ONE Magazine | Spring 2022

Special Focus on Breaking Barriers Critical Mass hits Birmingham!

In conversation with the BalletBoyz Win tickets to Akram Khan’s new work!

Health and Wellbeing New info sheet: Considering Difference Giovanni Pernice’s new approach Safeguarding 16-24 year olds

Industry and Education Dance and environmental sustainability Global representation in education Dance at HE success stories The One Dance UK Magazine Issue 12, Spring 2022

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Andrew Hurst MBE Chief Executive, One Dance UK

Dear members and friends, As spring arrives, we are delighted to be able to plan in-person activity with much more certainty.

We are excited to be returning to a live U.Dance National Festival this summer, to be held in the Commonwealth Games city of Birmingham, which will be alive with community dance through the Critical Mass programme. Go to page 11 to hear from those involved. We also have an exciting season of dance of the African Diaspora upskilling activity this year, to be held both in person and online (page 46).

BBC Dance Passion returned in February with special screenings on BBC4 and online, so we extend huge thanks to all of the partners who made this unique celebration of UK dance possible. There is still time to check out the hub programmes, and specially-commissioned dance films and interactive projects (page 28).

This issue of One is themed ‘Breaking Barriers’ and it is wonderful to see dance opportunities

progressively being opened up to more people. This is highlighted by the recent success of deaf dancer Rose Ayling-Ellis on Strictly Come Dancing, broadcast to millions of homes, and you can find insight from her partner Giovanni Pernice on page 20.

One Dance UK continues to champion inclusivity, and the health and wellbeing of everyone who dances. The team and our project partners have conducted some brilliant research which we’re sharing as guidelines around considering differences for dance settings (page 23) and safeguarding younger dancers (page 50). The Decolonising the Dance Curriculum Roundtable partners have also produced resources for teachers wanting to teach global majority dance (page 40).

Wherever you are, however you dance, we are here to support you and advocate on your behalf. We send you our warmest wishes for 2022 and look forward to (re)connecting in person at a member event soon.

In This Issue

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

Richard Chappell Page 30 Richard Chappell is an internationally renowned choreographer and is Artistic Director of Richard Chappell Dance. Through annual programmes, the company creates work at the forefront of theatre, interdisciplinary collaboration, film and site responsive performance. He is currently an Associate Artist at Exeter Northcott.

Richard has created works for leading dance companies and theatres worldwide, guest lectured at various renowned institutions and developed extensive programmes for community participation and artist development.

Shobana Jeyasingh CBE Page 40 Shobana Jeyasingh is an internationally recognised choreographer and Artistic Director of Shobana Jeyasingh Dance. She has created over 60 critically acclaimed works for diverse platforms including stage, screen and unconventional public spaces. Her work is noted for both its intellectual rigour and its visceral physicality.

Over the course of a distinguished career, Shobana has collaborated with scientists, gallery curators, composers, film makers, digital creatives as well as dancers and designers to make bold multi-disciplinary work.

Cath Sykes Page 50 Cath works with the Ann Craft Trust and has been working with children, young people and adults in the voluntary and community sector for over 25 years. She has worked in youth governance, participation, training and safeguarding managing national initiatives for the sector.

Cath now specialises in adult safeguarding with the aim to support, develop and raise awareness so that all participants of sport are in a safe and inclusive environment.

The One Dance UK Magazine | Spring 2022 3

Photos: Top: A Ayuso, Left: Robert Robinson, Centre: JP Masclet, Right: Ann Craft Trust

Welcome

Contents 3 Welcome by Andrew Hurst MBE 5 Reader Competition: WIN TICKETS to Akram Khan’s new production Jungle Book reimagined!

In the Spotlight 6 News 8 One Dance UK Awards 10 Special Feature: Dance at the Birmingham 2022 Commonwealth Games 16 One Dance UK Membership: Member Q&A with Renee Cohen Special Focus on Breaking Barriers 19 Introduction by Jazlyn Pinckney, Head of Workforce Development 20 (Quick)Step Towards Inclusion by Laura Nicholson 23 One Dance UK Information Sheet: Considering Difference by Jess Lowe, Erin Sanchez, Katie Stevens and Barny Darnell 28 Dance Passion 2022 Has Arrived!

30 Higher Education: Developing Skills for Life by Amy Williams with Richard Chappell and Laura Kriefman 32 Animated Dance: Behind the Screen by Dani Bower with Encanto’s Jamal Sims and Kai Martinez 33 The Boyz are Back by Cameron Ball with Balletboyz’ Michael Nunn and William Trevitt 36 Environmental Responsibility in the Dance Sector by Chloe Sprackling 38 Breakin’ Through by Barny Darnell with Break Mission’s David ‘Footloose’ Russell and Michael ‘Silence’ Glasgow 40 Representation in Dance Education (RIDE) Resource by Jo Gatenby with Mohika Shankar, Kashish Gaba, Shobana Jeyasingh CBE and Monica Ande 43 Acknowledging Black Excellence in Dance by Tamar Dixon 46 Responding to Needs by Jazlyn Pinckney 48 Emerging into a New Normality by Maria Kolitsida 50 Creating Safer Cultures for 16-24 Year Olds by Cath Sykes and Tracy Witney 52 Try, Balance and Joy with DanceEast and Russell Maliphant Dance Company by Stella Eldon, Claire Farmer, Helen Laws and Jeanette Siddall 54 Youth Dancers: Breaking Barriers and Crossing Borders with DU Dance by Dr Aoife McGrath and Dr Victoria Durrer Cut-Out Resource for Teachers 55 Critical Mass: Exploring Creative Tasks and Ideas by Alexandra Henwood, Zoie Golding and Anna Belyavin 57 U.Dance 2022 58 Book Reviews — Successful Artists Mean Business by Tomorr Kokona, review by Cameron Ball — Periodization: A Framework for Dance Training by Prof. Matthew Wyon and Gaby Allard, review by Dr Sarah Needham-Beck

Front Cover: Rebecca Fowler is a member of Freewheelin’, Team England ParaCheer Hip Hop World Champion 20117/18 and a Para Dance UK National Champion 2018/19.

She is taking part in Critical Mass 2022 with Freewheelin’ - hear from her on page 12.

R: Rebecca Fowler with Katie Stevens Both photos by Dani Bower for One Dance UK 4 The One Dance UK Magazine | Spring 2022

Editorial and Advertising Lara Coffey Head of Marketing and Communications Cameron Ball Magazine Editor Katie Stevens Assistant Editor Advertising enquiries Contact Amelia Bickley amelia.bickley@onedanceuk.org Funders and Supporters With thanks to our funders

We thank our generous project partners, funder and supporters.

For further information, go to: www.onedanceuk.org/ support-us/thank-you Design tm-studio.co.uk

Reader Competition

WIN TICKETS to the new production of Akram Khan’s Jungle Book reimagined

Akram Khan Company will present the new production of Akram Khan’s new work, Jungle Book reimagined – a deeply personal interpretation based on the original story of Rudyard Kipling’s muchloved family classic – at Leicester’s Curve Theatre, 2–9 April 2022. A UK and international tour will follow, taking in places including France, Spain, Korea and Portugal.

In a near future world, a family is torn apart as they escape their homeland, devastated by the impact of climate change. Arriving alone in a deserted modern city, and with wild animals claiming the streets as their own, the child soon discovers unlikely allies in this strange new jungle.

Embedded in the roots of Kipling’s The Jungle Book is the deep threat that mankind poses towards nature. In this new dance-theatre production,

Khan and his team reinvent the journey of Mowgli through the eyes of a climate refugee.

Featuring an original new score, ten international dancers and state-ofthe-art animation and visuals, Jungle Book reimagined is a compelling and vital piece of storytelling about our intrinsic need to belong and bond with others, placing the importance of connecting with and respecting our natural world at its heart.

“I believe that we must make changes from the grassroots up if we are to see a brighter future.

And so I feel compelled to share the story – lovingly known as The Jungle Book – with children and adults from all cultures, in order to re-learn what we, as a species, have so conveniently forgotten.

I believe that the strongest and deepest way to tell this story is through the magic of dance, music and theatre.”

Akram Khan

One pair of tickets to this new production are on offer to a lucky winner. One Dance UK Members receive two entries per submission, doubling your chance to win!

Tickets are valid for the performance on Monday 4 April at 7pm at Curve, Leicester.

To enter: EITHER email info@onedanceuk.org with your name OR comment on the competition post on the One Dance UK Facebook or Instagram page (@onedanceuk)

Photo: Ambra Vernuccio

Entries close 30 March 2022 For further information about the company and the production, go to www.akramkhancompany.net Terms and conditions apply.

Go to www.onedanceuk.org/terms-and-conditions for details.

The One Dance UK Magazine | Spring 2022 5

In the Spotlight

News Conversations with Carers Rashmi Becker MBE, founder of Step Change Studios, has been having professional and personal conversations with carers throughout her life. Having worked in social care, and being guardian to her disabled brother, she is acutely aware of the realities of care work.

The pandemic has further exacerbated the exhausting, isolating pressures carers face on a daily basis.

Rashmi was struck by how many colleagues in the arts were either working in social care or as unpaid carers, and struggling to cope.

While carers advocate for people they support, their own health and wellbeing is often neglected. This motivated her to create a project called Conversations with Carers, which connects care, compassion and creativity by giving voice to carers’ lived experience. The work is supported using public funding by Arts Council England.

Conversations with Carers explores what it means to care, through a series of podcasts and articles. This then inspired five short dance films drawing on themes from carers’ experience, performed by disabled Dancers Max Cookward & Annie-Rose Grantham

and non-disabled dancers. The project also includes a series of free, respite dance sessions for carers in partnership with Carers UK. Rashmi said: “I have found Conversations with Carers thoughtprovoking and moving. Having the time, space and most importantly the permission to talk honestly is critical for carers. In the podcasts and articles, carers reflect on the low value that society places on caring.

They talk about feeling invisible, and the physical, emotional, and financial strains that can become overwhelming.

“Taking the words and themes from these conversations and expressing them artistically through dance has been a hugely positive experience.

Artists in the dance films include carers, and each film begins with the words of carers. I hope that Conversations with Carers, in all its forms will encourage people to reflect on how we support and recognise carers.”

Further information www.stepchangestudios.com/conversations

Young Creatives 2022 The One Dance UK Young Creatives programme has got off to a flying start for 2022, with not one but two cohorts seizing the opportunity to develop their choreographic practice.

Our Year 1 cohort have attended online workshops with choreographer of Six! the Musical Carrie-Anne Ingrouille, Sadler’s Wells Young Associate Vidya Patel and dance artist and filmmaker Jo Cork. Along with the support and guidance of Creative Lead Rhian Robbins, each practitioner brought different experiences and ideas to equip our young choreographers with a vast creative toolkit.

For the first time since 2020 we were able to host our Year 2 Launch Event in person at Dance Hub, Birmingham, where we announced Kate Flatt OBE, Liam Francis, Vidya Patel and Joseph Toonga as choreographic mentors for the 2022 programme!

Creative Lead Sarah Dowling delivered an inspiring creative workshop, after which each mentor led a choreographic task and offered an insight into their own practice. The work produced will be showcased at a live event at Midlands Arts Centre (mac) in Birmingham on 19 June.

Photos: Left: John Trigg, Right: One Dance UK

Young Creatives with mentors

Further information www.bit.ly/YoungCreatives1

6 The One Dance UK Magazine | Spring 2022

In the Spotlight

A roundup of some of the latest industry news Find more at www.onedanceuk.org/news Member Led Networks – Jazz Theatre Arts UK

Free Healthcare Taster Screenings in April!

Jazz Theatre Arts UK (JTA.UK) has been established as a Member Led Network in partnership with One Dance UK. This network of sector professionals and students provides an essential platform to advocate for and develop visibility of UK jazz theatre arts and jazz practice in all its forms.

One Dance UK supports JTA.UK in working towards achieving the success of desired outcomes and meets regularly to articulate the needs of the practice. JTA.UK aims to host community forums to exchange dialogue directly with funders and the dance sector. Keep an eye on One Dance UK’s communications channels for updates and to take part.

JTA.UK also offers artist development, jazz education, support and resources, news, views and so much more!

Join the conversation by following the links below.

Next month, One Dance UK, in partnership with the National Institute of Dance Medicine and Science (NIDMS), will be running the next FREE Performance Optimisation Package taster screening days.

These sessions are an opportunity to get advice from dance-specialist physiotherapists and fitness experts, and to learn more about your body and the healthcare services available to you, whether you are a freelancer, a student, or a recent graduate.

Our next taster day will be taking place on 4 April in London (at Trinity Laban Dance Faculty) and on 8 April in the West Midlands (at the University of Wolverhampton, Walsall Campus).

Spaces are limited. Book your free place now by contacting hdp@onedanceuk.org.

Further information Follow JTA.UK on Instagram and Facebook: @jazztheatreartsuk

Further information To learn more about our Performance Optimisation Packages, go to the One Dance UK website where you can check out our new video resources, and read what others are saying about POP! www.bit.ly/POPfordancers

Let’s Dance International Frontiers 2022

Photo: Rachel Neville

By Pawlet Brookes MBE, Artistic Director, Serendipity – Institute for Black Arts and Heritage

with a musical score by the awardwinning composer, Philip Herbert and Ballet Hispánico two choreographic interpretations from Monique Jonas and Thomas Talawa Prestø with Tabanka Dance Ensemble (shared on 30 April). It is a full programme with new work from six artists for Signatures and Black British Dance Platform, Yinka Esi Graves and Maya Taylor return with an installation and site-specific performance, an LDIF+ masterclass Let’s Dance International Frontiers something in the moment that cannot programme, a series of roundtable conversations for Dance Dialogues, (LDIF) is taking place in Leicester from be replicated. Dancers respond to and our annual conference. This 29 April – 8 May, this year exploring the stage they are performing on, the is the first year the festival will be the theme In Situ: Responding to Space, audience they are performing to, the taking to the main stage at Curve Place, People and Time. Over city they are performing in. LDIF22 and we can’t think of a better the last two years LDIF has taken will be a predominantly live, in place online. Restrictions, however, person, festival recognising that access company than Ballet Hispánico for this occasion (6-7 May). have shifted the landscape of is an extremely important integral LDIF22 amplifies voices from the performance; dancers have taken element. The programme includes to the streets to dance, they have Let’s Dance in the City, an opportunity to African and African Caribbean as an taken classes in their kitchens and showcase work in situ and with JOMBA! exchange that welcomes everyone.

As the sector begins to recover, we bedrooms. The theme was inspired Both will be available online. hope people will come out, support by considering how dance inhabits We launch as usual on 29 April, and see some amazing dance. different spaces and how knowledge International Dance Day, with is embodied through dance.

Artincidence and a new commission, Further information LDIF takes place 29 April-8 May 2022 Sharing physical space creates Siren Calls: To an Illusive Journey, See the programme and book: www.serendipity-uk.com The One Dance UK Magazine | Spring 2022 7

onedanceuk.org/one-dance-uk-awards

Special Feature: A Celebration of Dance

A Celebration of Dance

The Birmingham 2022 Commonwealth Games is taking place this summer and to celebrate, a 6-month long cultural festival is held across the city. The aim to engage at least 2.5 million audience members and participants across the cultural festival is being met through a wide range of creative activity, with dance playing its part.

The celebrations begin in March with the opening of the Cultural Festival. Wondrous Stories is created and directed by Motionhouse’s Kevin Finnan MBE with choreography from Sonia Sabri and Jamaal Burkmar and is performed by a mix of professional and community dancers. From here the dance content ramps up, including Critical Mass, a unique dance collective, performing at a range of exciting events. Read about the Critical Mass project on page 14.

In the following pages we hear from members of the dance community of the West Midlands who share their passion for the region’s dance scene and what they hope the legacy of the Games will offer.

Photo: Doug Peters

Birmingham 2022 Festival

10 The One Dance UK Magazine | Spring 2022

Special Feature: A Celebration of Dance

A message from Corey Baker Choreographer of the Opening Ceremony, Birmingham 2022 Commonwealth Games

Corey Baker “I’m honoured to be choreographing the Opening Ceremony of the Birmingham Commonwealth Games 2022.

My first ever commission as a choreographer was in Birmingham a decade ago, so for me it’s even more exciting to pay homage to the city I call my creative home.

The real strength of the 2022 Commonwealth Games is the culture of inclusivity, so it’s vital for us that the Opening Ceremony reflects this too. Our show will include a wide range of performers who make Birmingham an exciting, vibrant and culturally diverse city.

Kevin Finnan MBE

Photos: Top: Courtesy Corey Baker Dance, Left: Kevin Richardson, Right: Motionhouse

Co-Founder and Artistic Director of Motionhouse, Creator and Director of Wondrous Stories Leamington Spa www.motionhouse.co.uk

“The Birmingham 2022 Festival will give us the opportunity to showcase the great developments in dance in the West Midlands. The sector saw fantastic growth over the years prior to the pandemic and I hope this will be the kickstarter that we all need on the return from Covid and get us back on the track that we were all pursuing before the pandemic.

There’s a great commitment in the festival to ensuring that there is dance for all, with a really positive approach to truly inclusive performance by integrated casts with a broad range of identities and backgrounds working as one. The Critical Mass initiative exemplifies this. I was very proud of the achievements of the 2012 Paralympics Opening Ceremony, and it’s great to see that there is the will to continue this work.

I am delighted that Motionhouse, as a dance-circus company, has been chosen to open the Birmingham 2022 Festival with Wondrous Stories. It demonstrates what companies can achieve and I’m excited by the challenge.”

We have a fantastic cast of over 2000 performers from all over the local region, ready to share the incredible stories about Birmingham’s past and present.

As well as our extraordinary volunteer cast, drawn from the communities of Birmingham, the Opening Ceremony will feature many spectacular specialist dancers, local independent dance artists, puppeteers, parkour artists, stunt performers and so much more!

To bring all these elements together for such a huge collaborative event doesn’t happen often and it’s such a joy to be able to help facilitate this adventure and make the experience something everyone involved will be proud of for years to come.”

Sonia Sabri Artistic Director Sonia Sabri Company Birmingham www.ssco.org.uk

“As Birmingham is one of the largest dance hubs in the UK and 2022 marks the 20th anniversary of Sonia Sabri Company, I’m very excited to have been invited to help choreograph Wondrous Stories. I’m one of only two Associate Choreographers and am looking forward to helping the city step on to an international stage which, in turn, will help showcase the rich and diverse dance offer we have in Birmingham and the West Midlands.

The Games can certainly help raise the profile of dance companies and female choreographers in the region to encourage talent to remain within Birmingham and the West Midlands.

Following on from the Commonwealth Games, Sonia Sabri Company will be presenting a preview of its new outdoor production including a culmination of arts work created by women from the underserved and underrepresented communities of South Birmingham.

The company will also be making a new dance show with live music to tour nationally and internationally.

We feel that it is important that the Games leave a legacy for arts in the region to continue to support local talent and encourage young people to visit venues, see live music and dance performances, attend workshops and classes to expand their horizons and benefit them mentally and physically.”

The One Dance UK Magazine | Spring 2022 11

Special Feature: A Celebration of Dance

“I am so excited to see the artistic realisation of a huge amount of hard work, planning, vision, and ambition. It is an incredibly exciting time for Birmingham and the West Midlands – right there in the spotlight, centre stage!

Rachel Liggitt Co-Artistic Director Shropshire Inclusive Dance Shropshire www.sidance.live

“This is the future of the dance sector in the West Midlands – collective endeavour with inclusion at its heart.”

Photos: Top L: R. Liggitt, Top R: Dani Bower for One Dance UK, Bottom L: Laura Martere, Bottom R: Emily Moya Dance Photography

Rachel Liggitt

Ashley ‘AJ’ Jordan

Director Ascension Dance Coventry www.ascensiondance.co.uk

“It’s a well-deserved moment of pride for all the dance teachers and movement practitioners who have grafted to support people from all walks of life to experience the joy of dance in our region. I know that our communal enthusiasm will spill out into the audiences on every occasion possible. A Games for all, facilitated by West Midlands people – I can’t think of anything better.”

12 The One Dance UK Magazine | Spring 2022

Right now, I am deep in Wondrous Stories, created by Motionhouse and partners. The moment of synergy, when all the separate elements – the choreography, costume, spectacular visuals, sound score and much more come together is going to be incredible and is something I am really looking forward to.

Wondrous Stories illustrates a journey of mass movement and collective purpose, which includes performers from the incredible Critical Mass collective. What an experience these young people have had so far, some who are dancing for the first time in their lives!”

Christopher Radford and Sara Macqueen Directors Linden Dance Company Birmingham www.facebook.com/ LindenDanceCompany

“It is really exciting to see the Games and its associated events bring so much visibility to Birmingham and harness the wonderful creative energy the city has!

Rebecca Fowler Dance Artist Freewheelin’ Birmingham www.freewheelindance.com

“I hope the lasting impact of these events will mean a better connected and inclusive dance scene in Birmingham, where inclusion and collaborative working becomes more familiar and understood. I hope that this will also encourage more people to get involved in inclusive dance and the opportunities for individuals to access and be included in dance will continue to grow.”

It has been hugely rewarding and innovative to unite not only dance artists from the region, but also its diverse communities; finding ways to challenge and develop our ways of working to best accommodate and champion the participants engaging with the project. We are already seeing the benefit and positivity a collective, large-scale project can have and can’t wait to see this continue in the months leading up to the Games.

Hopefully the legacy of this project will be a developed understanding of inclusive and community practice and the upskilling of artists and companies to best support and engage everyone in Birmingham. We can’t wait to have a front row seat and see the potential impact this will have for artists, participants and audiences!”

Special Feature: A Celebration of Dance

Experience and Take Part How to enjoy the dance content at the Birmingham 2022 Commonwealth Games Wondrous Stories is free and runs from 17-20 March 2022, in Centenary Square, Birmingham

“As a company we hope that investment in arts and culture in Birmingham and West Midlands will continue after the success of the Games.”

Sonia Sabri Associate Choreographer Wondrous Stories

Birmingham International Dance Festival takes place June 2022 The Commonwealth Games 2022 opens on 28 July 2022

www.birmingham2022.com www.criticalmass22.org.uk Discover a resource for teachers based on the Critical Mass programme on page 55

Wondrous Stories, part of the Birmingham 2022 Festival

Photo: Dan Tucker

BA (Hons) Professional Dance

dancecityta.co.uk / 0191 261 0505

Scan to start your dance career!

The One Dance UK Magazine | Spring 2022 13

Special Feature: A Celebration of Dance

Critical Mass:

Dancing to the Commonwealth Games

Katie Stevens reports on how the West Midlands region is in full swing preparing for the arrival of the athletes and visitors, and how dance is taking centre stage of the celebrations.

Photos: Top: Lensi Photography, Bottom: Dani Bower for One Dance UK

Critical Mass Participants

What makes Critical Mass?

Critical Mass, Tara explains, is the brainchild of Martin Green, Chief Creative Officer, and Raidene Carter, Executive Producer, both of Birmingham 2022 Culture Festival.

Katie Stevens They believe that although there Critical Mass, an inclusive dance has always been opportunity for collective made up of 300 young community dancers to be involved in people aged 16-30 from across mass projects, few on this scale are truly the West Midlands, has been inclusive - barriers such as physical generously funded by The Spirit access into the space, or lack of time of 2012 and is the hub of the or funds to see the project through can performance activity that will run stop people from getting involved. throughout the Commonwealth As Birmingham 2022 will have a fully Games. The collective will perform integrated Para Sport programme, it is at a number of celebratory important that this inclusion is reflected events on the lead up to and for within the cultural festival too. the duration of the Games, with Critical Mass is made up of several it all kicking off in March with standalone performances created Wondrous Stories, the opening of by different choreographers, dance the Birmingham 2022 Festival. artists or in collaboration with the After attracting so many participants. The 300 participants will participants to perform at high have the opportunity to perform in profile events and with rehearsals several high-profile events such as well underway, we wanted to hear Wondrous Stories – the opening show of how the process was going. Tara Birmingham 2022 Festival, Birmingham Lopez, Senior Producer of Critical International Dance Festival, festival Mass and Zoie Golding, Lead sites throughout the Games as well Dance Artist, gave us an insight as the Opening Ceremony of the into this unique project.

Commonwealth Games.

14 The One Dance UK Magazine | Spring 2022

The dance artists of Critical Mass Dance artists have been leading free weekly dance sessions across Birmingham and the West Midlands, with 16 separate classes taking place each week. A warm and welcoming space has been created, with a team spirit running throughout the sessions. In our conversation, Zoie clearly acknowledges the emphasis on building trust and relationships between the participants and dance artists before the art is even considered, helping to avoid anyone feeling vulnerable throughout the process.

The dance artists provide the crucial link between choreographer and dancer in Critical Mass. With so many participants and only a handful of choreographers, the dance artists negotiate the choreographers’ intention to suit the dancers in their sessions. This allows for a more inclusive nature – each artist knows the dancers personally and has an understanding of everyone’s needs.

Zoie champions the idea of including creative opportunities for both the dance artists and participants to contribute to the creation of the

Special Feature: A Celebration of Dance

“The best teachers are the participants. No one knows more about what they need than they themselves or their parents and carers.”

Tara Lopez, Senior Producer, Critical Mass

choreography to suit themselves, as well as translating movement given by the choreographers to make it accessible.

Mass inclusion The team navigates their way through the project by looking through the lens of access and inclusion. Tara talks about the many avenues this takes, such as, staggering start times and minimal weekend rehearsals to help participants who may need to pay for carers, “there’s no point being given a huge rehearsal schedule that the dancers just can’t meet, or will mean that they’re fatigued and can’t sustain the full week.” The Critical Mass project has dedicated a substantial portion of the budget to access and

inclusion costs, allowing for any needs such as travel expenses being covered, hiring BSL translators and support workers being made available at every session.

The lynchpin of this inclusion approach, Tara explains, is their inclusivity rider – a checklist of requirements that every space and session must meet. This is the baseline of standard minimum accessibility requirements as well as Critical Mass’ standard requirements. This includes additions such as support workers at each session and a separate quiet breakout space for the dancers. Layers are then built upon this which can change from session to session, for example, the rider might include how communication needs to be presented through imagery, or a British Sign Language (BSL) interpreter might be needed for the day’s rehearsal.

Support workers and an inclusion champion make up the team and training has been given to everyone involved, as well as constant check ins, asking whether the team are maximising the opportunity for inclusion and what more can be done

to find and fill gaps so that all 300 participants have the same experience.

These changes throughout the process can be small, and some are like pendulums, Zoie explains “the focus is on constant learning for all involved, with the conversations around inclusive practice being kept open and on the table all the time.”

The finish line What will the impact of this huge project be for the Birmingham dance scene when the athletes have packed up and the final pose has been struck at the Closing Ceremony? Tara envisions a long-lasting legacy of upskilled dance artists with learnings being passed on to the dance sector and a blueprint on how to approach a mass participation project. Zoie sees Critical Mass as not only an exciting opportunity for people who have never tried dance before, but also reengaging those that went away from dance and have come back – it’s encapsulated both grassroots work and reignited people’s connection with dance.

Facts and Ambitions Critical Mass is rooted in accessibility, inclusion and opportunity

Critical Mass strives to engage with:

• 3 00 young people aged 16-30 • at least 1/3 of the participants will be disabled people • 40% will come from an Asian, Black or minority ethnic background

Critical Mass is made up of:

• £ 1million investment from Spirit of 2012 • Network of 70+ dance organisations from across the West Midlands • 16 free weekly dance sessions across the West Midlands • 4+ large-scale performances

Dance Development Leaders Group (DDLG) present Critical Mass in collaboration with

Birmingham 2022 Festival, DanceXchange, Arts Connect Generously supported by Spirit Of 2012

www.criticalmass22.org.uk The One Dance UK Magazine | Spring 2022 15

Membership

Meet a Member

In the first of a brand-new series of Q&As with members, Membership Manager Barny Darnell caught up with Cecchetti Classical Ballet Teacher & Administrator Renee Cohen CDE, DDE, LISTD, about her career and passion for teaching ahead of her retirement next year.

Renee Cohen

Renee Cohen performing in Pauline Clayden’s The Sea King, 1971

1. Hi Renee! You’re currently teaching Cecchetti

6. Why did you join One Dance UK as a member?

Classical Ballet but we understand your plans are changing - what’s in the pipeline?

Next year I will be retiring! However, I will stay dancing with the Green Candle/SpinOff and Leap of Faith over 60 dance groups. I’ve been taking part in Israeli Folk dancing since 1980 and I’m keen to keep learning more about this style too.

2. Dance has been a big part of your life - what are

you first memories of dance?

My first memory is taking dancing books printed by the ISTD from our local library in Hackney aged 10. I actually learnt to dance the Daisy Chain from those books as directed by Barbara Geoghegan before I had any lessons!

3. What do you think are the most common

misconceptions about dancers?

People do not seem to realise it is a proper job and don’t understand just how much hard work it is, what you go through, and just how much self-discipline you need.

4. With that in mind, what advice would you give to

someone hoping to start a career in dance?

It’s hard work, and be prepared for disappointment, but if you have passion go for it and don’t give up!

Photos: R. Cohen

5. What concerns do you have – if any - about the

future of dance in the UK? I have no major concerns, there will always be barriers, but I do think there needs to be more dancing opportunities for those in senior years of school.

It is such a good social and creative release for children as they approach a tough period with exams and adolescent pressure.

16 The One Dance UK Magazine | Spring 2022

I’ve been a member for well over 20 years now. I started Birkbeck College Dance Foundation Course in 1999 and [One] Dance UK had a great selection of books for sale.

I bought the first edition of Fit To Dance to complement my studies. I also wanted to learn a little more about what was happening in the dance world and other forms of dance!

7. How has dancing helped you?

Throughout my life dancing has helped me with my dyslexia. It helps me be more organised, tidier, and, most of all, more coordinated. I cannot thank Cara Drower and Richard Glasstone enough for their support and understanding with these aspects during my Teacher Training Courses at The Cecchetti Centre. Without them I would not have been able to carry on.

8. Finally – if you were told you could only have one

last dance, what would it be?

My first time in a production was at Hackney Town Hall when I was 16 for BalletWorkshop. I danced the Moonlight Sonata under choreography by Pauline Clayden. I had no family there, as they did not believe in dancing and thought it was a waste of time. That just made me more determined and for me that was where it all started - I would love to do that dance one last time.

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Special Focus on Breaking Barriers

Introduction

20

(Quick)Step Towards Inclusion Laura Nicholson speaks with Giovanni Pernice on the importance of inclusivity on screen

23

One Dance UK Information Sheet: Considering Difference An introduction to making your dance space accessible to all

28

Dance Passion 2022 Has Arrived!

Find out more about the incredible lineup of dance content available now on the BBC

30

Higher Education: Developing Skills for Life Amy Williams finds out how HE shaped the careers of Richard Chappell and Laura Kriefman

33

The Boyz are Back Balletboyz’ Michael Nunn and William Trevitt celebrate a milestone with their latest tour

36

Environmental Responsibility in the Dance Sector Chloe Sprackling looks at best practice shown by dance industry leaders

38

Breakin’ Through Break Mission’s vision and considerations ahead of the Paris 2024 Olympic Games

40

Representation in Dance Education A new resource launches to amplify the voices of global majority artists in dance education

43

Acknowledging Black Excellence in Dance A selection of recent Black dance professionals who have been celebrated for their work

48

Emerging into a New Normality Maria Kolitsida reports on her research into the pandemic’s effects on freelance dancers

50

Creating Safer Cultures Cath Sykes and Tracy Witney on best practice for safeguarding 16-24 year olds

Breaking Barriers

Photo: Jon Aitken

By Jazlyn Pinckney Head of Workforce Development, One Dance UK

I’m resisting the urge to start this column by talking about ‘the new normal’, or how resilient and inventive we have all had to be in the face of such an extraordinary two years. Although all of that is true, I find myself craving something less intangible and seeking more sure and solid pathways toward the future.

For me, this has come from developing One Dance UK’s use of data in our approach to the supporting our members and the dance workforce.

Working in this way ensures that we allow metrics to frame our decision, but we are also finding ways to ensure the numbers are full of heart and soul. They represent people, not just digits.

There is a lot of talk about how data can support us as we move into whatever is next, and people like We All Count (www.weallcount.com, USA based) and Data Justice Lab (www.datajusticelab.org, Welsh based) have been influential to me in how we hold the equity and humanity within these processes.

This edition of One makes a subtle switch from broad strokes to specificity. From a deep dive into accessible dance with our new Considering Differences resource to celebrating real change talking to the BalletBoyz and Strictly Come Dancing’s Giovanni Pernice, and through the collaboratively created Representation In Dance Education (RIDE) resource.

The thing about data, is once you start down that road, it quickly becomes obvious how interwoven everything is, from environment and practices, to our sense of belonging. If we use data wisely, we can break more barriers, understanding that a healthier dance sector invests focus in more than just the opportunities to dance, but in the whole world, and the wellbeing of us as the connected community within.

We look to the future with confidence of lessons learnt from these remarkable times.

The One Dance UK Magazine | Spring 2022 19

Breaking Barriers

(Quick) Steps Towards Inclusion Laura Nicholson reports on how Strictly Come Dancing has brought new audiences to dance. She speaks with 2021 champion Giovanni Pernice about how the show, with groundbreaking representation on primetime, has shown the nation how brilliantly diverse and inclusive dance should be.

Laura Nicholson

Since Strictly Come Dancing first hit our television screens in 2004 it’s become difficult to imagine an autumn without the glitterball sparkle, glamour and music. With 11 million people tuning in to watch the 2021 final, it is fair to say that last year’s series of the flagship BBC primetime show certainly made a splash.

For a ‘light entertainment’ show seemingly embedded in glitz and glamour, Strictly has developed a reputation for charting new territory – not least when in 2014 Claudia Winkleman joined Tess Daly to form the long-overdue first female pairing to front a primetime Saturday night TV show.

It is perhaps surprising, then, that it took until 2017 for a disabled contestant to be included in the Strictly line up, with Paralympian and amputee Jonnie Peacock openly expressing his desire to normalise disability and break down barriers through his inclusion in the hit show. Since that pivotal moment, Strictly has seen disabled participants included in each series.

At One Dance UK, we firmly believe in the ability of dance to transform lives, so it is no surprise to hear Strictly contestants talk passionately about all they have gained through taking part in the show. More than ever though, the class of 2021 seem to have captured the public’s imagination about the transformative power and significance of dance.

Photos: Top: Dani Bower for One Dance UK Bottom: Dave J Hogan

Rose Ayling-Ellis and Giovanni Pernice on the Strictly Come Dancing Live Tour 2022

20 The One Dance UK Magazine | Spring 2022

Breaking Barriers

TV presenter and radio host AJ Odudu has spoken candidly about how she wanted to dance when she was younger but her family simply couldn’t afford it. After dazzling week after week, one can only imagine where dance might have taken AJ had she been able to access dance education as a child.

Following the previous year’s inclusion of the first samesex pairing of boxer Nicola Adams and professional Katya Jones, we cannot underestimate the impact on the viewing audience of seeing the first same-sex male coupling of TV chef John Whaite and dancer Johannes Radebe. With samesex pairings in several of the professional dance numbers, LGBTQ+ lives were represented on primetime television in groundbreaking ways.

The emotional 2021 final concluded, of course, with the show’s first ever deaf contestant Rose Ayling-Ellis being crowned Strictly champion, alongside her professional partner Giovanni Pernice. Rose’s involvement brought so much positive change, including with British Sign Language (BSL) being used as part of the live shows – and more recently the live tour too – leading to a huge surge in the number of people choosing to learn BSL. The moment when Rose and Giovanni’s ‘Couple’s Choice’ dance fell silent as they continued to perform will no doubt stay in the minds of many for its power, beauty and simplicity.

Here we speak to Giovanni about his perspective on Strictly Come Dancing 2021.

The reality of dancing and teaching within this situation has also given me more natural communication skills. I love to teach, and I am always happy to be patient, but this was an added layer. I have to say I relished the learning experience and became a better dancer and better person because of the 2021 series.

Your journey with Rose through Strictly – and your well-deserved win – has been an incredible inspiration to so many in the deaf community and beyond. What have you learned about yourself as a person and a dancer through this experience?

Thank you so much! The experience of getting to know and dancing with Rose changed my life.

Rose is a wonderful dancer and wonderful person.

Her dedication to inclusivity has genuinely changed the landscape for the deaf community forever in this country.

You only need to look at the news coverage, the amount of people now using sign language, and the fact she’s trying to change the law for it to become an official language.

Rose has opened my eyes to another world. I have always been a very accepting person by nature, but she’s shown me her light, and her vision. Just being around her makes you a better person. She walks into a room, and lights it up.

At One Dance UK we believe that dance should be for everyone! Your passion and love for dance shines through – so why would you encourage others to get involved in dance?

Dance has changed my life. I left my home in Sicily when I was 14 years old because I loved it so much and knew at a young age that it is all I wanted to do. Dance is a physical act of course, and based in movement, but the reality is that it’s the way dance makes you feel, and makes other people feel, that is so special.

It has the capacity to lift people, change lives and entertain. What an amazing thing!

What role do you think TV shows like Strictly can play in breaking down barriers and perceptions about who can dance? What other changes would you like to see in the dance world to allow greater inclusion and access for disabled people?

Strictly plays a HUGE role! It’s the biggest entertainment show on TV and the power it has is extraordinary. And not just in our situation, look at what John and Johannes did for the LGBTQ+ community, proudly representing on such a wonderful, mainstream television show.

Dancing is joyful, and we must bring that joy to everyone. The power to reach millions of British people in their living rooms should never be underestimated and it is a vehicle for positive change.

As adults, we need to lead by example to children, so that in 10 or 15 years’ time, the professionals are truly representative of society. Every industry - dance and elsewhere - can always do more, but I do believe things are moving in the right direction.

Giovanni Pernice

“I have to say I relished the learning experience and became a better dancer and better person because of the 2021 series.”

Photo: Joseph Sinclair

Giovanni Pernice Further information Strictly Come Dancing’s website: www.bbc.in/3JIH3Mx Giovanni Pernice is on tour with This is Me until May 2022. He then tours with Anton du Beke in Him and Me from June 2022. Information and book: www.giovannipernice.com For more information on One Dance UK’s new Considering Difference resource, go to page 23 The One Dance UK Magazine | Spring 2022 21

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One Dance UK Information Sheet

Considering Difference

Making Dance Accessible: An Introduction

By Jess Lowe, Erin Sanchez, Katie Stevens and Barny Darnell

WHO IS THIS RESOURCE FOR? This resource is aimed at those who work in, manage, or facilitate practice within dance spaces and venues.

WHAT IS THIS RESOURCE ABOUT? This resource brings awareness to access barriers in dance spaces, and suggests actions that promote independence and inclusion.

We understand that one resource cannot address every access requirement, dance genre, or context in which people dance, but hope that these considerations are broad enough to apply to a wide variety of circumstances.

WHY IS IT IMPORTANT FOR US TO BE CONSIDERING DIFFERENCE? Go to https://bit.ly/ consideringdifferencesvideos or scan the QR code to hear why those in dance think it is important for us to be considering difference.

Dance can provide an equitable means of creative expression and empowerment. We believe that spaces where dancing takes place have a responsibility to ensure that anybody who wants to access dance, can.

One Dance UK reviewed resources about access available to the UK dance sector. A gap was identified in policy and practical guidance for creating accessible dance spaces, and limited consideration of the social model of disability (which we describe below).

This highlighted the need to create a resource that offers considerations to managers and users of dance spaces, to begin developing best practice guidelines and industry standards.

28 dance professionals with a lived experience of accessible and inclusive dance practice have informed this resource. Below are some of the reasons why they think it is important that we consider difference in dance.

“Creating a space for people to consider differences in dance is vital to enabling artists to thrive who have hidden talents.

There are rich offerings that people can provide to enhance creativity within the arts and provide interesting solutions for our industry.”

Charlotte Edmonds - Co-founder, Move Beyond Words

“It’s so important that people aren’t left behind... It’s important that we consider differences because we are all different, and we should all have the opportunity to be celebrated through art.”

Elizabeth Arifien - Co-founder, Move Beyond Words

“To me, inclusion is about being able to show up fully as yourself and being able to relate to the experience that you are a part of. Dance is such a great way to celebrate our uniqueness, tell our stories, and connect. The power of dance and its impact is huge, and I really believe that inclusive dance practice is a fundamental part of dance becoming more representative and accessible to everyone.”

Helen McLaughlin - Dance artist and One Dance UK Dance Ambassador

“I believe that everyone in dance should be equal.”

Mark Smith - Founder and Artistic Director, Deaf Men Dancing The One Dance UK Magazine | Spring 2022 23

One Dance UK Information Sheet

A BRIEF BACKGROUND AND CONTEXT Often, the suitability of community, recreational, amateur, and professional dance environments are overlooked for many who engage.

Fortunately, there are organisations – many of whom have contributed to this project – who actively advocate for dance to be inclusive and who promote positive change in our sector.

In this resource, the term ‘difference’ refers (but is not limited) to many individual subjective experiences of our: • • • • • • • • •

physicality mental health learning preferences age gender caring responsibilities religion economic status or any combination of these

A single definition of ‘difference’ has potential to cause exclusion and division, creating a duality between that which is or isn’t ‘normal’. Everybody will experience and understand difference…differently – and that’s ok!

WHY THE SOCIAL MODEL OF DISABILITY? The social model of disability proposes that a person is not disabled by any impairment, but rather by physical and attitudinal barriers in society. Often, the lack of access adjustments is a key disabling feature.

This positive model identifies the causes of exclusion and inequality and proposes solutions.

This resource uses the social model to help frame our understanding of difference and inform how we approach access in dance spaces.

“Ask yourself, who is not being invited into your dance space? – And invite them.”

Mark Brew – Mark Brew Dance Company

WHERE CAN WE START? Talk more openly about the complex interactions that impact our dance spaces Access needs are intersectional and layered. Enabling access to dance doesn’t begin in the studio or Zoom room, at the entrance to the building, or on somebody’s journey to the dance space. It begins by re-evaluating how we approach access to dance in the first place.

We should encourage openminded conversation at ground, leadership, and board level, through various lenses.

Listen to our communities Learning about the access experiences and needs of those we serve will allow us to overcome disabling barriers within dance spaces, where creative, artistic, and conceptual work comes to life.

Challenge ourselves People make spaces. Think - how are we, the dance people in the dance place, working together to foster a welcoming environment? Inclusion can innovate!

Invest greater time, resources, and research Committing to growing our knowledge and confidence will help us to better understand and embrace the differences in our dance communities. Venues and other stakeholders working together to action ideas would promote positive change in accommodating difference.

24 The One Dance UK Magazine | Spring 2022

One Dance UK Information Sheet

SOME KEY CONSIDERATIONS PRACTICAL APPLICATIONS TO YOUR DANCE VENUE OR SPACE Our conversations and research revealed what our contributors considered to be some of the biggest barriers to accessing dance.

We have transformed these findings into a reference checklist below, to help you evaluate your level of access to and through your dance space.

IMAGINE THE PEOPLE JOINING YOUR DANCE SPACE – WHAT MIGHT THEY NEED? Is there a cost implication for them to take part or travel? What space is available to those with a guardian or carer? Will the person have what they need to support their physical and mental health needs? Will the person have access to a space where they can comfortably use the toilet, get changed, and rest? Does the timing work for your participants - does your class coincide with a religious holiday or allow for caring responsibilities?

Use this table to help you consider their experience.

ACCESS BARRIER

WHAT THE SECTOR SAID CONSIDERATIONS

Arrival at the dance space

“Disabled artists who arrive in an inaccessible dance space have just had to get on an inaccessible bus or tube… they’ve probably been stared at or commented on. You’re making your way in a highly normative world, and then you arrive at an inaccessible dance space…

•

By what means and manner are people getting to your dance space?

•

Are they likely to have safe and assistive transport?

•

Are there any obstacles that may hinder their arrival to and access of your space?

•

Might a user need assistance to enter the building?

We know that the world isn’t accessible, so are we doing everything that we can to make this space accessible?”.

•

How are staff addressing the needs of the dancer before they arrive? Do you offer a pre-class conversation or questionnaire?

“What fascinates me is creating spaces of ownership, so that the way a space is set up immediately says, you belong here… this space is for you”.

•

Are lighting and sound controls accessible? Can they be adjusted to suit the needs of the user?

•

Do your changing/rest spaces accommodate all users relative to functionality and privacy?

•

Do you have a dedicated safe space or calm area?

•

Does your space have rules regarding flooring? If so, who might this impact?

•

Will users know who to contact if they need building assistance?

Use of facilities

The One Dance UK Magazine | Spring 2022 25

One Dance UK Information Sheet

Digital engagement

“Digital, virtual teaching means that people don’t necessarily need to have access to the space in order to be able to access the work. So, it can potentially be a much more accessible way of enabling dance to happen”.

Communication “When we think about access, and interaction we automatically think of

buildings and ramps and what’s needed to physically be there.

Yet actually, if your language is limited then that person can’t access it anyway”.

CPD and Training

“For a space to be accessible, people need to know how to invite people into their space… we need to create resources and platforms that [the dance sector] can engage with, to learn more about their diverse audiences”.

•

Before visiting your physical space, can users go online to learn more about it, and the staff?

•

How user friendly is the online experience? Do you use any web accessibility tools? Are photographs, virtual tours, or audio descriptions of your space available?

•

Does your online offering work asynchronously with your in-person delivery?

•

Are you reviewing your web and online access regularly?

There are plenty of platforms that will give audits.

•

If the user does not have digital access, how are they being reached?

•

Are you using inclusive language? How open is your vocabulary?

•

Can staff communicate, translate, or demonstrate beyond the use of spoken English? E.g., other languages, or nonverbal/ non-written ways such as British Sign Language (BSL), Sign Supported English (SSE), Makaton, or by using assistive technologies?

•

Are you asking questions? Worrying about saying the wrong thing can become restrictive and inhibit communication.

Your intention matters more than your words.

•

Don’t worry if you’re not a specialist - the specialist is the person themselves.

•

Where can you build in moments and opportunities for feedback?

•

Have you considered the level of training that people facilitating the space have had to accommodate a range of individual needs?

•

What training would be most beneficial for you and your space?

This resource can also be found on the One Dance UK website, where it is available in an easy-read format and a web version that is screen-reader compatible and supported by an accessibility plug-in.

Go to https://bit.ly/consideringdifferences or scan the QR code.

Please also see our website for a full list of references and resources.

One Dance UK thanks the following contributors who gave valuable time and insight to support the Considering Difference project: Ayanna Allen (Magpie Dance), Elizabeth Arifien (Move Beyond Words), Chantal Cook (Riverside School Bromley), Dr Deveril (London Studio Centre), Juliet Diener (icandance), Dr Jamieson Dryburgh (Central School of Ballet), Charlotte Edmonds (Move Beyond Words), Rebecca Fowler, Robert Hemming, Louise Katerega (People Dancing), Anna Kennedy (Anna Kennedy Online), Esther Killbride (Rubicon Dance), Kate Marsh (Centre for Dance Research - Coventry University), Yukiko Masui, Patrick McGeough (Para Dance UK), Helen McLaughlin, Stephen Mear CBE, Emma Millward (Para Dance UK), David Pickering (Royal Opera House), Sho Shibata (Stopgap Dance Company), Mark Smith (Deaf Men Dancing), Kathryn Stamp (Centre for Dance Research - Coventry University), Kate Stanforth, Stephanie Tyrell (Sense), Stuart Waters, Louise Wildish (People Dancing), Kathryn Williams (Rubicon Dance), Ruby Wolk (Royal Opera House), Karen Wood (Centre for Dance Research - Coventry University).

26 The One Dance UK Magazine | Spring 2022

Develop your teaching practice 4–22 April 2022 Our 3 week Spring Programme of online CPD sessions is open to all. Join our expert lecturers and industry specialists for courses for teachers, ranging from Pilates to an introduction to psychological development in dance. Or you might like to explore our contemporary dance syllabus. With 225 hours of CPD on offer there is something for everyone!

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Breaking Barriers

Dance Passion 2022 has arrived!

Throughout February and March 2022, BBC Arts and One Dance UK have presented Dance Passion, a landmark celebration of the world-class dance that happens across the UK. Now in its second edition, Dance Passion shines a light on the country’s unique creativity and innovative approach to choreography and performance.

Patience J, Sadler’s Wells, part of Dance Passion 2022

Pulling together talent across all four nations Dance Passion is here to bring some of the best of UK dance to audiences at home. In five special one hour-long programmes, introduced by Josie d’Arby and Karim Zeroual, as well as an additional highlights show on BBC4 and 14 BBC Arts and One Dance UK co-commissioned short films and interactive experiences. Catch up on all of the broadcasts anytime on BBC iPlayer now!

Find out what you can watch and where by either following this link or scanning the QR code: www.bit.ly/DancePassion22

Photo: Dani Bower

The Dance Passion short films and interactive projects are funded by BBC Arts and Arts Council England’s National Lottery Project Grants programme.

28 The One Dance UK Magazine | Spring 2022

Interactive Pieces Made using innovative technology from BBC Research & Development, the interactive experiences enable viewers to decide the course of a story, or to focus on specific content presented in the work. Experience the interactive pieces on BBC Taster now!

Short Form Films Available on BBC Arts from 11th February, and as part of the five Dance Passion episodes on iPlayer, the short form films tackle everything from climate change, childhood memories to what its like to choreograph as disabled artist with Quadriplegic Cerebral Palsy and no verbal communication.

Check out the films

Discover BBC Connected Studio

www.bbc.in/3pNA3q7

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Breaking Barriers

Thanks to the following companies and artists who have been part of Dance Passion. Don’t miss their incredible performances on BBC iPlayer Dance Passion Highlights • Celtic Feet – Heartbeat (filmed in Coventry) • Phoenix Dance – Heart of Chaos (filmed in Leeds) • Ballet Black – Washa (filmed in London) • Simple Cypher – Roll Up Roll Up (filmed in Plymouth) • Birmingham Royal Ballet – Don Quixote (filmed in Coventry) • National Dance Company Wales – Ludo (filmed in Cardiff)

Coventry – Warwick Arts Centre • Ascension – Resilient • Ace Dance and Music – Mana • Celtic Feet – Heartbeat • Nupur Arts – Taste of Bollywood • Koncept - Blackpink’s “How you like that” • Birmingham Royal Ballet – Don Quixote Plymouth – Theatre Royal Plymouth’s TR2 • Rambert 2 – Home (filmed in London) • Street Factory Studios: – Toby G and Max Revel – The Inner Dance • Adam Benjamin – Dancer’s Forest • Zoielogic’s Fuzzylogic – Judged • James Wilton Dance – Four Seasons • Tap Attack – Red Riding Hood • English National Ballet – Raymonda (film) Coventry – Warwick Arts Centre • Motionhouse – Nobody • National Dance Company Wales – Ludo • Candoco – rehearsal of Last Shelter • House of Ghetto Voguing • House of Suarez Voguing

Photo: Dani Bower

Leeds – Northern School of Contemporary Dance • Vale – Shine On You • Phoenix Dance – Heart of Chaos • Balbir Singh – The Wise Ones • Akram Khan (rehearsal with NSCD students) – Jungle Book Reimagined • RJC Dance and Dance Action Zone Leeds (DAZL) – LS Unity • Simple Cypher – Roll Up Roll Up (filmed in Plymouth) • Northern Ballet – I Am Merlin (film)

London – Sadler’s Wells • Vidya Patel, Sarathy Korwar and Zia Ahmed – Birthright • Ballet Black - Washa • The Royal Ballet - Traces • Patience J – Colours

The One Dance UK Magazine | Spring 2022 29

Breaking Barriers

Higher Education:

Developing Skills for Life Faye Stoeser in Richard Chappell’s Infinite Ways Home

Richard Chappell Independent choreographer and Artistic Director at Richard Chappell Dance Studied BA Honours degree in Ballet and Contemporary Dance at Rambert School

Photos: Left: Robert Robinson, Right: Jack Thomson

Watch Richard’s Dance Passion film, Heart Land: www.bbc.in/34xXjRL

My experiences at Rambert School opened doors for me to use dance and dance making as my primary form of expression. I learned rigour and physical tenacity from exceptionally generous teachers and gained insights into different methodologies of dance making that laid the foundations for my choreographic practice.

Halfway through my degree I decided to reorientate my focus towards choreography. I found a sense of purpose in exploring choreography which was different and somehow deeper than the experiences that I was having from dancing in other people’s work. I am particularly fascinated and inspired by how people experience immersion in the arts differently now when compared to the past. From VR in contained spaces to sprawling digital installations in warehouses, I am fascinated by how technology such as 360 projection and motion tracking can enrich dance, for live performance and for cinema.

To make the most of your degree course it’s important to study somewhere you feel challenged, but also safe, valued and listened to. Choosing where to study or what to study is complex, and it can be hard to know where to turn. One place may be perfect for a friend/peer but might not feel right for you.

As far as the application process is concerned, schools are looking for people with an appetite to learn and a receptive approach to understanding and listening 30 The One Dance UK Magazine | Spring 2022

to feedback. They aren’t interested in students being something finished before they start, so be transparent about your passion to learn and do research into the field so you can articulate clearly who inspires you.

The pandemic has made this perhaps more challenging, but if you are having to communicate future work prospects to your family or immediate support network, I strongly recommend using case studies of people whose careers you would like to follow, alongside understanding and communicating the rates of pay for artists in dance organisations and companies, as well as the freelance sector. You can find this information online through unions such as Equity and One Dance UK resources.

As a sector, we need to create more employment routes for graduates which will boost their empowerment and advocate for the importance of the coming generation of dance sector workers.

Graduates can play their parts in this by learning how to articulate their own values and beliefs clearly.

Further information Richard Chappell Dance is touring this Spring with their new full length production Infinite Ways Home and triple bill UPLIFT. The company’s latest film Heart Land will be featured in BBC Arts and One Dance UK’s Dance Passion 2022 programme. www.richardchappelldance.co.uk

Breaking Barriers

Studying Dance in Higher Education involves exploring and developing a vast new skill set to prepare graduates for the varied careers available in the sector. Dance in Education Manager Amy Williams spoke to two artists creating work for Dance Passion 2022 about their own experiences of Dance in Higher Education, where their studies led them as well as some top tips for current students.

Hellion by Laura Kriefman

Laura Kriefman Chief Executive Officer and Artistic Director at the Barbican Theatre in Plymouth, choreographer and founder of Hellion Trace.

Studied BA Honours degree in Theatre Performance at Guildford School of Acting (GSA)

Photos: Left: Photo courtesy Hellion Trace, Right: Drew Cox

Watch Laura’s Dance Passion film, Neon Romance: www.bbc.in/3uP3F9Z

My degree was a well-rounded course in the range of dance styles we got to develop - everything from Argentine Tango to studying tai chi to contemporary dance, alongside all the ‘normal’ styles such as ballet and jazz. I also got to study historical dance and other social dance forms which I found very interesting as I liked learning about that evolution of dance – it prepared me well for the way that I work these days.

Working alongside musical/technical theatre students gave me a good toolkit of rehearsal techniques, ways to work, ways to be in a room of different people and how to collaborate.

Aside from my undergraduate studies, I would say that I found a real permission for growth and to work with technology in the way that I have been through my informal education at Pervasive Media Studio in Bristol. I started wanting to explore how I could use technology to liberate our use and the exploration of dance.

GSA taught me choreographic form, technique, rigour, how to train and how to work both consistently and rapidly in an adaptable way. What my career has taught me is how to be a lifelong learner, how to give yourself permission to ask difficult questions, and to trust your exploration of those, how to work at scale and with independence. “Right now, I’m doing everything that I would never have felt confident enough to admit out loud that I wanted to be doing!”

I’m excited about making work at scale again that has

collective wonder. I’m making a new version of what was my solo show, which has live sound generated just by my live tap dancing. It’s then looped and changed to various different instruments whilst I wear a fully sound reactive LED dress, so the audience are literally seeing the layers of sound generated live by the dancer.

We’re now exploring how this will work as a tool for multiple performers. As we open back up, I’m keen to explore experiences and works that create collective euphoria.

My top tip for students and new graduates would be to experience as many rhythms, music genres and dance styles as you possibly can. Don’t be afraid to go down the rabbit hole and find choreographers and performers that excite you. Good collaborators make for exciting and extraordinary work!

We all have different skills to bring to the table. There are so many elements, skills and different people that that we need in the industry. I think one of the best things we can learn is that the journey we’re going to take is equally valid and important.

Further information Hellion Trace is an award-winning company, specialising in world-class productions that fuse movement and technology. Based at the Pervasive Media Studio (Bristol UK) Hellion Trace creates large scale shows, interactive installation and touring productions that have been commissioned worldwide. www.helliontrace.com Barbican Theatre are cultural producers for Plymouth. www.barbicantheatre.co.uk The One Dance UK Magazine | Spring 2022 31

Breaking Barriers

Animated Dance: Behind the Screen Disney’s award-winning Encanto, recently released on Disney+, celebrates Colombian culture, weaving dance through many elements of its storytelling.

Dani Bower spoke with the film’s choreographer Jamal Sims and animation reference consultant Kai Martinez to talk about the process of choreographing for animation, how the team embraced Colombian, Latin American dance styles, and what it was like to see it all come to life on the big screen.

Disney’s Encanto

How did your process start when choreographing for animation?

Jamal Sims: I would go into a room with my skeleton crew, everybody would have the character name and then I would just start putting movement on them, when we were finished, I would film it and send it away to the directors and once they saw it, they would share with the animation team, they would give me notes.

What does being an ‘animation reference consultant’ involve?

Kai Martinez: Helping the animation team fine tune and make sure everything was on beat and on point, also making sure the movement was authentic. We talked a lot about rotation of the shoulders and hips.

When I found out that the animation team was as obsessed with how the body moves as dancers are, it was a match made in heaven.

Photos: Disney

How do you navigate choreographing for pieces where the scenery is constantly changing?

Jamal: Animation can transport us into crazy worlds.

When we’re in the room I just imagine where and how this can feel. That’s what Disney is all about - magic and imagination, you really are challenged to use everything you can.

Once you’ve been given a character, how do you decide how you want them to move?

Kai: We first saw pictures; we saw what their physical anatomy looked like and once we got the music, we were 32 The One Dance UK Magazine | Spring 2022

Jamal Sims and Kai Martinez

able to play. We hired Latinx dancers, from Colombia, Puerto, Costa Rica, Cuba, and we were able to pull from our own experiences. We all have that aunt that talks with her hands, that cousin who’s a little bit like ‘here’s everything’, that cousin who’s the rambunctious boy and we have the uncle who’s super loving and life of the party.

We authentically understood the characters which is a testament to the writing, not only the script and the development of these characters but also Lin-Manuel Miranda’s genius storytelling through music.

What was your reaction to seeing the final film?

Jamal: I was blown away immediately – seeing the opening number and a movement that you created in a room with nothing, to seeing this beautiful visual masterpiece of these characters. I literally cried on every number because, starting with such a small little thing and seeing it bigger than life, fully realized.

It was overwhelming.

Kai: It was life changing. It’s been a marriage of my dance background with my cultural background.

Learning new things, working with the animators, it has been the most rewarding and growth-inducing experience of my career.

To watch the full filmed interview scan here:

Further information Encanto is available to own on DVD, Blu-ray and download or stream at Disney+, www.disneyplus.com

Breaking Barriers

The Boyz are Back BalletBoyz has established itself as one of the most original and innovative forces in modern dance, revolutionising programming formats, commissioning award-winning work and collaborating with cutting-edge talent. One Editor Cameron Ball talks to Co-founders Michael Nunn and William Trevitt about being back on tour this spring, the company’s 20-year development, and the barriers they’ve broken along the way.

Cameron Ball

Deluxe tour 2022 Planned for 2020 to celebrate BalletBoyz’ 20th anniversary, the production of Deluxe was one of the first pieces of work to be adapted in lockdown for broadcast, premiering online and later on BBC Four. The 2022 tour will finally see Deluxe on stages throughout the UK, as was originally intended.

Nunn and Trevitt are motivated by collaboration, seeking to challenge, excite and enlighten audiences by bringing together elements from diverse realms of the arts including composers, artists, designers and filmmakers. Deluxe is no exception, involving an all-female choreographic team and some

interesting collaborations: Shanghaibased dancer and choreographer Xie Xin has created Ripple, set to an original score by composer Jiang Shaofeng, and Punchdrunk’s Maxine Doyle has created Bradley 4:18, to live jazz music composed specially for the piece by Cassie Kinoshi of SEED Ensemble.

Alongside an extensive body of stage and screen work, the company is engaged in many community dance and education projects, including BBz Youth Company, MoovBank and Parkinson’s CAN Dance. In what is a brilliant success story, a former member of Balletboyz’ Weekend Dancers’ Course (now BBz Youth Company) is performing in Deluxe this spring.

Photos: Top: Dani Bower for One Dance UK, Bottom: George Piper

BalletBoyz Deluxe

The One Dance UK Magazine | Spring 2022 33

Breaking Barriers Michael Nunn and William Trevitt

BalletBoyz’ Deluxe tours the UK this spring, including performances at Sadler’s Wells 24-26 March. www.balletboyz.com

Photo: Hugo Glendinning

You’ve been ‘breaking barriers’ for many years now. When you first started the company, what were some important challenges or considerations?

Michael Nunn: When we first started the company, the biggest initial challenge we faced was reinventing ourselves in the eyes of an audience who saw us both exclusively as classical ballet dancers [both were dancers with The Royal Ballet]. There was a sort of theoretical divide between classical dancers and contemporary dancers, and it was our ambition to blur that line so we could use our rigorous classical training to perform and create contemporary pieces.

William Trevitt: Dance, and particularly contemporary dance, was seen as something highbrow and intellectual, not necessarily something audiences enjoyed just for entertainment’s sake. We wanted to give audiences that same experience of high-quality art, but package it in a way that was more accessible and less intimidating.

So from our very first appearances as BalletBoyz, we introduced other forms of media within the performances, in particular digital media and film, which wasn’t really ever seen as part of live dance. Since we started the company, the film aspect has been a crucial part of 34 The One Dance UK Magazine | Spring 2022

As the company has grown over the past 20 years, how have you seen a chnage in the perceptions of males in dance, particularly Michael: Obviously we are two male in ballet? dancers, and particularly in the early William: In the early years of the days of BalletBoyz we spent quite company, we were working on a a lot of time dancing together and piece with Craig Revel Horwood. partnering with each other. 20 years At the time, he tried to get us to ago, men in dance was still seen as appear as guests on Strictly Come something that wasn’t the norm, Dancing, as two male dancers so we had to defy a lot of people’s partnering each other. It was expectations and assumptions about dismissed as an outrageous what that looked like. We have come suggestion and we were told that quite a long way and it has become the BBC weren’t ready for it yet. much less peculiar for boys and Last year Strictly Come Dancing men not just to dance, but to featured two male dancers dance together. partnering each other, so in that sense we have come quite a long way It’s great to see the company back and it has become much less peculiar on stage this year with Deluxe. for boys and men not just to dance, Is there a new perspective to the but to dance together. work this time round?

William: Not necessarily. Deluxe was Talent development is clearly a only ever performed seven times focus of the company. How do before the 2020 lockdown, so you nurture younger dancers and it was just barely getting into its encourage emerging dancers to stride. The idea of the evening has become well-rounded artists? the same perspective and aims but Michael: We want our dancers to it’ll be interpreted differently by a look beyond dance and into other different group of dancers, which forms of creative art, for example we find very interesting. filmmaking. We don’t ever want our dancers to restrict themselves to just Michael: We’ll never be able to the world of dance, to just the studio. know what Deluxe 2020 could have grown into, but we’re very excited to see Deluxe 2022 mature into a fully developed performance. the work we create – we think it has really helped to demystify the art form.

Breaking Barriers

“We’ve always prided ourselves on the variety of styles that any dancer has to work in when they dance for BalletBoyz.

We encourage them to excel in each different style, and to present something different to the audience in every work they perform.”

Michael Nunn and William Trevitt

Photo: BalletBoyz Deluxe 2022 cast, based on original artwork by Rick Guest

William: We think that’s the benefit of working with a company like ours – we’re not choreographer-led, so our dancers will rarely perform a whole evening of only just one style.

A level of variety is vital for young dancers to be able to grow into wellrounded artists and performers.

Tell us what’s next for the company. What can we expect from BalletBoyz in the near future?

Michael: We have always been very self-critical, which means our creation processes are always incredibly thorough and intense, but it also means that we don’t share anything that we’re not 100% happy with. With the creations we are going to be producing over the next few years, our aim is to enrich the art form rather than dilute it with more of the same.

William: As a company, we’re moving towards sharing our creations through a more multidisciplinary, multi-media experience that embraces digital expression and involves our three great loves: dance, theatre, and film. We want to be able to incorporate all three elements simultaneously in the work we produce, and ultimately our ambition is to move away from being known solely as a dance company.

Deluxe presented by BalletBoyz

Focus on Education What is unique about the BalletBoyz Learning and Participation projects? What can you tell us about your approach?

Michael: We’ve always had the same approach when it comes to education. When we started the company over 20 years ago, we wanted to do things differently and inspire a change in how dance and performance is shared with children and young people. 20 years ago, education and workshops were far more performative – you’d go into a school, perform a piece of repertoire, answer a few questions, and that would be it.

We wanted to do things slightly differently, where we could engage the students in the workshops directly. It was our policy that only the performers you see on stage deliver the workshops, rather than a second group of dancers that hadn’t had the experience of performing the work in question themselves.

We felt, and still feel, that this is a much more inspiring experience for a young person to have.

William: We then quickly realised that we couldn’t be everywhere at once, but we still wanted to share our work with school, community groups, and young people, and the only way we could do that would be digitally. So we created MoovBank, a digital dance platform where teachers and students can watch tutorials, inspiration clips, stimulus discussions, and movement tasks as

delivered by BalletBoyz company dancers, and which can be accessed from anywhere in the world. All performers we’ve had since then are featured on MoovBank, it’s part of our core activity.

How is the company working in the community?

Michael: We are currently working with our local Parkinson’s community, and are planning to resume work with people with complex educational needs in partnership with a local school, because we feel that those opportunities aren’t being given to those groups of people often enough. We feel that at the moment, underrepresented groups are more in need of those types of cultural experiences.

William: We have also always been clear that we will not ‘dumb anything down’, no matter the recipient of our workshop or Learning & Participation project.

You only get what the dancers perform on stage, not a simplified version. We have found this approach to be really inspiring for those taking part.

Access MoovBank: www.moovbank.com

The One Dance UK Magazine | Spring 2022 35

Breaking Barriers

Environmental Responsibility in the Dance Sector

With conversations around climate change becoming louder and more urgent by the day, Marketing Officer Chloe Sprackling looks at how the dance sector can look to play a role in the fight for the planet.

Photos: Dani Bower for One Dance UK

Chloe Sprackling

With dance being such a powerful tool for starting conversations on challenging topics and encouraging audiences to look more closely at our society, how it functions and our responsibilities, the sector seems well-placed to help in the fight for positive change. It is widely accepted that climate change is one of the biggest threats facing our society, and alongside the headlines, the topic is increasingly being tackled as subject matter in new dance works. But outside of starting discussions, how wellequipped are we when it comes to setting an example and taking environmental responsibility for our actions?

As Sadi Mosko, a freelance dancer and sustainability practitioner, states in her research, “in theory, [dance] is the ultimate sustainable art form as it requires no extra resources besides the human body”. This is not, however, the reality. From the electricity consumed for stage lights, to the fossil fuels produced from travel and touring, in addition to the resources used to make costumes and the energy needed to heat studios, the impact of dance on the environment is far from carbon neutral.

‘Environmental Responsibility’ is one of the four key pillars of Arts Council England’s (ACE) investment 36 The One Dance UK Magazine | Spring 2022

principles for their new 10-year Strategy, Let’s Create, which seems to recognise the seriousness of the threat of the climate crisis and encourages artists and organisations to seriously consider their commitment to environmental responsibility. This can be through “lowering carbon emissions, increasing levels of recycling, cutting their use of plastic and reducing water consumption”.

It’s clear that for ACE it is important that the organisations they support with funding, act as leaders within their communities, promoting sustainable and environmentallyfriendly practices.

Some dance organisations are already taking steps to help protect the planet. New Adventures, Sadler’s Wells and Norwich Theatre Royal collaborated in 2018 to form a sustainable touring consortium with the aim of developing a model for environmentally sustainable touring.

This project was an extension of the work that New Adventures had been doing with Julie’s Bicycle, an organisation whose mission is to mobilise the arts and culture to take action on the climate and ecological crisis, to determine the environmental impact of their touring and to find ways to reduce it.

Imogen Kinchin, Executive Director of New Adventures comments, “New Adventures considers environmental responsibility a core part of the post

“New Adventures considers environmental responsibility a core part of the post pandemic recovery, to foster the sharing of ideas and innovation with our partner venues and the wider industry.”

Ellie Hix

Breaking Barriers Further information Sadi Mosko’s research ‘Stepping Sustainably: The Potential Partnership Between Dance and Sustainable Development’ www.jstor.org/stable/26760103

New Adventures’ Andrew Ashton (L) and Isaac Peter Bowry (R)

Art Council England’s ‘Let’s Create’ Strategy www.bit.ly/ACELetsCreate Sustainable Touring Consortium information www.bit.ly/JBSustainableTouring New Adventures’ Certification in Green Touring information www.bit.ly/NewAdventuresGreen Sadler’s Wells Sustainability information www.bit.ly/SadlersWellsSustainability

Photo: New Adventures

New Adventures’ Andrew Ashton (l) and Isaac Peter Bowry (r) by Recycled Light Gels Display, Norwich Theatre Royal.

pandemic recovery, to foster the sharing of ideas and innovation with our partner venues and the wider industry. We are proud to have piloted the first Creative Green certification, with Julie’s Bicycle, on our tour of Swan Lake, being awarded a rating of 4 out of a possible 5 stars. We will continue to provide sector leadership around ways to make touring more environmentally sustainable, sharing our findings and learning, to address the climate emergency.”

The process that led New Adventures to the 4-star rating involved creating an environmental policy and action plan, increasing staff and audience engagement through the ‘Green Adventures’ initiative and establishing a Green Team, as well as dedicated Green Champions within the touring company. They also provided dancers and crew with reusable water bottles and hot drinks cups and environmental briefings at rehearsals and team meetings.

Another key feature was “conducting an audit of the backstage recycling facilities upon arriving to each tour venue” which led to some venues adding additional recycling bins, which demonstrates the potential influence these measures can have.

All of these actions were also supported by the implementation of a ‘Green Rider’.

‘Green Riders’ is an initiative led by Julie’s Bicycle which has been implemented by both New Adventures, for their own productions, and Sadlers Wells, for both visiting companies and their own touring productions.

It encourages organisations and artists to think sustainably when making requests.

Example clauses given by Julie’s Bicycle include “We request that you provide clearly labelled recycling facilities backstage and in ALL dressing rooms for paper, cans, plastic and glass”, “If your venue collects biodegradable waste/ compost, please also provide bins for this in dressing rooms” or “Please provide secure bike parking for audiences at the venue”.

Dance venues also have a role to play. Sadler’s Wells has been committed to environmental responsibility for a number of years through using reusable plastic cups in bars instead of single-use plastic, encouraging people to use water fountains backstage instead of providing bottled water, using biodegradable and plant-based packaging, using LED lights in the foyer, theatre auditorium, and backstage areas and generating 100% of their electricity from renewable sources.

Director of Visitor Experience, Howard Clark, outlines the

organisation’s approach, saying “As a cultural leader in the arts delivering work locally, nationally and internationally, Sadler’s Wells acknowledges our responsibility to operate as sustainably as possible, and to support action on climate change within the sector and, generally, in society.

The approach at Sadler’s Wells extends to all areas of their operations. “Our sustainability policy is supported by an action plan,” Clark says, “which sets annual targets and allocates individual and team responsibility for delivery.

We strive to engage and build environmental knowledge and awareness of colleagues through regular communication of current environmental matters and are developing our pathway towards net zero greenhouse gas emissions by 2050.”

Both New Adventures and Sadler’s Wells provide excellent examples of how, through small changes, the sector can look to reduce our environmental impact. We can all take inspiration from their actions and in our own ways, we can all make a difference.

Hopefully, in the coming years we will see more innovation in this area within the dance sector. It’s time to start taking environmental responsibility in the dance sector seriously.

The One Dance UK Magazine | Spring 2022 37

Breakin’ Through Breaking Barriers

Hip hop culture is more influential than ever. From its roots in the streets of New York in the 1970s, hip hop culture is now a global artistic force, and with Competitive Breaking officially being included as a sport at the Paris 2024 Olympic Games, the UK scene will be in the spotlight like never before.

Barny Darnell talks to Co-founder of Midlands-based Company Break Mission, David “Footloose” Russell and Director, Michael “Silence” Glasgow, about the organisation’s charitable aims, their collaborations ahead of Paris 2024, and the need for cultural integrity as these dance forms become more mainstream.

Photos: Left: BSMK Photography, Top: Break Mission, Bottom: BSMK Photography

Left and Bottom R: B-Side Hip Hop Festival Top: David “Footloose” Russell (R) and Michael “Silence” Glasgow (L)

38 The One Dance UK Magazine | Spring 2022

Breaking Barriers

What was the inspiration for you to form Break Mission?

The idea behind Break Mission came from an event in the south Bronx, (the birthplace of hip hop) held by a crew called The Bronx Boys Rocking Crew. For their anniversary every October they ask people to donate clothes and food for the local community that need it. One of our Directors experienced homelessness as a young man, and this event inspired him to create the cause behind Break Mission itself.

Tell us about the all-important elements of hip hop culture and how these influence what Break Mission does.

Hip hop has five main elements: breakin’ (breakdance), M.C (rapping), Turntabilism (DJs), graffiti, and knowledge (knowledge of self, the world around you and all things you can make use of). Within Break Mission, we try and use these foundations to help people through life, finding ways to express themselves through whichever element connects with them.

Can you tell us about the Donate to Participate scheme?

Donate To Participate is something close to our hearts and is inspired by the The Bronx Boys event mentioned above.

We saw so many events charging money on the door and not being distributed into the community.

Hip hop is rooted in giving back to the community, and this is what Break Mission is about: now people attend our Donate to Participate events, generously bringing clothes and food which then go to the less fortunate.

Next year is the 10th anniversary of Break Mission – what’s been the highlight for you and your team?

There have been many, but most of all the highlight for us is the growth and support we have seen from the community. It is so humbling coming from 15 people in a small dance studio to having thousands see what we do on a local and international scale.

Our first international event was in 2013 in Malaysia.

Since then we have worked in countries worldwide and have fostered a true global community. This success has been a real team effort. Break Mission has reached this milestone thanks to those working around us: coFounder Justin “Justroc” Lee, and Director Leigh “Sir Swifty” Evelyn, Cpt. Sugurrush , Head DJ Khan Fu. We are supported by our Head of Artists Victoria “Vixen” Hawkesford, Head of Media Anthony “Izuna” Llyod, Head of Cultural Diversity Eric Scutaro, and many worldwide partners and teams of volunteers who support our work.

‘Competitive Breaking’ is going to be a sport at the Paris 2024 Olympic Games. What are you doing to support this?

We are working towards research into breaking as a sport and have formed a partnership with Birmingham City

University where we will be doing research developing athletes’ abilities to help to build future Olympic hopefuls now and beyond.

Through this work we aim to build a network with other universities both nationally and internationally.

We are also working with UK Breakin’, an organisation that will help the scene build and grow together from grass roots upwards.

“The 2024 Olympic Games are definitely going to create some new opportunities, but within this new influx of exposure and opportunity we must make sure we maintain that the culture gets taught alongside the physical side.”

David “Footloose” Russell

This will lead to an exposure for breakin’ on a new level, which is great, but do you foresee some issues too?

There is already a divide in the community. Some say it’s not a sport, that it’s a dance artform only, but I believe it can be both. Breakin’ is a way to express yourself through movement and connect it with music and move in a very physically athletic way. It’s been judged in a competition format for years, so it can be defined as a sport.

There also seems to be a myth of a cash injection which has people working in competition, instead of working together to create bigger opportunities for all UK breakdancers. Overall, however, it’s a very exciting time, and a chance to show the world we are not just street performers but our skills are on par with the best athletes in the world.

What have Break Mission got planned for 2022?

It’s a big year. The Commonwealth Games are in Birmingham and we have lots of performances and involvement in the Birmingham 2022 cultural festival.

In June we have our 10th anniversary celebration in conjunction with Birmingham Hippodrome’s B-SIDE Hip Hop Festival which is very exciting and our continuation of our Hippodrome Associates relationship. We are collaborating to curate a new festival called Queerside which will focus on LGBTQ+ activism, dance, music and creating safe spaces for the community to express themselves.

We are also aiming to become a National Portfolio Organisation (NPO) in 2023. Alongside this, we are trying to establish our own venue to start a hip hop arts school, with aims of being able to give officially recognised qualifications in various art forms of this amazing culture.

Further information www.breakmissioncommunity.com The One Dance UK Magazine | Spring 2022 39

Breaking Barriers

Representation In Dance Education Dance organisations, exam boards, students, teachers, companies and dance professionals came together to create a resource designed to amplify the voices of global majority dance artists in education.

As the resource launches, Dance in Education Manager Jo Gatenby speaks to some of the project’s partners on the intention for the resource and the need for change.

In the wake of the Black Lives Matter movement and surrounding conversation on the need for increased inclusivity in dance education, the Decolonising the Dance Curriculum Roundtable was formed. The Roundtable worked together to create a resource to celebrate global majority dance work in the sector, increase representation and affect positive change in dance education.

Mohika Shankar

Kashish Gaba

One Dance UK’s Dance Ambassadors Mohika Shankar and Kashish Gaba share their thoughts from a youth perspective.

Photos: Top: Chris Nash, Right: K. Gaba

Shobana Jeyasingh Dance’s Material Men

Why do you think there is a need for change in dance education?

Kashish: The process of ‘decolonisation’ and working towards wider representation in dance education is not just for the benefit of the underrepresented. In addition, it should reflect a wider understanding of movement, arts and cultures which will inform our future leaders. Dance education in the UK has been inward facing for a long time, and through opening up our practice to more global communities, we can offer a more equitable education in dance.

40 The One Dance UK Magazine | Spring 2022

Which featured artist inspires you on the resource and why?

Mohika: I have been inspired by the breadth of projects produced, supported, and delivered by Akademi, London. As a student of an Indian classical dance form, Kathak, it is so heart-warming to see the initiatives taken by Akademi, and similar organisations, in developing and nurturing classical, contemporary, popular, and participatory South Asian dance across the UK. What has your involvement been with the Decolonising the Dance Curriculum Roundtable?

Kashish: It was a wonderful opportunity to meet like-minded artists, educators and representatives from leading organisations. As a

One Dance UK Dance Ambassador, my shorter-lived experience in ‘the sector’ never became an issue in the conversations. I contributed to setting up short term and long-term goals for the group. I even had a chance to add to the resource list.

What are your hopes for the future of dance education?

Mohika: In an ideal world, I hope that all children and young people, regardless of their background, where they live in the UK, starting point or financial status have equal access to high-quality dance in school and out of school.

Breaking Barriers

Choreographer Shobana Jeyasingh CBE of Shobana Jeyasingh Dance shares her thoughts on the resource.

What made you want to be a part of this work to diversify the dance curriculum?

This current curriculum refresher is a great opportunity to promote more global majority artists and choreographers currently working in Britain and creating incredible work. It is also a wonderful chance to feature dance works and artists directly questioning colonialism and imperialism. Within this context, our company was particularly interested in highlighting two of our recent works, which directly address the topics of indentured labour in the colonies (Material Men redux) and Europe’s fascination with ‘the exotic’ and the Orient (Bayadere – The Ninth Life (2017) in the 19th Century.

Photos: Top L: JP Masclet, Bottom: M. Ande

Monica Ande, Head of Dance at Hampstead School, shares her thoughts.

What made you want to be a part of this work to diversify the dance curriculum?

For such a broad and beautiful genre, I have been waiting for the curriculum to be updated and more reflective of the different types of dancers and their history as it is equally important and deserves to be taught to our young people.

What are some of the ways you bring global majority dance styles into your classroom?

How do you think companies and teachers can work together to improve representation?

We are hoping that by highlighting more diverse dance works, students and teachers will not only discover new dance vocabularies, styles and choreographers but be encouraged to look at different historical perspectives and to know the world as being comprised of equitable narratives. This resource features artists from a wide array of dance influences, genres and traditions.

These will add to and enrich current and often culturally restricted definitions of “classical”.

What would positive change in dance education look like?

Hopefully, teachers and students will reflect more deeply on how dance is created and join forces with professional choreographers and dancers to create and teach new works. Finally, we hope this resource may encourage teachers to deliver their work in collaboration with their teacher colleagues, investigating the many contexts (historical, geographical, political, social, artistic, cultural…). within which dance and dancemaking happen.

I have always taught a diverse curriculum in KS3 (Year 7 – 9). I have tried to consistently share more knowledge on the practitioners young people can look up to.

I have looked for more opportunities for young aspiring dancers to study dance as a career.

For instance, this year, the students are studying street dance, jazz, contemporary, bhangra and Afrobeat, and this is also supported in our extra-curricular classes.

What would positive change in dance education look like?

An increase in appreciation from families, students and staff of the importance of dance as well as an awareness of the authentic full history of dance. I’d love to see more students from the global majority studying dance both in and outside of school and ultimately pursuing a career in the profession.

Access the resource:

“This resource is a reminder that dance can be a powerful tool and convey meaningful ideas and does not only exist to‘make movement’or be active. ” Shobana Jeyasingh CBE

Be part of the resource and the conversation We acknowledge that this resource is not fully comprehensive and doesn’t represent all global majority work in the sector. RIDE is a starting point to be developed and built on.

If your company’s work is not shown or you have recommendations, please do get in touch. We would love to hear from you!

If you are interested in your work being part of the resource or joining the Roundtable please go to www.bit.ly/RIDERoundtable Plans are in place for the resource to be updated annually.

The One Dance UK Magazine | Spring 2022 41

Creating dancers for the Global Community

Auditioning for September 2022

BA(Hons) Diverse Danc

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of Roehampton)

, n a e b b i r a C , n a c i Afr d n a y r a r o p m e t n o C e c n a D Urban Course Enquiries

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

Photography: Sanaa Abstrakt. Graphic design: Darryl Hartley

Acknowledging Black Excellence in Dance

Breaking Barriers

Dance of the African Diaspora Network Officer Tamar Dixon speaks with an array of UK based Black dance artists and practitioners who have recently been recognised for excellence.

Tamar Dixon So much of our work takes place behind the scenes and behind closed studio doors, and so many of those working in dance do so for the love of the art form and the joy of performing, creating, or teaching. What does it mean to receive recognition?

Throughout 2021 we witnessed the resilience and consistency of high-quality work in every part of the dance sector. In 2022, as befits this edition’s special focus of ‘breaking barriers’, it seems poignant to acknowledge leadership and innovation of Black artists.

I reached out to some deserved recent recipients of the Queen’s New Year Honours, the One Dance UK Awards and the Black British Theatre Awards to reflect on their personal outlook on ‘Black excellence’ in the UK and the motivation behind their important work.

One Dance UK Awards

Photos: Top: Dani Bower for One Dance UK, Bottom: CCCDC7

The One Dance UK Awards aim to unite, celebrate, acknowledge and reward the people and companies who have made an impact on the vibrant UK dance landscape.

Held online in November, the 2021 One Dance UK Awards shone a spotlight on many of the incredible voices in our sector.

Carl Campbell Founder and Artistic Director, Carl Campbell Dance Company 7

Dance of the African Diaspora Lifetime Achievement Awardee 2021.

Carl’s career has spanned over 40 years. In addition “When out of the blue I received an email from One Dance to being Founder/Artistic Director of Carl Campbell UK saying, “We are delighted to let you know you are Dance Company 7 (CCDC7), he is an actor, dancer, singer, nominated for the One Dance UK’s Lifetime Achievement songwriter, musician, choreographer, dance director, tutor, Award 2021, for Dance of the African Diaspora”, I felt like musician, and poet. He worked extensively in the West it was 1978 again and I had been given the chance of a End and at leading institutions such as The Royal Opera new beginning. As dancers we spend our time creating, House and Royal Festival Hall. developing, and trying to do the things we believe we Through his dance work, he has also worked with know we are here to do. inmates at Holloway Prison, created opportunities for “I saw this as an opportunity to look at my life, deaf dancers, and for older people as part of his Recycled timeline, and the things I have achieved, and it Teenagers programme. His work provided a platform for countless artists within dance of the African Diaspora who inspired me to draw attention to the passion and the struggles.” are leading the sector today.

Carl’s work continues. Through community outreach, But now I would like to consolidate and put my Carl plans on rekindling CCDC7 and connecting with thoughts in writing: on the internet, social media and all generations, moving forward. Both the young and the make known the work, the purpose and the visions elderly (Recycled Teenagers), to form his dance group. behind it all. It’s long overdue. It will be a fun thing. Watch this space!”

Further information www.ccdc7.co.uk www.onedanceuk.org/one-dance-uk-awards The One Dance UK Magazine | Spring 2022 43

Breaking Barriers

Black British Theatre Awards The 2021 Black British Theatre Awards took place on Sunday 21 November 2021 at London’s Old Finsbury Town Hall. The BBTAs are the UK’s first award ceremony that centers around the excellence and contributions of Black creatives across the theatre sector.

As One Dance UK were proud sponsors for the Best Choreographer Award, I attended the ceremony and was struck by the abundance of Black excellence, talent and artistry. I spoke with the winner, Ingrid Mackinnon and nominees, Dannielle ‘Rhimes’ Lecointe, and Sarah Golding.

Ingrid Mackinnon Best Choreographer Award recipient Black British Theatre Awards 2021 Awarded for Romeo & Juliet, Regent’s Park Open Air Theatre

Photos: Left: Getty Images, Right: Amy Cook Photography, Bottom: Ian Vincent

“I was in Devon doing some work for the BBC when my agent called about the nomination. I was initially in disbelief, enormously grateful and then finally tearfully proud of myself. Getting nominated for any award is an incredible thing, but the work of a movement director at times can feel lonely so I was grateful.

My biggest takeaway from The Black British Theatre Awards is that we should come together as a community more often. It was a beautiful event that took my breath away, It was such an honour to be there and to be nominated alongside two incredible female artists, Sarah and Dannielle.

“The Black British Theatre Awards are an important reminder of the depth of talent among Black creatives in the UK.” In 2021, the biggest highlight for me was still being able to make work. Just getting into a rehearsal room as a major achievement given the global challenges of the past two years. My goal for 2022 is quite simple, continue to follow my dreams. Perhaps saying it here will hold me more accountable! I invite the next generation of theatre makers and dance artists to do the same. So just go for it.”

Further information www.blackbritishtheatreawards.com 44 The One Dance UK Magazine | Spring 2022

Dannielle ‘Rhimes’ LeCointe Best Choreographer Award nominee Black British Theatre Awards 2021 Nominated for The Sun, the Moon and The Stars, Theatre Royal Stratford East

“It was such an honour to be nominated for two awards in 2021 for my work on The Sun,The Moon and The Stars. I have been in the industry for 20 years and my hope is to empower and encourage people to tell powerful stories that ignite a loving world.”

Sarah Golding

Best Choreographer Award nominee Black British Theatre Awards 2021 Nominated for Cruise, Duchess Theatre

“Attending the BBTA’S was actually quite a surreal and overwhelming experience. It was amazing to be in a room full of such incredible black talent. I felt celebrated, seen and comforted in a way I had never experienced..”

Breaking Barriers

The Queen’s New Year’s Honours The Queen’s Honours are announced biannually.

One Dance UK hosts the Honours Advisory Group to coordinate the submission of Honours nominations and ensure that Dance is included in the National Honours on the Queen’s Birthday and New Year’s lists. Since 2016 we have been able to ensure that the excellent work of nearly a hundred individuals from the dance sector has been recognised and celebrated in this important way.

Kenneth Olumuyiwa Tharp CBE Arts professional and Arts & Media Committee Member, Queen’s Honours

“Twenty years ago, it seemed to be predominantly individuals connected to large classical ballet companies who received recognition in the Queen’s Honours.

Thankfully, more recently, individuals across all forms of dance are being honoured, and amongst them, Black and Global Majority recipients.

Photos: Top: The Unloved, Left: K. Tharp, Right: Benji Reid, Bottom: Benji Reid

It’s a recognition that can uplift the individual, but equally draw kudos to their dance company, organisation, and genre of dance.

Sadly, there’s a very real conflict experienced by some who receive an honours notification, where their initial joy is compromised by the recognition that the award’s name is indivisibly linked to colonialism and the British Empire.This association has even led some to reject their honour, such as Jonzi D, who dramatised his dilemma in his hiphop dance-theatre piece entitled The Letter.

I long for the day when people can be honoured for their contribution, unburdened by language that ties it, and them, to an imperial past.”

Pawlet Brookes MBE

Artistic Director, Serendipity UK Awarded an MBE for Services to Dance

“It was a wonderful surprise to receive an MBE. I am truly humbled and consider this a shared testament of the fantastic people that I have had the pleasure of working with over the years who have done so much to amplify diverse voices in dance.”

Michael ‘Mikey J’ Asante MBE

Co-Artistic Director and Co-Founder, Boy Blue Awarded an MBE for Services to Dance

“What’s important is I never focused on the idea of standing out, I focused on the idea of doing good work that I believed in. I made a choice, that choice turned into a passion and a drive.The recognition emboldens me to do more work. I’m not here for accolades, I just try to get better.”

Sharon Watson MBE DL

CEO and Principal, Northern School of Contemporary Dance Awarded an MBE for Services to Dance

“It was a proud moment receiving this award.

Being acknowledged as a female artist of colour also feels like an achievement, given the deficit of representation.There are excellent Black artists out there, grafting hard to make things happen. Let’s recognise more of them with accolades like this.”

Further information Further information on dance sector recipients of the 2022 New Year Honours: www.bit.ly/QueensHonoursDance2022 Further information on the Queen’s Honours: www.gov.uk/honours The One Dance UK Magazine | Spring 2022 45

Breaking Barriers

Responding to Needs Supporting the Dance of the African Diaspora sector,

by Jazlyn Pinckney Chinyanta Kabaso

Jazlyn Pinckney

Photos: Left: Jon Aitken, Right: Dani Bower for One Dance UK

The One Dance UK Dance of the African Diaspora (DAD) Mapping Report, released in late 2019, shared the findings of consultation with hundreds of voices from the sector. Through surveys, roundtable discussions, face-to-face interviews, and conferences, we created a report outlining some of the key areas for support and growth of the African Diaspora dance community.

The turmoil of the past two years, which has particularly impacted global majority artists, has changed the dance landscape. But, perhaps surprisingly, the call to action uncovered by the 2019 Mapping Report still echoes with relevance. Now with added care for rebuilding our resilience and securing sustainable foundations for DAD practice, we reflect both the issues raised in the consultations and the current needs of the community.

One Dance UK is proud to commit this year’s focus for DAD around two key Mapping Report themes: • Fundraising and Sustainability • Education and Training There are a range of events being planned at low or no cost, which we hope will provide information, resources, and inspiration for those working in, or connected to, the DAD sector. More will be announced soon, but exciting partnerships are being lined up for both online and inperson events around the country, so we can reconnect and share knowledge. Join us!

For information on these sessions and more, go to www.onedanceuk.org/events 46 The One Dance UK Magazine | Spring 2022

In-Person Networking and Discussion

Training for Teachers

Facilitate your professional growth by taking part in one of our planned in-person events. Join like-minded people for dance and discourse on topics such as advocacy and inclusion

Equipping teachers to approach DAD styles in a sensitive, enjoyable way, so they can feel confident in using the appropriate context and language, helping their students gain a new appreciation for the styles

Online Upskilling Sessions

Digital Media

Enhance your work through interactive, online sessions focusing on fundraising skills and education for both young people and professionals

Expect podcasts, films and regular content from One Dance UK sharing advice and championing work of those in the sector

Keep an eye on One Dance UK social media, emails and website for all the latest updates.

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The One Dance UK Magazine | Spring 2022 47

Emerging into a New Normality Breaking Barriers

The effects of the COVID-19 pandemic on the mental health and wellbeing of dance freelancers, by Maria Kolitsida – Doctoral Researcher, University of Birmingham

Maria Kolitsida

Photo: M. Kolitsida

It is well documented that the creative sectors have suffered from the negative financial consequences of the COVID-19 pandemic, and within these sectors there is one group that has been potentially affected the most: freelancers (OECD, 2020).

To understand the effects of the pandemic on the mental health and wellbeing of dance freelancers, I conducted a research project at the University of Birmingham in collaboration with One Dance UK, during which I interviewed six dance freelancers to build a picture of some of the experiences freelancers have had during the first 16 months of the pandemic.

Dance freelancers in this study felt that the pandemic worsened the well-documented difficulties that are associated with working in a freelance capacity in dance (Aujla and Farrer, 2015; Aujla et al., 2019; Aujla et al., 2021). The difficulties highlighted in this study include financial instability, lack of separation of personal and professional lives, and the competitive and unregulated nature of the freelance dance industry. These difficulties negatively affected dance freelancers’ identities and self-worth during the pandemic. Freelancers also discussed that they felt a lack of trust in their employers and the government to create a sustainable and safe future for dance freelancers after the pandemic.

Nonetheless, the dance freelancers I interviewed expressed that the The findings of the study pandemic was an opportunity for them The findings highlighted the to rest, reflect on their mental health importance of taking the unique and artistic development, become context of freelance dance work more self-aware, recover from injuries, into account when attempting to connect with others, and develop protect dance freelancers’ mental health, as the sector recovers from the new skills, all of which fostered a sense of wellbeing. pandemic and beyond.

48 The One Dance UK Magazine | Spring 2022

While restrictions were in place, dance freelancers felt like they had to adapt to a lack of structure in their lives which left them feeling unmotivated and like they were lacking energy and control over their lives, which negatively affected their mental health. As restrictions began to lift, dance freelancers began worrying about re-adapting to their return to work, performing and dealing with auditions, all while maintaining good mental health.

“Dance freelancers felt that the pandemic required them to constantly re-adapt to an ever-changing norm.”

Breaking Barriers

Photos: Dani Bower for One Dance UK

Marine Tournet, NDCWales

What happens next?

Edelman et al. (2021) suggested that the post-pandemic recovery of the theatre sector will require a “rebuilding of trust and hope” (p.16).

A similar statement could be applied to the dance freelance sector.

It is evident that as a result of the pandemic, marginalised groups are driven away from working in the arts, negatively impacting the diversity of the creative sectors (IDEA Consult et al., 2021). Narratives that seek to draw on individual resilience during this time fail to consider that for dance freelancers to demonstrate resilience, their basic needs must be met (Abela, 2018).

Findings from this research suggest dance freelancers should be supported in advocating for their rights when negotiating their employment conditions and safeguards need to be put in place to ensure that they are not being victims of flexploitation* (OECD, 2020).

I would like to thank those who took part in this research and so

Aaron ‘Shin’ Duncan

openly shared their stories and experiences with me. By doing so you have helped document the difficulties experienced by dance freelancers, but also shed light on the hard work and adaptability that those who work in the freelance dance industry possess.

As freelancers make up a large percentage of the dance workforce, it is imperative that we act on what we know and ensure that dance freelancers are able to work on their craft under the best conditions possible. Therefore, even though the pandemic has highlighted the inequalities that exist within dance, it also presents the unique opportunity to address the unjust nature of freelance dance work as we rebuild.

“Can I still dance?

What’s it going to be to stand up in front of an audience again?”

Freelance dancer and study participant

Sam Vaherlehto, supported by The Work Room, Scotland

References Abela, C. (2018). Building resilience: the challenges of pre-professional dance training (dissertation).

Aujla, I., & Farrer, R. (2015). The role of psychological factors in the career of the independent dancer. Frontiers in Psychology, 6. https://doi.org/10.3389/ fpsyg.2015.01688 Aujla, I., Farrer, R., Jenkins, L., King, N., & Win, S. (2019). (rep.). The Role and Impact of Freelancers in the UK Dance Sector (pp.

1–90).

Aujla, I. J., Jenkins, L., King, N., & Farrer, R. (2021). Psychological wellbeing and grit among freelancers in the UK dance industry. Medical Problems of Performing Artists, 36(4), 233–237. https://doi. org/10.21091/mppa.2021.4026 Dean, H. (2008). Flexibility or flexploitation? problems with work–life balance in a low-income neighbourhood. Social Policy Review 20: Analysis and Debate in Social Policy, 112–130. https://doi.org/10.1332/ policypress/9781847420763.003.0007 Edelman, J., FitzGibbon, A., & Harris, L. (2021, May). The Future from Here: Theatre Freelancers and Planning for the Future during the COVID-19 Pandemic.

Freelancers in the Dark.

IDEA Consult, Goethe-Institut, Amann, S., & Heinsius, J., Research for CULT Committee-Cultural and creative sectors in post-Covid-19 Europe: crisis effects and policy recommendations (2021). Brussels.

OECD. (2020). Distributional risks associated with non-standard work: Stylised facts and policy considerations. *Flexploitation describes situations where individuals might be unable to ensure that they will be contracted to conduct flexible work on fair and equitable terms, due to a power difference between themselves and their employers (Dean, 2008).

The One Dance UK Magazine | Spring 2022 49

Breaking Barriers

Creating Safer Cultures Between 16 -24, young people make the transition from childhood to adulthood and seek to understand who they are and where they belong in society. Young people also mature at different rates based on life experiences and exposure to external influences. This can be a very exciting time, but it can also be difficult to fully comprehend the complex pressures that young people can face.

Cath Sykes from the Ann Craft Trust discusses some ways we can help young people navigate this tricky yet exciting period in their lives by walking in their shoes, talking, and listening.

Mari Dickenson

Cath Skyes

Photos: Left: Ann Craft Trust Right: Dani Bower for One Dance UK

Get to know young people and find out what makes them tick Ask open questions about their interests, views and approach to life.

You can do this individually and in groups. And if you don’t know what young people are talking about, ask!

Learn about the pressures that young people face and be prepared to talk about them Here are just some of the pressures young people might face at this age: • Finding a job • Leaving home and becoming financially independent • Relationships • Peer pressure • Self-image and identity.

Fear of failure can make any of these issues even more complex.

Some young people may also be facing additional responsibilities such as looking after dependants or relatives, or managing their own additional care needs.

50 The One Dance UK Magazine | Spring 2022

Additionally, according to the Office of National Statistics: Coronavirus and the social impacts on young people in Great Britain 3 April – 10 May 2020, for people aged 16 to 29, the main concerns about the lockdown included the effect on schools or universities (24%), their well-being (22%), work (16%) and household finances (16%).

The affects of the pandemic will continue to impact on young people for a number of years to come.

Create an environment where people feel they will be listened to All of us may have concerns or worries that we want to share, so it’s important to provide opportunities to open up and share. Having the systems in place to follow this up will ensure that everyone gets the support they need. The Ann Craft Trust has developed resources to help you start the conversation.

Have appropriate policies, procedures and resources to hand Develop policies that are relevant to your target audience. The legislation for safeguarding adults is different to the legislation for safeguarding children. Take the time to understand what is required so that you can build up your support network.

Have clear codes of conduct and expectations in place for everyone These codes should apply to dancers, volunteers, teachers, and staff and need to be embedded across your organisation. Collaborate to develop codes of conduct and write them in a language that everyone understands.

That way, people will be more likely to follow them.

Set expectations and boundaries defining acceptable behaviour and feed these ideas into your code of conduct to remove confusion and awkwardness of deciding whether something is OK or not.

Breaking Barriers

Development and Training Offer opportunities for young people to take on a role that will help them on their career path.

Have a safe recruitment process for both external and internal applicants including an application process, a DBS check (if required), at least 2 references and an interview.

Following this, have an induction process that explains responsibilities for participants, volunteers, and staff.

This can also include discussions around safe social media use.

Finally, enforce personal boundaries to protect both volunteers and participants from misunderstandings and potential allegations.

Continue to learn and develop Keep your safeguarding knowledge and skills up to date. The Ann Craft Trust has regular courses and newsletters to support you.

Events: www.anncrafttrust.org/events Sign up for newsletters and updates: www.anncrafttrust.org/contact Finally, sign up to the #saferculturesafersport campaign to make your commitment to creating safer cultures in sport, and to keep up to date with news and resources. www.anncrafttrust.org/saferculture

Photos: Top: David Elliott, Bottom: Dani Bower for One Dance UK

Further Information www.anncrafttrust.org/saferculture

Nurturing Young Talent Tracy Witney is Chair of the National Centres for Advanced Training in Dance (CAT) Programme and Head of Learning and Participation/Designated Safeguarding and Prevent Lead at Northern School of Contemporary Dance. She shares the approach of the CAT schemes when developing safe environments for young dancers to flourish.

• Commitment factors within their academic school Safe dance practice and safeguarding is the responsibility of everyone involved in the CATs. Guided by tutors and safeguarding leads, our young dancers are Tracy Witney encouraged to be proactive in understanding and recognising the The National Centres for importance of consent, and how Advanced Training (CATs) in and when to provide it – whether it dance work together to promote be a photograph on a website or the the highest standards of safety use of safe touch. and welfare for young dancers Each host centre works with accessing our provision. As host their own safeguarding policies organisations we strive to create and procedures, including safer nurturing and safe environments recruitment of artists and assigned that support the physical, mental safeguarding leads. and emotional wellbeing of our students.

Over the last 18 years the CAT programmes have developed and refined their safeguarding working practices to cover children, young people and adults at risk. We take into consideration a multitude of factors surrounding the prevocational training programme, including but not limited to: • Diverse backgrounds of our students (gender, ethnicity, disability, neurodiversity, socio economic status) • The intensity of dance activity involved in the programme

“Our ethos is to have a culture of vigilance where everyone is responsible for safeguarding and support is readily available to those who may be in need.”

Further Information www.nationaldancecats.co.uk

One Dance UK Young Creatives participants

The One Dance UK Magazine | Spring 2022 51

Breaking Barriers

Try, Balance and Joy

Russell Maliphant Dance Company and EncoreEast begin research on ‘aesthetic performance’ in older dancers, by Stella Eldon, Claire Farmer, Helen Laws and Jeanette Siddall.

EncoreEast dancers

Photo: Roswitha Chesher

In 2021 Russell Maliphant Dance Company (RMDC) and EncoreEast joined forces in a collaborative choreographic project. The two companies share a deep interest in exploring and expanding the aesthetic movement potential of older adults and were curious to see how RMDC’s somatically informed approach to choreography might work for these dancers aiming to achieve their goal of ‘becoming better dancers’.

We set out to investigate how a deeper embodied understanding of the anatomical structures and biomechanics of the moving body, engendered within this creative dance context, might impact the movement efficiency, aesthetics and health outcomes of older adults.

Quantitative measures assessed range and quality of motion, lower body strength, experiences of pain and quality of life. Qualitative, auto-ethnographic research, undertaken by a dancer participant, captured the experiences of the dancers during the creation process.

Research findings in brief EncoreEast dancers scored highly for their age group in general health and quality of life measures. This bore out the hypothesis that research on regularly active older dancers, whether or not they come from a professional background, should include tests that treat them as dancers first, rather than as older adults.

EncoreEast dancers reported ‘feeling seen’, not only by RMDC dancers Edd and Alethia who led on the creation, but by the whole RMDC team. This being seen, noticed and respected raised the dancers above their perceived selves. Key words used consistently in the data by the majority of participants were: Try, Balance and Joy. The audience for the performance of Focus commented on its high quality. Further research is needed into movement quality and aesthetics as perceived subjectively by those witnessing it as well as the dancers themselves.

While not a primary goal of this project, the perceived improvements in balance following the somatically informed choreographic process warrant further study.

52 The One Dance UK Magazine | Spring 2022

“Today I was able to engage freely with my whole body. I was able to see those connections that we had been learning about and realise them in flowing movements.”

EncoreEast dancer

Russell Maliphant noted “As a dancer I have been exploring movement for some 50 years - through injuries and different movement styles and analysing the elements that give particular aesthetic outcomes or improved sustainable health.

“I believe this practice is healthy for anyone, regardless of age, providing they are able to listen to their body, which we aim to facilitate. Regressions or progressions of a task or exercise are utilised to make the movement appropriate to the level of strength and articulation any particular individual has. The movement principles are therefore not age related and this approach is ultimately used choreographically as in the project with Encore East.”

“The way we practice movement at RMDC aims to integrate and connect the body - undoing tensions, restrictions and holding patterns. It utilises improvisation and individual physical languages in the creative process.”

Russell Maliphant Further Information www.russellmaliphantdancecompany.com/researchprogramme www.encoreeastdance.co.uk/portfolio Get involved: The third edition of DanceEast’s HOST – celebrating dance and age – will be held at the DanceHouse, Ipswich, on 4 May 2022 and include workshops, performances, films and discussions: www.encoreeastdance.co.uk www.danceeast.co.uk

59 years of Dancing Times now available digitally!

A great resource for dance students and teachers to read archived reviews and articles on dance history, health, training and education

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Breaking Barriers

Youth Dancers

Breaking Barriers and Crossing Borders

Dr Aoife McGrath from Queens University Belfast (QUB) and Dr Victoria Durrer from University College Dublin (UCD) on an exciting cross-border collaboration between dancers in Northern Ireland and Ireland.

Photos: Joe Fox Photography

DU Dance project participants

The sometimes-contentious border between the north and south of the island of Ireland meanders for over 300 miles through towns and villages, across fields and mountains.

Belfast alone has over 97 separate peace walls, barriers designed to keep communities apart. As a company with a remit for bringing communities together in a safe environment, DU Dance (NI) is kept very busy devising and delivering appropriate, relevant projects.

DU Dance’s individual programmes of work encompass both longitudinal projects and one-off workshops and much more in between. In 2022 the company is planning to partner with Queens University Belfast and University College Dublin on a two-year research project, entitled Conversations, which will facilitate cross-border exchanges. Dancers in Northern Ireland with be paired with dancers in Ireland to co-create a documentary film for screening in 2023. Youth dance facilitators will contribute to an industry-facing report for the dance and youth arts sectors and academic papers will be presented internationally.

Young dancers from DU Dance (NI’s) youth project in Dungannon will work on Conversations. Dungannon is a small town in County Tyrone, situated some twenty miles or so from the border. Over the past ten years, the town has undergone extensive growth and diverse population change. It has a migrant worker population numbering twice the Northern Ireland average.

The dancers themselves come from diverse cultural backgrounds and hold interesting views about the advantages of breaking down barriers. One of them observed “When you’re the outsider, it’s hard. It’s nice to belong. I feel like I belong at dance”.

54 The One Dance UK Magazine | Spring 2022

“In a small, under-resourced sector, building relationships across the island of Ireland is crucial to the development of youth dance” Mags Byrne, Artistic Director, DU Dance (NI) DU Dance project participants

“The voices and moves of the youth dancers themselves will be at the heart of the project” Dr Aoife McGrath, Queens University Belfast

Further Information DU Dance (NI) is a professional dance development company based in Belfast. www.dudanceni.com

Teacher Resource

CUT OUT AND KEEP

Exploring Creative Tasks and Ideas Accessible for all age ranges A resource written by Alexandra Henwood (Head of Participation, DanceXchange) with Zoie Golding (Critical Mass Lead Artist, Artistic Director of ZoieLogic Dance Theatre) and Anna Belyavin (Critical Mass Dance Artist).

Critical Mass 2022

Critical Mass is an inclusive dance collective, based across the West Midlands for young people aged 1630. It is a creative, ambitious dance and movement group, that is made up of disabled and non-disabled young people, to show how genuine inclusion can be achieved in mega-events such as the Commonwealth Games.

The Critical Mass creative team includes a range of professional dance artists, support and access workers and young leaders who apply their expertise to build the skills and confidence of young people to create lasting performance moments that will be seen locally by thousands, and broadcast globally to an audience of one billion.

Warm Up Ideas Moving as a mass – demonstrate easy follow along movement to get everyone moving as a collective, introducing different parts of the movement vocabulary and getting the body prepared/warm for the session ahead.

The One Dance UK Magazine | Spring 2022 55

Photos: Anthony Lloyd

Critical Mass 2022

Session Principles Celebrating the Individual Ensuring the planning, delivery and learning processes are designed to enable the best possible participant experience, from conception, delivery, communication to performance.

Co-Creation and Collaboration Every voice matters: coming together to create a powerful collective voice. This includes facilitating creative contributions to evolve movement phrases and concepts – letting go of a formulated outcome and letting it develop organically.

Genuine Inclusivity Seeing and listening to the individuals in the room to lead them in reaching their full potential, from material adaptation, communication style, session pacing, championing their contributions to clear session objectives.

Teacher Resource

CUT OUT AND KEEP

Pass the move – pass a simple move around the circle, valuing each individual in a group, allowing everyone to have a moment to shine. This practices canon as a choreographic concept and wakes up the brain and the body by increasing speed. You can also invite participants to create their own move and choose which way they want to pass it.

Pass the prop (e.g. a book) – developing the idea of telling stories, working in a trio, find imaginative ways to pass a book between you.

You can introduce interacting with the book as a prop such as holding, reading, hiding, closing, turning the page. Exploring the space around the body with a prop by passing over, under and around.

Travelling through space – allowing people to go on their own journey through space, meet others in the group, interact, navigate space, travel together, connect. To progress this, you can add in group pauses, with simple stop and start instructions, to help them start to find cohesion as a group.

Cool Down Ideas Repeating key phrases but slower and gentler – as a way of transitioning into a cool down, repeating material to embed it into the memory but ensuring to slow down the pace and energy.

Follow the leader –a choreographic way of travelling from A to B in Critical Mass but also a useful warm up tool. In small groups, in a single file line, follow the leader as they weave through the space moving with simple gestures. This works on focus, co-ordination and improvisation.

To develop this, you can pause the music with a freeze action and then the leader moves to back to introduce the next leader. You could encourage the use of different levels and dynamics.

Creative Task Examples Qualitative language word pool – create a movement phrase, using co-creation, using gestural words such as shifting, weaving, reaching, discovering. This can then be layered into choreography using formations and patterning.

• TOP TIP: This can be a simple yet effective task when you have a specific theme you are working towards.

Shared language phrase – celebrating the different styles and movements of the group, with each contributing a movement/phrase that is put together and learnt with adaptations as necessary. This can then be performed in unison as a celebration and sense of mass.

Name solo: celebrating your story – create a solo by using different body parts. Use a different body part to draw each letter of your name to create a unique solo. This can be developed using different levels, dynamics and changes of direction.

Dance Development Leaders Group (DDLG) present Critical Mass in collaboration with

56 The One Dance UK Magazine | Spring 2022

Copy me cool downs – leader-led material including stretches to gently cool down the body and wind down. Moving together finds cohesion and a sense of group at the end of a session.

• TOP TIP: This is great if the group have been working in small groups and you want to come together and finish together.

Pass the move ‘high five’ – a repeat of pass the move from the warm up but by passing an air high five (avoids contact in Covid times!) as a way of passing a well-done celebration around the group to close.

Reflective Practice Top Tips Critical Mass champions the use of ongoing reflective practice to ensure each individual can maximise their learning and growth.

Some ideas include: • Using A3 paper with specific questions/headings and asking individuals to use sticky notes to respond to each of these at their own pace • One word or gestural response, eg. thumb up or down • Individual learning journals to draw or write in over time • Short and simple guided mediation – asking individuals to close their eyes and reflect on how they found their experience, what are they proud of, what was fun etc.

Generously supported by Spirit Of 2012

www.criticalmass22.org.uk @Critical_Mass22

U.Dance is back!

U.Dance 2022

After two successful years online, the U.Dance National Festival will return this summer in a fantastic new format encompassing live performance, dance films and digital workshops. Don’t miss it!

This spring, thousands of young dancers are taking part in U.Dance Regional Platforms which precede the U.Dance National Festival. On both stage and screen, the talents of our nation’s young dancers are being showcased in a wide range of dance styles.

Congratulations to all involved!

Save the Date: 22-24 July 2022

Midlands Arts Centre (mac) Birmingham

This celebration of youth dance will take place in the Commonwealth Games city of Birmingham and feature work from young dancers of every region of the UK. Alongside the live event, keep an eye out for cinema screenings of U.Dance on Screen work, free digital workshops and industry Q&As.

www.udancedigital.org One Dance UK would like to thank all partners, supporters, teachers and group leaders and, of course, the talented young dancers, for being part of this special event.

The One Dance UK Magazine | Spring 2022 57

In the Spotlight

Book Reviews

Purchase ISBN: 9781350194519 www.bitly.com/PeriodizationBook Review by Dr Sarah Needham-Beck

Purchase ISBN-13: 979-8769469862 www.amzn.to/3Hvs1ID Review by Cameron Ball

Periodization: A Framework for Dance Training

By Matthew Wyon and Gaby Allard Periodization: A Framework for Dance Training provides a detailed overview of an alternative approach to curriculum design in vocational dance education borne from rich collaboration between dance educators and applied scientists/researchers.

Within the text, principal authors Gaby Allard and Matt Wyon provide honest reflections on their ten-year practical experimentation with the implementation of principles developed in training science within the

dance training context.

Its real strength is the equal value placed on the input of different voices, which is emphasised throughout the text and reflected in its structure. Part one offers varied perspectives and broadens the often-oversimplified view of periodization as only being concerned with manipulation of training focus, intensity, and volume in set phases.

This emphasis continues into part two, which focuses on the challenging area of cultural change and clearly states the importance of buy-in and understanding from all involved parties.

Useful insights are provided

throughout for anyone hoping to implement a similar approach to their own programme, with part three providing the practical detail and guidance of how to do this.

Overall, the text fully acknowledges complexities, while providing a clear and thorough explanation of concepts, their crossconnections, and applications; aided throughout by the useful inclusion of ‘case study examples’. This is a must-read for all involved in dance education and training; from administrators and management, to educators, varied practitioners, applied scientists and researchers.

Successful Artists Mean Business

By Tomorr Kokona We know that succeeding in show business needs a range of skills, but as so many of us come into the field from a love of dance as an art form, how can we best intersect the ‘show’ with the ‘business’?

Tomorr Kokona’s Successful Artists Mean Business aims to help all dance professionals realise their business potential.

What’s interesting about this book, and sets it apart from other guides, is it’s centered on dance professionals being a combination of artists and business people, and is written by someone who knows dance

in its current climate – in class, on the stage and behind the scenes.

Kokona has spent 35 years working as a dancer, choreographer, producer and consultant, and clearly has a passion for the art form and for helping others thrive.

Throughout the book we are offered realistic depictions about the challenges and pressures that can present themselves in a dance career, and there are poignant personal anecdotes which ground the advice in a real time and place.

Divided into five parts: ‘Strategise’, ‘Transform’, ‘Act’, ‘’Refine and ‘Scale Up’, amidst a miriad of suggestions Kokona

invites the reader to look inward and ask themselves some important questions.

The overall aim of Successful Artists Mean Business is for readers to “find a balanced life between creativity and making a good living.” As an investment to further your career (or a gift for the dancer in your life), this book may be a useful stepping stone to going out and really thriving in this business called show.

Board of Trustees

One Dance UK Staff Andrew Hurst MBE Chief Executive

Tori Drew Dance in Education Manager

Cameron Ball Special Projects Manager

Alisha Kadri Head of Membership and Business Development

Amelia Bickley Membership and Business Development Officer Dani Bower Marketing and Communications Manager Dann Carroll Project Manager Lara Coffey Head of Marketing and Communications Barny Darnell Membership Manager Tamar Dixon Dance of the African Diaspora Network Officer

Jessica Lowe Administrator, Dancers’ Health, Wellbeing and Performance Jo Gatenby Dance in Education Manager (Maternity Cover) Laura Nicholson Head of Children and Young People’s Dance Jazlyn Pinckney Head of Workforce Development.

Maria Kolitsida PhD placement student

58 The One Dance UK Magazine | Spring 2022

Christopher Rodriguez Deputy Chief Executive/ Finance Director Erin Sanchez Manager of Health, Wellbeing and Performance and the National Institute of Dance Medicine and Science Kate Scanlan Development Producer Chloe Sprackling Marketing and Communications Assistant Katie Stevens Operations Manager Alan Tuvey Finance Manager Amy Williams Dance in Education Manager

Amanda Skoog Chair Senior Producer, The Royal Ballet Anthony Bowne Principal, Trinity Laban Conservatoire of Music and Dance Jane Bonham Carter Baroness Bonham-Carter of Yarnbury, Member, House of Lords Andrew Carrick Director of Carrickworks Julian Flitter Partner, Goodman Jones LLP Vicki Igbokwe Choreographer and Director Uchenna Dance Denise Nurse Legal Consultant

Patrons Piali Ray OBE Freelance Artistic Director and Choreographer

Carlos Acosta CBE Children and Young People Patron

Susannah Simons Arts Strategist and Director of Partnerships, Marquee TV

Peter Badejo OBE

David Watson Executive Director of Audiences & Media, National Museums Liverpool

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

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