, what you love, and hope that someone will love it too.

Sir Richard Alston in the studio Further information richardalstondance.com The One Dance UK Magazine | Spring 2019 17

Learning and participation at Richard Alston Dance Company

The nation’s annual youth dance festival returns to London’s Southbank Centre Inspiring the next generation of dancers

Katie Vernon-Smith is the Creative Learning Programme Manager at Richard Alston Dance Company. We asked for her insight on the importance of Learning and Participation work.

On Sir Richard’s success and legacy… I think the secret to Richard’s longevity is that he is always looking ahead, he doesn’t stop thinking. He is constantly influenced by music and architecture. He makes fascinating, diverse dance work that is timeless. It hasn’t dated and it is incredibly interesting to study Richard’s techniques of working with music and dancers. The work is accessible for all – our audiences are so diverse and very loyal! We work with a lot of dancers aged 55+ who are big fans of Richard’s work. Being approachable is very important to Richard and this is why the company’s pre-show talks are so engaging.

Join us and support the dance sector’s next generation.

Although the company won’t be based at The Place from next year, I am sure Richard won’t stop choreographing because it’s such an important part of his life. People have asked for commissions all over the world. His rep is still being performed at Rambert School, so there’s a new generation of dancers who know his work. He’s ingrained in the history of contemporary dance.

Tickets on sale soon bit.ly/udance2019 #UDance2019

Top tips for a successful career in dance…. • Get as much experience as you can, in and out of the studio. Immerse yourself in the dance world • Work hard from the beginning. Success isn’t immediate • Be open minded, try new things and see as much work as you can to create an opinion and voice for yourself. Be a thinking dancer – the industry needs strong, opinionated, creative people.

Featuring •N AVADAL South Asian Youth Dance Competition •Y oung Creatives choreography mentorship performances •U .Dance on Screen national dance film screening •C areers sessions •N etworking

Selected groups from around the country

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Become a qualified dance teacher We offer Ofqual-recognised training for Levels 4 to 6 that’s applicable to teaching any genre. Classes online & in London. Contact tq@bbo.dance to start this May. https://bbo.dance/tq | (020) 8748 1241 |

18 The One Dance UK Magazine | Spring 2019

@bbodance

Photo: North West CAT at UDance 2016. Photo Brian Slater

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).

Photo: The Place

Further information richardalstondance.com

On dance in education… My journey into dance started at school. I was lucky because my school was one that offered dance as a qualification. I caught the bug! The decline of dance in schools is a big concern. There are so many transferable skills in dance and that’s why it’s so important on the school curriculum. It makes you aware of your body, opens your mind and allows you to be creative – skills you can use everywhere. The main change I’ve seen is the pressure on schools to promote the ‘core’ subjects over the arts. To address this, we have worked with theatres to put together performance packages that are really affordable. Teachers are under incredible pressure and we look for creative ways of supporting them. Richard has always seen education work as high priority and equal to the work on stage.

It’s not an ‘add on’. He loves developing young artists and he’s heavily involved in the education work.

Young Dancers

Workshops

With thanks to Event Partners

The One Dance UK Magazine | Spring 2019 19

Special Focus on Resilience

LONDON’S CREATIVE CONSERVATOIRE

TRINITY LABAN

DANCE SUMMER SCHOOLS

Introduction

Michael Kaiser Chairman, DeVos Institute of Arts Management

AT TRINITY LABAN Dance Summer School 22 Jul –2 Aug 2019

When this repeats year after year, all stakeholders–staff, board, and family– sense they are part of a successful enterprise and they grow more generous and productive. Their organisations grow incrementally, and slowly build and maintain artistic and financial health. I hope you can find ways to link these characteristics to your own work. Dancers and dance makers are creatives, but in order to promote growth they should approach their work with a clear strategy. The following pages portray some of the wide range of forms the theme ‘resilience’ can take in dance, from health to education, showing how diverse and passionate those working in the sector are.

Take the Lead Musical Theatre Summer School 5– 9 Aug 2019

FIND OUT MORE AND BOOK NOW TRINITYLABAN.AC.UK/SUMMERSCHOOLS /TRINITYLABAN

Highlights

Photo: Ilan Mizrahi

How Movement Works Choreology Intensive 15–19 July 2019

All people working in dance should be conscious of building resilience. Ongoing change in the political and financial landscape requires that artists and arts leaders develop new strategies, and new resources, to build and sustain resilience. Our work is rooted in a simple, but comprehensive, theory of organisational activity that prioritises investment in great art. Regardless of art form, geography, or size, we believe thriving arts organisations hold several core characteristics in common: • Their programming is bold, mission-driven, and balanced; •T hey aggressively market that programming, as well as the institution behind it; • The resulting visibility produces a swell of interest and enthusiasm among a “family” of ticket-buyers, students, board members, donors, funders, and volunteers; •T hey make it easy and enjoyable for that family to get more involved– to contribute money, time, or connections; and •T hey reinvest revenue produced by that family in even bolder programming that, when marketed well, entices an ever-larger, more diverse, generous, and connected family.

Maximising Efficiency in the Studio How to make the most of rehearsal time

Celebrating Milestones Across the Dance Sector Highlighting member organisations celebrating milestones in 2018 – 2019

Strength Through Networking: Building Resilience in South Asian Dance Two South Asian dance practitioners give their insight

Can Dance Give Career Resilience? Exploring if a dance career can help develop resilience in other fields

Global Partnerships & Infrastructures: IABD Denise Saunders Thompson in conversation with Heather Benson

Talking Feet A reflection on an international residency focusing on improvisation

Spotlight on Canadian Cultural Treasures Connecting internationally with Zab Moboungou and Vivine Scarlett

Be Part of a Movement Staying resilient as a working parent in the dance industry

Dance at Postgraduate Level Looking at what is on offer for those looking to take postgraduate study in dance

Healthcare Choices: Quality Care Advice for finding the best healthcare option for your needs

Injury Stories Four dancers share their experiences of injury

Resilience in Dance - Building Psychological Skills Dr Allan Johnston explains how stress can affect performance

How Much? How Fast? How Soon? Three simple concepts for progressing training loads

Using Restorative Practice in Schools A look at this social science, seen as an alternative to discipline The One Dance UK Magazine | Spring 2019 21

Special Focus on Resilience

Maximising Efficiency in the Studio

Special Focus on Resilience

“ Problems will appear in all shapes and forms, and the more flexible we can be in adapting to changing circumstances the better.” Amanda Eyles

How to make the most of rehearsal time, by rehearsal director and choreologist Amanda Eyles

Top Right: The Royal Ballet’s Calvin Richardson and Fumi Kaneko in Asphodel Meadows. Choreographed by Liam Scarlett Bottom Right: Amanda Eyles in rehearsal for Krzysztof Pastor’s Romeo and Juliet with the Lithuanian National Ballet Company 22 The One Dance UK Magazine | Spring 2019

planning - both on a daily level and a whole process level - is Specific; Measurable; Achievable; Relevant and Time bound. One could also add another ’S’ on the end which would stand for ‘Shared’. The sharing of plans, objectives, pertinent information and potential concerns is something that could facilitate efficiency, yet it is frequently the case that time and energy is wasted because the right information doesn’t reach the right place. This is particularly so in large ballet companies, where the prevalent culture is one of a tightly controlled flow of information. Perhaps the sharing element needs to be the first thing on the list! It is intriguing to see if other organisations that specialise in elite performance employ techniques from which we can learn, and I recently came across some principles used by the British Army which seem to me incredibly relevant. They are called ‘Principles of War’ but in fact are essentially ‘principles of group endeavour’. I would like to share some of these as they speak so clearly (I have edited out some military terminology): Selection and Maintenance of the Aim: A single, unambiguous aim is the keystone of successful operations Maintenance of Morale: Morale is a positive state of mind derived from inspired leadership, a shared sense of purpose and values, well being, perceptions of worth and group cohesion Concentration of Force: Concentration of force involves the decisive, synchronised application of expertise and strength to realise desired effects, when and where required Economy of Effort: Economy of effort is the judicious exploitation of manpower, material and time in relation to the achievement of objectives Flexibility: Flexibility – the ability to change readily to meet new circumstances – comprises agility, responsiveness, resilience, acuity and adaptability Cooperation: Cooperation entails the

incorporation of teamwork and a sharing of dangers, burdens, risks and opportunities in every aspect of the endeavour.

Photos: Top: ROH 2018, Bill Cooper; Bottom: Martynas Aleksa.

Photo: Ewa Krasucka

Amanda Eyles

Time is precious. Whether you are a dancer or a ballet master/rehearsal director, you will want to try and use whatever time you have optimally. Yet how do we assess whether we are using time effectively or not? It is impossible to come up with a precise formula for taking a good rehearsal; each rehearsal director, ballet master or choreologist will have their own preferred methodology, and this will vary depending on the work that is being taught/staged, to whom, and in what environment; and what their personal experience is. Nonetheless, whatever the circumstances there will always be factors that remain constant. Whether the work environment is a large company with a wide-ranging and swiftly changing repertoire, or a smaller project-based company, the basic elements that require attention on a daily basis will be the same: a fixed amount of time; a prescribed amount of space; a set number of people; and an ultimate goal to be reached. Within these parameters, we are trying to achieve not only technical proficiency but also artistry, musicality, expressiveness and an understanding of the choreographic material on both a physical and an emotional level. Quite a tall order! So, is it possible to identify the fundamental principles of ‘good practice’, which could be applicable to most rehearsal situations, and which would provide us with a framework that enables both consistency and adaptability? Adaptability has to be key, and developing an ability to be resourceful and agile when responding to unexpected obstacles is essential. Problems will appear in all shapes and forms, and the more flexible we can be in adapting to changing circumstances the better. Being prepared is the first step, yet preparedness is a multi-faceted thing. I think the well known business model of establishing SMART objectives is useful to keep in mind: ensuring that what we are

Being in charge of a rehearsal necessarily involves keeping a lot of plates spinning, and constant multi-tasking, which means that there is always a risk that what is happening in the studio takes up our whole focus and there is no time to step back and reflect on what makes one rehearsal more productive than another. Rarely do we manage to examine what works, and why, so that we may learn from our mistakes and identify elements of our process that could be adapted and improved. Given that we operate in an environment where the value of giving performers feedback, support and encouragement is acknowledged without question, it is a pity that there generally seems to be little opportunity for feedback for those taking the rehearsals. Of course, each company will have different constraints in terms of time and resources, but it would be interesting to see if ways of facilitating feedback for those at the front of the studio could improve efficiency for all involved. As Einstein (allegedly) said: “insanity is doing the same thing, over and over again, and expecting different results”. It would be empowering to create an opportunity to compare notes with others in similar situations; to share knowledge and experience, pool resources, and compare problem-solving strategies. Finding time in a busy rehearsal schedule is challenging to say the least, but the existence of some sort of forum that would facilitate the exchange of ideas could be a very positive move. Maybe, with the help of One Dance UK, we can make this happen in the near future, and see if it can assist in us all being more efficient in the studio. If you are or know of a rehearsal director that would be interested in exploring how such a forum could be established and facilitated by One Dance UK please get in touch on info@onedanceuk.org or 020 7713 0730 The One Dance UK Magazine | Spring 2019 23

Special Focus on Resilience

Congratulations to the many One Dance UK member organisations celebrating milestones,showing the resilience of their offerings across the country and internationally.

Photo: Greg Jackson

Tiah Parsan highlights some of these on the following pages.

24 The One Dance UK Magazine | Spring 2019

Déda Celebrating 20 years In the last 20 years, Déda has become the region’s leading creative centre for dance, contemporary circus and outdoor performance. As well as the classes, the venue has a strong performance programme, delivering a programme of dance, contemporary circus and outdoor performance, connecting locally, nationally and internationally. The programmes are led by the organisation’s artistic team Stephen Munn (Chief Executive Officer and Artistic Director) and Phil Hargreaves (Creative Producer). Déda presents an annual programme of over 70 performance related events plus external projects. One of only ten venues in the UK placing small scale dance at the centre of its programme, Déda co-presents middle scale work with Derby Theatre. Derby Festé, the annual International Street Arts Festival created in 2007, is now part of Déda’s regular programming. The festival has an average of 25 – 30 shows per festival which are all family friendly and mainly have a street theatre, circus and dance focus. In January 2019, Déda hosted the third of a threepart symposium programme called Crossing Over at which the Crossing Over Research document was launched as well as the MA in Dance and Contemporary Circus, in partnership with University of Derby, the first of its kind in the UK. deda.uk.com

Photos: Left: TIN Arts; Middle Left: Johnny Buzzerio; Middle Right: Chris Nash; Right: Rowan Hooper

Celebrating Milestones Across the Dance Sector

TIN Arts Celebrating 20 years In January 2019, Durhambased TIN Arts celebrated 20 years of delivering workshops, programmes and performances locally, regionally and nationally. Formed in 1999, TIN Arts is one of the leading companies delivering inclusive dance activities in England, having forged a national reputation through international touring and performances. What started off as a partnership between co-founders Martin Wilson and Tess Chaytor, the company now employs 16 staff on a regular basis from its base in Durham, with a further team of 12 associate artists delivering on a daily basis across the North East. Over the last 20 years, TIN Arts has been responsible for the creation of innovative programmes. Talent Hub has been shortlisted for several North East Culture Awards and has supported many young people and artists with a learning disability or autism to perform original work as part of major national programmes such as U.Dance with One Dance UK. TIN Arts celebrated its anniversary with two celebratory events at the Gala Theatre in January with participants, artists, supporters and funders coming together to reflect on the last 20 years and to hear about ambitious plans for the future. tinarts.co.uk

Shobana Jeyasingh Dance Celebrating 30 years Shobana Jeyasingh Dance celebrates 30 years! Shobana Jeyasingh has been creating extraordinary dance works for her company since February 1989 when she premiered Configurations to a score by Michael Nyman at the Queen Elizabeth Hall in London. Her work combines the classical Yorke Dance Project with the contemporary and Celebrating 20 years taps into both the intellectual Yorke Dance Project is a and physical power of dance. dynamic contemporary ballet It is firmly rooted in her company under the artistic particular vision of culture direction of Yolande Yorkeand society, taking its cues Edgell who brings to her and inspirations from unlikely repertory company a legacy corners. Past pieces have that combines the roots of explored science, classical American contemporary painting, culinary trends and dance with the first wave urban architecture. of contemporary dance in The company’s creative Britain. Her work with such collaborators have included luminaries as Robert Cohan, filmmakers, mathematicians, Bella Lewitzky, and Sir Richard scientists, writers, animators Alston grounds the company in and designers. The work has a deep, physical understanding been seen in diverse locations of where great contemporary varying from Sadler’s Wells dance comes from. and Somerset House to In addition to reviving Winchester Great Hall and great works by contemporary the San Giorgio monastery in artists, the company continues Venice. Over the past 30 years, to bring to the stage rarely Shobana has made a significant seen work by world-renowned contribution to dance in the UK choreographer Sir Kenneth and carved out a vital place for MacMillan that includes Sea her company in the cultural of Troubles and the company’s landscape. latest revival, Playground. shobanajeyasingh.co.uk Professional development for artists is paramount to the work of the company and in 2015, Yorke Dance Project formed the Cohan Collective. This residency provides an opportunity for composers and choreographers to collaborate under the direction of Robert Cohan and Eleanor Alberga. yorkedance.com

Studio Wayne McGregor Celebrating 25 years Studio Wayne McGregor is the creative engine for choreographer and director Wayne McGregor CBE. It encompasses Company Wayne McGregor, his ensemble of world-class dancers (Resident Company at Sadler’s Wells); a portfolio of international commissions and artistic collaborations across genres including dance, visual arts, VR, film, theatre and opera; a highly specialised programme of creative learning for individuals and communities; artist development initiatives including the FreeSpace and QuestLab Network programmes; and collaborative research projects across the interface of the arts with science, technology and academic research. Wayne McGregor is a multiaward winning choreographer and director. He is Artistic Director of Studio Wayne McGregor, which celebrated its 25th anniversary in 2018. He is also Resident Choreographer at The Royal Ballet and he is regularly commissioned for international ballet companies, film (Harry Potter, Fantastic Beasts, Mary Queen of Scots), music videos (Radiohead, Chemical Brothers), fashion shows (Gareth Pugh, London Fashion Week 2017), campaigns (everyBODY for Selfridges) and TV (The Brit Awards). waynemcgregor.com

The One Dance UK Magazine | Spring 2019 25

Special Focus on Resilience

Photos: Left: Jethro Lister; Middle: Richard Leahair; Right: Brian Slater

East London Dance Celebrating 30 years For the past three decades, East London Dance has pioneered dance development by commissioning and staging great art, innovating new ways of working to inspire its communities, creating the very best dance opportunities for those least likely to receive them, and launching the careers of emerging artist and producer talent. An ambitious yearChisenhale Dance Space long programme of new Celebrating 35 years productions, projects and Nestled by Victoria Park in partnerships marked this Bow, Chisenhale Dance Space milestone 30th anniversary year is East London’s friendly home including East Wall, summer for experimental dance. In the 2018’s breathtaking dance 80s it was the hotbed of the spectacle that saw 150 dancers New Dance movement, hosting and musicians storm the Tower influential artists such as of London in the first large-scale Rosemary Lee, Lea Anderson public artwork in its moat since and Fergus Early. the Poppies installation. Four Now in its 35th anniversary years in development, East Wall year, it supports over 130 was a first-time collaboration members and recently between East London Dance, commissioned new works from Hofesh Shechter Company, intergenerational pairings: Historic Royal Palaces and LIFT. Angela Andrew and Othella Now East London Dance Dallas, and Grace Nicol and looks ahead to moving Jacky Lansley (who recently into its first-ever dedicated won the One Dance UK Jane home in early 2020 as it Attenborough Award, for leads on the creation of the outstanding contribution to UK’s first National Talent dance). House for Urban Culture on It also runs a diverse range of Vastint’s Sugar House Island classes for dance lovers of all ages, development, in partnership including contemporary, contact with Urban Development. improvisation and Lindy Hop. eastlondondance.org With two of the most affordable studios in London, a large community of makers spanning dance, theatre and performance art call it their home. The boundary-pushing performance programme resumes in April with ‘Future Fridays’ Member showcases and international guests in its iconic performance studio. Watch this space for two 24 hour festivals to be announced soon! chisenhaledancespace.co.uk 26 The One Dance UK Magazine | Spring 2019

ACE dance and music Celebrating 21 years This year, ACE dance and music celebrates its 21st anniversary. This marks twenty-one years of world class performances and inspirational teaching. Founded by Artistic Director Gail Parmel and Chief Executive Officer Ian Parmel, the company has a passion for bringing dance to every community and ensuring that it is at the heart of everything it does. ACE’s professional touring company works in collaboration with a number of international artistic associates using new and traditional media and each year its reputation for producing compelling and high quality work grows. Central to ACE’s work is signposting development pathways for emerging dancers and choreographers and creating opportunities for young people from disadvantaged backgrounds. The ACE family provides the ideal support network to develop practical skills and build increased confidence and resilience. Many ACE alumni have gained places at the country’s best contemporary dance conservatoires and have also achieved in the music, cultural and media industries. ACE dance and music is an integral part of Birmingham’s cultural ecology whilst being an internationally recognised leader in the field of African contemporary and Caribbean dance. Here’s to the next 21 years! acedanceandmusic.com

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One Dance UK aims to raise awareness of the amazing work being carried out by its member organisations across the country. We offer free promotional opportunities and exclusive discounted options to connect more people with your work.

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Professional development course Increase confidence in your teaching ability Deepen your knowledge of arts education at HE level Flexible learning—online and in person

Find out more, visit:

nscd.ac.uk/study The One Dance UK Magazine | Spring 2019 27

Special Focus on Resilience

Strength through networking: building resilience in SouthAsian dance

Photos: Top: Chris Nash; Bottom: Jahied Ahmed

Parbati Chaudhury London-born and based dance artist and teacher

Seetal Kaur Dance artist, administrator and curator, currently working as a Relationship Manager at Arts Council England for the Midlands region.

Pursuing a career as a dancer can be seen as shortterm and loaded with risk and uncertainty. Susi Pink speaks to dancers to discover:how can a dance career help develop professional resilience and prepare you for a future new career direction?

Further information www.akademi.co.uk/south-asian-dance

The SADAA meetings created a space for dance practitioners, producers, promoters and facilitators across the generations to come together with the intention of reviewing the South Asian dance present so that the groundwork for a stronger future may be laid. As a freelance dance artist and Kathak teacher, the discussions that interested me most were the professionalisation of practitioners, potential advanced training avenues, dance at present, so that programming from the perspectives of both artists/ producers and programmers. In order to bolster the presence and quality of the forms as they enter the mainstream, I feel that it

is essential to formalise professionalisation further, which would hopefully result in more considered programming. Practitioners who want to be programmed by arts venues and theatres of any scale should be dedicating the majority of their time to dance work or dance-related work with an open approach, so that they are not only developing their practice, but also taking the time to understand the sector better. Practitioners who also want to provide opportunities for others need better support. Unpaid or even badly paid work needs to be refused or the value of work continues being undermined. Following the meeting, I was left uncertain about which advanced training model

would suit a majority of those who are interested in taking up dance vocationally to any extent, but it was encouraging to learn that a new scheme to provide opportunities for those interested in developing leadership skills by shadowing senior managers within the SADAA organisations has been implemented.

A few years ago, I didn’t really understand what a ‘leader’ was, so I didn’t really consider myself one. All I knew was that I had a passion for something and was willing to do something about it. Funnily enough, I soon realised that’s all that a leader really is. Indian classical music and dance is my passion. But while I have been learning and performing, I’ve realised that I have other skills that could be used to serve these art forms. Writing, marketing, managing, public speaking and fundraising are all a part of dance too. In order for an art form and an industry to thrive, it needs all kinds of minds at different levels to create a healthy economy. I love practicing and sharing Kathak, but figured that I should

use all the abilities that I have to help. From my passion rose a thirst to learn about the larger power structures that influence an art. To understand the wider context, I started to get involved with organisations who were running classes as well as artists who were creating work and attended events like the Navadisha conference in 2016. I also attended the strategic SADAA National Network meetings led by Navadisha producer Anita Srivastava on behalf of the South Asian Dance Alliance, facilitated by Rachel Gibson, throughout 2017 and 2018. What became clear was that our generation and the next need to develop an entrepreneurial approach. The dance sector needs expertise from a diverse range

of backgrounds; law, finance, health, business, academia, administration, marketing and different dance disciplines too. So, don’t put limitations on your career trajectory and yes, you can earn a decent salary from working in the arts, you just have to work hard to make it happen. So far I have learned that leadership is first and foremost about having a cause but then, it’s about thinking strategically to create change and dream big. I agree that privilege plays a huge part but just like talent, it doesn’t work unless you do. To develop resilience in the arts, I would say, get out of your own way, focus your mind and think ‘business’.

28 The One Dance UK Magazine | Spring 2019

Career Resilience?

Merritt Moore Ballet Dancer and Quantum Physicist

George Long Business Owner, Garden Designer and Producer of The Definitive Rat Pack show

Lucinda White Business Owner and Awards Writer – Pure Awards Creative

Vena Ramphal Wellbeing & Career Coach and Classical Indian Dancer and Choreographer

Contact physicsonpointe.com @physicsonpointe

Contact gardens.wellgroundedgroup.com @WGGardens @wellgroundedgardens

Contact pureawardscreative.com @PureAwards

Contact venaramphal.com @VenaRamphal

to be professional but loved the arts so wanted to pursue a career which would keep me involved in some way. My father was one of the founding trustees of the Lyceum Theatre in Sheffield – he saved it from being a car park or nightclub! I requested a week’s placement there and later became the Development Manager helping raise funds and attracting corporate sponsorship.

Coming out of the dance world let me do something completely different and I decided to focus on relationship coaching.

George I wasn’t learning anything anymore and was getting asked to do the same things that I had covered most of my career. I was Merritt I had always loved math[s] and also taking long term contracts and couldn’t get breaks from puzzles. I gravitated towards non-verbal activities, hence the them to explore new things. physics and dance. Sometimes I wanted a path that gave me people find it quite an anomaly more control of when I worked, as performance can be quite to have been doing them together, but in some way I find antisocial if your friends are not in the industry or work opposite them quite similar. In dance hours. Originally, I was looking there are a lot of patterns and at psychology but then thought in physics it’s a lot of patterns, ‘what else am I interested in?’ and there’s rhythm and a necessity for creativity in both. and the only other thing was my garden so I decided to study I don’t think I ever decided horticulture. I then managed specifically what career I to transition to design with wanted to do, but I knew that I was passionate about physics the help from Dancers’ Career Development. and dance came later.  When did you realise it was time for a new career direction away from dance?

Photos: Middle Left: Philip Wade; Right: Sean Carswell

The South Asian Dance Alliance (known as SADAA, loosely meaning ‘forever’in Hindi/Sanskrit) is an alliance formed to provide a visionary development path for South Asian dance in the UK and internationally, through a programme of strategic initiatives.Why are networks like this useful, and how do we develop leadership and sustained growth in the South Asian dance sector? We asked two practitioners who attended recent meetings for their thoughts.

Can Dance give

Vena I found I was running from one project to the next and there was a pressure for me to be doing contemporary work rather than just classical and that wasn’t what I was interested in. Slowly things changed, I made a very conscious decision to withdraw Lucinda from dance and do something At university I studied Creative completely different. Other Arts, specialising in Dance and people began to say to me “you Live Arts. I choreographed are a really good coach” and pieces and danced in my the opportunity for coaching friend’s pieces too. However, training came about through the I soon realised I wasn’t going cultural leadership programme.

What skills have you developed as a dancer that helped you transition to a new career? Vena Fearlessness, being instinctive and having the ability to roll with it. As performers, you are thrown into many different environments and learn to cope with the unexpected. For example, each stage is different, each tech team is different, you have to be adaptable and there is great strength in that. You could say that people who are transitioning out of a performance career are in a great position and could do almost anything. Dance practice can connect you with your intuition and can give you an incredible deeper intelligence of the way life works.

The One Dance UK Magazine | Spring 2019 29

Special Focus on Resilience

Guiding the Way

Photo: Hanna Madalska-Gayer

Susi Pink speaks about making a smooth career transition to Ellen Chambers,Dancer Support & Services Officer,Dancers’Career Development (DCD)

“ I think the key point is that transition is inevitable and there is no one time when that moment is right for every dancer; it’s truly an individual moment.” Ellen Chambers

30 The One Dance UK Magazine | Spring 2019

What advice would you give someone considering dance as a career?

tell someone not to do it. I can’t imagine what I would have felt like if someone tried to kill my dream. Do a degree course as a degree would have been invaluable to me if available at the time. Not having a degree did prevent me from sidestepping into other careers at one point. Look after yourself better than I did as your body definitely gets older. Know your limits. Learn from your peers as sometimes watching Vena other dancers and emulating If somebody came to me wanting their style will teach you more “ I had always loved math to pursue a career in dance, I than anyone can. It’ll be a tough and puzzles as a kid. would ask them to look closely career and well worth it but and to drill down about what they having other passions will help I think I gravitated towards non-verbal feel their strengths are and which you get through the harder activities,hence physics part of dance they are interested times and help future career and dance.Sometimes in. For example, being a soloist or choices or side steps. being a producer or being in the There is no definite life span people find it quite an anomaly to have been costume team, or even pursuing for people in our profession. doing them together, dance with a combination of Age will not always be the but in some ways I find things. thing that stops you and why them quite similar. In should it? Some of us get our George best breaks as we get older. We dance there are a lot of If it’s what you love, do it! A never know what presents itself patterns,and in physics family friend tried to get me to along the way. You may get it’s a lot of patterns,and convince his daughter not to go disheartened at times but take there is rhythm and a to theatre school....how on earth every opportunity seriously, necessity for creativity could I support that. Naturally adapt to new opportunities and in both.” I declined and would never do everything with good grace. Merritt Moore

Merritt Embrace all the experiences. The most important thing is having gratitude and appreciation to have the opportunity to be in the studio, to feel the music and to dance. I think physics really helped me with that, as I would be in the lab or studying all day, so for the few hours that I had to dance – I just went for it! It really helps to be pursuing two things, because inevitably you go through a plateau and then you see improvement but then you’ll go through another plateau. If you have a second thing that is improving you won’t notice the plateau in dance, then your excitement to be in the studio is enhanced - I think that is key to improvement and key to ‘success’. Lucinda It’s so important to not let the world around you crowd your style. Don’t let things you can’t control, control you. There is no

When is the right time “ Dancers must be to move on from a dance organised, flexible performing career? A career in the arts is tough, it is and quick learners. not the easy option. You need They are creative, courage and passion to do it versatile, openbut if you choose to then it can minded and they be one of the most rewarding and wonderful careers that you are real creative could possibly ask for. Most thinkers.” Ellen Chambers dancers who come to DCD are at a mid-point in their career. Some of the common reasons [for a change in career] that come up are partly physical. It’s harder, it hurts more, they are more injury prone and recovery takes a bit longer. Sometimes What is the best way to it’s wanting a change of transition from a dance lifestyle, a change from all the career? travel, not knowing where the Having a sense early on of next job will be, wanting some other areas of interest can stability and being able to plan for the future or perhaps have a really help. This is a challenge because dance is such a family. Sometimes dancers feel consuming career - it is hard to they have achieved everything that they want to in their dance have the headspace and time to think about the long-term career. future or anything other than So [it can be down to] dance. Of the dancers who shifting priorities and come through DCD about half sometimes just feeling ready stay within dance in some sort for a change. of way and a half go on to do something completely different such as accountants, pilots,

Summary Dance as a career does not have to be binary - a dance career can be pursued alongside other careers. What is abundantly clear is that dancers are unique, brave, instinctive and courageous and every career is a highly individual and personal journey that can act as a platform for the future and open up new opportunities. Dancers share a common set of distinctive skills and have enormous strength, determination and professional resilience.

right or wrong – only opinion and choice. Have integrity in what you do. Be honest. Be fearless. Be strong. But love what you do and that will shine through and bring you through the hard times. Dance offers a vehicle to explore emotions and to tell your own story too. Live life and then use dance to show others how that made you feel. Dance comes from the heart and the gut. Be true to those, and you will be successful.

EVOLVE London 2016

Photo: Stephen Wright

George Lucinda “ I was always very focused I think as a dancer you get Resilience, determination, on delivering what the used to knock-backs and have communication, presence, focus, choreographer wanted dedication. When I started keeping calm, believing in myself, as opposed to trying to dance, there were no degree acknowledging when I needed make it my own.So,I can courses, so I had no option but deliver what my clients support – and then asking for it. to work hard to get my new That element of ‘showman’ – if want as I don’t make it qualifications. The confidence you’re going to do it, do it right about me.” that you get from performing and show the world and make George Long means you are not afraid to them remember you!  ask questions. Performers tend Attention to detail – just like to have the ability to get stuck dance where the feet, fingers in. Also, I think the spatial or eyes need to be placed in a awareness I gained from dance particular position, so do the helps me get a better feel for Merritt words to bring out the best in my the gardens I create and my Passion, dedication, and client’s stories either in awards or acting career allows me to adaptability. Being able to funding bids. Being on stage has interact with clients even if express oneself in a very helped enormously. I give a lot I feel shy. I am able to come creative and imaginative way of presentations and workshops across as confident and use a is extremely helpful. You have – I know how to stand, have certain language which gains to problem solve. As dancers presence and keep attention. This my clients’ trust. we are used to spending hours is from the confidence I gained I was always a fast learner exercising one single area. doing dance and performing. and one of my best skills was Dancers have superior mastery an aptitude to take notes. Being of their muscles. The brain is just in ensembles teaches you to be a muscle, and so if dancers work a team player and I’ve always their brain in a certain way they used that approach. I also have can achieve great things. a good head for figures and a My greatest strength has been weird memory recall which can persistence and resilience beyond “ That is one of the freak people out as I remember anything else and I would joys of dancing:it certain things in detail that they say probably belief in the fact gives a real opportunity think “how on earth do you that nothing is impossible – to combine skills.” remember that?” possible just takes time.  Vena Ramphal

driving tractors, or studying medicine. In our Evolve workshops we reference the Kubler-Ross change curve. This is a graph that shows some of the stages that people may go through when they’re experiencing a major life change. It’s not unusual for dancers to experience grief as part of the transition period. It can be really challenging emotionally because it is so closely linked to identity. Knowing that transition is a normal process can help.

How long does it take to make the transition? It’s not an overnight process. We encourage dancers to start thinking about the long-term future well in advance, before they get to the point where they really must make a choice. We work with vocational dance schools and aim to embed our approach in the curriculum so students develop the awareness [of the need to transition] early so that they can start being aware of the skills they can develop, think about what makes them curious, the areas they are interested in and to recognise the The ideal scenario is to start to skills that they are building up build a new career while still along the way. It’s important to performing so that transition build the non-performing CV so can be smoother, even if it’s just when you need it, you’ve got it having a sense early on of other and no experience is wasted. things you might be interested in. Transitioning from a career What skills give dancers in dance can be enormously careers resilience? difficult as in many cases Dancers are naturally dancers have started dancing entrepreneurial, they manage at a very early age and it is very their own schedule and much part of their identity. represent and sell themselves. That’s where DCD comes in. They have great knowledge of We help dancers look at who the body and how to get the best they are as a whole person out of it and have a highly tuned beyond dance and to help them performing skills and know how look at who they want to be. to present themselves.

Dancers have passion, drive, enormous determination and they are very goal driven. They have high self-motivation and focus, they are super intense and committed entirely and are not afraid of deadlines or challenges. Also, dancers have a very high attention to detail and have very mathematical and systematic minds, they are able to pick up patterns and are visual thinkers. Often dancers don’t realise their own skill or value and are very humble. This can be a very positive quality as they relate to people well and they’re always striving to improve but taken too far this can be a weakness where they don’t realise what they are capable of. DCD helps dancers understand their potential in the world outside dance.

Further information Dancers’ Career Development thedcd.org.uk DCD is hosting an EVOLVE workshop in the Manchester area: a full day for professional dancers exploring life after a dance career, offer practical tools, insight and inspiration. 26 March, The Lowry, Salford

The One Dance UK Magazine | Spring 2019 31

Special Focus on Resilience

Global Partnerships & Infrastructures: The InternationalAssociation of Blacks in Dance

“ We must connect, expand and learn from one another.”

Denise Saunders Thompson,President and Chief Executive Officer of International Association of Blacks in Dance in conversation with Heather Benson,Dance of the African Diaspora Programmer at One Dance UK

Photo: David Harty

Denise Saunders Thompson

One Dance UK has been conducting mapping research of the UK DAD sector, identifying what’s happening, the people working in it and the current needs. From your perspective, what are the similarities and differences between the UK and US DAD sectors? The research is extremely similar because the same oppressive and systemic barriers exist throughout the world. The mapping research of the UK’s DAD sector confirms what we intuitively know and recognise about the field – there is still a long way to go before the value and contributions of BAME people are respected, revered and preserved in the consciousness and cultural institutions of all people. Now is the time for a collaborative and global voice to make the change that we all so desire and deserve.

How do you think the growing infrastructure will impact the global diasporas, specifically the UK? For the UK, IABD aims to strengthen the visibility, connection and reach of dance by those who practice, create, and have the intellectual thirst to support it. We should be collaborating and gathering together to contribute to the advancement of the work that we do in the field.

Tell us about your current Comprehensive Organisational Health Initiative (COHI) research. The COHI research for Phase I of the Initiative led to The Black Report: What Do You Think You Know About Black Dance. It was not commissioned but rather birthed by the stories of those we encountered on a day-to-day basis, striving to Congratulations on your keep their organisations alive. partnership and funding The data we collected from 30 from The Andrew Mellon Black-led dance companies, Foundation. What does confirms the disparity that this mean for the growing we know exists in dance infrastructure of the IABD? between Black/Brown arts The Mellon Foundation grant organisations and the White has placed IABD in a position to mainstream counterparts with actualise its mission like never large budgets. before. The association has Between April 2017– been promoting and preserving February 2018, the 30 dance of African ancestry and organisations were origin for 30+ years through its interviewed, with the aim to annual international conference assess their experiences and and festival. Now we can needs. The interview findings begin addressing the rest of our provided a glimpse of the mission, to “assist and increase unique nature and context opportunities for artists in within the Black Dance advocacy, audience development, community and complemented education, funding, networking, the research from Nonprofit performance, philosophical Finance Fund’s (NFF) Phase I dialogue, and touring”. COHI financial analysis.

32 The One Dance UK Magazine | Spring 2019

The Black Report documents the unique context of Black dance companies in the United States, highlighting a subset of IABD’s membership. Varied definitions exist on what it means to be a Black dance company, so the final numbers were unclear and difficult to report. As such, the results of this effort are meant to be generalised but should note that not all Black dance disciplines were captured in this study. However, a more in-depth survey that compares these companies to other dance companies similar in scope, and other Black arts organisations might provide a point of comparison to determine what Black Dance is doing well, and what can be learned from peer organisations with similar resources. What are the aims of the COHI research project? How do you see this impacting the future of Black dance infrastructures in America? The COHI is a grant program of The Andrew W. Mellon Foundation, designed to strengthen the organisational health of small and midsize arts institutions through comprehensive financial analysis and capacity building financial support. As a phased initiative starting from 2017, the program has provided the IABD community the ability to speak with one another on a much deeper level about organisational health and financial sustainability without feeling shamed about an organisation’s current state

of existence. The importance of peer-to-peer dialogue has been one of the greatest takeaways of this process, ensuring these companies and individuals no longer feel alone. The full impact of this grant on these companies and their infrastructures has yet to be seen. Certainly, we know that right away the money they’ve received from IABD might address immediate debt or enhance their staffing and programming structure. It will be the implementation and direct change in process that will determine this programme’s success. The people within each organisation must take action to garner positive results.

Photos: Top: Foteini Christofilopoulou; Bottom: Julieanne Harris

In the context of the US dance sector, what is dance of the African Diaspora? It is dance of the continent… from Africa: all the fusions, derivatives, and beautiful creations of movement for and by the people. For The International Association of Blacks in Dance, Inc. (IABD), we call it Black Dance, Blacks in Dance, Dance of the African Diaspora (DAD). To quote Eleo Pomare, “… a major point I think is around communication. That we’re able to talk with our bodies, and tell things, and feel things.” IABD embodies all that is Black Dance.

Denise Saunders Thompson

Since 2010 we have been building an international partnership with the IABD through your annual conference and One Dance UK’s Re:generations International Conference; engaging with artists and organisations like ACE Dance and Music, Serendipity, Brenda Dixon-Gottschild, Vivine Scarlett and dance Immersion, the IABD Founders and many more. What has been the impact of our growing partnership and what do you hope to achieve in the future? The impact of this connection has brought American and European practitioners of dance together through continued dialogue about themes and trends in the field, collaborations and partnerships, conferences, presenting and touring opportunities, scholarly and research activities, and through

the understanding of lived experiences and practice. It is important that we continue to connect, expand and learn from one another and discuss how we impact and contribute to the current state of dance in both of our countries and beyond. What do you envision for the IABD in the next five years? How do you hope to continue strengthening connections with organisations and artists in the UK? In the next five years, I envision IABD will be a much larger institution with a firm and stabilised budget to support its current and future programming. We are currently focused on identifying and confirming funding support for this association beyond this initial large and unprecedented grant from The Mellon Foundation for the Black dance sector in the US. As IABD has witnessed ADAD (Association of Dance of the African Diaspora) evolve and merge to become One Dance UK, it is imperative that we do not lose the strength of our connection to artists of the African Diaspora in the UK. Our voices working in tandem to support one another not only individually, but also collectively have more power and authority than those who work and practice alone.

Further information iabdassociation.org Read the full article to find out more about IABD’s recent strategic development in the autumn edition of HOTFOOT Online magazine here: bit.ly/HOTFOOTAutumn18IABD

Top: IABD Delegation at Re:generations International Conference 2016 Bottom: Philadanco! The One Dance UK Magazine | Spring 2019 33

Special Focus on Resilience

Talking Feet

Special Focus on Resilience

Spotlight on Canadian CulturalTreasures

A reflection on an international residency focusing on improvisation, by Annette Walker

Connecting internationally is crucial to the development and profiling of dance in all its diverse forms. Mercy Nabirye, Head of Dance of theAfrican Diaspora (DAD), meets up with two key connectors, Zab Maboungou and Vivine Scarlett, to capture a snapshot of resilience from a Canadian perspective.

Fast forward to my successful ACA Associate Artist Residency #169 application, a Lisa Ullmann Travelling Scholarship Fund (LUTSF) award for the return flight, ACA financial assistance towards the fees and fundraising through my GoFundMe campaign (thanks to the kind support of friends and family), I was all set for the three-week associate artist’s residency in the Sunshine State of the USA. CA residencies are unusual in that they are interdisciplinary. There are daily workshops in the Master Artist-in-Residence programme, 24-hour access to the studio complex and the

opportunity to collaborate with other associate artists. I may have applied as a tap dancer for Dr Wray’s Embodiology but I found time and space for piano and drum play, composing, writing, jamming and so much more. It’s easy as freelance artists to squeeze out every minute of our day-to-day life with training, teaching and endless administration, but creativity often needs freedom from the busyness of the everyday. For me, the ACA associate residency was a well needed retreat to focus on my creative self. The Embodiology workshops provided a shared space for our rhythm-essential, African diasporic dance group to extend

our practices and collaborate towards an improvised performance with musicians. The time on the residency regenerated my passion for creative and technical cultivation towards freedom of expression. But most surprisingly, it unwittingly led me to experiment with my long musings of an improvised solo performance.

Top Left: (From L – R) Deirdre Lovell, Dr S. Ama Wray, Annette Walker Top Right: Annette Walker at Helene B. Roberson Dance Studio Further information annettewalker.co.uk atlanticcenterforthearts.org

Photos: Top: Annette Walker; Bottom: Brian Slater

Young Creatives Choreography Mentorship Returns Young Creatives is a One Dance UK initiative which provides young people with a platform to develop their choreographic skills and ideas and the space to be daring and brave through the creation of their own work. Young Creatives helps young people discover and explore the possibilities that creating their own dance can bring. As the youth dance and dance education landscape continues to change, young people remain in need for opportunities to exercise their creative talents – indeed perhaps more so now than ever.

Get involved Open to budding choreographers aged 15-19, it is a chance to be mentored by leading professionals, developing their work over a period of months. They will rehearse and perform their piece at partner venues Royal Opera House and Rambert, culminating in a public performance at Southbank Centre on 21 July, as part of U.Dance 2019.

Further information Deadline for applications is 15 April info@onedanceuk.org

34 The One Dance UK Magazine | Spring 2019

“ For me,Young Creatives gets to the heart of the matter.It gives young people the time and space to explore their own ideas and I find their openness and creativity exciting” Champion of Young Creatives, Sir Richard Alston

Young Creatives 2017 participant performs at Rambert

Photos: Top Left: Nathaniel Anderson; Top Right: Kevin Calixte; Bottom: Pierre Manning Audrée Desnoyers

Part of the statement for Dr S. Ama Wray’s Embodiology® residency at the Atlantic Center for the Arts (ACA) in Florida, USA reads: During the residency the associate artists are introduced to Embodiology®, a neoAfrican mode of performanceas-improvisation, and through daily workshops, which involves active physical participation and generous reflective discussions, a wealth of self-knowledge is revealed. Opportunities in continuing professional development for mid-career, tap dancers are few and far between, especially when it comes to improvisation. And so, the invitation to apply was too good to miss.

Montreal based Zab Maboungou is highly sought after as an international speaker, philosopher, author, instructor, choreographer and dancer. When we met recently, we discussed how she pioneered and developed an infrastructure for contemporary dance in Canada, using her LOKETO technique, which is rooted in Congolese culture. The cultural sector has benefited significantly from her performances, training and lectures. Her influence is global and her decision to set up Compagnie Danse NyataNyata, which continues to tour internationally, is directly linked to her passion for dance, which she says was thrown at her “… in the middle of the circle of dance in Congo-Brazzaville where she grew up.” Zab describes herself as a child of colonisation and says that her decision to be a dancer was a deeply personal and intimate decision that led her to choose, at a very young age, life and art. Her important legacy as a leader, advocate and an asset for dance theory and practice are rooted in “this fundamental dance class”. Zab is recognised in Canada as a talented African artist who has made a significant contribution to Canada’s rich culture. “We need artists that are able to question what they do as artists... physically, mentally, technically and professionally’; in other terms, what they do as human beings.” Vivine Scarlett, founder of Toronto based sector support organisation dance Immersion, taps into the state of affairs in dance in Canada. Vivine’s role

of presenting and supporting dances and dancers of African descent goes back many years. With over 34 years of giving and serving the community, she is a strong addition to the backbone and fabric for dance in many diasporas today. Vivine is a connector and her passion keeps her going, nurturing and shining a light on talent of all age groups. In 2016, dance Immersion partnered and facilitated a delegation of 22 Canadians to participate and present at One Dance UK’s Re:generations international conference for Dance of the African Diaspora. This was a significant milestone in strengthening Canadian and UK artistic ties. This partnership, built over years, is now a key asset for administrative and artistic global exchange between UK, Canada, USA, the Caribbean and the African continent. Vivine had a powerful message as Canadian Dance Ambassador for the April 2018 International Dance Day: “The universal movement of dance releases the very essence of what is all around us. It connects and weaves so deep that one can feel the wisdom, patience and graciousness of its flow. With each move made there is a giving and receiving communication in that universal experience. “Dance is a vehicle that lends itself to learning about oneself. It helps us move through life’s experiences by expressing our stories and our history, by commenting on our present and nurturing our future. Dance for you. Dance for us. Just dance and let the rhythm of our spirits soar in the movement of dance.”

Zab Maboungou

Vivine Scarlett Zab Moboungou in Wamunzo

“ We need artists that are able to question what they do as artists...physically, mentally,technically and professionally’;in other terms,what they do as human beings.” Zab Maboungou

Further information Follow the link here bit.ly/HOTFOOTAutumn18SpotlightonCanada and click on the individual audio icons to listen to the full interviews featured in the HOTFOOT Online Autumn 2018 edition - Page 46-47 Connect with both Zab and Vivine at Re:generations – the digital space, One Dance UK’s international conference 2019, which is taking place 7-9 November at The Lowry in Salford. See page 6 for details.

The One Dance UK Magazine | Spring 2019 35

Special Focus on Resilience

Be Part of a Movement

Staying resilient as a working parent in the dance industry, by Lucy McCrudden, founder of Dance Mama

Lucy McCrudden

Photos: Left: Pari Naderi; Right: Pierre Tappon

Right: Rambert dancer Lucy Balfour In October 2018 I decided to focus on dancemama.org - the online home for parents working in dance to stay informed, connect and share their experience. Sparked from my article about becoming a mum in 2012 for the then Dance UK magazine in 2014, I was motivated by the lack of resources available. I wished for more support to strengthen my (and others’) resilience in this new role. Necessity is the mother of invention as they say, so #dancemama was born. Intrinsic motivation is the foundation for resilience, and for that to happen you need to be inspired. Therefore, the cornerstone of #dancemama is a curated collection of inspiring case studies of parents across the industry who demonstrate their resilience in their varying work circumstances; in the studio, on stage or behind a laptop. Feedback from colleagues like choreographer Rosie Kay spurred me on: “Dance Mama has been really invaluable for me to read - I really don’t know how other women do it.” It has been humbling to know that #dancemama is fulfilling its aim to be a source of reassurance and a reference point for people transitioning into dance parenthood. Beyond the interviews 36 The One Dance UK Magazine | Spring 2019

#dancemama is building on its offer of recommended information, a Facebook community, mentoring and more. Participating in the larger conversation of women’s empowerment through the #dancemama blog is another important facet of my work (think #timesup, Michelle Obama and WOW Festival). Recently, I visited the Festival of Motherhood and Work by campaigner, Joeli Brearley (see @PregnantScrewed). Joeli, who was made redundant at four months pregnant, programmed a wide variety of influential working mums to debate a range of topics affecting all industries, including our own, such as flexible working, identity and birth rights. The dance industry has made some significant moves forward. Last year, Charlene Ford made history in being one of the first West End performers to job-share in 42nd Street after having her son. In November 2018 at the One Dance UK Conference I led the discussion on the hot topics currently facing ‘Dance Mamas’ at the conference break out group, ‘Pregnant Pause?’ These include juggling a career in dance and parental responsibilities,

adjusting expectations and practice with the postnatal body, and navigating productive dialogue with employers. Here #dancemama featured a vlog from Lucy Balfour (Rambert dancer and new mum, pictured), a public conversation with Dr Steve Ingham (former physiologist to Dame Jessica Ennis-Hill) and presentation from Anna Ehnold-Danailov, Co-Founder of Parents and Careers in Performing Arts (pipacampaign.com). This campaign is making a ground-breaking contribution to furthering equality for parents and carers working in theatre, music and dance. There is a mountain range more to do. To keep going takes resilience - an essential quality of being a parent and an artist. There are parallels between both worlds (take the tenacity required for relentless, sleep-deprived, round-the-clock schedules of feeding a new-born and compare with gruelling touring schedules or intensive training programmes), which is why I believe the future is successfully blending them. Join us!

FUELLING YOUR PASSION AND DEVELOPING YOUR ARTISTIC PRACTICE AS A CREATOR AND PERFORMER OF DANCE 2019 OPEN DAYS • Saturday 29th June • Saturday 12th October • Thursday 31st October • Saturday 16th November

University of Chichester Dance |

chi.ac.uk/onedance

@UoC_dance |

mapdance.org

@uoc_dance |

@chiuni |

University of Chichester

Further information dancemama.org The One Dance UK Magazine | Spring 2019 37

Special Focus on Resilience

Dance at Postgraduate Level

“ Masters level provides an enhanced level of skill and cognition,allowing students to deeply explore their practice,learn even more new skills and work consistently at the high level expected in the current dance ecology.” Anthony Baker, Dance City

There are a growing number of options for those looking to take postgraduate study in dance. Currently, there are more than 55 degrees available across 21 universities in the UK.But why are these courses set up,what are the benefits and how does this further the industry? One Editor Cameron Ball spoke to leaders from three member organisations who are offering Master ofArts (MA) courses, some new, some established, to find out.

Left: University of Chichester mapdance Below: Nikki & JD, Déda

New Master’s degrees being set up around the country are offering unique opportunities for their students. In one example, Déda, a leading creative centre for dance, contemporary circus and outdoor performance based in the Midlands, is collaborating with the University of Derby and industry partners to launch a new MA in Dance and Contemporary Circus in

September 2019. The Chief Executive Officer and Artistic Director of Déda, Stephen Munn, says its inception was bred from industry demand and research into what was needed in this growing specialisation. Déda undertook a threeyear development programme, funded by the Esmée Fairbairn Foundation, exploring the relationship between dance

38 The One Dance UK Magazine | Spring 2019

and contemporary circus from the artist, audience and academic perspective. The MA in Dance and Contemporary Circus is an outcome of this programme and is the first degree of its kind in the UK. Consultation with major industry partners in dance and circus demonstrated a need for this kind of training to equip professionals for a rapidly evolving sector.

“ Higher Education institutions are taking an ever increasing cultural leadership role on the UK and this includes addressing the synergies between post graduate study and professional talent development.” Stephen Munn, Déda

Photos: Top: Chris Nash; Bottom: David White

Photo: Neville Campbell

Dance City students

One of the key aims is to develop the next generation of leaders in this field. Stephen Munn believes study on this programme “will enable artists to become leaders in their chosen area of research and associated disciplines, and will provide the dance and contemporary circus sectors with arts professionals who are able to articulate this hybrid form through their practice.” At Dance City, the North East’s leading development organisation for dance, they have also listened to industry demand to devise a new MA Advanced Dance Performance (Dance), in partnership with the University of Sunderland. There was a need to provide further opportunities to study at a high level in the region, where no other dance MA exists. This new degree is a welcome addition, as Chief Executive and Artistic Director of Dance City, Anthony Baker, says. Courses such as this can benefit the wider artistic community: “It will enhance and enrich the ecology of the North East of England, retaining more talent in the region and attracting new talent to it.” Chichester University has a well-established Higher Education programme, with the BA (Hons) Dance undergraduate programme being introduced in 1992 as a Major subject with Related Arts. There are now programmes in Dance, Dance Performance and the first ever Dance Science degree in the country. The postgraduate programs include Dance

Performance, Choreography and Professional Practice, Dance Research and Somatic Practices. Chichester University’s MA Performance: Dance company, mapdance, is celebrating 13 years since its inception. Touring nationally and internationally, mapdance performs diverse repertoire by renowned and upcoming contemporary choreographers. The company adopts a broad approach to dance making and performance by working with established artists as well as emerging choreographers, with the aim of preparing graduates for the industry. This course was also created as a direct response to demand and its longevity is testament to this. Cathy Childs, Head of Dance at the university, explains: “The creation of this course, with a performance and delivery of staged productions, was as a direct result of undergraduate students wanting to have further dance technique training and performance experience working with professional choreographers.” There are clear benefits to studying at this further level. Stephen Munn puts it succinctly: “The motivations for artists to study at Masters level include being given the physical resources to develop their practice, the qualification for career development in education/arts sectors or a route to studying at Doctorate level.” The Déda & University of Derby course offers

artists, who have been developing their professional practice for at least three years, the opportunity to interrogate a research question in an academic environment which allows appropriate time, space and support. Indeed, students are able to expand their knowledge to a deeper degree than can be achieved at undergraduate level. Cathy Childs explains, “Studying with professional dance practitioners, choreographers, dance historians, digital and film technologists and dance science specialists enables students to engage at a deeper level that supports their area of interest and further study.” The course leaders I spoke to are keen to respond to the needs of the sector to ensure relevance and the best opportunities for their students. At Dance City, as their new course develops over time, Anthony Baker says they will be “constantly updating the course to meet new challenges for the sector, and keep those delivering on it fresh and fully aware of current trends”. As Chichester’s alumni shows, graduate pathways from postgraduate courses can be varied and exciting. Graduates from their programmes have gone on to work professionally within the dance sector as independent dance artists/ choreographers such as Lila Dance and Edifice Dance Theatre, with established companies such as Richard Alston and Shobana Jeyasingh, within arts

organisations such as Sadler’s Wells, and teaching higher level dance students. One Dance UK works with member educational organisations to enhance and promote their offering. The dance sector needs motivated, skilled leaders, and the knowledge postgraduate study offers can lead to exciting new ways of performing, creating, supporting and managing our art form. Further information Are you a student? Become a Student Member of One Dance UK for just £20/year Visit onedanceuk.org/memberships Déda: Course commences September 2019 bit.ly/DedaMA, @derbyuni, @dedaderby Dance City: Application deadline: 13 April 2019 bit.ly/DanceCityMA @dance_city_newcastle Chichester: mapdance audition dates: 26 February, 18 March, 23 April and 28 May chi.ac.uk/department-dance, @uoc_dance

The One Dance UK Magazine | Spring 2019 39

Healthcare Choices: Quality Care

Injury Stories

Advice for finding the best healthcare option for your needs

Dance injury is common,with roughly 80% of dancers sustaining an injury each year.Four dancers shared their experiences of injury with Erin Sanchez

Special Focus on Resilience

BA (Hons) Professional Dance Next start date September 2019 Career focused, physical, academic and vocational training for future dance professionals.

Next start date October 2019 Create and tour new work across the UK. Application deadline 13 April 2019.

0191 261 0505 dancecity.co.uk/learning-academy Email HE.enquiries@dancecity.co.uk

Dancers: Jordan Robson and Cora Williams

Photo: JK Photography

Photography: Neville Campbell

dancecity.co.uk 40 The One Dance UK Magazine | Spring 2019

These practitioners can offer Dancers have many choices excellent support for dancers, for injury treatment and with a variety of approaches that rehabilitation, including dancers find helpful. However, physiotherapy, osteopathy, massage, Pilates and many more. they are not subject to the However, most dancers may not same regulation as those with be aware of the different types of protected titles. treatment available, how different When selecting a practitioner, ensure that they hold a valid, healthcare practitioners work, full membership to at least one and the qualifications healthcare professional body specific to practitioners need to practice. Some healthcare practitioners, their practice. You can find out if your healthcare practitioner has including Chartered Physiotherapists, Chiropractors, a protected title by visiting One Dance UK’s ‘Which Practitioner’ Dieticians, GPs, Osteopaths, page, where you will find a list of Physicians, Podiatrists/ protected titles, as well as a list of Chiropodists, Psychologists, the different types of practitioner Radiologists, and Surgeons that currently appear in the have what is called a protected One Dance UK Healthcare title, meaning that they must be Practitioner’s Directory and registered with the appropriate a short introduction to the governing/regulatory body, type of work they do, what or risk prosecution and a fine. qualifications they are likely to Registration for practitioners have, and what they can treat. with governing bodies ensures a high regulation of all practitioners working under “ We recommend you protected titles, and also requires always check the minimum qualifications and experience, regular CPD, a route qualifications and for patients to make complaints professional body if needed, and practicing ethics membership of any policy / code of conduct. practitioner you see.” Many dancers will also seek injury care from healthcare practitioners without protected Sports and Remedial Massage Therapist titles, such as massage therapists, Stephanie De’Ath treating a dancer nutritionists, Pilates practitioners, homeopaths, naturopaths and Further information sports therapists. onedanceuk.org/health-practitioners-directory

Photos: Left: Hugo Glendinning; Middle Left: Tina Kadoic; Middle Right: James Keats; Right: Ana Dias

MA Advanced Dance Performance

Elly Braund is a professional dancer, currently dancing for Richard Alston Dance Company

Lukas McFarlane is a Creative/ Choreographer/Artist

Erin Politt is a freelance contemporary dancer, choreographer, teacher and researcher

James Williams is an ex-professional contemporary dancer and contemporary circus performer now working as a freelance Director of Photography

What is your injury story?

a close working relationship with my physical therapist. These combined helped me to overcome the worst of my injury, although I still do suffer from pain in my lower back, and I have come to accept that on some level I always will have to manage and deal with this ongoing issue.

James My first major injury was during my foundation year at Rubicon Dance, a very bad fall onto my left hip. However coming from the freerunning world where at that time the attitude was ‘if nothing is hanging off, you are fine’, I didn’t seek advice or medical attention and to this day do not know what that injury actually was. Then came the pinnacle injury that really shaped my resulting dance career. I trapped my ankle on a bad landing and tore the lateral ligament. Even with a fresh tear and barely off my crutches, I started my first year at Laban without even letting them know I had been injured. I didn’t... no, couldn’t jump for my entire first year and never returned to “normal”. The final stage of my injuries was a ridiculous game of injury ping pong - Compensation tear to my left ankle, then rinse

and repeat on the right. I even tore my ligament 3 days before a show and did the performance, having had an emergency backstage preshow physiotherapy treatment. It is safe to say that my lack of decision-making skills at my grassroots stage led to a flourishing spiral of recurring injuries that not only held back my progression in ability but considerably altered my lasting relationship with my body and my physical state post dance.

Elly About three years ago I had a stress fracture in my fourth metatarsal, I felt it happen just as I was walking across the studio after a rehearsal. It seemed to come from nowhere at the time, I waited a whole weekend thinking it was nothing before I was advised to get an X-ray. I was put in a boot for 6 weeks and had a lot of rehabilitation physio sessions throughout and afterwards. Previous to that injury I had on and off shin pain and a grumbly left knee - in hindsight some warning signs that I was probably not working in the most economical way for my body. Erin During my 2nd year at NSCD, I quite severely injured my lower back. For a few months, I had no idea what was wrong, and so I continued to dance through a considerable amount of pain. After an MRI scan and multiple appointments with consultants and physiotherapists, I found that I had a compressed lower spinal disc and suspected damage to the long ligament in my sacrum. After this, I started a rehab program based on a series of Pilates style exercises, alongside developing

Lukas When I was 14, my knee went out and wouldn’t go in again. It locked bent. I went to the doctor and found out that I had a torn meniscus in my left knee. I was training very hard in dance, and I had to get it repaired. And two years later when I was 16, my right knee tore in the middle of competition season, and I had to get that repaired. And when I was 19, my left knee tore again and I had to go and get it repaired again. So, I’ve had three meniscus repairs. Two months ago, my left one went again. I think it tore pretty bad, so I am just waiting on an MRI result to see if they have to take it out or shave it off. My knees have been a constant thing in my career as a dancer and choreographer. But I think you learn from your injury.

“ It wasn’t the injury which taught me to consider all the moving parts but the perspective I gained once the injury wasn’t so personal or career threatening.” James Williams

What was the hardest thing for you about your injury? Elly The process was not easy to begin with, I felt guilt for my colleagues having to do more work to cover me. The feeling of helplessness was tough; the frustration and the ‘why me?’ I hated even the look of having the boot, I’d felt in some way I’d lost my identity as a dancer. I think it was an important process to go through, I let go of a lot of attachments during that period and I came out with an entirely different approach to my job and life. The other thing that I forget about was actually starting to dance again and dealing with the fear of the injury returning. It’s like I had to rebuild the trust in my foot in my nervous system as well as working to rebuild physical strength. The One Dance UK Magazine | Spring 2019 41

Special Focus on Resilience

Lukas The hardest thing about my injury was the impact it had on my career, and my mental health. …overcoming the mental part of things when you are such a physical being, sitting. [I was told] “You can’t put any weight on it for 7 weeks, and it’s going to take you another 4-5 months to build it up again.” All of that is so hard on your brain, to feel like you are just so limited. It was getting around that and being like “Okay, this is the long game here. This is my body, I want to have a career.”

Resilience in Dance Building Psychological Skills

James The hardest thing was not being able to participate. When I was in training and was told to step out of allegro or when I was touring with companies and picked up niggles/etc. The internal pressure to not let the rest of your team down, and you do feel like a true bonded team, is overwhelming.

Consultant Sports Psychiatrist Dr Allan Johnston works with a range of elite sports people,including members of Northern Ballet. Here he explains how stress can affect performance,and how building resilience is key to delivering optimal results.

What advice would you give to other injured dancers? Elly Don’t let little niggles go by, some things work themselves out but learn to notice what pain may be a sign of a weakness or working with incorrect alignment. See money spent on seeing an osteopath as an investment in your body, your tool. See injury in a different light- as a learning curve, a way to get stronger, to gain knowledge, I look back on my injuries as great teachers that occurred at a time when I needed to learn something, to step back to appreciate what I had achieved and to rediscover my love for dance.

Lukas McFarlane

“ The most important skill we can develop as dancers is knowing our bodies’limits, knowing when to stop and having the confidence to say ‘no- I actually can’t do that.’”

Photos: Top: Elliot Franks; Bottom: Tina Kadoic

Choreographed by Sir Richard Alston

Erin Politt

Erin See the big picture. Know that being injured is not the end of your world. Find something else you enjoy other than dance. Keep your mind active, occupy yourself, inspire yourself, don’t get bogged down in the rubbish bits that you can’t change. Focus on what you can change. Read some anatomy books, be curious about your body, you can never learn too much. Try to stay positive, set goals and reward yourself when you meet them. Celebrate the small improvements, they matter. Recovery, mental and physical, is not linear. It’s not easy, and it won’t just happen, but it will teach you a whole load of skills. You will get better and you will come out of the other side as a stronger person. Listen to your body. Trust your body. We only get one! Lukas Patience with injury. At the time I know it feels like it is the end of the world, and also it feels like every day is forever. But taking three months, four months, five months off and then being able to dance for the rest of your life, or pushing through after one month and doing something worse and then not being able to dance for 10 years… What’s more important to you?

42 The One Dance UK Magazine | Spring 2019

Elly Braund with Liam Riddick in Richard Alston Dance Company’s Mid Century Modern

James Certainly taking time to have the injury evaluated and then moving forwards with informed actions. That sounds so simple and obvious, but I didn’t do it, and I know many others who have/had a similar mindset. Often the simple solution is the best, even though simply doing nothing is often the most challenging for people who spend their lives moving and shaking. Don’t battle with yourself, seek advice from as many available sources as possible. Don’t discard information, take it all in and then make informed decisions that will keep you in the game for the long haul.

Dr Allan Johnston

“ So,a big thing I learnt through injury (and a bit of age) was to really listen to my body and train it correctly;so when I was fatigued,not pushing through it.Cross training,going to the gym,just being smarter.” Lukas McFarlane

Further information Dancers can access National Institute of Dance Medicine and Science (NIDMS) specialist clinics to access high quality, dance specific healthcare for free via the NHS. To find more info and find your nearest clinic, visit www.nidms.co.uk

Photo: Dr Allan Johnston

Erin By far the hardest thing for me was feeling completely alone. Of course, there are many people who completely understand exactly what you’re going through, however, I found it so difficult to deal with the silent stigma that still surrounds injury. A lot of the time I felt looked down upon, I felt weak, and guilty, for not being ‘brave’ enough to suffer through my pain for my art form. The bravest thing I could have done, and anyone can do, is to ask for support. I feel as a community, we can be more accepting and understanding of just how hard it is to be injured. We can place some responsibility on our own shoulders, to reach out to injured dancers to make sure they still feel valued, supported, and not alone.

Special Focus on Resilience

In dance, as in life, we are met with a range of biological, psychological and social challenges to our wellbeing and performance. In my clinical experience, I have often found the challenges that dancers must overcome in their daily lives are perhaps greater than the majority of the general public, though there is much overlap. In my experience the stressors are more akin to athletes in the sporting field. We meet these challenges with our own personal qualities which are made up of a combination of both genetic and environmental factors. The qualities of the team are also important to developing an appropriate culture and facilitative environment to respond to individual and collective needs. The psychological resilience of both the individual and the team is a

vital factor in how we meet and overcome these challenges to achieve our collective goals. As a Sports Psychiatrist to the GB Olympic Teams with the English Institute of Sport and via independent practice in Leeds where I see a range of athletes, dancers and other high-performance clients, I work with both individuals and teams to take an evidence-based approach to the development of resilience for elite performance. What is resilience? ‘Resilience’ is a diverse term which has different meanings in different contexts. It is defined as the ability of a body to recoil or return to its original shape after change1. This is close to my preferred definition of ‘bounce-back-ability’. The term conveys the notion that we are all not very far away from the next challenge. At times it will feel like we are struggling, even falling. It is difficult to predict when or from where the next challenge might come. We can prepare ourselves in terms of resilience, to help us bounce back from this future challenge and return to our previous position or reach even greater heights. I ask clients to imagine a rubber ball bouncing off the floor. Sometimes the further the fall, the greater the bounce.

Why is resilience important in dance? It is widely acknowledged that dance can be both beneficial for subjective wellbeing and physical health or sometimes detrimental for physical and mental health2,3. A 2007 study4 of subjects involved in competitive ballroom dancing found substantial increases in the stress hormone, cortisol, compared to non dancers. The increased cortisol found was not due to any physical strain of dancing but was due to mental stress, for example due to the perception of being judged. There was no difference between novice and experienced dancers. Contrary to expectations experienced dancers did not habituate to stress over time. The stress response showed the greatest increase in environments featuring what authors called ‘highly focused conditions of threat.’ Psychological threat can arise and be perceived in many forms. In my experience of working with dancers from across UK and European schools, the environment of dance can at times be, or at least is perceived to be, threatening to an individual. Dance training and rehearsal often involves a critique of an individual’s shape or body. In my clinical experience, this is perhaps most true of ballet. Similar to many

sports, ballet involves high levels of discipline, in order to meet a variety of challenges including physical demands, competitiveness, sometimes perfectionistic attitudes of trainers, and acceptance of emotional and physical suffering as a part of the job. Working under this specific type of pressure can take its toll. One meta-analysis (a research method grouping together studies in order to determine an overall trend) of 33 dance studies taken over a 47 year period5 concluded dancers’ risk of having an eating disorder is three times greater than the general public with the highest rates seen in ballet. What can we learn from Sports Psychiatry? Whether working with a rugby prop forward or a principal dancer I have found the key ingredients of resilience translate well from one environment to another. I often refer to the work of two Loughborough based Sports Psychologists Fletcher and Sarkar. One study in particular 6 interviewed Olympic Champions across a range of sports regarding their experience of withstanding pressure during the highs and lows of their sporting careers. Interview transcripts were thoroughly analyzed to produce five key traits of psychological

The One Dance UK Magazine | Spring 2019 43

Special Focus on Resilience

How Much? How Fast? How Soon? Three simple concepts for progressing training loads by Tim Gabbett With Greg Retter and Brian Maloney, The Royal Ballet Mason Healthcare Suite

resilience that protect the world’s best athletes from stress and help to deliver optimal performance. These are:

Photo: Guy Farrow

• Positivity – optimism, openness, proactiveness • Motivation – having multiple motivations; passion, choice, proving your worth • Focus – on process not outcome, avoid distractions, ability to de-focus at rest • Self Confidence – self belief in own ability and the abilities of the team • Perceived Social Support – the perception of & gratitude for available support.

role that resilience plays in their past and current issues. A variety of exercises which I have developed are completed, often with the individual taking away ‘homework’ to be completed in their own time when the dancer has time to reflect on their own journey.

• We first discuss the resilience and strengths that an individual dancer already possesses in exercises aimed at analyzing prior challenges and how the individual has overcome these • We discuss the dancers’ own views and definitions of resilience These key traits are essential for • The above model is explained how an individual appraises and explored together a forthcoming challenge • Resilience diaries are taken and whether they respond away to be completed by the and adapt in a way which is dancer over a period of weeks facilitative or is potentially with the individual assessing damaging to their health and their own strengths and also success. areas for development Importantly this study and • We together analyze the their later work acknowledge dancers resilience diary. that resilience is not something we are necessarily born with. We develop strategies for It can be developed, it can be maintaining areas of strength coached, and it can be learned. and also explore the reasons behind and develop strategies How do we apply this in the to improve, other areas such Sports Psychiatry clinic? as variable motivation or low As part of my standard self-confidence. assessment process I use a Many dancers will be variety of strategies to help familiar with the concept of an individual to consider the prehabilitation or “prehab”. 44 The One Dance UK Magazine | Spring 2019

These are strategies commonly used to improve physical health and reduce in incidence of future injury by improving flexibility, strength and control of movements. I think of the resilience work we do in clinic in the same way. We work together to prehabilitate or strengthen the dancers ‘mind muscle’, improve their mental health and reduce the incidence of future psychological injury or distress. Resilience for all, and all for resilience? I hope you have found this brief article of interest. My aim was to explore the concept of psychological resilience and its role in helping us to manage stress, particularly found in certain environments such as the fields of dance and sports. Resilience plays an important role in mental health which is increasingly acknowledged to be central to health in general. Whoever you are and whatever you are currently going through resilience is something that may help. It is not something that you are born either with or without. It can be taught and it can be learnt. In dance, as in life, the more you work at your own resilience, the further your resilience will take you.

Northern Ballet’s Abigail Prudames and Joseph Taylor in Victoria

Further information Strumpfer D.J.W (1999) Psychological Resilience in Adults. Studia PsychologicaVol 41 (2), 89-104 2 Mansfield L, Kay T, Meads C, et al. Sport and dance interventions for healthy young people (15–24 years) to promote subjective well-being: a systematic review BMJ Open 2018;8:e020959. doi: 10.1136/bmjopen-2017-020959 3 People Dancing 2018. Making the case for dance in health and wellbeing. Accessed 13 Feb 2019, https://www.communitydance. org.uk/creative-programmes/health-andwellbeing#case 4 Rohleder N et al (2007) Stress on the Dance Floor: The Cortisol Stress Response to SocialEvaluative Threat in Competitive Ballroom Dancers Pers Soc Psychol Bull. Jan;33(1):69-84 5 Arcelus J et al (2014) Prevalence of eating disorders amongst dancers: a systemic review and meta-analysis Eur Eat Disord Rev. 2014 Mar;22(2):92-101 6 Fletcher D, Sarkar M (2012) A grounded theory of psychological resilience in Olympic champions Psychology of Sport and Exercise 13 (2012) 669-678

The previous issue of One looked at the science behind the art of dance healthcare management and performance and efforts to monitor dancers’ workload.Following this,Tim Gabbett,a leading applied sport scientist and coaching consultant, illustrates the concepts behind effective training load progression to ensure dancers are fully fit for performance and more resilient,with a reduced risk of injury. With research in dance having shown a strong link between fatigue and injury (Laws,2005) and that traditional training and rehearsal periods inadequately prepare dancers for the physiological demands of performance (Wyon and Redding, 2005),here are some simple concepts to take into consideration when planning training and rehearsal periods.

Figure 1A

The ‘Ceiling’

The ‘Floor’

Time

Performers Need to Load in Order to Withstand Load A key principle of training is overload; load must exceed load capacity in order to improve. In order for progression to occur, these increases in load must be systematic. Small increases in load that are slightly greater than load capacity* will result in an enhanced ability to tolerate further load. However, if the applied load greatly exceeds load capacity, then tissue tolerance is exceeded, and injury may occur (Verhagen and Gabbett, 2018). The Floor, the Ceiling, and Time When developing rehabilitation or performance programs, three key concepts are critical: the “floor”, the “ceiling” and time. The “floor” refers to the dancer’s current capacity, whereas the “ceiling” refers to the capacity needed to perform the specific activities of the repertoire. It is possible to safely progress a dancer from the “floor” to the “ceiling” as long as they are afforded adequate time (Figure 1A). However, a challenge in most dance environments is the time required to progress from the “floor” to the “ceiling”. If dancers’ training loads are progressed too rapidly,

they will be at increased risk of injury (Gabbett, 2016). This scenario occurs all too frequently. Consider dancers who enter a very short rehearsal period. If the gap between the current capacity and the required capacity is large, then the only way to progress from the “floor” to the ‘ceiling” is to rapidly increase training (rehearsal) load to ensure that the dancers are prepared for the premiere or first performance. Unfortunately, training in this manner is associated with a high risk of injury (Figure 1B). Rehearsal directors/coaches can take more time to safely progress to higher training loads and prepare dancers for the “ceiling”, but Rehearsal directors/coaches do not have infinite time. Equally, if an inadequate training stimulus is applied, then the dancer is at risk of being underprepared, and incapable of delivering a quality performance.

The One Dance UK Magazine | Spring 2019 45

Special Focus on Resilience How can rehearsal directors, coaches or those responsible for staging dance progress their dancers from the “floor” to the “ceiling” and ensure that they safely reach the high rehearsal loads required to deliver elite performances? Reducing the “ceiling” is not a realistic option. One option is to take more time to bridge the gap between the “floor” and the “ceiling”, although most coaches will be less than impressed if their best dancers aren’t fit enough

Figure 1B

One Dance UK Information Sheet

to deliver an outstanding performance on opening night. But what if we were to “buy” more time prior to the official start of the rehearsal period? If dancers performed a minimum volume of training prior to returning from an extended break, this would have the effect of artificially increasing the length of the pre-rehearsal period, thereby ensuring that progression to the “ceiling” was gradual and systematic (Figure 1C).

The ‘Ceiling’

Progressing dancers from the “floor” to the “ceiling” is further complicated when the dancer returns to the initial rehearsal period in a severely deconditioned state. In this example, their current capacity is inadequate to sustain a normal rehearsal load; rather than having an adequate “floor” their capacity is more like “the basement” (Figure 1D). In this respect, given the same amount of time, progressing that dancer from

Figure 1C

The ‘Floor’

Hormones and Dance Performance

their current capacity to the “ceiling” would result in rapid changes in training and rehearsal load, which in turn increases the risk of injury. Another solution to ensure that dancers are safely progressed from the “floor” to the “ceiling” is to raise the “floor” (Figure 1E), or by ensuring that when dancers are taking an extended break, they don’t allow their physical capacity to fall to the “basement”.

by Dr Nicky Keay

The right balance and interaction of hormones is crucial for health and optimal dance performance. Hormones are internal chemical messengers determining which and when you produce proteins vital for life (and dance!) encoded in your DNA. To enable your hormones to do the best job they can for your health and dancing, you need to have balanced nutrition, exercise, and sleep. Too much or too little of these elements can lead to imbalance and possible negative health and performance outcomes.

The ‘Ceiling’

Dr. Nicky Keay BA, MA (Cantab), MB, BChir, MRCP NHS RED-S clinic, Royal National Orthopaedic Hospital, London Honorary Fellow Sport and Exercise Sciences, Durham UniversityMember British Association Sport and Exercise Medicine Relative Energy Deficiency in Sports (RED-S) refers to health concerns caused by a lack of energy available to support both exercise and normal physiological functioning, or relative energy deficiency.

The ‘Floor’

What happens when things go wrong? Imbalances in training, nutrition and recovery can affect both male and female dancers. (For details on the specific concerns for women, see the ‘For Women’ info box) In certain sports and in a variety of dance styles, being of light body weight may give a performance or an aesthetic advantage.

Time Figure 1D

However, striving to be light weight without support and advice from qualified nutritional, physiological, and psychological healthcare practitioners could lead to unhealthy behaviours around exercise and eating, potentially risking disruption of hormone health. Not taking in sufficient nutrition to cover both training and normal day to day function in the body means that you go into energy saving mode. This disrupts the hormone system and consequently has multi-system negative effects such as problems with bone health, immunity, metabolism, cardiovascular health, and cognitive function to mention a few.

Time The ‘Ceiling’

Figure 1E

The ‘Ceiling’

Raise the ‘Floor’

There are too many hormones to name individually, but some of the most important to both male and female dancers are: Thyroid hormones Regulating metabolism, body composition (lean and non-lean mass) and bone health

The ‘Floor’

Growth hormone family Regulating growth in young dancers and in adults supports favourable body composition and bone health The ‘Basement’

“ For the most part, the demands of elite dance cannot be changed; in general the complexity and physicality are increasing every year.”

46 The One Dance UK Magazine | Spring 2019

Time

From Risk to Resilience Training loads can have positive and negative effects. The risk of injury increases with rapid changes in training/rehearsal load. However, not all training load is bad – in fact, when prescribed appropriately it can create resilience and robustness. Systematically increasing training loads not only lowers the risk of injury but allows dancers to progress to higher training and rehearsal loads typical of those required for elite performances (Gabbett, 2016). Importantly, once dancers have reached these high training loads, they are at reduced risk of injury – loading allows dancers to withstand further load.

Further information

Andry Oporia

The female athlete triad comprises a spectrum of health in three elements: menstrual periods, nutrition, and bone mineral density. The spectrum ranges from healthy and regular periods to lack of periods (amenorrhea), healthy and adequate nutrition to disordered eating or eating disorders, and healthy strong bones to low bone mineral density. What’s so good about periods? In the case of female dancers, having periods is normal. Not starting and/or missing periods is not. Having excluded some relatively common medical conditions that can cause menstrual issues (like polycystic ovary syndrome which affects ovary function), then does it matter if your periods are slow starting and/or stop? Whether you are a dancer/athlete or not, all women of reproductive age from 16 years of age to menopause (around 51 years of age) should have reasonably regular periods. Periods act as a barometer of good health. Amenorrhea Is the absence of periods. Primary amenorrhoea is when periods have not started by age 16. Secondary amenorrhoea is when periods stop for more than 6 months (definitions from Royal College of Obstetrics and Gynaecology). Although periods do tend to start later in dancers than non-dancers, medical opinion should be sought if periods have not started by 16, or if they stop for more than 6 months. Not having periods indicates that your hormones are not at the right levels. You might be thinking everything will be fine once you stop dancing so much, eat a bit more and periods (hopefully) restart. In a study I did of retired dancers, although periods resumed after retiring from dancing full time, in those dancers who started menstruating late and/or periods stopped whilst dancing and/or weight went low, bone loss was irreversible, with values well below that of women of similar age. Some dancers already had osteoporotic bones, or “brittle bone disease,” similar to an 80-year-old post menopausal woman, rather than an apparently fit young woman. Hormonal Contraception Taking the oral contraceptive pill (OCP) is not a solution for regulating periods in the situation of amenorrhoea. The OCP suppresses ovulation and female hormone production. Although withdrawal bleeds are induced; these are not normal menstrual periods caused by production of your own internal hormones. This is the exact opposite of what you want and need your hormones to be doing. So it is no surprise really that OCP does not help protect bones. Although bone health is dependent on internal oestrogen produced during menstrual cycles, many other naturally produced hormones like the growth hormone group and thyroid hormones are also important for bone health and certainly not contained in the OCP.

Glossary* Training load: The cumulative amount of stress placed on an individual from a single or multiple training sessions (structured or unstructured) over a period of time. Capacity: The actual or potential ability of a dancer to accept load. This is affected by various factors including fitness status before load, loading rate, psychological factors and various other internal and external factors. References Gabbett, T.J. (2016). The training—injury prevention paradox: should athletes be training smarter and harder? British Journal of Sports Medicine, 50:273-280. Laws, H. andApps, J. (2005). Fit to Dance 2. London: Dance UK Verhagen, E. and Gabbett, T. (2018). Load, capacity and health: critical pieces of the holistic performance puzzle. British Journal of Sports Medicine, (in press). Wyon, M., Redding, E., Head,A. and Sharp, NCC. (2005). The physiological monitoring of cardiorespiratory adaptations during rehearsal and performance of contemporary dance. Journal of Strength and Conditioning Research 19(3) 611-614

Optimal Energy Availability

Reduced Energy Availability with or without an Eating Disorder

Eumenorrhea Optimal Bone Health

Photo: Hugo Glendinning. Photoshop Consider This UK

Time

Sex steroid hormones In females, oestrogen and progesterone. In males, testosterone. Vital for optimising body composition, bone health, metabolism and cardiovascular health.

For Women

Low Energy Availability with or without an Eating Disorder

Functional Hypothalamic Amenorrhea

Female Athlete Triad (De Souza BJSM 2014)

Subclinical Menstrual Disorders

Osteoporosis

Low BMD

One Dance UK Information Sheet

Special Focus on Resilience

Hormones and Dance Performance

Using Restorative Practice in Schools

by Dr Nicky Keay

Being healthy is key to being able to dance well and to your full potential. It is easier to see the warning signs of RED-S in female dancers, (see ‘For Women’ info box) as issues with periods not starting/ stopping are more obvious than less defined signs like feeling tired, getting ill a lot, or mood changes. This does not mean that male dancers are not potentially at risk, it just means that it may not so be easy to recognise if hormones are out of balance. Nutrition: quantity, quality, timing Although low energy availability and hormonal disruption are the fundamental issues in RED-S, it is not as simple as how many calories consumed. Recent research shows energy deficits over a 24 hour period will disrupt hormones more than consistent energy intake over the same time. (For example, skipping meals and eating larger amount at another time of day.) A full dance schedule and late rehearsals or performances may require planning, such as eating more healthy snacks to prevent missing meals. Try not to be rigid in nutrition choices, and keep in mind that a certain diet may suit one person, or may be popular for a time, but this does not mean it is ideal for all dancers. Dancers strive for perfection with determination and attention to detail. These usually positive qualities can sometimes result in imbalanced approaches such as restrictive or ‘picky’ nutrition choices or “clean eating” where only certain foods are considered healthy. Clinically, these eating habits are called orthorexia and can result in health issues. For example, this may occur when dancers exclude certain food groups from their diet.

The guiding principle is to be properly fuelled for dance and life and to refuel regularly relative to energy needs. This fuelling strategy supports bone health and recovery. Needless to say, the quality of your nutrition is important. Include not only a range of food types (carbohydrates, protein, fat, fruits and vegetables), but cover all the micronutrients. These include essential vitamins and minerals, which are best obtained through food sources, or the sun in the case of vitamin D. By ensuring adequate quantity, quality and timing of nutrition, you will be supporting healthy balance of hormone production. For more information on healthy nutrition, see One Dance UK’s Information Sheet: Nutrition for Dancers. Young dancers If young dancers develop RED-S, this can not only compromise health and performance, but growth and development as well. In a study I did of young dancers in training, there was evidence that even low energy availability can disrupt key hormones and accumulation and architecture of bone during a crucial time for bone development. The opportunity to set up strong bones for a dance career is at risk, as peak bone mass is accumulated by your early twenties. It is vital for dancers, parents and teachers to spot potential issues early.

Performance effects and injury risk Why is it so important to prevent RED-S in dancers? Even if you were perfectly in balance beforehand, after just 5 days of reduced energy availability (not eating enough to cover energy demands from exercise and housekeeping demands of body), key hormones are disrupted. Imbalance of hormones has detrimental effects on your dance ability and increases risks of injury, including soft tissue and stress fracture injuries. Hormone disruption due to RED-S also causes deterioration of neuromuscular skills, including balance and proprioception. What to do? Don’t ignore recurrent injury, fatigue or illness. For example, if you have been reducing your food intake, increasing your hours of exercise and dancing, if you have been growing, but feel more tired than usual, or feeling extremely stressed or tired, there may be a simple explanation such as viral infection, or low vitamin D. However, it may be that the underlying reason is hormonal dysfunction due to RED-S. Although you may think you are fine, if your hormones are not working for you, then you will never reach your full potential as dancer. Any concerns should be checked by your GP and, if necessary, referred for further help to the dedicated NIDMS RED-S/Endocrine clinic for dancers, jointly run by Dr Roger Wolman and Dr Nicky Keay at the Royal National Orthopaedic Hospital, Bolsover Street, London. Every care has been taken in preparing this advice but no responsibility can be accepted by the authors or One Dance UK for any harm, however caused, which results from this advice.

Restorative practice is a social science seen as an alternative to discipline. In essence, restorative approaches enable those who have been harmed to convey the impact of the harm to those responsible, and for those responsible to acknowledge this impact and take steps to put it right. Dance in Education Manager Tori Drew went to visit Carr Manor Community School to talk to both staff and pupils. She learnt how restorative practice can make pupils resilient both within dance and their education, and how this has led to an increase in school attendance and decrease. Carr Manor Community School

Jade Wallace

Copyright The text and images on this sheet belong to One Dance UK or the appropriate author and are protected by copyright and other intellectual property rights. You cannot print or reproduce any part of these text and images other than for personal use and any copies must retain the copyright or other intellectual property notices contained in the original material.

“ We pride ourselves on being inclusive, always looking to resolve a situation.” Mr Tom Walsh, Year 8 Manager

Performance effects of RED-S (IOC statement BJSM 2014)

Decreased endurance performance Decreased muscle strength

Increased injury risk

Decreased glycogen stores

Decreased training response

RED-S

Impaired judgment

Photo: Simon Wright

Depression

Decreased coordination

Irritability

Decreased concentration

If yes to any of above, seek medical advice at NHS RED-S dedicated clinic. For full information visit nidms.co.uk/red-sclinic Key Points •S triving to be light weight for dance can lead to restrictive eating patterns and without nutritional and training support and advice could lead to unhealthy behaviours around exercise and eating • I nsufficient nutrition intake (quantity and quality) for demands of dance results in RED-S and multiple hormonal disruption •R ED-S has detrimental effects on health and dance performance, and consequences can be both short and long term •S ome consequences of RED-S are irreversible, unless intervention is swift.

Resources •B ritish Association of Sport and Exercise Medicine Educational resource for athletes/dancers, coaches/teachers, healthcare professionals on RED-S health4performance.co.uk •N IDMS NHS RED-S clinic Royal National Orthopaedic Hospital, London References 2018 UPDATE:Relative Energy Deficiency in Sport (RED-S) British Journal of Sports Medicine 2018 What is Dance Medicine? British Journal of Sports Medicine 2018 Optimal health: including female athletes! Part 1 Bones British Journal of Sports Medicine 2017 Optimal health: including male athletes! Part 2 Relative Energy Deficiency in sports British Journal of Sports Medicine 2017 Optimal Health: Especially Young Athletes! Part 3 - Consequences of Relative Energy Deficiency in Sports British Journal of Sports Medicine 2017 Optimal Health: For All Athletes! Part 4 Mechanisms British Journal of Sports Medicine 2017

One Dance UK 020 7713 0730 info@onedanceuk.org onedanceuk.org

Photo: Abi Ramsey

Check points •A re you suffering with frequent injuries/fatigue/illness over last 3 months or more? • Female dancers: if 16 years or older have your periods not started? Have you missed more than 3 consecutive periods?

Carr Manor Community School (CMCS) is a 4-19 through school set in inner north Leeds where Louisa Keohane has taught dance for over 11 years. During this time, Louisa has transformed the dance department from teaching a small group of Year 8 boys with little confidence and skill, to a dance department with pupils brimming with assurance and strength. The school’s values, listed below, ensure every child can achieve their best outcome: 1 – Know our children well 2 – Partners in learning 3 – Character for learning 4 – Enjoy and achieve

Know our children well Walking around CMCS, there is a calm and focused atmosphere. Restorative practice has had a huge impact on the school and has been upheld by both the staff and pupils over the last seven years. The school’s “highly effective systems to support pupils’ personal development and safety result in an exceptionally harmonious school community,” Ofsted noted. Dance naturally lends itself to this practice. In a rehearsal for CMCS dance group, United Boys Dance, the pupils confidently led their own warm up, despite being of mixed ages, with poise and knowledge. What really struck me was how the dancers celebrated each other. Whenever Louisa praised a pupil, the group would applaud with pride. Restorative practice creates resilience for the pupils, encouraging them to keep trying and never give up. This was constantly echoed by Louisa’s teaching and was evident through the new members of United Boys

Group who were not shy to give it their all, despite not knowing the steps or technique. Restorative practice, through its repairing, maintaining and building relationship focus, builds toughness and mental strength amongst the pupils. “Restorative practice has given me the confidence to keep practicing and to perform,” Year 9 pupil Tara proudly explained. ‘Coaching’ plays a big part in building relationships between staff and pupils. “Coaching is the best thing at our school,” beamed Year 10 pupil Jagwinder. Instead of the more common tutor group classes, each staff member in the school is allocated a group of around 8-11 pupils from Reception – Year 5 in the Primary Phase, or Year 6 – Year 12 in the Secondary Phase. Louis, Year 11, was shocked when he was asked whether having a Year 6 pupil in his coaching group was an issue: “It’s normal, he’s one of us.” The Year 6 pupil in question was probably the most confident and talkative of the group, which was refreshing to see in a pupil transitioning to secondary education. The coaching groups “helped me to get used to talking with older pupils,” stated Alex.

“It’s a school family,” smiled Harmoni (both in Year 8). The small coaching groups create a unique bond between the ‘coach’ and the pupils. “You can tell the coach anything”, Year 7 pupil Stephanie added. Coaching groups meet three times a week and stay with their coach throughout their time at the school. One session is ‘Coaching Plus’ where topics are discussed including careers, health and well-being and citizenship. This has included a session about those from whom the pupils can access support and who they support in return. They concluded that talking helps, which is key to restorative practice.

The One Dance UK Magazine | Spring 2019 49

Special Focus on Resilience they would like to receive more attention. This manifested in a dance rehearsal where the aim was to teach a new section, but one pupil’s request was that they were still unsure of the Partners in learning start of the dance. The teacher All pupils are taught about re-worked the start of the dance restorative practice, but some in partnership with the pupils. pupils choose to become trained Furthermore, pupils to a higher level. These pupils are given responsibility to are equipped to speak with choreograph dances for their peers who may have been asked groups and lead. A dance pupil to leave the classroom for a recently won an award for short period. They will talk and co-teaching a BTEC class after listen to the sent-out pupil to school. This approach is evident help resolve the issue through across the school in all lessons. reflecting on their thoughts In a Year 6 physical education and feelings behind what has (PE) hockey lesson, pupils were happened. “This makes the in groups and had to decide teachers not as strict because who was ‘coach’ of the group they don’t need to shout at to give feedback. When roles pupils and it helps build trust”, were changed over, the pupil Year 8 pupil Payge commented. ‘coach’ chose who did the best “Restorative practice to take over. “You’ve got to help is about relationships and each other out, you’ve got to building trust”, grinned Year communicate!” bellowed a Year 7 pupil Stephanie. This is 6 pupil at his group. evident within dance through After this task, the PE teacher trusting the pupils to lead their asked the pupils how they should own dance groups such as progress onto the next level of ‘Afrobeatzz’, who are made up learning and the class was full of of pupils across the year groups. ideas. They were beyond their Pupils can help dictate a years in understanding teaching lesson by being allowed to and learning. “You are all like comment to the teacher on mini PE teachers!” exclaimed the which part of their learning PE teacher.

Photo: Abi Ramsey

4 “ A community functions and succeeds because of strong relationships.” Simon Flowers, Executive Principal, Carr Manor Community School

Carr Manor Community School Enjoy and achieve Watching a day of dance at CMCS, not one pupil uttered the words “I can’t”, and it was clear that the school promotes resilience, positivity and strong relationships between the pupils and staff. A dance pupil proudly commented that “teacher feedback is always very positive here, and our input is always valued. It gives us confidence.” Restorative practice is built within dance through the characteristics constantly being built into schemes of work. Louisa expressed how dance is part of the school culture and helps contribute to the emotional and social elements of the school. She continued to say that dance allows those who don’t achieve academically to shine. With confidence built through restorative practice, dance gives all pupils the ability to work to their own strengths, abilities and self-assurance.

50 The One Dance UK Magazine | Spring 2019

Teacher Resource

Character for learning ‘Passengers into crew’ is one of the elements of the school’s restorative practice, where pupils take their own accountability for Further Learning (CMCS’ approach to homework) and Flexible Learning (before and after school clubs). This is to encourage pupils to take their own responsibility and understanding of their own learning. Ahmed Zaman, an ex-pupil who now leads events and supports operational procedures in the school, emphasised the high rate of ex-pupils returning to work at the school and reminisced how Louisa “always encouraged us to practice dance in our own time and that stuck with me through my education and now career.”

“ Restorative practice is a life skill”

Jagwinder, Year 10 pupil

Create and Dance: Alice’s Adventures in Wonderland (KS1 and KS2)

CUT OUT AND KEEP

by Royal Opera House

Join presenter Karim Zeroual as he goes on a ten-week journey with The Royal Ballet into Christopher Wheeldon’s production of Alice’s Adventures in Wonderland. In this lesson you will take your class ‘down the rabbit hole’, developing movement patterns based on actions such as spiraling, turning and falling. Learning Outcomes • To explore different dance actions e.g. turning, jumping and spiraling. • To develop movement patterns. • To understand the concept of ‘motif.’ Curriculum Links English: Explore the classic Lewis Carroll text, recognising words in the command game that could be developed into command sentences and also taken into a follow up creative writing exercise. Maths: Use the process of spiraling to understand quarter turns, half turns, full turns, linking to fractions in Year 2. Introduction Start the session by sharing the introduction film with your students. These introduction films are designed to inspire and entertain your students, reinforcing the activities and concepts encountered in the lessons. Karim welcomes you to the Royal Opera House to find out about Alice’s Adventures in Wonderland, creating his own ‘motif’ as he journeys down the rabbit hole.

Warm Up Down the Rabbit Hole Command Game Ask your dancers to stand in a space on their own before you begin the journey by calling out the following instructions: • Walking through a park… • Now you’re falling down a hole, a long way down… • Start to explore the place you have arrived in slowly and with curiosity. Is it a big place or a small space? Is it scary or exciting? • Can you demonstrate, by using simple gestures, what you have found down the hole? • Now begin to walk and follow someone in the room. • Check your watch to see if you are late. You are, so you have to run! • You have come to a tiny door and you have to squeeze your way through it. • Now there is a massive door and you have to jump as high as you can to try and open it. • This is exhausting work, so you can lie on the floor and get your breath back. • Now go and find a partner and tell them what you found down the hole. You can take your dancers on any journey and the world they find could lead to an area of study that you are engaging with back in the classroom – a physical historical artifact or a geographical place.

Intro film link: www.youtube.com/watch?v=UWEQQS_En5M

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

Teacher Resource

CUT OUT AND KEEP

Inclusive Dance Resource: Life on Mars

CUT OUT AND KEEP

by Dance in Education Manager Tori Drew

Creative Exploration Down the Rabbit Hole

Cool Down Spiraling Shapes

To celebrate Candoco Dance Company’s appearance on BBC’s Strictly Come Dancing in November 2018, we have created an inclusive dance resource inspired by Arlene Philips CBE’s choreography. The professional dancers of Candoco and Strictly Come Dancing joined forces to create a collision of styles; finding a language to bring together Latin, ballroom and contemporary dance.

Stand in a circle and get everyone to reach up and stretch as high as possible, extending legs, fingers and arms, then relax. Repeat this several times – you could even include some shapes from the lessons. Divide the dancers into duos, trios and quartets, Encourage the dancers to reach as high as they can. and ask them to find two different ways of spiraling Then spiral to lie on the floor. Repeat this several together. Guide their ideas with prompt questions. times. Try different speeds, starting fast and getting Can they hold hands to spiral (one hand or both)? Can slow. they travel the spirals? Can they change levels? Can they move in opposition to each other? Plenary Make time at the end of every session to discuss Encourage each group to think of two ways in which the learning outcomes of the lesson. Remind the they can safely help someone in their group ‘land’ on the dancers of what was achieved and what they will floor. In a duo, one person might simply lean on another explore next. This time gives the children a chance and be lowered slowly to the floor. If they are a quartet, for self-assessment and could take place in the three dancers might be able to support one person. classroom. Each group now has two ‘spirals’ and two ‘landings.’ Ask each group to place this movement in any order they like and travel it through space. The movement patterns they create could be called their ‘spiral motif’. Motifs are the building blocks of choreography - a motif is a short phrase of movement that is related to the theme of the dance and repeated through out. Performance and Evaluation It’s great for the dancers to be able to see everyone’s responses to the tasks set, and it also gives you time to think about what is working and which direction you want to take the dance. Encourage the audience to note the order the different actions are performed. Ask them to identify how each group have developed their ‘spiral motif.’ Ask them what they think worked well and what they thought could be better and, most importantly, why. Encourage the dancers to articulate their reasons why they have come to those conclusions. This develops appreciation as a key skill. 52 The One Dance UK Magazine | Spring 2019

Further information Create and Dance The Royal Opera House’s (ROH) Create and Dance programme offers creative learning for primary schools across England. The programme has been designed with teachers, maintaining strong curriculum links to develop children’s understanding of dance; unlocking their imagination and creativity. With dedicated teacher training, classroom films and lesson plans, these resources suit teachers needs and the needs of their students. Teachers do not need previous dance knowledge to take part. The Programme Offers: • Practical training for KS1 and KS2 primary school teachers across the country. • Digital resources that are free to access via the ROH Learning Platform, giving teachers the option of; two-lesson (‘Taster’), five-lesson (‘Explorer’) and ten-lesson (‘Immersive’) schemes of work. • Introductory films to inspire and entertain the students, reinforcing the activities and concepts encountered in the lessons. • Access to the ROH: Classroom - a platform to share full-length ballet recordings with your students. • Support to improve PE provision, covering four of the five key indicators of the Schools Sports Premium. www.roh.org.uk/createanddance

Photo: Candoco Dance Company, photography by Camilla Greenwell 2018. Thanks to Studio Wayne McGregor Freespace Programme

Photos: Left: ©Andrej Uspenski 2017 - Dormouse Alice Hatter March Hare; Right: ©Bill Cooper - Alice and White Rabbit - Paper Boat

With your dancers, discuss words they would use to describe falling down the rabbit hole: circles, spirals, falling, rolling, travelling, swirling, landing etc.

Warm up and Exploration Ask the students to travel around the space, encouraging different travelling actions, speeds and dynamics, e.g. zoom, float, blast, dart, whirl, twirl. Keep calling out the tasks below during the warm up (image cue cards can be used with key words or images):

• Forces: push and pull the air around themselves with different body parts, like they are pushing In a statement, Arlene Phillips, Patron of One space particles around Dance UK, commented; “My vision is that the • Asteroid: students travel as a clump close together dancers are drawn together by a strange force connecting as a group through body parts. from across the universe; fighting, playing, loving.” Students are not allowed to break until the teacher calls “shooting star” and students dart off on their This inclusive dance resource is inspired by own journeys (this is how shooting stars are made) Arlene’s theme. This resource can also be used as • Fall: students find different ways that body parts a cross curricular lesson with science (physics) can fall downwards (but not fall onto the ground). focusing on gravity and forces. Vary the timings and pathways of these body parts, can students take the longest route or the shortest Introduction route to fall? Discuss with the students about magnetism, gravity and forces making sure physical demonstrations, Encourage students to be attentive to the space images and video clips are given too: between people, exploring how to navigate these gaps. Are the spaces narrow or wide? How can they • Magnetism: a physical phenomenon which fill them with their bodies? attracts and repels objects (show magnets) • Gravity: the force that attracts a body or object towards the centre of the earth (drop a piece of paper and explain that gravity pulls it down) • Force: A push or pull against an object that causes it to move or change direction (push a pencil on the floor) • Watch the Strictly pros and Candoco Dance Company perform to Life on Mars - BBC Strictly Come Dancing 2018 on YouTube. Ask the students to pick out moments of magnetism, when dancers fall or resist gravity and what moments of force were used in the duets. As a teacher, choose three of the best answers for the students to try out their own version in pairs. The One Dance UK Magazine | Spring 2019 53

Teacher Resource

CUT OUT AND KEEP

How the Dance Ambassadors scheme is empowering a new generation of dance professionals, by Hollie McGill

Task 1 The teacher stands in the middle to act as the earth. Students orbit the earth as if they are passing shooting stars or asteroids. A student may decide to be pulled in by earth’s gravity, become magnetic to each other or create falling and travelling actions towards the earth. Teacher to choose some of the students’ actions to teach everyone. Students to have at least three actions travelling in and out of the centre that students can perform together.

Support, Inspire, Progress Navigating the many routes into a dance career can be a daunting and overwhelming experience. How do you take that first step beyond studying and into the professional sphere, with so many paths to choose from, paths that twist, overlap and combine? The Dance Ambassadors/ Future Leaders scheme, delivered in conjunction with Dance Consortium, is a fantastic way for young people to learn more about the dance industry. Dance Ambassadors can volunteer at regional and national events, providing them with key skills and experiences to support them in a career in dance, whilst opening their eyes to the different factors that make and influence the industry. As Tori Drew, Dance in Education Manager at One Dance UK, says, “The scheme is an opportunity to connect to the

Task 3 Two pairs of students come together to create groups of four or stay in pairs. Each group member takes it in turn to be a star and the others choose to ‘orbit’ through going around, over or under. They can even change the shape of the star paying attention to how gravity and magnetism may affect the orbit. Encourage extension through body parts used. Performance and Appreciation Performance: all three tasks can be performed together or separately. When students finish, they can pull and fall back to the centre for a finishing pose. Split the class into two halves - half perform and other half watch to give feedback. Which gravity, forces, space etc. elements can they see?

Further information Find out more about inclusive dance at Candoco: candoco.co.uk/learning candoco.co.uk/learning/cando2-youth-dance

54 The One Dance UK Magazine | Spring 2019

Photos: Left: One Dance UK; Right: Brian Slater

Photos: Candoco Dance Company, photography by Camilla Greenwell 2018. Thanks to Studio Wayne McGregor Freespace Programme

Task 2 In partners, using the Strictly performance as inspiration, students are to find three different push and pull forces between different body parts. Encourage moments of sharing weight and counter balance. Option to add floating transitions between each push and pull action, like they are in space with no gravity.

Music Ideas • Life on Mars? – David Bowie • Space Oddity – David Bowie • Space Hip-Hop – Aveorm • Spaceman – Babylon Zoo • Space Song instrumental – Beach House • Space Bound instrumental – Eminem • Wu Tang Clan’s GZA Raps About Science – Wu Tang Clan

Ambassador Insight

dance sector, build your CV and most of all, to stand side by side with One Dance UK to advocate for dance.” A combination of training days, events and performances help to build new professional networks and develop new skills in fundraising, marketing, public speaking and advocacy. The ambassadors play a key role in championing dance in their local area and can input on national issues. Each programme lasts for one year, allowing participants to take part in a variety of activities across One Dance UK’s and Dance Consortium’s activities. The current cohort of 19 Dance Ambassadors have already embarked on their journey. We can’t wait to see how they will grow and what they will go on to achieve in the future.

“ The Dance Ambassadors scheme provides a valuable ‘youth voice’on the importance of dance”

Scheme alumna, Beth, shares Laura Nicholson, Head of Children and Young People’s her ambassador experience from 2016-18 and what is has meant Dance, One Dance UK for her journey into dance: “My Dance Ambassador journey began at the culmination of my first year of training at Dance City in Newcastle. I was passionately engaged in my degree studies and felt driven to advance my own dance portfolio further and develop an even fuller picture of the dance sector. Top: Former Dance Ambassador Being a Dance Ambassador Beth with choreographer and One Dance UK Board member took me beyond the ‘bubble’ Vicki Igbokwe of being a dance student and Bottom: Dance Ambassadors through working with two high 2018–2019 profile organisations - One Dance UK and Dance Consortium Further information info@onedanceuk.org provided a first-hand insight into the dance industry through a wealth of opportunities. I loved the variety, with the highlights for me including attending a cultural networking event in Parliament, speaking at One Dance UK’s Conference and organising and hosting dance-related careers sessions for young people at U.Dance 2018. As well as gaining invaluable professional contacts, I felt reassured and empowered that my voice and actions were worth something and this in turn gave me the impetus to be proactive in advocating for the importance of dance within my region. Currently, I am a completing an MA in Dance Performance at the University of Chichester and begin touring in March with postgraduate company mapdance. I remain exceptionally grateful to all at One Dance UK as I know that the skills and knowledge I gained as a Dance Ambassador continue to support me and inspire me to progress to a portfolio career in dance of moving, making, teaching, writing and advocating.” The One Dance UK Magazine | Spring 2019 55

One Dance UK Conference 2018 Roundup The One Dance UK Conference took place in Leeds over two days in November 2018 and was delivered in association with Leeds Dance Partnership. The theme was Leading the Way – a stronger future for dance, packed with keynotes, seminars and workshops.

“ …at this conference,more so than any other,the right mixture of people are in the room to allow in-depth sharing of perspectives and ideas, which facilitates more informed,collaborative working in the future.” 2018 conference delegate

“ Fantastic presenters and great detail which you were able to take something from and apply to your own practice” 2018 conference delegate

Photos: Brian Slater

Left: Iris de Brito performing Uprooting at the Trailblazers Showcase with RJC Dance at Northern Ballet, part of the One Dance UK Conference 2018

As an international dance hub, Leeds was a very fitting conference destination. Delegates had access to a number of major venues including Northern Ballet, Yorkshire Dance, Leeds College of Music and Leeds Beckett University. Delegates were treated to a rich breadth of content with keynote speeches from Sue Hoyle OBE – former Director of the Clore Leadership Programme, Steve Ingham – Performance Scientist and founder of Supporting

Champions, David Nixon OBE – Artistic Director of Northern Ballet, Claire Nicholson Principal, CAPA colleges, and Michael Ellis MP, Minister for Arts, Heritage and Tourism. The keynotes were followed by breakout sessions and a generous amount of networking time to ensure that delegates had plenty of opportunities to connect with colleagues and make new contacts. There were also exciting events on both evenings. The Trailblazers Showcase with RJC Dance took place at Northern

56 The One Dance UK Magazine | Spring 2019

“ I think it’s great value for money - I get to do class, take part in workshops / discussions,network and so on all in one day!” 2018 conference delegate

In association with

Ballet and the audience were treated to an exclusive preview of Transmission: Roots to Branches, the first ever documentary film to explore in depth the lineage and history of jazz dance. The following evening, the dance community came together for a glamorous dinner and the One Dance UK Awards, the first of its kind to celebrate the inspirational work of the many talented and committed professionals working in the dance sector.

The next One Dance UK conference will be Re:generations - the digital space and will take place from 7-9 November at The Lowry, Salford: bit.ly/ODUKRegen2019

The One Dance UK Magazine | Spring 2019 57

Book Reviews

Review by Lucy Erridge

Dance into Business by Richard Thom Setting up your own business can ignite many questions, from “what research should I conduct about the current market?” to “how do I control my money?”. Richard Thom’s Dance into Business has the answers. This how-to guide provides guidance at different stages of your journey to becoming a fully licensed, up and running business owner. Using his own knowledge from working in the dance industry, Richard challenges preconceived ideas on how a business should start up and the steps that should be followed. Each chapter is filled with new

tools, check lists and key ideas that should be considered when making a step towards the final goal. Richard invites the reader to answer a series of questions, each relating to a specific aspect of the business, such as customer care, recruitment and communication. By answering these questions honestly, the reader will be able to evaluate their choices and proceed accordingly, leaving no stone unturned. It is worth noting that even if you decide that being a self-employed business owner is not for you, Richard also highlights what you should expect from your employer before you sign on the dotted line.

Review by Susi Pink

Strategic Planning in the Arts by Michael Kaiser Michael M. Kaiser is an arts management guru who has been dubbed “the turnaround king” for his work at major arts organisations. He is known for reversing the fortunes of the Royal Opera House which was facing a £30million deficit: within two years he had led them in a position of stability – the deficit was paid off, the new building paid for and opened, and an endowment fund established to protect the security of the Royal Opera House’s future. His book Strategic Planning in the Arts is a practical guide aimed at staff and board members of notfor-profit arts organisations who

are responsible for developing, evaluating, or implementing plans. The approach is firmly rooted in marketing strategy and describes the challenge of arts management from the perspective of a marketplace. As a marketeer I found the references to Philip Kotler’s marketing management theories and Michael Porter’s Five Forces a reassuring inclusion. The book explores how strong artistic programming, Board involvement and participation and the proximity between development and marketing departments are vital to success. What makes this an inspiring read however, was the JFDI attitude to take arts managers through a planning cycle.

One Dance UK Staff Andrew Hurst Chief Executive Cameron Ball Special Projects Manager Heather Benson Dance of the African Diaspora Programmer Tori Drew Dance in Education Manager Claire Farmer Manager, National Institute of Dance Medicine & Science Rachel Gibson Organisational Change Manager Deborah Headley Office and Membership Manager

Having this knowledge prior to entering the world of commitments and contracts is essential. Instead of learning from mistakes, you will already know the dos from the don’ts. Therefore, I would recommend this book to anyone who has an idea that they wish to make a reality; dance students, teachers and professionals.

Purchase Independent Publishing Network, 2018 ISBN: 978-1-78926-542-2 danceintobusiness.com

There is little room given to rumination. The book takes the reader swiftly through several stages, starting with defining a mission, analysing, strategizing, and onto implementation. It includes practical examples and useful checklists to help an organisation stay focused on the task of planning and uses plenty of examples to make the process real. I would highly recommend this book to any arts managers, especially Board members and leaders looking to re-energise their organisation strategy.

Susi Pink Head of Marketing and Communications

Hanna Madalska-Gayer Advocacy Manager

Christopher Rodriguez Deputy Chief Executive/ Finance Director

Hollie McGill Marketing and Communications Manager

Erin Sanchez Healthier Dancer Programme Manager

Joanne McIntosh Senior Fundraiser

Alan Tuvey Finance Manager

Mercy Nabirye Head of Dance of the African Diaspora

Susanna Viale Office and Membership Administrator

Laura Nicholson Head of Children and Young People’s Dance Tiah Parsan Marketing and Communications Assistant

58 The One Dance UK Magazine | Spring 2019

Sue Wyatt Chair Anthony Bowne Principal, Trinity Laban Conservatoire of Music and Dance Andrew Carrick Director of Edcoms Julian Flitter Partner, Goodman Jones LLP Anu Giri Executive Director, Dance Umbrella Vicki Igbokwe Choreographer and Director Uchenna Dance Denise Nurse Legal Consultant

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.

Places available on our full-time and part-time programme to start September 2019.

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

Purchase ISBN 978-1-5126-0174-9 bit.ly/StrategicPlanningBook

Board of Trustees Helen Laws Head of Industry and Artist Support / National Institute of Dance Medicine & Science

BA (Hons) Dance Education

Patrons Piali Ray OBE Freelance Artistic Director and Choreographer

Carlos Acosta CBE Children and Young People Patron

Susannah Simons Arts Strategist

Peter Badejo OBE

David Watson Digital and Marketing Consultant

Bob Lockyer Arlene Phillips CBE

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

Sir Richard Alston Champion of U.Dance and Young Creatives One Dance UK Ensign House Battersea Reach Juniper Drive London SW18 1TA onedanceuk.org One Dance UK is a Company Limited by Guarantee. Registered in England and Wales No. 2931636 Registered Charity No. 801552 Copyright One Dance UK 2018, all rights reserved.

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

“I am certain that this programme has offered me an exceptional approach to furthering my teaching skills.” BADE Student The One Dance UK Magazine | Spring 2019 59