ONE Magazine | Autumn 2021

Special Focus on Evolution • Freddie Opoku-Addaie in conversation • BBC Dance Passion 2022 announced!

• Equitable working resources and info

Industry • Casting Moulin Rouge! in a pandemic • Dance and parenthood – best practice • Kickstart Scheme for dance graduates

Education and Health • Higher education’s need for resilience • Considering neurodiversity and difference • Safeguarding and abuse prevention The One Dance UK Magazine Issue 11, Autumn 2021

1 The One Dance UK Magazine | Autumn 2021

2 The One Dance UK Magazine | Autumn 2021

Contents 4 5

Welcome by Andrew Hurst MBE Reader Competition: WIN TICKETS to Motionhouse’s new production Nobody!

In the Spotlight 6 News 9 One Dance UK Awards 11 One Dance UK Membership: New Trainee Teacher Offer 12 Feature Interview: Dance Umbrella’s Artistic DIrector Freddie Opoku-Addaie with Andrew Hurst MBE Special Focus on Evolution 17 Introduction by Lara Coffey, Head of Marketing and Communications 18 Bold New Moves by Jazlyn Pinckney 20 Outside the Box by Melanie Precious 22 BBC Dance Passion 2022

– What is Dance Passion?

– Interacting with Interactive by Thomas Hetherington

– Presenting... Dance Passion 2022 Commissioned Artists

– High Octane Entertainment: Corey Baker in conversation with Lara Coffey 28 Dancing Parents by Katie Stevens 30 Casting: Come What May by Cameron Ball 32 The Beat of Jazz: 25 Years of BOP Jazz Dance Theatre by Katie Willy 35 Considering Difference in Dance by Jess Lowe 36 Neurodiversity and Difference by Dr Deveril 38 Safeguarding and Abuse Prevention by Dr Jennifer Cumming, Erin Sanchez, Georgia Bird and Dr Victoria Burns 41 Leadership and Inspiration by Junior Cunningham 42 I Move: One Year On by Tamar Dixon 44 Kickstarting Moves into the Dance Sector by Lucy Bayliss 46 Higher Education: Degrees of Change by Laura Nicholson 51 Diversifying the Curriculum by Karina H Maynard 52 Shaking Up Dance in Schools by Linzi McLagan 54 Education: In Focus by Amy Williams

– Advocate for Change 56 Poetry and Motion by Helen Calcutt Cut-Out Resources for Teachers 57 Key Stage 1&2: Journey Down the Amazon River by Movema, World in a Box Features 61 U.Dance 2021 in Review 62 Book Reviews

– Dancing with Stalin: A True Story of Love and Survival in Soviet Russia by Christina Ezrahi

– Ballet: The Essential Guide to Technique and Creative Practice by Jennifer Jackson

Front Cover: Blythe is a young dancer from Surrey and was a winner of U.Dance’s EveryOne Dance UK Challenge, supported by Trinity Laban Conservatoire of Music and Dance.

Photo: Dani Bower for One Dance UK 3 The One Dance UK Magazine | Spring 2021

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

With thanks to our project partners, funders and supporters www.onedanceuk.org/ support-us/thank-you/ BBC Arts BBC Teach Cultural Learning Alliance Dance Consortium DanceHE Dance Hub Birmingham Dance Mama DUDance Equity Garfield Weston Gordon and Co. Insurance Brokers Harlequin Floors Inc Arts Marquee TV National Institute of Dance Medicine and Science (NIDMS) National Youth Arts Wales National Youth Dance Company Northern School of Contemporary Dance Parents and Carers in the Performing Arts (PiPA) Sadler's Wells Theatre Safe in Dance International Sport England Sunvit D-3 The Place/LCDS Theatre Royal Plymouth University of Birmingham University Of Chichester University of Stirling Warwick Arts Centre YDance Design tm-studio.co.uk The One Dance UK Magazine | Autumn 2021 3

Welcome

Photos:Top: Brian Slater; Left: Greta Mendez; Middle: Quentin Cooper; Right; Oliver Lamford

Andrew Hurst MBE Chief Executive, One Dance UK

Dear friends and colleagues, This edition of One takes the theme of ‘Evolution’ as its special focus. It’s been exciting to see our sector’s evolution over the past few months, with a flurry of creativity and a return to live dance content after such a difficult period.

What will be interesting to see is where things settle after a period of intense adjustment. How do we return to the stage whilst still scooping up new audiences we have engaged online, and continue using new technologies whilst implementing more equitable approaches?

The lineup of joint One Dance UK and BBC commissions for Dance Passion 2022 is announced here. With a special focus on digital creativity, supported by Arts Council England’s National Lottery Project Grants programme, we are excited to be able to commission artists who are pushing the boundaries and exploring new ways of working.

With a new academic year beginning, we are mindful of the impact of pending funding cuts and

offer our full support to our resilient dance educators. In this issue of One, you can learn more about the state of dance education and the ways that you can advocate for change.

One Dance UK’s work continues apace, with regular engagement with Government, supported by you, our members, giving sector feedback. Dancers’ health and wellbeing, accessibility and inclusion also remain at the top of our agenda. See the results of our recent Safeguarding Survey and read considerations for neurodiverse dancers in this edition. Our work with and for young people has evolved but not slowed down, with Young Creatives and U.Dance National Festival 2021 being hosted online and engaging thousands of young dancers.

I look forward to seeing you all, both digitally and in person, at our upcoming One Dance UK Awards, Annual General Meeting, and at other member events.

In This Issue

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

Melanie Precious Page 20 Melanie Precious became Chief Executive Officer of Greenwich Dance in September 2018.

She has previously worked with a number of dance organisations including Luca Silvestrini's Protein, Sadler's Wells, Hofesh Shechter Company, ZooNation, DanceEast and The Place.

Junior Cunningham Page 41 Junior Cunningham has been Motionhouse’s Rehearsal Director since 2009. Originally from Birmingham, he was encouraged to study dance by his sister when he was 17. He graduated from Northern School of Contemporary Dance in 2002 with a BPA (Hons) in Contemporary Dance.

In Autumn 2002 Junior joined Motionhouse as an apprentice and became a company dancer in January 2003.

4 The One Dance UK Magazine | Autumn 2021

Linzi McLagan Page 52 Linzi McLagan is Head of Education at YDance, a dance educationalist and a GTCS registered lecturer with a passion for working within the dance education sector advocating dance and producing innovative projects across Scotland.

Linzi has worked extensively throughout Scotland as a Community Dance Artist, Dance Development Officer (educational remit) and a Dance Educationalist in early years, primary, secondary and further education settings.

Reader Competition

WIN TICKETS to Motionhouse’s exciting new production of Nobody!

Motionhouse returns to The Peacock, London for the world premiere of the long awaited dance-circus production Nobody, 22-25 September before embarking on an extensive UK tour in autumn 2021 and spring/summer 2022.

Nobody UK Tour Dates

Fast-moving and highly physical, Nobody explores the tension between our inner lives and how we make sense of the world around us. Motionhouse’s renowned dance-circus style combines with mesmerising choreography to tell this emotional and ultimately uplifting story, full of twists and turns.

Packed with visual magic, the world on stage is transformed before our eyes.

Digital projections and the shapeshifting set create a constantly changing environment where nothing is quite what it seems…

Wed 6 October 2021 CAST, Doncaster

Nobody is a spellbinding and strikingly visual adventure – a highly relevant and moving show that resonates with the times we live in.

Two pairs of tickets to any venue on the Nobody tour are on offer to lucky winners.

One Dance UK Members receive two entries per submission, doubling your chance to win!

To enter To be in with a chance of winning two tickets to any date of your choice (from October onwards): EITHER email info@onedanceuk.org with your name and preferred venue OR comment on the pinned competition post on the One Dance UK Facebook page (@onedanceuk).

Closing Date 30 September

Wed 22 - Sat 25 September 2021 The Peacock, London

Fri 22 - Mon 25 October 2021 Midlands Arts Centre, Birmingham Tues 2 November 2021 Malvern Theatres Fri 26 - Sat 27 November 2021 Dance City, Newcastle Upon Tyne Tues 30 November Wed 1 December 2021 Lighthouse, Poole Nos Fawrth 7 Rhagfyr Tuesday 7th December 2021 Canolfan y Celfyddydau Aberystwyth Arts Centre Tues 11 January 2022 Queen’s Theatre Hornchurch Thurs 20 - Fri 21 January 2022 Theatre Royal Winchester Tues 25 January 2022 Lawrence Batley Theatre, Huddersfield Fri 28 January 2022 King’s Theatre, Edinburgh Fri 4 February 2022 Birmingham Hippodrome Thurs 10 - Sat 12 February 2022 HOME, Manchester Wed 30 March 2022 Worthing Theatres and Museum Fri 8 - Sat 9 April 2022 Gulbenkian, Canterbury Wed 20 April 2022 Yvonne Arnaud Theatre, Guildford Wed 27 - Sat 30 April 2022 Warwick Arts Centre, Coventry

Photos: Dan Tucker

Thurs 26 May 2022 Nottingham Playhouse Wed 14 September 2022 Octagon, Yeovil Nobody is commissioned by and created in partnership with University of Kent, ART31 and Midlands Arts Centre. Supported by Dance Hub Birmingham, Arts Connect and The Leche Trust.

The One Dance UK Magazine | Autumn 2021 5

In the Spotlight

News Classically British 2021

Classically British cast (clockwise from left), Mukeni Nel, Layton Williams, Bela de Souza, Sam Salter, Nathan Geering and Paje Campbell

Further information www.portobellodance.org.uk

UCLanDance Programme Update

By UCLan’s Lucy Nicholson, Co-Course Leader, BA (Hons) Dance Performance and Teaching

“Participatory, embodied dance continues to be at the heart of our research, investigating the nuanced meeting point between creative practice & facilitation.”

Further information www.uclan.ac.uk/faculties/dance @DanceUCLan 6 The One Dance UK Magazine | Autumn 2021

Classically British highlights the overwhelming talent of the UK’s multicultural choreographers and dancers, featuring a dynamic range of contemporary and classical dance. In 2020 the performance was taken online, in collaboration with award-winning filmmaker Frank McGowan featuring Layton Williams, Nathan Geering, Bela de Souza, Paje Campbell, Mukeni Nel and Sam Salter. Tickets to access Classically British are £10 and are available on the Portobello Dance website.

Audiences can access both this virtual filmed performance on demand, and view a live Classically British performance on 8 October at the Tabernacle Theatre, London.

Tickets will be available via Portobello Dance’s website and Eventbrite.

The project is presented by Portobello Dance, a West London based community initiative which runs and participates in a variety of activities locally, nationally and beyond. Led by Artistic Director and Founder Mark Elie, the Mark Elie Dance Foundation and Portobello Dance School has successfully developed young talent for a quarter of a century.

Expanded Health Benefit Offer for Members

UCLanDance is a Centre for Excellence in Learning, Participation & Advocacy, founded in 2018 to address the relationship between HE Dance and the wider dance ecology. We are committed to playing our role as a civic, community orientated university and through our Outreach strand provide opportunities for students to be active in their communities on placements, shadowing professional artists and public engagement projects. We support regional dance companies through our In-Residence programme and showcase local youth dance work through our Community Performance Platforms. We ensure employability and professional skills are embedded within our BA (Hons) Programme and additional CPD short courses, which are also open to local dance professionals.

Partnership is key to ensuring students are graduating into an environment they can succeed in, and they often provide students with additional performance opportunities alongside our touring UCLan Dance

Company. A recent example was Lisa Simpson Inclusive Dance’s creation of Ripple using our students during their residency with the university.

Chloe Morrisey, 3rd year student, notes the importance of community partnership. “While working with LPM Dance’s Parkinson’s classes I experienced amazing community-based practice.

The adaptability and inclusivity in these classes have influenced my work in facilitation and choreography as I have become more confident in catering to each individual participant’s ability whilst learning about creating a safe, inviting space for all.”

A recent graduate, Amy Dullenty, remembers some of her highlights of the programme: ‘At UCLan’s cJAM event I got the opportunity to shadow one of Dance United Yorkshire’s projects. I loved working with young people who had never been given the chance to dance in an organised setting before, and being able to introduce that to them is something I’ll always remember.”

One Dance UK Individual members will soon be able to access BHSF’s employee assistance programme RISE, which delivers health and wellbeing support with a particular focus on mental health.

One Dance UK will be working with BHSF to develop an add on to One Dance UK membership, for just £12 per year. Benefits include telephone and face-toface counselling, personal legal, and financial/debt support, psychiatric assessment and complex case support and complex case management, and confidential expert carer support and advice.

Further information To learn more, email info@onedanceuk.org www.bhsf.co.uk/rise

In the Spotlight

News

For the latest dance sector news, visit www.onedanceuk.org/news

HOTFOOT Online Celebrates 20 Years

Humanoove Announces Autumn Tour Internationally renowned choreographer Didy Veldman and her company Humanoove delve into what feeling ‘at home’ truly means with their new touring production @ HOME which premieres on 7 October at The Gulbenkian Theatre, Canterbury. Collaborating with musician Sabio Janiek, Veldman’s choreography will reflect on themes of belonging, identity and feeling at home.

Humanoove recently achieved charitable status and this is the company’s first new creation since the acclaimed The Knot toured in 2018. @ HOME can finally be realised after COVID-19 interruptions. The tour is presented with support from Arts Council England and several donors.

Further information www.humanoove.org @ HOME premieres at The Gulbenkian Theatre, Canterbury on 7 October and tours the UK this autumn.

The Dancers’ Forest

From ‘dirty dancing’ toward environmental responsibility

Photos: Bottom: Courtesy of Dancers Forest, Top: Chris Nash

By Adam Benjamin

The first Dancers' Forest site at Coombeshead Rewilding, Devon.

Further Information More information: contact@adambenjamin.co.uk / https://bit.ly/DancersForest

Estela Merlos and Oliver Chapman in R&D for Humanoove's @ HOME choreographed

by Didy Veldman

“I’m fascinated by globalisation: the implications on society on an international scale and how we deal with it emotionally. We have – or should I say had - fluid borders; we can work or live in any number of different countries, but where do we call home?”

Didy Veldman Artistic Director, Humanoove

When Greta Thunberg said “our house is on fire” in 2019 it was invitation to consider the whole of our dance ecology (eco - originally oikos from Greek, meaning house).

Lockdown offered an opportunity to consider what kind of future we want for ourselves and our industry in a rapidly changing, rapidly heating world, and the idea for Dancers’ Forests took on a new urgency.

It has become clear that the principles we practice in our work, those of interdependence and connectivity, are identical to those shared by the complex ecosystems of nature. This makes dancers ideally placed to demonstrate new ways of existing and co-existing in the world, not only through how we teach and perform, but also through where, when, and how we choose to dance.

Dancers’ Forests will contribute to the country’s green corridors, provide havens for wildlife to migrate, and offer outdoor spaces for dance and other arts, spaces that

One Dance UK’s publication HOTFOOT Online will mark its 20th anniversary this autumn. Focused on dance styles of the African Diaspora (DAD), the magazine remains free to access and the celebratory edition will promise to be a celebration of voices old and new Over its proud history, HOTFOOT has profiled and engaged in conversation with hundreds of companies, artists and events both in the UK and abroad. This unique platform has driven the conversation on improving visibility and inclusion for those who work in DAD styles and in dance more broadly.

Don’t miss the Autumn 2021 edition of HOTFOOT this November, and look out for a range of celebratory events in 2022.

Further information Read the Spring 2021 edition: bit.ly/HOTFOOTSpring2021

in the future might form a network of low impact venues for summer touring.

Excitingly, the first Dancers’ Forest is now underway at Coombeshead Rewilding in Devon. It is an initiative that could be taken up regionally by universities and conservatoires; each cohort over their three years in studio and theatre leaving behind an area of forest as evidence of their training, rather than an unacknowledged carbon footprint accrued through heating, lighting and touring.

To support the Dancers’ Forests Simply pledge a minimum £1.50 (less than a cup of coffee) per month and we can begin to re-imagine dance, to inform and educate future generations of the connectivity of the dancing body, community, and the environment. If we fail to act, we will rightly be accused of dancing while - as we’ve seen with this summer’s extreme weather events - our house burns.

The One Dance UK Magazine | Autumn 2021 7

In the Spotlight

News

For the latest dance sector news, visit www.onedanceuk.org/news

Young Creatives 2021

Photos: Dani Bower, One Dance UK

Young Creatives 2021,

The Young Creatives programme, supported by The Place and London Contemporary Dance School, is a wonderful opportunity for young people across the UK to develop their choreographic practice.

Despite the ongoing challenges of the COVID-19 pandemic, 21 first year and eight second year Creatives were able to create a selection of intelligent and thoughtprovoking dance films with the guidance of industry professionals.

2021 marks the first time the programme has run across two years, allowing the cohort size to expand and reach an increased number of young choreographers working in different styles. With a foundation-level focus on ‘upskilling’ and exploring choreographic approaches, first year Young Creatives were treated to a series of online workshops with Creative Lead Sarah Dowling and industry professionals Carrie-Anne Ingrouille, 8 The One Dance UK Magazine | Autumn 2021

Kate Flatt MBE, Jamiel Laurence, Vidya Patel and Connor Scott. Also providing an insightful screen dance workshop plus creative mentorship through the filming and editing process were internationally acclaimed film makers Jess & Morgs. The progress made by each young person was evident in the informed way they collaborated via screens with other young people to devise innovative dance films.

Building on the skills developed in 2020, the second-year cohort embarked on the task of creating independent dance films, based on their own concept. The Young Creatives not only rose to the challenge but truly embraced the experience, debuting their engaging work at the U.Dance 2021 National Festival. Supported

by Creative Lead Rhian Robbins and Screen Dance Mentor Jo Cork, the young choreographers planned, managed and realised every aspect of the film-making process.

To celebrate their achievement, several Young Creatives attended photograph shoots in Leeds and London with One Dance UK’s photographer Dani Bower, to capture their unique way of moving against some of the nation’s most iconic backdrops.

Further information Applications for Young Creatives 2021/2022 will be opening soon. bit.ly/YoungCreatives1

The One Dance UK Magazine | Autumn 2021 9

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Membership

Memberships for Teachers As the Subject Association and the voice for dance in schools, One Dance UK’s mission is to further the teaching and learning of dance in both formal (schools, colleges, universities, conservatoires) and informal settings (youth, community, private). We offer an affordable membership for teachers providing support, advice, advocacy, resources and Continued Professional Development (CPD).

As a One Dance UK teacher member, you have access to: • Two brand new schemes of work suitable for students aged 11- 16 years, created in partnership with National Youth Dance Company and ZooNation: The Kate Prince Company • Discount for One Dance UK’s introductory CPD programme Ready, Step, Teach! and our brand new CPD programme Take the Leap!

• Over 150 online resources designed to help you plan, create and deliver high quality dance in your setting • Promotional opportunities via the

new Children and Young People's Dance Facebook group and other One Dance UK social media platforms • Plus all of the Individual Membership benefits!

Being a member also provides the opportunity for you provide input and support when we advocate to government and policy makers, on the importance of high-quality dance in schools and to raise the standards of dance teaching, both within and outside of school. In light of the findings published in our 2021 report Everything we loved about dance was taken: The place of dance in UK education, it is more important than ever that

Calendar

CPD for School Teachers Various dates from September 2021 Ready, Step Teach! and Take the Leap!

• Online webinars with dance education experts • From £20.00

One Dance UK Awards 2021 19 November 2021 The annual celebration of the UK dance sector • Facebook and YouTube • Free • See page 9 for details

For more information go to www.onedanceuk.org/events

we stand together as one strong voice, advocating for the importance of dance in education.

Did you know we also have a scheme for trainee teachers?

To support you on your journey to Qualified Teacher Status (QTS), trainee teachers can purchase membership

for just £35. This package includes the Teacher Membership benefits listed above, as well as the option to attend one Ready, Step, Teach! or Take the Leap CPD session for FREE! Find out more

Visit bit.ly/ ODUKTeacher Membership or email membership@onedanceuk.org for more details.

Dates for your diary

Safeguarding and Abuse Prevention Symposium 23 November 2021 Leading experts in safeguarding, mental health, and healthy working conditions for professionals share insights and provide advice and support • Online • Free

One Dance UK Annual General Meeting 2021 6 December 2021 Join us for the Annual General Meeting and a chance to meet other members and reflect on 2021 • Online • Free

The One Dance UK Magazine | Autumn 2021 11

Taking the Reins Feature Interview

Dance Umbrella’s new Artistic Director and Chief Executive Officer Freddie Opoku-Addaie took on the role as the country was emerging from lockdown and the dance landscape was in a state of flux.

Photo: Official Traces Image, Vimel Budhev

Looking ahead to Dance Umbrella 2021 this October and beyond, he speaks with Chief Executive Andrew Hurst MBE about challenges, opportunities, and the importance of giving artists space to grow.

Kesha Raithatha in her solo work Traces 12 The One Dance UK Magazine | Autumn 2021

Feature Interview

Photo: Miguel Altunaga

Freddie Opoku-Addaie

“I am proud of Dance Umbrella’s ever-evolving artistic imagination and inclusive frameworks , supported by a diligent team and partners.This is what has and will keep us relevant - WE MOVE with our global, local city.”

Freddie Opoku-Addaie

Huge congratulations on this new role! It's no doubt been a learning curve settling in as we all adjust to what the dance sector will look like in the new normal. What are the main changes you have seen, and what are you looking to do differently?

There are many changes I've noticed comparing pre pandemic and “postwar”, as I call it. As a freelance artist for nearly 20 years myself, it’s been adapting to those things that we already know are very evident in our sector.

I'm really interested to see the statistics of how many of emerging/mid-career artists have left the sector completely because of what's happened the past 18 months. I further question to what level this is due to the systems of wider equity that are not in place, which can be found in other countries which are inspired by our creative scene.

I think if there were things in place that really supported artists to navigate these moments the landscape would be different. Obviously, what’s happened/happening is completely unprecedented, but a vast amount of people in other sectors got furloughed or were part of a structure that supported them. Those working in our sector (especially dancers and choreographers) were hit particularly hard, but maybe we are more resilient because we’ve been good at learning how to catch ourselves when falling far

too many times in the past.

There's been the Freelance Task Force, for example, which has really helped focus some the conversation, but this was overdue. Freelancers have always talked about the lack of support available to them and they represent over 50% of the creative sector.

Dance is one of the most empathetic art forms. It’s both a primal expression and an intellectual human connection in all our layers of communication. I view my role as being empathetic and collaborative but this year it’s also about supporting our artists to present their work by navigating where we are now, and knowing how to reframe these artists using this new context.

What are the unique challenges and opportunities of directing a longstanding festival? Do you see your role as widening the conversation and supporting artists?

It’s vital to be a true pillar of support for the next wave of established artists, including those who are not in my sight lines or those of our venue partners. Many innovative approaches were founded

by Val Bourne, followed by Betsy Gregory and then Emma Gladstone, and we will continue this tradition.

Importantly, I ask how do we widen the pipeline and other avenues for development of movement and artists, The One Dance UK Magazine | Autumn 2021 13

Feature Interview Ahilan Ratnamohan's Extra Time

“We can't underestimate the invaluable nature of feedback within our sector, and planned or unplanned, a lot of fresh perspectives have surfaced in the last 18 months.

We must empower a wider current and upcoming generation of established artists to be truthful, not just grateful.”

Freddie Opoku-Addaie

who gets upscaled, and who is not in the room during these ripple effect decisions? And how do we retain and widen the international conversations, especially now, post-Brexit. I mean, not just looking to Europe, but globally? Because we a global city, it’s a no-brainer conversation.

The phrase I keep on using is “room for doubt”. I think many established household names we are all fans of were given that room for doubt, particularly in their early years. It’s fruitful if you're not just expected to bloom and shine straight away, but rather have room for growth and experimentation. That's a mindset that we need to change as practitioners, as makers, as organisations and festivals, including Dance Umbrella. The mindset should be that you are always growing: you're developing a career in all its complexities.

Photo: Joshua Morris

What are your thoughts on leadership, now that you have taken on this role? Has it changed that way you think about leadership, or is it too early to say?

I think that word ‘leadership’ becomes hierarchical. I mean, I was in a leadership position employing a creative team even before in my Guest Programmer role at Dance Umbrella, and now the terms and conditions have changed. I’m in a position where I'm leading the organisation, but I’m surrounded by experts in our team, all 14 The One Dance UK Magazine | Autumn 2021

working together in a marathon not a sprint, and that’s a big difference.

That's the biggest shift I’ve found from being an independent or individual creative to coming into an organisation with this infrastructure.

Nine times out of ten, as an individual, you don’t have the immediate feedback from networks around you, there’s no marketing team, development, nor a depth of board of trustees to scrutinise and/or champion your work and vision.

And as a maker myself, I’m trying to navigate how I/we support other makers to be able to do the work that they want to do with the conditions and support that they need, not what we think they need especially if the artist is not just drawn from the conventional training routes. So, I would say it's the same currency, but it's just a different exchange rate, and one is no more or less than the other!

What can audiences expect at Dance Umbrella this autumn?

What is the `Freddie flavour’ or special ingredient?

It is a transitional year in every sense of the word: artistic leadership, changing and transitioning from extreme lockdown into opening up, whatever that may look like. It's a flavour of reframing, and we have a vibrant and diverse programme.

One element we plan to work with is the hybrid model spanning live and digital, which is something I really want to champion this year and beyond. By having a twin track, we feel that simultaneously running a digital as well as an in-person offer brings the work further into the international space. After all, Dance Umbrella is London’s global city vibes in motion.

I am very proud of our digital offer.

It’s raised lots of questions, however: how do we get artists more work?

How do we find some kind of online conversation that really feeds the sector and creates more partnership development? Who else can be in the conversations we're having?

It also necessitates understanding and building infrastructure to meet the needs and demands of the truly 21st century wave of creativity and meaning collaboration.

Feature Interview

the right energy and it's a genuine offer, I think we're all open to that conversation. When you've just given information to someone and something develops from it, it’s like being a proud parent.

I don’t underestimate my predecessor Emma Gladstone who saw the potential in my curating and programming skills and invited me to be a guest programmer at Dance Umbrella 2016-19. For me, who else is out there that I want to support, just like I received the opportunity.

I see it as a kind of relay. It's about where are those artists coming into the conversation coming from? Our imagination is carving space for us to connect with many exciting creatives, who might not previously had Dance Umbrella as a reference point.

Conversation with movement and dance is permeating more into other sectors. I encourage dancers to work with other organisations and cross art forms, with movement directors in theatres and other spaces, visual art, installation. We can be confident in having conversations both in and outside of the main festival period.

How important do you think it is for us as a sector to support future So I think those kinds of moments that pop up outside of the festival are dance leaders by challenging really important: to sustain other public existing models? artistic output with our partnerships What are those models? We see so and audiences. It's like the same thing much successful dance content on television, which is essentially another with Black History Month being not just for October. I think for our artists as online platform. Diversifying creates well, Dance Umbrella’s influence is not a wider centre for the sector because limited to October. it's not just us fighting over the same pot of money, but finding different Can you leave us with some words avenues you can explore your craft, or thoughts to help us as we which, for some, can help keep evolve, re-energise and re-focus creativity being productive.

We can be open to change. Breakin' post-pandemic?

The conversation of equality is front is becoming an Olympic sport, for and centre. The question is what is example, and with contemporary equity and who is it relevant for? Living dance, we must have a much wider up to invisible labels is something I’m and more honest essence of the conscious of. word ‘contemporary dance’ - not be In the past year, Black, disabled and backward in our approach. the ethnic global majority artists have You have a passion for education felt the hit more than others but there has been a degree of levelling up, which is and developing mid-career really important and we must continue. artists. What are you looking for I am happy for independent when you're programming and offering opportunities to artists? artists trying to find a way to survive in these times to break the rules, Constant feedback to nurture artists because what is wrong with taking is so important. Is the person open a risk with a bit of diligence and a for that feedback? It’s not always collaborative imagination? straightforward, but if it comes with And what is the conversation between those live and digital platforms? That's something that we're exploring as the ‘flavour’, as well as the pipeline. Some of our artists are not necessarily known to establishments, but I think these artists have been doing and will be producing some amazing work that will shift our centre to feel, think and see differently.

I'm not going to mention names specifically, but I think you will get that flavour soon enough –follow us. The artists at Dance Umbrella this year are people making moves (no pun intended) that audiences will be pleasantly surprised by. We are showing some works that couldn’t be presented last year, and we are welcoming some new collaborations in-person and digitally across our city.

The works and discourse to come will provide unexpected signposting to the wider wave of artists who will be in conversation with future upscaling ‘main house’ or ‘mainstream’ and ‘crossart’ platforms.

Dance Umbrella 2021 Highlights Dance Umbrella is London’s international dance festival, celebrating 21st century choreography across the capital and beyond. Go to www.danceumbrella.co.uk for further information on these and many more in-person and digital dance experiences held on various dates across the capital from 8-24 October.

Takeshi Matsumoto Club Origami Dance, fashion and live music meet the magic of origami to sweep us up on a spirited and inspiring adventure in a land made purely of paper and play.

Ahilan Ratnamohan Extra Time This brand new work by Dance Umbrella debut artist Ahilan Ratnamohan challenges our perceptions of the beautiful game away from the green grass, the stadium and the urgent need for a result.

Dani Harris-Walters Happy Father’s Day Hip-hop dance vocabulary, rap and narration are wondrously crafted in solo work Happy Father’s Day; a reflective coming-of-age story with a comedic edge.

Kesha Raithatha Traces Travel on an abstract journey of human experience, Dance Umbrella debut artist Kesha Raithatha explores rejection, abandonment and loss in her stirring solo work.

Jennifer Irons DanceStory Jennifer Irons guides you through a live dancesploration of where contemporary dance came from, where it is now and how we got here.

Dimitris Papaioannou Transverse Orientation Taking inspiration from the natural behaviour of moths to seek light, Transverse Orientation follows the human compulsion to find meaning on the journey of life.

www.danceumbrella.co.uk The One Dance UK Magazine | Autumn 2021 15

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Special Focus on Evolution

Introduction

16

Bold New Moves Jazlyn Pinckney identifies some organisations working towards a more equitable sector

20

Outside the Box Greenwich Dance's Melanie Precious on the ArtsUnboxed platform

22

Dance Passion 2022 Meet the commissioned artists, get insight from Corey Baker, and get creative yourself!

28

Dancing Parents Organisations advocating for dance families by Katie Stevens

30

Casting: Come What May Inside the auditions for Moulin Rouge! The Musical by Cameron Ball

32

The Beat of Jazz Celebrating 25 years of BOP Jazz Theatre Company by Katie Willy

35

Considering Difference in Dance New approaches to making sure dance spaces are fully accessible by Jess Lowe

36

Neurodiversity and Difference Learning support for dancers in vocational training by London Studio Centre’s Dr Deveril

38

Safeguarding and Abuse Prevention in Dance The findings from a new study aimed at protecting dancers in a range of contexts

41

Leadership and Inspiration Motionhouse’s Junior Cunningham on leadership and those who have helped him evolve

42

I Move: One Year On Profiling artists working in dance of the African Diaspora, by Tamar Dixon

44

Kickstarting Moves into the Dance Sector DanceEast’s Lucy Bayliss on a new scheme helping graduates gain essential experience

46

Higher Education: Degrees of Change The state of dance at HE level, by Laura Nicholson

52

Shaking Up Dance in Schools YDance’s Linzi McLagan on using dance in schools to help close the attainment gap

54

Education: In Focus Amy Williams on the recent industry-wide dance education survey and advocacy tips

Evolution

Photo: Dani Bower for One Dance UK

By Lara Coffey Head of Marketing and Communications, One Dance UK

As the dust settles around us following so much upheaval and we return to studios, offices, theatres, and other places of work and enjoyment, we pause to take stock of where we are, how we got here, and what we’ve learnt about ourselves and each other over this period.

It’s important that the sector retains and amplifies the passion and innovation we have shown in the face of adversity in order to evolve.

In this issue of One, we’re doing exactly that: taking stock and looking forward. Be that by celebrating new approaches, offering advice on diversity and accessibility, focusing on the needs of the education arm of our sector, detailing initiatives supporting young people and emerging artists, the integration of digital and so much more.

Read on for a special feature on Dance Passion, in which we’re introducing you to the incredible short films and interactive projects we’ve commissioned with the BBC. We talk new technologies and hybrid performances, relationship building, and even skydiving (we’re coining the phrase sky-dancing!)

This issue is packed full of useful information and inspiring work, and we hope you are as motivated by it as we are. Now more than ever it is important that we come together to celebrate dance loudly and fiercely. The One Dance UK team will continue to support all those who are working so hard every day to ensure the future of the dance sector because as we move forward, it is together that we’ll make the biggest strides. And it is together that we will evolve.

The The One One Dance Dance UK UK Magazine Magazine | Autumn | Spring 2021 17

Bold New Moves Special Focus on Evolution

Head of Workforce Development Jazlyn Pinckney shares some of the people-powered approaches that are forging new ways of equitable working.

Jazlyn Pinckney

Equity, inclusion, and access are at the forefront of the creative sector's agenda. The last two years have shifted things from discovery to conversation, to urgent action. I’m excited to see community-grown action, both locally and internationally.

My role as Head of Workforce Development at One Dance UK means keeping an eye on emerging approaches, and I am perpetually inspired by the insights coming from across every corner of the arts and culture sector.

Here I share some of the action-based resources and organisations that have shaped and challenged my thinking, and all created from within communities connected directly to the issues. This list serves as inspiration that change is not only necessary, but when led by those directly affected, can provide the innovation and dynamism needed for powerful models for change.

I encourage you to follow the links and read more about these exciting changemakers.

Touring

Photo: John Aitkin

Anti-Racist Touring Rider

“Although change can feel at times incredibly slow, many organisations have been moved to create the direct change they want to see.”

Jazlyn Pinckney

18 The One Dance UK Magazine | Autumn 2021

Created in consortium with over 100 industry freelancers and 15 national touring companies. www.antiracism touringrider.co.uk The Anti-Racist Touring Guide supports creatives to take work on the road more safely and equitably.

The origin of this guide is in cross-sector collaboration making it a real pivotal resource for change. It encourages us to keep interrogating what we need to do at home and away to ensure all our practices stay rooted in anti-racism.

ArtsUnboxed

Created by Greenwich Dance www.artsunboxed.com Born out of equal parts curiosity and necessity, Melanie Precious from Greenwich Dance, and a creative team, offer a bold new model for touring. In essence; touring ideas, not people. This approach is one of those lightning bolt ideas that do so much more than make work available in a setting of COVID restrictions.

Read more about Arts Unboxed on page 20.

Special Focus on Evolution

Workforce

Inclusive Practice Unlock

Created by Inc Arts www.incartsunlock.co.uk Inc Arts are a guiding force for equitable arts practice, so it's no surprise they are a part of this list. Unlock gives arts organisations practical steps to take anti-racist action. This resource has over 100 actions that help creative workplaces become more inclusive.

The prompts are insightful, powerful, and backed by the expertise and knowledge from communities who’ve experienced racism.

Demystifying Access

Created by Unlimited www.bit.ly/Demystifying AccessUnlimited Unlimited is another key player in accessibility and equity work, specialising in commissioning new work by disabled artists for local and international audiences. Their website holds a treasure trove of resources, but this guide dives deep into how to make more accessible work; both in terms of artistic creation and logistical production.

BEATS Test

Created by BEATS (British East and South East Asians working in the Theatre and Screen industry) www.wearebeats. wordpress.com/test A simple tool to measure whether representation is authentic or tokenistic for British East and South East Asian performers. I find this tool from BEATS especially important at a time when a lot of companies are reflecting on how to adapt historic or classic pieces for a modern audience. BEATS is a poignant reminder there is more nuance needed in how we approach representation, but here is a clear and simple place to start.

Bring your whole self to work

Created by Sophie Luu www.bit.ly/BringYour WholeSelftoWork If there is one phrase I’ve heard repeated freely this “We looked at the Bechdel Test last year, it’s an acceptance and we looked at the Riz Test. that we should ‘bring our Why not look to emulate that whole self to work’. Sophia by challenging screen media Luu has created a playful creatives to think about the type workbook that allows us of ESEA representation there to action that phrase and are on their platforms? unpack why we choose to It’s important to remember that share or omit things about the test is a set of values and ideas ourselves for the sake of put forward by us to challenge the professionalism. industry…The aim of a test like this is to throw down a gauntlet in a way that is striking and simple. We are aware already of many instances behind the scenes where the provocation of the BEATS test has actively led to more jobs currently being created for BESEAs and look forward to better and increased representation in the coming years.”

“Demystifying Access aims to bridge the knowledge gap - giving practical info and signposts to further information to help any artist, venue, promoter or Lucy Sheen on behalf of producer make artwork more wearebeats.org.uk accessible. We spend so much time making art, we need to spend time to make sure it's accessible to all who might want to experience it!”

Jo Verrent, Senior Producer for Unlimited

Reimagining Recruitment Created by Watershed www.bit.ly/Watershed ReimaginingRecruitment Taking a note from the creative tech world, Watershed has reimagined its recruitment process. A stalwart fixture of HR is recruitment, which means it doesn’t often get overhauled or critically examined. This blog with guidance offers a breath of fresh air on the hiring process.

Boards are Broken

Created by Michael J Bobbit www.bit.ly/ AmericanTheatre BoardsAreBroken Another blog with recommendations, this time from US-based executive director for Mass Cultural Council – Michael J Bobbit.

Although there are some US specifics to this piece, I am always inspired by nudges from the arts and culture sector to evaluate the effectiveness of inherited governance structures.

‘It’s past time for us to relook at the institution of Boards.

How many more articles, workshops, books, courses, and lectures do we need to attend and create before we realize that it doesn’t work.

Creatives and passionate mission makers, I have all the confidence that you can create something that truly advances the missions of organizations.

It’s time!’

Michael J. Bobbitt, Executive Director for Mass Cultural Council

Further information One Dance UK recently produced an Anti-Racism resource for organisations which is free to access.

The resource gives context to the ideas of anti-racist working, provocations for individuals and organisations alike and resources to support us all on the journey towards more equitable artistic practices: www.bit.ly/AntiRacismFor CreativeEquity The One Dance UK Magazine | Autumn 2021 19

Outside the Box Special Focus on Evolution

Greenwich Dance's Chief Executive Officer Melanie Precious updates on the innovative ArtsUnboxed platform for dance artists and touring.

Melanie Precious

Photo: Boneshaker Photography

NOCTURN's The RIDDLE

The idea for ArtsUnboxed first came to me long before COVID-19. I kept thinking about the traditional model of sharing and presenting dance work. For years I’ve heard dance artists, producers and creatives all ask the same question: could there be another way?

The existing touring model is, admittedly, the way artists get their work seen by more people. But it presents many challenges. It carries financial risk for the artists themselves, it does little to support cultural employment at a local level and it can create a disconnect between the venue and the visiting artist.

That’s before you start looking at the funding model. While we are extremely grateful to Arts Council England and our major funders, it is a complex system that can take time and money away from the art itself. Additionally, shipping artists, sets, costumes, and crews around the country impacts on our carbon footprint as an industry. I started to question the price we pay as a planet to continue touring in the same way.

“We should have the option to tour ideas, not people.”

Melanie Precious 20 The One Dance UK Magazine | Autumn 2021

We should think of our work as chefs think of theirs, paid to write a recipe book, sell the recipe book, and then people recreate the recipe in their own space.

ArtsUnboxed aims to do just that.

It is an online platform, currently with six boxes each containing a brandnew dance work, from six exceptional independent artists. Each box contains everything needed in order to recreate the works. The risk assessments, marketing assets, COVID-19 mitigation plans, tutorials, choreography, sample schedules, audio description, easy read transcripts. Everything.

Once a box is bought, they can be utilised in any way the buyer chooses, exactly as written or adapted for their own audience or setting. With the buyers encouraged to use local artists and deliver the work using local producers, educators, and tech teams as a way to offer support to the local economy and artistry. And every time a box is bought a royalty is given to the original artist as well, providing an ongoing income beyond the original commission.

To date we have seen NOCTURN’s new outdoor dance experience The RIDDLE, developed by One Dance UK Choreographers Directory member John Darvell, presented at an outdoor festival in Hampshire. Other works

have been bought by schools, local councils, and arts festivals around the country. Internationally, we are talking to people across the world about what we are doing. The beauty of ArtsUnboxed is there is no limit to where we can take these new works!

We’re not saying that ArtsUnboxed is here to completely disrupt the existing touring model. But it is here to sit alongside that model. We can lessen our environmental impact and increase access to high quality dance.

This is a revolutionary new way of working, and more importantly, thinking. It may transform the way we tour. It may not. But if there was ever a time to experiment with something new, isn’t it now?

Further information www.artsunboxed.com

Dance

aub.ac.uk/dance

BA (HoNs)

Special Focus on Re:imagination

| aub.ac.uk/dance

BA (HOns) Dance Perform, produce, create and collaborate at the UK’s top specialist university for art and design*.

Perform, produce, create and collaborate at the UK’s top specialist university for art and design*.

*Arts University Bournemouth named the top UK’s specialist art and design university – Good University Guide 2021 The 2021 One Dance UK Magazine | Autumn 2021 21 *Arts University Bournemouth named the top UK’s specialist art and design university – Good University Guide

Dance Pass BBC Dance Passion

What is Dance Passion?

Photo: Dani Bower for One Dance UK

Scan the QR code below with a BBC Arts and One Dance UK are smartphone camera to keep up to pleased to announce that Dance date with what’s on offer.

Passion will return in 2022!

Following its success in 2019, Dance Passion will be back on BBC networks, stations and platforms in 2022 to shine a light on the UK’s world-class dance sector.

We’ve been thrilled to be able to commission 14 unique pieces of work to be part of Dance Passion 2022, showcasing talent on film and via new digital interactive platforms – read on for more about these. 2022 will also see us hit the road to find out what Dance Passion is a collaboration between BBC Arts drives the passion for dance in various and One Dance UK and is supported by funding areas of the UK. We’re setting up hubs from Arts Council England’s National Lottery Project Grants programme. of activity in venues in Coventry, Leeds, London and Plymouth to capture a wide spectrum of talent from all across the UK. Get Involved Dance Passion is for everyone in the dance sector, and there will be whole range of opportunities and ways that you can get involved.

Training sessions will be available via Digital Cities which will cover topics like how to create content for social media, including TikTok, plus you can take part in other sessions on things like how to navigate music rights, all to help upskill the sector. We’ll also be releasing an engagement pack crammed full of ways for everyone, everywhere, to take part in Dance Passion.

Dance Passion 2022 is presented by

22 The One Dance UK Magazine | Autumn 2021

“Building the community of

practise within the creative industry is a key part of how we can gain greater insights into our technology and how we engage audiences. By working with the dance sector, we’ve been able to see a new perspective, utilising dance in all its forms as the focus in its application - I can’t wait to see the result and look forward to continuing the relationship for future collaborations with the dance sector.”

Laura Harrison, Senior Product Manager BBC Research and Development

Zeb Simpson

sion 2022 BBC Dance Passion

Interacting with Interactive

BBC Research and Development is at the heart of innovation at the BBC; the brains behind technological leaps such as digital radio, UHD streaming, and interactive storytelling. BBC Connected Studio Events and Communications Coordinator Thomas Hetherington explains some of the free technologies on offer to Dance Passion creators – and to all of you!

Some exciting ways you can get involved to create via the platform include:

Thomas Hetherington

Connected Studio MakerBox is a chance to explore the BBC’s innovation first hand, giving creators a space to connect with each other and try out the latest storytelling tools for their own projects.

As well as access to brand new technology, MakerBox hosts a collection of case studies written by the people behind some of the BBC’s interactive programs and projects pulling back the curtain on the challenges and triumphs behind their creation.

The MakerBox tools use the latest technology so creators can give audiences unique and personalised experiences. www.bbc.co.uk/makerbox

All these tools are available for free to everyone over 16 for experimentation, exploration and non-commercial public use.

Audio Orchestrator allows creators The MakerBox community forum is to conjure up immersive sound where users share updates on their experiences that use everyday devices projects, ask questions about the (phones, tablets, laptops, surround tools and find inspiration. It’s open to sound) to create a web of surround everybody, regardless as to whether sound speakers. Producers have used they are using the tools, so people can the tool to put audiences inside a learn and explore the conversation haunted house, pitch-side at the rugby around digital creation or set and to explore the instruments of the challenges for fellow creators. orchestra.

StoryFormer is a tool for creating interactive experiences that flex to each individual audience member or tell a story where viewers choose how the narrative progresses. You might provide users with an experience that times itself perfectly for their commute, or offer them all the options when it comes to where a narrative goes next.

Further information Connected Studio regularly hosts workshops and events to introduce users to the MakerBox tools, partnering with conferences, talent development schemes and national culture programs to reach new users. Some of our community’s creations are hosted on BBC Taster, some go elsewhere into BBC products, and others go on to live on user’s own websites.

www.bbc.co.uk/makerbox www.bbc.co.uk/taster

BBC Notes allows users to deliver timed companion content to audience’s second screens, enhancing how they watch in-person events, livestreams and on-demand content.

BBC Notes has previously been used by the BBC Philharmonic to provide audiences with timed insights to a variety of classical music, at venues such as the Royal Albert Hall and Manchester’s Bridgewater Hall.

The One Dance UK Magazine | Autumn 2021 23

Presenting…

BBC Dance Passion

Photo: Dani Bower for One Dance UK

Dance Passion 2022

Earlier this year One Dance UK and the BBC launched an open call as part of Dance Passion 2022. Dance companies, independent artists, dancers, educators, scientists and choreographers from both the professional and non-professional sectors were welcome to apply for funding for short films and interactive projects to be hosted on a variety of BBC platforms.

Following hundreds of applications, drop-in sessions and interviews we’re thrilled to announce the successful artists and films taking part.

24 The One Dance UK Magazine | Autumn 2021

BBC Dance Passion

Dance Passion 2022 Commissioned Artists Film Projects

Hel Yr Hinsawdd / Climate Pursuits Light, Ladd, Emberton This bilingual dance film moves through geological processes, Welsh legends, and current threats to Wales’ coastal towns.

Surge – Make Me Feel Tom Dale Company An interactive dance experience exploring the body as interface between our organic/digital futures.

Set inside a Real/Virtual and FLIGHT augmented landscape it features a central character – but are they human Jennifer Rooney and Ciaran Haggerty or android?

This multi-sensory story blurs the lines between a performance space Neon Romance Laura Kriefman, Barbican Theatre and the digital dimension. Combining dance and film projection this daring A love story about engineering, and adventurous film is based on a imagination, hybrids and rebels. true story.

Heart Land Richard Chappell An impassioned intergenerational film exploring how different generations can come together through dance to promote ways to tackle ecological damage and climate change.

A Decade Later Prototype and Brooke Milliner Bringing the underground culture of Street Dance Battles into the spotlight, this exclusive behind the scenes documentary follows one of the UK's most celebrated crews - Prototype.

Freedom Lisa Simpson Inclusive Dance The new piece will be about how as a disabled artist with Quadriplegic Cerebral Palsy and no verbal communication, Lisa choreographs to express herself using other people’s bodies as a vessel.

16:1 Constant Vigier Through the magic of editing, one single dancer becomes sixteen to display a choreographic series of movements and patterns, as if a Rubik's Cube came to life and started to dance.

All information around Dance Passion including pieces, participants and titles was correct at time of going to print but may be subject to change.

Interactive Projects Out Late VOXED Dance Theatre (Wayne Parsons and Ankur Bahl) StoryFormer Dance and theatre are seamlessly combined to reimagine the UK’s favourite genre of fiction: crime drama, with StoryFormer technology giving the audience agency to make decisions as they consume the story.

Laying the Ground Namron OBE and Yassmin V. Foster StoryFormer This exciting interactive film centres 76-year-old black British contemporary dancer, Namron OBE. Utilising StoryFormer, viewers will explore content both around heritage and race and that also challenges the omission and representation of black dancers in Britain’s dance history.

Noise Neus Gil Cortés - Nua Dance StoryFormer This immersive experience is designed to offer paths for both hearing and d/ Deaf audiences. Using StoryFormer the audience will be encouraged to follow different characters, discovering their unique experiences in the order that speaks to them.

Dance It Out Game Jamiel Laurence, #FundFreelanceDance and Guy Salim, G.S CREATIVE AudioOrchestrator An accessible and inclusive dance experience for up to 100 participants, the game can be used by beginners and professionals alike in any environment, including at home, in the classroom, in the studio, outside and even performed on stage.

Beneath Still Waters Ruth Brill and Matthew Wyon StoryFormer Using a single core dancer wearing telemetric gas analysis and an XSENS suit, this film allows the audience to explore the different physiological and bio mechanical demands of For more information on each project, different dance genres such as ballet, including the full synopsis and a lowdown contemporary, hip-hop, tap, and more. on the creative teams involved, scan the

Discover more

Dive into Dance Antoine Marc with Milk It Studio BBC Notes An immersive visual project sharing a choreographic process. While XR technology will visually highlight musical elements, the audience will be guided through the piece using BBC Notes to create a unique compelling experience of both light and dance.

QR code with a smartphone camera.

The One Dance UK Magazine | Autumn 2021 25

BBC Dance Passion

High Octane Entertainment Following the success of his Swan Lake Bath Ballet, BBC Arts and One Dance UK are excited to announce a brand-new short film from choreographer Corey Baker, specially commissioned as part of Dance Passion. Head of Marketing and Communications Lara Coffey caught up with him on a rare break from filming to chat about the piece, the past 18 months and what’s next for him.

What can you tell us about your piece?

I’m trying to create something that is like James Bond meets La La Land!

I’m looking at all the different ways movement happens and while I can’t say too much, I can tell you that we’ve got dancers jumping out of planes and doing stunts in cars… it’s going to be high octane.

Making the piece has been a fun creative challenge, as we’re looking at lots of types of movement and working with a lot of dance styles that I don’t have a background in.

Learning all these new things has been great.

Corey Baker

How does it feel to be back in the studio creating work vs working remotely or in lockdown?

Honestly, I think making work in lockdown made me realise how much as a creative you really need human interactions to create an energy that you can riff off and play with. The past 18 months has just made me more appreciative of what we do and how we do it and being back in the studio space and working with the dancers is incredible, it’s just a different level of fulfilment.

Sounds exhilarating! You’re well-known for being innovative with your work, can you talk to us a bit more about your creative process?

With this film there’s been lots to learn - I’ve never filmed an ‘action sequence’ or choreographed skydivers before - so that was all new! I also had to do it all remotely as we shot the aerial sequence in France and COVID restrictions meant I couldn’t travel there. I’ve made films remotely before but filming skydiving dancers - yeah, that was a new experience, and you have to be open to them.

What do you think comes next for the sector?

It’s time to look at creating new connections with new audiences. I think that as dancers and creatives we need to look at how the art we create reflects the world we are in now and the people in it now. I love live work and I know that there’s a time and a place for every type of dance style, form and show but given that more people probably have access to wifi than to theatres then we need to find a way to bring our art form in front of those people and into more accessible places, you know in terms of cost or in terms of breaking down stereotypes.

“Dance Passion is coming at an important time for us all […] we’re getting this moment to connect, to feel seen and heard, to appreciate each other and to be appreciated.”

Photo: Dani Bower for One Dance UK

Obviously, I’m making this a film and not a live show so when I’m choreographing, I try to remember that we’re in the age of ‘clickbait’ and everything has to be engaging as audiences online lose interest more easily. With this piece I want people to stumble on it and just be totally engaged without even realising or processing that they’re watching a dance film.

26 The One Dance UK Magazine | Autumn 2021

We’re excited to see your finished film - are you excited for Dance Passion?

I think Dance Passion is coming at an important time for us all. We haven’t had any way to come together and unite in so long. We need something to celebrate and remember that we’re not alone - there’s a whole ecology of dance artists, producers, choreographers etc. out there! I think it’s great that we’re getting this moment to connect, to feel seen and heard and to appreciate each other and be appreciated.

Further information www.coreybakerdance.com

Corey Baker

The One Dance UK Magazine | Autumn 2021 27

Dancing Parents Special Focus on Evolution

After dancers’ enforced time off resulted in a mini baby boom, One Dance UK’s Katie Stevens looks at the organisations and researchers advocating for resources for dancing parents and their growing families.

Forced time off recently gave some dancers a chance to step back from gruelling schedules and grow their families without missing out on their performing career once touring life resumes.

The Royal Ballet alone saw four of their dancers starting families in the past year. However, now that restrictions have been lifted, and performances and touring are back in the picture, how is the dance sector evolving to support these new dancing parents and carers?

Katie Stevens

28 The One Dance UK Magazine | Autumn 2021

Chloe Hillyar, founder of The Pregnant Dancer, found in her research that 27 out of 50 dance artists she interviewed have children, and out of the 23 who didn’t, 18 expressed that they wanted them. When 45 out of 50 artists either want or plan to have children or already have them, it’s clear to see that more robust parental provisions are extremely important to those working in dance.

Aside from the well-resourced Royal Ballet, there are some dance companies setting a standard for the dance sector. For example, New Adventures commits to supporting their parent and carer workforce by putting in place family-friendly practices such as extra assistance with accommodation and travel arrangements, and are keen to keep the dialogue open and flowing to allow for changes to suit each individual. This has been life-changing for the ‘dance parents’ involved.

The stark reality is, however, that there is little support for freelancers, and smaller companies don’t have the infrastructure to support working parents. In Northern Ireland and Ireland, the picture appears bleaker; there are no dance companies that operate full time across the entire year and maternity leave is a real luxury that few in the sector can afford.

“Parents and Carers in Performing Arts (PiPA) recently carried out research with performing artists, finding that 72% of parents and carers responding to their survey were considering leaving their profession.”

Positive steps are being made to improve the situation for parents and carers. Dance Mama, Parents and Carers in Performing Arts (PiPA) and The Pregnant Dancer amongst others are all making waves to help drive the conversation forward and encourage companies to allow space for parents, carers and their children to feel supported when returning to work.

What seems to be clear when looking at the work that these organisations are undertaking is the requirement for a large-scale cultural change. Professor Angela Pickard, Dance Lead and Researcher for PiPA’s forthcoming study about dance parents and Professor at Canterbury Christ Church University, explains “although the more established dance companies have the infrastructure to

Illustrations: Dani Bower

Special Focus on Evolution

support parents and carers, steps can be made to improve the setup for the small to mid-scale companies.”

Professor Pickard highlights the recent example of Vincent Dance Theatre incorporating a budget line specifically for childcare and parental support in a successful Arts Council England funding application. Although other companies may have tried a similar approach unsuccessfully, if each funding application included a similar line for childcare, it would make the need for acceptance of dancing parents’ support more visible and help push forward this culture change.

Additionally, if dance companies are providing provisions for parents and their children, Dr Aoife McGrath, Senior Lecturer at Queen’s University Belfast, says that there is still the need for these children to be accepted into these professional spaces. If dancers aren’t seeing the acceptance of their children in sharing the space, then they have very few alternatives left other than to leave, especially if the mother is breastfeeding.

When reflecting upon this, Aoife described the long history of parents feeling as though they must hide the fact that they are mothers or fathers and that having a child in tow in a professional space doesn’t fit the image of the ‘serious artist.’ She notes

“It should not be the norm for everything to come to a grinding halt because you want to have a family .”

parent-friendly and the sessions, also available as recordings, take place remotely, removing the barriers of childcare and time restrictions, all of which help parents navigate through their career with children.

Lucy McCrudden, Dance Mama This notion that you must stop working to become a parent or carer “Organisations can help break down and a dance career and parenthood this barrier by introducing a familyfriendly policy by asking their dancers don’t go hand in hand is outdated and many people in the sector have what they need to be a performer and have a family. This might include proved otherwise. A change in the nannies on tour with extra provisions way support is offered can help these parents continue to dance. for additional accommodation, allowing for flexibility in a timetable Further information including extra provisions to To get involved with PiPA's research: allow for unavoidable last minute www.bit.ly/PiPADanceFocusGroup schedule changes, or relaxing the To get involved with Parenting in Dance working environment to allow for Network, email breastfeeding.” hello@dancemama.org Parents returning to performance For more resources or are suddenly met with a whole new information for parents: level of planning of their life. Lucy Dance Mama McCrudden, founder of Dance Mama, www.dancemama.org PiPA Campaign provides a much-needed space for www.pipacampaign.org dancing mothers to develop their Pregnant then Screwed practice and manage this return. So www.pregnantthenscrewed.com far this year, Dance Mama Live! has For more information on supported 80 women in different stages pregnancy and dancers: of their pregnancy or motherhood, The Pregnant Dancer www.thepregnantdancer.com/resources some of whom have expressed their Dance Mama plans of leaving the sector before this www.dancemama.org/resources opportunity presented itself. Dance One Dance UK Information Sheets www.bit.ly/PregnancyODUKInfoSheet Mama Live! was designed to be The One Dance UK Magazine | Autumn 2021 29

Casting: Come What May Special Focus on Evolution

The upcoming West End premiere of Moulin Rouge! The Musical was cast between lockdowns and with various restrictions, meaning everyone involved needed to adjust accordingly.

One Editor Cameron Ball peers behind the curtain to see just how an international production of this scale evolved to assemble a cast fit for this spectacular spectacular.

The tenacity of dancers and theatre creatives is well known. Casting a West End show is a complex science, piecing together a jigsaw of dance, drama and music. It normally takes a matter of weeks, but that’s before we add a global pandemic, travel restrictions, cancellation of live dance activity and a creative team based in different parts of the world.

With this new equation, the reimagining of the casting process for the eagerly anticipated Broadway hit Moulin Rouge! The Musical was going to test even the most experienced of theatre professionals.

Photo: Matthew Murphy

Cameron Ball

Seasons may change The producers have had to push back the originally announced spring 2021 opening dates, with Moulin Rouge!

The Musical now exploding onto a refurbished Piccadilly Theatre stage from 12 November. The casting process for the show was began in spring of 2020, and the auditions eventually spanned more than a year. Talking to those involved in the proceedings, it’s clear that some novel approaches were applied.

The casting directors Pippa Ailion CDG and Natalie Gallacher CDG (credits include The Lion King, Wicked and The Book of Mormon), held regular online meetings with the US-based creative team to navigate the process during these unforeseen circumstances.

As Gallacher explains, “Luckily as we hadn’t already started the in-person process we could plan accordingly.

Every time we came up against a stumbling block we collectively came up with a plan to overcome it. It took a lot of detailed planning, a lot of patience and a lot of good humour!”

Moulin Rouge! The Musical Broadway cast

“At its heart, Moulin Rouge! The Musical is about a group of artists fighting to keep their stage show alive. That element of the story has felt very real for us as a company, as we’ve contended with the COVID-19 shutdown and delay to our UK premiere, and we cannot wait for the red windmill to start turning in London!”

Carmen Pavlovic, Producer and CEO, Global Creatures

30 The One Dance UK Magazine | Autumn 2021

Special Focus on Evolution

Photo: Matthew Murphy

Moulin Rouge! The Musical Broadway cast

Dancing on a diamond Dance naturally plays a huge role in the show, as it did in in Baz Luhrmann’s postmodern, dazzling film on which it is based. Sonya Tayeh’s choreographic whirlwind of can-cans, tangos, jazz and more was recently nominated for a Tony Award and is being recreated for the London stage. The acting and singing roles could be auditioned via self-tape and with Zoom working sessions, but this wasn’t possible for the dance elements. Giving auditionees opportunity to showcase their talents in a safe way was paramount.

The casting team managed dance auditions with a similar health and safety approach to that of dance in education, following the industry health and safety advice published

by One Dance UK and others. All involved complied with distancing protocols and strict capacity limits, testing and one-way systems, and auditionees initially danced in twometre square boxes or ‘diamonds’.

Associate Choreographer Rebecca Howell, who led the dance auditions on behalf of the US-based Tayeh, explains that as guidelines changed, so did the audition process: “Partnering is an integral part of the show, so we needed to explore this. The guidelines evolved and we were eventually granted a very limited amount of contact time. So, we adopted an alternative approach of learning the vocab apart, as thoroughly as possible, in order to capitalise on the restricted time they had together. It was a lot to ask of our candidates, but they triumphed.”

this. “As we had a lot of submissions the small group sizes were limiting, but we just made sure we extended the process to allow us to see as many dancers as possible safely. For some candidates this process was their first in-person audition after over a year out. There were a lot more nerves than usual. It is our job to make them feel as supported as possible so they do their best work.”

Howell noted that although dance artists were coming back to the audition ‘circuit’ after a long break, “there was an immense feeling of relief and comradery in the audition room.

Everybody in that studio supported, applauded and laughed with each other, grateful to be able to do what they do best. It was such an honour and joy to share that with all the artists, and I hope it is something that we all embrace and carry forward as the industry finds it feet again.”

Bringing Moulin Rouge! The Musical to the stage was a decade-long journey for producers Global Creatures, and further productions are planned for A can-do attitude Judging by the clamour for tickets, the Australia, Japan, a North American Tour and other international territories. public’s appetite to be immersed in That the show will high kick its way this bohemian French world (which into the West End this autumn is a promises to be a decadent evening: you can book “can-can” table seats to testament to the creativity, tenacity and be surrounded by the action onstage) resilience of all involved, and for those on stage, the applause will no doubt is strong. The appetite for musical feel all the more special. theatre dancers to be cast was even stronger. In the auditions, how did Further information dancers fare after such an arduous Moulin Rouge! The Musical starts previews at lockdown period, with competition London’s Piccadilly Theatre on 12 November. for jobs even tougher than normal? www.moulinrougemusical.co.uk Pippa Ailion, Natalie Gallacher and the casting team were acutely aware of The US creative team were ‘in the room’ virtually, with professional camera operators and sound technicians streaming live content from the auditions, and large screens set up for as-live feedback and notes. Ailion is proud of how smoothly this innovative process went: “It allowed the US team to be an intrinsic part of the process and therefore get a feel for the performer.

It also meant the UK team could give valued opinions as they had been in the room with each candidate throughout the casting process.”

“The casting team saw nearly 2000 auditionees during various stages of lockdown and restrictions, implementing digital technologies and robust safety measures to find the West End original cast.”

The One Dance UK Magazine | Autumn 2021 31

The Beat of Jazz Special Focus on Evolution

As BOP Jazz Theatre Company celebrates its 25th anniversary, Katie Willy talks to Co-Directors Dollie Henry and Paul Jenkins about the unique nature of jazz dance and music and highlights some of the company’s key achievements.

Dollie Henry and Paul Jenkins

Photos: Top: Maya de Almeida Araujo, Bottom: Jazz UK Collection

Left to Right, Ida Kummervold, Elisha Chou Hsieh, Sheriya Clement-Pascalll

32 The One Dance UK Magazine | Autumn 2021

Since its inception in 1996, Body of People Jazz Theatre Company (BOP) has been at the forefront of the UK’s jazz dance scene. Founded

by Artistic Director Dollie Henry, performer, choreographer, director and educator, and Co-Director Paul Jenkins, jazz trumpeter, composer and producer, the company has created a rich plethora of jazz dance and music theatre both nationally and internationally.

25 years of creation has produced an eclectic collection of works, notably Touches of Miles and Duke’s Place, which pay homage to the great legends of jazz music. Original compositions of a more poignant and political nature, Through the Eyes of a Woman and I.AM, for example, call directly on the emotional, lived experiences of the company dancers.

In conversation with Dollie, it’s clear that the collaboration between the music and dance is fundamental to the artistic drive of the company. This is often reflected by the incorporation of live jazz musicians into performances and is a key element which sets BOP apart.

Dollie notes “Jazz music and jazz dance have always stood together.

The creative connectivity between Paul’s music and my choreography is paramount to a successful creative outcome.”

As the company name suggests, BOP is an inclusive collective which has featured international dancers and jazz artists, united by their pursuit of creative excellence. This is a fundamental truth of jazz, as Paul highlights: “Jazz is the only art form that preaches true individuality and creative acceptance. The dance does not insist on a pre-defined physical aesthetic, and the music is not constricted by the

“Developing our practice together over decades, we both understand the fundamentals of each idiom, and have evolved a working process that enables a true collaboration, driven by artistic freedom and creative excellence.”

Dollie Henry Artistic Director, BOP Jazz Theatre Company

conventions of the classical tradition.”

For 25 years, the company has worked tirelessly to promote jazz in its innate artistic and creative form, educating through workshops, residencies, literary works and presentations. BOP remains largely self-funded despite its outstanding contributions to the dance sector. There is an undeniable lack of sustainable support for the jazz dance art form in the UK, yet this has not faltered the passion, desire and tenacity of the directors in keeping BOP alive.

Recent successes include Spirit of Jazz filmed at the Curve Theatre, Leicester, as part of Serendipity's LDIF Festival 2021. This mixed bill of new and legacy works reached international audiences, created in the midst of exceptional challenges as a result of the pandemic.

Jazz dance theatre is yet to have its moment in the UK, yet momentum is building for this formidable company, who are attracting new attention and developing a legacy which champions the ever-developing jazz dance art form.

Further information www.bop.org.uk

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The One Dance UK Magazine | Autumn 2021 33

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34 The One Dance UK Magazine | Autumn 2021

Special Focus on Evolution

Considering Difference in Dance

One Dance UK’s Jessica Lowe MSc updates on the industry-wide Considering Difference – Making Dance Accessible project ahead of presenting findings at October’s International Association for Dance Medicine and Science (IADMS) Conference.

Illustration: Dani Bower

Jessica Lowe MSc

The Considering Difference – Making Dance Accessible project aims to increase awareness of access barriers in dance spaces.

The project also highlights methods to enhance inclusion and promote independence and autonomy for all users of dance spaces.

We aim to address a gap in dancespecific policy and practical guidance on accessibility for dance venues, by offering recommendations to all who manage dance spaces and those who use them, growing One Dance UK’s extensive bank of information sheets1 with access-specific resources.

The project has been informed by dancers, teachers, administrators, choreographers, and community artists working with, or having lived experience of accessible and inclusive dance practice (see below a list of our external contributors2).

In Summer 2020, we conducted an evidence review which indicated that there are limited resources about accessible dance spaces and venues.

This review resulted in a resource written through the lens of the social model of disability. Since then, the Considering Difference initiative has been successful in helping us to better understand the access experiences and needs of the community we serve, and some of the disabling barriers within the dance spaces where creative, artistic and conceptual work comes to life.

This practice-as-research process began by conducting 20+ interviews with members of the dance sector to capture their reflections in response to questions such as: • What do you think dance spaces should consider to makethem more accessible?

• What considerations do you think should be priorities?

Following a period of analysis key themes were identified, including the accommodation of physical differences and impairments, mental health concerns and illness, multiple and profound learning difficulties, and specific learning differences within dance spaces.

These themes will be discussed as part of One Dance UK’s IADMS conference presentation. If you would like to watch this in full, you can register to attend the IADMS International Conference (live in Denver, USA, or digitally) by visiting IADMS at www.iadms.org.

The first of our Considering Difference information sheets, which addresses the key themes from this initial research, will be coming soon to the One Dance UK members area, and a pull-out version will feature in the next issue of One Magazine, coming in Spring 2022!

Further Information For more information about this area of our work, contact Dancers’ Health, Wellbeing and Performance Administrator Jess Lowe at jess.lowe@onedanceuk.org Footnotes

1 One Dance UK Information Sheets: www.onedanceuk. org/information-sheets 2 Thanks to the external contributors: Anna Kennedy (Anna Kennedy Online), Ayanna Allen (Magpie Dance), Chantal Cook (Riverside School Bromley), Charlotte Edmonds (Move Beyond Words), David Pickering (Royal Opera House), Dr Deveril (London Studio Centre), Elizabeth Arifien (Move Beyond Words), Emma Millward (Para Dance UK), Esther Killbride (Rubicon Dance), Helen McLaughlin, Jamieson Dryburgh (Trinity Laban Conservatoire of Music and Dance / Central School of Ballet), Julie Diener (IcanDance), Karen Wood (Centre for Dance Research - Coventry University), Kate Marsh (Centre for Dance Research - Coventry University), Kathryn Stamp (Centre for Dance Research - Coventry University), Kathryn Williams (Rubicon Dance), Louise Katerega (People Dancing), Louise Wildish (People Dancing), Mark Smith (Deaf Men Dancing), Patrick McGeough (Para Dance UK), Rebecca Fowler, Robert Hemming, Ruby Wolk (Royal Opera House), Sho Shibata (Stopgap Dance Company), Stephanie Tyrell (Sense), Stephen Mear CBE, Stuart Waters, Yukiko Masui

The One Dance UK Magazine | Autumn 2021 35

Neurodiversity and Difference Special Focus on Evolution

Learning support for dancers in vocational training by Dr Deveril, Head of Learning Support at London Studio Centre.

Photo: Courtesy of London Studio Centre

Dr Deveril

London Studio Centre student 36 The One Dance UK Magazine | Autumn 2021

Like any kind of preparation for a career in a demanding and complex industry, vocational dance students at conservatoires, schools, and colleges are required to undertake a range of technique classes, practical workshops, performances of existing repertoire and new work, and maybe even attend lectures and contribute to seminars.

Therefore, there are many areas in which neurodiversity might create challenges for either the student or the institution.

There are potentially many things in a neurodiverse dance student’s daily schedule which might cause concern. It is not just the “theoretical” areas of the course that need consideration. For example, a student’s concentration might be impaired in studios filled with distractions and stressors – a capable dancer might be struggling to learn material because the light is too bright.

Most vocational dance training is at the Further and Higher Education levels. Students are 16+ years old, but for many of them, this is an experience unlike any other they may have had.

Even for those coming from a CAT scheme or A-Level dance, or with

“When any student needs extra support, whether they have or do not have a formal assessment or diagnosis, they should be treated respectfully and individually.”

Dr Deveril

years of extracurricular classes and shows, being on a full-time training course can be daunting. This is the first consideration when looking at the breadth of neurodiverse students, as well as those who are adolescents or young adults. Pastoral care is also an essential component of support for students throughout their training, and when possible, the teaching of transferable or life skills should not be left out of the provision.

Some students come with an understanding of their neurodiversity and how it affects their behaviours and interaction with the world, knowledge, and people. Some students discover through their vocational studies that they are neurodiverse, thereby making sense of their perceived differences growing up, at school, or in social settings. But, of course, many neurodiverse traits are invisible, and it is not always easy to see why someone is falling behind, especially when they have clearly excelled in certain areas prior to arriving at a vocational dance institution.

When a student presents with an additional barrier (or set of barriers) to learning, the expected requirements of attendance, engagement, progress, and demonstrating understanding might be expectations that they are anxious about meeting. When some neurodiverse students are overwhelmed, they can become stressed and the pressure they feel can be debilitating. As such, much of the learning support for neurodiverse students is simply this: giving life hacks. Institutions need to make things as transparent as possible and provide a structured approach to the learning.

Clear communication is essential,

Special Focus on Evolution

London Studio Centre students

and these days that means embracing digital technologies, but for some, these things are not always easy and simple.

Additionally, a sensitive student with a Specific Learning Difference (SpLD) – or any of the many characteristics which might make them eligible for Disabled Students Allowance or reasonable adjustments – needs encouragement, and not to be made to feel more excluded or “different” than they might already feel. And this is where the concept of ‘inclusive education’ comes into play. All students are given scaffolded learning and environments conducive to a positive experience, rather than singling out for special treatment a few individuals and their differences (when seen relative to the “typical” student).

Students with challenges in practical classes might also be struggling in other areas in their life and studies.

Staff in all areas of the teaching faculty

should be able to spot the often-subtle cues that indicate whether a student has a neurodiverse way of processing the world. If a student has already disclosed their SpLD, then it is easier to broach the concerns. But with careful discussions and signposting, it can be left to the student to acknowledge the ways they might be facing obstacles, and to find the right support. Fostering responsibility and accountability is an important part of the learning experience for all students, and no less important for neurodiverse learners.

Learning support for dancers in vocational training is not a onesize-fits-all solution. It requires an understanding of a wide range of differences, and for each student a set of strategies might need to be explored and trialled, to see which are most beneficial and effective for them. For many neurodiverse students, their differences and atypical ways

of processing the world and all of its complexities will affect them in many circumstances and possibly for the rest of their life.

Vocational dance training provides a microcosm of the dance industry in which many students are looking to find careers, however, in the real-world neurodiversity is not as understood or compensated for as it should be in education. The balance comes in preparing students for the cold light of day when they step out into the dance world while providing them with a supportive and enjoyable learning experience.

Further information Read more about One Dance UK's Considering Difference - Making Dance Accessible project on page 35.

What is Neurodiversity?

Photo: Courtesy of London Studio Centre

The term ‘neurodiversity’ highlights that not all people process the “world” physically, mentally, and emotionally, in the same way.

Coined by autistic sociologist Judy Singer in 1998 (and by Harvey Blume, a technology journalist around the same time), this term dissolves the notion that to be human is to think, feel, and communicate according to certain norms. The term ‘neurodiverse’ is often held in opposition to the term ‘neurotypical’, the dominant social and personal ways of being which autistic people and others who do not conform to the standard

developmental expectations often find hard to understand or comply with.

Neurodiversity advocacy is a political challenge to intolerance and to the lack of acceptance and understanding of those who are neurologically different. To be neurodiverse in a neurotypical world might present challenges, but there are also many benefits to society and culture being populated by neurodiverse people.

Acknowledging ‘neurodiversity’ is accepting that there are people

whose brains react differently and in ways that might affect their behaviour and responses to stimuli.

But neurodiversity is not a way to separate out “normal” and “not normal”, as in a sense it proposes that everyone is different and each person should be respected.

Further information www.bit.ly/WhatIsNeurodiversity

The One Dance UK Magazine | Autumn 2021 37

Special Focus on Evolution

Safeguarding and Abuse Prevention Policies and Practices in UK Dance Organisations

By Dr Jennifer Cumming, Professor of Sport and Exercise Psychology, University of Birmingham; Erin Sanchez, Manager of Dancers' Health, Wellbeing and Performance; Georgia Bird, PhD candidate at University of Birmingham; and Dr Victoria Burns, Reader in Science Education at the School of Sport, Exercise and Rehabilitation Sciences, University of Birmingham.

Dance activity offers an opportunity to enhance physical, psychological, spiritual and social health. Anyone who dances should be able to experience these benefits free from abuse.

Safeguarding/abuse prevention activities help everyone to take responsibility for these goals.

All of us want to support the wellbeing, health and best outcomes of every person who dances. When reports of mental health crises, or allegations of abuse, hit the headlines, it is inevitable that we ask ourselves what we could have done to prevent such tragedies and work to ensure such incidents could not happen in our own organisations. While this individual reflection and action is crucial, One Dance UK believes that safeguarding is the responsibility of all organisations within the dance sector, regardless of their size, genre, or targeted age group.

“Nurturing and supporting dancers to develop their confidence and selfesteem may mean they will be less vulnerable to abuse and mental health problems,as well as help them to achieve performancerelated goals.”

Surveying the Sector Together with the University of Birmingham, the National Institute of Dance Medicine and Science (NIDMS), and the international safeguarding group Personal Safety in Dance, One Dance UK recently conducted the first national survey of safeguarding 38 The One Dance UK Magazine | Autumn 2021

and abuse prevention in UK dance organisations. The survey was developed with input from experts in private, vocational, FE, HE, and professional settings and explored the perceptions and understanding of a broad range of safeguarding/abuse prevention issues, from mental health and equality, diversity, and inclusion to unsafe dance practice, anxiety, and harassment. The study also explored current practice and challenges faced by dance organisations. This research will form the foundation for better safeguarding and abuse prevention support and advice for UK dance organisations.

Individuals from 70 organisations completed the online survey; see Table 1 below for information on the participant organisations.

Frequency Percent Organisation Governed

28w

40.00

Non-governed

42

60.00

England

66

94.4

Scotland

2

2.8

Wales

1

1.4

No Response

1

1.4

0-30

8

11.4

31-50

7

10.0

51-100

14

20

101-200

16

22.9

201-More

25

35.7

Geographical Location

Number of Dancers

Designated Safeguarding Lead Yes

59

84.3

No

6

8.6

No Response

5

7.1

Table 1: Characteristics of Dance Organisations Note: Non-governed dance organisations are independent from the government (e.g., private dance school, nonaccredited vocational dance school).

Key Findings Training Staff training is a key safeguarding/ abuse prevention strategy that can also help to proactively change the culture of organisations that enabled abuse to occur (Pike et al., 2011). Encouragingly, 94.8% of survey respondents had training for staff, with most occurring on an annual or semi-annual basis.

However, most training was 3 hours or less, with only 11.1% receiving more extensive training.

What remains unclear is whether short courses are sufficient or whether multi-day training would lead to more knowledgeable and confident staff who are more likely to raise safeguarding alerts (Pike et al., 2011).

Awareness and practice We identified three distinct cohorts with different development needs and opportunities.

26% felt that ALL 43 issues within the survey were within their remit and that they were at least partially addressing them. For these organisations, support to evaluate the efficacy of their current practice and to share their experience and approaches for the benefit of the sector would be beneficial.

28% felt that they were addressing all issues they believed were relevant, but not all 43 issues. For these organisations, support to perform a needs analysis, or a formal and systematic check of the needs of individuals and the organisation as a whole, would help identify whether any issues that are relevant to their dancers are currently being missed and, if so, how to address them.

46% felt that they were not currently addressing all issues that they felt were relevant. For these organisations, appropriate support for training and policy development to ensure that they are addressing all issues effectively would be beneficial.

Special Focus on Evolution

Low self confidence

% within responsibility

Unsafe dance practice Injury Sexism Racism Gender discrimination

% addressing

Anxiety Homophobic/Transphobia Over-stretching Body dysmorphia 0%

10%

20%

30%

40%

50%

60%

70%

80%

90%

100%

Figure 2. Least addressed safeguarding and abuse prevention issues Harassment Threatening comments/body language % within responsibility

Almost every organisation agreed that low self-confidence was both within the organisation’s responsibility to address and being addressed.

Nurturing and supporting dancers to develop their confidence and selfesteem may mean they will be less vulnerable to abuse and mental health problems as well as help them to achieve performance-related goals.

The least addressed safeguarding/ abuse prevention issues were (Figure 2): • Chemsex (having sex under the influence of psychoactive drugs; most common among men who have sex with men) • Female genital mutilation (FGM) • Psychological issues (e.g., low selfconfidence, anxiety) • Alcohol abuse

Figure 1. Most addressed safeguarding and abuse prevention issues

% addressing

Specific safeguarding and abuse prevention issues The most addressed safeguarding/ abuse prevention issues were (see Figure 1): • Dance-specific concerns (e.g., injury, unsafe dance practices, over-stretching) • Psychological issues (e.g., low self-confidence, anxiety) • Equality, diversity and inclusion issues (e.g., gender discrimination, racism, sexism).

Sexting (Youth produced sexual imagery) Deselection/Involuntary leaving of Dance Setting Post-traumatic Stress Disorder Radicalisation Breast-flattening Alcohol abuse Femalegenital Mutilation Chem sex 0%

10%

20%

30%

40%

50%

Conclusions and Next Steps The first National Survey of Safeguarding/Abuse Prevention in The lack of focus on these important UK Dance Organisations provides a issues may be due to the demographics snapshot of the sector, both in terms of the dancers at an organisation but of areas of strength and needed may also reflect a lack of awareness of improvement. The results will form a prevalence or severity of these issues. baseline to measure future progress against For issues such as FGM, radicalisation, and harassment, the perceived relevance and play a role in continued conversations about how to improve safeguarding and is high but the numbers addressing abuse prevention in dance. However, it the issue are relatively low. This is concerning because all organisations that is important to note that organisations that respond to a survey about work with children, young people, and safeguarding are likely to be those adults at risk have a statutory duty to who already prioritise these issues. protect them from harm.

It is likely, therefore, that this survey Keeping dancers safe from these overestimates the extent of compliance risks should be approached in the same with safeguarding policies and good way as safeguarding them from any practice in the sector as a whole. other risks (see www.learning.npcc.

We are currently writing a org.uk). More work is needed to better understand the specific challenges faced detailed report and are planning opportunities for the sector to share by organisations in addressing these complex safeguarding/abuse prevention their views and experiences and shape recommendations. Full results issues so that more appropriate support of the study will be released at the can be put into place.

60%

70%

80%

90%

100%

Safeguarding and Abuse Prevention Symposium in November 2021.

Contact info@onedanceuk.org for information.

It is clear that further work is needed to ensure that safeguarding/abuse prevention policies and procedures are widely and consistently embedded. By engaging with this important work in the future, all dance organisations can help make dance a safe and welcoming environment for all.

Further Information Info@onedanceuk.org References McCall, H., Adams, N., Mason, D., & Willis, J. (2015). What is chemsex and why does it matter?. British Medical Journal, 351, h5790. https://doi.org/10.1136/bmj.h5790 Pike, L., Gilbert, T., Leverton, C., Indge, R., & Ford, D. (2011). Training, knowledge and confidence in safeguarding adults: results from a postal survey of the health and social care sector in a single county. The Journal of Adult Protection, 13, 259-274. https://doi. org/10.1108/14668201111178175 The One Dance UK Magazine | Autumn 2021 39

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Special Focus on Evolution

Leadership and Inspiration Junior Cunningham, Rehearsal Director at Motionhouse, acknowledges four dance industry leaders who have inspired him and helped him evolve his own leadership style.

Junior Cunningham

Photo: Dani Bower Photography for One Dance UK

Our industry is brimming with talented, motivated people, and can do so much more in terms of development and preparation of future leaders.

I came into dance quite late, at 17. During my training, I don’t ever remember talking about other avenues in dance or the wider arts sector other than being a performer.

I definitely wasn’t engaged in talks or given “prep” for a leadership role, and I believe much more investment in leadership of those in dance will benefit all of us.

Many leaders have inspired me, but I would like to highlight four people who have built great things themselves, who lead companies and who I have seen continue to evolve and inspire others.

Kevin Turner, Co-Artistic Director, Company Chameleon I trained with Kevin and to my knowledge he received no extra training to create a company. He did so because that’s where his head and heart took him. He (with co-founder Anthony Missen) found success very quickly and with that came a steep learning curve, sharing roles from performers to choreographers to tour bookers, and more.

James Wilton, Artistic Director, James Wilton Dance I met James when he was very young and our paths crossed again when he was coming to the end of his training.

He was 100% focused on starting his own company. I worked for him on an early project where he was a choreographer. He has since turned himself into so much more. I was able to see him evolve and “train” himself to be a boss.

Louise Richards, Founder and Executive Director, Motionhouse Louise runs a company that started as two people, herself and co-founder Kevin Finnan, and now employs a small army of us to transport and deliver, all our dance-circus shows and education work. After more than 30 years, she continues to learn and attend training courses, often from other industries, then adapt them to fit ours.

The lack of investment I mentioned became really apparent with Brexit, resulting in Louise spending months fighting for answers, reading up and forcing her way into the conversation.

She now finds herself being someone others in the industry come to for advice.

Junior Cunningham

I remember her telling me that we have to make our own way and create the best version of ourselves to succeed. This was the most important conversation I had about leadership and exploring other avenues during my training.

I would like for change to come and I think conversations around leadership need to happen more often. I implore heads of schools and conservatoires, Arts Council England Sharon Watson MBE, DL, Principal, and other funders, and anyone else Northern School of Contemporary who can implement change to invest Dance (NSCD) in tomorrow’s leaders today.

The person who first taught me that you have to prepare yourself if you Further Information www.motionhouse.co.uk want to take a leadership role is Sharon Watson. This came through WIN TICKETS to Motionhouse’s new observation, as while Sharon was production Nobody, which premieres at London’s Peacock Theatre before an teaching (me) at NSCD I remember extensive tour. See page 5 for details. her simultaneously completing several qualifications of her own, See all tour dates at which no doubt have contributed to www.motionhouse.co.uk/tour-dates her success today.

The One Dance UK Magazine | Autumn 2021 41

I Move: Special Focus on Evolution

One Year On

Tamar Dixon takes a look at One Dance UK’s innovative I Move platform which profiles dance of the African Diaspora practitioners from around the country.

Tamar Dixon

“We have profiled more than 20 UK based practitioners who practice and reflect dance of the African Diaspora, spanning from students currently in training,at the early stages of their career to pioneers with over four decades of expertise in dance.”

42 The One Dance UK Magazine | Autumn 2021

It has been 12 months since the launch of One Dance UK’s dance of the African Diaspora (DAD) digital campaign, I Move. As part of my role as Dance of the African Diaspora Network Officer, it has been fascinating to see how the campaign is increasing the visibility, awareness and appreciation of the artforms along with providing space for its practitioners to share their story and practice.

What is I Move?

I Move celebrates the important work of those working in DAD styles. I Move’s pledge is to represent the myriad of talented, committed voices and the avenues these practitioners have embarked on across the British landscape. The campaign has shone the spotlight on producers, artistic directors, dance graduates, educators, choreographers and more.

Using One Dance UK’s digital platforms, I Move features these artists by profiling their work and artistry and sharing on One Dance UK’s YouTube channel and across our other social media platforms, e-news, bulletins, magazines and more.

Widening the reach and visibility of dance of the African Diaspora As the campaign has grown over the past year, and the conversation around diversity has changed, we have seen the increased popularity and engagement of the dance forms.

As a result, it has been heartening to see engagement from artists with a dance background which is not typically DAD-based, and further engagement from the wider community.

We recognise the importance of closing knowledge gaps around African diasporic dance styles that are commonly practiced across the UK. These DAD styles have increased in terms of curiosity around their origins, participation and education.

Thus far, I Move content has reached over 20 000 users on just Facebook alone over the past year.

Moving Forward I Move continues to shine the spotlight on creative, inspiring dance practitioners and will further highlight that African diasporic dance forms can be. Stay posted this autumn for a Black History Month special series of I Move!

Further Information onedanceuk.org/i-move-is-back bit.ly/IMovePlaylist Contact comms@onedanceuk.org for further information

Special Focus on Evolution

What moves you?

Lola Adodo Creative Director of New Dance Scopes (NDS)

Ffion Campbell-Davies Multidisciplinary Artist

Kamara Gray Artistic Director of Artistry Youth

Olu Alatise Choreographer, teacher, mentor, creative director

Jonzi D Artistic Director of Breakin’ Convention

Esi. J (Esther Johnson) Dancer, Choreographer, Content Creator

Pawlet Brookes CEO and Artistic Director of Serendipity

Remi Ferdinand Student at Urdang Academy

Namron Dance teacher, choreographer, lecturer and seminar leader

Karina H Maynard Board Member and Executive Director of Urdang Academy

Ella Mesma Dance Artist

Hakeem Onibudo CEO, Artistic Director & Founder of Impact Dance

Judith Palmer MBE CEO of African Heritage UK

Gemma Pilgrim Professional dancer and freelancer

Chris Otim Dance teacher, choreographer, lecturer and seminar leader

Niquelle LaTouche Artist Educator

Keisha Grant Founder of Keneish Dance

Akeim Toussaint Buck Artistic Director of Toussaint To Move

Some featured I Move practitioners share how dance styles of the African Diaspora inform their practice and their outlook.

Nathan Geering Artistic Director and Accessibility Innovator, Rationale Arts “We teach people with visual impairment, b-boying, as a means of injury prevention and to improve spatial awareness...we also work with a number of children’s hospitals and hospices, where we deliver bedside beatboxing, hip hop handplay, smashing street art and Dr Dex”.

Anya Ferdinand Student at Urdang Academy “Dance of the African Diaspora opens many doors for opportunities to learn, develop and acknowledge an individual's creative vision and process. Our community needs to further appreciate the historical significance of the cultural context that the African Diaspora explores... In the UK, we are in desperate need of expansion and a broader range of diverse dance styles being implemented in education”.

Carla Trim-Vamben Programme Leader and Senior Lecturer BA (Hons) Dance: Urban Practice at University of East London “With our UEL research we have a bigger breadth of knowledge, information and documentation that can’t be denied any longer.

We really want our students to interrogate this idea of their identify, and interrogate why they choose to use popular and social dances as a form of expression. We work towards truly understanding what these dances mean to the cultures making sure there is an appreciation and not an appropriation”.

The One Dance UK Magazine | Autumn 2021 43

Kickstarting Moves into the Dance Sector Special Focus on Evolution

Lucy Bayliss, Head of Creative Programmes at DanceEast, on the consortium of dance agencies offering crucial experience for earlycareer dance professionals.

Photo: hmdigiart.com

Lucy Bayliss

“In my time so far with South East Dance, I have had the opportunity to question what kind of dance work I want to create, and how I might go about this, which has been both challenging and stimulating.”

Clea Godsill Kickstart Dance Artist, South East Dance 44 The One Dance UK Magazine | Autumn 2021

Dance artists are highly trained professionals, taking years to develop skills in the studio and a broad range of knowledge, artistry, and technique. But beyond that there are many external pressures, and the need to acquire the kind of information and skills which allow you to get and keep getting work, to survive - more than that - to thrive. Add the difficulties of the pandemic on top of all that and suddenly, getting meaningful employment feels like an almost insurmountable challenge.

That’s why, when the Government announced Kickstart, the programme whereby employers provide funded 6-month work placements for young people aged 16–24 on Universal Credit – we, DanceEast, South East Dance and Yorkshire Dance, felt like it was an opportunity too good to miss.

At DanceEast we have been frustrated by the graduate gap for some time, witnessing some of the challenges faced by our Centre for Advanced Training students as they progress. We had been bidding (unsuccessfully) for funding to provide some sort of first-job programme - so this seemed like a perfect marriage of ideas and opportunity.

Speaking to colleagues through the UK Dance Network we realised that South East Dance and Yorkshire Dance were having similar thoughts, so we came together to plan our simultaneous offers, for small cohorts of Dance Artists to be offered paid work within our organisations. There was a shared hope that between us we could make a small dent in the

employment challenges faced by those wishing to get jobs in the sector and a shared excitement about working together and providing a national network for the candidates.

We wanted to offer the roles as jobs, where the post-holders could make a genuine contribution to our work, as well as learning skills, making connections and ultimately being more experienced and employable by the end. We developed a joint training offer, delivered largely through the range of expertise within our organisations and making use of the rich range of content provided through South East Dance’s Mind The Gap programme. Between us we now host regular online training and reflection sessions for the Kickstarters, to enable them to develop relationships between themselves as a support network, alongside those within their own organisations.

The majority of those that applied had found out about the opportunity through each organisation’s own advertisements and networks and in reality very few were referred only through the Job Centre. Anecdotally, we all believe that dance artists have yet to fully realise that Universal Credit is an option if it becomes necessary for them to live. We know that art is work, but sometimes perhaps that message is still not fully accepted, or perhaps dance artists are so keen to work they pick up one, two, or even three jobs of whatever they can find, and Universal Credit is viewed simply as a last resort.

Since June 2021, four Company Dance Artists have been working with DanceEast, five with South East

Special Focus on Evolution

South East Dance Kickstart Dance Artists

Photos: Teele Photography,

“From the moment they arrived, theYorkshire Dance team fell in love with the six Kickstart Dance Entrepreneurs: their dynamic zest, enthusiasm, talent, the urgency and diversity of their creative ideas and personalities.We can’t wait to see what they will develop for their final showcase in November and wish we could have always have young Kickstart Dance Entrepreneurs with us!”

DanceEast Digital Suite

participatory work and individually from handstand practice, to developing solo work from LGBTQ+ perspectives. We are proud to be offering six months of paid work and responding to their ambitions and perceived gaps in knowledge and experience. On the other hand, it is also chronically sad that after so many years training at elite level, we are still where we are.

At the time of writing we are entering the latter stages of the posts for the first cohort. As a group of organisations, we are evaluating together how the experience has allowed the post-holders to grow skills and learn more about what it’s like to work for an organisation.

The aim is that this gives us useful planning information to enhance our thinking for the next group, enabling us to shape the best possible future offer for workers at this stage of their career. We hope that some Wieke Eringa Artistic Director of them at least will continue to be Yorkshire Dance part of our freelance workforces and bring the skills gained through their Dance and another six with Yorkshire employment experiences to enrich the future dance sector - in future they Dance. The range of things that they may be leading our organisations. are doing is broad - from making work, performing and contributing to In the Autumn we start to look research projects to working with new towards the next cohort before the window for new Kickstart placements technologies, producing projects and closes at the end of 2021. If our delivering learning and participation work, each experience is tailored to the reflections and those of the postholders show that it has worked and needs and interests of the artists. is valuable, the challenge for us going The Kickstart artists are all forward will be to identify other highly trained, with up to four means of funding or training that years professional training, mostly, can be repurposed or repositioned to although not all, from conservatoires support the next group of dance artists and universities. Their practices to navigate that graduate gap. vary hugely, from making work with their own companies, delivering

Further Information www.danceeast.co.uk www.southeastdance.co.uk www.yorkshiredance.co.uk For more information on the Kickstart scheme visit Kickstart Scheme (via www.gov.uk) Other dance organisations hosting Kickstart placements are welcome to get in touch for their post-holders to contribute to and join the weekly training and networking sessions.

Contact lucy.bayliss@danceeast.co.uk

The One Dance UK Magazine | Autumn 2021 45

Higher Education: Special Focus on Evolution

Degrees of Change

Head of Children and Young People’s Dance Laura Nicholson looks at how higher education institutions are adapting to various challenges and producing graduates of world-class calibre.

Laura Nicholson

The achievements of all graduates of 2021, having completed their degree programmes under such unusual and challenging circumstances, cannot be underestimated. There is no doubt that Higher Education organisations, staff and students, regardless of subject specialism, have been significantly challenged by the pandemic and extended periods of remote learning. The unique combination of practical, technical, creative and academic skills involved in dance courses in particular– along with being a subject built upon the

need to collaborate with others brought a unique set of challenges.

Over the last 18 months we have seen the heroic efforts and creative responses of Dance HE providers to sustain the world-class education and training available in the UK. We have seen dance programmes, course content and assessments re-shaped and reframed with ingenuity, preparing graduates to enter the sector, all whilst balancing the pastoral and wellbeing needs of students.

Graduating from a year like no other: a celebration!

Photo: Funmi Adewole

De Montfort University Melanie Knott, Senior Lecturer in Community Dance Practice When the January 2021 lockdown was enforced many of the live choreography pieces had to be reimagined into digital responses. This sat aside from our screendance work, which is already a specialist provision embedded into our programme, but instead asked the students questions about how they might find hybridity between a live and screen context.

They still needed to demonstrate the structures and processes we would expect to see in a fully developed piece for stage or site and use the camera and editing process to reflect this, not detract from it.

Returning to the studio in March was exciting for some and anxietyridden for others. It was important 46 The One Dance UK Magazine | Autumn 2021

De Montfort University students take part in Livestreaming University Dance Festival from The Venue

for us to embrace these variations in how we managed the final part of the academic year. Due to our fabulous facilities and technical support everyone managed to achieve positively through this assortment of dance learning.

Whilst it has been a very difficult and challenging time, some wonderful positives have emerged that may change the way we deliver the future.

For example, continuing to consider how digital interfaces can be used to learn in real time, to choreograph

and to present performances, and livestreaming some performances far exceeded the number of live audience members , giving family and friends a new way to access work.

Studying dance at Higher Education… will provide you with a fully rounded knowledge of the artistic context and place of dance in today’s society, experienced through practicebased learning and research which develops your skills and understanding of and in the art form.

Special Focus on Evolution

“We need to nurture and train the next generations of workers for dance and the creative sectors.”

According to the Creative Industries Federation, the creative industries were (prior to the pandemic) growing at 4x the rate of the UK economy as a whole, contributing £115.9bn gross value added. The creative industries employed 2 million people, with a further 1 million jobs predicted to be created by 2030.

This means that, as a sector, we need a clear strategy in place to ensure the ‘talent pipeline’ in dance is robust and future proofed. Nurturing ‘homegrown talent’ is perhaps more important than ever in a post-Brexit world. We have to

ensure that access to high quality dance education is available and accessible to all, throughout their school, college and university career. Currently though, this is far from straightforward.

Sadly, despite the brilliance of the Dance HE sector and the many opportunities a career in the creative industries can provide, as we gradually move forwards from the pandemic, there are many further challenges that lie ahead. Perhaps one of the most high-profile and alarming challenges, with a direct impact on the Dance HE sector, came from the Office for

Students (OfS)’s confirmation in July that, despite extensive and high profile opposition through their consultation, they would be proceeding with reducing funding for so-called ‘nonpriority’ courses at Higher Education by almost 50%. Education Secretary Gavin Williamson said that he believes his recommendation to ‘reprioritise’ money away from arts towards STEM, medicine and healthcare subjects is ‘justified to support government priorities’.

Leaders from three One Dance UK member institutions look back at the challenges, opportunities and new approaches of the past academic year.

Photo: Lucy Nicholson

University of Central Lancashire Sarah Hall, Lecturer in Dance As everyone did, we found ourselves adopting a blended learning approach.

Our course, and sector, is rooted in community connection and we thrive on interaction and collaboration between year groups which is never the same remotely. We had to reduce most of our usual placements for students in community and education settings, resulting in having to find alternative ways to gain this crucial experience.

The ever-evolving unknown made it very difficult to build momentum and to plan for a sense of ‘normality’. As academics, continuously developing and planning for many eventualities felt as though it restricted our own creative

UCLan Dance students

headspace to dream into the possibilities for and with our students.

In Motion, in which we share performance work by all year groups and celebrate our graduating year, was taken online, which allowed us to broaden our audience, which was especially meaningful for our international students.

Shifting to a heavy reliance on technology-enabled learning allowed us an opportunity to support students to expand their skills in this area, working with professional artists in the field,

which will be a great addition to their skills base as they graduate and we look ahead to our sector post-pandemic.

Studying dance at Higher Education… allows for exploring, testing, learning, and immersing yourself into the professional environment in a safe space, spending time experiencing many aspects of the sector in detail to help you discover where you place yourself as a dance artist.

The One Dance UK Magazine | Autumn 2021 47

Special Focus on Evolution

One Dance UK’s response to the initial consultations stated that “… we are deeply alarmed and concerned at these proposals. Funding cuts of 49% would be catastrophic for dance provision at HE level, affecting the financial viability of dance courses and having a severely detrimental impact on the dance sector as a whole.

Given the unique, world-leading status of dance in the UK, and the enormous positive economic input of the creative industries, it is completely baffling and illogical that performing and creative arts are not considered a strategic priority for the current government.”

The OfS’s plans contain an additional blow for London-based universities as it is confirmed that they are no longer able to vary funding levels based on the geographic location of an institution, meaning that subsidies for universities operating in London will be removed.

Photo: Photography by ASH

English National Ballet School Rebekah Westgate, Head of Wellbeing and Safeguarding During the first lockdown the ENBS placed 764 videos on Vimeo for student use, these videos were watched over 17,000 times; delivered classes to students in 22 countries, across 6 continents and over 12 time zones, we also scheduled over 2,515 lessons/ tutorials/meetings (748,941 minutes) on Zoom!

There was an increased appreciation of dance on film as students rehearsed remotely with three international choreographers (Annabelle Lopez Ochoa, Andrew McNicol and Didy Veldman) and filmed themselves. The work was subsequently edited by the BalletBoyz for the first online Summer Performance which was viewed over 100,000 times from 37 countries.

Wellbeing sessions were provided online to support students to feel less isolated and have fun together 48 The One Dance UK Magazine | Autumn 2021

Perhaps equally as worrying as the financial challenges facing the Dance HE sector is the negative rhetoric and language that has been used to describe non STEM-based subjects.

Gavin Williamson recently came under criticism for stating that “The record number of people taking up science and engineering demonstrates that many are already starting to pivot away from dead-end courses that leave young people with nothing but debt.”

Such language does little to build confidence in our sector.

A further potential challenge to ensuring young people have a smooth pathway comes from a recent announcement about confirmed changes to the way Post 16 qualifications are funded in England.

Following a consultation period, the Department for Education has set out plans to streamline the qualifications offer at Further

Education (FE) Level by funnelling students into an ‘academic’ or ‘technical’ route. The government plans to defund many current courses, focusing progression routes on A-levels, T Levels and apprenticeships. Dance and performing arts have not been included in the T Level programme and the future of BTECs and other vocational qualifications looks uncertain.

English National Ballet School students in Memorias del Dorado

by Annabelle Lopez Ochoa

even if they were half a world apart.

This consistent use of mindfulness developed understanding, with more students feeling able to ask for help if their mental health was not good.

Students have become more adaptable to different modes of teaching and learning - Annabelle Lopez Ochoa choreographed and rehearsed her choreography for the School’s Summer Performance 2021 on Zoom with the students in the studio.

Unfortunately, due to a student testing positive on a PCR test, the class had

to self-isolate and continue classes via Zoom. They came out of isolation one day before the performance and performed to a high standard to a live audience for the first time in nineteen months - a huge success and demonstration of the determination and resilience of the students.

Studying dance at Higher Education… has no limits! The transferable skills are skills for life, and the creative industries are vital to all of us for health, enjoyment and mental wellbeing.

Special Focus on Evolution

One Dance UK is continuing to advocate that a range of funded vocational dance courses should continue to be available to students, ensuring that dance training is available to all and not just those who can afford to pay for out of school classes.

For some time, dance in mainstream schools has been marginalised and has been a subject under immense threat, due to funding cuts and shifting educational priorities. Naturally the pandemic has brought further significant challenges. Perhaps one of the bleakest pictures of the decline in dance in schools is painted by the number of entries to GCSE and A Level Dance. There has been almost a 50 % reduction in the number of GCSE Dance entries over 12 years and more than a 50% drop in A Level Dance entries over just 9 years.

Skills for Life

For me, it goes without saying that we need high quality dance education that is accessible for all – at school, FE and HE levels. It is vital to help support a healthy generation of young people in the general population. And beyond that, it is needed to ensure that all young people have the potential to nurture their talents and achieve their potential.

As a sector and a society, we have a duty to train and prepare the next generation of creatives, performers, choreographers, dance health workers and teachers for our vibrant creative sector. One Dance UK advocates fiercely for the value of dance education for all at government level and beyond and will continue to do so.

How can I help to advocate for the value of dance education?

Please see our advocacy resource on page 55.

Chloe Davies, Rubicon Dancer

Choolwe Muntanga

Photos: Dani Bower for One Dance UK

Dr Natalie Garrett Brown, Chair of DanceHE, notes the UK’s world-leading offer for dance at higher education.

We have a rich and diverse offer in the UK for students wishing to study dance at higher education.

This range of what we offer is one of our key strengths as a sector and part of the draw for students from across the world who choose to study with us. One dance course can look very different to the next – and between them they offer opportunities to study technique, creative practice, working in the community, producers, leaders, dance health and science alongside the professional practice skills required to succeed in the industry.

We see dance graduates go onto varied careers across the dance sector and beyond and/or

progressing to MA, MFA, PGCE courses and doctoral level study.

It is testament to the creativity and ingenuity of universities and programme leaders that they have nurtured two cohorts who have thrived, not just survived.

Further Information www.dancehe.org

The One Dance UK Magazine | Autumn 2021 49

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Special Focus on Evolution

Enriching and Elevating Dance Education One Dance UK and education partners have recently established a Decolonising the Dance Curriculum Roundtable. Cultural consultant and roundtable member Karina H Maynard studies this significance.

Karina H Maynard

The 2020 Black Lives Matter (BLM) movement initiated one of the most transformative periods in recent history. We experienced unprecedented engagement and discourse about the historical mistreatment of the African Diaspora, contemporary challenges and the need for change.

The dance and education sectors engaged in conversations, issued public statements and developed plans for organisational reform.

As a member of the Decolonising the Dance Curriculum Roundtable facilitated by One Dance UK, I have been working with colleagues from various settings including examination boards, dance companies, educational establishments and community organisations to further the decolonisation of dance education in the UK. The roundtable focuses on three areas: teacher resources and continuing professional development (CPD), the youth roundtable, and dance history and context. With a focus on the developments of the last 18 months, here are my reflections on effective approaches required to improve race equity.

Dance history and context Understanding decolonisation is key to the contextualisation of historic and contemporary oppression. Race is often considered in relation to justice, diversity, equity and inclusion.

However, we must consider how over the past 400 years, the impact of the western colonisation of Africa, Asia, North America, South America, Australia/Oceania and European regions shaped global perspectives.

The ideology of white supremacy, wrongly used to justify the gross acts of violence used to seize people, nations and global resources, was upheld by belief systems that are deeply embedded in all aspects of our cultural fabric.

“Decolonisation is the process of recognising the exploitation of peoples, nations and resources and developing narratives that align with current values that support equity and justice.”

The effective decolonisation of dance education requires us to accept the truth about history and understand that we are not responsible for the oppressive actions of the past, but instead commit to developing anti-oppressive values.

A common misunderstanding is that decolonisation erases history. Knowledge of oppressive belief systems that underpinned longstanding historic atrocities, such as, the transatlantic slave trade and apartheid in South Africa, enables us to understand which peoples have been omitted and misrepresented in creative and cultural history and why.

Decolonisation enriches and elevates dance. It allows us to tell the whole story, fully explore the cultural roots of our art and challenge

the discriminatory norms that deny the full expression and celebration of unique identities. Decolonisation requires the research and development of honest narratives that are inclusive, diverse and equitable.

Young people Centring the voices and experiences of young people is imperative to developing curricula, and more inspirational learning experiences. The youth energy that propelled the BLM movement helps us to understand the ideals and aspirations of our young people. Young people are highly adept at leveraging information online to champion accessibility and inclusion of diverse identities. They realise their cultural influence by establishing an online presence, sharing ideas and showcasing their talent to access unprecedented opportunities for success.

Teacher learning & development Positive change that lasts beyond the BLM headlines requires educators to practice the principles of learning and self-development that we teach.

We need to expand our historical knowledge, immerse ourselves in diverse contemporary cultures and engage in challenging CPD that requires us to examine our identities, to develop reflective practice and critical skills.

I am often asked to provide quickfix solutions of what to do and say to improve Diversity & Inclusion. This is necessary, but improving racial equity does not start with policies, it starts with personal responsibility in our role as changemakers. We are required to commit to visionary leadership, that is creative, uplifting and has the greatest impact on our decisions, connections and impact.

Further Information info@onedanceuk.org Karina H Maynard is a specialist in representation for the arts, heritage, media and education. She is a Board Member and Executive Director at the Urdang Academy. As a consultant, Karina develops CPD and race, culture & identity programmes for young performers.

The One Dance UK Magazine | Autumn 2021 51

Shaking Up Dance in Schools

Special Focus on Evolution

Head of Education at YDance, Linzi McLagan, looks at the findings of a revolutionary dance education project involving thousands of Scottish children.

Linzi McLagan

“Through Shake It Up we were given the opportunity to learn and unlearn, alongside the primary teacher, a range of teaching styles, creative ideas and perspectives of delivering multiple subjects through dance in the classroom.”

Linzi McLagan 52 The One Dance UK Magazine | Autumn 2021

At YDance (Scottish Youth Dance), the national dance organisation for children and young people in Scotland, we aim to work through key partnerships in education, culture, health and sport to provide high quality dance experiences for all children and young people in Scotland.

Our vision is to provide opportunities for every child and young person in Scotland to realise their potential as individuals through dance. All our programmes are designed to achieve positive outcomes for young people across the country, to improve their mental and physical health, wellbeing and aspiration. Through dance we want to give young people the confidence and belief in themselves to succeed.

Starting in January 2017, we launched and delivered Shake It Up (2017-2020), an initiative to support the national goal of improving attainment. Linked closely to the Scottish Government’s Attainment Challenge, Shake It Up was a large-scale four-year education programme focusing specifically on reducing the attainment gap between advantaged and disadvantaged children in Glasgow, North Lanarkshire, West Dunbartonshire and Clackmannanshire.

Funded by the Paul Hamlyn Foundation, Shake It Up reached approx. 5000 pupils and was designed to enable children to learn a range of curriculum subjects through dance and active learning and to increase pupils’ engagement through a kinaesthetic approach. The Shake It Up sessions covered a range of subjects including numeracy, literacy, health & well-being, and social sciences through dance. Two full-time Dance Education Artists in Residence each worked across six primary schools to deliver the sessions in close partnership with teachers to ensure the benchmarks of the subject were met through the dance workshops. The project introduced a way for schools to experience dance as an intervention which supports learning and aims to increase engagement through a kinaesthetic process.

Special Focus on Evolution

Photo: Paul Watt Photography

Shake It Up

Running alongside the delivery programme, a research and evaluation impact study was carried out by the Robert Owen Centre for Educational Change at the University of Glasgow (which can be found on the website - link below). The evaluation revealed that the Shake It Up programme was seen by most teachers as having a positive impact on pupils’ wellbeing. This was often expressed in terms of improved social skills and better self-confidence and perceptions of peers, skills and abilities which were transferable to situations outwith the Shake It Up sessions.

Among the younger pupils, the programme was most frequently reported as a good help in relation to feeling happier at school (64%), getting on better with their teacher (62%) and remembering facts about subjects (60%).

Teachers commented on how the Shake It Up learning process helped bring another perspective to what was being learned in the classroom and assisted pupils to better conceptualise the topics and knowledge in different but complementary ways.

One headteacher stated that improvements in pupils’ literacy was observed for those involved with the programme, particularly those learners from Scottish Index of multiple Deprivation (SIMD) 1 and 2. This had been highlighted in school data collected for their Pupil Equity Funding (PEF) monitoring. The programme had also proven very helpful in promoting the learning engagement of pupils with social and emotional needs. In one example, a male P5 pupil who was difficult to engage with had enjoyed the programme so much he went on to join an after-school dance club and won a local authority award.

The findings also highlighted the importance of working collegially with schools to ensure a positive experience for all involved. The collaboration with teachers was imperative in the success of Shake It Up. At YDance, we are continually developing our learning, teaching and assessment strategy through an ongoing evaluative process and considerable work has taken place to expand our knowledge and

“I certainly feel that dance and the Shake It Up programme is one of the factors helping raise attainment and lift some of those children - particularly the ones that find learning difficult or challenging - through kinaesthetic learning. It’s helping them achieve things that perhaps they wouldn’t have been able to achieve otherwise.”

Kieran MacLetchie, teacher at Aitkenbar Primary School, Dumbarton

understanding within education to ensure we provide highquality creative dance sessions and career-long professional learning (CLPL) opportunities.

YDance has been awarded additional funding from the Paul Hamlyn Foundation to continue the Shake It Up legacy with our next project, Step It Up, where we will work in partnership with six primary schools in Scotland.

Step It Up aims to improve engagement, attainment and overcome barriers to learning and will further develop the different ways teachers can use dance and kinaesthetic learning to support and challenge pupils in deprived areas to achieve their potential. This project will primarily focus on developing teachers’ confidence, skills and knowledge in dance as a cross curricular tool. Through practical sessions and continual professional development, 18 teachers and two dance artists will take part in an experiential learning journey led by pedagogy, reflection and evaluation.

Further Information www.bit.ly/YDanceShakeItUp For information on YDance’s other programmes for young people in Scotland, visit www.ydance.org The One Dance UK Magazine | Autumn 2021 53

Education: In Focus Special Focus on Evolution

One Dance UK’s Dance in Education Manager Amy Williams explores the headlines of the recent Dance in Education Survey.

76%

Qualifications In secondary schools, 66% of teachers reported a decline in the uptake of dance qualifications from students at their school.

The majority cited that the main reason was a shift from schools or parents to focus on ‘academic’ or EBacc subjects.

66 %

One Dance UK is the Subject Association for Dance, advocating for the importance of high-quality dance education. We recently conducted a large-scale survey to gather crucial information about the lasting impact of the pandemic and to create an accurate picture of the current dance education landscape.

The headlines present a worrying picture, but one that informs our advocacy work, strengthening our desire for dance education to be accessible to all.

“The time given to dance and other arts subjects in the curriculum has been significantly reduced due to the EBacc and its focus on STEM subjects. This makes delivery of dance courses very challenging.”

Dance Teacher

Staffing A third of teachers reported reductions in dance-specialist teaching staff at their school during the pandemic.

A concerning 76% of these respondents identified long term or permanent cuts caused by dance curriculum hours being reduced or redundancy and restructuring processes.

Extra-curricular Provision

7

.5 to 11.

3 1

Curriculum Hours The average number of curriculum dance teaching hours on teachers’ weekly timetables dropped from 13.5 (pre-pandemic) to 11.7.

“Even in my school which has always been supportive of the arts, focus has been placed on academic progress since the return. I am concerned dance will be pushed out or used as time for children who are‘behind’to catch up.”

Dance Teacher

13%

The percentage of teachers offering a high amount (7+ hours) of weekly extra-curricular dance activity in their school has reduced from 22% (pre-pandemic) to 13% for September 2021. Report findings are also showing that more schools are offering 1 hour or less, or even no extracurricular dance activity.

The full findings of the survey, Everything we loved about dance was taken: The place of dance in UK education and accompanying advocacy, can be found in our report on the One Dance UK website in the ‘Dance in Schools’ section: www.bit.ly/ODUKDanceInSchool The One Dance UK Dance Education Survey was launched in April 2021 and ran until 24 May 2021. One Dance UK received 354 responses during that time.

54 The One Dance UK Magazine | Autumn 2021

Special Focus on Evolution

Advocate for Change

Amy Williams

Now more than ever, it is vital that the dance sector comes together as one strong voice, advocating for the importance of dance in education. One Dance UK is working to lead the way to a stronger, more vibrant and diverse dance sector, and this article offers some guidance on how you can advocate with your networks.

We continue to advocate for dance education in several ways, including relaying information to Government via the All-Party Parliamentary

Group (APPG) for Dance, providing the secretariat for the Children and Young People’s Dance Programme Board, being part of the Council for Subject Associations and attending regular meetings with DanceHE, Sport England, Dance, Learning & Participation Network and others, and delivering advocacybased CPD to teachers in schools and grass-roots settings.

We believe that everyone has the power to influence others about the importance of access to dance for all children and young people!

Who can I advocate to?

Possible actions and resources

MPs and Governement

Write to your local MP and draw their attention to the vulnerable position dance currently holds in education.

You could share our dance education report with them, invite them to attend forthcoming APPG for Dance meetings or simply outline why dance plays an important and powerful role in the lives of children and young people.

If you are not sure who your MP is, visit www.theyworkforyou.com

Download and share our recently updated resource Dance: A guide for governing bodies, created in partnership with Arts Council England and the National Governance Association, which highlights the many benefits of including dance as part of a broad and balanced curriculum.

Share evidence and research on the positive contribution of dance on students’ physical and mental health and wellbeing.

School leaders and governors

Send a message of thanks to a supportive school leader or governor via One Dance UK.

Respond to any government consultations relating to dance or arts education. Follow One Dance UK on social media as we share details of any relevant government consultations @onedanceuk

Invite school leaders and governors to watch dance events, performances and productions that your students are involved in. Dance creates a positive ‘shop window’ for schools in the wider community.

Careers advisors and other key colleagues

Highlight the varied range of careers Share One Dance UK’s updated available in dance and the enormous Careers Guide and new ‘Case Studies growth of the creative industries in the in Dance’ document.

UK. Demonstrate the range of transferable employment skills dance offers.

Young people and their parents and carers

Share information from our document ‘Why Study Dance at School or College?’ to provide a well-rounded view of the many benefits of dance education.

Create opportunities for older students to lead dance activities for younger ones and to perform to others in class, assemblies and in the community.

There are no better advocates than young people themselves!

Become a member of One Dance UK to amplify our voice, for together we are stronger. We offer a range of memberships, each with amazing benefits to support you!

Follow us on social media to stay up to date with our advocacy work: @onedanceuk Resources and information on projects mentioned can be found on the One Dance UK website.

Join the conversation Want to learn more about advocating for dance education? One Dance UK’s brand new 6-part ‘Take the Leap!’ CPD programme includes a session focused entirely on making the case for dance education.

The One Dance UK Magazine | Autumn 2021 55

Poetry and Motion Special Focus on Evolution

The synergy of words and movement by Helen Calcutt

Words are always taking flight. Forever evolving. The I’ll end with this quote, which encapsulates what I consider the truest nature of words to be. That is – spritely, living way we speak today differs greatly to the way we did things that inspire as much energy in us as moving itself: as little as twenty years ago. Words are constantly abbreviated, overused, forgotten. Even the value we assign to them fluctuates. Sometimes we alter the way we talk depending on who we’re with, and we shift our written style depending on the platform.

However you speak or whatever colloquialisms you prefer, there’s no doubt words are malleable. Though we might think of words as fixed and separate from the body, communicating via text or voice is a deeply physical process (something we see beautifully expressed through signing.)

Words originate from and evolve through the body. They Ted Hughes, Poetry in the Making travel and vibrate – by thought or voice – through us, into air or matter. Words are, by their very nature, changeable Further Information Helen is a poet, essayist, and professional components of our physicality. In the same way our hands dance artist and choreographer with over are bound to their movement, in whatever movement we a decade’s experience sharing her unique can assign them, so are the words we use. approach to movement across the U.K. and internationally. She is also a member Still, there’s this conception that movement and words of the One Dance UK Choreographers are totally separate. I often see poetry performed alongside Directory. dance, or text used as a ‘blueprint’ for movement: such as in Rambert’s beautiful piece Swansong, or Heaney and www.helencalcutt.dance Walcott’s rendition of The Burial at Thebes. All powerful work of course, but I still feel we’re missing the point.

Just as with any improv or set choreography, words flow from us in a natural order and form. There is an essential movement-energy in both spoken language and written text, one that lends itself beautifully to the physical language of the body. We know that all spoken languages are different and unique in themselves. But they can also be translated.

Why not, then, apply the same rule here? Remove this notion of dance happening in one space, and the words in another – and simply render from one into another.

As people who truly understand movement, it’s only natural we draw on, and experiment with, the innate motion of words (as with our breath or our limbs, words are by their very nature, quite simply, meant to exist in the dancer’s space). That we welcome them - not just as complimentary components – but fully into the dancer’s arena. Where the placement, direction, and meaning within words, are second-realised and re-expressed through the body.

I would go so far as to say that there’s a dance already alive in a poem, monologue, or piece of text. All we need to do is tap into and utilise an actual method of translation.

The words themselves wouldn’t need to be spoken (why would we suddenly revert back to Farsi when the method of translation to English is complete?) but instead, communicated entirely through the dance itself. Because it is Helen Calcutt as Goddess in Descent with Midlands Actors Theatre the dance. And from here, many other possibilities can make themselves known.

Photo: Midlands Actors Theatre

“It is better to call (writing/poetry) an assembly of living parts moved by a single spirit…The spirit is the life which inhabits them when they all work together. It is impossible to say which comes first…”

56 The One Dance UK Magazine | Autumn 2021

Teacher Resource

CUT OUT AND KEEP

Key Stage 1 & 2 Primary Dance: Journey Down the Amazon River

By Movema, World In A Box

These activities are an example of Movema's World In A Box resource and digital learning platform which gets over 5000 children per year dancing and learning about world cultures.

Teachers report significant improvement in confidence, fitness, cultural understanding and connection with others. The full resource has video examples and dance tutorials, introducing students to the culture, geography, history and languages of people and places around the world.

Creative activities allow students to consider our similarities and differences. Addressing questions including; Who do these dances belong to? What can we learn and experience about another culture by embodying dance movements from another place in the world?

Introduction

The Amazon represents over half of the planet's remaining rainforests with an estimated 390 billion individual trees! Because of some natural but mostly human actions, much of the rainforest has been destroyed. Deforestation and the destruction of natural habitats means many animals and people no longer have a place to live and often cannot survive

Journey Down the Amazon River Dive into the culture and environment of Brazil by exploring the world’s largest tropical rainforest and one of the longest rivers! Much of the music and many stories from Brazil come from the themes of the rainforest and nature.

Learning Outcomes • •

• • Rainforest Trees, Movema, photo David Leeke and Trevor Green

•

Acquire an appreciation of and respect for our own and other cultures.

Identify the natural environment of the Amazon Rainforest and River and the impact of human activity upon it.

Apply reasoning when tackling moral and ethical issues.

Celebrate cultural diversity in local, national and global communities.

Perform movements based on African Brazilian and indigenous Brazilian culture.

The One Dance UK Magazine | Autumn 2021 57

Teacher Resource

Discussion Questions • Discuss ways in which humans cause deforestation and why?

• Consider what might happen to people if their homes are destroyed or if they are forced out of the place they know.

Warmup - Animals of the Amazon

More than one-third of all known species in the world live in the Amazon Rainforest including jaguars, iguanas and tarantulas. Meat-eating piranha fish and anacondas can be found in different parts of the river.

• • •

•

Discuss some favourite Amazon animals, what they look like and how they move.

Consider speed, levels and movement qualities (undulating, darting, soaring).

Begin with everyone moving independently around the room. Call the name of an animal and the group can creatively transform into that creature.

Spend around one minute exploring the movement, then change to a different animal.

CUT OUT AND KEEP

Creative Task - Rainforest Trees

Rainforest plants grow quickly, striving to be closer to the sun and rain. This means the canopy of trees gets higher and more convoluted and mesh-like as the trees and plants keep growing around each other.

In groups of 3 the students can create movements like the plants growing up and through other branches and leaves.

•

•

•

•

•

Dance Sequence - Travelling on the River

The Amazon Rainforest is the ancestral home to around one million indigenous people. There are around 400 tribes, each with its own language and culture. Many live in villages by the river, growing and hunting their own food, however today most practice a lifestyle that integrates both traditional and modern elements.

Tribes of the Amazon often live hundreds of miles apart. Some choose to remain in isolation and some travel to trade with others. Traditionally the indigenous people travel down the river in boats they’ve made out of trees.

Follow the three movements in the video (you can use scarves or ribbons if you wish, see video example below). These movements can be seen in Brazilian dance forms Dança Afro/ Afro-Brazilian dance, Samba Reggae and Orixás Dance Movement: • • •

Movement one: Cool Down in The River Movement two: Flowing Water Movement three: Oxum (O-shun) Combing her hair

All movements can be added together to make a longer sequence, which can be repeated and varied.

Discussion Questions • Who are the indigenous people of Britain?

• How many languages and cultures make up Britain today? What has influenced this?

• Do you speak another language? Or do you know people who speak another language? What else do you know about them?

Video: Amazon Water Sequence: https://bit.ly/MovemaAmazonWaterSequence 58 The One Dance UK Magazine | Autumn 2021

Begin with two of the group members individually freezing in any shape. They should stay relatively close together.

The third dancer will move in and out of the still shapes to do three motions; one ‘over’, one ‘under’ and one ‘around’. It can be the whole body or different body parts.

Once the first dancer has done the 3 movements they will then freeze, and it will be the turn of one of the others.

After a few minutes trying different versions, the groups can then watch each other demonstrate the movements they have been exploring.

The observing students can also comment on what they saw.

Discussion Questions • Why is it good to experience dance, language and culture from other countries?

• What can we learn from doing this?

Music Suggestions

Warm Up: O Grilo by Samba de Coco Raízes de Arcoverde The Amazon Rainforest by Andrea, Claudia y Cristóbal Paz Dance Sequence: É Pra Valar by Samba Squad Filha da Encantaria by Suraras do Tapajós Creative Task: Brazilian Carnaval by Drums of the World Segredos da Floresta by Suraras do Tapajós

Resources

World In A Box digital platform: www.movema.co.uk/children-and-young-people/ Djuena Tikuna Indigenous News Portal - disseminating cultural information of native peoples (translations in Portuguese and English): www.djuenatikuna.com

HOTFOOT at 20

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Prices start at £45.55 for 12 months Visit https://bit.ly/3iI4YS9 for more information or to subscribe

*The digital archive currently has over 250 past issues of Dancing Times from January 2000 to date The One Dance UK Magazine | Autumn 2021 59

Special Focus on Evolution

Celebrating Creative Young Dancers EveryOne Dance UK Challenge winner, Miriam from Wales

The EveryOne Dance UK Challenge, part of U.Dance 2021, celebrated the creativity of youth dancers from around the country. Finalists were showcased online as part of the festival in July, and received prizes from sponsors Trinity Laban Conservatoire of Music and Dance.

Two selected entries, Miriam from Wales and Blythe from Surrey, took part in a professional dance photoshoot in their local area with Dani Bower, @dancephotographeruk.

We congratulate these talented young dancers and all entrants of the challenge.

Photos: Dani Bower for One Dance UK

Supported By:

60 The One Dance UK Magazine | Autumn 2021

EveryOne Dance UK Challenge winner, Blythe from Surrey

U.Dance 2021

U.Dance 2021

The U.Dance National Youth Dance Festival took place online 16-18 July and was a chance for young dancers from around the country to take part in exciting dance showcases, challenges, masterclasses and Q&A sessions, all for free. From ballroom to breakin', from ballet to Bharatanatyam, there was something for everyone!

U.Dance 2021 in numbers:

5

30

40

2000

SHOWCASES

GUEST PROFESSIONALS

SESSIONS

YOUNG PEOPLE ENGAGED

96% 20

POSITIVE FEEDBACK

DANCE AMBASSADOR SESSION HOSTS

One Dance UK would like to thank all partners, sponsors and supporters, group leaders and choreographers and all the talented participants for helping make U.Dance 2021 National Festival such a success.

www.udancedigital.org

Encouraging the best of our dance abilities U.Dance 2021 National Festival review

By U.Dance Writing Challenge 2021 winner, 12 year-old Ffion S. Taking part in this year’s U.Dance National Festival was a huge opportunity for me as an amateur dancer. I got to experience what classes are like for a professional dancer; to get to hear some amazing and successful dancers talk about days in their lives, and tips to help us be more engaged and successful in our dance.

To hear incredible people talk about how they became a dancer really spoke to me. The way they talked about staying positive and using tactics and our imaginations to help us through every class made me realize that dance isn’t all about the precision and perfection, it’s about having fun and enjoying yourself. Listening to all the warmup exercise tips gave me even more of an idea on how to complete a thorough warm up so that I can make my movements even braver but stay safe.

The dance classes themselves were stunning in the way that they were delivered; the difficulty was set to just the right level for whether you were an advanced dancer or more of a beginner. For me it was super fun and really interesting being led by dancers who were clear with their instructions and bold with their movements.

The U.Dance festival was full of this kind of content - so thank you to everyone who brilliantly led a class. I also loved watching the amazing films created by young dancers from all over the country at the U.Dance National Showcases.

This year’s U.Dance National Festival has really helped and encouraged me to take my dance to the next level, as I now have more advice and skills to really push myself to the limits and it’s reminded me to enjoy every minute of it!

The U.Dance Writing Challenge 2021 is generously supported by the University of Central Lancashire (UCLan).

The One Dance UK Magazine | Autumn 2021 61

In the Spotlight

Book Reviews

Review by Katie Stevens

Review by Rebecca Runchman

One Dance UK Staff Andrew Hurst MBE Chief Executive Cameron Ball Special Projects Manager

Dancing with Stalin: A True Story of Love and Survival in Soviet Russia

By Christina Ezrahi In Dancing with Stalin: A True Story of Love and Survival in Soviet Russia, Christina Ezrahi takes the reader through ballerina, Nina Anisimova’s extraordinary life during Stalin’s Russia. Starting with a (perhaps) accidental acquirement of documents, letters and diary entries from 1938, Ezrahi uses these police interrogation notes and personal stories to tell the remarkable true story of Nina’s struggle through interrogation and double-crossing acquaintances, into a labour

camp and her willingness to survive and return to her life in ballet.

Nina’s story is told with the context of events running throughout Soviet Russia at the time. Emotional and sometimes difficult descriptions of a prisoner's life are seamlessly interlinked with historical information and details on how Soviet Russia tried to use ballet and folk dances to push their agenda to the masses and alienate the influence of the ‘capitalist West’. It cleverly pulls the reader out of the story to begin critically thinking about the risk faced in an artist’s Soviet life before diving right back in.

An interest in history isn’t needed to be enthralled by this captivating true story. Ezrahi does a brilliant job of bringing Nina’s story back to life.

Ballet: The Essential Guide to Technique and Creative Practice

By Jennifer Jackson Ballet: The Essential Guide to Technique and Creative Practice, as the title suggests, is an essential read for those wanting to expand their knowledge on many aspects of ballet.

The images and diagrams are a useful and visual approach to understanding the detailed content and the additional ‘Historical Context’ sections of the chapters provide a deeper knowledge of the technique.

Anna Meadmore’s chapter on ‘Shared Roots and Cultures’ provides a beautifully in-depth and diverse insight into the roots of ballet, and would be

a wonderful read for anyone interested in dance.

Mark Annear and Nicola Katrak provide structured and clear descriptions of ballet technique. Preprofessional dancers would benefit from Annear’s chapter on ‘Advanced Techniques’, particularly where Annear guides the reader into considering taking an individual approach when it comes to refining your knowledge and skill.

What is also lovely to read is the ‘Professional Dancer Perspectives’ throughout the book, and anyone who studies ballet needs to read Stephanie De’Ath and Laura Erwin’s chapter on keeping physically

and mentally healthy as a dancer.

There are a lot of books that cover the technical aspects of ballet, however Jackson’s book directs the reader through ways that they can develop and deepen their practice even further by highlighting the importance of individuality, versatility, performance and a contextual knowledge.

This book would be the most helpful for pre-professional/ professional ballet dancers and ballet teachers but could also be helpful as a reference for any dancer due to the large variety of topics covered.

Tori Drew Dance in Education Manager Frederick Hopkins Head of Membership and Business Development

Amelia Bickley Membership and Business Development Officer

Jessica Lowe Administrator, Dancers’ Health, Wellbeing and Performance

Dani Bower Marketing and Communications Manager

Jo Gatenby Dance in Education Manager (Maternity Cover)

Dann Carroll Project Manager

Laura Nicholson Head of Children and Young People’s Dance

Lara Coffey Head of Marketing and Communications Barny Darnell Membership Manager Tamar Dixon Dance of the African Diaspora Network Officer

Jazlyn Pinckney Head of Workforce Development.

Maria Kolitsida PhD placement student

62 The One Dance UK Magazine | Autumn 2021

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

Board of Trustees Amanda Skoog Chair Senior Producer, The Royal Ballet’ Anthony Bowne Principal, Trinity Laban Conservatoire of Music and Dance

Chloe Sprackling Marketing and Communications Assistant

Jane Bonham Carter Baroness Bonham-Carter of Yarnbury, Member, House of Lords

Katie Stevens Office Manager

Andrew Carrick Director of Carrickworks

Alan Tuvey Finance Manager

Julian Flitter Partner, Goodman Jones LLP

Amy Williams Dance in Education Manager

Vicki Igbokwe Choreographer and Director Uchenna Dance Denise Nurse Legal Consultant

Purchase ISBN: 9781783965571 www.bit.ly/DancingforStalin

Purchase ISBN: 9781785008306 www.bit.ly/BalletEssentialGuide

Piali Ray OBE Freelance Artistic Director and Choreographer Susannah Simons Arts Strategist and Director of Partnerships, Marquee TV David Watson Executive Director of Audiences & Media, National Museums Liverpool

Patrons Carlos Acosta CBE Children and Young People Patron Peter Badejo OBE Bob Lockyer Arlene Phillips CBE Sir Richard Alston Champion of U.Dance and Young Creatives

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LEARN / TEACH / DANCE Royal Academy of Dance® is a charity registered in England and Wales No. 312826 Photo by Tim Cross The One Dance UK Magazine | Autumn 2021 63

64 The One Dance UK Magazine | Autumn 2021