WID Handbook by John Williams

Welsh Independent Dance

Dancersâ&#x20AC;&#x2122; Handbook 2009/2010

Contents

INTRODUCTION

BUSINESS AND CONTRACTS

Types of business Registering for VAT Accountants Contracts and fees

7 8 11 15

AUDITIONS

SELF-PROMOTION

FIRST AID FOR DANCERS

WORKING WITH YOUNG PEOPLE

INSURANCE

HEALTH AND SAFETY

REHEARSAL SPACES IN WALES

CHOREOGRAPHERS

CONTACTS

Welsh organisa�ons Na�onal organisa�ons Networks Arts Councils Trusts and founda�ons Resources and press Fes�vals

69 73 77 84 85 86 90

All links marked with a box are click-able. Cover image by Dave Daggers

2 Welsh Independent Dance

Introduc�on

The purpose of this handbook is to provide the independent dance ar�st with the necessary tools and informa�on to develop a career in dance. It oﬀers prac�cal advice and contacts to enhance your learning, which has relevance no ma�er what stage you are at in your career. It is a comprehensive overview of the key areas that are important to the independent dance ar�st living in Wales and you may u�lise it according to your exis�ng knowledge. Of course, it is virtually impossible for one publica�on to cover the diversity of what each independent ar�st requires but we do hope it enhances your understanding of the issues that ma�er to you. We hope you ﬁnd it useful and that it contributes to the pathway you follow through dance.

Welsh Independent Dance is a revenue client of the Arts Council of Wales.

Note: all informa�on was correct at the �me of prin�ng in July 2009. WID makes no personal representa�ons on behalf of any of the organisa�ons and/or persons men�oned within the handbook.

Dancers’ Handbook

Business & contracts

This sec�on has been produced by Karen Pimbley, KGB Produc�on, MA (Performance)

Employment Status The deﬁning factor is the rela�onship between the organisa�on and the individual, which has to be clear before the contract is agreed. SELF-EMPLOYED The term ‘freelance’ refers to someone whose income regularly comes from a variety of clients, hence self-emloyed. If you are working as self-employed, you MUST register with the Inland Revenue WITHIN 3 MONTHS of star�ng up – IR35 legisla�on. You can register online, at www.hmrc.gov.uk or contact the self employment helpline on 0845 915 4515.

4 Welsh Independent Dance

If you are self-employed, you have to ﬁll in a Self Assessment (SA) tax return every year by the deadline (31 January for online tax returns). Penal�es apply for late submissions. You’ll be asked for details about proﬁts from your business and any other income that you have to pay tax on. This is used to work out how much tax and Na�onal Insurance contribu�ons (NICs) you have to pay. You are required by law to keep records of all relevant informa�on. Your basic records will normally include a record of all your sales with copies of any invoices you’ve issued, a

record of all your business purchases and expenses and copies of business bank statements. N.B. If you are self employed you would not necessarily be en�tled to state benefits. CHARACTERISTICS OF WORKING AS SELF-EMPLOYED: •Works for many organisa�ons. •The organisa�on can specify the end product of the services, including a deadline for comple�on. •Uses equipment they provide or pay for themselves. •Freelance pays for their own travel, phone bill and buys sundries such as postage and sta�onary; organisa�on may reimburse for specific expenses if in contract. •Paid a fixed fee for a job. •Cannot claim over�me; it’s the individual’s own responsibility if they go over the �me allo�ed for the job. •O�en paid in instalments. •Does not get paid if ill, and may

not get paid when on holiday (although individual may have some rights under the Working Time Direc�ve). •Has a Contract for Services. •Is paid gross with no deduc�on for tax. •Has to pay tax independently. •Has to pay Na�onal Insurance Class 2 contribu�ons every week and then also Class 4 at the end of the year as a percentage of their profits (unless a Cer�ficate of Exemp�on is granted). •Has to issue invoice at the end of every contract to be paid by the client. •Protected by contract law only. N.B. WID employs ar�sts on a contract for services basis, which fits with the above criteria.

Dancers’ Handbook

As a freelance, it is not enough to just have a Unique Tax Reference number (previously referred to as a Schedule D number) because it is quite possible for someone to be employed for one type of work and work on a self-employed basis for another job, even working for both at the same �me. For example, it is common for someone to be employed by a dance company as a dancer but also work

freelance as a choreographer. A common misconcep�on is that someone working less than full�me is deemed freelance. This is not the case. They could work one hour a week and s�ll be an employee. If you are ever in any doubt, you should contact your tax oﬃce for clariﬁca�on.

Photo: Jethro Bradley-Firth

6 Welsh Independent Dance

Types of Business Sole trader: typical freelance set-up; o�en synonymous with ‘selfemployed’ • Rela�vely quick and easy (not too many forms); • Personally responsible for any business losses – you could lose your shirt if you get into diﬃcul�es; • Have to keep a record of income and outgoings; • Usually taxed as self employed. Partnership • Two or more people se�ng up the same business together; • Everything business-related is shared – proﬁts, problems and losses; • If one person can’t pay their share of debts, the other partners are liable; • Usually taxed as self-employed • A “partnership agreement” is highly recommended – get yourself a solicitor Limited company • The business is an en�ty in its own right, separate from you; • Needs at least one director (a company secretary is no longer compulsory for small businesses); • You are taxed as an employee of the company, like any other employee; • Responsibility for business debts is reduced, though you may be personally liable for company debts; • You can raise money for the business by allowing others to subscribe for shares. Dancers’ Handbook

Registering for VAT VAT is a tax on the sale of goods and services. The standard rate is 15% (with a planned return to 17.5%) in 2010. You must register for VAT if your turnover (not profit) is more than £67,000 in any twelve-month period, or if you made more than £67,000 last month! You can s�ll register voluntarily if your turnover is lower. Advantages • Kudos and credibility • You can claim back some VAT on capital items (kit and hardware) bought up three years BEFORE registra�on; • VAT can be re-claimed on business expenses and equipment once registered, including motor expenses (at various rates); • The flat rate scheme for small businesses; Disadvantages • You will be more expensive to people who are not registered for VAT as they won’t be able to claim the VAT element back. Not a problem if you’re supplying to VAT-registered businesses; • Penal�es for late payment; • Some addi�onal book-keeping, though nothing terrifying if you issue small numbers of invoices and have low expenses. VAT returns are due every 3 months - but you may file them online. Annual account is also possible (though doing VAT quarterly is a good discipline). Special rules apply when working for businesses elsewhere in the EU, including the Republic of Ireland. 8 Welsh Independent Dance

Tip sheet – the flat-rate scheme for small businesses (“No-brainer” for many) • Quick and easy • Calculate your VAT as a percentage of your VAT-inclusive turnover; • Available if your taxable turnover is less than £150,000 per year; • You have to apply to take part, but the form is very simple; • You have to state your type of business in order for the correct flat rate to be applied; • If you do lots of different types of work, work out where the bulk of your income comes from and use that single percentage for everything. Advantages • It’s easy; • You can combine this with annual accoun�ng; • Flat rates are reduced by 1% for the first year of VAT registra�on; • You can s�ll claim VAT on most capital purchases cos�ng £2,000 or more (VAT-inclusive) – usually a single item or related items bought at the same �me from a single supplier; • You effec�vely ignore all other “input tax” ie VAT on purchases; Disadvantage • Doesn’t bring benefits if you have a lot of expenses. Example: Imagine in one quarter you invoice: £5,000 (net) + £750 (VAT at 15%) = £5,750 (gross). In the flat-rate scheme you pay the % allowed for your type of business, eg 9.5%. So you pay the VAT people 9.5% of £5,750 = £546.25 The difference between this and £750 is £203.75. Over a year, with these figures, this would be ‘extra income’ of £815 (£203.75 x 4) Dancers’ Handbook

Photography by

Photo: Dave Daggers

10 Welsh Independent Dance

Advice for ge�ng an accountant when self-employed Accountants are not there to take the financial responsibility away from you! An accountant’s main role is to help you pay the lowest amount of tax and get your tax return in on �me. Why do you need one? • Do some of the form-filling; • Advise on allowable business expenses; • Remind you when things are due (agree this up front); • Keep track of changes in legal requirements, rates and regula�ons; • Find new ways to save money How to find one? • Ask around – personal recommenda�ons from friends in the same business, or other local business contacts; • Make sure they belong to one

of the professional bodies; • Ask them if you can speak to other clients (as a reference). What to discuss? • How much are you going to do yourself? You can cut costs if you’re organised. • What’s the easiest way for you to keep records and pass them on? (Excel? Shoebox?) • Who will actually do your accounts? The person you talk to, or the oﬃce junior? • When will you be charged and for what? • How o�en will you meet (if at all)? • VAT returns too? Remember your accountant will need to know all about your ﬁnancial arrangements. He or she needs to be someone you trust and get on with. You may prefer to use the services of a book-keeper to keep track of income and expenditure.

For details on ge�ng started and to register as self-employed, visit the Business Link website: www.businesslink.gov.uk Dancers’ Handbook

EMPLOYED If you are offered regular work, you will automa�cally be regarded as being employed. CHARACTERISTICS OF WORKING AS AN EMPLOYEE: • Has one main job. • Works fixed hours. • Works in a space paid for by the organisa�on the employee works for. • Uses equipment paid for by the organisa�on the employee works for. • Organisa�on pays phone bill and sundries such as postage and sta�onery. • Paid a wage or salary calculated by the hour, day, week or month. • May be able to claim over�me if works more than agreed hours. • Paid on an agreed day and given a payslip. • Qualifies for sick pay and holiday pay if agreed in contract. • Has a contract of service or employment. • Has to pay tax on PAYE (Pay As 12 Welsh Independent Dance

You Earn) • Pays tax and Na�onal Insurance Class 1 contribu�ons deducted at the source; employer has to pay Employer’s NI in addi�on. • Has to give name, address, NI number and P45 (or sign P46) at start of employment and then can be paid without any more paperwork. • Protected by contract law and employment law. The PAYE system in the UK: Everyone who is paid for work has to, by law, account for the tax on his or her earnings. For this reason, it is important to understand which category you fall into – employee, self-employed or worker. It is cri�cal to understand the diﬀerence as there is a high penalty for pu�ng yourself in the wrong bracket. For more informa�on on this, visit the HRMC’s website: www.hmrc.gov. uk.

The following ques�ons should help you to decide your employment status. They are only a brief guide and do not cover every situa�on. They are for guidance only and reﬂect the tax and Na�onal Insurance posi�on at the �me of wri�ng.

Tax

Na�onal Insurance

Many countries have reciprocal tax agreements with the UK so that tax paid abroad is not paid again at home. Proof of taxes paid is required from either you or the employer. Income earned abroad should always be declared. If no tax has been paid abroad there will be a liability to pay tax on that income on return to the UK.

You pay Na�onal Insurance contribu�ons to build up your en�tlement to certain social security beneﬁts, including the State Pension. The type and level of NIC you pay depends on how much you earn and whether you’re employed or self-employed. You stop paying NICs when you reach State Pension age. NI contribu�ons can be avoided when working abroad on presenta�on of form E101, which states that the self-employed individual has an ongoing liability for NI contribu�ons and is therefore exempt from foreign contribu�ons.

Income Tax is a tax on income. Not all income is taxable – and you are only taxed on ‘taxable income’ above a certain amount. For details of the Inland Revenue’s rates and allowances click here.

Foreign Withholding Tax Applicable when working abroad, unless exemp�on is obtained. Taxes are charged at the local rate when abroad, unless otherwise agreed. Tax can also be deducted from your allowance and travel expenses.

Dancers’ Handbook

Expenses The employer may be willing to reimburse you for reasonable expenses, normally rela�ng to travel. The extent to which any of these expenses are reimbursed will depend on the employer but it is important that the details are clear in the contract. Find out if you will be paid a ﬂat rate or sum corresponding to actual receipts. It is also important to clarify what is deemed ‘reasonable’. If you are working away from home, you will some�mes be paid a daily living allowance (per diem) which covers meals and incidental expenses. This daily rate should be clearly stated on your contract. VAT abroad Some cultural ins�tu�ons abroad, par�cularly in Germany, cannot claim VAT and consequently have to charge it on fees and expenses paid or deduct it if the individual is not VAT registered. Photo: Dave Daggers

14 Welsh Independent Dance

Contracts & Fees A contractual arrangement consists of the following steps – offer/period of considera�on/ acceptance (or decline) /contract. The offer Always try to dis�nguish between a job offer and a check on your availability – ask for clarifica�on if you are unsure. Check you have a common understanding at each stage of nego�a�on and be wary of vagueness or long gaps between communica�ons. Always ask for any firm offer of work to be made in wri�ng and follow this up with an acceptance in wri�ng. The contract A contract is a legally binding agreement between two or more par�es. It should contain details such as important dates, a descrip�on of the nature of work, the rate of pay or fee, payment arrangements, rate of subsistence and terms and condi�ons. Ensure that any details you may have

discussed in person/over the phone are also stated in the contract. When accep�ng work you need to ensure you are protected, so always insist on a contract/le�er of agreement, no ma�er what the job is. Although verbal contracts do carry legi�macy, they are an inadequate basis for business dealings. Wri�en conﬁrma�on prevents misunderstandings in the future. Never be afraid to nego�ate terms of the contract to suit you. When you receive your contract, be sure to check it thoroughly. Check that the names and addresses of the par�es involved are stated clearly. Also ensure that the contract states the date on which the agreement commences and the date it expires.

Dancers’ Handbook

Before you sign a contract, consider the following ques�ons: • What does the money being paid represent? If it is a fee, does it cover �me spent on preliminary research, addi�onal workshops, extra rehearsals outside schedule if necessary etc? • Will you receive regular payments? • Will you be treated as employed or self-employed? • If you are registered for VAT check that the contract states fee ‘plus VAT’. It is very important to read and understand all clauses in a contract, including those that cover sickness, dispute, cancella�on etc. If you are in doubt about anything, consult the commissioning company before you sign – only sign a contract if you are happy with all the terms. Contracts should be signed and dated on behalf of the commissioning company and by you with all par�es in possession of a copy.

16 Welsh Independent Dance

If you are being commissioned to create work always check that ma�ers rela�ng to the rights and ownership of the choreography are clearly stated in the contract. See also sec�on on COPYRIGHT. Unpaid work On occasions, you may undertake work without payment. It is good prac�ce to keep a record for tax purposes of �me spent on unpaid projects and expenses incurred/ reimbursed. Union membership It is advisable to be a member of a union such as Equity or another professional body that is relevant to the work you do. These organisa�ons can o�en help with free legal advice, which may be necessary during the course of your professional career.

Informa�on about Employment Rights

Rates of Pay

This is another complex issue, depending if you are selfemployed or employed. However, the deﬁni�on of worker is somewhat broader than the deﬁni�on of employee, and this is par�cularly relevant to the ques�on of a freelancer’s en�tlement to paid holidays under the Working Time Direc�ve.

Rates of pay differ according to the role and the scale of the company employing you. Dancers and choreographers may be offered contracts that have been nego�ated by Equity with TMA (middle scale), ITC (small scale) or SOLT (West End t heatres). Touring allowances (subsistence) will also vary according to the type of contract you are being offered.

For informa�on on the diﬀerent aspects of UK employment law, see: www.direct.gov.uk Comprehensive website covering a range of employment issues

Details of current rates of pay and subsistence under any of these contracts can be found on the relevant management associa�on websites.

www.berr.gov.uk The Department for Business, Enterprise & Regulatory Reform

Theatrical Management Associa�on (TMA) www.tmauk.org

www.acas.org.uk Advisory, Concilia�on and Arbitra�on Service.

Independent Theatre Council (ITC) www.itc-arts.org Society of London Theatres (SOLT) www.solt.co.uk

Dancers’ Handbook

Photo: John Collingswood

18 Welsh Independent Dance

Audi�ons

Code of conduct The following guidelines have been agreed between the Independent Theatre Council and Equity. If you are ever in a posi�on to conduct or a�end an audi�on the following recommenda�ons should prove useful. Code of Conduct for Audi�ons 2005: General provisions for all Audi�ons Manager’s Obliga�ons a) The Ar�st shall be no�ﬁed in advance of the form of the audi�ons and, where appropriate, details of the part(s) being cast. b) Scripts (if appropriate) and/or any other relevant preparatory material will be made available in advance wherever possible. The Manager will inform the Ar�st when and how this material may

be obtained. Such material shall remain the property of the Manager to whom it shall be returned at the end of the audi�on. c) On arrival at the place of audi�on, the Ar�st shall be informed who will be conduc�ng the audi�on and if there are any special requirements which have not been no�ﬁed in advance. d) The Ar�st shall be no�ﬁed in advance if the audi�on is to be recorded in any way. e) Nothing shall prevent the Manager from invi�ng the Ar�st to audi�on for a part for which he/she was not originally being considered, provided the Manager shall allow the Ar�st reasonable �me and facili�es to prepare for such addi�onal audi�on. f) The Manager shall

Dancers’ Handbook

inform the Ar�st (or his/her agent) either prior to or at the �me of the audi�on of the arrangements for no�ﬁca�on of the results of their audi�on.

c) If the Ar�st arrives late for an audi�on, the Manager shall not be obliged to audi�on the Ar�st or use his/her best endeavours to do so.

g) If the Ar�st is recalled on the same day, a �me for recall shall be mutually agreed.

d) If the Ar�st is already under contract to another Manager he/she shall bring to the audi�on wri�en evidence of his/her availability to accept the engagement if oﬀered.

h) If the Ar�st is called to a�end more than two audi�ons he/she shall be paid travel and out-ofpocket expenses for a�ending any further audi�ons. The Ar�st shall submit any such claim immediately following the third or subsequent audi�on. i) Any audi�ons involving nudity or semi-nudity will be in accordance with the Regula�ons agreed between the TNC and Equity on 1st January 1971. Ar�st’s Obliga�ons a) The Ar�st shall arrive in adequate �me and be fully prepared by the audi�on �me. b) If the Ar�st is unable to a�end an audi�on at the speciﬁed �me, he/she will inform the Manager as soon as possible. 20 Welsh Independent Dance

Facili�es a) Audi�on accommoda�on shall be of a suitable size, properly lit, cleaned, heated and ven�lated. b) Where reasonable and prac�cable, the Manager shall provide appropriate accommoda�on in addi�on to the room in which audi�ons are being held, where Ar�sts can change, wait and prepare. c) When Ar�sts are required to dance, the Manager shall provide suitable surfaces and washing facili�es and will use his/her best endeavours to provide shower facili�es. d) The Manager shall arrange

audi�ons to provide as much privacy as possible. If applicable, the Manager shall ensure that Tannoys and other sound equipment are switched oﬀ. e) The Manager shall, where reasonable and prac�cable, provide access for disabled people, including but not exclusively, wheelchair access, sign interpreta�on, induc�on loop, access for guide dogs and script format suitable for the visually impaired. (For more informa�on on cas�ng disabled actors see Moving into the Spotlight: A guide for Cas�ng Directors, available from Equity) Personnel a) A person responsible for cas�ng shall be present at all audi�ons. b) There shall be suﬃcient personnel (in the case of open audi�ons for musicals at least two) who shall be briefed as to the requirements of those conduc�ng the audi�ons. c) An Equity representa�ve shall be en�tled to be present at all open audi�ons.

d) Unless the Manager is employing an agent as a cas�ng consultant, agents will only be allowed to a�end audi�ons at the request of an Ar�st and then only for the audi�on of the Ar�st making the request and with the prior consent of the Manager. e) No persons other than those listed above shall be en�tled to be present in the audi�on area without the Ar�st’s prior knowledge and consent upon reasonable no�ce. Whenever the Manager intends to hold audi�ons with the press present, he/she shall offer the Ar�st an alterna�ve �me when the press will not be present. Adver�sements a) The Manager shall ensure that all adver�sements rela�ng to audi�ons shall be as specific as possible. b) Adver�sements shall contain the following informa�on:i) The name of the company holding the audi�ons. ii) Specific addressee to whom any informa�on should be sent. iii) If legi�mate, any specific Dancers’ Handbook

requirements regarding gender or ethnic origin or characteris�cs, with reference to the appropriate legisla�on. iv) If appropriate, range, height, dance or voice or music type, or previous professional experience. v) If a Standard or Enhanced CRB Disclosure will be a condi�on of the engagement. vi) Any requirements regarding clothing or footwear. vii) The �ming of an open audi�on. viii) The date of rehearsals and produc�on if known. c) Individuals should never be asked to provide personal details to a PO Box Number or to an inadequately iden�ﬁed answering machine or website. Data Processing and Storage a) All data on applicants will be processed and stored in compliance with the Informa�on Commissioners Code Part 1. b) Applicants will be informed if their applica�ons and interview notes are:i)

to be kept for future

22 Welsh Independent Dance

reference (including length of �me they will be kept for) ii)

passed to another department

iii)

passed to another company

Special Provisions for Open Audi�ons 1. The Ar�st shall be required to complete an audi�on card, providing their Equity name and number (if appropriate), legal name (if diﬀerent from stage name), their agent’s details (if appropriate) and details of credits. 2. Ar�sts will normally be audi�oned in order of their arrival at the place of audi�on. On arrival they will be given a numbered card (in addi�on to the card referred to in 1 above) which shall determine their place in the order of those being audi�oned.

Self-promo�on

This sec�on has been produced by Karen Pimbley, KGB Produc�on, MA (Performance)

Why you need to market yourself

be too diﬃcult to stand out from the crowd.

In today’s marke�ng-led industry, if you are wai�ng to be ‘discovered’ you may be wai�ng a very long �me. Whether you are a solo dancer, choreographer or a small company, these days the onus is on YOU to let the world know you are ready willing and able to take your place centre stage. A�er all, if you are not prepared to invest �me, money and energy in promo�ng your product, how are you going to persuade anyone else to follow suit? Fortunately however, your ini�al investment in marke�ng doesn’t have to involve a record industry sized budget. With a li�le ﬁnancial outlay and a lot of �me, crea�vity and common sense it shouldn’t

Here are the elements you need for a basic marke�ng campaign: Market Research Try to iden�fy your target audience (your target market): • What age group are they? • Where do they go to be entertained? • Which ar�sts/shows are they spending money on? The more you know about the market the more you’ll be able to produce marke�ng materials that hit the mark... and emember, in most cases it’s your marke�ng materials that have to hit the mark before anyone will pay to see you or let you on stage in the ﬁrst place. Dancers’ Handbook

Your Target Market Once you’ve done your research you should know who your target market is in general. Your next task - and one that will be ongoing throughout your career is to make that market specific by compiling mailing lists of poten�al customers and people who can bring you to the a�en�on of those customers (journalists, venue managers, funders etc) Every �me you do an event or performance, however small, make sure your list knows about it - and make sure you come away from every event with new names for your list. REMEMBER to get people to sign up to your list (you may want to offer them something like a newsle�er or photos in return). Remember however, that bombarding people who haven’t signed up with promos is classed as spamming and will lose you more than you gain. Promo�onal Package Your promo�onal pack will be most people’s first contact with you, so aim for something simple, inexpensive (you’ll need lots of 24 Welsh Independent Dance

them) but not cheap looking. Put some �me into compiling a good basic pack and you can mix and match it depending on who you are sending it to. The basic elements will probably include: • CV: your primary tool to gain work is your CV. Ensure that it is always kept up to date, reﬂects all aspects of your training and experience and is no longer than two sides of A4 (maximum). • A good introductory le�er: your basic template should be professional, punchy and to the point. • A business card: There is only one overriding point to a business card - how to contact you. All that ma�ers is that the card either makes someone remember you or prompts them to get in touch. Ensure your business card is credit card sized (or smaller) or people won’t tend to keep it. • Photo - An up to date photo is recommended (in some cases it is essen�al in order to apply for a performance related job). You may also have performance

photos that you use as a type of showreel. • Biog - At the beginning of your career you may not have much experience to talk about, but point up your strengths and what makes you special. Remember though that you have to deliver on your promises and lies will always come back to haunt you. • Showreel - a brief two to three minute reel of highlights of your work has far more chance of being looked at than a half hour of padding. • Reviews - include any good reviews you have had in the press or on the air. (You should always be on the look-out for opportuni�es to make contacts with the press - especially your local press, to make sure you get reviews. Don’t expect venues to do your publicity for you). Increasingly, promo packs are being sent by electronic means - remember to ensure anything you email is virus free and let the recipient know it is upfront. Other ways to market yourself:

Website By all means design a website (or get someone to do it for you) but remember the world’s best website is no good if you don’t get people to come and look at it. Paid Adver�sing/Agents Using your head should get you enough free publicity to get you started - if you intend to pay for adver�sing make sure it’s a publica�on or directory with a proven record. If you’re looking for an agent to get you work, remember two things - there are good ones (the majority) and terrible ones (a minority - but, sadly, the ones beginners are more likely to fall prey to). Your main defence against the la�er is to be very clear on what you expect an agent to do for you, and to get agreements in wri�ng on any promises made to you and commitments expected from you before you sign to anyone. Even with a great agent you should also be doing your own marke�ng - you are the best promoter for your own work. Dancers’ Handbook

Make Alliances If you are working on developing a unique style you have no need to fear others in the same market in fact, if you come across equally commi�ed and honest ar�sts, there’s no reason why you can’t cross promote each other. Keep at it !! There are two stages in a performer’s career and most careers flip back and forth between the two. Either you are working or you are looking for work - if you focus on your marke�ng when you are res�ng it helps avoid the blues and if you realise that while you are working, you are in effect marke�ng yourself for your next job, it will remind you to jot down any contacts you make to add to your mailing list. Marke�ng, like performing, is an ongoing process of trial and error and the only way you benefit from those trials and errors is to invest what you learn back into your next promo�onal campaign. Here are some resources which may be helpful when self-promo�ng: 26 Welsh Independent Dance

Mailing lists - There are a number of free online services which let you email subscribed list members. Try services like Yahoo Groups and Google Groups. Also try groups on Facebook, MySpace and Bebo. On-line performance - You may be happy to upload some of your material, either to your/other website or to You Tube. Blogs - Blogs, or weblogs (online diaries/journals) are free and easy to set up and very good for building communi�es, contacts and announcing where people can see you and your work, if used correctly. A blog can be people’s ﬁrst point of contact for you and many performers and entertainers use them to build a fanbase, announce tour dates and some�mes even try out new ideas or material. Try Blogger for easy to use and immediate blogging. List your blog in free online blog directories to increase traﬃc to your site and get more readers, and ul�mately, more people to see your show.

First aid for dancers

This sec�on has been produced by Tanja Råman (MSc Dance Science)

the body parts. DANCE INJURIES Defini�on of Injury Injury can be defined as pain or discomfort that in dance • leads to missed technique class, rehearsal or performance; • affects training or performance; • interferes with concentra�on. Injuries can be divided into two categories: trauma�c /acute injury and chronic injury. 35% of all dance injuries are acute injuries, such as fractures, sprains, strains and bruises caused by a sudden trauma. 65% of all dance injuries are chronic or re-occurring injuries that are o�en caused by repe��ve movement pa�erns and asymmetrical pressure on

Causes of dance injury Various factors can influence an injury. It is therefore important to iden�fy factors as accurately as possible to prevent the injury from becoming chronic. There are risks that can be influenced and minimised by an individual as well as risks that are out of an individual’s control. The main factors that can increase risk of injury: • poor warm-up & cool- down • poor postural alignment • muscular asymmetry – imbalance between flexibility & strength • previous injuries – previous injury o�en stays as a weaker point in the body if not appropriately treated and rehabilitated Dancers’ Handbook

• psychological tendencies – willingness to take risks, lack of stress management skills, anxiety, ea�ng disorders • poor nutri�on & dehydra�on • cold room temperature & poor ven�la�on • hard or inappropriate ﬂoor surface • type of ac�vity & manner of prac�ce • irregular �me / work schedule Over 80% of dancers become injured at some point in their training and career. The majority of injuries occur in muscles, tendons and ligaments. Regardless of dance style, most dance injuries occur in the lower body: lower back, knee and foot. Dancers are most likely to get injured in the beginning and end of season / term / choreographic period, and at the end of the day. At the beginning of an intense work schedule, an injury could occur due to a sudden increase in workload, whereas an injury that occurs at the end of the day or project, is more likely to have been caused by �redness rela�ng to overworking and lack 28 Welsh Independent Dance

of adequate rest. Injury preven�on Accidents can happen, but it is in the dancer’s and dance organisa�on’s interest to minimise risk as much as possible. Injury preven�on is the whole dance community’s responsibility, including company directors, administrators, managers, teachers, choreographers, dancers and health specialists working with dancers. Injury preven�on starts from the planning of the dancer’s work and training schedule, which is usually very irregular for freelance dancers. Consider the following: • Avoid sudden changes in your physical workload. • Keep yourself fit between projects by maintaining your baseline aerobic fitness level and muscular balance with adequate flexibility and strength. Note that even a regular dance class is inadequate to build or maintain your fitness,

therefore it is important that you engage in other ac�vi�es, such as running, swimming or cycling to build your cardiovascular system. Aerobic ﬁtness has a posi�ve impact on your ability to cope with the physical demands of the dance class and helps prevent injuries linked with �redness. • Always perform an adequate warm-up and cool-down every �me you par�cipate in dance class, rehearsal or performance. Your warm-up should include pulse-raising ac�vi�es such as jogging for a few minutes as well as joint-mobilising exercises and short and gentle stretches. Your cool-down should gently bring your heart rate back to normal, allowing your body to adjust before you cease ac�vity. • Learn a basic knowledge of human anatomy, physiology and psychology, and their respec�ve applica�ons to dance, to gain more from your dance training, as well as to minimise the risks involved with it.

• Have a healthy diet and keep yourself well hydrated during physical ac�vity. Good nutri�on and adequate hydra�on can delay the onset of �redness, as well as speeding up your recovery from your previous training session. See also the sec�on on Nutri�on and Hydra�on. • Use therapies, such as massage, Alexander Technique, Pilates or Shiatsu as part of your regular body maintenance rather than as remedial measures. Fitness elements Fitness can be divided into various elements: • aerobic ﬁtness • muscular endurance • strength • speed • power • ﬂexibility • body composi�on • balance, skill, agility and co-ordina�on Dance class does not address all of these aspects and even if they are present in the class, they are Dancers’ Handbook

not o�en dealt with systema�cally to create a training effect. It is recommended that dancers train in these fitness aspects alongside their dance training. Supplementary training promotes muscular balance, provides higher general fitness levels and enhances one’s body awareness which has a posi�ve impact on injury preven�on. Training principles Improvements in any of the fitness elements are guided by training principles: • Improvements are directly related to the type of exercising you do and the specific muscle groups you work on. E.g. if you want to improve your core stability, you need to focus on strengthening abdominals rather than on running or stretching. • Train regularly each week. Long periods without training will reverse the gains from your previous training. • Gradually increase the intensity, frequency and dura�ons of your workload to produce a training effect. • Alternate hard and easy days of 30 Welsh Independent Dance

training each week. Easy days allow �me for your body to recover from the previous day’s hard work. • Plan at least three months ahead, working backwards from the day you want to be in peak condi�on eg for performance or audi�on. Your plan should include prepara�on, build up and maintenance.

Use the following structure as a guide to training: Prepara�on period (2 – 4 weeks) This period should include light intensity exercises to allow your body to adjust to training demands. Build up period (3 – 5 weeks) You should begin to increase intensity, dura�on and / or frequency of your workout during this period. Tapering period (2 – 4 days before premiere or audi�on) You should reduce your workload and its intensity to allow your body to recover from hard training, replenish your energy stores and to allow you to mentally shi� from rehearsing to performing. Maintenance period (lasts as long as required during performance season / tour). Don’t forget to include rest days in your training programme. Rest is

as important as the training itself for improving your fitness levels. This will allow your body to replenish its energy stores and also provides �me for you to recover, both mentally and physically. To minimise the risks of injury and to improve your fitness levels, it is vital that you gradually build the intensity, dura�on and frequency of your training. If you know that you will be taking part in a par�cular project, find out as much as possible about the style of the choreographer you will be working with, to know what is expected from you and to help design / adapt your fitness plan accordingly. For example, if the work involves a lot of contact work, you should include some core stability and possibly some weight training in your programme. When you have gained a good general fitness level you can easily adapt your fitness programme according to the demands of your forthcoming work with rela�vely short no�ce and without pu�ng yourself under increased risk of injury. Dancers’ Handbook

General recommenda�ons for ﬁtness training Use the following general recommenda�ons as your guidance. Don’t be afraid to change the frequency, dura�on or the intensity of your training according to your ﬁtness level. Aerobic training: running, cycling, swimming, etc. • 3 – 5 �mes a week • Minimum of 20 mins. con�nuous exercising; duringthe exercise you should keep your heart rate between 60%- 80% of your maximum heart rate (to work out your maximum heart rate: 220 minus your age) • To gradually make your workout harder, consider increasing the speed, length and / or frequency of ac�vity Strength training: use of weights, press-ups, etc. • 2 – 3 �mes a week • 3 sets of 6 – 10 repe��ons of each exercise • To gradually build up your strength, consider using heavier weights, adding repe��ons of sets. 32 Welsh Independent Dance

Flexibility training: stretches for different muscle groups • 2 – 3 �mes a week • 3 – 4 repe��ons of each stretch, up to mild discomfort • To gradually gain more flexibility, consider holding each posi�on longer, as well as altering the posi�on to make the stretch harder. Remember - Always perform a good warmup before your workout and cool-down a�erwards. - Plan at least three months ahead to allow enough �me for your body to adjust to training. - Don’t forget to include rest days in training schedule. - Train regularly and build your fitness levels gradually. - Everyone’s fitness level is unique, as is the rate they improve. Compete only with yourself and set realis�c goals. - For specific exercises and to create a personal fitness programme ask for help from a specialist. You will find specialist trainers in most well-equipped gyms.

NUTRITION Nutri�on provides energy for the body, regulates metabolism and promotes growth by building and repairing the body �ssue. Food contains six major nutrients: • Carbohydrates • Proteins • Fats • Vitamins • Minerals • Water Carbohydrates: • can be found in pasta, rice, bread, grains etc. • should contribute about 60% - 70% of your total daily energy intake. • vary from simple (high GI) carbohydrates (glucose & fructose) to complex (low GI) carbohydrates (starch & cellulose). • the more complex the carbohydrate the longer it takes to digest & the more steadily it releases energy to the blood stream. • are the major energy source for high intensity & endurance ac�vi�es. • are stored in muscle for quick energy release. Insuﬃcient reserves can cause �redness and

exhaus�on during exercise that lasts longer than 1 hour. Proteins: • Can be found in meat, cheese, eggs, milk etc. • Should contribute about 12% of your total daily energy intake. • Are required for muscular growth & repair. • Alongside vitamins & minerals, they maintain diverse metabolic processes. • Are not the primary source of energy, but can be used in emergencies. Fats: • Can be found in bu�er, oils, fish etc. • Should not exceed 30% of your total daily energy intake. • Divided into saturated fa�y acids (animal sources, dairy products & fish) and unsaturated fa�y acids (vegetable sources, nuts & seeds). • Are essen�al to the diet, but a less effec�ve energy source. • Are the main source of energy whilst at rest & during low intensity exercise.

Dancers’ Handbook

Vitamins: • Are divided into fat-soluble vitamins (A, D, E & K) and watersoluble vitamins (B-complex & C). • Promote growth, maintain health, essen�al for energy release and for metabolic regula�ons. • Are required in small quan��es. Minerals: • Calcium, Phosphorous, Iron, Sodium, Potassium & Chloride. • Are essen�al for normal cellular func�on. Water: • Comprises approx 50% - 60% of an average person’s total body weight. • Makes up body ﬂuids that maintain blood pressure, regulate pH, deliver nutrients to �ssues and dissipate excess body heat during exercise. Energy expenditure & physical ac�vity The recommended daily intake for women is 2000 Kcal and 2500 Kcal for men. Remember that these recommenda�ons are general and can vary hugely depending on 34 Welsh Independent Dance

your body weight and amount of physical ac�vity you undertake. In order to gain more from your training, rehearsal and performance, it is important that you know what to eat and when. • Consume big meals 2 – 4 hours before physical ac�vity to boost energy stores in the muscles and to allow enough �me for most of the meal to be digested. • Consume small amounts of easily diges�ble foods during the ac�vity to maintain energy stores, for example, a banana. • Eat within the first 30 min – 60 min a�er finishing exercise to replenish your energy stores. • Opt for carbohydrates as they are digested more quickly than proteins & fats. The process of diges�ng proteins increases urine excre�on. Fats take longest to be digested & cause blood flow to be directed to the stomach & not the working muscles. • During periods of heavy training or intense performing, it is necessary to rely mainly on simple carbohydrates.

Photo: Jethro Bradley-Firth

Dancersâ&#x20AC;&#x2122; Handbook

felt ring and secure with Hypal tape as necessary. Alterna�vely, apply a Second Skin disc and secure with a reﬂex dressing.

Moderate Bleeding – Remove surplus blood with swabs. Clean around the wound with an�sep�c wipes. If any dirt is in the wound, irrigate with Saline. B r u i s e s / S t r a i n s / S p r a i n s Close ‘clean’ cuts with Steri Dance UK recommends R.I.C.E.D. Strips. Apply plaster or dressing Arnica ointment is a popular herbal and apply Hypal tape. You must remedy used to treat bruising. check for tetanus immediately. Burns/grazes Run the burn under cold water for 10-15 minutes. Apply Melolin dressing with Hypal tape. Alterna�vely use a Burnblot sachet. Corns/sore toes etc. Surround the area with a ring of foam/felt padding. Secure Hypal tape. Cramp/�ght muscles If very tender, treat as a strain. If whole muscle is in spasm, apply a slow stretch then massage, stroking toward the heart of the injury. In hot condi�ons, beware of dehydra�on. Cuts Profuse Bleeding – treat for shock and compress the cut. Apply ﬁrm pressure and secure with a bandage. Send to A&E.

36 Welsh Independent Dance

Nose bleeds Blow nose once only. Pinch just below the car�lage of your nose for 10 minutes. Tilt your head forward. If you are having difficulty in stopping the bleed, apply an ice pack. Splinters Clean with an�sep�c wipes and remove with tweezers. Things to remember • All organisa�ons of more than 5 members of staff should have a trained first aider amongst them. • At present, first aid cer�ficates are valid for three years before a refresher course must be taken. For more informa�on you can contact the Bri�sh Red Cross Society. www.redcrossfirstaidtraining.co.uk

Young people

The following informa�on is taken from WID’s Workshop Leaders’ Handbook

Health and Safety • It must be clear who is responsible for pastoral care of par�cipants. • A generic risk assessment must be carried out prior to the workshop/class/event.

• Workshop/class/event leaders and par�cipants must wear suitable and comfortable clothing. • Workshop/class/event leaders should encourage safe and authorised use of premises and lead by example. Unsafe or inappropriate use of premises/equipment should be ac�vely discouraged.

• Tutors should establish at the start of the workshop/class/event if any par�cipants have special requirements that may limit the degree to which they are able to par�cipate. Considera�on must be given to anyone with special requirements throughout the workshop/ class/event.

• Ask for details of ﬁre procedure and iden�fy ﬁre exits.

• All workshops/classes/ events will begin with a suitable and thorough warm up.

• Drive slowly on school grounds. Take par�cular care when reversing.

Working in schools or in areas where young people are present • When on school premises it is advisable to wear an iden�ﬁca�on badge.

Dancers’ Handbook

• When parking, never obstruct ﬁre exits. •

• Never use the children’s toilets.

Ensure your vehicle is locked.

• Never offer a pupil/student a li�. • If the school/college has a visitors book ensure you sign in and out. • If the workshop/class/event will be filmed parents must be no�fied in advance, allowing them �me to object if they are not happy for their child to be involved. • If the supervising teacher absents themselves from the session, remember that you are pu�ng yourself at risk – unless you have QTS (Qualified Teacher Status) yourself, a teacher should always be present during sessions. Conduct and behaviour • Ensure you are always ready to start the session promptly. • Do not smoke anywhere on school premises. 38 Welsh Independent Dance

• Make sure you use a private and, if possible, lockable changing area. • Alcohol, cigare�es and illegal drugs should not be taken onto school premises or venue where performance/event is taking place. • Prescribed drugs should be kept hidden and out of reach of young people. • Ensure language and conversa�on is appropriate. • Ensure your ac�ons do not conﬂict with school rules. • Report any accidents or breakages immediately. • Take responsibility for clearing up a�er a workshop/ class/event. Only enlist the help of the young people involved with teacher supervision.

Performance and Prepara�on • Try to keep the performance space ‘out of bounds’ to the young people un�l the performance is ready to begin.

present throughout the workshop/event. • Avoid being le� alone with a child.

• If a child ini�ates physical • Never accept help from contact (eg approaches you for a children/young people (aged hug) make every effort to deflect under 18) with the set or any them if possible without hur�ng technical equipment – if there their feelings. is an incident, you could be liable under Public Liability. • If you become involved in any situa�on with a child that • When the performance space concerns you, inform a teacher or is set, carry out a Health and someone in a posi�on of authority Safety check before allowing the as soon as possible. young people into the space. • If a child has an accident in Physical contact with young people school, you are not responsible for administering first aid – find • Keep physical contact with a member of school staff to deal young people to an appropriate with it. Similarly, if you are in a level in rela�on to the work. Where venue you must alert a member ac�vi�es require any physical of staff who is a first aider. contact, this should be discussed with teachers in advance. Procedures to ensure children and young people are protected • Some�mes it is appropriate from harm to ask a pupil if he/she minds physical contact. • Deflect any challenging behaviour back to the supervising • Ensure a teacher remains teacher/workshop organiser to

Dancers’ Handbook

deal with. Criminal Records Bureau • Due to the rela�vely informal nature of the rela�onship between tutor and child/young person, it is possible that an abused child will conﬁde some important informa�on concerning his/her welfare. Do not agree to keep the issue a secret and encourage the individual to speak to a teacher or parent. • If a child/young person tells you something that leads you to believe they are being abused or in danger you are obliged to report it (in schools you must tell a teacher). • If you ﬁnd yourself or the young people in your care in a threatening situa�on you must call the police.

40 Welsh Independent Dance

A CRB check is not required by law, but it is advisable to have an up to date check if your work involves working with young people or vulnerable adults – many companies/ organisa�ons will insist on it. The current legisla�on does not allow the self-employed or individuals to apply for a CRB check on themselves. If the company you are working for is not registered to process applica�ons you can locate an umbrella body organisa�on that will process a disclosure check on your behalf. A list of these organisa�ons and more informa�on on CRB checks can be found on www.crb.gov.uk.

Insurance

What kind of insurance do I need as a dancer / teacher / choreographer? There are various types of insurance you might need, depending on the work you are undertaking: Public Liability Insurance If you lead any workshops/ classes where you are working with members of the public, it is essen�al that you have Public Liability Insurance. You have a legal responsibility to members of the public in respect of damage caused to either third party personal injury or third party property. In the UK, for such an ac�on to succeed, the other party must prove that the damage or injury has been caused by your negligence. If you are a member of Equity, Public Liability Insurance, covering you up to £10 million is available free as part of your

membership. www.equity.org.uk Professional Indemnity Insurance Covers you for mistakes you make when running your business. For example, you would be indemnified for a claim against you if you inadvertently used work made by someone else without their prior permission. ‘Home Office’ Insurance If you are using a room in your house as an office and you have a variety of equipment (such as computers, CD player, ipod, cameras etc) that you use in the course of your work, you may find that the items will not be covered under your normal contents insurance. You have an obliga�on to tell your insurer that you have a home office arrangement and they will advise if your

Dancers’ Handbook

insurance cover is adequate. You should also check that items are covered when away from your base. Car Insurance If using your car in the course of your work, you will need to upgrade your insurance to reflect this. Group Personal Accident This insurance provides indemnity for groups who suffer a loss of earnings due to an individual within that group having an accident. Might be relevant if working on a project that might be threatened by injury or illness of one individual. Travel An ordinary holiday insurance policy excludes any provision for manual work. As dance is classified as manual work, normal holiday insurance will not cover you if travelling abroad in the course of your work. Cancella�on/Abandonment This is not a standard policy, but one that is tailored to suit 42 Welsh Independent Dance

individual circumstances. It is difficult to process fully as it is hard to predict everything that has the poten�al to go wrong, and it is quite expensive. It covers situa�ons such as a performance being cancelled due to the venue burning down. There is no fixed format for this type of insurance as each case has to be discussed separately and the wording agreed. Medical Expenses The hazardous nature of the dance profession makes it difficult to get medical cover that is both affordable and without many exclusion clauses. Policies are available but do require research. Carnet This is required when working abroad outside the EU It is a detailed list of all the equipment you are taking out of the country, and a promise to return these items. It is not technically seen as insurance, but rather as a bond, so if the equipment is not brought back as agreed, you are required to reimburse the carnet office.

It is essen�al to establish the ownership of the choreographic work you are being paid to create, and to know what rights you have over your work. All situa�ons diﬀer, but it is important to determine both the ownership and the future use of a piece of work you plan to create, before the crea�on process begins. What is copyright? Copyright protects work from being copied, issued in copies to the public, performed in public or broadcast without the originator’s permission, including in an adapted form. What works have copyright protec�on? The work must be original to have copyright protec�on. Who owns the copyright? The ar�st (choreographer, composer, designer or

photographer) will be the first owner of copyright if they are freelance, unless a wri�en contract states otherwise. This is the same when a freelance ar�st is commissioned to produce a work for someone else. However, if an ar�st is employed by a company, then the company will be the first owner of copyright unless a wri�en contract states otherwise. For example, a choreographer crea�ng a work for a youth group when employed by a local authority would not own the copyright of the work they have created unless they have previously agreed this with the employer. Where the ar�st is a student, the college is the first owner of the copyright. It is professional good prac�ce to always have wri�en clarifica�on of copyright issues.

Dancers’ Handbook

Assignment and licence of copyright Copyright can be bought, sold, ‘let’ or given away. The 2 main ways of doing this are ‘assigning’ and ‘licensing.’ ASSIGNING: This means that it belongs to the new owner. This must be in wri�ng and signed by the assignor. LICENSING: This gives others permission to make speciﬁc use of it. If this is exclusive licensing no other person can be given equal rights to it. When giving a company permission to use your work under licence, be sure to read the agreement carefully. Always seek professional advice before agreeing to give copyright of your choreography to someone else. Moral rights Ar�sts have the right to be iden�ﬁed as the authors of their work, but should assert themselves as such by using appropriate wording:

The right of (name) to be iden�ﬁed as Author of this work has been asserted by (name) in accordance with the Copyright, Designs and Patents Act 1988. For a dance work on DVD, this statement should appear on the �tle sequence and on labels. Ar�sts have the right to not have their work tampered with in a way that amounts to distor�on or mu�la�on of their work. It is possible to waive these rights if you wish, but doing this should be carefully considered. Intellectual Property Rights Refers to crea�ons of the mind: inven�ons, literary and ar�s�c works, and symbols, names, images, and designs used in commerce. Intellectual property is divided into two categories: Industrial property: which includes inven�ons (patents), trademarks, industrial designs, and geographic indica�ons of source; Copyright: which includes literary and ar�s�c works such as

44 Welsh Independent Dance

novels, poems and plays, ﬁlms, musical works, ar�s�c works such as drawings, pain�ngs, photographs and sculptures, and architectural designs. Rights related to copyright include those of performing ar�sts in their performances, producers of phonograms in their recordings, and those of broadcasters in their radio and television programs. Collabora�ons In this situa�on, it is important to ensure that the copyright reﬂects the extent of collaborator’s individual crea�ve input. It is good prac�ce to have a wri�en agreement that clearly states the propor�ons owned by each collaborator. Further use An agreement between an ar�st and the company, or between ar�sts within collabora�on, should state clearly what system will apply for further use of work. This should cover the permission for the use, credits and royal�es. What is Licensing? Performance Licence - a performance licence is needed if

any regulated entertainment is performed in front of an audience or spectators. Regulated entertainment includes: • performances and rehearsals of plays (including improvisa�ons) • live and recorded music (unless it is incidental) • dance performances • any entertainment similar to live music, recorded music, or dance ﬁlms • indoor spor�ng events • boxing matches and wrestling. Venues will normally be in possession of a license so you would not need to apply for one as an individual. You only need to apply for a license if you are organising a performance in a venue that is not registered. Exemp�ons A licence is not needed for: • terrestrial, satellite and cable radio or television • entertainment at places of religious public worship • entertainment at religious mee�ngs or services, or incidental to religious mee�ngs or services • entertainment being held at Dancers’ Handbook

charitable or non-profit making garden fetes • morris dancing or any similar dancing • entertainment on moving vehicles – mobile stages that are parked need a licence. Premises licences A premises licence is needed to provide regulated entertainment or entertainment facili�es. The ‘premises’ can be any building or space, from a nightclub to a village hall, a circus tent to a town square, or from a theatre to a car park. Premises licences may be either granted for an indefinite period of �me (generally for fixed entertainment venues) or for a specific period �me (to cover a performing arts fes�val for example). Licensing authori�es must grant premises licences if there are no valid representa�ons (objec�ons) against the licence applica�on. They may only impose condi�ons that are consistent with the opera�ng schedule (a type of risk assessment) and which relate to the licensing objec�ves.

46 Welsh Independent Dance

An applica�on for a premises licence might ask for two or more licensable ac�vi�es – for example, to allow the sale of alcohol, the performance of plays and the performance of dancing. If relevant representa�ons are made, the licensing authority could allow one of those ac�vi�es but refuse permission for the others if the representa�ons cannot be dealt with by imposing condi�ons on the licence. A premises licence will generally say what sort of regulated entertainment may be provided, and the days and �mes on which it may take place. Once the licence is granted, it is possible to apply to vary the licence, or even to have more than one premises licence for a one place at a �me.

PRS (Performing Rights Society) PRS for Music exists to help businesses and community groups get access to some of the world’s best loved music, while making sure that songwriters, composers and publishers are righ�ully rewarded. This means that if you play popular music as part of your performance, you have to pay for permission to do so. Most venues will have PRS licenses so you need not worry about purchasing one. However, if you are teaching a class to the public in a hired venue and using recorded popular music, you may need to purchase your own PRS licence. PPL PPL is a music service company working on behalf of its performer and record company members. PPL licenses sound recordings and music videos for use in broadcast, public performance and new media. As a choreographer, this means that if you intend to use a recorded piece of music for any length of �me (e.g. in a produc�on on tour) you will need to purchase a licence that allows you to use an ar�st’s work. Classical music This is also covered by copyright, depending on the ar�st(s) and the publisher. You should always research and check whether payments are needed when planning to use any music in a performance.

Dancers’ Handbook

Photo: Dave Daggers

48 Welsh Independent Dance

Health and safety

When working under contract for a company or ins�tu�on, it is impera�ve that you take reasonable precau�ons against injury during the class/workshop/ rehearsal period. Although the company you are working for is responsible for overall health and safety, you must ensure that you are fully aware of the health and safety responsibili�es of your role. First steps Find out who is responsible for health and safety before you start the class/workshop/rehearsal period. It is possible that you may be required to complete a risk assessment of the spaces/s you are using. A standard form should be supplied by the organisa�on that has contracted you. The purpose of a risk assessment is to iden�fy poten�al risks with a view to minimising them. You will need to be aware of:

• • • • •

Fire exits Refreshment area First aid box Washing facili�es Drinking water points (if any) • The fire drill First aid Where is the First Aid box kept? If the box is kept locked, who has the key, and where is the key kept a�er ‘normal’ office hours? Who are the qualified First Aiders in the Company/group/venue? Where is the accident report book kept and who do you report accidents to? Fire precau�ons What are the fire precau�ons and procedures? Fire proofing All theatre creators should be aware that the designer of the set and/or costumes and/or special effects must produce

Dancers’ Handbook

designs, which, when complete, conform to fire regula�ons. These regula�ons can be supplied to you by any venue visited. Costumes do not have to be made with flame-retardant materials unless they are fixed to the set, are extra-ordinarily large or could come into contact with a naked flame on stage/in the wings/access areas. During rehearsals Health and safety for dancers involves a far wider set of issues than just the preven�on of accidents. Make sure the rehearsal period is divided into manageable slots with adequate breaks. If you have to go outside the building to get lunch, make sure enough �me is allowed for this before the next session begins. If you are working with a new cast, you need to be aware that they may have different abili�es to the previous cast, so you may need to vary your choreography slightly to suit the different skills.

risk assessment to assess the environmental risks inherent in the allocated space. This will encompass a visual inspec�on of the floor surface and structure, the condi�on of any in-house electrical equipment, general �diness of the venue and access to fire exits. SAFE WORKING PRACTICE GUIDELINES a) Complete a risk assessment form prior to the class/workshop/ rehearsal period b) Establish the loca�on of the nearest fire exit and inform par�cipants of the evacua�on procedure. c) Allow �me prior to the class/workshop/rehearsal to prepare the space e.g. hazards are removed, temperature is suitable etc d) Establish where a First Aid kit is located on the premises before the class/workshop/rehearsal period begins.

Workshop & teaching ac�vi�es On arrival at a workshop/class venue, you will make a preliminary e) 50 Welsh Independent Dance

Establish at the start of the

class/workshop/rehearsal if any par�cipants have physical problems that may limit the degree to which they are able to par�cipate. Considera�on must be given to anyone with physical problems throughout the class/ workshop/rehearsal. f) All movement classes must begin with a suitable and thorough warm up. g) Par�cipants must wear suitable and comfortable clothing. h) Encourage safe and authorised use of premises and lead by example. Unsafe or inappropriate use of premises/ equipment should be ac�vely discouraged.

j) Ensure that the studio is le� clean, safe and in a good state of repair. k) At the end of a class/ workshop/rehearsal ensure the windows are closed, the heaters and any electrical equipment are switched oﬀ and the door is locked. l) If there are any Health and Safety issues that concern you in the space you are using you must inform the organisa�on who has contracted you or the venue manager you are hiring from if it is private class/rehearsal. m) Always take responsibility for your own safety as well as those you are working with.

i) Report any incidents to the organisa�on employing you for the work. An accident report form will be completed by the organisa�on, which you may be required to contribute to. If you are running a private class, it is advisable that you are in possession of an accident book – refer to www.hsebooks.com for details of suitable resources. Dancers’ Handbook

Photo: Jethro Bradley-Firth

52 Welsh Independent Dance

Rehearsal spaces VENUE Aberystwyth Arts Centre Penglais, Aberystwyth, SY23 3DE 01970 622884 jyr@aber.ac.uk

FACILITIES

COST

2 Dance studios 1 Round Room 1 Rehearsal Room.

£15.50 per hour

Beaufort Theatre & 1 theatre auditorium Ballroom 1 ballroom (oak Beaufort Hill, Ebbw Vale ﬂoor) NP23 5QQ 01495 308996 www.blaenaugwentvenues. com

Bromsgrove Hall (Victoria Hall) Llantwyrd Wells, Powys. 01591 610487

1 stage area, 10x7m,oak ﬂoor

(per hour): Local society/ charity Mon –Fri £11.50 Sat £22 Sunday £28 Commercial Mon – Fri £12 Sat £22 Sun £40

£40-£50 per session

1 main hall, 16x10m, old pine ﬂoor

Dancers’ Handbook

Canolfan Addysg/ Ucheldre Centre Millbank, Holyhead, LL65 1TE. 01407 763361 www.ucheldre.org Chapter Arts Centre Market Road, Canton, Cardiﬀ, CF5 1QE. 029 2031 1050 enquiry@chapter.org www.chapter.org

1 marble stage 1 main stage (ﬂoor is not a sprung ﬂoor)

£100 (per day)

1 dance studio 1 SWAS room

Regular Hire/Charity: £12.50 (per hr) Commercial: £18.50 (per hr)

WID’s studio Market House Market Road, Canton, Cardiﬀ, CF5 1QE 029 2038 7314 info@welshindance.co.uk www.welshindance.co.uk

(per hour): Small studio (26 � x £4.50 member (rehearsal) 20 �) £5.50 (member) class £6.50 non members all plus VAT

Clwyd Theatr Cymru Mold, Flintshire, CH7 1YA. 01352 701555 admin@clwyd-theatr-cymru. co.uk

1 dance studio with sprung ﬂoor and carpeted connected ﬂoor spaces.

54 Welsh Independent Dance

Charity rate: £110 (4 hrs) Commercial rate: £120 (4 hrs)

Clynfyw Countryside Centre 1 studio space, 14.5 x 5.5m Abercych, Boncath, Pembrokshire, SA37 OHF 01239 841255 info@clynfyw.com www.clynfyw.co.uk

Community Music Wales 029 2083 8060

Cwmaman Theatre Alice Place, Cwmaman, Aberdare, Rhondda Cynon Taﬀ, CF44 6NY 01685 887100 www.cwmamanins�tute. co.uk

Full day room hire: £100 Half day room hire: £65 Packages available for longer stays. Accommoda�on also available.

Large un-renovated Contact Community space with high Music Wales for more ceilings: details Space 1 is 38x22 feet. Space 2 is 23x22 feet (formerly used for disabled arts projects)

7 rooms available

£50 (per day)

Dancers’ Handbook

Cwmparc Community Floor space Welfare Associa�on Parc Stage Hall Parc Road, Cwmparc, Treorchy, Rhondda Cynon Taﬀ, CF42 6LD. 01443 776920

£70 per day.

De Valence Pavilion 1 hall with wooden Upper Frog Street, Tenby, sprung dance ﬂoor SA70 7JD. and stage (147m2) 01834 843568 info@devalence.co.uk www.devalence.co.uk

£30 (per hour)

Equipment hire an addi�onal £10 per day.

Dolman Theatre Unit 21, Emlyn Square, Newport, Gwent, NP20 1HY. 01633 263670 www.dolmantheatre. co.uk

2 large rehearsal spaces

For 4 hours: Larger rooms: £45

1 smaller rehearsal space

Small room: £40

Galeri Caernarfon Victoria Dock, Caernarfon, LL55 1SQ. 01286 685252 post@galericaernarfon. com www.galericaernarfon. com

4 hour session: £75 Dance studio with mirrors, sprung ﬂoor 8 hour session: £140 (113 m2). Dance studio (no mirrors), sprung ﬂoor, 100 m2).

56 Welsh Independent Dance

Living Willow Theatre Shakespeare Link, Penlanole, Llanwrthwl, Nr. Llandringod Wells, Powys, LD1 6NN. 01597 811487 www.shakespearelink. co.uk

1 small stable with an oak ﬂoor 1 Barn-cum-theatre with a small sprung stage. The performance space itself (should it be required) is an outdoor venue

This can be nego�ated with the venue at the point of hiring

Maerdy Community Centre Park Road, Maerdy, Rhondda Cynon Taﬀ, CF43 4BE. 01443 733417 mcc@maerdy.org www.maerdy.org

1 hall (no mirror)

Voluntary orgs £10 per hour Statutory groups £17.50 per hour. There is also a stage available at an addi�onal cost.

Neuadd Dwyfor Stryd Penlan, Pwllheli, Gwynedd, LL53 5DN. 01758 704088 www.neuadddwyfor. co.uk

1 auditorium with retractable seats

Rates per day: Mon-Fri £200 Saturday £350 Sunday £500

Neuadd Dyfi Aberdyfi, Gywnedd, LL35 0NR 01654 767251 post@neuadddyfi.co.uk www.neuadddyfi.co.uk

1 stage (with 4 diﬀerent layout op�ons), 20x14m.

£12-15 for commercial use (per day)

1 hall.

Dancers’ Handbook

Pater Hall Lewis Street, Pembroke Dock. 01646 684410 www.pembroke-dock.co.uk

Pontardawe Arts Centre Herbert Street, Pontardawe, Swansea, SA8 4ED. 01792 863722 www. pontardaweartscentre. co.uk

1 main hall 61x36 feet. 1 smaller room 49x25 feet.

Dance studio, with £13 per hour/£60 per sprung ﬂoor, mirrors day session and ballet bars, 60 � x 20 �

Powys Dance Centre 1 rehearsal space Arlais Road, Llandridnod with heated, sprung Wells, Powys, LD1 5HE. ﬂoor, mirrors. 01597 824370 powysdance@powys.gov.uk

Queens Hall High Street, Narberth, Pembrokshire, SA67 7AS. 01834 861212 www.thequeenshall.org.uk

58 Welsh Independent Dance

Voluntary orgs : Main hall: £7.50/£11.25 Small room: £5.25/ £8 Commercial use: Main hall: £13/£19 Small room: £10.50/ £16

1 large hall with wooden ﬂoor

£7.00 per hour (only available Mon and Thurs mornings, Sat all day).

£150 (per full day, 9am-5pm)

Sherman Theatre Senghenydd Road, Cardiﬀ, CF24 4YE. 029 2064 6901 www.shermancymru.co.uk

1 Dance Studio, 9.8m Both rooms cost £56 per day session x 9.3m 1 Rehearsal room without mirrors, 10.9m x 9.5m

St Asaph Arts Centre 01745 582611 www.stasaph.co.uk

1 theatre space

Between £20-30 (per hour)

Swansea Grand Theatre 176 Hanover Street, Swansea, SA1 6BP. 01792 475715 www.swanseagrand.co.uk

Depot Studio: sprung ﬂoor, no mirrors.

£200 (per 4 hour period)

The Gate 38 Keppoch Street, Roath, Cardiﬀ, CF24 3JW 029 2048 3344 info@thegate.org.uk www.thegate.org.uk

Studio 1: sprung ﬂoor £100 (per 4 hour and mirrors. period)

2 dance studios (one also has dressing room). 1 theatre space. All areas have sprung dance ﬂoors, and the studio has mirrors.

Theatre £90 (hourly rate) £1000 (9am-11pm) £350 (4 hrs) £650 (8 hrs) Dance Studio £35 (hourly rate) £355 (9am-11pm) £125 (4 hrs) £230 (8 hrs) Studio 3 £30 (hourly rate) £280 (9am-11pm) £100 (4 hrs) £180 (8 hrs)

Dancers’ Handbook

The Melville Theatre The Drama Centre, Pen-Y- Pound, Abergavenny 01873 853167

1 large gymnasium. 1 theatre with ﬂat stage and rigging area.

1 auditorium The Met Cultural & Conference Centre Mite Street, Aber�llery, Blaenau Gwent 01495 322510 www.the-met.co.uk

Gymnasium £13.15 per hour Theatre £15.25 per hour

Mon-Fri £12 (per hr) Sat £22 (max 8 hrs) Sun £40 (max 8 hrs)

1 studio (with seats that can be retracted to give 11m x 15m ﬂat ﬂoor) 1 Dance Studio (20-25 people)

Studio: £175 per 4 hour block

Theatr Ardudwy Harlech, Gwynedd 01766 780667 www.theatrardudwy. co.uk

Amphitheatre free Mon - Wed un�l 4pm and Thurs un�l 6pm. Circular stage with sprung wooden ﬂoor. Approx 9m across.

Hourly rate to be nego�ated

Theatr Brycheiniog Canal Wharf, Brecon 01874 611622 www. theatrbrycheiniog.co.uk

1 studio: ground floor with Calculated on an full disabled access, approx individual basis 14.45x9.54m, hardwood floor with and under-floor hea�ng system. There are no mirrors or dance rails.

The Riverfront Bristol Packet Wharf, Newport 01633 656677

60 Welsh Independent Dance

Dance Studio: £30 per hour

Theatre Felinfach Felinfach, Lampeter 01570 470751 www.theatrfelinfach. com

1 rehearsal room. 1 stage

Rehearsal Room £13 per session (am/pm), or £26 for a full day. Stage £60 to hire for a performance.

Theatr John Ambrose 1 theatre, 17.6m x 13.6m Ysgol Brynhyfryd, Mold Road, Ruthin, 01824 703933

£20 per hour

Theatr Mwldan Aberteiﬁ, Cardigan 01239 621200 www.mwldan.co.uk

One dance studio, sprung ﬂoor with one wall of mirrors. Approx 8 m2

£20 per hour £120 for a full 8 hour day

Theatr S�wt Y S�wt, Broad Street, Rhosllanerchrugog, Wrexham, LL14 1RB 01978 844055

Auditorium: wooden ﬂoor, 15x12m. Llannerch Rm: carpeted, 9x13m. Glanrafon Rm: 9x13m.

Auditorium £75/£150 Llannerch Room £40/£60 Glanrafon Room £40/£60 (Two rates depending on hirer being local or otherwise).

Dancers’ Handbook

The Dance House at the Wales Millenium Centre Bute Place, Cardiﬀ, CF10 5AL 029 2063 6400

The Blue Room: studio has counterweight flying system, a 10x9m sprung dance floor space, with side masking, 100 bleacher sea�ng and black dance lino. Alterna�vely, a 14x14m sprung dance floor, without side masking and bleacher sea�ng retracted. Floor is a flat, sprung, wooden dance surface. The Man Gwyn: a 10x10m sprung floor with laid dance lino, one mirrored wall and ballet bars running the length of 2 walls. This space also has full length curtains to cover the mirrors and walls if you wish to.

62 Welsh Independent Dance

Depends on your technical requirements and the dura�on of rehearsal. For more informa�on, contact the Project Manager.

Choreographers The choreographers listed below have expressed an interest in WID publishing their contact details. Please note that this is not an exhaus�ve list of choreographers within Wales and WID makes no personal respresenta�on on behalf of anyone listed below. Stacy Abalogun Choreographer and Ar�s�c Director of Flat Feet Dance Company Telephone: 0207 351 5645 Website: www.fla�eetdance.com Email: stacy.abalogun@yahoo.co.uk Flat Feet was founded in 2006 in Cardiff a�er working as an appren�ce with Diversions Dance Company. The company works from conceptual ideas genera�ng works in film and live performances. Currently studying for an MA in choreography at Laban. ‘Big Albert’s Gang’ Choreographers Marc Saad and Jessica Williams Telephone: 07890849902 Email: Bigalbertsgang@hotmail.com As young Welsh choreographers, we aim to make accessible dance theatre. Highly physical work that can adapt to different environments. We are interested in crea�ng, performing and working in educa�on. Isaac Blake ‘The only gypsy choreographer in Britain’ Address: 21 East Tyndall St, Cardiff CF24 5EY Email: Isaacblake21@hotmail.com Born a Romany gypsy, I have completed a 3 year undergraduate Dance Theatre course at Laban with a full scholarship. Since Laban I have worked with Ragdoll, The BBC, Chapter Arts, FIND,S4C and Local Housing and Educa�on Authori�es. Dancer, Choreographer, Teacher, Actor, Puppeteer & Animatronic Performer. Dancers’ Handbook

Roy Campbell-Moore Choreographer and Dance Photographer Address: 3 Heath Park Avenue, Cardiﬀ, CF14 3RF Mobile: 07855 741 744 Email: roy@campbell-moore.co.uk Former dancer and choreographer with Sco�sh Ballet (1975 - 1981). Founding Ar�s�c Director (1983), now Ar�s�c Associate of Diversions Dance Company of Wales. Choreographed for Sco�sh Ballet, Diversions, S4C and Welsh Na�onal Opera. Professional dance photographer, with exhibi�ons in Pakistan, London, Cardiﬀ , Swansea. Ar�s�c Director of Na�onal Youth Dance Wales Summer School (2009) Douglas Comley Choreographer, Dancer and Teacher. Director of the all male Dynion Dance Company. Mobile: 07811 784090 Telephone: 01792 361380 Address: 22 Bridle Mews, Limeslade, Mumbles, Swansea, SA3 4JP June Gould (AISTD) Address: 12 Salisbury Ave, Penarth CF64 3JA Mobile: 0777 965 7983 Email: june.c.gould@ntlworld.com Previously taught Tap and Modern Theatre Dance. Happy to consider other teaching opportuni�es. Some experience of contemporary dance, having taught A level Dance for 2.5 years. Also DJs (current) Happy to be used as an extra for pedestrian requirements, or work with limited physical demands in performance context.

64 Welsh Independent Dance

Sandra Harnisch-Lacey Independent Choreographer Address: 7 Pen-y-Wain Road, Roath Park, Cardiff, CF24 4GB Telephone +44 (0)7971 253586 Email: sandra@harnischlacey.com Website: www.harnischlacey.com Sandra was born in Germany and moved to the UK in 1993 and trained at the Desmond Jones School of Mime and Physical Theatre and the Laban Centre for Movement and Dance where she graduated with a BA(Hons) in Dance Theatre. Sandra’s work has toured to Germany, Austria, Slovenia, Luxembourg, France, Canada, Ireland and Wales and in 2007 she founded her own dance company Harnisch-Lacey Dance Theatre. She has been working as an independent choreographer for over ten years and has created several dance theatre works including installa�ons, dance films and various comissions. Sandra served un�l 2007 as Ar�s�c Director for Dance at The Gate Arts Centre in Cardiff and was the recipient of the Sylvia Bodmer Award of the Laban Centre of Movement and Dance in 1997. Her dance film STAR in collabora�on with Director Sally Pearce was nominated for the Ffresh Award 2004. Ma�hew Howells Mobile: 07799305264 Email: ma�hew.howells@beyondrepairdance.com Ma�hew Howells is a Laban trained dancer/choreographer. Ma�hew’s work is very movement based and incorporates highly technical movement. His choreography is in a release/Cunningham style, incorpora�ng highly paced, dynamically sharp and quirky movement, partnered with contras�ng sustained, flowing movement. Some of Ma�hew’s work can be seen at www.beyondrepairdance.com.

Dancers’ Handbook

Eddie Ladd Address: 26 Moira Place, Adamsdown, Caerdydd/Cardiff, Cymru/Wales Telephone: +44 7974 394415 Email: eddieladd@hotmail.com Website: www.eddieladd.com Mae Eddie Ladd yn creu darnau bach a mawr sy’n cyfuno dawns, cerddoriaeth, delweddau a thestun. Eddie Ladd makes large and small pieces that combine dance, music, images and text. Chloe Lo�us Choreographer/Performer Telephone: 07884 263182 Email: chloe@chloelo�us.co.uk Cardiff based choreographer and performer who has worked extensively throughout the UK and interna�onally with many different companies. Founded 28 Degrees Dance in 2006 and has since been commissioned to create and tour several new works. Also has extensive teaching experience. Carmen Medway-Stephens Mobile: 07884184994 Email: rodstephens@b�nternet.co.uk Ba Honours Theatre Media Drama, PGCE Post 16, QTS Post 11 Choreographer for Theatre including Ballet, Contemporary, Physical Theatre, Image Theatre, Eastern (Egyp�an, Belly, Folk) and Salsa. Work from a drama and theatre perspec�ve in crea�ng performance for the stage. Ability to work with all ages. Terry Michael Choreographer Telephone: 07950363209 Working across the UK and for Earthfall for 8 years. Terry is currently a choreographer for the BBC. 66 Welsh Independent Dance

Hannah Morris Telephone: 07951626492 Email: hanrmorris@gmail.com Hannah has worked across the UK and Europe with a range of ar�sts and community based performers, and on a variety of projects in fes�vals, music arenas, theatre, outdoor and TV. Hannah specialises in interac�ve theatrical gaming, large scale, outdoor and pitch choreography, character-based and theatrical circus work, and music stage shows and videos. Kim Noble Address: 4 Pine Crest Way, Bream, Gloucester T: 07866404393 E: ksnowball@hotmail.co.uk My approach to choreography has been described as innova�ve and evoca�ve. I enjoy looking at the intricate and the extreme and elabora�ng on the connec�on between movement and sound. I enjoy making unique performance experiences and installa�ons, which are packed with subtlety and power. I am currently choreographing for JoonDance. Marega Palser Address: Garden Co�age, The Hollies, Pentrepoeth Road, Rhiwderin, Newport , NP10 8RT Telephone: 01633 893458 Website: www.mrandmrsclark.co.uk Email: maregapalser@yahoo.co.uk Marega studied at The London School of Contemporary Dance and with Tetsuro Fukuhara in Japan and Europe. She has become interested in deconstruc�ng dance, an�-movement and tes�ng what the body can do. More recently she has developed work with masks, not directly inspired by Lecoq but nonetheless similar in applica�on.

Dancers’ Handbook

Kiran Ratna Independent Choreographer Address: 22 Maes-y-Coed Road, Heath, Cardiff, CF14 4HF Telephone: 029 2075 1158 Email: kiran@selvaratnam.co.uk Dance style: South Indian Dance, Bharata Natyam Kiran Ratna is founder and Ar�s�c Director of India Dance Wales and is considered a pioneer of classical Indian dance in Wales. Kiran has choreographed many innova�ve works that have won India Dance Wales much acclaim, and her choreography ranges from pure tradi�onal Bharata Natyam to performances combining different art forms and cross cultural themes. Denise Rowe Address: Tolo Ko Tolo, Radford Mill Farm, Timsbury, Bath, BA2 0QF T: 077233 29414 www.radfordmillfarm.co.uk Choreographer, dancer, singer and mbira player with ten years’ experience in tradi�onal and contemporary pan-African dance. Denise is co-founder of Tolo Ko Tolo fusion dance company and is solo dancer and singer in the interna�onal world music ou�it, Baka Beyond. Caroline Sabin Address: 57 Fairfield Avenue, Cardiff CF5 1BR Telephone: 029 20219484 Email: caroline.sabin@ntlworld.com Caroline Sabin’s most recent works, two short films �tled Rest/full and Tune for a Woodland Creature, were selected for Perypezye Urbane’s Solo in Azione Fes�val 2009 in Milan, and the Na�onal Library Film archive respec�vely. Her live solo piece, Painless, will be showing in Milan in 2010. Her work is visually arres�ng and emo�onally profound, drawing on her Fine Art background and work as a therapist.

68 Welsh Independent Dance

Contacts

Welsh organisa�ons Welsh Independent Dance info@welshindance.co.uk Welsh Independent Dance (WID) is the na�onal ar�st led organisa�on for professional dance ar�sts working independently in Wales. Through its many programmes and services, WID encourages ar�sts to develop their cra� within a suppor�ve and nurtured environment and is commi�ed to developing a strong, vibrant and diverse dance sector for Wales. In addi�on to its training and professional development ac�vity, WID also provides a comprehensive membership package that includes Go-C grants, individual training awards, monthly newsle�er, reduced rates to WID training events and reduced studio/equipment hire rates. www.welshindance.co.uk Community Dance Wales info@communitydancewales.com Community Dance Wales connects communi�es with professional dance prac�ce by providing crea�ve opportuni�es for everyone to par�cipate in the dance experience. Community Dance Wales is the na�onal umbrella body, which supports and develops best prac�ce in community dance throughout Wales. CDW is a membership organisa�on providing: advice, informa�on, training, networking and a strong voice speaking out for the dance sector. www.communitydancewales.com TAN Dance tan.dance@virgin.net The Community Dance Organisa�on for City & County of Swansea & Neath Port Talbot County Borough Council. We work in the community and in educa�on with all ages and abili�es. www.tandance1.b�nternet.co.uk

Dancers’ Handbook

North East Wales Dance info@newdance.org.uk North East Wales Dance is based at the Royal Interna�onal Pavilion, Llangollen. The aim of the Charity is to promote dance as an art form within the communi�es of North East Wales through the advancement of educa�on; and seeks to beneﬁt a diverse cross-sec�on of the community. www.newdance.org.uk Dawns i Bawb post@dawnsibawb.org Dawns i Bawb is the umbrella organisa�on for community dance in North West Wales. From Pwllheli to Abergele, from Holyhead to Towyn, Dawns i Bawb works with local people, with amateur and professional dance prac��oners and with choreographers to encourage dance in the area. www.dawnsibawb.org Powys Dance powys.dance@powys.gov.uk Powys Dance is a small professional dance company, based in Llandrindod Wells in Mid-Wales. We aim to encourage par�cipa�on in, and performance of dance throughout Powys. The company works in educa�on and community se�ngs as well as occasional public performances. h�p://educa�on.powys.gov.uk/english/powysdance/ac�vi�es.php Na�onal Youth Dance Wales nydw@nyaw.co.uk Na�onal Youth Dance Wales (NYDW) is an exci�ng new ini�a�ve for young dancers in Wales. It was launched in January 2000 as part of Na�onal Youth Arts Wales, a major development aﬀording greater access to arts opportuni�es for young people across Wales. www.nydw.co.uk 70 Welsh Independent Dance

Na�onal Dance Company Wales info@ndcw.co.uk Based at the Dance House in the Wales Millennium Centre, a performing company with a repertoire of interna�onal choreography, and Dance Explorer - a year-round programme of professional development, par�cipa�on and engagement. Formely Diversions. www.ndcw.co.uk Earthfall earthfall@earthfall.org.uk Earthfall was formed in 1989 by Jessica Cohen and Jim Ennis with a policy of forging radical choreography with live music and strong visual imagery. Earthfall’s issue-based work is concerned with seeking a personal honesty, passion and economy in physical performance to produce quality work of depth. earthfall has performed throughout the world in many major fes�vals and has featured on numerous TV and radio broadcasts. www.earthfall.org.uk Rubicon Dance info@rubicondance.co.uk Rubicon offers full & part �me dance and movement classes for adults and young people. They offer a one-year full-�me preliminary dance training course, where pupils can gain open college network credits. www.rubicondance.co.uk Carlson Dance Carlson Dance Company was formed in 1992 by Ar�s�c Directors Emma and Sally Carlson. Prior to this, both performer/choreographer Emma Carlson and designer-director Sally Carlson worked extensively with numerous companies and choreographers in Wales, the UK & Europe.In 1998, the Company set up ‘Dance Blast’, a unique dance performance scheme for young people between the ages of 11 to 18. Dance Blast annual par�cipa�on figures exceed 2,000. emmacarlsonwales@hotmail.com Dancers’ Handbook

India Dance Wales admin@indiadancewales.com All over Britain there is a vastly growing interest in Indian Dance. Bharat Natyam is interna�onally one of the most popular styles of Indian Dance. As Wales’s only professional company in this ﬁeld, India Dance Wales has a great reputa�on. Since the founda�on of the company in 1993, the pioneering spirit of the company has created innova�ve and challenging work based on Classical Indian Dance involving other art forms such as storytelling and visual art. The Company places great importance on providing the audience and the community at large with good quality work, which is accessible to all. The aim is to maintain authen�city while exploring contemporary ideas crossing cultural boundaries and providing an unforge�able experience for all. www.indiadancewales.com Independent Ballet Wales Since 1986, Independent Ballet Wales has presented a high standard of classical ballet in an unpreten�ous and original way. The company regularly asks venues to keep their �cket prices to a minimum and we go out of our way to insure that we remain accessible to all people through our workshops and classes. Independent Ballet Wales has grown stedily since its incep�on and has remained true to its aims and ideals. Each year the company tour to around 70 venues throughout the UK and beyond with 8 dancers and two technicians, presen�ng innova�ve, challenging and original produc�ons. The company is also proud of its record in training and encouraging young dancers with ex members now dancing in companies across the world including English Na�onal Ballet, Dutch Na�onal Ballet and The Sco�sh Ballet. www.welshballet.co.uk

72 Welsh Independent Dance

Na�onal organisa�ons Dance UK info@danceuk.org As the na�onal voice for dance, Dance UK advocates and lobbies to promote the importance and needs of dance. Its a membership organisa�on that works to create a diverse, dynamic and healthy future for dance. Dance UK aims to promote sustainable dance careers and improve the condi�ons in which dance is created, performed and experienced. www.danceuk.org The Place Ar�st Development ar�stdevelopment@theplace.org.uk The Ar�st Development programme is especially designed for those with diverse dance careers in the UK and abroad and has over a decade of experience. www.theplace.org.uk Council for Dance Educa�on and Training info@cdet.org.uk Council for Dance Educa�on (CDET) provides informa�on for dancers, holds a dance teachers’ directory, lists voca�onal and recrea�onal dance courses, accredits dance educa�on ins�tutes and teaching socie�es, post jobs and events. www.cdet.org.uk Founda�on for Community Dance info@communitydance.org.uk The Founda�on for Community Dance is a UK-wide charity, established in 1986, to support the development of community dance. We support the development of more opportuni�es for people to dance; we provide informa�on, advice and guidance for dance ar�sts, organisa�ons, students and communi�es about community dance. Dancers’ Handbook

Work in Dance info@workindance.com Work in Dance is a partnership between Founda�on for Community Dance, Dance UK and The Place, and is a part of the Crea�ve People network. www.workindance.co.uk Independent Dance info@independentdance.co.uk Independent Dance is a London based ar�st-led training organisa�on dedicated to the ongoing development of professional dance ar�sts. We aim to offer a programme which stays per�nent to the needs of the independent dance profession and welcome feedback and sugges�ons from ar�sts. www.independentdance.co.uk CDET (Council for Dance Educa�on and Training) info@cdet.org.uk Informa�on and advice about professional dance training. www.cdet.org.uk Bri�sh Ballet Organisa�on info@bbo.org.uk Established in 1930 by Edouard Espinosa and Louise Kaythe, the Bri�sh Ballet Organisa�on (BBO) advocates “dance for all”. The BBO provides an Examina�on Syllabus in Classical Ballet, Tap, Jazz and Modern Dance which has been designed to accommodate a wide variety of candidates of different ages, experience and levels of achievement. BBO’s Graded and Voca�onal Examina�ons in classical ballet, tap and jazz are recognised by the Government’s Qualifica�ons and Curriculum Authority (QCA), the Qualifica�ons and Curriculum Authority Wales (ACCAC) and Northern Ireland (CCEA). www.bbo.org.uk 74 Welsh Independent Dance

Dance Umbrella Dance Umbrella was founded in 1978 with the aim of reflec�ng and encouraging the burgeoning interest in contemporary dance in Britain. From modest beginnings as a showcase for emerging choreographers, Dance Umbrella’s annual London fes�val now ranks highly among Europe’s leading interna�onal dance fes�vals and the organisa�on is recognised as one of Britain’s most adventurous dance promoters presen�ng an annual fes�val as well as regional tours from overseas companies. www.danceumbrella.co.uk Dancers’ Career Development linda@thedcd.org.uk Dancers’ Career Development (DCD) offers educa�onal advice, career coaching, emo�onal counselling, CV and interview guidance, grants for retraining, business start-up grants, and on-going support for professional dancers whose performing career is drawing to a close. www.thedcd.org.uk Na�onal Dance Teachers Associa�on office@ndta.org.uk The Na�onal Dance Teachers’ Associa�on is a charity run by a team of dance teachers, advisers, lecturers from all phases of educa�on. Recognised as the na�onal voice for dance educa�on, the NDTA is the only na�on-wide associa�on focusing specifically on dance in schools. By dissemina�ng informa�on, and working with other organisa�ons, it provides an essen�al network for dance teachers in schools. It also serves as a vital link between those at the grass roots and the policy makers at local and na�onal level. www.ndta.org.uk

Dancers’ Handbook

DanceService UK Informa�on, news and discussion on contemporary dance in the UK. www.danceservice.co.uk Na�onal Resource Centre for Dance nrcd@surrey.ac.uk Comprehensive library and archive on dance, based at the University of Surrey in Guildford. www.surrey.ac.uk/NRCD/ UK Founda�on for Dance UK Founda�on for Dance was formed in 1994 to promote dance by running venues, promo�ng ar�sts, producing and touring dance shows, and oﬀering whatever support might be appropriate at any �me. producer@ukfd.co.uk Since 1998 UKFD has relaunched and managed Marylebone Dance Studio as a central London venue for dance, oﬀering evening and weekend open classes for adults (ballet, dance, mar�al arts and body condi�oning), as well as a popular weekday rehearsal space for professional companies and independent ar�sts. www.m-dancestudio.co.uk

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Na�onal & regional networks Na�onal Dance Network Focusing on professional dance produc�on, ar�sts development and distribu�on in an interna�onal context, major organisa�ons from the dance sector have joined forces to work together to improve the profile and opportuni�es for UK dance. The Na�onal Dance Network (NDN) grew out of the Associa�on of Na�onal Dance Agencies (ANDA), and now encompasses a wider membership and includes organisa�ons in England, Scotland and Wales. NDN’s second priority is to discuss and influence future models of showcasing UK dance in an interna�onal context. It hopes to build on the legacy of Bri�sh Dance Edi�ons to assess needs and opportuni�es for profiling UK to na�onal and interna�onal promoters. hannah@twoscompanydance.co.uk (Coordinator) Dance South West Dance South West is the regional strategic agency for dance. We bring together a network of partners to enable people in the South West to make, watch and take part in dance. Dance South West is funded by Arts Council England South West. www.dancesouthwest.org.uk Dance North West For the past ten years, Dance Northwest has provided a professional development programme for dance ar�sts in the region, as a part of the na�onal network of dance agencies. In that �me the dance por�olio in the North West has seen an expansion of dance prac��oners, dance companies, dance development posts and dance hubs. www.dancenorthwest.org.uk

Dancers’ Handbook

Regional agency partners: Cheshire Dance info@cheshiredance.org www.cheshiredance.org

Ludus Dance info@ludusdance.org www.ludusdance.org

Dance Ini�a�ve Greater Manchester (DiGM) info@digm.org.uk www.digm.org

Merseyside Dance Ini�a�ve (MDI) info@mdi.org.uk www.merseysidedance.co.uk

Dance 4 no�dance@dance4.co.uk Dance 4 is the na�onal dance agency based in No�ngham, they have developed outreach and community programmes in partnership with the District, County and City Councils of No�nghamshire. Dance 4 has ar�s�c, educa�on & community and professional development programmes, resources include library, regular newsle�er and technical equipment for hire. www.dance4.co.uk DanceEast info@danceeast.co.uk DanceEast, the Na�onal Dance Agency based in Ipswich, acts as a catalyst in providing an iden�ﬁable, crea�ve and broad dance ecology for the East of England. Building new audiences and advocates for dance, developing the art form and suppor�ng dance ar�sts is fundamental to the work of DanceEast. www.danceeast.co.uk

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DanceXchange info@dancexchange.org.uk DanceXchange is a developmental organisa�on working pro-ac�vely in dance to aﬀect cultural development, allow for social inclusion, change health a�tudes and aid the growth of the dance economy. The agency achieves this through individual projects, ongoing dance ac�vity and general advocacy for dance. DanceXchange work is delivered either in partnership with other providers or solely by the agency but informed by other dance provision. www.dancexchange.org.uk Essexdance info@essexdance.co.uk Essexdance is the regional dance development agency for Essex, based in Chelmsford, England. It acts as a focus for innova�on, excellence and access for dance development in the county, region and beyond. essexdance works in professional, educa�onal and community contexts to deliver a range of dance events. www.essexdance.co.uk The Place The Place is the UK’s premier centre for contemporary dance, uni�ng training, crea�on and performance in one unique building. Working with dancers from age 5 upwards, The Place brings new talent into the dance profession and guides ar�sts through their careers. The Place’s ac�vi�es, unmatched in their quality and range, include London Contemporary Dance School, Richard Alston Dance Company and the Robin Howard Dance Theatre, together with pioneering educa�on, outreach and professional development projects. www.theplace.org.uk South East Dance info@southeastdance.org.uk Na�onal Dance Agency in Brighton (South East region). South East Dancers’ Handbook

Dance is a Na�onal Dance Agency and the lead organisa�on in the UK for screen dance with an outstanding interna�onal profile. Excellence in community prac�ce and screen dance is at the heart of all our work. www.southeastdance.org.uk Yorkshire Dance Yorkshire Dance was launched in 1982, and now runs over 45 sessions and courses each week, from Bollywood and Ballroom to Breakdance and Ballet. Yorkshire Dance organises regular performances of contemporary dance and performance art both at the Centre in Leeds and in venues across the Yorkshire region. Yorkshire Dance supports ar�sts and choreographers in numerous ways, and engages with local people through a range of workshops, Summer and Easter schools, Hafla nights and varying youth dance and community events. An expanding programme of produc�ons, commissions, training events and the touring of new work enables Yorkshire Dance to play an increasing role in the development of dance on a regional and na�onal level. www.everybodydances.com Swindon Dance info@swindondance.org.uk Since its incep�on almost 30 years ago, Swindon Dance has been renowned for passion and professional commitment to dance, dancers, dance makers and audiences alike. www.swindondance.org.uk Dance Base (Edinburgh) Dance Base is Scotland’s Na�onal Centre for Dance; we offer a vibrant and upli�ing focal point which reaches out and inspires well-being and crea�vity, and cul�vates a future for dance in local, na�onal and interna�onal communi�es. Dance Base operates a public class programme, a professional support programme & a developing outreach programme taking dance in a therapeu�c capacity to those unable to come into Dance Base - including those in schools, nurseries, 80 Welsh Independent Dance

sheltered housing units, hospitals, adult training centres and proba�on centres. www.dancebase.co.uk Dance City Dance City is the Na�onal Dance Agency for the North East of England. Opened in the autumn of 2005, Dance City’s pioneering £7.6m centre for dance has given the organisa�on the perfect home from which to develop and drive dance forward as one of the most exci�ng art forms of the 21st Century. www.dancecity.co.uk City Moves Regional Dance Agency for the North East of Scotland, promo�ng a range of dance ac�vi�es for people of all ages and abili�es both within our city centre studio and across the city. The dance studio houses a varied programme of community dance classes, workshops and performance groups as well as serving to raise the proﬁle of dance and providing an informa�on point. citymoves@aberdeencity.gov.uk Dance Agency Cornwall Dance & Theatre Cornwall is the development agency for dance and theatre in Cornwall, commi�ed to working in partnership with ar�sts, companies, venues, cultural development organisa�ons, educa�onal establishments and community groups to develop a vibrant performing arts ecology in Cornwall. info@dtcworks.co.uk 01872 222622 Dance House Dance House was established in 1999 to address the lack of regular dance classes available for both community and professional dancers in Glasgow. Dance House oﬀers an exci�ng and diverse range of quality Dancers’ Handbook

dance classes for all abili�es led by respected and experienced teachers, complemented by a challenging outreach and professional workshop programme. www.dancehouse.org Greenwich Dance Agency Greenwich Dance Agency (gDA) provides a mee�ng place for professional dance ar�sts and the local community. It produces and promotes a range of ac�vi�es including classes, workshops and unique events, enabling local people to par�cipate in and experience dance. In addi�on, it has established a na�onal and interna�onal reputa�on for crea�ng exci�ng and innova�ve opportuni�es for professional ar�sts to develop their skills and extend their prac�ce. www.greenwichdance.org.uk Moving East Moving East was founded in March 1999 by members of Tetsushinkan Budojo. The aim is to provide a centre where budo, dance and complementary medicine can share the space and cross-fer�lise knowledge and understanding. www.movingeast.co.uk Hampshire Dance Hampshire Dance is a regional dance agency and partner organisa�on for Youth Dance England in the South East. They provide a range of opportuni�es to par�cipate and engage with dance through projects, performances, training and classes. Ac�vity is par�cularly in the areas of: • youth dance, both in and out of school • the commissioning of new work that engages with speciﬁc community groups • professional development for dance ar�sts, prac��oners and teachers www.hampshiredance.org.uk 82 Welsh Independent Dance

Lincolnshire Dance Lincolnshire dance is the Dance Development Agency for the county of Lincolnshire and provides a focus for dance ac�vity within the county. Since that date it has worked with professional dancers and key personnel within Lincolnshire to raise the profile of dance and both the range and quality of dance opportuni�es available. www.lincolnshiredance.com Norfolk Dance Norfolk Dance is the development organisa�on for dance in the county. We offer imagina�ve and challenging opportuni�es for people of all ages and abili�es to become involved in dance. We work with professional dancers and companies as well as our resident dance ar�sts offering classes, workshops, performances and professional development across the county. www.norfolkdance.co.uk Ydance YDance (Sco�sh Youth Dance) is the Na�onal Youth Dance Agency for Scotland. As a provider of quality dance educa�on, YDance encourages all young people to develop their crea�vity through dance. www.ydance.org Youth Dance England Youth Dance England is the na�onal dance agency to connect young people with dance. www.yde.org.uk Dance Ireland Dance Ireland is a mul�-faceted resource organisa�on dedicated to developing programmes that respond to the needs of the professional. dance ar�st, while simultaneously increasing the public’s involvement in dance at all levels. www.danceireland.ie Dancers’ Handbook

UK Arts Councils Arts Council of Wales The Arts Council of Wales (ACW) was set up in 1994 by Royal Charter. It is responsible for funding and developing the arts in Wales. The Welsh Assembly Government provides ACW with grant in aid to fund the arts in Wales and, as an Assembly Sponsored Public Body (ASPB), ACW is responsible to the Welsh Assembly Government for the way this money is spent. ACW is also the distributor of Lo�ery money for the arts in Wales. www.artswales.org.uk Arts Council England Arts Council England is the na�onal development agency for the arts in England. Inves�ng public funds from government and the Na�onal Lo�ery, Arts Council promotes the arts at the heart of na�onal life, reﬂec�ng England’s cultural iden�ty. www.artscouncil.org.uk Arts Council of Scotland The Sco�sh Arts Council is the lead body for the funding, development and advocacy of the arts in Scotland. www.sco�sharts.org.uk Arts Council of Northern Ireland The Arts Council is the lead development agency for the arts in Northern Ireland. It is the main support for ar�sts and arts organisa�ons, oﬀering a broad range of funding opportuni�es through our Exchequer and Na�onal Lo�ery funds. www.artscouncil-ni.org

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Trusts and founda�ons Clore Leadership Programme The programme is an ini�a�ve of the Clore Duffield Founda�on, and our aim is to help to train and develop a new genera�on of leaders for the cultural sector here in the UK. Each year we assist a number of Clore Fellows to undertake an individual programme of learning, work, research, training, and secondment, designed to develop their leadership skills and experience. www.cloreleadership.org Esmée Fairbairn Founda�on Esmée Fairbairn Founda�on is one of the largest independent grant making founda�ons in the UK. www.esmeefairbairn.org.uk Jerwood Charitable Founda�on Revenue grants for dance, music, theatre, literature and other projects, including the Jerwood Visual Arts awards. www.jerwoodcharitablefounda�on.org Lisa Ullmann Travelling Scholarship Fund The aim of this small charity is to provide financial support to individuals who wish to travel abroad or in the United Kingdom to a�end a conference, pursue a research project or undertake a short course of study in the field of movement or dance. www.ullmann-trav.fsnet.co.uk Paul Hamlyn Founda�on The programme supports the development and dissemina�on of new ideas to increase people’s experience, enjoyment and involvement in the arts. Funding benefits organisa�ons/groups through the open grants scheme and special ini�a�ves, Jane A�enborough Dance in Educa�on (JADE) and the Breakthrough Fund. We also support individuals through our Awards for Ar�sts. www.phf.org.uk Dancers’ Handbook

Resources and press Na�onal Campaign for the Arts The Na�onal Campaign for the Arts (NCA) is the only independent lobbying organisa�on that represents all the arts. The campaign is funded en�rely by its members to ensure its independence. It gives a voice for the arts world in all its diversity. The Na�onal Campaign for the Arts represents audience members and arts supporters as well as ar�sts. www.artscampaign.org.uk Dance Books Ltd Specialist dance bookshop. www.dancebooks.co.uk Arts Professional The UK’s leading Arts Management magazine. www.artsprofessional.co.uk The Stage Weekly newspaper/website of the performing arts industry. Includes ar�cles, reviews, audi�ons and jobs. www.thestage.co.uk 86 Welsh Independent Dance

Dance Europe Magazine Dance Europe magazine was founded in 1995 and is published 11 �mes a year. The editorial policy aims to provide an unbiased pla�orm for dance throughout Europe and beyond. www.danceeurope.net Dancing Times (sister magazine to Dance Today) “Britain’s leading Dance monthly” www.dancing-�mes.co.uk Dance Today The world of Dance at your ﬁnger�ps www.dance-today.co.uk Dance Theatre Journal Dance Theatre Journal is the UK’s leading magazine for dance and live art. It contains reviews, features, interviews and in-depth discussions by leading dance writers. It also includes lis�ngs of dance performances and workshops in the UK. www.laban.org/home/ publica�ons/ _dance_theatre_journal.phtml

Theatre in Wales This website is an online resource for the professional arts community. It has news, reviews, informa�on, links and debates. www.theatre-wales.co.uk

of movement for actors, community dance, movement and dance therapy, personal growth and development, dance in educa�on, dance nota�on and Ac�on Proﬁling. www.labanguild.f9.co.uk

London Dance A website for all London’s dance companies, organisa�ons and audiences. A unique on-line resource of dance performances, dance companies, interviews and up-to-the minute news. www.londondance.com

Language of Dance Centre The mission is to make crea�ve movement available to people of all ages, genders, cultural background and abili�es. www.lodc.org

Dance Resource Base Dance Resource Base is the premier non-proﬁt resource organisa�on for dance in Northern Ireland. www.danceresourcebase.org

Bri�sh Associa�on for Performing Arts Medicine BAPAM (the Bri�sh Associa�on for Performing Arts Medicine) is a unique charity delivering specialist health support to performing ar�sts. www.bapam.org.uk

Videodance.org A complete resource for video dance making training and wri�ng. www.videodance.org.uk Laban Guild for Movement and Dance For over ﬁ�y years members of the Laban Guild have been inspired by Laban’s work in the ﬁelds of: dance theatre, mastery Dancers’ Handbook

Other organisa�ons Welsh Assembly Government The Welsh Assembly Government is responsible for most of the issues of day-to-day concern to the people of Wales, including the economy, health, educa�on, and local government. The role of the Welsh Assembly Government is to exercise func�ons devolved to it in order to: make decisions on ma�ers which affect people’s daily lives; develop and implement policy; make subordinate legisla�on (e.g. regula�ons and statutory guidance) and propose Assembly Measures (Welsh laws). www.wales.gov.uk Bri�sh Council The Bri�sh Council’s Arts Group consists of a team of professionals who mobilise the best of Bri�sh crea�ve talent to develop innova�ve programmes that will engage with thousands of people all over the world, drawing them into a closer rela�onship with the UK. The areas we cover include music, drama, dance, visual arts, design, architecture, film, literature, museums management and the crea�ve economy, and we have mul�-disciplinary arts specialists based in our offices in Cardiff, Edinburgh and Belfast. www.bri�shcouncil.org Arts & Business Through 12 regional offices, Arts & Business acts as a crucible where businesses and arts organisa�ons come together to create partnerships to benefit themselves and the community at large. Each A&B region runs A&B programmes and services, to bring together the arts and business communi�es locally. www.aandb.org.uk

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Wales Arts Interna�onal Wales Arts Interna�onal’s purpose is to help build a dynamic interna�onal context to the arts in Wales, working with ar�sts and cultural organisa�ons commi�ed to contemporary prac�ce, intercultural dialogue and collabora�on. www.wai.org.uk Wales Associa�on for the Performing Arts (WAPA) The Wales Associa�on for the Performing Arts (WAPA) is the umbrella body for the professional performing arts organisa�ons in Wales, represen�ng theatre, opera and dance. WAPA’s main role is to promote the professional performing arts by raising the proﬁle of the sector in as many ways as possible. www.wapaarts.org.uk Audiences Wales Audiences Wales is an agency dedicated to increasing access to the arts and cultural sector in Wales. We provide a range of tac�cal and strategic marke�ng services for a wide range of organisa�ons, from opera companies to galleries, amateur companies and museums. www.audienceswales.co.uk Equity Equity is the UK Trade Union represen�ng professional performers and other crea�ve workers from across the spectrum of the entertainment, crea�ve and cultural industries. www.equity.org.uk Independent Theatre Council The Independent Theatre Council is the management associa�on and industry lead body for performing arts organisa�ons and individuals working in the ﬁeld of drama, dance, opera and music theatre, mime and physical theatre, circus, puppetry, street arts and mixed media. www.itc-arts.org Dancers’ Handbook

Theatrical Management Associa�on TMA is the pre-eminent UK wide organisa�on dedicated to providing professional support for the performing arts. Our members include repertory and producing theatres, arts centres and touring venues, major na�onal companies and independent producers, opera and dance companies and associated businesses. www.tmauk.org

Fes�vals Bri�sh Associa�on of Arts Fes�vals AFA is a membership organisa�on covering the widest span of arts fes�vals in the UK. BAFA welcomes membership from all types of arts fes�val across a full range of art forms including music, dance, the visual arts, theatre, ﬁlm, comedy and street arts. www.artsfes�vals.co.uk Woking Dance Fes�val The biennial interna�onal fes�val is the largest dance fes�val in the South East of England, commi�ed to presen�ng a diverse programme of dance from across the globe and hos�ng a number of UK premieres. www.wokingdancefes�val.co.uk

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