The One Dance UK Magazine Issue 14, Spring 2023
The Future is Now
One Dance UK releases report on Dance HE in the UK
Continued Learning Special focus on dance science careers Charlie Stemp talks Crazy For You Dancers’ Career Development Dance, pregnancy and parenthood Technology sharing dance of the African Diaspora with
the next generation
Title
2 The One Dance UK Magazine | Spring 2023
Welcome
Andrew Hurst MBE Chief Executive, One Dance UK
One Dance UK connects and supports members Along with receiving free copies of One, the magazine for the UK dance sector, One Dance UK members receive a wide range of benefits, discounts and resources. For information about One Dance UK Membership or to find out more about how we can support your work, please visit onedanceuk.org/memberships or email membership@onedanceuk.org
Dear members and friends, Welcome to this Spring 2023 edition of One. Hopefully you will notice that the team have been channeling their creativity and brilliant idea generating capacity towards making some changes to keep the magazine fresh and relevant with new feature sections and layouts. As we are all adapting to the post-pandemic dance world and changes in the funding landscape, this edition takes a special focus on ‘Continued Learning’. The dance community is constantly adapting and evolving, expanding our knowledge, finding and providing new inspiration, and we sincerely hope that within these pages you will find stimulating and thought-provoking insight from across the dance ecology. Read our report Taking it Higher: Dance in HE on page 13, which provides an important snapshot of dance at Higher Education level, such a vital part of our talent pipeline. Thank you to all the contributors whose expertise and feedback helped shape this important report. We celebrate young dancers and the achievements of the National Youth Dance Company of England (NYDC) on page 44, dive in to dance science as a career option
on page 28, and preview the work required to bring the revival of Crazy For You into the West End this summer on page 24. You can read about the ways dancers are finding new approaches to working from Dancers’ Career Development on page 22. We are committed to championing and providing platforms for artists from the global majority throughout our work, and you will find articles such as those usually housed in HOTFOOT take a much more prominent position in the refreshed format for One magazine going forward. We are acutely aware of the pressures our member organisations and individuals (especially those who are freelancers) are facing through the energy and cost of living crises and we continue to advocate for you and find ways for our membership to connect and access opportunities. I hope that you make use of the articles in this magazine and the further resources available from One Dance UK to inform and enhance your work. We are constantly learning from you, our members, celebrating your innovation and successes, and working together to find ways to best support you and provide you with relevant, engaging content.
One Dance UK Staff
Board of Trustees
Patrons
Jessica Lowe Administrator, Dancers’ Health, Wellbeing and Performance
Amanda Skoog Chair Executive Director, English National Ballet School
Carlos Acosta CBE Children and Young People Patron
Jo Gatenby Dance in Education Manager
Anthony Bowne Principal, Trinity Laban Conservatoire of Music and Dance
Andrew Hurst MBE Chief Executive Cameron Ball Special Projects Manager Rebecca Bertram Project Manager Amelia Bickley Membership and Business Development Officer Dani Bower Marketing and Communications Manager Lisa Chapman Dance in Education Manager (Maternity Cover) Lara Coffey Head of Marketing and Communications Barny Darnell Membership Manager
Photo: A Ayuso
Tamar Dixon Network Officer Alisha Kadri Head of Membership and Business Development Sam Lane Dance in Education Manager (Maternity Cover)
Laura Nicholson Head of Children and Young People’s Dance Jazlyn Pinckney Head of Workforce Development Christopher Rodriguez Deputy Chief Executive/ Finance Director Erin Sanchez Manager of Health, Wellbeing and Performance and the National Institute of Dance Medicine and Science Chloe Sprackling Marketing and Design Officer Katie Stevens Operations Manager Alan Tuvey Finance Manager Amy Williams Dance in Education Manager
Jane Bonham Carter Baroness Bonham-Carter of Yarnbury, Member, House of Lords
Peter Badejo OBE Arlene Phillips CBE Sir Richard Alston Champion of U.Dance and Young Creatives
Andrew Carrick Director of Carrickworks Julian Flitter Partner, Goodman Jones LLP Denise Nurse Legal Consultant Susannah Simons Arts Strategist and Director of Partnerships, Marquee TV David Watson Executive Director of Audiences & Media, National Museums Liverpool
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
The One Dance UK Magazine | Spring 2023 3
Contents Introduction 3 Welcome by Andrew Hurst MBE In the Spotlight 6 News 9 One Dance UK Membership: Member Q&A with Sutton Community Dance’s Gemma Bonner 10 One Dance UK Projects Dance in Higher Education Report 2023 13 Educators shine a light on the rapidly shifting landscape of dance in Higher Education Special Focus on Continued Learning Being Moved to Act by Eliot Smith 20 22 Career Development for All Dancers by Dancers’ Career Development’s Jennifer Curry 24 Maintainin’ Rhythm by Cameron Ball 26 A Moment of Movement featuring Elisabeth Mulenga Careers in Focus: Dance Science, with Prof. Matt Wyon, Scott Sinclair, 28 Sonja Cimelli, Genevieve Tawiah and Louisa Petts 31 Discover! Creative Careers 32 Jazz Arts ReWired 2023 34 The Pregnant Dancer by Chloe Hillyar 36 Caring Transitions by Edel Quin MSc FHEA The Importance of Joy by Popping for Parkinsons’ Simone Sistarelli 37 Beyond the Physical by YDance's Anna Kenrick 38 Inspired to Create and Uplift by Tamar Dixon with Kloe Dean 41 42 Education Through Dance by Chinyanta Kabaso 44 Celebrating National Excellence by NYDC (England)’s Hannah Kirkpatrick 46 Devising Second Language Learning by Laura Colomban 48 Ask An Expert 50 Mentoring Memoir by Ascension Dance’s Ashley Jordan
4 The One Dance UK Magazine | Spring 2023
Editorial and Advertising Lara Coffey Head of Marketing and Communications Cameron Ball Magazine Editor Katie Stevens Assistant Editor Advertising enquiries Contact Amelia Bickley amelia.bickley@onedanceuk.org Funders and Supporters With thanks to our funders
With thanks to our project partners. Design tm-studio.co.uk
Cover image and below: Chinyanta Kabaso, photo Dani Bower for One Dance UK
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The One Dance UK Magazine | Spring 2023 5
News
News Developing the Next Generation of Black Excellence Following the outstanding success of the Black British Theatre Awards (BBTAs), young aspiring artists will be able to benefit from new initiatives designed to inspire the next generation of Black British theatre talent. The BBTAs’ Youth Development Programme includes public events providing young people with opportunities to take part in workshops and masterclasses delivered by leading Black British theatre performers and creatives. Affordable and inclusive theatre workshops are on offer, from singing, dance and drama, to set and costume design, music and lighting. The most recent programme took place on 16 April in London. The BBTAs also aim to deliver a Mentoring Programme to a select number of participants to allow for
deeper conversation, support and unique opportunities. The Mentoring Programme objectives are to improve access, education and progression opportunities for the next generation of Black theatre talent. Providing young people with insight into theatre and the breadth of career opportunities available within theatre, mentors will provide ongoing support for young people to navigate their education and/or career. Eligibility requirements: • Young Black people aged 10-21 years old • Living in the UK • Interested in the world of theatre •N o previous theatre studies or performing arts experience required • About to engage or currently engaged in theatre studies
Photos: Ivan Weiss & Roswitha Chesher
Russell Maliphant Dance Company Tours the UK Olivier Award winning Russell Maliphant Dance Company (RMDC) will be bringing their latest dance production, titled VORTEX, to Sadler’s Wells for three nights only, 3-5 May. VORTEX is inspired and influenced by the works and processes of the great American artist Jackson Pollock and the Abstract Expressionists. Maliphant says: “The work, creative approach and processes of Jackson Pollock and the Abstract Expressionists made a lasting impression on me from the first time I encountered them. I see similarities in their approach to painting and energy that might sometimes be experienced in dance and movement composition through tasks for improvisation and composition.” To create VORTEX, Maliphant worked with Ryan Stafford (lighting design) Katya Richardson (music) and Stevie Stewart (costume design) alongside five exceptional company dancers. As well as performances at Sadler’s Wells, VORTEX will tour to venues around the UK, including Canterbury, Newcastle, Huddersfield, and Lancaster this summer.
Further information
russellmaliphantdancecompany.com/whats-on 6 The One Dance UK Magazine | Spring 2023
Russell Maliphant Dance Company's VORTEX
Leah Hill receiving the BBTA Best Choreographer/Movement Director Award in October 2022, proudly sponsored by One Dance UK.
Further information
blackbritishtheatreawards.com/youthoutreach info@blackbritishtheatreawards.com
News
News Pushing the Boundaries of Dance in the Black Country By Marcia Edwards, Artistic Director, ME Dance Company
In June 2023, ME Dance presents Bella at Walsall Arena, commissioned by Black Country Dance Hub. Presented in partnership with Sandwell College, Sandwell Libraries and Archives and supported by Black Country Touring, this production has made me more determined to contribute to the development of the Black Country becoming a cultural hub for the arts which will develop the next generation of creatives. Being in dance for over 20 years, I have identified that the key word is opportunity. This is why I created ME Dance Company, a professional and youth graduate dance company pushing the boundaries of what dance should or could be in the Black
Country. Our community’s mission is finding the freedom to have your own creative voice that has substance and sustainability. Bella is the story of a woman who lost everything. Based on the historical Black Country mystery of Who put Bella in the Wych Elm?, we try to uncover her life and links to her country. Bella’s story of being cocooned and entwined for 18 months by the roots of an elm tree will be brought to life through dance, visual projection and music. To this day she has never been formally identified, but on this journey we find our own truth. I am inspired by the history that surrounds me and the untold stories that I will eventually tell my own grandchildren. Watching ME Dance’s youth and graduate students reminds me that dance and music were part of me even before I knew it, from
De Montfort University students working with ME Dance Company
Further information medancecompany.co.uk
ResDance : Dance Research Podcast
Dance at Norfolk & Norwich Festival
ResDance™ is a podcast created by Dr Gemma Harman, Senior Lecturer in Dance Science and Dance at the University of Chichester, in June 2021 as a way to engage students with emergent ideas and practices central to dance research. The podcast focuses on research methodologies and methods in dance practice, intended for students, educators, choreographers, artist-makers, practitioners, performers, and interdisciplinary researchers curious to learn more about dance research in action. The podcast privileges the voices of the artist-scholar and researcher; it offers opportunities for collaboration and knowledge exchange within dance and related fields. Since being created, three series of ResDance™ have been launched celebrating 33 inspirational speakers and including 35 hours of enthusing content. For more information about the podcast and if you would like to take part please contact Gemma Harman: g.harman@chi.ac.uk
The Norfolk & Norwich Festival returns from 12-28 May, featuring a programme of dance, circus, music, theatre, literature, and visual arts. Over the course of the festival’s Welcome Weekend, performances will be popping up across the city. Candoco Dance Company and choreographer Jamaal Burkmar present I think we should start over: a duet performed by disabled and non-disabled dancers in unusual and outdoor spaces. Elsewhere, Akademi performs Pravaas, a climate migration-inspired piece combining South Asian dance and Carnatic vocals. The festival presents a diverse and exciting range of dance. Performed on Chinese poles, The Chosen Haram explores sexuality, faith, addiction and connection. Jo Fong and George Orange bring The Rest of Our Lives, a cabaret of life and near death, to village halls across East Anglia. Meanwhile, Club Origami is an interactive family dance show merging fashion, live music and the magic of origami.
Further information
Further information
TM
Photo: ME Dance Company
my Caribbean parents playing Soca, Reggae and 70’s music to standing on my father’s feet following the rhythms of the DJ. at events. The idea of creating positive change has unnerved me at times, but I strive to make an impact not only in my own life but for those who wish to train as professional dancers and teachers.
anchor.fm/gemma-harman Find out more about the Dance Programmes offered at the University of Chichester: chi.ac.uk/dance/
nnfestival.org.uk
The One Dance UK Magazine | Spring 2023 7
, n a e b b i r a C , African y r a r o p m e t n Co and Hip Hop e Styles
BA (Hons) Diverse Danc
Course Enquiries:
rg/ba-hons-application www.iriedancetheatre.o
er 2023
Auditioning for Septemb g| www.iriedancetheatre.or
.org | t: 0208 691 6099 | e: ba@iriedancetheatre
IRIE! dance theatre |
@IRIEdance |
@iriedancetheatre
Photography: Beth MacInnes. Design: Darryl Hartley
BA (Hons) Dance Co-delivery Partnership September 2023 From September 2023, The Hammond will be working with the University of Chester in a unique co-delivery partnership. Students who apply and are accepted onto the University’s BA (Hons) Dance course will be taught partially by Hammond faculty, in Hammond studios, and partially by the University faculty at their Creative Campus. Find out more: www.thehammond.co.uk/ba-hons-dance
8 The One Dance UK Magazine | Spring 2023
Apply Now
Membership
Meet a Member In our series of Q&As with members, Membership Manager Barny Darnell caught up with Gemma Bonner, Co-Director at Sutton Community Dance (SCD) in South London and a garduate of Northern School of Contemporary Dance. SCD is a community dance school with a focus on inclusion and regeneration for both individuals and community, with a passion to help people enjoy life by #dancingforgood.
Gemma Bonner
What are you up to currently? Sutton Community Dance is busy seven days a week. As an all-age community dance hub, with 70 classes and over 700 dancers, we mainly spend time prepping, teaching and making the most of our onsite sports rehabiliation team members! What are your first memories of dancing? I was a baby ballerina, launched into classes aged two. I remember I insisted on wearing black or red ballet shoes as opposed to the uniform pink, and I remember being in awe of the teenage ballerinas who I desperately wanted to be like. What advice would you give to someone hoping to start a career in dance? There are so many opportunities available in the dance and arts sector. It’s important to nurture your enthusiasm whilst also being grounded. Feed your passion, knock on all the doors, dance in places where you feel joy and get involved with network organisations like One Dance UK to support your career.
Photo: SCD
What’s the most common misconception about dancers? I remember a family friend who nicknamed me ‘Easy Degree’ when I was training at Northern School of Contemporary Dance. Many misconceptions have been challenged in recent years and dancers are proving themselves to be strong, intelligent, resilient, and more creative than ever. What concerns you most about the future of dance in the UK? The creative industries are thriving and I feel more excitement than concern, however, I do get saddened when
well-meaning parents remove their children from dance activities to ‘focus on their academic studies’. Dance is transformative for us as individuals and regenerates our communities. Why did you join One Dance UK as a member? We were drawn to the dynamic energy of One Dance UK and found articles and resources to be really helpful. We love learning from other members and have found it to be a great tribe to belong to, as well as advocating for our combined work as dance organisations. How does dancing help you in your life? Dancing brings me deep joy. I find purpose in dance for the sake of dancing and it’s incredibly satisfying seeing the joy and freedom others can experience through this gift when we, as teachers, share discovery with our students. Any future projects in the pipeline? We are currently working (and dreaming) on plans for our next five years, the next chapter in the life of SCD as we move beyond surviving as a start-up that began six months before Covid-19. We have exciting plans for redeveloping our venue and helping more people enjoy #dancingforgood as we increase our partnerships and extend our offer. A particularly exciting strand at the moment is new work with local organisations helping women who are survivors of domestic abuse. Finally, you can have one last dance...what would that be? It would be something powerful, athletic, high energy and loud on a stage, in front of a big enthusiastic audience. The song is irrelevant but being totally out of breath by the end is crucial! Further information scd.org.uk
The One Dance UK Magazine | Spring 2023 9
Connect, Share, Upskill
Connect, Share, Upskill
Images from left to right: POP Screening at Trinity Laban, U.Dance National Festival 2023, Kingston University dance student, Young Creatives, Hampshire Youth Dance Company, all by Dani Bower Phtotgraphy
One Dance UK presents a range of opportunities for those working in or studying dance. See below what’s coming up over the next few months Advocacy
Free Safeguarding Training
We will be sharing our research on Dance in HE and working conditions for Freelancers with the Dance APPG in May, and hosting a series of roundtables to develop some key policy asks for our updated Dance Manifesto in response to the recent or imminent publication of the Good Work Review (bit.ly/GoodWorkReview), the Cultural Education Plan (bit.ly/ C-E-Plan) and the Sector Vision for the Creative Industries (bit. ly/CCI-Vision).
One Dance UK is partnering with Safer Dance and High Speed Training to offer FREE safeguarding training for the dance sector. High Speed Training has helped thousands of individuals and organisations learn about effective safeguarding practices. This online safeguarding course was built with sector specialists to deliver the latest guidance and thinking on safeguarding. bit.ly/DanceSafeguarding
Free Dance Healthcare Screenings One Dance UK is pleased to offer Performance Optimisation Package (POP) Taster Screening sessions in Autumn 2023. These free sessions offer advice from dance-specialist physiotherapists and fitness experts and are a great way to learn more about your body and get a feel for what’s on offer as part of our complete POP packages. www.bit.ly/POPODUK
Funding Surgery Sessions
Jazz Arts: Rewired
Want to upskill and improve your chances of funding success? Alisha Kadri, Head of Membership & Business Development at One Dance UK, is offering slots for members to get in touch to talk about funding. The funding surgeries are in 30-minute slots. This is an offer for One Dance UK members (individual or organisational). The next date available is Thursday 18 May with more planned, so get in touch to find out more.
Coming to The Place this June is Jazz Arts ReWired: Up Close and Personal, a unique evening of exciting, original and innovative jazz dance theatre and music, that showcases the diversity and creativity of jazz theatre in the UK! In addition to an evening of live performances, there will be a full day of masterclasses, workshops, discussions and CPD seminars.
info@onedanceuk.org
10 The One Dance UK Magazine | Spring 2023
bit.ly/JazzArtsRewired See Page 32 for more information
Connect, Share, Upskill
Breakin’ Convention Breakin’ Convention returns to Sadler’s Wells Theatre to celebrate its 20th anniversary from 28 April to 30 April before embarking on a UK tour from 17 May to 14 June. In support of the health and wellbeing of the artists performing at the event, Project Breakalign and One Dance UK will be teaming up for the 10th year to offer physiotherapy, sports massage therapy, and an injury prevention workshop. sadlerswells.com/whats-on
Young Creatives Young Creatives is a unique programme developing the next generation of aspiring choreographers. This year has seen 16 Year 1 participants join Year 2 participants, who will be mentored by professionals including Kate Flatt OBE, Vidya Patel and John-William Watson to create work for live performance in July 2023. bit.ly/YoungCreatives1
Healthcare Practitioners Directory
U.Dance National Festival 2023
One Dance UK’s Healthcare Practitioners Directory is a free online database of medical, psychological, and complementary health practitioners in the UK. Everyone listed on our Directory has been recommended by members of the dance profession. You can search for a practitioner by name, profession, or location.
The U.Dance National Festival 2023 will be held 21-23 July in Newcastle in partnership with Northern Stage, Dance City, and TIN Arts. Hundreds of young dancers from around the country will perform, learn and connect at this incredible celebration of youth dance. A special U.Dance on Screen event will also be held at BFI London Southbank.
bit.ly/HPDirectory
udancedigital.org
The One Dance UK Magazine | Spring 2023 11
WORLD-CLASS DANCE TRAINING FOR YOUNG PEOPLE
Each centre is unique, offering different dance styles including Contemporary, Ballet, Circus, South Asian and Street Dance. Means-tested grants are available.
FIND OUT MORE AND APPLY TO JOIN
NATIONALDANCECATS.CO.UK @DanceCats_news
@natdancecatuk
Supported by
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13/03/2023 12:21
The U.Dance National Festival is back this July celebrating the next generation of dance talent! Newcastle 21-23 July. Presented in partnership with Northern Stage, Dance City, Newcastle College, TIN Arts and NYDC (England).
Showcases | Careers Talks | Workshops | Networking
12 The One Dance UK Magazine | Spring 2023 Untitled-1 1
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Taking it Higher: Dance in HE
Taking it Higher: Dance in HE
Photo: Kingston University students, photo Dani Bower
Educators shine a light on the rapidly shifting landscape of dance in Higher Education.
The One Dance UK Magazine | Spring 2023 13
The One Dance UK Magazine | Spring 2023 9
Taking it Higher: Dance in HE
One Dance UK shares headlines from recent large-scale research on the current landscape of dance in Higher Education (HE), ahead of the full report release later in April 2023. One Dance UK is the Subject Association for Dance, advocating for the value and inclusion of high-quality dance provision as part of the education curriculum in the UK, and calling for the presence of a clear dance pathway through all phases of education from primary to postgraduate level. We believe passionately that access to high-quality dance education and training is the entitlement of every child and young person. We recently conducted a wide-ranging survey to gather vital information about dance in higher education, in response to concerns from the sector. The resulting report follows on from our previous dance education report Everything We Loved About Dance Was Taken: The Place of Dance in UK Education, (2021), which highlighted the catastrophic decline in dance provision within schools and colleges over the last decade and beyond.
One Dance UK received 64 responses to its dance HE survey, from experienced educators working across 47 different institutions. Most respondents identified as female (84%), White British (72%) and had worked in Higher Education for 11 years or more (60%). The majority of respondents (92%) work in England, with the remainder from Scotland (4%), Wales (2%) and outside of the UK (2%).
HEADLINE 1: THE DANCE HE LANDSCAPE HAS FACED UNPRECEDENTED CHANGE OVER THE LAST FIVE YEARS Strikingly, 100% of those completing the survey have witnessed a change in provision in dance HE in the setting(s) they work in, over the last five years. 13%
Have witnessed a vast change Have witnessed some moderate changes
34%
53%
Have witnessed some slight changes Have witnessed no changes
COURSE CLOSURES
Photo: Kingston University students, photo Dani Bower
A staggering 64% of educators stated that they had experienced a dance course closure at their institution within the last five years.
“Unfortunately the university I was in decided to suspend recruitment to ALL undergraduate and postgraduate courses without giving any future plan. They managed the closure of the school of performing arts.” 14 The One Dance UK Magazine | Spring 2023
Taking it Higher: Dance in HE
FURTHER CHALLENGES TO COURSES Other changes to dance provision highlighted include the merging of courses, a need for increased cohort sizes and new providers offering degree courses. Teacher training programmes, in the form of Post Graduate Certificate in Education (PGCE) courses, have had to reapply for accreditation as an Initial Teacher Training provider from 2024, with some being unsuccessful.
“The course is being co-taught across performing arts provision, and I feel it is at risk of losing its identity as a dance course as a result.” FUNDING/INVESTMENT
Photo: Kingston University students, photo Dani Bower
Financial cuts and lack of investment were believed to be a significant contributor to the reduction in dance provision at HE level (62% of respondents). Funding cuts for arts courses deemed “highcost” and not to be one of the “strategic priorities” resulted in a 50% cut in course subsidies for dance and performing arts courses. (4, 5, 8, 9) Furthermore, the Office for Students (OfS) announced that London HE institutions would lose their London weighting funds following the 2021/2022 funding year. (5, 6)
STUDENT APPLICATION NUMBERS One Dance UK’s report Everything We Loved About Dance Was Taken, (1) highlighted that “in secondary education, 66% of educators reported a decline in the uptake of dance qualifications for students aged 14 and over.”
This decline in children and young people being able to access dance qualifications at school or college was cited by 65% of educators to be one of the key reasons for the decline in dance provision at HE level. One respondent said, “Sadly, it would seem that the decline in students studying dance is greatly affecting the number of students applying to study dance in HE.”
“There has been a pressure to recruit to a subject such as dance, that is not being positively encouraged in schools/colleges with STEM subjects taking the limelight.” NEGATIVE PERCEPTION OF THE VALUE OF THE ARTS Many educators (53% of respondents) felt that the negative perception of the value of the arts, and associated career paths, in the media and from the Government, has contributed to the decline of dance in HE, influencing parents and carers to guide students into choosing a ‘more valuable’ degree.
“Despite some HE dance courses becoming more vocational in their nature, and providing superb training and opportunities, the government, media and educational leaders continue to not recognise what dance contributes to health, culture, society and suchlike.”
The One Dance UK Magazine | Spring 2023 15
Taking it Higher: Dance in HE
HEADLINE 2: THE SHIFTING HIGHER EDUCATION LANDSCAPE HAS SIGNIFICANTLY IMPACTED THE ROLE OF DANCE EDUCATORS AND STAFF CAPACITY. When asked how stable and optimistic they felt in their current roles and in their future career in HE, only 23% of respondents said they felt secure in their role compared to 38% who said they did not and 31% said that they felt less motivated to stay in this career than they did five years ago.
STAFF TURNOVER AND REDUCTIONS More than half (55%) of respondents said they had seen a reduction in dance specialist staff in their work setting(s) over the last five years. Some reported staff vacancies were left unfilled as a cost cutting measure.
Photos: Kingston University students, photo Dani Bower
“Staff who have left or have reduced their hours have not been replaced.”
TEACHING AND CONTACT HOURS With a reported reduction in the number of dance specialist staff, it is perhaps no surprise that 20% of respondents stated that their own teaching/lecturing hours have increased over the last five years. One educator identified that “…dance educators and support staff in a HE setting are overworked and at their limit of sustainability”. Others highlighted that, despite no change in contract or pay increase, greater expectations were being placed on staff, with educators being given additional responsibility for areas such as fundraising and marketing. 50% of respondents stated that in order to make staff and other resources ‘stretch further’ they had been forced to reduce face-toface contact hours with students, negatively impacting on the quality of the course.
“All modular teaching has been reduced over the past 5 years. We now have students working independently for 1.5 hours every afternoon on tasks set by staff… [in order] to get through the module content.” 16 The One Dance UK Magazine | Spring 2023
Taking it Higher: Dance in HE
STAFF SKILLSET
SKILLS LEVEL AND RESILIENCE
The deployment of specialist staff was highlighted as a concern by respondents, with examples given of dance content being delivered by non-specialists, or conversely, dance experts being asked to deliver on courses outside of their specialism. One respondent gave the example of ballet technique classes being taught by an educator with little prior experience in this style.
More than three quarters (77%) of educators reported a decline in the levels of skill, experience, and resilience of young people starting on dance HE programmes.
Some also stated that there was a need for them to teach across other subjects, and that this changed each academic year.
Over the last 5 years have you noticed a difference in the skill level, experience, and resilience of young people starting on Dance HE programmes? 11%
No
13%
Yes, a negative difference Yes, a positive difference
“Many teachers are pulled in to teach core (non-dance) courses whether they’re experienced or not.” Have you or other dance specialist colleagues been asked to teach other subject areas outside of your specialism? 16%
Yes, within Dance Yes, outside of Dance
59%
25%
No
HEADLINE 3: WHILST STUDENT NUMBERS ARE IN DECLINE, THOSE STUDYING DANCE IN HE ARE EXPERIENCING INCREASED PRESSURES For those students who do study dance at HE level, educators report additional challenges for them to navigate.
77%
Many educators spoke of a decline in the practical skills of young people enrolling onto dance HE courses, with lower levels of technical skill and overall fitness. It was felt by some that students had less prior exposure to practical dance training and were therefore ill-equipped for the level of commitment and practice required to undertake dance training at HE level. Respondents also highlighted a decline in the theoretical knowledge and academic ability of students, with one educator linking this directly to the lack of provision in schools, stating that they witnessed “…less depth of academic knowledge of subject area due to [the] reduction of Key Stage 3&4 curriculum delivery in schools”.
SUMMARY There is no doubt that the survey findings give significant cause for concern about the current dance education landscape at HE level. Despite the gloomy headlines, however, survey respondents provided countless inspiring stories of dance graduates who have gone on to achieve success across the creative sectors and beyond. Respondents spoke passionately about the wide-ranging benefits of studying dance at HE level, with the development of critical thinking, problem solving and resilience, enabling graduates to set up their own projects, receive Arts Council funding or establish their own dance organisations. The One Dance UK Magazine | Spring 2023 17
Taking it Higher: Dance in HE
“The majority of my students (90%), go on to work in the performing arts within the first year upon graduating. Recent progression routes include: West End, cruise ship performance, TV, film, choreography, gigging, teaching and working in arts administration.”
WHAT’S NEXT? The full dance HE report, along with recommendations, will be released in late April 2023 and will be shared widely by One Dance UK. As the national support organisation for dance and the Subject Association for Dance in schools, One Dance UK is committed to championing the value of dance for all. At this immensely challenging time for dance education, it is imperative that we stand together to form a unified voice, sharing what we believe in and what we know our children and young people deserve as the next generation of performers, educators, creators, and well-rounded, inspiring, critical thinkers. Photos: Kingston University students, photo Dani Bower
Follow us on social media to keep up to date with our work championing dance: @onedanceuk For more information on the report scan here:
18 The One Dance UK Magazine | Spring 2023
REFERENCES:
1. onedanceuk.org/wp-content/uploads/2018/10/ Everything-We-Loved-About-Dance-Was-Taken-2.pdf 2. culturallearningalliance.org.uk/office-for-studentsconsults-on-49-cuts-to-he-arts-courses-funding/ 3. officeforstudents.org.uk/publications/consultationon-recurrent-funding-for-2021-22/ 4. news.co.uk/news/university-funding-cuts-musicdance-performing-arts-courses-subsidies-mediastudies-archaeology-1112823 5. officeforstudents.org.uk/media/c7329f542668-431e-ba14-616892a26586/recurrent_ funding_2021_22_outcomes_of_consultation_final_for_ web.pdf 6. wonkhe.com/blogs/ofs-uses-london-weightingjust-not-for-providers/ 7. theartnewspaper.com/2021/07/22/uk-governmentapproves-50percent-funding-cut-for-arts-anddesign-courses 8. theguardian.com/education/2021/jul/20/fundingcuts-to-go-ahead-for-university-arts-courses-inengland-despite-opposition 9. musiciansunion.org.uk/news/universities-cut-artscourses
Dance HE Update
Dance HE Update
Photos: Brian Slater & David Schofield
As we were putting together the Dance in Higher Education Report and this issue of One magazine, the sad news of another course closure was announced. This timely and very real reminder serves to show just how present the problems highlighted in the report are for us all.
The University of Central Lancashire (UCLan) BA (Hons) Dance programme is being withdrawn from this academic year. The current cohort will continue the course until they have completed it, with the course finally closing in summer 2025 – coinciding with the 20th anniversary of Dance Performance and Teaching at UCLan. There will be no new students recruited during this time. The work of the UCLanDance and Somatic Practice Research Group (DSRG) will continue to be supported within the university extending their renowned work employing dance-based practices with(in) community contexts. Sarah Hall, Co-Course Leader/Lecturer UCLan, comments: “UCLanDance always has advocated for access for all to the power of dance and movement as a source for physical, emotional, social and mental wellbeing. This closure is a devastating blow and as we process this, we are aware how important it is to try to celebrate the unique nature of this amazing training and the sector wide respect it has earned through the incredible work our alumni do internationally. As our final graduates head out into a world where community and connection have been severely challenged and levels of isolation and marginalisation of communities have increased over the last few years, we will continue to advocate for the real value of dance, movement and the arts across a variety of sectors. We will continue to offer the higher level of transformative learning that has been consistently delivered by UCLanDance throughout our remaining time here. Our graduates are armed and ready with the skills and training to support health, wellbeing and mind-body relationships within our communities and despite the impact on arts in the education system, we always see a bright future for these skills in real terms. We all need them.”
UCLan Dance students
UCLan students warm up for In Motion The One Dance UK Magazine | Spring 2023 19
Special Focus on Continued Learning
Being Moved to Act
Using dance to raise awareness of the climate crisis Eliot Smith is Founder and Creative Director of Eliot Smith Dance which received the Green Dance Award at the 2022 One Dance UK Awards. He shares his passion for climate awareness and offers advice on how we all can play our role.
Photos: Yamit Salazar & Will Allen
Eliot Smith
Climate change isn't just an environmental issue. It's a social and political one as well. It's one that requires all of us and our governments to act. In early 2021, Eliot Smith Dance (ESD), based in Gateshead, shifted its focus to raising awareness of the climate crisis and its impact on the environment. Participating in peaceful demonstrations in Newcastle upon Tyne and London, I met people from all walks of life and decided to act. It was then I thought that my next contemporary dance work must highlight some of the dimensions of climate change. You might ask: How and why can dance help us tackle climate change? Well, there are three things we know about dance. Firstly, movement is one of the most natural things we do, and we all do it. Secondly, dance is universal. Every culture has some form of traditional dance or sacred movement that has been passed down across generations. Third, dance is a shared form of nonverbal communication. I am reminded of my introduction to dance, whereby from the age of four I attended weekly speech therapy sessions at Newcastle University. I was later diagnosed as dyslexic. Movement was my language, my speech and my way to communicate. It still is today. These three simple aspects about 20 The One Dance UK Magazine | Spring 2023
dance, that it's so inherently human, that it's universal across cultures, and that it speaks to us without words is a powerful tool that we can harness to highlight climate change globally. In 2021, my impetus to choreograph and tour Life was the desire to present a visual, physical and auditory awareness of climate change. During the project’s research and development, I became a member of Alnwick-based (Northumberland) Friends of The Earth and subsequently implemented ESD’s first Environmental Policy which was reviewed by local green enterprise Green Heart Collective. Alongside our performances, ESD has been delivering multiple workshops in Newcastle upon Tyne for children, young people and adults who do not normally have access to contemporary dance or face numerous disadvantages. Their first dance experiences with the company were exploring climate change and fast fashion’s impact on the environment. This work is ongoing. Looking further ahead I am excited to take ESD’s high quality and accessible dance works to an international audience but this comes at a cost, which is not merely financial. As the urgency of the climate crisis increases, so does the need to understand our touring footprint. In response to this, I am thrilled to share that ESD has been offered a place on the second
edition of the International Touring and Environmental Responsibility (ITER) programme, led by Julie’s Bicycle and funded by Arts Council England and the Danish Arts Foundation. This opportunity is not to be taken for granted. I look forward to sharing my learnings from ITER programme with the wider UK dance sector. I hope to unlock innovative environmentally conscious thinking in relation to touring dance internationally. We are all moved by dance and it is in our DNA. I believe the the dance community in the UK can be a global springboard to inspire other dance companies, artists and creatives alike to act responsibly and tackle climate change. So, the next time you watch or participate in dance, I want you to think about how that experience made you feel? As for my own personal experiences as choreographer and former dancer, I have seen how the movement of dance can educate and empower audiences, and inspire them to act, to make a change for a more sustainable and healthier, greener world.
Further information
Eliot Smith Dance presents HUMAN as part of a UK tour in May-June 2023. eliotsmithdance.com juliesbicycle.com
“ Dancing is an ideal tool to mobilise people around the world because it's so inherently human. ”
Considerate Creativity Some simple tips Eliot Smith Dance recommends to help make your creative work greener: • Re-use previous costumes if possible • Use recycled materials for making stage props • Print programmes on recycled paper •D ispose of any costumes, props, and stage equipment appropriately •P erform and host events in rural areas, rather than always requiring people to travel far •E ncourage staff, audiences, participants to use public transport • Utilise outdoor spaces where possible Yamit Salazar in Eliot Smith Dance’s HUMAN.
The One Dance UK Magazine | Spring 2023 21
Special Focus on Continued Learning
Career Development for All Dancers
Photo: DCD supported dancer Lindsey Brook
Jennifer Curry, Executive Director of Dancers’ Career Development, explains why the charity’s services have been more in demand than ever, and shares some exciting opportunities for 2023.
In recent months, we have seen the need for support return to pandemic levels, in part due to the impact of Jennifer Curry the rising cost of living crisis on a workforce already experiencing For 50 years, Dancers’ Career Development (DCD) has supported systemic challenges. Over the last 12 months, DCD has delivered over 350 professional dancers to develop free one-to-one career and personal sustainable careers beyond the stage. Together with our partners, coaching sessions for dancers and brought together 250 dancers through we design and deliver a range free digital and in person workshops. of dynamic and evidence-based career development programmes, 58% of dancers who access our programmes are based outside of all free of charge to all dancers. London. Our programmes include: oneto-one support conversations; The power of conversation: personal and career coaching; mentoring for dancers. retraining bursaries; and DCD’s Beyond Dance mentoring our pioneering schools/ programme, in partnership with conservatoires programme. Moving Ahead, Mission INCLUDE, is DCD believes in the power and the first of its kind in our sector. potential of all individuals. We see Launched in 2019, Beyond Dance is and recognise dancers as unique a cross-sector mentoring programme human beings, with exceptional that matches current and former skills and qualities. We aim to think professional dancers from diverse differently and to foster a culture of dance genres with senior business commitment to self-development, leaders. All dancers are supported learning and growth. to grow as inclusive leaders and DCD supports all dancers in their collaborators, and as positive life-long career development - to upskill, expand knowledge, networks changemakers. Dancer mentees have the opportunity to explore their next and to drive and maintain creativity. Thanks to our partners and steps, within or outside of the dance supporters, DCD was able to be there sector, with somebody by their side. The intention of this programme for all dancers as the sector navigated was the power and deep humanity the Covid-19 pandemic, as demand that lies within connection and for one-to-one support increased by conversation. 83%; demand for coaching increased DCD, working together with by 400%; and the need for urgent Moving Ahead, operates as a conduit financial support doubled. 22 The One Dance UK Magazine | Spring 2023
between dancers and professionals outside of the sector – who, through energising, often challenging, but always curious conversation, can support, motivate and inspire. Each dancer mentee receives: • Approximately seven mentoring sessions with a senior executive from an industry outside dance (past mentors have included: Global Head of Diversity and Inclusion at the Financial Times; Diversity Project Leader at IBM; Head of Communications at Ocado) • Access to three masterclasses on topics like Imposter Syndrome, Leadership, Inclusion and Change with global experts • A minimum of two networking events (one digital and one in person) Through this programme, dancers are supported to grow in confidence, develop as leaders and creative collaborators, broaden their horizons, and make connections beyond the world of dance.
“ I have learnt so much about myself and my potential. For me it was a transformative experience.” Beyond Dance Dancer Mentee
Special Focus on Continued Learning Aishani Ghosh
“ DCD is here for every UK dancer - from every dance genre, background, nationwide, and at every career stage.We support over 1,500 professional dancers every year.”
A Dancer Mentee who recently completed the programme said “I have learnt that no matter what field the mentor and mentee are in, when two people connect and understand each other and are open to learn from one another, there is a sense of working together as a team. I want to keep and cultivate this feeling for future collaborations. This has made me feel accompanied at many levels.” Applications open for Beyond Dance 2023 The programme is open to all current and former dancers from every genre, with at least four years' professional performing experience. Our aim is to continue to grow the programme - DCD will offer 40 dancers the opportunity to take part when applications open on 29 April 2023 (International Dance Day).
DCD’s 50th Anniversary
Aaron 'Shin' Duncan
2023 marks DCD’s landmark 50th Anniversary. DCD was the first retraining programme in the world, founded in 1973. At this transformative time in our history, we stand on the shoulders of those who have stewarded and supported the charity over 50 years, including our partners and supporters. Our activities will begin in September 2023 and we look forward to imagining, co-creating and celebrating the next chapter of DCD’s story with humanity, courage and most importantly, the individuals who are the heart and soul of DCD: dancers.
Photos: Dani Bower
Further information
thedcd.org.uk Beyond Dance mentoring programme: thedcd.org.uk/dancers/beyond-dance Calendar of free programmes for all dancers: thedcd.org.uk/eventsdeadlines The One Dance UK Magazine | Spring 2023 23
Special Focus on Continued Learning
Maintainin’ Rhythm The acclaimed revival of Crazy For You taps its way back into the West End later this year. One Editor Cameron Ball investigates how the cast and creative team plan to maintain elite levels of performance with considerations for health and wellbeing.
Charlie Stemp as Bobby Child & members of the company in Crazy for You at Chichester Festival Theatre
Photos: The Headshot Box, TBC & Johan Persson
Charlie Stemp
Richard Pitt
The levels of focus and fitness required to dance eight shows per week in the West End is challenging, and even more so when the show’s director and choreographer is Broadway powerhouse Susan Stroman. Her production of Crazy For You, originally seen in the West End in 1993, is the stuff of legend, scooping up Tony and Olivier Awards. It is this choreography that has been recreated 30 years later, first at Chichester Festival Theatre, and following stellar 24 The One Dance UK Magazine | Spring 2023
reviews, at the Gillian Lynne Theatre from June. Dance is at the heart of the show (who can resist tapping their feet to Gershwin’s classic tunes?) and so the pressure is on to not only meet Stroman’s exacting standards, but also ensure the cast’s bodies and minds remain in elite condition. Leading the cast as Bobby is Charlie Stemp, who after graduating from Laine Theatre Arts and performing in Mamma Mia! and Wicked, had his breakthrough with an Oliviernominated role in Half a Sixpence. Since then, he has been seen on Broadway opposite Bette Midler in Hello, Dolly! and most recently tap dancing upside down on the proscenium of the Prince Edward Theatre as Bert in Mary Poppins. He also presented to aspiring young performers at the U.Dance National Festival in 2020.
How does he feel about being part of this revival, and the ‘triple threat’ requirements of Bobby Child, leading the hoofers to explosive renditions of Slap That Bass and I Got Rhythm? “I’m so excited to be bringing such an iconic role back to the West End, especially with Susan Stroman’s amazing choreography”, he says. “This is by far the hardest dance show I’ve ever been in - I hope that I can do it justice!” As UK Associate Director and Choreographer, Richard Pitt is charged with ensuring Stemp and the cast do the work justice. For the past few years Pitt was Rehearsal Director for Tavaziva. He has a long history working with Susan Stroman, including on the original London production of Crazy For You, and more recently on The Scottsboro Boys
Title
A scene from Crazy for You at Chichester Festival Theatre
“ Sustainable performance is mostly down to the people around you in my opinion. If you surround yourself with people who keep you grounded, take care of you and make you laugh, then any hard task will always seem that little bit easier.”
Photo: Johan Persson
Charlie Stemp
and Young Frankenstein. He holds her in high regard as a director and choreographer. “Susan Stroman is a force for good. We all learn so much from being in a room with her and her genuine care for people and the show sets the tone for the entire run”. He could tell there was a joyful chemistry in the Chichester cast and creative team, saying “The magic of the show seeped into the dynamic of the company – we could tell the show was special”. Assembling the right team for a show of this intensity is crucial, and for the West End transfer there were additional roles to cast, particularly in the dancing ensemble, who understudy leading roles. Pitt acknowledges that this is “a bit of a jigsaw. Firstly because of what we created for Chichester (on and off stage), and secondly because every
character in the show is so individual and yet specific.” Pitt notes the improvements in performers’ health and wellbeing, which One Dance UK, Equity and many others have been advocating for across the dance sector. “There has definitely been positive change in the last 10 years, and as an industry we continue to learn and improve and grow. Dancers, performers, artists are taking much better care of themselves today, focusing more on things like nutrition, maintenance, complementary training, and the way that we prepare and care for the body and mind.” Maintenance, particularly for the amount of pressure tap dancing puts on the ankles and knees, is paramount. Pitt notes: “Our show has its challenges and everyone has
access to physiotherapy and massage as necessary.” He is also conscious of more holistic elements of keeping the cast show-ready: “Besides the physical care that is available, we are also there for any emotional needs and do our best care for and look after the company”. As opening night approaches, Stemp is looking forward to it with excitement. “I will be so full of adrenaline. However, once the adrenaline calms down and I’m sat at home with a cup of tea, I’ll have a little think about the show and smile. As long as I didn’t fall off any of my turns, that is!”
Further information
Crazy For You is at the Gillian Lynne Theatre from 23 June 2023. CrazyForYouMusical.com The One Dance UK Magazine | Spring 2023 25
Moment of Movement
“Dance is my present self to its fullest potential.”
Elisabeth Mulenga is a dance artist and Sadler’s Wells Young Associate.
Photo: Dani Bower
Scan the QR code to watch some movement:
26 The One Dance UK Magazine | Spring 2023
The One Dance UK Magazine | Spring 2023 27
Special Focus on Continued Learning
Dance Science As part of a new series, we focus on different career paths in dance. Introduced by Prof. Matt Wyon, we hear from four professionals to gain insight into working at the intersection of health and art.
Prof. Matt Wyon leading a dancer's health screening, University of Wolverhampton
Prof. Matt Wyon
Photos: M. Wyon & Dani Bower
Professor in Exercise Physiology at University of Wolverhampton, Partner, National Institute of Dance Medicine and Science
28 The One Dance UK Magazine | Spring 2023
Dance is something we all do throughout our lives to different degrees: from bouncing around as a toddler to performing on a stage or embarrassing our children at a party. Whatever our standard and abilities we use our body as a mechanism to express ourselves, and that is where dance medicine and science (DMS) comes in. DMS looks at the impact that dance, whether it is recreational or professional, has on the body from psychological, physiological, medical and biomechanical perspectives. It tries to provide evidencebased answers to questions through experimentation (observational and interventional in nature). Scientists’ early motivations were often to address the negative connotations of professional dance; dance injuries and eating disorders. This then led to further experiments to see if certain types of interventions, i.e. supplemental training/conditioning or psychological skills, could have a beneficial effect, or whether current practices really did what they say they did.
Current evidence suggests supplemental fitness and psychological training have beneficial effects on dance performance and dancers’ health and wellbeing. In the last 10 years scientific research on dance has diversified in the genres and populations studied. This can be seen with the increase in studies looking at potential benefits of dance interventions for people with chronic diseases and the general population (‘Dance for Health’). Increasingly, university-based dance, dance teaching, and community dance courses now have some sort of dance science within them or informing them, to help students, dance artists and dance educators understand what they are asking bodies and minds to do and how to get the most enjoyment and benefit out of the activity. In summary, DMS is there to support dance and dancers, so they can dance longer and stay healthier for their own, and others’, enjoyment.
Special Focus on Continued Learning
Genevieve Tawiah
Performance Physiotherapist tawiahphysio.co.uk
A regular day looks like: As a physio in the performing arts sector, my days are quite varied. I see people for treatment either in clinic, onsite at shows or tour venues, or occasionally in the comfort of their own home or on a video call! I see a range of different ages and different injuries for assessment and treatment. I also give out tips for injury prevention and maintenance of physical wellbeing. What I've learned: There is huge benefit in taking time to pause and check in with yourself. Dancers in particular need to give
Photos: Dani Bower, Melanie Gail Photography & S. Cimelli
Sonja Cimelli MSc
Podiatrist and Postgraduate Researcher The Abbey Clinic Buckinghamshire New University
A regular day looks like: Currently, my days are varied having started a full-time PhD in October 2022 investigating Breaking and the Olympic Games, with a particular focus on the judging system. I also participate in dance projects and was honoured to be the Competition Manager for the 2022 WDSF European Breaking Championships, the first European Championship on the Paris 2024 Olympic qualification pathway. Furthermore, as a musculoskeletal specialist podiatrist, I continue to treat patients, including dancers, with a focus on injury assessment and management. What I've learned: Although my work is multifaceted, I do not consider each role in isolation because they are interrelated.
themselves more opportunities to rest and recover. We live in quite a fastpaced world so pausing can feel like being unproductive or missing out. Pausing can give us a chance to spot things quicker before they become problematic and give us more space to understand our body’s language. One tip for success: Try not to be hard on yourself if you’re struggling to reach your Plan A. No road to growth is linear, and sometimes the Plan B’s and C’s that you fall into, give you space to move in a new exciting direction, or time to adjust to put yourself back on track again.
The research element informs my clinical practice and it also influences competition management, e.g. ensuring that the appropriate level of medical cover is in place. Likewise, clinical practice and management roles also inform my research. Experience has taught me the value of this perspective. One tip for success: You cannot know everything. In fact, there is immense value in acknowledging the things that you do not know and drawing on the experience of a multidisciplinary network. Finally, I could not have predicted my career path, but it has brought me a lot of joy. So having the conviction to follow your instincts and do what makes you happy is arguably the greatest success. The One Dance UK Magazine | Spring 2023 29
Special Focus on Continued Learning Scott Sinclair conducting a dancer's health screening at Trinity Laban
Scott Sinclair
Laboratory Technician Trinity Laban Conservatoire of Music and Dance
Photos: Dani Bower, James Keates (JK) & Abbie James
Louisa Petts
Dance Health Researcher and Lecturer Centre for Dance Research at Coventry University, bbodance
A regular day looks like: A regular day can be quite dynamic depending on where the work sits within the academic calendar. It can range from teaching physiology in the lab/studio, repairing/servicng equipment to project planning with the team, cross-collaborating with other departments and more. The autonomy within the workplace allows me to develop and enhance my own capabilities.
and it is okay to make mistakes. In fact, mistakes made are lessons learned. People and experiences will help you grow as an individual.
A regular day looks like: As a postgraduate researcher, lecturer, and dance artist, I find I rarely have a ‘regular’ day. I love the diversity in my career: it ignites my curiosity and keeps me continually learning. However, I do like to start my day with some gentle movement and a cup of tea. I then answer emails, connect with colleagues, conduct qualitative fieldwork (my favourite part of research!), analyse data, read, and write.
friction, thinking I had to sit solely in one discipline. Through academic exploration and collaboration, I have learnt that I can indeed pursue both as creative endeavours.
One tip for success: Stay relevant by equipping yourself with the latest information. Use networking opportunities to help foster your knowledge base and learn from the experts. Opportunities come in many different forms such as attending in-person workshops What I've learned: or conferences, sourcing reliable You are only as good as the people information online (Twitter is great around you: this applies to both career for academic material), listening to and life. From a career perspective, podcasts (inside and outside of your however, it is important to find likefield) and/or joining a professional minded individuals who share a similar body/society which offers passion. Nobody knows everything professional development.
What I've learned: The possibilities in interdisciplinary research are boundless. In my education, I am interested in both arts and sciences, and have often felt 30 The One Dance UK Magazine | Spring 2023
One tip for success: Be patient with your passion. Like many dancers, I find balancing my perfectionistic tendencies difficult, often leading to burnout in my academic and professional pursuits. I am ambitious and motivated, but human too! I routinely remind myself, “It is a marathon, not a sprint”. Success is not sustainable without nourishment, so be generous with rest, allow yourself to take breaks and replenish your reserves.
Special Focus on Continued Learning
Discover! Creative Careers
Discover! Creative Careers exists to inform and inspire young people about careers in the creative industries. It aims to showcase creative careers unknown to many and to explain what skills and qualifications they need to succeed in those careers when they leave school. • For teachers and career leaders Discover! Creative Careers offers a full suite of resources to enable you to deliver your careers programme and meet the Gatsby benchmarks. • For students and parents Find out about the wide variety of career pathways available. Can you help a young person discover a creative career? Discover! Creative Careers Week takes place 13– 17 November 2023. The week is a call to arms for the creative industries to open their doors, physically and online, to introduce students from all backgrounds to the various job roles that exist. Businesses are encouraged to invite students from local secondary schools to meet their employees and enjoy interactive careers workshops, tours, talks, challenges and other hands-on experiences. Registration for industry hosts who want to take part in the 2023 Discover! Creative Careers Week is now open: bit.ly/DiscoverCCW2023 Further information discovercreative.careers
Photos: Dani Bower
With over £1million invested from the Department for Culture, Media & Sport (DCMS) and additional support from Arts Council England, the 2023-2025 programme aims to reach young people from 77 target areas across England and encourage them to pursue a career in the creative industries. One Dance UK is proud to be a strategic partner of the Discover! Creative Careers programme. Through a hybrid programme of practical activities and resources, Discover! Creative Careers informs young people directly about the opportunities in this world-leading sector through meaningful encounters with industry professionals, online tools, and training and support for teachers, parents, guardians, careers professionals, employers and more. Discover!, also known as the Creative Careers Programme, was kick-started with funding from the Department for Culture, Media and Sport in 2018 and has been shaped and supported directly by creative businesses, institutions, trade bodies and individuals across England. • For employers Help inspire young people, from giving a virtual talk to advising schools on how to engage with industry.
The One Dance UK Magazine | Spring 2023 31
Member Led Network News
Jazz Arts ReWired
A two-day jazz arts convention rewiring the vitality and vision of UK jazz dance theatre arts.
Presented by BOP Jazz Theatre in partnership with One Dance UK, The Place and Jazz Theatre Arts UK, book now for this inaugural convention, celebrating the diversity and creativity of the jazz dance art form and championing all who practice and participate within it. In addition to a full day of masterclasses, workshops, discussions and CPD seminars, enjoy an evening of live performances from acclaimed and emerging UK jazz artists. Jazz Arts ReWired: A Day of Practice and Participation
The Place, London Saturday 27 May A jazz-packed day devoted to dance practitioners, teachers, dancers and jazz dance enthusiasts. Get moving with an exciting programme of dance masterclasses exploring the dance styles rooted in the lineage of jazz dance expression, from African dance, authentic Lindy Hop and musical theatre to creative jazz theatre repertoire and the jazzfunk vibes of Locking. Each masterclass will be led by a stellar lineup of established jazz dance artists and practitioners. Dance teachers and practitioners can network, gather knowledge and resources, discuss jazz arts development and explore educational practices at the informative Practitioners CPD Jazz Seminar and Let’s Talk Jazz Discussion Forum.
Further information and to book:
bit.ly/JazzArtsRewired 32 The One Dance UK Magazine | Spring 2023
Jazz Arts ReWired: Up Close and Personal
The Place, London Saturday 3 June, 7:30pm A unique evening of exciting, original and innovative jazz dance theatre and music. Be enlightened, be educated, but most of all, be entertained! The programme features a kaleidoscope of jazz dance performances from acclaimed choreographers Dollie Henry MBE (BOP Jazz Theatre), David Blake (Blake Arts), Benjamin Cutting (The Locksmiths), Ffion Campbell-Davis (House of Absolute), June Campbell Davies, Bafana Matea and Ofelia Balogun (Matea Dance Collective), Nathan ‘Neo’ Gordon (‘FLO’ featuring Urdang Dancers) and Jreena Green (Jazz Dance Elite.) The evening will also see performances from the Emerging Jazz Artist Platform sponsored by One Dance UK. Four emerging UK jazz choreographers were selected: Valentina Dolci, Masumi Endo, Kristen-leigh Petit and duo Nahum Mclean and Darius Drooh. Proudly presented by:
Performance Optimisation Package (POP) from £80 upwards
POP is an add on to One Dance UK membership and supports the overall health and fitness of members.
POP benefits include: Accessible health cash plan, allowing the individual to be reimbursed up to £700 for private healthcare treatment Access to services such as physiotherapy, osteopathy, chiropractic treatment, homeopathy, chiropody and reflexology plus more For more details scan the QR code or get in touch with the Health, Wellbeing and Performance team: HDP@onedanceuk.org
POP for One mag.indd 1
The One Dance UK Magazine20/03/2023 | Spring 2023 33 16:33
Special Focus on Continued Learning
The Pregnant Dancer
Is there a ‘good time’ to fall pregnant as a freelance dancer? Chloe Hillyar, a PhD candidate at Queen’s University Belfast, seeks to establish the first best practice charter of dance-specific physical activity that defines an upper-safe limit for pregnant, professional dancers in the context of contemporary dance training and performance in the UK and Ireland dance sectors. Here, she offers an insight into some of her research findings.
Photo: Amy Morvell
KJ Mortimer
34 The One Dance UK Magazine | Spring 2023
Special Focus on Continued Learning
Chloe Hillyar
The Research Pregnant and parent dancers face many challenges when planning a family. Parents are forced to consider the timing of rehearsals, performances and future auditions and pregnant individuals must also factor in the financial implications of taking time away since paid maternity leave is uncommon. The problem is particularly pronounced for selfemployed dancers, who will usually enter maternity leave without a job to come back to. Such challenges deter dancers from having children during their performative years, despite it being the period of optimal fertility (Szumilewicz et al., 2022). As a result, pregnancy and parenting remains largely absent from the dance sector (Kirk, 2022). The Assumption As a former dancer, I have approached my PhD with certain assumptions: some evidence-based (i.e. the well-established benefits of prenatal physical activity1), some anecdotal (i.e. the sacking of dancers who fall pregnant during a contract), and some tacit (i.e. the implicit bias towards thinness). These assumptions have been both confirmed and challenged throughout data collection. Most interesting to me are the assumptions made by my research participants about what pregnant dancers should or should not do. Thus far, the majority of research participants believe that pregnant
“ Most interesting to me are the assumptions made by my research participants about what pregnant dancers should or should not do.”
individuals should adopt a cautionary approach to physical activity, with a small minority perceiving dance as a risk to the foetus. Whilst the impact of dance-specific activity on the pregnant body is unknown, studies investigating danceintensity equivalent activities during pregnancy (i.e. athletics) suggest that engaging in high intensity physical activity does not produce adverse foetal outcomes (RANZCOG, 2020). This suggests that the assumptions made by research participants are potentially un-evidenced. These assumptions are understandable, especially considering the lack of research investigating dance and pregnancy in tandem. Current prenatal physical activity guidelines do not account for the high levels of training dancers may wish to sustain, or make dance-specific recommendations. As such, the absence of physical activity guidelines relevant to pregnant dancers results in arbitrary perceptions of pregnancyappropriate activity that stigmatise prenatal exercise (Davenport et al., 2022). Not only does this diametrically oppose the literature, but pregnant dancers are perceived to be less employable as a result. The Ambition The lack of research and evidenceinformed policies leaves dancers feeling vulnerable and unsure about whether they could or should participate in dance during pregnancy. Research in dance and
maternity is important for improving physical wellbeing and challenging un-evidenced societal assumptions. My research serves as one of the only studies to recognise the physiological requirements demanded throughout a professional dance career in tandem with the challenges of pregnancy and parenthood. I aim to demonstrate how dance-specific activity can be safe and beneficial during pregnancy, whilst highlighting the social significance of employing maturing female dancers throughout pregnancy and beyond. [1] A reduction in the occurrence of gestational diabetes mellitus (Aune et al., 2016; Russo et al., 2015; Tobias et al., 2011), gestational hypertension disorders (Magro-Maslosso et al., 2017), macrosomia (Pelaez et al., 2019; Barakat et al., 2016), excess weight gain (DiPietro et al., 2019), as well as shorter labours (Barakat et al., 2018) and improved mood (Kołomańska et al., 2019).
Further information
Are you a pregnant/parent dancer? Are you interested in contributing towards improving maternity care, parental provisions and career longevity? If so, please contact Chloe to find out how you can get involved in her pioneering research: chillyar01@qub.ac.uk
References
To view the references used in this article, scan the QR code below.
The One Dance UK Magazine | Spring 2023 35
Special Focus on Continued Learning
Caring Transitions Maintaining a healthy work-life balance when working in dance is a tricky balancing act, challenged even further when taking on caring responsibilities such as becoming a parent or caring for an elderly or vulnerable adult. The University of Chichester’s Programme Leader for Dance Science, Edel Quin MSc FHEA, herself a parent, offers some strategies on finding balance.
Edel Quin MSc FHEA
Photos: JK Photography & Illustrations: Dani Bower
To say that our profession is not well-known for promoting selfcare, rest and recovery is probably an understatement! I have worked hard, and struggled often to find a balance as a mother, as an educator, and as an academic. My logical mind and researchinformed brain knows that I must ‘attend to my own oxygen mask first’ otherwise I will not be able to be there for others, but my habitual characteristics do not always follow this instruction. Along the way I have learned to recognise the warning signs that come with spreading myself too thinly and I have built up some tools and strategies that help me readdress the balance. Here are five tips that I offer, from my experiences, which would ideally form part of a daily routine, both in the ‘good times’ and the challenging times:
caring duties, which are for you. That might be as simple as sitting in your car for 5 minutes and finding peace, calm and stillness, or taking 5 minutes to listen to a quick burst meditation, or a song of your choice that supports your desired mood, or using this time to journal your thoughts and experiences from the day. 2. Stay hydrated and always stop to eat: Eating on the go/while multitasking is common in the dance profession, but taking a minimum of 10-15 minutes to stop completely and be present while you refuel is important for wellbeing and gut health. Staying hydrated will support concentration and focus.
3. Set clear boundaries and communicate these: At work, at home, with your colleagues and with your loved ones. People - children included - respond to boundaries that have been clearly communicated.
1. The self-care transition: Take 5 minutes at the end of your working day, before you return to your 4. Find a movement practice that is for you: Often we are in the dance profession because we have a passion for movement. Unless we are still working dancers, it is likely that we are either not moving as much as we used to, or the moving we are doing is teaching others. It is important to 36 The One Dance UK Magazine | Spring 2023
keep a movement practice of our own to balance our physical and mental wellbeing – to be the receiver of a movement experience, rather than the giver. 5. Mindful gratitude: Try using an app or a journal to pause the mind and reflect on what is good, what have you to be thankful for. People in dance are often conditioned to recognise what needs to be fixed, what could be better, and we forget to acknowledge what we already have. Take time to recognise the good. To finish I offer two further points… investing in professional help should always be recognised as a valuable option. Seeking support from regular sessions with a qualified life coach, or trained counsellor or psychologist will be worth the investment if you can find a professional that works well with you and your needs. And finally, be the role model that many of us did not have. Putting your self-care visibly front and centre will hopefully inspire your colleagues, your friends, your loved ones, and your students to do the same.
Further information chi.ac.uk/dance e.quin@chi.ac.uk
Special Focus on Continued Learning
The Importance of Joy Using movement to create a movement by Simone Sistarelli, Founder of Popping For Parkinson's, a project that transforms Parkinson's patients into Popping dance students.
Photo: Cath Dupuy & Dani Bower
“ With no Parkinson’s cure available to date, it is essential that resources are invested in healthy ageing and social prescribing schemes. Everyone deserves joy, regardless of their age or disability. ”
becomes deficient), it is imperative that we offer them as much joy as possible. The support offered to those with Parkinson’s is primarily based on medication, clinical trials, ways to deal with loss and, eventually, Simone Sistarelli bereavement. I am confident that we I have found that dance is the best can offer much more than this and dance is a perfect platform to do so. way to keep the infamous ‘inner Popping For Parkinson’s is an child’ alive and well. What keeps international award-winning project me and my colleagues dancing offering free Popping dance classes after so many years is the joy for people with Parkinson's. We want that it brings us. It is the power of to share the joy of dance with as many playing like a child without being people as possible. The playfulness childish about it. of dance can have a significant impact When someone is dealing with an on people with Parkinson's, it's incurable degenerative disease such as Parkinson’s, they are rarely referred magical. Sometimes the physical effect of to, let alone thought of, as people. dance on students is unbelievable. From the moment of diagnosis, they become patients, which can eliminate So many times, my students have walked through the door with severe many other aspects of their life. difficulties, with walking sticks, People need to be offered space and time to feel joy. It sounds simple, barely making it into the room. Then the music starts, we all dance together but it is so essential and primal. and when the class finishes they exit, Given that Parkinson’s is caused by leaving their sticks behind! a disfunction of the dopamine circuit To be clear, this is not a competition (the ‘happiness’ hormone, which
between medical interventions and dance classes, but rather a collaboration: can we truly see the person in front of us and support them, exploring the depth and breadth of their existence? Can they feel uplifted and supported as people rather than patients? One student told me: “I feel that the Popping moves help me deal better with my symptoms. Not to mention the WOW! I get from my grandkids when I am dancing!”. Sharing the game of dance as much as possible can be a simple yet incredibly effective tool to support communities. Further information
Popping For Parkinson’s poppingforparkinsons.com Simone Sistarelli holds a MSc in Dance Psychology from the University of Hertfordshire and is an award-winning dance artist, musician, social entrepreneur, author and public speaker. simonesistarelli.com
The One Dance UK Magazine | Spring 2023 37
Special Focus on Continued Learning
Beyond the Physical
Using a multi-layered choreographic process in the studio to empower young dance artists How can we develop the next generation of dancers to be inquisitive, collaborative and brave? Anna Kenrick, Artistic Director of YDance and choreographer with the National Youth Dance Company of Scotland, shares her innovative approach to the creative process and its theoretical underpinning.
“ We aim to develop dancers as confident artists, creators and human beings who can reflect, have critical discussions, share ideas, provide opinions and demonstrate empathy.”
Photo: Paul Watts
Anna Kenrick
“Dance offers a unique means by which we can explore ourselves and our position in the wider world and is a way to exchange with other people about what we see and feel and think and sense. Arts is a way of opening dialogue within and between individuals and communities.” Claudio Kogon1 The choreographic process that I have developed over the past 20 years is based on the belief that dance can examine what it means to be human in the current world. This informs the process that I facilitate with preprofessional dancers in the studio and the product we co-create for performance. This collaborative approach is underpinned by the teaching methodologies that I use as an educator and facilitator such as the Midway Model, Laban Movement Analysis and theories and research from the educational and psychology sectors such as Creative Habits of Mind and Constructivism. 38 The One Dance UK Magazine | Spring 2023
Developing ideas through collaboration In this devising process, the dancers’ opinions and ideas are vital. The concept for each piece has to be something that the dancers feel is relevant to them, which is found through a series of questions and tasks, facilitated by myself and dramaturg Philippa Clark. Informed by the dancers’ ideas, Philippa and I challenge ourselves to look at the theme again through an enquiry-based devising process which draws on the Five Dimensional Model of Creativity identified by Bill Lucas (see diagram right). The process is rooted in developing ‘higher order’ skills such as curiosity, open-mindedness, imagination and problem solving. The development of these skills is embedded in the planning phase, in the variation of performative tasks created and in the scaffolding of the sessions used to facilitate their progression.
Creative Habits of Mind
Collaborative
–Working together –Giving and receiving feedback –Communicating effectively
Disciplined
–Developing the learning –Reflecting critically –Drafts and redrafts
Inquisitive
–Wondering and questioning –Making connections –New and challenging opportunities
Persistent
–Sticking with difficulty –Risk taker –Tolerating uncertainty
Imaginative
–From idea to realisation –Playing with possibilities –Exploring and investigating
Special Focus on Continued Learning NYDCS perform The Art of Falling at Destinations 2023, Eden Court, Inverness
Photo: Paul Watts
This creative process challenges each dancers’ body and mind to find new ways into movement. We encourage divergent thinking, active participation, collaboration, questioning, working in the unknown, taking risks, finding growth and making mistakes. Together we are invested in creating rich work with depth and integrity and the dancers’ role in this mission is key.
dancers’ understanding of concepts before sharing our own, encouraging active engagement in dialogue, asking thoughtful open-ended questions and seeking elaboration and development of ideas. In terms of the Five Dimensional Model of Creativity, the studio process is designed to empower the dancers to be imaginative, inquisitive, persistent, collaborative and disciplined to reach beyond the physical movement to enable Using theory in the studio the dancers to find their unique The process is multi layered, meaning voice and confidence in their own we all take on many roles throughout thoughts. I feel it is my responsibility the process. Our intention is to as a facilitator to create opportunities support each dancer on a journey for dancers to develop their skills of self-discovery as a performer, in each of these areas and help their creator, choreographer and leader. experience be a transformational one. Brooks and Brooks (1993) list twelve descriptors of constructivist teaching Co-creating The Art of Falling behaviors and these are central to Devising the National Youth Dance the process we use in the studio. Company of Scotland’s most recent They include encouraging autonomy creation, The Art of Falling, began with and initiative, enquiring about the a series of questions that the dancers
answered individually and in groups, through verbal critical discussions, kinesthetic exploration and visual artwork/drawings. We distilled the responses down to the most prevalent themes to find the focus of the enquiry. The second stage of the process involved Philippa and I finding stimuli that connected with the enquiry area which provoked creative tasks (silent derives, environmental documentation, free writing) and performative improvisations which had a variety of outputs including audio scores, written material and movement. The book How to Land: Finding Ground in an Unstable World by Ann Cooper Albright and the ‘Petition for Presence’ project (bit.ly/ petitionforpresence) were inspirations around the concepts of presence, falling and failing and connections between body and intention. The One Dance UK Magazine | Spring 2023 39
Special Focus on Continued Learning
Embracing the opportunity to connect As an educator, artist and choreographer, I see the choreographic process as an exceptional opportunity for learning and development. It is my mission to ensure every part of the 'process to product’ journey is nourishing for the young dancers and they learn about themselves, the artform and the world they live in. To support the evolving dance sector, it is important that our projects invest in the next generation of young dancers by crafting opportunities for them to develop their social, emotional and cognitive skills alongside the technical and creative.
Photos: Dani Bower
National Youth Dance Company of Scotland members
40 The One Dance UK Magazine | Spring 2023
“Anna brings her skills together with the whole room. You feel valued and this makes the work worthwhile as each of us have our own voice in the process. What the process is not, is a one hit wonder. We build and craft and work with various (genius) different choreographic tasks which pull the potential out of every nook. I have learned to be vocal and express my feelings and opinions, as we are brought into an empowering space where everything is allowed. Anna supports us in articulating ourselves so there is no need for a ‘short answer’ to questions. This has really helped with my confidence as a young person as I feel engaged with and listened to. To sum up the process, it is experimental, vivid and bold.” Emma Read, NYDCS member 2020-2023
Further information
ydance.org The National Youth Dance Company of Scotland will present The Art of Falling on tour: 7 May – Estonia 2 July – Dublin Youth Dance Festival 15 July – YDance platform, Tramway, Glasgow 23 July – U.Dance National Festival, Newcastle 4-6 August – Dance Base as part of Edinburgh International Fringe Festival
References Brooks, J. and Brooks, M. (2003) In Search of Understanding: The Case for Constructivist Classrooms, ASCD, Virginia Kogon, C. (2013) Dance as a tool for creativity with young people, Tools for Learning Website Lucas, B. (2016) A Five Dimensional Model of Creativity and Assessment in Schools, Research Gate McLeod, S. (2019) Constructivism as a Theory for Teaching and Learning, Simply Psychology Cooper Albright, A. (2019) How to Land: Finding Ground in an Unstable World, Oxford University Press, 2019 Petition for Presence project – www.morgandaycecil.com/ petitionforpresence Smith Autard, J. (2010) Dance Composition, Bloomsbury
Special Focus on Continued Learning
Inspired to Create and Uplift Kloe Dean is a dancer, choreographer and director whose work spans major concerts, tours and advertising. She speaks with Network Officer Tamar Dixon about empowerment and her inspirations. “ Life itself keeps me inspired, from hardships, loss, challenges to achievements, celebrations and acknowledgement. It all contributes to motivating my next move.”
Photos: Camilla Greenwell
create. These skills inspire me to teach and share what I learn. How do you adapt your work with a commercial brand versus that of a dance company or music artist? Are there any key differences? Kloe Dean There are key skillsets that are threaded through all those areas, but I feel what I bring to the table in What attracts you to the hip hop, any project is my adaptability and street and funk styles, and how navigating any space through the can they share stories beyond a drive of movement. pure dance audience? Creating an understanding between Hip hop, funk and street dance styles the artists is a huge connector. A have always brought my absolute dancer who has extensive experience favourite music together, with art is going to have a totally different forms I feel confident to embody. I approach to that of a music artist, or love how they offer such a choice of a director of a film. So, making your how you want to move, depending on art form and its articulation clear and the music and intention, supporting adaptable to each different project and unique storytelling, and are engaging person you work with is ideal. and accessible to a wide range of people. Your work incorporates a lot about gender roles and female How do you navigate a busy empowerment, which we know is portfolio career between an ongoing conversation in dance. performing, teaching, directing What are the aims of your creative and choreographing, staying work in this context? motivated and connected? I aim to create more space for female I thrive on moving from one thing roles. I know countless female to the next, and each area influences creatives who are incredible at what another. Performing inspires me to they do, yet they are not as visible or
presented as many opportunities as their male counterparts. I feel there are a lot more risks taken with male choreographers, and they are allowed to ‘fail forward’. There’s a huge difference between making space and supporting female choreographers, as opposed to being told how to create. One Dance UK has been working with members of the hip-hop community to encourage healthy dance practices. What are some of the ways you create a positive, safe space in the studio and support the wellbeing of the dancers you work with? It’s so important for everyone in any creative space to know who they are working with, beyond their movement presence and contribution in the space. I always have a ‘check in circle’ at the start of my sessions in which everyone introduces themselves and create time for warmup and cooldown. I think communication, care and bringing everyone to an equal playing field is key. Further information kloedean.com
The One Dance UK Magazine | Spring 2023 41
Special Focus on Continued Learning
Education through Dance Afro Dancer, choreographer and content creator Chinyanta Kabaso was an awardee of TED Idea Search: Africa. She shares the intrinsic connection between dance, legacy and community in dance styles of the African Diaspora, and how the use of technology continues their influence.
“ If the African culture was a tree then dance would be its flowers: a beautiful showcase of its roots.” 42 The One Dance UK Magazine | Spring 2023
Special Focus on Continued Learning
One of the most fascinating things about African dance is that it can teach us about our history and our heritage. This can be seen mostly through the traditional dances of different ethnic groups. The similarities and core movements of traditional dances can be used to trace routes of migration through Africa. Just like language, dances also form dialects as people move and migrate over time. For example, the Ngoni people of Mozambique, Malawi, Tanzania and Zambia share an almost identical dance to the Zulu of South Africa and Ndebele of Zimbabwe. Historical records show that the Ngoni and Zimbabwean Ndebele originally migrated from South Africa in the 1800s. Our dances show us that despite having different nationalities, we are much more connected than we think. Dance can show the endurance of cultural connections. During the scramble for Africa, borders were drawn in the continent by colonists who had little knowledge or understanding of Africa’s ethnic makeup. This resulted in the splitting of ethnic groups and the restriction of movement. The Ewe people are an example of an ethnic group who
“ Dance is an intrinsic were separated. They exist in Ghana, Togo, Benin and Nigeria and perform part of African culture. a dance known as the Togo-Atisa. There is no ceremony Despite being separated, this dance or celebration that is shows their connection and origin. Dance is also a celebration of complete without it. the struggles we have faced and However, dance is more overcome. There are political dances than just a form of like the Zouglou of Côte d'Ivoire. This dance was used by university entertainment. It has students who were facing hardships played a role in historical due to the government. The Zouglou and political events.” dance and music carries messages of a spirit that cannot be broken. With the growing popularity of Afrobeats, many people are keen to learn the movements but a dance is not just a movement. African dances embody feeling and expression because they carry history and stories. The dance and the culture co-exist and it is important to have an Further information understanding of both. Scan here to watch an exclusive video On social media, I showcase both interview with Chinyanta: modern and traditional African dances as a form of educational entertainment. I highlight similarities and origins of dances to open up conversations and show the visual instagram.com/thechinyanta connections of different groups of This article is an adapted extract of people. Through the sharing of dance, Chinyanta Kabaso’s TED Talk, presented I aim to promote harmony in diversity in 2023. of different cultures, nationalities and View the TED Talk here: go.ted.com/chinyantakabaso ethnic groups.
Photos: Dani Bower
Chinyanta Kabaso
The One Dance UK Magazine | Spring 2023 43
Special Focus on Continued Learning
Celebrating National Excellence
Photo: Sadler's Wells
To celebrate its 10th anniversary, Head of National Youth Dance Company (England) Hannah Kirkpatrick reflects on this milestone and the impact the programme has on talented young dancers from around England. company their own. There have been so many wonderful moments: From a week watching the dancers improvise with Michael Keegan Dolan as they tried to reach the most natural form of their movement; to listening to them recite the poetry they had written, guided and inspired Hannah Kirkpatrick by Alesandra Seutin; to seeing them feel the beat of house music in their On 8 June 2013, the lights bodies with Sharon Eyal; seeing gradually came up on the their faces the first time Akram Khan Sadler’s Wells stage for National walked into the room and started Youth Dance Company’s first discussing rhythm with them; solving performance, featuring 29 choreographic puzzles and patterns dancers from across the country with Sidi Larbi Cherkaoui; being in a new production by Jasmin inspired by a hunger for the world Vardimon. and different cultures with Damien 10 years have passed and where Jalet; learning about the importance of is that cast now? Dancing in leading breath with Jasmin Vardimon; seeing companies like Hofesh Shechter the curiosity in people, technology, Company, Russell Maliphant Dance art, science (everything!) in Wayne Company and Punchdrunk, often McGregor; building an appreciation returning to Sadler’s Wells stages. One of movement and the body and how it recently played the title role in Jasmin Vardimon’s ALiCE (I would have loved exists in light and space with Russell Maliphant. to have told her this ten years ago!). Watching the Guest Artistic One is a junior doctor, one is a roofer, Directors work directly with the one is a fundraiser, one is a fitness company is a truly wonderful thing. coach… There are so many different careers they have gone on to do and we They are masters in their art, shaping are equally proud of every one of them. a new world each time. We see each year of NYDC Along with Jasmin and her team they becoming reflections of the very much paved the way in shaping artists they are working with, the the company as it is now. importance of them as role models is huge and the bar is set high. They Offering unique opportunities The first 10 years of NYDC have been see the dedication and focus in fast paced, action packed and exciting. their choreographers and rehearsal directors and they gain a greater This milestone has given us a chance to reflect and take stock of all that we understanding of what it takes to make dance your career. The have learned. morning after winning his Olivier We have worked with 10 of the Award, Botis Seva was back in the world’s leading choreographers, studio with NYDC for 9am class: gaining a unique insight into that “Didn’t you want to celebrate?”, artist’s world as they make the 44 The One Dance UK Magazine | Spring 2023
“I wanted to be here with you - we have work to do”. Every year NYDC has had its own identity, but something that connects one cohort to the next is the group itself. It is the company’s diversity which is key: 30-40 young people each year, a rabble representing all young dancers, and at an age where they are just teetering on the next phase of their lives. They bring an energy that is unlike anything else and that is incredibly powerful. Assembling a national company A search for new dancers happens annually with Experience Workshops in all areas of England, giving dancers an insight into what NYDC is and how we work. We call them ‘workshops’ rather than ‘auditions’ because at this stage that is what they are: an opportunity to find out more, connect with other people and try something new. From these workshops around 70 dancers are then invited to an audition at Sadler’s Wells and from here the new Guest Artistic Director chooses their company. What are we looking for? The answer to that age old question that is hard to put into words. Their approach is key: we are looking for people who love dance and are excited to try something new. We are obviously looking for talent and potential too but sometimes that can be seen in someone who spends much of the class hiding in the corner because it all feels so unknown but then shows something so beautiful and unique whilst they are improvising, you know that with the right encouragement they could be excellent.
Special Focus on Continued Learning
We are so grateful to all the dancers and creatives who have been part of the past 10 years and for the residency, workshop and performance venues who have hosted us. As the youngest of the national youth dance companies, we are extremely grateful for the support and advice we had from colleagues in Scotland and Wales when we were starting out, and we are still grateful for that network today. We know that the majority of our young people join us from other youth companies and training programmes and we are thankful to all the teachers and youth leaders for their support. Most of our work happens in the school holidays and we appreciate that this can have an impact on their other schedules. Dancers get a wonderful experience in NYDC, but they are a sum of all the parts of their experience and training, and most importantly who they are and the choices they make. Looking ahead So, what’s in store for this year of NYDC? Our current Guest Artistic Director is Sadler’s Wells’ Associate Artist Wayne McGregor CBE and our
new production Novacene, premieres Further information at The Lowry in April, followed by a sadlerswells.com summer tour. Novacene tours the UK this summer: The 10-year anniversary celebrations include 100 free London Sadler’s Wells school workshops, new regional commissions and celebratory birthday Saturday 3 June at 7:30 pm parties open to young dancers across Ipswich England. We want this year to be a Jerwood DanceHouse, DanceEast real celebration of youth dance. Saturday 8 July at 7:30 pm I’m writing this reflection during Plymouth NYDC’s February residency. The The House dancers are upstairs in the incredible Saturday 15 July at 7:30 pm space that is Studio Wayne McGregor. The speed and energy that Wayne Leicester brings with him into the space De Montfort University Tuesday 18 July at 7:30 pm is awesome. It is a whirlwind of creativity as he encourages and Latitude Festival inspires the dancers to create their Saturday 22 July language, his world fusing with theirs. Newcastle Northern Stage, as part of U.Dance I just asked him what we should National Festival expect of the new work and he said, Sunday 23 July “The talent and commitment of this amazing group of 34 dancers and choreographers is extraordinary. Novacene will take you to whole new dimensions of experience.” The new work is looking to the future, and so are we.
NYDC in rehearsal
Photos: Gigi Giannella
10 Years On... • 10 Guest Artistic Directors • 25 different venues • 94 performances • 313 company members • 6000+ young people taking part in projects and workshops • 50,000+ audience members
The One Dance UK Magazine | Spring 2023 45
Special Focus on Continued Learning
Devising Second Language Learning Through Pleasure Using dance and creative arts as bridges between verbal and non-verbal communication by educator and Somatic Movement Therapist Laura Colomban.
Laura Colomban
Photo: Giada Paoloni
Move Play ‘n Jump into English is a second language learning programme devised for children and nurseries which aims to support second language learning through dance and creative arts. Started at Fondazione Querini Stampalia in Venice on 1 March 2016, it has developed into a six-year funded programme in nurseries and elementary schools in mainland Venice. How the programme began When I started devising the first course, I had just returned from California, where I was working as a dance teaching artist and assistant in various programmes at Luna Dance Institute. I worked in underserved communities and public schools with children with different abilities and from different economic and cultural backgrounds. My decision for creating Move Play ‘n Jump into English has been a response to my own experience of second language learning. As an Italian, I studied English from a young age and struggled during my school years to learn whilst sitting still. The difficulty of stillness was taking my attention away from reading and studying. When I went to study dance in the USA, I experienced a radical change, and it wasn’t only because I was surrounded by English speakers. I believe the change happened because I was associating English with an activity I loved, with my sensed experience of the world. 46 The One Dance UK Magazine | Spring 2023
The rationale Move Play ‘n Jump into English has four main pillars: Moving, Creating, Singing, and Connecting. The USA National Art Standards guidance states that “the arts teach a different lesson. They cultivate the direct experiences of the senses (..). Their goal is to connect person and experience directly, to build the bridge between verbal and non-verbal, between the strictly logical and the emotional - the better to gain an understanding of the whole”. Several studies have shown structural differences in grey matter and white matter in children who engage in music (especially during early childhood) compared with those who do not. They observed neural changes and significant differences in associated reading skills, soundprocessing skills and speech as well. It has been proven that engagement with musical rhythms at a young age supports synchrony in social development.
“ My intention for creating this programme for children was clear: I was not really concerned about them learning the vocabulary, but more so to associate English with joy.” The structure of the class After a pilot programme at Fondazione Querini Stampalia, I submitted the proposal to the Educational Department of the City of Venice, receiving funding for three years, which allowed me to teach in more nurseries, reaching more than a thousand children aged 3-5 years. The structure of the class was clear: first of all, I talked only in English to bring them straight into a different
Special Focus on Continued Learning
Photo: Macaotour
Move Play ‘n Jump into English
sounding environment. We would start with a warm-up associated with English rhymes and songs, including a range of images which introduced animals, colours, shapes and natural elements. Even if they may not have understood the words, they were engaged in the activities, hence unconsciously integrating the associations with the sound of the words. I would then guide improvisations, using props for the youngest to create connections, exploring levels, energy and effort, using different body parts and naming them, and using flashcards to create personal dances. Dance and upbeat music allowed them to use their imagination, move with high energy in the space, and be silly and loud. Through time, I have observed increased coordination and language retention: teachers and parents from different schools shared that children were using English words in other contexts as well as becoming more confident in their movement and creating emotional connections with each other, especially building a bridge for children with physical and language barriers in class. Observing the students over time, however, I also started to be concerned about emotional self-regulation and distress. I found the Tapping Technique book for children (known as Emotional Freedom Technique or EFT), which is based on the combined principles of ancient Chinese acupressure and modern psychology. Applied in class, even for a brief moment, I could see how some children who were experiencing more difficulty to self-regulate could find a moment of peace. Developing the programme forward, I would certainly focus on how to develop self-regulation in children via a constellation of movement, tapping and sound arts. Currently, the programme continues to receive funding and is delivered in nurseries, elementary schools and community centres thanks to Martina Trombini from
Macacotour, and has become an established part of schools’ curricula. What’s been most interesting is the universality of dance and how we can integrate it into learning processes, as it transverses intersectionalities and connects us all together, bringing aliveness to the curriculum whilst attending to the emotional, physical and mental needs of our children and students.
Further information
Laura Colomban is a Registered Somatic Movement Therapist and Educator and founder of HealthArts. healtharts.co.uk instagram.com/lauracolomban Resources for structure and creative input: Green Gilbert, A. (2006). Brain-compatible dance education. National Dance Association. Niemann, C. (2016). Words (First Edition). Greenwillow Books, An Imprint of HarperCollins Publishers. Reedy, P. (2015). Body, mind & spirit in action: A teacher’s gude to creative dance (2nd edition). Luna Dance Institute. Resources for self-regulation, tapping technique for children: Ortner, A., & Mariano, E. (2016). Gorilla thumps & bear hugs: A tapping solution children’s story (1st edition). Hay House Inc. References Fancourt, D., & Finn, S. (2019). What is the evidence on the role of the arts in improving health and well-being? A scoping review. WHO Regional Office for Europe. Green Gilbert, A. (2006). Brain-compatible dance education. National Dance Association. Home | National Art Standard. (n.d.). Retrieved 13 February 2023, from https://www. nationalartsstandards.org/ Niemann, C. (2016). Words (First Edition). Greenwillow Books, An Imprint of HarperCollins Publishers. Ortner, A., & Mariano, E. (2016). Gorilla thumps & bear hugs: A tapping solution children’s story (1st edition). Hay House Inc. Reedy, P. (2015). Body, mind & spirit in action: A teacher’s guideto creative dance (2nd edition). Luna Dance Institute. The National Core Arts Standards | National Art Standard. (n.d.). Retrieved 13 February 2023, from https://www.nationalartsstandards.org/content/national-core-arts-standards The One Dance UK Magazine | Spring 2023 47
Ask an Expert
Ask an Expert Your burning questions answered!
Every month the One Dance UK team receives hundreds of questions from across the sector. That’s why in this new feature we’ll be sharing the answers to some of our most commonly asked queries. Find answers to the burning questions for which you may be unsure who to ask, and get signposted to people and organisations who may be able to help further.
Q. “With the rise of TikTok dances we’re under pressure from the wider team to try to make some of our work ‘go viral’. What can we do to make it happen?!”
A. Every marketer dreads the question - ‘Can we make something go viral?’
Image: Marine by Dani Bower Phtotgraphy for One Dance UK.
Going viral is often seen as a mark of success, with some viral content creators boasting huge views and often lucrative deals as a result. But the thing is, there is no formula for creating viral content - in fact viral content is often very random and short lived, burning bright and fading fast. Whenever I am faced with this question, I remind people that going viral is not a guarantee, so it’s not a solid marketing strategy. If you are finding yourself mainly focusing on going viral, it’s time to go back to the drawing board. Instead of attempting to create a viral moment, ask yourself and your wider team: Who are we trying to reach? What do we want them to see, know or discuss with us? What actions do we want them to take as a result of seeing this post? A large number of views on a video does not always translate into lots of tickets sold, or classes booked so instead
of trying to make something that appeals to the widest possible number of people, look at creating meaningful content that appeals to the audience you want, or are already engaged with. Focus on building a content strategy that prioritises authentic and long term engagement with your online community. If your content is being made with the sole intention of reaching the maximum number of people - regardless of their interests or location - it can be easy to forget to prioritise the people that are most likely to engage with you. Always keep your target audience and organisational objectives at the centre of your planning and if you do go viral along the way, great! If you don’t, you can be confident the content you’re making is still serving the people it was made for. Unsure of where to begin with a content strategy? Our friends at the Arts Marketing Association offer webinars, training and more. View here: a-m-a.co.uk/training-and-events/
Lara Coffey, Head of Marketing and Communications, One Dance UK Lara is a marketer with over a decade of award-winning experience in the arts, corporate world and TV. 48 The One Dance UK Magazine | Spring 2023
Ask an Expert
Q. “How do we know if our recruitment is reaching diverse applicants?” A. Great question! Firstly, we love to see
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organisations and companies really committed to reaching the broadest range of new applicants. While there are lots of great ways of making sure your callout or opportunities is shared, seen and promoted in new places, that doesn’t always help you to know if you’re getting a broad balance of applicants. The simple tool for this job is the humble equal opportunities form. You might already have one of these as part of your recruitment – great! When was the last time you analysed the data from it? A top tip is to include the analysing of your equal opportunities form into the schdeule after every recruitment callout. Put that information alongside the reach your post had and really start to crunch the numbers on whether that expensive online platform job listing site offers value in receiving applications from diverse applicants. Things to consider when looking through the data: •
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How diverse is your applicant pool? Think of this in intersectional terms, considering race, and disability, as well as gender Are you noticing an imbalance in your pool? That’s great information to help you think differently about the way you advertise new opportunities. You could adjust the language you’re using, or the formatting, or it could be as simple as changing the requirements for application. If in doubt, use your data to find targeting support. For example, if you want to make sure your application process is accessible, work with disability led organisations or consultants to help
Does the balance of applicants match the balance of those invited to interview? If you are noticing a really broad balance of applications, but a narrowing at interview stage, it might be an indicator that anti-bias training could be useful, or checking that the requirements you’re asking for are really needed to perform the role. For example, does this role need a degree qualification to succeed? Watershed has done some exciting things when thinking about more inclusive recruitment processes View here: watershed.co.uk/articles/how-we-arereimagining-recruitment-at-watershed
A couple of important things to know. Equal opportunities forms need to be anonymous – you cannot use this information in your decisionmaking processes unless you state clearly that you are enacting ‘positive action during recruitment’ •
ACAS has great guidance on how to consider protected characteristic data. View here: acas.org.uk/hiring-someone/usingprotected-characteristics
This type of sensitive data should be handled by your recruitment lead, HR or data manager, i.e. someone who understands how to store and analyse personal data. Screenskills has a great breakdown of why and how they ask protected characteristic questions in their equal opportunities forms. View here: screenskills.com/about-us/diversityand-inclusivity/guide-to-diversity-and-inclusivitymonitoring/
Jazlyn Pinckney, Head of Workforce Development, One Dance UK Jazlyn has over 10 year’s experience in participation, equity in design and a passion for recentering justice within the arts.
Do you have a question you’d like to hear an expert opinion on? Do you think other people in the sector might like to know the answer too? Submit a question to us by emailing comms@onedanceuk.org with the subject line ‘Ask An Expert!’ T&Cs apply. Scan the QR code to read more. The One Dance UK Magazine | Spring 2023 49
Special Focus on Continued Learning
Mentoring Memoir Ashley Jordan of Ascension Dance recently undertook a mentoring programme under the guidance of Motionhouse’s Executive Director Louise Richards. Here he recounts his experience.
Photos: Taryn Muller & Andrew Moore
Louise’s “foundation up” approach and probing honest but simple questions, are key to the success of Motionhouse. Her knowledge about business and developing people is key. We spoke about responsibilities, Ashley Jordan cultivating a team of people who have autonomy and highlighted I’ve been inspired by Motionhouse the importance of asking difficult since my teenage years, but the questions when required. One last 9 months have seen the most question rings in my mind - “Is this transformational engagement mission critical?” meaning, “is this with the company, through open the most important thing for you to and honest conversations with be doing to move the organisation Motionhouse’s Executive Director forward” and if the answer is no, you Louise Richards. can imagine what the next steps are. When I started running Ascension She asked me, “what are the jobs that Dance Company (ADC) with Deputy only you can do and how can you Director Ben Morley in 2020, I was delegate the other responsibilities not at all prepared for the journey I to be the most efficient version of was embarking on. The ‘successes’ yourself?” A simple question, but presented on social media are the something I had not been prioritising ‘best bits’, masking the confusion, highly enough. learning, personal and financial The clarity with which she spoke sacrifice that sustaining an arts was refreshing and humbling for organisation involves. somebody still in the early stages of In April 2022, ADC was extremely company leadership. The reasoning fortunate to gain funding from Arts for the seemingly full company Council England to support reanalysis was to ensure you have the touring our outdoor work. I knew that right people in the right roles because Louise would be the perfect person touring abroad is something that you to mentor me on how to tackle this can’t do alone. You must have faith ambition, and she graciously offered in the people who are at home. All her time in-kind. this whilst still having the personal
“ Our conversations have been transformational, providing me with so many‘Eureka’moments, underlining the importance of knowing what you are aiming for, being strategic, and getting the right people in the right roles.” 50 The One Dance UK Magazine | Spring 2023
The Other Side by Ascension Dance
hold on “what’s next” and putting the pieces in place for the months to come. This 360° approach to arts business management should have been expected from a company that seems ever-present, but the scale and personal awareness was honestly astounding. It occurred to me that Louise choreographs a team who have the precision and flexibility that mirrors the touring team, staying 10 (or more) steps ahead, working out what’s next before the current project has been seen on stage. I’ve learned from Louise that to create a lasting legacy you have to be considered and structured. Your team needs to know where you’re going and you need to do the things that only “you” can do. It takes a team to build an artistic legacy. There is still a way to go but thank you, Louise, for providing me with a lifetime of learning.
Further information
ascensiondance.co.uk motionhouse.co.uk This excerpt was adapted from a blog written by Ashley Jordan for Motionhouse in February 2023. Read the full version: tinyurl.com/3auf66sz
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