ONE Magazine | Autumn 2019 by One Dance UK

Special Focus on Change • Birmingham Royal Ballet’s new chapter • Maintaining your career with Dance Professionals Fund • Advocacy tips to provoke change

• Stephen Mear on reviving Mary Poppins in the West End • Celebrating Dame Gillian Lynne’ legacy • One Dance UK Awards 2019 • Re:generations conference 2019

Education • Is there cause for optimism in dance education? • Pioneering a direct healthcare plan at Elmhurst Ballet School • Cut out resource for teachers

Industry • New course for dance artists working in schools • How useful is BMI for dancers? • Celebrating milestones for dance organisations The One Dance UK Magazine Issue 7, Autumn 2019

Welcome

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

NEW Contemporary syllabus launched Available for teachers and professional dancers who work across different settings including: dance schools, colleges, secondary schools and youth dance.

Andrew Hurst Chief Executive, One Dance UK

In recent years we have seen a lot of change in the way dance is created, presented and viewed. This issue takes ‘change’ as its special focus. One Dance UK has seen a lot of change as well, not least with our move to new offices on the Birmingham Hippodrome campus, for which we thank our partners at Dance Hub Birmingham. In addition to the move, we have some brilliant new members in the One Dance UK team, have launched a new programme of regular members’ events, and are also in the midst of creating a new Level 3 teaching qualification. We are also about to publish the findings from our research on the role and impact of freelancers. Despite all of this change, many of our major longstanding programmes continue to develop and go from strength to strength. We are proud to have developed a new partnership with ISTD to include groups from private dance schools in U.Dance 2019 for the first time, with hundreds of young dancers taking over London’s South Bank in July. Participants performed on the stage at the Queen Elizabeth Hall, joined workshops with leading dance artists and presented dance films to thousands of supporters. I would like to thank all of our event partners and funders and our fantastic

BOOK NOW for Teachers Courses with CD, DVD and syllabus notes

NEW FOR

2019

Contemporary Dance, providing non-ISTD teachers and professional dancers the option of our new Contemporary Affiliated Membership

For further information about the Contemporary Affiliated membership please email membership@istd.org

Go to www.istd.org/contemporary for more information

Photos: Top: Brian Slater; Top Middle: Dance Professionals Fund; Bottom Middle: The Headshot Box; Bottom: Gregory Batardon

In This Issue

team, including the Dance Ambassadors and volunteers, for making this event possible. In November we are presenting Re:generations 2019, the international conference focusing on dance in the digital space, at The Lowry in Salford. The conference will feature international guest speakers and artists, and our dance of the African Diaspora team will present the findings of the first-ever dance of the African Diaspora mapping project. I hope to see you there to connect, discuss and learn. During the same weekend, we also host the second annual One Dance UK Awards. This year taking place at the Imperial War Museum North, the Awards celebrate the diversity and talent of some of the unsung heroes working in dance nationwide. In current times more than ever, change is inevitable, so it becomes increasingly important we stay connected and unified to enable dance to continue to thrive. We are working to further strengthen our links with the dance sector in its many guises and continue to champion your contribution to the country’s cultural and economic success. Our new membership team is working hard to improve our offer to you, our valued members. I hope you enjoy this issue and as always, we welcome your feedback.

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

Clemmie Cowl Page 23

Stephen Mear Page 24

Dr Carlo Bagutti Page 35

Clemmie joined the Dance Professionals Fund (DPF) in 2004, having previously run the Royal Ballet Benevolent Fund from 2002. She oversaw the merger of the DPF and Dance Teachers Benevolent Fund in 2015. Clemmie’s career began in commercial dance. She has an MA in Performing Arts, Middlesex University and a PG Certificate in Arts Management, Sussex University. Clemmie went on to work at the Gardner Arts Centre (now the Attenborough Centre), the Brighton Dome and Festival and at Arts Council England. She was also an assessor for the Artsmark scheme. She graduated from Cass Business School’s Centre for Charity Effectiveness Voluntary Sector Leadership Programme with an MSc (Distinction) in Grantmaking, Philanthropy and Social Investment in 2011. She holds a Certificate in Fundraising from the IOF and is a Fellow of the IAM. She is Chair of the ACO Small Charities Group and a trustee of the Association of Charitable Organisations.

Stephen Mear is a multi award winning choreographer and director, winning the Olivier Award for Best Theatre Choreographer twice, for Hello, Dolly!, and with Sir Matthew Bourne for their work on Mary Poppins. Mear’s directing and choreographic work has been seen worldwide, including choreography for Sunset Boulevard, starring Glenn Close, in London and on Broadway. Other recent credits include direction/choreography for Guys and Dolls, 42nd Street and Singin’ in the Rain (Paris) and choreography for Chess, Gypsy and The Pajama Game (West End). Upcoming work includes White Christmas (West End) and Funny Girl (Paris). He was the recipient of the Carl Alan Award, is the Patron of many theatre colleges nationwide, and was recently made an honorary Doctor of Arts by the University of Greenwich.

Dr Carlo Bagutti is doctor to the Prix de Lausanne international ballet competition. He is also Chief Medical Officer of the Rudolf Nureyev Foundation Medical Advisory Board, doctor to the Swiss Athletics Federation, and is a member of the International Olympic Committee Athletes’ Entourage Commission.

The One Dance UK Magazine | Autumn 2019 3

Reader Competition

Contents 3

Welcome by Andrew Hurst

5 6 11 12 14

In the Spotlight Member Competition – Win tickets to Birmingham Royal Ballet’s The Nutcracker! News One Dance UK Awards 2019 New team at One Dance UK and Calendar – Dates for your Diary Re:generations International Conference 2019: dance and the digital space

17 18 23 24 28 30 32 35 36 41 44

Special Focus on Change Introduction by Mercy Nabirye A Step Change for Birmingham’s Cultural Ecology by Roz Laws Reframing Your Outlook by Clemmie Cowl, Dance Professionals Fund Stepping in Time - in Conversation with Stephen Mear by Cameron Ball Taking a Stand: What is One Dance UK Campaigning For? By Hanna Madalska-Gayer Celebrating a Life in Dance – in Conversation with Peter Land by Cameron Ball Autonomous, Diverse and Focused Healthcare for the Young Dancer by Annelli Peavot and Niko Kolokythas, Elmhurst Ballet School BMI and Assessing Dancers’ Health and Fitness by Dr Carlo Bagutti Celebrating Milestones Across the Dance Sector by Tiah Parsan A School Without Dance is a School with a Deficit by Amy Williams ParaDance UK by Patrick McGeough

Cut-out Resource for Teachers For Key Stage 5 by Anna Smith, with Rambert

Features 47 Young Creatives 2019 by Lucy Erridge 48 U.Dance 2019 at Southbank Centre, London 50 Book Reviews

Lara Coffey Head of Marketing and Communications Cameron Ball Magazine Editor Dani Bower Copy Editor 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

Cover Image: D+ performing Running Out of Timeat Queen Elizabeth Hall, part of U.Dance 2019

Above: National Youth Dance Company Scotland performing For Those Who Wait at Queen Elizabeth Hall, part of U.Dance 2019

Photo Brian Slater

Design TM tm-studio.co.uk

Join young Clara as she is swept away into an enchanting winter wonderland of dancing snowflakes and a Sugar Plum Fairy. Her magical Christmas tree and her handsome prince with his army of toy soldiers are an unforgettable delight. Photo: Karla Doorbar as Clara, Photo: Bella Kotak

Akademi BFI Dance Consortium dance Immersion, Toronto Derrick Anderson EFDSS Equity Garfield Weston Gordon and Co. Insurance Brokers Harlequin Floors ISTD Marquee.TV Middlesex University National Theatre People Dancing Rambert Royal Opera House Safe in Dance International Southbank Centre The Lowry The Place Trinity Laban Conservatoire of Music & Dance Zurich Insurance Group

4 The One Dance UK Magazine | Autumn 2019

Win tickets to Birmingham Royal Ballet’s glittering production of The Nutcracker

Editorial and Advertising

In this most festive ballet choreographed by Sir Peter Wright, gigantic sets, lavish costumes, 60 dancers and a full orchestra combine to make the perfect Christmas treat for the entire family.

Two tickets are on offer for readers, and the lucky winners may select a performance at: Birmingham Hippodrome 22 November –14 December 2019

* Tickets subject to availability and not valid for Friday/Saturday performances. Competition open to members or employees/students of membership organisations only. Winner must be 18 or over. Further T&C’s apply, see onedanceuk.org/terms-and-conditions for details

To Enter To be in with a chance of winning two tickets on a date of your choice*, simply email info@onedanceuk.org with the subject line ‘CHRISTMAS COMP’ telling us your full name and age (individuals within a member organisation/school or university can list the name of their organisation) and we’ll pick one winner at random. Closes 25 October 2019 The One Dance UK Magazine | Autumn 2019 5

In the Spotlight

News

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

New course announced for dance artists in schools The course involves two days of face-to-face training and followup assignments involving the planning and delivery of primary dance lessons. The training will develop, renew and enhance subject knowledge, whilst providing ideas to ensure lessons are fresh, innovative and engaging. Successful completion of the award will equip practitioners to teach dance in both primary and secondary settings and could lead to level 4 dance teaching qualifications. By studying with One Dance UK, you will be working with the only subject association for dance and taught by outstanding dance practitioners. To apply you must have at least one of the following prerequisites:

• A qualification in delivering Physical Education/Dance at Level 2 or higher • Qualified Teacher Status (QTS) • Evidence of relevant teaching experience • Possession of a regulated Level 3 qualification in instructing dance e.g. IDTA Tap/Ballet • A college/university qualification in Dance

The 29th International Association for Dance Medicine and Science (IADMS) Annual Conference will be held in the vibrant Quartier des spectacles entertainment district of Montreal. This is the first IADMS Annual Conference to be held in Canada and will be attended by over 400 industry professionals. This four-day continuing medical education conference is jointly provided by CME The first course will run on Outfitters and will offer an Saturday 9 & Sunday 10 opportunity for all those November at University of involved in the health care, Salford and is available at the reduced price of £250 (normal cost education, administration, £499.99). One Dance UK is excited and supervision of dancers to to offer this qualification as part of convene and discuss the latest advances in the field of dance the ongoing development of our medicine and science. CPD provision. Led by UK-based Further information physiotherapist Alexander To find out more information and apply, email cpd@onedanceuk.org McKinven, the IADMS Program Committee has put together a highly anticipated program with over 96 learning hours, including 106 podium presentations, 106 posters presentation, and 41 movement/interactive sessions. IADMS is also pleased to address the lack of dance to announce an excursion to opportunities for disabled people. the training facility at Cirque In that time we have supported du Soleil, as well as sessions over 2,000 people to dance. I am throughout the conference on thrilled to present UK dance circus performance presented talent at this pioneering festival by the Cirque healthcare team. in the US and hope our work will Special Interest Days will challenge perceptions of who be held during the conference, can dance and encourage more including A Day for Teachers diversity in dance both in the UK (ADfT) on Friday, October 25th and internationally.” and A Day for Medics (ADfM) on Saturday, October 26th. Further information The agenda highlights To enquire about inclusive teaching opportunities at Step Change Studios visit pedagogy, breathing, technology, www.stepchangestudios.com, neuroscience, hypermobility, contact@stepchangestudios.com concussion, wellness, nutrition, Forward Motion: www.karenpetersondancers.org/forwardmotion return to performance, injury surveillance, training load, research methods, as well as the psychological and societal aspect of dance medicine and science, including a roundtable on identity in dance.

The Black British Theatre Awards aim to raise the profile of the impact that black Britons have made to theatre. Black arts professionals have contributed an abundance of talent, a rich cultural influence and a whole new approach to theatre. However, there has generally been a notable lack of recognition for this contribution. The Black British Theatre Awards have been launched to amplify the positivity of talent and creativity in British theatre and the 24 award categories have been chosen to give visibility and recognition to all creative fields in theatre. Nominees will be announced on 30 September. The awards event takes place on Sunday 27 October to coincide with Black History Month.

Left to Right: Kenneth Tharp CBE, Omar F Okai and Solange Urdang at the Black British Theatre Awards Launch

Further information Tickets will go on sale for the after-party by the end of September. For further information visit: www.blackbritishtheatreawards.com

UK representation at ground-breaking inclusive festival in the US

Interwoven – a celebration of primary dance in Coventry

Inclusive dance company Step Change Studios, a 2018 One Dance UK Award winner, has been invited to represent the UK at a groundbreaking festival for physically integrated dance in the United States. FORWARD MOTION, produced by Karen Peterson and Dancers (KPD), will take place in Miami from 25-28 September. The conference and festival features leading integrated dance companies in performance, discussion and expert workshops. With support from the Knight Foundation and the National Endowment for the Arts, KPD has put together a powerful line-up that will showcase what physically integrated dance is in 2019. Along with US funding, Arts Council England has supported a US-UK exchange which saw dancers from the US perform with dancers from Step Change Studios at the National Theatre Summer Stage in London last month.

In July over 100 children came together at Coventry University to take part in Interwoven - a new dance initiative from Off Balance Dance. The project aimed to create dance works that told Coventry’s stories, bringing together and interweaving the city’s industries and development. The overarching purpose was to nurture and develop the creativity of these young people, providing them with a valid arts journey, whatever pathway they choose to follow in life. Six primary schools (a mixture of mainstream and special schools) were invited to participate in the project which involved a six week creative period before a final workshop day. Each group used a stimulus linked to Coventry, ranging from the watchmaking industry, the symbol of the phoenix and ‘the Coventry Sculpture’ created by Peter Laszlo Peri. Some schools were involved in the selection of stimuli, forging cross-curricular links with songs and artists being

Karen Peterson said: “It is a pleasure to invite Step Change Studios to the festival to teach and perform. The UK-US exchange is our first international cultural exchange with a ballroom dance company and the first-time inclusive ballroom dance will be presented and taught in Miami. We are excited to view the collaborative performance developed in London at FORWARD MOTION.” Rashmi Becker, Founding Director of Step Change Studios, said: “I established Step Change Studios just two years ago

6 The One Dance UK Magazine | Autumn 2019

Further information www.iadms.com #IADMS2019

byAmy Williams,Dance in Education Manager

Photos: Top: Michelle Marshall; Bottom: Rebecca Thompson

Photo: Stephen Wright

One Dance UK is proud to be offering the Level 3 Award in Supporting the delivery of Dance in Physical Education and School Sport, in association with 1st4Sport. The qualification has been launched in response to the ongoing and increasing demand for primary dance CPD. Completion of the course will enable practitioners to facilitate high-quality dance lessons with confidence and develop creative thought in children and young people. The qualification is designed for individuals actively working or seeking to work with children and young adults, in the delivery of Physical Education and School Sport provision. Most schools now require outside facilitators to have a level 3 delivery qualification.

Black British Theatre Awards 2019

IADMSAnnual Conference - Canada 24-27 October 2019

studied in music lessons. On arrival at the workshop day what was evident was a sense of pure joy, inclusivity and engagement. Students excitedly hurried from rehearsal rooms to the theatre. For many of them this was their first experience of a professional performance space. As part of the workshop session students were guided through a variety of practical tasks, using body parts to shift a feather through space, and travelling across the room using imagery to evoke different movement ideas and qualities. Every single child in the room improvised – without the word even being used. These children were empowered, confidently creating, embracing opportunities to work with students from other schools and celebrating the achievement of others. Alexis and Suzanne, otherwise known as Off Balance Dance, praised the children, stating “Everyone is moving comfortably and differently. You’ve each

shown us a right way, and it’s your way.” To be able to observe this celebration of dance and Coventry’s young people was a privilege. What had been learnt and achieved in the short creative process was evident for all to see. The children sat bursting with pride as the Mayor of Coventry concluded the event by praising their achievements.

One can only hope that this is just the starting point for Off-Balance Dance and Interwoven. The company’s vision is to host an annual event, branching out into more schools and the community, to continue to bring people together through dance within the city of Coventry. Further information info@offbalancedance.com

The One Dance UK Magazine | Autumn 2019 7

In the Spotlight

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

The Doorway Project Professional Development Intensive 2019

Dance professional practice at Middlesex Our highly flexible online distance education courses are designed for dance artists and practitioners looking to integrate their professional expertise with academic learning at a renowned centre for dance practice and research.

— BA Professional Practice, Arts and Creative Industries (specialisation) — MA Professional Practice in Somatic Studies — MA Professional Practice in Dance (specialisation) — MA Professional Practice in Dance Technique Pedagogy

8 The One Dance UK Magazine | Autumn 2019

mdx.ac.uk/MAdance

Photos: Top: Kate Flatt; Left: Tim Cross; Right: Doncaster Community Arts/ The Point

In March 2019, the Doorway Project took place - a three day Professional Development Intensive designed for mid-career directors and choreographers. It was held in partnership with Young Vic Directors’ Program and Watford Palace Theatre, where it was hosted, and supported by the Arts Council England enabling creatives and performers to be paid to participate. Kate Flatt first initiated the Doorway intensives in 2003 - 2004 with David Lan at the Young Vic for a group of directors, choreographers and performers. This second edition was co-facilitated with Brigid Larmour, Artistic Director of Watford Palace Theatre. The Doorway Project was produced by Lia Prentaki.

Four directors and four choreographers ‘shared the floor’, investigating creative strategies as inter-disciplinary practice with twelve dancers and actors. Brigid and Kate used selected Shakespeare texts, assuming the ‘open stage’ of Renaissance theatre and contemporary dance. Tasks explored the migratory journey between text and movement through workshops, a speeddating exercise around extracts from specific sonnets, and went on to short selected scenes. Findings were shared on the last day, followed by a discussion with all of the participants and industry guests. A thorough evaluation by Theresa Beattie proved positive and identified the

value of taking time away from ‘product’ driven creation, and requests for more workshops on Kate’s career expertise and movement direction skills. A short documentary by Roswitha Chesher captures the discovery of the three rich days. Outcomes have included new partnerships and warm praise for the opportunity to work with the range of contributing performers. On 29-31 July, the Young Vic Young Director’s Programme - with grateful thanks to Sue Emmas - hosted three further days of movement workshops, free to all participants. Kate led sessions for 20 directors, choreographers and movement directors sharing ideas, skills and exploring a range of contemporary texts.

Anjali Mehra, with Malgorzata Dzierzon, Laura Dredger, Tali Bowers and Saskia Marland

Further information Additional workshops are being planned. bit.ly/DoorwayProject

New home for English National Ballet School

Dance On programme shows promise

English National School celebrated its 30th anniversary with their annual Summer Performance at the New Wimbledon Theatre in London in July. At the same time, they said goodbye to the third years who graduated into companies all over the world. The School is looking forward to moving to their new home alongside English National Ballet at London City Island later this year,and have recently appointed Viviana Durante as Director of Dance to lead

One Dance UK is working in partnership with Yorkshire Dance and darts (Doncaster Community Arts) to deliver a £495,000 dance programme to tackle inactivity amongst older people in areas of Yorkshire. This research project aims to study the effect of dance participation on the health and wellbeing of older people. The programme, now called Dance On, has established 29 community dance groups across Bradford, Leeds, and Doncaster and over the last year, engaged 465 older people in regular, fun, social

this move alongside Executive Director Jon Singleton. The School is looking ahead to an exciting 2019-20 academic year which is sure to be an inspirational one for students, who will benefit from new state of the art facilities.

Further information www.bitly.com/ENBSchoolNewHome

dance activities. The average age of attendees is 74 years and 90% are women. 270 of the participants were doing less than 30 minutes of moderate intensity physical activity a week, so the dance class makes a significant difference. Initial research findings by the University of Leeds are showing promise with significant improvements in balance and mobility, increased physical activity levels, and enhanced wellbeing. Further information www.dance-on.org

The One Dance UK Magazine | Autumn 2019 9

In the Spotlight

One Dance UK Awards 2019

News On 12 August 2019, members from the arts and academic communities gathered from around the world for A Tribute to Thea Nerissa Barnes at London’s Lyceum Theatre. The tribute was organized by Akosua Boakye BEM with the help of the Barnes family and support from the Disney production management team to honour the legacy of a legend. Barnes was a dancer, choreographer, teacher, artistic director and researcher who left an indelible mark on the international dance community. Her remarkable career began in the USA where she performed with renowned companies including Alvin Ailey American Dance Theatre and as a Principal dancer and Soloist with Martha Graham Dance Company. In England, Barnes taught Graham Technique at Northern School of Contemporary Dance and Trinity Laban. She served as the Artistic Director of Phoenix Dance Theatre and led as the Resident Dance Supervisor for Disney’s The Lion King musical for 17 years.

The spectacular tribute was an uplifting celebration of Barnes’ extraordinary life in dance. It featured a stellar lineup of performances and appearances from esteemed artists including Germaine Acogny, Tansuree Shankar, Dr. Sharon Watson of Phoenix Dance Theatre, Urdang Academy, Trinity Laban, AkomaAsa Performing Arts Academy, Matt Henry MBE, Rachel John, and current and former members of the The Lion King London cast. Those in attendance were treated to rare performance footage of Barnes along with extracts from her published and forthcoming scholarly research. The event also served as the official launch of the Thea Barnes Legacy Fund (TBLF). The TBLF is a donor-supported independent fund established to support individuals in creative and academic areas that reflect Barnes’ interest in dance, performing arts, scholarly research, mentoring and guidance. The objective of the TBLF is to provide support through funding and/or mentoring. Applications are open for individuals seeking

support to further artistic and educational practices, or make a career transition across the arts and creative industries. Barnes once stated “I consider it my responsibility to support aspiring dance practitioners, novices as well as experienced aficionados”. The TBLF is rooted in this ethos and will ensure that Barnes’ legacy of supporting the dance community continues.

“ Most of us can only hope to leave a legacy like hers.” Dr. H. Patten, speaking at A Tribute to Thea Nerissa Barnes

Photo: Kenn Duncan, courtesy of Barnes Family

Thea Nerissa Barnes

Further information For more details and to apply for funding or to donate in support of the fund, visit www.theabarneslegacyfund.com or contact info@theabarneslegacyfund.com 10 The One Dance UK Magazine | Autumn 2019

DanceGRiST develops more platforms In June, DanceGRiST held the first evening of dance ever to be shown at the Royal Society of Arts. The Royal Society of Arts, Manufacturers and Commerce is the oldest charity in the UK, at some 265 years old. Curated by Carole Edrich, the evening comprised sharings from six movement artists, each at different stages of their career and with a different combination of artistic disciplines. DanceGRiST was developed with the Council of Europe’s support, and is a pre-seed social enterprise created to help dancers increase their income and establish new audiences. DanceGRiST at the RSA: How Dancers Make And Respond To Change is the second of five pilot projects. The first, beautiful free multimedia magazines on dance, can be found in the DanceGRIST app. Carole explained: “I wanted to introduce the idea of dance and the movement arts as a creative force for good to an audience that might not normally choose to see dance at all. By curating an event of early stage sharings, I hoped to introduce this new audience to the idea that it takes a long time and more thought to create good work. This is important. We need to combat the mistaken assumption that everything can be done in a week, like on Strictly Come Dancing.”

Further information dancegrist.com Download the DanceGRIST app for free from Amazon Apps, iTunes or Google Play

In 2018, we hosted the inaugural One Dance UK Awards, shining a spotlight on the inspirational work of the many talented and committed people and organisations working in and for dance throughout the UK. We received over 1,000 nominations over 23 categories and welcomed 150 dance sector professionals to our ceremony in Leeds. Awards went to YDance Scotland, the healthcare team at London Contemporary School of Dance, and Candoco Dance Company (amongst others). We’re heading northwest for 2019, hosting our annual ceremony at the Imperial War Museum North on 9 November. The ceremony will also mark the end of our Re:generations conference, which will be taking place across the quays in The Lowry. This year also sees the introduction of a new category, the Lifetime Achievement in South Asian Dance Award. This award allows us to celebrate those who’ve championed South Asian dance styles of all varieties in the UK.

All our winners are shortlisted by a panel of industry experts. However, you’ll still get the chance to make your voice heard. The People’s Choice Award, the Dance Personality of the Year Award, and the Best Use of Dance by a Brand Award are all voted for by the public, so you can have your say on who you think has made an impact on dance in 2019 (see right). Last year, Professor Matt Wyon from the University of Wolverhampton was awarded the Dance Science Award and the Research in Dance – Impact Award. Speaking about his awards, Professor Wyon said “At the University of Wolverhampton, our focus has been on the health and wellbeing of dancers. The rewards I received for Dance Science and Research in Dance were an indication that others thought what we do was relevant to the wider dance community. “For our research team, that is the most important accolade: that what we are doing is beneficial and applicable to dancers.”

Our awards allow us to recognise the hard work and dedication of dance artists, teachers, practitioners, educators, schools, choreographers, companies, venues, scientists and writers from across the country, who continue to champion dance in the UK in all its forms. The full shortlist of nominees for 2019 will be announced in early October, so watch this space!

Have your say in the publicly voted awards: People’s Choice Award bit.ly/ODUKPeoplesChoiceAward Best use of Dance by a Brand bit.ly/ODUKDancebyaBrand Dance Personality of the year award bit.ly/ODUKDancePersonality Voting closes Friday 4 October Keep an eye on the One Dance UK social media channels for the shortlist of nominees.

With thanks to our sponsors

Supported by Derrick Anderson

Photo: Top; Photo Imperial War Museum North; Bottom: Dani Bower Photography

The legacy of a legend: celebrating Thea Nerissa Barnes’contribution to dance, by Kamilah Cummings

by Dann Carroll, Project Manager

The One Dance UK Magazine | Autumn 2019 11

Membership

A new home for One Dance UK by One Dance UK Membership Manager, Barny Darnell Back in July, One Dance UK moved into our new home at Dance Hub Birmingham, in Birmingham Hippodrome. In the heart of the city centre, the space is a 17m rooftop extension above DanceXchange and Birmingham Royal Ballet’s studios, and contains a rehearsal studio, changing facilities, our new office and meeting rooms. As well as providing a state-of-the-art home for One Dance UK, Dance Hub brings a fantastic new creative space to the region, which can facilitate dance classes, workshops, rehearsals and more. Following the relocation, One Dance UK welcomes five new members of staff.

Photos: Top: Simon Hadle; Bottom (L to R): Foteini Christofilopoulou; Brian Slater; Brian Slater; One Dance UK

Calendar

• Dani Bower - Marketing & Communications Manager • Dann Carroll - Project Manager • Lara Coffey - Head of Marketing & Communications • Fred Hopkins - Head of Business Development & Membership and myself, Barny Darnell, Membership Manager. So, as you can see its quite a period of change for the organisation! As members you can be assured of a bright future and that One Dance UK will continue to lead the way in supporting you and the UK dance sector. In terms of your Membership, in time I will oversee some significant developments to all our packages, including a whole new range of benefits, and a real focus towards the community and networking aspects of being a One Dance UK member. Watch this space!

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BA (Hons) in Professional Dance & Musical Theatre Diploma in Professional Musical Theatre

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7–9 November 2019 Re:generations International Conference 2019 The Lowry, Salford With a theme of ‘dance and the digital space’, explore the ways digital technologies can be used for artistic innovation and creative practise, unite global communities through online platforms whilst increasing the visibility of diverse work to mainstream audiences. Members receive 40% off. Tickets from under £35.00. See page 14.

9–10 November 2019 Level 3 Award in Supporting the delivery of Dance in Physical Education and School Sport University of Salford Completion of the course will enable practitioners to facilitate high quality dance lessons with confidence and develop creative thought in children and young people. The qualification is designed for individuals actively working or seeking to work with children and young adults in the delivery of Physical Education and School Sport provision. See page 6.

12 The One Dance UK Magazine | Autumn 2019

9 November 2019 One Dance UK Awards 2019 Imperial War Museum North, Salford Recognising the outstanding contribution of professionals and practitioners working in dance, this annual event is an opportunity for people in the dance community to get together, celebrate, acknowledge and reward those who have made an impact over the last 12 months on the UK’s vibrant dance landscape. See page 11.

2 December 2019 One Dance UK AGM Birmingham Join us at our new home at the Dance Hub in Birmingham. Network and have your say at the One Dance UK Annual General Meeting, with high profile guest speakers and updates from the Dance Support Organisation. Free for members.

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

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

Re:generations One Dance UK Conference 2019

One Dance UK Conference 2019

Top 5 Reasons to attend Re:generations

dance and the digital space

Join an international lineup at performances, workshops and panels

Featured Performances Conference attendees can also enjoy exclusive discounts on the following performances at The Lowry, Salford, with more shows TBC.

Conference 2019 7-9 November, The Lowry, Salford Re:generations 2019 provides an international platform connecting UK artists, practitioners and scholars with global leaders from Africa, Canada, the Caribbean, Europe, USA and beyond. Across the three days enjoy panel discussions, lecture demonstrations, masterclasses, workshops, academic paper presentations, performances, networking events and more! A key event this year 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, with scope for future growth and development. A world café will be led by key industry leaders, delivering themed provocations from the key findings to engage participants in facilitated group debates.

Keynote Speakers Dr Thomas F DeFrantz Dr Thomas F DeFrantz received the 2017 Outstanding Research in Dance award from the Dance Studies Association. He is Professor of African and African American Studies at Duke University, and Director of SLIPPAGE: Performance, Culture, Technology, a research group that explores emerging technology in live performance applications. Amanda Spann Amanda Spann is a Chicago-based marketing consultant and app entrepreneur. She co-founded Tiphub, an impact driven innovation community for entrepreneurs in Africa and the African Diaspora, and the hosts of Diaspora Demo Day. Sitting at the intersection of product and promotion, she helps brands take their ideas from concept to creation and then build a buzz around them. 14 The One Dance UK Magazine | Autumn 2019

1 2 3 4 Photos: Top: Julien Martinez Leclerc; Bottom: Sophie Garcia

Hosted in partnership by One Dance UK, IRIE! dance theatre, Middlesex University, dance Immersion and The Lowry, the theme for Re:generations 2019 is ‘dance and the digital space’. Join us as we explore the ways digital technologies can be used for artistic innovation and creative practice, uniting global communities through online platforms, and increasing the visibility of diverse work to mainstream audiences.

Dickson Mbi - Enowate 7 November, 8:00PM This is the only UK dance sector event providing an international forum that brings together artists and scholars within dance of the African Diaspora

A brilliant way to share current practice and be part of future innovation for use of digital technology within dance

Come and be inspired by both established sector figureheads and emerging leaders of the future

Take advantage of networking opportunities to catch up with old colleagues and make new dance sector contacts – connect with artists, teachers, student, professionals and leaders

Nurture your thinking, planning and professional development, and head back to work buzzing with new ideas, learning and knowledge of best practice

Performances by 2Faced Dance (UK) Artistry Youth Dance (UK) Axam Dance Theater Experience (USA) Ballet Creole (Canada) Impact Youth Dance (UK) Juel D. Lane (USA) Movement Angol (UK) Tribhangi Dance Theatre (South Africa) Zab Maboungou (Quebec) and more Workshops by Dawn Axam (USA) Francis Angol (UK) Heather Benson (USA/UK) Juel D Lane (USA) Movema (UK) Robert Solomon (Germany) Thomas Presto (Norway) and more Panelists include Aminah Namakula (Uganda) Baff Akoto (UK) Caroline Miller (UK) Central School of Speech and Drama (UK) Dr ‘Funmi Adewole (UK) Ghislaine Boddington (Quebec/UK) Joumana Mourad (UK) Kwesi Johnson (UK) Dr Nicholas C Akas (Nigeria) Nike Jonah (UK) and more. Host Hakeem Onibudo * Please note, line-up is subject to change. Current line up correct at time of printing.

Faso Danse Théâtre & Serge Aimé Coulibaly - Kalakuta Repulik 8-9 November, 8:00PM

Exclusive discounts for One Dance UK members. Early Bird Discount Book before 2 October

Tickets and info: bit.ly/Regen2019Tix The One Dance UK Magazine | Autumn 2019 15

Special Focus on Change

Introduction

UCLanDance

Mercy Nabirye Head of Dance of the African Diaspora, One Dance UK

Centre for Excellence in Learning, Participation and Advocacy

An edition focusing on change seems timely, as the One Dance UK team is busy settling into our new home at Dance Hub Birmingham. One Dance UK has always led the way in advocating for dance, and aims to strongly support the dance sector; particularly through periods of change. The emphasis of our work continues to be that of empowering the workforce and providing a network for those looking to expand and develop. As I reflect on the various positions that I have served as a leader across the industry, I realise that I have seen a lot of change, and can confirm that change is a constant - especially in the current climate! As artists, educators and creative leaders, we are constantly being affected by change, so it is how we manage it that is key. In order to push boundaries and break new ground, we need to grasp the principles that guide our practice. It is then that we transition from being leaders to agents of change: controlling and managing the change we want, reinventing, and remaining relevant and engaged. Staying connected with networks and forums can really help. Our next international conference, Re:generations: dance and the digital space, is not to be missed. Taking place 7-9 November at The Lowry, Salford, we will be focussing on change and innovation. I look forward to seeing you there and hearing your thoughts on how change affects you and your work. We hope you enjoy the articles we have selected for you, which go some way to showing how managing change is key no matter what part of the dance sector you’re engaged with.

Highlights

danceuclan

UCLan Dance

@DanceUCLan

uclanfcci.co.uk

Course Enquiries 01772 892400 Email cenquiries@uclan.ac.uk

Photo: Yves Salmon

BA (Hons) Dance Performance and Teaching

A Step Change for Birmingham’s Cultural Ecology How the Birmingham Royal Ballet is managing a period of change

Reframing Your Outlook Tips on maintaining your career through periods of change

Stepping in Time - in Conversation with Stephen Mear The award-winning choreographer on the return of Mary Poppins to the West End

Taking a Stand: What is One Dance UK campaigning for? How the UK Body for Dance can help you create positive change

Celebrating a Life in Dance The legacy of Dame Gillian Lynne, and introducing a new fund for dance training

Autonomous, Diverse and Focused Healthcare for the Young Dancer A new approach to student healthcare provision at Elmhurst Ballet School

BMI and Assessing Dancers’ Health and Fitness The importance of measuring dancers’ nutritional status in appropriate ways

Celebrating Milestones Across the Dance Sector Celebrating One Dance UK members and their important milestones

A School Without Dance is a School with a Deficit A look at the current state of dance in schools – is there reason for cautious optimism?

A Step Change for Birmingham’s Cultural Ecology

Photo: David Bintley final show with Sir Peter Wright, foreground, and the cast of Hobson’s Choice, Photo: Ty Singleton

Special Focus on Change

After 25 years as Director of Birmingham Royal Ballet, creating and commissioning dozens of acclaimed works and laying firm foundations for the Company in our second city, David Bintley CBE stepped down in June of this year. What next for the UK’s foremost touring ballet company? In January 2020, Carlos Acosta CBE becomes Birmingham Royal Ballet’s fourth ever Director. Roz Laws assesses the company’s resilience and response to prevailing change. 18 The One Dance UK Magazine | Autumn 2019

The One Dance UK Magazine | Autumn 2019 19

Special Focus on Change

Left: Birmingham Royal Ballet’s Beauty and the Beast - Delia Mathews as Belle and Tyrone Singleton as the Beast. Choreographed by David Bintley

Caroline Miller is fizzing with enthusiasm about the changes which lie ahead for Birmingham Royal Ballet (BRB). The chief executive can talk her company – and its thrilling new director – up a storm, though she adds: “There’s only so much I can tell you, because we don’t know what’s going to happen yet.” She doesn’t sound at all worried about venturing into the unknown. Never has uncertainty seemed such a welcome prospect. The “step change” she is talking about is the arrival in January of Carlos Acosta, the charismatic 46-year-old Cuban dancer and choreographer. A new director is a major moment. It gives BRB the opportunity to look at how it operates and how it can innovate. How to discover new voices, to tell new stories, in new places, to new audiences – while not alienating its loyal audiences. Carlos is the driving force, a global name to make people sit up and take a new look at Birmingham and its ballet company. His appointment has been described as an absolute coup and a reputation changer for BRB. As Caroline says: “Carlos’ arrival is a great opportunity for Birmingham to say ‘we’re a world class city and we attract a world class star’. We want people to look again at BRB.”

Carlos overcame the poverty of his Havana childhood to reach the heights of the dance world, including 17 years with The Royal Ballet. He is also the Patron of Children and Young People’s at One Dance UK. He says: “I am really looking forward to joining Birmingham Royal Ballet and working with the dancers, staff and board on building a new vision for the company on its strong foundations. “These are truly exciting times – an opportunity to reaffirm the City of Birmingham’s position as a dynamic centre of creative excellence. I very much look forward to welcoming our loyal audiences up and down the country on this exciting journey.” Carlos becomes only the fourth ever director of the company, beginning with John Field, who in 1956 became director of BRB’s forerunner the Royal Ballet Touring Company. He held that position for 15 years his successors, Sir Peter Wright and David Bintley, stayed for around 25 years each. But for an organisation which has seen few changes at the top, BRB has proved it can adapt to major upheaval. Its biggest change was in 1990 when Sadler’s Wells Royal Ballet moved from London to Birmingham and became Birmingham Royal Ballet.

20 The One Dance UK Magazine | Autumn 2019

“These are truly exciting times – an opportunity to reaffirm the City of Birmingham’s position as a dynamic centre of creative excellence.” Carlos Acosta CBE

David Bintley

Carlos Acosta CBE

Photos: Bill Cooper

Photos: Top: The Royal Ballet in Carlos Acosta’s Don Quixote - Marianela Nuñez as Kitri and Carlos Acosta as Basilio, Photo: Bill Cooper; Bottom Left: Richard Battye; Bottom Right: Johan Persson

Above: Cira Robinson performs with Ballet Black in Cathy Marston’s The Suit, touring as part of a Mixed Programme with Birmingham Royal Ballet this autumn

Sir Peter has admitted he was “furious” when the move was first suggested, because of the lack of communication, but soon realised it was vital. He has said: “Making the move work is the highlight of my career and it was the making of the company.” “For Sir Peter to realise that the radical move was necessary for the sustainability of BRB was visionary,” says Caroline. “He and David laid such important foundations for this company and have taken it through incredible moments. Under David, BRB was one of the first companies to go to South Africa after apartheid to work with children in the townships. And he embraced Ballet Hoo in 2006, an outreach project which changed the lives of young people. “One of the final things he did was moving The Nutcracker to the Royal Albert Hall. That was a major undertaking because the venue has no stage or wings, but it was a huge success and has become a new pillar of revenue. “In moving forward, we don’t have to forget the past and there are some things that should remain steadfast. We won’t change our core values. BRB is a loyal family that works together to present the highest quality classical ballets as well as investing in innovative new work.

“The joy of Carlos is that he comes with a vision of seeking out exciting new voices and attracting new audiences, but he also comes from The Royal Ballet and has an innate understanding of, and commitment to, the greatest classical ballets. “We don’t want to forget our incredibly loyal audience but we do need to keep expanding it. We have to be flexible, ready to work in different ways, to produce shows in warehouses instead of opera houses. “I am blessed with a nimble team and I feel that’s what is needed to seize the opportunities that change brings. It’s a chance to experiment with new ideas, perhaps to explore uncharted waters, and have some fun along the way! “For instance, we’ve wholeheartedly leapt at the opportunity to invite Ballet Black to perform with us in a Mixed Programme this autumn. This gives that fantastic company the opportunity to perform its award winning work, Cathy Marston’s The Suit, at Birmingham Hippodrome and London’s Sadler’s Wells – two of the UK most important stages, larger than those it regularly performs on. This in turn presents Ballet Black’s loyal followers with the pleasure of seeing our own brilliant dancers perform contemporary work. Putting the two companies together

highlights BRB’s own diversity and versatility. “At the same time, we’ve shaken up our summer seasons, traditionally a rather challenging time of year to attract large audiences. In fact, some time before Carlos was confirmed as the next director, we had already invited him to curate a summer festival for BRB in June 2020 in Birmingham and London. The idea is to celebrate a range of artists from across the creative spectrum, including ballet, literature, visual arts and music – artists whose work inspires Carlos, and who in his astute view have something pertinent and exciting to say. All of us are genuinely excited, and when details are released in early 2020, our audiences will be too.” Caroline admits that change can be frightening and reveals the key is “constant communication”. “If you just tell people ‘we’ve got to change’, there will be resistance. But if you say ‘we want to achieve this, and this is how we’re going to do it’, then people will join you on the journey because they see the value in it. “Carlos makes a great focus because he gets people excited. This is a moment for people to come together. We will be working more with other arts organisations, because there’s so much more we can achieve when we collaborate.”

“It’s a chance to experiment with new ideas, perhaps to explore uncharted waters, and have some fun along the way!” Caroline Miller OBE

The One Dance UK Magazine | Autumn 2019 21

Special Focus on Change

“Change can be daunting,but it is also exhilarating.” Caroline Miller OBE

Special Focus on Change Caroline has plenty of experience of collaboration and change. She was director of Dance UK for 10 years and initiated their merger, in 2016, with the Association of Dance of the African Diaspora, the National Dance Teachers Association and Youth Dance England. On One Dance UK’s recent relocation to Birmingham, Caroline says: “It’s thrilling to have One Dance UK literally above my head. Birmingham is the logical place for it to be, in the heart of Britain and with a huge amount of dance activity. At the Hippodrome there’s BRB, DanceXchange, Dance Consortium and touring companies coming through, and the city is home to so many diverse artists.” Until Carlos’s arrival, the interim director – “just call me caretaker!” – of BRB is its longest-serving member. Marion Tait has been with the company for 51 years, graduating into it from the Royal Ballet School and becoming Principal dancer in 1974. In 1995 she became ballet mistress and then assistant director.

She smiles: “Most dancers like to spread their wings and try different companies, but I’ve stayed put. I have experienced a lot of change within the one company, though. “The biggest bombshell was definitely moving to Birmingham, not knowing what it would be like, but the company supported us, as it is doing through this transition. We were asked to please try it out for one year and were given touring allowances so we could rent and not have to commit. A few didn’t stay but I bought a house before the first season began.” Part of Marion’s role is as a dancers’ confidant and some have voiced their concerns about the changes to come. “Dance is an insecure profession so it’s only natural,” she says. “There were concerns about a drastic change in repertoire style, but the first thing Carlos programmed for us, for June, is his traditional Don Quixote which will brilliantly show off the entire company. “It’s a relief that Carlos wants to maintain our heritage, and that he has old-fashioned views on discipline.

ReframingYour Outlook

“My job is to instill in him how valued every single dancer in this company is. He may be used to more hierarchical companies where only the Principal dancers take the principal roles, but that’s not us. David was passionate about giving people opportunities, whatever their status. “David is such a grounded man and that is reflected in his choice of dancers. I think Carlos will fit in. We’re looking forward to his energy and enthusiasm.” And what about the major personal change looming for Marion, when she finally leaves BRB? It’s not an imminent departure but at 68 she admits retirement is likely in the next 18 months or so. “I would hate it to look like I’m walking away from change, but I also don’t want to look like I’m hanging on and hanging on. I don’t want to overstay my welcome or tread on anyone’s toes. I’ll stay for a while, as long as I’m still useful. My main task for now is to support and be there for our dancers during this transition period.” As Caroline concludes: “Change can be daunting, but it is also exhilarating.”

Small changes can have a big impact, writes Clemmie Cowl, Director of the Dance Professionals Fund The reality of a life in dance is a requirement to chase the next professional opportunity; be it an audition, making a funding application or building influential networks. Many dance professionals are obliged to take work at a fee that is at, or barely over, the Equity minimum. Many performers often don’t have much in the way of financial reserves to fall back on. It’s easy to believe that this is a recipe for things to go belly up at a moment’s notice. Or is it? A bit of forward planning and reframing of your situation can help your life gel.

Photos: Left: Dance Professionals Fund; Right: Sharon Kilgannon @alonglines

Clemmie Cowl

Photo: Leslie E. Spatt

Savings really do help There can be complications and delay, even if you are entitled to state support. It’s a truism, but even the smallest of savings set aside is worthwhile. It can be the difference of whether or not there is the need to resort to credit cards. Building up debt can be very stressful. The gig economy can work in your favour as a performer Knowing you can work to support your dance career at short notice can be very reassuring. It is predicted to grow, and conditions are slowly improving thanks to new directives.

Darcey Bussell and Jonahan Cope in David Bintley’s Galanteries in 1990

22 The One Dance UK Magazine | Autumn 2019

Secure your cash flow Keeping enough coming in can be a major issue for freelancers and can become particularly acute when the unexpected happens, such as a promised contract falling through at the last minute. Given that the most important things to pay are usually rent and bills the usual response is panic, but preplanning can help with this, such as checking that your landlord will allow you to claim the safety net of Universal Credit, if necessary (Guardian Property schemes for instance, while often a less expensive option to rent, only want those in full time employment).

You may already have very transferrable skills to offer Don’t be misled by the amount of unskilled work available, such as waiting on tables, which can be demoralising and takes you further away from who you are. For instance, marketing and social media skills that you could already be using could get you more interesting work than a bar job, and the pay will be better than the alternatives.

If you get injured, you may be able to work round it Taking out insurance, that can be claimed on to tide you over, is ideal as there is usually the double whammy that being injured usually means no income. Trying to get back to work before the injury has healed can have a catastrophic effect long term. Try thinking around the situation. A mutual agreement in place with another teacher for example, that you will cover each other’s dance classes if need be, could mean your students don’t go elsewhere should you become unexpectedly unavailable. There will be situations when no matter how much forward planning you do, things escalate or are unmanageable, such as serious illness which can be very traumatic to deal with. We are here to talk through your situation, to see what possibilities there are and often to enable the person to see that their situation is far from the hopeless one that they perceive it to be. There are a number of grants available to cover instances of financial need and other situations that would lead to greater problems if left unchecked. This autumn, Dance Professionals Fund are running The Way to Work, a collaborative project with industry experts. This project is designed to support dance professionals and other performers to find ways to increase their earning power.

Further information www.dancefund.org.uk. Co-funders of the One Dance UK research on the Role and Impact of Freelancers in the UK research project. For more about The Way to Work www.thewaytowork.org.uk

The One Dance UK Magazine | Autumn 2019 23

Stepping in Time Special Focus on Change

Special Focus on Change

Stephen Mear

Since its original inception in 2004, the stage production of Mary Poppins, based on the books by P.L.Travers and the Disney film, has been an international hit, being produced in over 20 countries. A major revival sails back into the West End this autumn, reuniting the original creative team. Stephen Mear, who shares an Olivier Award for Best Theatre Choreographer with Sir Matthew Bourne for their collaboration on the original production, is known for his vast body of work in musical theatre, particularly with the classics. He talks to One Editor Cameron Ball about the importance of collaboration, respecting tradition, and embracing change. 24 The One Dance UK Magazine | Autumn 2019

Photos: Left: The Headshot Box; Right: Cameron Mackintosh Limited

Photo: Zizi Strallen - 2015 Production of Mary Poppins, Photo: Johan Persson

Mary Poppins Creative Team watching Step in Time in rehearsal

As for the music, it goes without The Mary Poppins film saying that the famous songs has such a recognisable from the film were kept, while aesthetic and the Sherman George Stiles and Anthony brothers’ unforgettable songs. How have you stayed Drewe collaborated with the respectful of the classic style amazing Sherman brothers of the film and its movement, and added their own songs whilst making it fresh and for in the style of the originals. In my eyes, Stiles and Drew are a modern audience? absolute geniuses: I’ve seen Even though the show was and heard so many people just actually based on the original book we still stayed respectful accept the new songs as if they had always been in the film and to the period and also to some coming out singing them after. of the film. We put our own To achieve this is no mean feat creative slant on it especially when you are working on such things like ‘Supercal’ which an iconic piece. is completely different to the film, and in Jolly Holiday we don’t have the animation, so looked at it afresh. Having two choreographers “I love to work with worked well as mine and Matthew Bourne’s styles are people’s individual quite different. Our different strengths in order choreographic voices brought to build on their creative diversity to the numbers and we were able to characters and stretch the styles and interact bring the best out them throughout the pieces, in the cast.” which made it more unique and interesting. Stephen Mear

There is such a fusion of dance styles in the production, including ballet, jazz and (now iconic) upside down tap dancing. How do you take the bold decision to introduce/adapt a dance style in a production like this, for example, say you want a tap-dancing chimney sweep? In the film there’s actually no tap dancing and as it was my forte we thought it would be a good idea to incorporate it into a number. Step in Time just seemed the ideal number to do that with. I asked if Burt could run up the wall like Donald O’Connor did in Singin’ in the Rain and (designer) Bob Crowley said “well why don’t we take him all the way around the proscenium?” So, it was Bob who was the genius behind that. It was amazing and a fabulous challenge to learn to tap upside down, with the wonderful Gavin Lee playing Burt in the original production.

It must be interesting returning to your Olivierwinning choreography and working on it again 15 years later, no doubt adapting it for the talents of the new company. What are your thoughts on remounting previous works? Do you see it as an opportunity, or is there a certain pressure to deliver? I’m excited to revisit everything. Zizi Strallen, who will be playing Mary Poppins and played the role in a 2015 production, is an amazing all-rounder so she will be as gorgeous as ever rekindling Mary. The original Burt, Gavin Lee, is a great tapper, so we added more into the show for him whereas for this West End revival, Charlie Stemp has a brilliant technique in his own style, so it will be wonderful to see how his character unfolds when all his dance strengths are placed into Burt. I think each time we revisit the show it just gets better and better.

The One Dance UK Magazine | Autumn 2019 25

Special Focus on Change

“When a collaboration is great then ideas just fly and you feed off of each other until it all interconnects beautifully.”

BA(HONS) DANCE & CHOREOGRAPHY

Photo: ©Tom J. Johnson

Stephen Mear

falmouth.ac.uk/dance-choreography

Photos: Mark Carline for Storyhouse

Stephen Mear in rehearsal for Little Shop of Horrors

It must require so much collaboration between departments to mount a successful musical, not least in this case, where you reunite with Sir Matthew Bourne as cochoreographer. What are the secrets to being a good collaborator, incorporating other ideas into your choreography without losing your voice or vision in the process? A great collaboration is so important to the success of a show. You have to be able to give and take, to trust opinions of others and to show respect for each individual creative vision. You need to be able to talk any issues through and accept that you are all there for the same reason and that’s to create an amazing production. I was lucky that all the creatives working on Mary Poppins had the above qualities as well as being extremely generous and supportive throughout the whole process.

You are well known for your work on the classics, and for paying homage to the great choreographers before you in your work. What is the process you go through when staging something with a well known choreographic style? I always feel it’s important to at least tip your hat to the original choreography, especially if it’s a well-known and successful piece. When I did Sweet Charity, for example, I wanted clumps of dancers moving together, which was a nod to Bob Fosse’s work. I didn’t, however, use the pole in Big Spender and in the Rich Man’s Frug I kept the concept of two boys and one girl, but changed it completely, putting my own stamp on it. It’s important to acknowledge the original as it worked well and people have great admiration for it.

26 The One Dance UK Magazine | Autumn 2019

One Dance UK is looking at the use of digital and other technologies at our international conference in November. How does new technology affect your work? Will there be additions to this production of Mary Poppins that wouldn’t have been possible 15 years ago in the original? In this revival of Mary Poppins we are embracing new technologies in lots of ways. For example, all the magical tricks are being revisited. With all the advanced technology that has developed since we created the original production, the experience will no doubt be enhanced by the new findings. It’s good to move with the times while showing respect to the original. I believe director Sir Richard Eyre will be connecting with an illusionist to add to the magic of the show. I’m really looking forward to embracing this new input, creating movement around it, and seeing the outcome.

Across your 30-year career in dance, what are the main changes you have seen in our sector? Over the years in musical theatre, people’s techniques have without a doubt become stronger. There are more ‘triple threats’ (great at acting, singing and dancing), whereas when I was just starting as a dancer you were either an actor, a dancer or a singer. Now it really helps to be a triple threat so you are able to understudy parts in a show. The standard has improved immensely over the years. I’m involved with a lot of vocational colleges and I now get to witness outstanding talent pouring out of them. The leading colleges really do invest time and discipline with the students and it shows, as the standard is so much higher now.

Further information Mary Poppins will open at the Prince Edward Theatre on 13 November 2019, with previews from 23 October. marypoppinsonstage.co.uk The One Dance UK Magazine | Autumn 2019 27

Taking a Stand Special Focus on Change

Special Focus on Change

Advocacy TopTips: How you can create change

What does One Dance UK, as a dance sector support organisation, stand for? By Hanna Madalska-Gayer, Advocacy Manager.

What are the changes you would like to see happen in dance within the UK? Is there a burning issue you’d like to address but you’re not sure how to? Anyone can be an advocate - it’s about making sure it’s reaching the right people in the right way. Here are One Dance UK’s top three tips for creating change when it comes to politicians and policy makers:

What positive change are we calling for on behalf of our members and as a sector support organisation for dance? One Dance UK advocates for dance as a vibrant and diverse UK art form as well as a powerful force for change. Dance has a unique and important role to play in education, health and wellbeing, community cohesion, technological advancement, social mobility and diversity. In our regular meetings and discussions with politicians and policy makers, on behalf of our members, we call for the sector to be supported and recognised in these areas. These are some of the areas where we are working hard to create positive change for dance in the UK:

28 The One Dance UK Magazine | Autumn 2019

Health and Wellbeing Dance is a powerful force for achieving a healthier lifestyle, with proven success in tackling challenges including obesity, Parkinson’s Disease, cancer and loneliness. We call for dance to be an integral part of public health strategies delivered by local Government, health and social care services. At the same time, One Dance UK is at the frontline in encouraging better health and wellbeing for dance artists. In terms of public policy, we are currently calling for more to be done to recognise the importance of dancers’ mental health, and level the playing field for dancers as elite performers, as is done for sport and athletes in terms of training, injury and support.

Photo: Brian Slater

Top: Dancer health talks at The Legat School of Ballet and Contemporary Dance Right: Tannery Drift First School

A Thriving Dance Sector Post-Brexit Brexit has been a dominant issue in social and political discourse since the EU referendum. We are still facing as much uncertainty of what may or may not happen on 31 October as we did three years ago. Despite this, One Dance UK have been working tirelessly to build a close and constructive dialogue with the policy makers tasked with the seemingly impossible: creating the frameworks for a UK post Brexit. Having conducted member surveys and published reports, we have regular meetings and calls with a range of Government departments; provide case studies, evidence, feed into scenario planning and connect Government officials with UK dance artists and companies, to help build an understanding of the unique challenges our sector faces. We have been calling for the correct conditions to be put in place to ensure the UK dance sector can continue to thrive after the UK leaves the EU. We highlight the potential impact on the artform itself and the reliance of the sector on EEA migrant workers. We call for the continued ease of movement of people and objects across borders both in terms of visas as well as appropriate entry criteria such as salary thresholds. We signal the direct impact on touring work of large to mid and smaller scale companies, as well as on the huge number of freelancers doing important work in our sector.

The Brit School students perform outside the Houses of Parliament

Photos: Top: Brian Slater; Bottom: Lee Smikle

Photos: Top: Lee Smikle; Bottom: Brian Slater

Dance in Education We want to see dance and the arts embedded in schools’ curricula, making it an integral part of every young person’s education, with the same status and level of investment as Music, Maths and English. Studying Dance helps young people develop physical as well as academic skills including discipline, communication skills, teamwork, analytic ability, understanding of physiology and confidence. We work closely with and support organisations and colleagues within the arts working towards the same goal, including the ‘Bacc for the Future’ campaign and the Cultural Learning Alliance.

Championing Dance Above all, One Dance UK champions dance as a great UK art form. We encourage politicians to do the same locally, at home and abroad, recognising and supporting local dance artists, companies, schools and organisations that contribute significantly to the cultural, social and economic capital in local constituencies. We work with members to highlight to MPs the incredible work taking place in their own constituencies. Recently, in light of this work, a motion was tabled in Parliament where MPs signalled their support for the UK dance sector, “welcoming the work of One Dance UK, providing valuable support and one strong national voice for the sector; and congratulating all those working in the UK dance sector, from dance artists and choreographers to educators, students, researchers and some of the world’s most renowned companies and theatres”. Before having recently left his role, former Arts Minister Michael Ellis MP said: “One of the pleasures of my role as Minister for Arts, Heritage and Tourism has been engaging with One Dance UK, and the excellent work they and their members do to promote dance in the UK and internationally. The UK is a leader and innovator in dance and this would not be possible without the brilliant work One Dance UK does to support this vibrant sector”.

“ The UK dance sector, in all its forms,is a UK success story and one which must be celebrated and championed.” Hanna Madalska-Gayer

Understand your audience Remember that politicians and policy makers are people too with their own interests and passions. Treat them as individuals, not sending mass mailings and generic information. Do your research, read their biographies and background on sites including theyworkforyou.com. Think about what might interest them and really capture their imagination. Is it a local issue in an MP’s local constituency? Does the issue relate to a subject the MP has previously campaigned on? Is it relevant to their portfolio as a Minister or Shadow Minister or a Parliamentary committee they sit on?

Keep it clear, concise, targeted and relevant Never overestimate how much an MP knows about the subject – help them understand the context giving a little background, highlighting specifically what the issue is and, most importantly, how they can help. MPs are expected to wrap their heads around hundreds of issues at any one time so remember to keep your letter, email or briefing note to one page with clear headings, bullet points, quotes, facts, stats and case studies and make it easy for them to understand. Come prepared with a proposed solution to the subject you’re looking to address, and demonstrate what has already been done to try to make change happen.

3 Further information If you would like to find out more about how One Dance UK are working to creating positive change for the UK dance sector, on behalf of our members, email advocacy@onedanceuk.org and check out our monthly Advocacy Updates at www.onedanceuk.org.

Keep at it! One email to your local MP does not create a campaign – stay on their radar by regularly keeping in touch. Connect with MPs in a sustained, positive and constructive way on social media; send updates of your activity; and invite them to attend a performance or to visit your theatre or studio. Further information For more tips or if you have any questions, email advocacy@onedanceuk.org. The One Dance UK Magazine | Autumn 2019 29

Celebrating a Life in Dance

Photos: Left: One Dance UK; Right: Dame Gillian Lynne and Peter Land Photograph Collection

Dame Gillian Lynne DBE, former Patron of One Dance UK, is regarded as one of the finest choreographers of all time. As a producer, director, choreographer and performer, throughout the course of her life Dame Gillian was involved in more than 60 productions in the West End, 11 feature films and hundreds of TV productions. After she sadly died in 2018, her husband of 37 years, Peter Land, announced the founding of the Lynne and Land Foundation, which assists with training costs for talented young artists. To honour her immense contribution to stage and screen, a glittering gala, To Gillie, with Love, took place in July at the Gillian Lynne Theatre in London’s West End, featuring international stars who had worked with Dame Gillian. Peter Land spoke to One Editor Cameron Ball about her legacy, and the importance of supporting the next generation.

The breadth of output Dame Gillian produced, even into her 90s, is remarkable. Her  celebrated stage  choreography is still seen worldwide, and her film work is readily accessible. What do you think will be her legacy? My wife Gillian’s legacy will be partly from the fact that she kept on going for so long in her life. She kept going happily because she loved her job and because she was so good at doing it. When I sorted through the many pages of her lifetime of performances, direction and her choreography I was shocked at how much she had done, but also how much quality work she had achieved in her lifetime. It was a lifetime of work but also her choices were top drawer. The fact that her work is seen nightly throughout the world in her ground-breaking original direction and choreography of Cats and her beautiful staging and choreography in The Phantom of the Opera is lasting proof of her theatrical power. And you are right: her work is also available on film and on repeats for iconic television shows like The Muppet Show series. But her legacy also lives strongest with the people she touched, encouraged and nurtured towards - in many cases - stardom. And that is a big number of people.

Left: The cast of To Gille, With Love at the Gillian Lynne Theatre Right: Dame Gillian Lynne rehearsing Cats 30 The One Dance UK Magazine | Autumn 2019

What was it about creating  dance that Dame Gillian thrived on? Dame Gillian’s soul was born with dance entwined in her DNA. She loved to move. Not necessarily at home, but in a rehearsal room: she saw pictures within movement to either swell a scene or a song. She was a natural creator. She did not suffer for her art - she loved doing it too much. And because of that she was very good. To work with her was always fun. She was naughty and strict and relentless; getting her performers to do exactly what she envisioned. She would work until everything joined together and successfully gave the piece she was working on its intended place. She often divided a song and dance piece up so that seeing her pull the different strands together, of that piece, was to witness a genius at work. No fuss, just accuracy. Her creativity was endless.

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Photos: Top Left: Michael Lepoeur Trench; Top Right: David Jensen; Bottom: Vivienne Vincent

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How important was it to assemble the international cast of dance and theatre stars for To Gillie, With Love? They must have been keen to show their respect and gratitude. The choice of performers both on stage and off was vital to the success of the evening. I had a difficult job because the only free night at the Gillian Lynne Theatre was the Tuesday night. [You will find that these types of galas are usually held on a Sunday because that is the only day that most people have off from their professional lives.] So, those in running shows were out of the equation. That narrowed the field down so I concentrated on real singers and real dancers and real actors because they are who do Gillie’s work best. No fakers. Everyone chosen, and I mean everyone, was perfect for their place within Gillie’s story. I decided that generally everyone had two moments song-wise to shine while the dancer/singers danced and sang their socks off. True testament to Gillie’s work ethic of “nothing great comes from marking” - no one marked and no one gave anything less that 100 percent. I also tried to instill in everyone that this was Gillie’s evening - so I asked everyone to be on their best behaviour and to park their doubts outside. I never had a problem - the entire evening ran to plan; a very well-ordered and prepared plan. I didn’t want to rely on luck as it was too important to me to give everyone a chance to thank Gillie for everything she did for them. They yelled their thanks loud and clear.

Why did you set up the Lynne and Land Foundation? It provides such a welcome source of funds for those in need. Gillie and I have given, over the years, a lot back into the business. For instance, we provided important funding for the reconstruction of the new Sadler’s Wells - a place dear to my Gillie’s heart, as it was here that she virtually grew up as a professional ballet dancer. She remembered her first day in the Sadler’s Wells Ballet Companyat the barre placed by Madam de Valois between Fonteyn and Shearer. She remembered it as if it were yesterday. Gillie therefore wanted something different to benefit those that need help the most - and there is a niche problem for those that start dance/ musical theatre/ drama training in which for some reason they might fall short of funding. It is in this area that perhaps our highly-qualified group of Patrons and I can help talent survive and therefore thrive.

The next generation of dancers and dance makers will be grateful no doubt.  What lessons do you hope the dancers of the future could  take from Dame Gillian’s successful career and the respect she earned from those in the dance industry? Gillie and I would hope that everyone will take from her tireless work ethic - where belief can be supported by hard work - and use her real doctrine of inclusivity and kindness and make that commonplace in our theatre community. We have the chance to make audiences feel better and that is their right. So, we must never show the joins nor the hardship, but try really hard to train our bodies and minds to approach our work diligently and honestly. Diligence and honesty are both very attractive to an audience, but above all Dame Gillian would have wanted everyone to “Work hard! Listen well! But beyond all things, to enjoy life!”

“ Dame Gillian’s soul was born with dance entwined in her DNA.” Peter Land

Top Left: Choreographing The Look Of Love with Juliet Prowse, Donna King and Ute Lemper Top Right: Peter Land with J.R. Ballantyne , the first recipient of funds from the Lynne and Land Foundation Below: Dame Gillian Lynne and Peter Land Further information www.lynneandlandfoundation.co.uk

The One Dance UK Magazine | Autumn 2019 31

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Autonomous,Diverse and Focused Healthcare for theYoung Dancer By Annelli Peavot, Assistant Principal, Health,Wellbeing and Safeguarding, and Nico Kolokythas, Performance Enhancement Coach at Elmhurst Ballet School

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“ We have found Elmhurst’s new approach to healthcare has helped our students access high quality care quickly and efficiently,allowing them to make the most of their training with a safe,robust, economical support system.” Jessica Wheeler, Principal, Elmhurst Ballet School

private insurance companies. This was simply not meeting the needs of the student dancers or giving them the quickest and most cost effective access to healthcare such as physiotherapy. By the start of the 2015-16 academic year, Elmhurst’s Health and Wellbeing Team were becoming increasingly frustrated with the restrictions placed on them by these insurance providers. Costs were increasing, whilst the services on offer to the students

Elmhurst Ballet School in Lee Robinson’s section of Reves de Journasse 32 The One Dance UK Magazine | Autumn 2019

were decreasing or offered with greater restrictions. We found that it was almost impossible to access private support for those students with mental health difficulties and recurring injuries and this created unnecessary stress and difficulties for students, parents and staff. We needed a different model to support the dancers. Initially we explored working with one of the larger insurance companies to develop a policy specifically aimed at meeting

the unique needs of young elite ballet students, but we were unable to raise any interest in this proposal. Our ‘eureka’ moment finally came during a meeting with the school’s governing body where the idea of a Health Trust was raised. With the expert guidance and administration of the HCB Group, and Healix Health Services, the idea of developing the Young Performers’ Health Trust Scheme evolved. The feasibility assessment together with the planning

Photo: Kate Jackson

Photo: Andy Ross

For young trainee dancers, healthcare is often a frustration with the limitations of many off-the-shelf insurance schemes. Injury and other health issues are part and parcel of a dancer’s life. It is crucial that there is good support for students in vocational dance settings to give them the very best start to becoming a healthy professional dancer. At Elmhurst Ballet School we have traditionally met students’ healthcare needs by engaging with conventional

process took the school approximately 18 months to complete and involved much consultation with parents and staff. The scheme was universally supported by parents. The next phase involved a trial version launched in April 2018 that came with some trepidation. Although we had done everything we could to ensure the Health Trust succeeded, it was still a huge step into the unknown as no one had developed a Trust like this within a school before, let alone a vocational school. We had also cut our ties with the insurance companies we had previously used, so there was no way back. The trial period of the Scheme was very successful but came with a steep learning curve for the departments involved in the running and administration of the Trust. There was a huge responsibility, particularly on the Health and Wellbeing team to ensure that funds were appropriately allocated and within the prespecified budget. It is worth noting that the Health Trust comes with an increased administration workload for the school. This includes tracking and monitoring of treatment and invoicing, however, we found that this workload was outweighed by the benefits of this innovative approach to healthcare. So what are the benefits? Firstly we have found ourselves empowered with autonomous decision-making on fund allocation. We are now able to negotiate with healthcare providers to get the best price for their services and have been able to diversify and expand the expertise within the Health and Wellbeing team which now includes a specialist Adolescent Mental Health Nurse.

As indicated from the Table of Benefits (see right), our students now have access to more generous allowances for physiotherapy with this being more than doubled against that of traditional policies. Importantly for our parents the Trust does not require an excess payment, giving an immediate saving of approximately £100 and therefore speedy access to treatment. Finally, as we reflect back on our first full academic year of running the Young Performers’ Health Trust Scheme we find ourselves feeling proud of the risks we took to develop this pioneering product. Elmhurst Ballet School finally has the bespoke policy it always desired - a truly focused healthcare model that meets the needs of our talented dance students. Elmhurst has led the way and we hope we have inspired other vocational schools and performance organisations to follow. Looking ahead we have many more plans to develop the healthcare provision, and coupled with our innovations in injury prevention, this really is a good time to be a healthy dancer at Elmhurst Ballet School.

Table of Benefits Outpatient Investigations and Treatment

Level of Cover

Outpatient consultations with a specialist following GP referral (outside of term time) and Elmhurst GP referral (during term time)

Full Cover - within reasonable and customary guidelines

Outpatient diagnostic tests and investigations following specialist or Elmhurst GP referral Outpatient physiotherapy, outpatient preventative physiotherapy and acupuncture when taken with the Elmhurst school appointed physiotherapist, following referral from the Health and Wellbeing Team

£500 per trust year

Outpatient physiotherapy on specialist referral

10 sessions per trust year

Outpatient sports massage following referral from the Elmhurst Health and Wellbeing Team

6 sessions

MRI scans on Elmhurst GP or specialist referral CT and PET scans on specialist referral

Full cover - with an agreed provider

Hospital charges for outpatient surgical procedures

Full cover - within reasonable and customary guidelines

Outpatient Mental Health Cover

12 sessions per trust year

Inpatient and Day case Treatment

Level of Cover

Specialist fees for inpatient or day case treatment

Full cover – within reasonable and customary guidelines

Hospital charges for inpatient and day case treatment

Full cover

Parent accommodation

Full cover

Mental Health Treatment - Inpatient

£10,000 per trust year

Additional Benefits

Level of Cover

NHS Cash Benefit

£100 each night or day up to a maximum of £1,000 per trust year

Elmhurst Ballet School Health and Wellbeing Centre Further information www.elmhurstdance.co.uk/Fitness-and-Health The One Dance UK Magazine | Autumn 2019 33

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BMI and Assessing Dancers’ Health and Fitness

Become a Dance Ambassador Applications close 4 October 2019

Each year One Dance UK, in partnership with Dance Consortium, recruit up to 20 Dance Ambassadors. We are looking for proactive, creative and confident young people who want the opportunity to get their voices heard in the dance sector. If you want to be part of this exciting dance world by volunteering at events, gaining experience of working in a dance organisation, networking with like-minded individuals and standing side by side with One Dance UK as we advocate for dance, this is the right place for you!

“

By being an ambassador, you are surrounded by a supportive network and provided with a wealth of opportunities in order to promote the future of the dance industry.

”

“ BMI should be included in more general evaluations,and should not be used alone.” Dr Carlo Bagutti

Dr Carlo Bagutti speaking at the Prix de Lausanne in 2016

Online courses to teach dance professionally Ofqual-recognised training you can use to teach any genre. Learn about pedagogy, teaching strategies, dance science & more; syllabus study not required. Apply below to start in January. https://bbo.dance/tq | tq@bbo.dance | (020) 8748 1241 |

34 The One Dance UK Magazine | Autumn 2019

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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).

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What is the best practice to ensure dancers are working at a safe, healthy weight? Dr Carlo Bagutti, doctor to the Prix de Lausanne, shares his thoughts.

Body Mass Index (BMI) is one of many elements you can use to evaluate the nutritional status of a dancer. In fact, the nutritional status of a dancer is really a big deal to assess in a practical and easy way. The use of biological and hormonal exams, combined with a calorimetric evaluation would obviously be of great help, but are expensive and of limited access. BMI is a commonly used and practical method – it can give an idea of nutritional status, but it has some positives and negatives. You need to have other elements to evaluate the health of the dancer. BMI is one of several assessments for understanding a dancer’s health – other tools include medical and gynaecological history, and physical examination. The clinical exam should be directed to look for signs of malnutrition (skin, hair and body hair, teeth, muscle, etc.). You must also consider age, gender and ethnicity of the dancer and compare the dancer’s data with the growth charts and percentiles of the reference population. A longitudinal

record of weight, height and BMI values (a single value is like a picture at one moment, but one would ideally be like a video) is an excellent tool to appreciate the growth velocity or changes in speed of growth of the adolescent dancer. To complete the picture and especially in situations in which you suspect an eating disorder, other measurements can also be useful, such as body composition evaluation by skinfolds or by DEXA (which has the advantage of including a bone density measure). Diet questionnaires are also a tool that can be used, such as the eating attitude test (EAT-26 or EAT-40), or a 3 day diet record. However, these can be difficult tools to use. It depends on the situation; if you need to evaluate the nutritional status of many dancers in a short period of time, questionnaires and diet records are not an easy assessment. Furthermore, skinfold measures change based on who takes the measure, so it is a tool used for follow up by the same

tester. What is important is the change in a long-term evaluation. Fat free mass is a key element to consider – diet of the dancer will influence body composition, and if caloric intake is not balanced with energy expenditure it leads to loss of fat mass, among other conditions. Bioelectrical impedance analysis (BIA) is also useful, but it should be used with rigorous attention to the measurement technique, as the results may contain multiple errors. It is highly dependant on water content. If a dancer has done physical activity, has been to the loo, if they are perspiring, if the dancer has just drunk something, if they are standing or lying down, or if they have body crème on their skin – are all examples of factors that can change the value of the BIA. It is not the most precise scientific tool. It can provide an idea, but it often evaluates body fat higher than actual values, which can also send the message to the dancer that they should try to lose more weight – potentially increasing the risk of an eating disorder. The One Dance UK Magazine | Autumn 2019 35

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

Independent Dance Celebrating 35 years

Celebrating Milestones Across the Dance Sector

Akademi Celebrating 40 years Akademi is a dynamic, futurefacing British organisation working to encourage excellence in the practice and appreciation of South Asian dance in the UK. Akademi creates performances, artist development opportunities, bespoke curation and education and community work with specialisation in dementia and autism. It has taken South Asian dance to prestigious venues such as Buckingham Palace and the Houses of Parliament. Its recent dance theatre show, The Troth Usne Kaha Tha, based on World War I won several awards. In 2019, Akademi is celebrating its 40th anniversary with a series of exhilarating performances, thoughtprovoking talks and workshops at major London venues. akademi.co.uk

English National Ballet Celebrating 70 years For 70 years, English National Ballet has been known for artistic excellence, innovative collaborations and bringing world class ballet to the widest possible audience. For this special anniversary, support them in January 2020! Celebrate the countless dancers, choreographers, artists, musicians, artisans, technicians and audience members who, over their 70 years, have been a part of the English National Ballet family, as they and English National Ballet School come together for this once-in-alifetime event. Classics of the Ballets Russes melt into modern productions; archive footage of the Company dissolves into live action on stage; and extracts from great masters – Balanchine, Petit, MacMillan and many more – follow one another to create an astonishing, dreamlike look back at their history, and that of modern ballet. ballet.org.uk

36 The One Dance UK Magazine | Autumn 2019

Photos: Top Left: Moose Azim; Top Right; Sian Trenberth Photography Bottom Left: Roswitha Chesher; Bottom Right: Elliott Franks

Photos: Left: Akademi Associates British Museum May 2019, Photo: Vipul Sangoi; Right: English National Ballet, Photo: Lauren Liotardo

Tiah Parsan highlights some of these on the following pages.

Independent Dance (ID) is an artist led organisation working to develop dance, and to fuel dance artists in all roles, at all stages of their career, and of all physicalities. They are a home for a practice led, peer-supported international community of dance artists, and invite artists and audiences to deepen enquiry and exchange ideas with their year round programme of classes, workshops and events led by internationally renowned artists. Independent Dance value dance as a form of knowledge, and as a method of generating knowledge. They champion research through dancing, teaching and making. ID are based at Siobhan Davies Studios, London. independentdance.co.uk

Royal Academy of Dance Celebrating 100 years

Portobello Dance Celebrating 25 years Mark Elie, Artistic Director and Founder of the Mark Elie Dance Foundation and the Portobello Dance School is proud to announce the 25th anniversary celebrations of this pioneering dance facility that has been faithfully developing the talents of aspiring young dancers in Notting Hill. Mark believes that regardless of class or racial background, young dancers should be able to learn and enjoy the language of classical dance and have access to affordable lessons. Thousands of young dancers have trained at the Portobello Dance School! For the past fourteen years award winning documentary filmmaker Ciarin Scott has been filming Mark’s life and his passion for running the dance foundation and Portobello Dance. The film explores Marks’ passion, drive and determination as a teacher as he nurtures three of his students from children to teenagers to blossoming into professional dancers on the world stage.

The Royal Academy of Dance (RAD) has been inspiring the world to dance for almost a century and will turn 100 on 31 December 2020. To celebrate this landmark, it is planning a programme of events throughout 2020, focused on sharing its past, present and future with the global dance community. Of particular note, the Genée International Ballet Competition will become the Margot Fonteyn International Ballet Competition, held at the Royal Opera House for the first time with RAD President Dame Darcey Bussell chairing the jury. A free exhibition at the Victoria & Albert Museum will run from May 2020 to February 2021, to celebrate the RAD’s significant contribution to British ballet and dance education. There will also be wraparound events, workshops, performances, tours and talks to enjoy. Everyone, young and old, is invited to join the celebrations. royalacademyofdance.org

Rubicon Dance Celebrating 40 years Rubicon is the community dance development organisation for Cardiff and Newport, providing extraordinary opportunities for people to engage in dance. They are deeply rooted in their community, being based in Adamsdown for over 30 years, making dance accessible to everyone, regardless of financial situation, background or ability. Rubicon Dance offer regular, diverse dance sessions at their studios, as well as day centres, schools, hospitals, hospices and community centres. This makes them unique in Cardiff. Currently, they have a large capital project which will transform dance facilities in Cardiff. rubicondance.co.uk

portobellodance.org.uk

The One Dance UK Magazine | Autumn 2019 37

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Photos: Top Left: Camilla Greenwell; Top Right: Dominique Murphy-DeNeef; Bottom Left: Joey Dart; Bottom Right: Andy Ross

Swindon Dance Celebrating 40 years Swindon Dance’s story began with Arts Officer Terry Court, who had a vision to create a safe home for artists to develop and hone their creativity, skills and art without financial constraints. That vision is still at the heart of Swindon Dance today. Swindon Dance believes that people come first and have the freedom to follow their dreams in the positivity of having fun. The organisation has flourished in a town centre of specialism nurturing talent, artistic expression and empowering personal enrichment and offering people the opportunity to have fun, enjoy the wellbeing benefits of dance and develop their creativity and artistic expression. Swindon Dance supports the passion and talent of young dancers to grow, providing them with a pathway into a career in dance including the Centre for Advanced Training in contemporary and urban dance, two full-time Access to Higher Education Diplomas, dance and urban dance and a 4 day international urban festival. Its support for professional artists includes programmes for young professionals, associate artists, commissions, a Level 6 Diploma in Dance Pedagogy, and opportunities to present their work. Swindon Dance’s story is still unfolding and wherever that may lead them will continue to put people at its heart, enriching lives through the power of dance. swindondance.org.uk

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.

Scottish Ballet Celebrating 50 years

The Place Celebrating 50 years Powering imagination through dance. Ambitious and future facing since 1969, London’s hub for contemporary dance celebrates its 50th anniversary this year. A creative powerhouse for dance training, creation and performance, the Place has established an ecosystem for dance unlike any in the world: Embracing the entire lifecycle of dance - from early education and family activities to the CAT programme, professional classes, adult and over 60s classes – the Place offers all levels, no-barriers access for everyone to enjoy dance. While London Contemporary Dance School provides world-class professional training, extensive artist development programmes empower the dance makers of the future, and a game changing new producing and touring strand ensures the best dance gets seen by more people nationwide and internationally. True to its pioneering spirit, the Place continues to champion new ideas, embracing risks and innovation to push the artform forward. theplace.org.uk

38 The One Dance UK Magazine | Autumn 2019

Wac Arts Celebrating 40 years

Scottish Ballet, founded in 1969, is Scotland’s national dance company. In 2019 the company celebrates 50 years of inspiring audiences on stage and beyond, with a creative vision crafted by Scotland. Based in Glasgow, the company performs regularly across Scotland, the UK and internationally – promoting Scotland’s pioneering spirit far and wide. Under CEO/Artistic Director Christopher Hampson, Scottish Ballet presents bold, adventurous performances rooted in strong classical technique, usually accompanied by the Scottish Ballet Orchestra. In 2019, Scottish Ballet celebrates 50 years of inspiring audiences on stage and beyond, with a creative vision crafted by Scotland.

The We Are Wac Arts Weekender scottishballet.co.uk in July celebrated 40 years of Wac Arts and 140 years of changemaking at the Old Town Hall. Across three days, there were workshops, performances and parties reflecting the innovative thought and inclusive practice central to Wac Arts’ work, bringing together the local community. Events included sessions with Para Dance UK showing everyone can dance, and a disco honouring Hampstead’s radical LGBTQ+ history headlined by Scissor Sisters Singer, Ana Matronic. “It was inspiring” – Evie, Youth Voice Panel Member “Wac Arts has been a second home really” - John Gaine, Wac Arts Alumnus. wacarts.co.uk

CMY

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A School Without Dance is a School With a Deficit Empowering a new generation of dance professionals

We have sadly become accustomed to headlines declaring the apparent lack of value of dance in schools and the continued decrease in uptake of arts subjects. It can often feel, as dance educators, that we are fighting a never-ending battle to keep our subject on the timetable. So why then do One Dance UK think we should be cautiously positive about the future of dance in schools? What research and developments can support us as the battle continues? Dance in Education Manager Amy Williams reviews the latest developments.

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40 The One Dance UK Magazine | Autumn 2019

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One Dance UK’s annual youth dance celebration, U.Dance, took place in July this year at Southbank Centre, London. In amongst the many workshops and performances taking place, a prominent ex-Headteacher championed dance and called for optimism as we approach a new academic year. Geoff Barton, the General Secretary of the Association of School and College Leaders (ASCL), spoke to dance educators about his own beliefs in the power of dance. His rousing speech clarified why teachers must keep believing in dance through what has been a difficult time, and emphasis was placed on why Barton, as an experienced Headteacher, would always push for the inclusion of dance in schools. “A school without dance is a school with a deficit” – a powerful statement coming from a professional outside the arts sector, and something we all know and believe in as dance educators. However, in this climate where our beloved subject has been pushed from pillar to post, it is easy to get swept along in a tide of negative opinions, tiring of continually fighting for courses to run, uptake to be higher and time to be allocated. This is a fight we must continue, and Barton’s powerful words seemed to reignite and reaffirm feelings amongst the educators. We need to be relentless in our pursuit for better treatment of the subject, taking on board

ideas from schools that have succeeded in growing their dance departments, and standing firm against those that would readily remove dance from a young person’s educational experience. If students constantly see their subject being devalued, by schools switching from qualification to qualification in the hope of finding an ‘easier’ one, or removal from Key Stage 3 timetables and Key Stage 4/5 choices, then why will they continue to value it themselves? Barton has previously underlined how it is each child’s birthright to have access to arts experiences and how we owe it to children to provide opportunities to create and explore, to play and experiment, whilst developing into well-rounded, resilient humans. Earlier this year, the DfE set out five foundations for developing character and resilience. Creativity and performing are identified as two of the five foundations, and in order to build these foundations, students must be encouraged to engage in arts activities and know the value of having time to do so. This can only strengthen the argument for the inclusion of dance in education. This focus on character and resilience coincides with the publication of a new Ofsted framework from September 2019. After directing attention elsewhere for several years,

Students at Goldington Academy and Castle Newnham School

“ The possibilities for how dance could be utilised to strengthen the quality of education and cultural offer within a school are endless and the new Ofsted framework provides a fresh perspective and relevance for the inclusion of dance.” The One Dance UK Magazine | Autumn 2019 41

Photo: Brian Slater

Students taking part in a workshop at U.Dance 2019

the framework returns to looking at what is being learnt, prioritising the quality of education and a balanced and varied curriculum. Schools are asked to consider what they want students to achieve by the time they leave, how character is developed and what their cultural offer looks like. Aside from developing character, the Government have also spoken about social mobility, and the impact home environment can have on a child’s future. Children from deprived backgrounds are often less likely to have access to arts experiences, and yet it is evidenced that where opportunities are made available, it is often these students that choose to take subjects such as dance. This underlines the importance of making dance education accessible to all from an early age, to go some way towards tackling social injustice. Research published by the Youth Sport Trust in 2019 identifies dance as being a popular physical activity amongst children and young people, and reports that more active girls have better wellbeing. At a time where the percentage of children suffering with issues such as anxiety is increasing, and the number of students meeting the recommended exercise target is decreasing, we must use this research to advocate for the important role dance can play in a healthy, active lifestyle.

Given that a third of children currently do less than 30 minutes of exercise a day and more than 66% of adults don’t know the exercise target for children, the Government have launched the School Sport and Activity Action Plan. One Dance UK have contributed to consultations about the plan, the goal of which is to provide children with more opportunities to access 60 minutes of daily sport or activity, both in and outside of school. As outlined in the new Ofsted framework, schools will need to provide “ample opportunities for pupils to be active during the school day and through extracurricular activities”. This provides yet another window of opportunity for more dance! Earlier this year, AQA celebrated an increase in uptake for GCSE Dance, the first in several years. It is hard to pinpoint an exact reason for the increase, and it is understandable to be cautious about celebrating given that it is possibly as a result of schools changing qualifications rather than simply new schools adding a dance offer to their provision. However, an increase of 8% should not be ignored and we can only hope that this is a sign of things to come, and the positive data should be used to reassure the doubters that dance is here to stay.

42 The One Dance UK Magazine | Autumn 2019

Some additional reasons to be optimistic include: •T he Russell Group universities have ‘scrapped’ their list of preferred subjects, instead creating an Informed Choices website which students can use in several ways to explore options for further study. The group acknowledge that the list, on which the eBacc was subsequently based, has been ‘misinterpreted’ and we see this as further ammunition for changes to be made to the eBacc qualification. •D octors can now prescribe dance to help people deal with conditions such as anxiety, depression and loneliness. This acknowledgment of the benefits of dance demonstrates how it could also be utilised in schools – to prevent rather than cure. •A rts Council England have launched a draft of their 10year strategy, which hopes to: devote more energy and resources towards children and young people; have a stronger focus on creativity across the curriculum, develop a high-quality early years creative offer and increase investment in cultural education. •T he draft of the new Welsh curriculum identities ‘expressive arts’ as one of six areas of learning and experience. This approach is like that of the Scottish curriculum, which has eight distinct curriculum areas including expressive arts.

As the new academic year unfolds, use these positive developments as a force for good in your own work Dance is an amazing tool for developing creative thought and allowing children to explore the unique possibilities of their own minds and bodies. Schools cannot afford to have a deficit of dance.

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References tes.com/news/watch-we-need-fight-artseducation-birthright-everyone-geoff-barton gov.uk/government/news/educationsecretary-sets-out-vision-for-characterand-resilience 3 gov.uk/government/speeches/educationsecretary-sets-out-five-foundations-tobuild-character 4 gov.uk/government/consultations/ education-inspection-framework-2019inspecting-the-substance-of-education/ education-inspection-framework-2019inspecting-the-substance-of-education 5 theguardian.com/education/2019/ jun/17/damian-hinds-home-shapes-achilds-future-more-than-school 6 youthsporttrust.org/news/more-activegirls-have-better-wellbeing-new-data-finds 7 afpe.org.uk/physical-education/ government-set-to-launch-school-sportand-activity-action-plan 8 independent.co.uk/news/education/ education-news/universities-russellgroup-a-level-choices-admissions-artsguidance-a8925786 9 bbc.co.uk/news/health-45861468 10 artscouncil.org.uk/nexttenyears 11 hwb.gov.wales/draft-curriculum-forwales-20 1

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

ember 2020

pt Auditioning for Se

Photography: Irven Lewis. Graphic design: Darryl Hartley

Special Focus on Change

Changing Lives with Para Dance UK

Teacher Resource

Set area of study for Key Stage 5 Rambert Dance Company 1966-2002 by Anna Smith

A Level Dance is a fantastic qualification for developing a range of skills whilst widening the students’ awareness of dance history. In the Set Area of Study alone, there is a vast amount of information for learners to grasp and manipulate and finding interesting ways to engage and develop young dance historians is a pleasurable challenge. Introduction When covering new content, the temptation for chalk and talk is enticing: as a teacher making sure students have the necessary information is your prime concern and handing over control to the students can be daunting. The following lesson contains ideas to empower the students to take ownership of their learning and firmly cement understanding of Christopher Bruce’s contribution to Rambert Dance Company. Each task could be applied to any time period, Artistic Director or named practitioner, to suit the focus of your session. Lesson idea Starter Assess prior knowledge of Christopher Bruce as a choreographer, Associate Director and Artistic Director with a short test or Kahoot Quiz/Jumble , grid of key points, facts or names, or give them key quotations to dissect. How the students perform in the initial assessment may help you to guide differentiation within groups or guide the assignment of learners to different research tasks.

Photo: Adam James Photographer

Dancers at the National Para Dance Sports Championship

Last June fifty-seven tenacious dancers assembled in Bristol. They swirled and turned, and beamed fierce smiles at the audience, performing sharp routines they had rehearsed tirelessly for an entire year. In the end, 120 medals were awarded to celebrate one simple yet palpable message: Everyone Can Dance. That was the eighth UK National Para Dance Sports Championship, created to honour inclusivity and accessibility. Inclusive Dance is making waves in the dance world right now thanks to Para Dance UK, the National Governing Body for Para Dance Sport. The charity’s core message is that everyone can dance and

that people with different abilities should have the opportunity to dance together. Sporting the hashtag #Everyonecandance, Para Dance UK encourages dancing through the launch of open classes and annual dance championships. Choreographed by passionate Para Dance instructors, the athletes compete in ballroom, Latin or freestyle/showdance and have the opportunity to compete alone, as a couple with another wheelchair user or a standing partner, or as a group. Who are those gutsy choreographers that are changing the game? They are trained dance instructors who stand for inclusivity and

44 The One Dance UK Magazine | Autumn 2019

accessibility. Having completed Para Dance’s Inclusive Dance Training course, they are given the tools and skills to support the special educational needs and disability (SEND) community while helping disabled athletes reach their full physical and artistic potential. To make this happen, their training includes a broad foundation knowledge of the disability community, as well as the tools, equipment and skills to make dance accessible to all. As the visionaries of Para Dance UK explain, making a difference in the SEND community requires not only a strong ethos but a nononsense understanding of the community and its actual needs.

The dance classes are liberating and life-changing. They can transform the physical and mental health of people with disabilities, and unlock their hidden potential with stunning outcomes. This holds true with young people and children. Para Dance UK has launched two strategic partnerships with dance schools to offer fun movement classes to children who would otherwise be excluded. And while doing so aim to scrap judgments and hackneyed stereotypes about dance and disability.

Further information paradance.org.uk info@paradance.org.uk

CUT OUT AND KEEP

Task 1 Create a series of information stations around the classroom for each of the three roles Bruce held in the company. Include a variety or written, visual and/or audio-visual sources for example timelines of events, a range of images/video clips from key works that span Bruce’s different roles or a video interview with Bruce from Rambert Voices. Use instruction sheets to focus their note taking, to ensure they extract the most relevant information. Create small groups that match the number of information stations you have created (in a large class you may need to duplicate the stations). Send one member of each group to each station to gather and process the information. If you have short lessons this could have been completed for homework using your online learning platform.

Task 2 After the designated time, learners return to their group to peer teach – the rule being, they must explain to each other and not swap notes. One person explains the information they have digested or analysed, and their group members listen and record their own notes. This can be in their own format or on a handout you have designed to guide the most essential information. Task 3 As a group they then create a combined resource on A3 paper/flip chart paper/Magic Whiteboard Paper using the information they have learned (group members should not complete the section they initially researched). Larger groups could view each other’s completed work, looking for additional information they could include. Use as display material, each group member having a physical copy or taking a photograph. Task 4 After warming up, teach the group three different phrases from Bruce’s choreography from 3 different periods of time, for example Cruel Garden (1977), Sergeant Early’s Dream (1984) and Rooster (1991). Teach them without the original music but staying as close as possible to the original movement quality, dynamics, spatial arrangement and expression. Once grasped, ask the students to combine them and apply motif developments that Bruce frequently uses in his work: fragmentation, repetition, addition and incorporation etc. Perform them to the class to a piece of music from a different work. This could form the basis of a solo for component 1 that could be developed in future lessons. Task 5 Following the performances discuss the movement material as a group. Can the learners identify the different dances? What similarities did they find between the movement from the different dances that allowed them to blend the phrases? How does this reflect Bruce’s movement style? What differences were there between the movement phrases? How could it provide evidence for the house style of Rambert? How does this reflect Bruce’s choreography in the context of its creation on or performance by Rambert Dance Company? Learners can return to their groups and add additional information or examples to the resources they created.

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

Young Creatives 2019 by Lucy Erridge

Homework Compare and contrast – compare Bruce’s contribution to Rambert Dance Company’s development to that of one of your named practitioners. Follow up task Use the starter of the next session to check comprehension, consolidate or extend learning. It also provides opportunities to address any common misconceptions or challenge learners further. Assess understanding through an interactive activity such as Triptio Plus, (use the Order Sorter for events and dates or Find 10 for key and rogue information,) which will allow you to discuss each point further or use questioning effectively to differentiate challenge. Further application and revision ideas One of the main challenges of the new linear A Level is keeping the wealth of content fresh and encouraging constant revision to avoid significant memory degradation. Finding opportunities to revisit material, consolidate a range of information with a specific focus and manipulate their knowledge to solve different kinds of problems ensures learners are consistently revisiting and engaging with the content beyond superficial revision tasks.

Revising named practitioners: • Ask students to create a knowledge organiser for the two named practitioners you have studied. • If you have compiled one yourself, they could then compare it to your version, amending or adding to theirs as appropriate. • Students then revise from this to apply to a range of activities throughout the week. For example, Venn diagrams with a specific focus such as choreographic style, adding examples from professional works in a different colour and context in a third colour. • This could then be used as an essay plan for a homework or timed essay. • Set a knowledge test that focuses on two or three areas of knowledge. Depending on their score set a variety of follow up tasks to secure or expand on their knowledge including, watching a specific Rambert Voices interview and making notes with a specific focus, revisiting their notes and revising them in a different way using a concept map or reducing through reading and expanding through memory.

Young Creatives participants performing at Purcell Room, Southbank Centre

Revising the company • Create a Rambert timeline as a progressive homework as you work through the various periods. A range of useful resources are available on the Rambert website, including a detailed timeline (www.rambert.org.uk/performancedatabase/timeline/) and performance database (www. rambert.org.uk/performance-database/) that could be used to complete this task. • Use the timeline in revision sessions to solve a set of problems for example; How did the size of the company fluctuate throughout the period and why? How did the company develop in the 1970’s? In your opinion which practitioner had the biggest impact on Rambert Dance Company? • They could consolidate their answers in a formal short answer responses or essay format, reduce to a bullet pointed list they have to expand on in a discussion with a partner/small group or to form the basis of a debate (the lively or silent variety).

46 The One Dance UK Magazine | Autumn 2019

References kahoot.com magicwhiteboard.co.uk 3 tripticoplus.com 4 rambert.org.uk/explore/rambert-archive/rambert-voices 1 2

Photos: Top: Brian Slater; Bottom: One Dance UK

Photos: Left: Anthony Crickmay; Right: Tristram Kenton

Sample tasks

This year saw the return of One Dance UK’s Young Creatives programme, in partnership with Rambert and the Royal Opera House. The programme aims to nurture choreographic talent in young people aged 15 to 19 years from across the UK, by providing a platform for them to develop their choreographic skills and ideas through the creation of their own work, as they take the next steps in their dance careers. From the initial concept through to public performance, the selected six participants were each provided a mentor, to assist and guide them in their creative process. The three incredibly talented dance professionals that provided mentoring support to the Young Creatives this year were Liam Francis (Rambert), Kristen McNally (Royal Ballet) and Valentino Zucchetti (Royal Ballet). After a few short months of hard work and rehearsals, the Young Creatives and their dancers made the journey to

London for two unforgettable weekends of dance and performance. They spent time creating and rehearsing with Creative Lead Rhian Robbins in the stunning Rambert studios, before going on to perform their works on the Linbury Theatre stage at the Royal Opera House, and subsequently at the Purcell Room, Southbank Centre, as part of U.Dance 2019. They also received advice and encouragement from Sir Richard Alston, Champion of Young Creatives. The success of the programme was a true testament to the undeniable talent of young choreographers and dancers, and to the generosity of the mentors and event partners.

“ 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 inspiring.” Sir Richard Alston, Champion of Young Creatives and U.Dance

Young Creatives 2019 participants with Champion of Young Creatives Sir Richard Alston, Linbury Theatre, Royal Opera House

Further information bit.ly/ODUKYoungCreatives The One Dance UK Magazine | Autumn 2019 47

U.Dance 2019 Highlights The nation’s annual youth dance festival returned to London in July. The South Bank experienced ‘youth dance takeover’, giving participants the opportunity to perform, learn and connect at partner venues including Southbank Centre, Europe’s largest centre for the arts, National Theatre, Rambert studios and BFI Southbank. Thousands of audience members witnessed talented youth dance companies represent England, Scotland and Wales in packed performances at Queen Elizabeth Hall and the Purcell Room, as well as watching and taking part in free public performances and workshops around the South Bank.

20 dance workshops

“ U.Dance 2019 was a wonderful,vibrant and eclectic celebration of the range and quality of youth dance work being created across the UK.I never cease to be amazed by the creativity, talent and resilience of young people and their teachers and group leaders a truly spectacular weekend of dance!” Laura Nicholson, Head of Children and Young People’s Dance, One Dance UK

500+ young dancers

NAVADAL South Asian dance competition and Rising Stars Showcase

We would like to thank all event partners, group leaders, participants, volunteers and guests for their contribution to U.Dance 2019.

Photos: Brian Slater

Folk dance and music performances and procession

14 dance films showcased at U.Dance on Screen, BFI Southbank

Young Creatives youth choreography showcase

Book Reviews

Choreography: Creating and Developing Dance for Performance By Kate Flatt

Review by Yael Loewenstein

Making Dances That Matter by Anna Halprin with Rachel Kaplan

Review by Lucy Erridge

Composing a book about the choreographic craft and the processes involved is no easy task. Flatt’s masterful experience as an artist; choreographer, teacher and mentor, underpins this ‘aid to navigating the choreographic process’ with fluidity and texture. And navigate it does. Like a storyteller, she passes the baton of the craft on with distinctive descriptions and a refined understanding of the components of what makes for a choreographic process. The considerations Flatt draws the reader toward are substantiated by practical tasks that strike a balance between the intention and clarity of parameters for each exercise and the space

left available for each practicing choreographer to put their own creative stamp upon the work These tried and tested tasks are gifts to the reader that allows for translation across genres, styles, and contexts. This makes the book far from prescriptive or formulaic. Rather, the reader is reminded that choreography is about ideas and communication; experiencing dance subjectively and objectively. From Rilke to Stravinsky, quotations and references from the worlds of visual arts, pedagogy, philosophy, poetry, dance and music, help situate the choreographic craft as an equal and valuable expressive medium. What Flatt suggests by the foundations she sets out and the

Making Dances That Matter is an extraordinary resource that highlights the need for community dance, now more than ever. Halprin tells honest tales of her experiences within community dance and how it has come to heal both herself and her dancers. She explains that dance should allow us to solve the problems we face within ourselves as well as the world around us, rather than just recognising them. However, Halprin expresses that there is now a lack of understanding for our body movement, no matter how big or small - we are numb to the idea of listening to our bodies and have become lost in the

craziness of modern life. Halprin talks of the benefits of becoming atuned with our bodies to better understand what they are trying to tell us - they are afterall, the single most important factor in allowing us to be alive and present. They are also arguably the common language that links us together, without boundaries or explanation. The book allows the reader to follow the journey of creating a community dance, from day one, ‘The Beginning of Community’, right through to a performance. Providing small tasks and questions to help along the way, the reader feels as though they are a part of the story.

One Dance UK Staff Andrew Hurst Chief Executive Cameron Ball Special Projects Manager Heather Benson Dance of the African Diaspora Programmer Dani Bower Marketing and Communications Manager Dann Carroll Project Manager Lara Coffey Head of Marketing and Communications Barny Darnell Membership Manager

freedom within the starting points she articulates is that choreography is indeed a practice and needs to be practiced. One learns and develops by doing, reflecting and doing again. And that therefore the art form is a living creature that with every exploited opportunity of practice is a chance for reinvention and discovery; prospering always from curiosity. Flatt’s own passion, experience, and observations lend the foundations for this highly practical resource that not only apprentices (to which this book is aimed) but teachers and experienced choreographers also, will do well to utilise. Purchase bit.ly/ChoreographyKateFlatt ISBN: 9781785006111

This book is recommended to all that wish to start their own community dance practice, as well as those who are curious about the powers of dance.

Purchase bit.ly/MakingDancesThatMatter ISBN 978-0819578440

Board of Trustees Fred Hopkins Head of Business Development and Membership

Erin Sanchez Manager of Dancers’ Health, Wellbeing and Performance

Lauren Hewett Projects Assistant (Surrey University Placement)

Katie Stevens Office Manager

Hanna Madalska-Gayer Advocacy Manager Mercy Nabirye Head of Dance of the African Diaspora Laura Nicholson Head of Children and Young People’s Dance Tiah Parsan Marketing and Communications Assistant Christopher Rodriguez Deputy Chief Executive/ Finance Director

50 The One Dance UK Magazine | Autumn 2019

Alan Tuvey Finance Manager Amy Williams Dance in Education Manager

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

OPEN DAYS Monday 21 October 2019* Thursday 24 October 2019 Thursday 14 November 2019 Open days provide a fantastic opportunity to find out more about our certificate, diploma and degree programmes. Places are limited so booking is essential.

We offer a range of flexible study options to suit dance students and professionals at every stage of their career. • BA (Hons) Ballet Education • BA (Hons) Dance Education** • PGCE: Dance Teaching (with Qualified Teacher Status) • MA in Education (Dance Teaching)** • Certificate in Ballet Teaching Studies** • Diploma in Dance Teaching Studies** • Professional Dancers’ Teaching Diploma • Professional Dancers’ Postgraduate Teaching Certificate** • Licentiate of the Royal Academy of Dance *To be held at Yorkshire Dance, Leeds

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

Learn to teach with the Royal Academy of Dance

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

One Dance UK Dance Hub Thorp Street Birmingham, B5 4TB 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 2019, all rights reserved.

**Distance Learning (some programmes may also include an intensive study period and/or on-site induction)

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

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

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