Annual Report 2020

Total Page:16

File Type:pdf, Size:1020Kb

Annual Report 2020 Company registered number: 2931636 Charity registered number: 801552 ONE DANCE UK (A Company Limited by Guarantee) TRUSTEES’ REPORT AND FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2020 1 TRUSTEES’ REPORT FOR THE YEAR ENDED 31 MARCH 2020 2 TABLE OF CONTENTS Trustees Report: 2 . Our Strategy 6 . Achievements and Performance 12 . COVID-19 26 . Finances, Risks & Reserves . Structure, Governance & Management 28 30 Financial Statements 35 shani Ghosh by Dani Bower photography for One Dance UK 3 1 1 Dancer A © REPORT OF THE TRUSTEES FOR THE YEAR ENDED 31 MARCH 2020 The Trustees are pleased to present their annual directors’ report together with the financial statements of the charity for the year ended 31 March 2020, which are also prepared to meet the requirements for a director’s report and accounts for Companies Act purposes. The financial statements comply with the Charities Act 2011, the Companies Act 2006, the Memorandum and Articles of Association, and Accounting and Reporting by Charities: the Statement of Recommended Practice for Charities (SORP 2015) (Second Edition, effective 1 January 2019) applicable to charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102). 2 23 Zeb Simpson - Dani Bower Photography for One Dance UK Our purpose: a stronger, We are a charity dedicated to raising the profile, excellence, diversity and more vibrant and diverse importance of UK dance. Theseiare the cornerstones of our constitution: dance sector Promoting Dance and its diversity To advance arts and culture for the benefit of the public by promoting dance by all means. This includes the promotion of good practice, education and specific forms of dance including but not limited to the promotion of the work of dance artists of the African Diaspora in all its expressions. Education To advance the education of the public, teachers, students, young people, dance practitioners and professionals in the UK and beyond in dance by all means including but not limited to; research, the promotion of dance with and for young people, Dance of the African Diaspora, promoting standards of excellence in the teaching of dance for all ages with particular reference to the school curriculum and the promotion of specific forms of dance. Health To advance the health of dancers. Relief of poverty To relieve poverty amongst dancers, dance artists, dance practitioners and their dependents In shaping our objectives for the year and planning our activities, the Trustees have considered the Charity Commission’s guidance on public benefit, including the guidance ‘Public benefit: running a charity (PB2)’. We rely on grants, fundraising, sponsorships, members’ fees and ticket sales to cover our operating costs. 4 Anjolie Toon - DAni Bower Photography for One Dance UK 5 OUR STRATEGY "It is so good to see With the mandate of our members, we provide one clear voice for dance and a clear strategy to meet our purpose. One Dance UK out • Provide information to dance professionals, dance teachers, schools and organisations to support a vibrant and healthy dance ecology there, fighting • Ensure children and young people of any background participate in high quality dance through our advocacy and programmes the good fight!" • Raise the profile of diverse dance and equality for diverse professionals, - Social Media follower performances, education and leadership in organisations across the UK • Advocate loudly for UK dance with government, CYP programme board and health and mental wellbeing providers • Provide artists at all stages of their careers with opportunities, resources and information to survive and thrive 6 7 Thomas Harden and Karenza Doughty - Dani Bower Photography for One Dance UK SUPPORTING DANCE Our strategy is delivered through six important activities: Advocacy Professional development We advocate for the UK dance sector on issues ranging from diversity, health, education, working We provide Continuing Professional Development (CPD) for dance teachers, and training conditions for dance artists, COVID-19 sector recovery and Brexit. in healthier dance and mental wellbeing practice through our services to dance organisations. We work in partnership with cultural sector bodies such as Creative Industries Federation, WhatNext? movement, Culture Counts in Scotland and the FreeMoveCreate campaign to inform We also work with partners and funders to raise awareness and promote professional and mobilise our members and act as a constructive partner to Government. We act as secretariat development programmes to provide artists, at all stages in their careers, opportunities to for the All Party Parliamentary Dance Group. develop their practice and sustainability in the sector. We are also devoted to our children and young peoples advocacy as the Subject Association for Dance informing educators, policy makers and media about research and professional practice, Events and Information Sharing informing approaches to the curriculum, pedagogy, teacher training and development. Our targeted activities to support the development of a diverse, sustainable, unified, valued, connected and healthy dance workforce include: Children and Young People (CYP) • Annual industry conference • Annual awards celebrating those who develop and work tirelessly for dance Networking for dance professionals We aim to engage CYP of all backgrounds from Early Years Foundation Stage to the end of their • One and HOTFOOT magazines statutory education in and beyond schools, in excellent dance experiences. We directly engage CYP • through U.Dance, which provides a framework for schools and youth dance groups nationwide to progress to our annual festival event. We also work to ensure that dance education and its provision in schools, organisations, colleges Healthier Dancer Programme and universities remain a key priority and are delivered at highest standards. We are committed to dancers’ health, wellbeing and performance, and established We convene an expert panel of leading dance educators to advise on matters affecting the specialist provision through our HDP training, dissemination of health information and curriculum and teaching of dance. accessible response to injuries. We are one of the partners in the National Institute of Dance Medicine and Science with Dance of the African disapora • Birmingham Royal Ballet • The Royal Ballet We advocate and support the practice and appreciation of Dance of the African Diaspora (DAD). We • Trinity Laban Conservatoire of Music and Dance aim to make the many recognised DAD forms, practice and research equally valued as part of the • University of Birmingham British cultural experience. • University of Wolverhampton We have a unique role in identifying the needs reported to us for the DAD sector. We work to create strategies with dance organisations and related institutions to further support talented individuals Together, with the NHS, we developed specialist NHS dance injury clinics in London, working with forms rooted in the African Diaspora to have an environment of successful creative Birmingham and Bath. Fundamentally, we are changing attitudes that result in safe practice, enterprise and education in DAD forms, along with entry routes into management. injury prevention and wider wellbeing issues being taken more seriously across the sector. 8 9 OUR VOLUNTEERS We rely on and are extremely grateful to our volunteers who are comprised of former staff, board members, expert panels and our Dance Ambassadors of ages 15 – 25 years. Annually, we rely on 40 volunteers who generously give up to 560 hours of their time. Dance Ambassadors (2019 cohort pictured) write blogs, speak to Members of Parliament, support us at our events and benefit from engaging with us and Dance Consortium. Through exciting opportunities they find out about the various roles involved in taking dance on tour and showcasing dance in high profile large-scale venues. 10 11 Dance Ambassadors 2019Dani Bower Photography for One UK ACHIEVEMENTS AND We are extremely PERFORMANCE grateful for the contribution, We work consistently to empower the dance workforce to be sustainable, connected, unified and highly valued. dedication and Overview energy of our In 2019/20, we reached 15,000 Dance professionals, CYP and older people through our programmes and membership. leaving staff. On web and social media, we engaged many more: They ensured a Relocation positive route to In 2019 we moved to our new home Dance Hub, Thorp Street, Birmingham. This was a achieved with a smooth changeover of staff ensuring appropriate handover between leaving and new staff. Office fittings and computers were purchased to replace outdated change and remain equipment and we were proud to be installed and functioning well as a team on the first day of reopening. part of the One 12 7 Tiah Parsan - Dani Bower Photography for One Dance UK Dance UK family. U.DANCE2019 65% of the participants wanted to perform and dance more often (64% in previous year) and 56% are considering a career in dance, gaining a qualification or auditioning for their local U.Dance 2019, the national youth dance festival, was held at Southbank Centre, London, on CAT group or NYDC (31% in previous year). 20 and 21 July 2019 with activities also taking place at Rambert, National Theatre and BFI Southbank. U.Dance 2019 was managed by One Dance UK working in partnership with Southbank Centre and Imperial Society of Teachers of Dancing. U.Dance 2019 was brought together by
Recommended publications
  • Bad Cops: a Study of Career-Ending Misconduct Among New York City Police Officers
    The author(s) shown below used Federal funds provided by the U.S. Department of Justice and prepared the following final report: Document Title: Bad Cops: A Study of Career-Ending Misconduct Among New York City Police Officers Author(s): James J. Fyfe ; Robert Kane Document No.: 215795 Date Received: September 2006 Award Number: 96-IJ-CX-0053 This report has not been published by the U.S. Department of Justice. To provide better customer service, NCJRS has made this Federally- funded grant final report available electronically in addition to traditional paper copies. Opinions or points of view expressed are those of the author(s) and do not necessarily reflect the official position or policies of the U.S. Department of Justice. This document is a research report submitted to the U.S. Department of Justice. This report has not been published by the Department. Opinions or points of view expressed are those of the author(s) and do not necessarily reflect the official position or policies of the U.S. Department of Justice. Bad Cops: A Study of Career-Ending Misconduct Among New York City Police Officers James J. Fyfe John Jay College of Criminal Justice and New York City Police Department Robert Kane American University Final Version Submitted to the United States Department of Justice, National Institute of Justice February 2005 This project was supported by Grant No. 1996-IJ-CX-0053 awarded by the National Institute of Justice, Office of Justice Programs, U.S. Department of Justice. Points of views in this document are those of the authors and do not necessarily represent the official position or policies of the U.S.
    [Show full text]
  • Pastor's Ponderings
    The Beacon NEWS AND INFORMATION | FBC ALVARADO, TX JULY - AUGUST 2019 Pastor’s Ponderings Church Events July 1-31 Back Pack Drive for AISD We’ve always seemed to have a fascination for things that are connected with famous people. Leonardo da Vinci’s 72 page journal named the Codex July 3 No Activities Hammer was sold to billionaire Bill Gates in 1994 for a cool $30.8 million. Some of Elvis Presley’s hair went for $15k at auction in 2009, much reduced from the $115k July 4 Church Office / Daycare Closed price tag some sold for only 7 years earlier. His Bible was also sold -- it brought Youth Party @ Farmers 6 PM - 10 PM $94k. An original drawing of Winnie-the-Pooh’s The Hundred Acre Wood map, and 4 other sketches created by E.H. Shepard in 1926 was auctioned last year for July 5 Church Office Closed $600k. These things are valuable because they once belonged to someone significant. July 7 Deacon’s Breakfast 8:00 AM While I write this I’m studying 1Peter 2 in preparation for a sermon on the passage. One phrase stands out to me in particular -- 1Pt.2:9 says, …you are a… people for His own possession… Yes, I know that some translations render it, a July 12-13 GA Lock-In 6:00 PM - 10:00 AM peculiar people, but the word refers to a private possession. As He entered into covenant with the Israelites at Sinai, God told them July 20 Youth Service Project that you shall be my treasured possession among all peoples… (Ex.19:5) Several times throughout the OT God reminds His people that they are valuable because July 23-27 RA/GA Camp they belong to Him.
    [Show full text]
  • Engineering of IT Management Automation Along Task Analysis, Loops, Function Allocation, Machine Capabilities
    Engineering of IT Management Automation along Task Analysis, Loops, Function Allocation, Machine Capabilities Dissertation an der Fakultat¨ fur¨ Mathematik, Informatik und Statistik der Ludwig-Maximilians-Universitat¨ Munchen¨ vorgelegt von Ralf Konig¨ Tag der Einreichung: 12. April 2010 Engineering of IT Management Automation along Task Analysis, Loops, Function Allocation, Machine Capabilities Dissertation an der Fakultat¨ fur¨ Mathematik, Informatik und Statistik der Ludwig-Maximilians-Universitat¨ Munchen¨ vorgelegt von Ralf Konig¨ Tag der Einreichung: 12. April 2010 Tag des Rigorosums: 26. April 2010 1. Berichterstatter: Prof. Dr. Heinz-Gerd Hegering, Ludwig-Maximilians-Universitat¨ Munchen¨ 2. Berichterstatter: Prof. Dr. Bernhard Neumair, Georg-August-Universitat¨ Gottingen¨ Abstract This thesis deals with the problem, that IT management automation projects are all tackled in a different manner with a different general approach and different resulting system architecture. It is a relevant problem for at least two reasons: 1) more and more IT resources with built-in or asso- ciated IT management automation systems are built today. It is inefficient to try to solve each on their own. And 2) doing so, reuse of knowledge between IT management automation systems, as well as reuse of knowledge from other domains is severely limited. While this worked with simple stand-alone remote monitoring and remote control facilities, automation of cognitive tasks will more and more profit from existing knowledge in domains such as artificial intelligence, statistics, control theory, and automated planning. A common structure also would ease integration and coupling of such systems, delegating cognitive partial tasks, and switching between commonly defined levels of automation. So far, this problem is only partly solved.
    [Show full text]
  • Workers' Compensation Industrial Council
    WORKERS’ COMPENSATION INDUSTRIAL COUNCIL SEPTEMBER 8, 2016 Minutes of the meeting of the Workers’ Compensation Industrial Council held on Thursday, September 8, 2016, at 1:00 p.m., Offices of the West Virginia Insurance Commissioner, 900 Pennsylvania Avenue, Room 912, Charleston, West Virginia. Industrial Council Members Present: Bill Dean, Chairman Kent Hartsog, Vice-Chairman James Dissen (via telephone) Dan Marshall Delegate Steve Westfall Delegate Mick Bates 1. Call to Order Chairman Bill Dean called the meeting to order at 1:00 p.m. 2. Approval of Minutes Chairman Bill Dean: The minutes of the previous meeting were sent out. Did everybody have a chance to look them over? Is there a motion for approval? Kent Hartsog: Move to accept. Dan Marshall: Second. Chairman Dean: A motion has been made and seconded to accept the July 21, 2016 minutes as stated. Question on the motion? All in favor, “aye.” All opposed? The ayes have it. 3. Office of Judges’ Report – Rebecca Roush, Chief Administrative Law Judge Judge Rebecca Roush: Good afternoon. I tendered this report to you this morning by e-mail. Hopefully you all received it. I don’t think there is really anything new in this report to share with you. The statistics look as you would expect them to. The Old Fund is on the Workers’ Compensation Industrial Council September 8, 2016 Page 2 decline, and they make up about 6.17% of the protests in our office or 140 actual protests in the year 2016. Private carriers make up 74.21% or 1,683 protests. Self-Insured employers make up 19.62% or 445 protests.
    [Show full text]
  • Lyrics and Jan’S Stories Behind the Songs
    Lyrics And Jan’s Stories Behind the Songs 1. Turning Tide (Words & Music by Jan Garrett & JD Martin ©2008) 2. Listen (Words & Music by Tom Kimmel & JD Martin ©2008) 3. Whoo (Words & Music by Jan Garrett & JD Martin ©2008) 4. Open the Door (Words & Music by Jan Garrett & JD Martin ©2008) 5. It Ain’t Over Yet (Words & Music by Jan Garrett & JD Martin ©2008) 6. See My Way Through (Words & Music by Jan Garrett ©2008) 7. No Complaints Whatsoever (Words & Music by Jan Garrett & JD Martin ©2008) 8. Windows (Words & Music by Jan Garrett ©1975) 9. Song to Sing (Words & Music by Jan Garrett & JD Martin ©2008) 10. Say That! (Words & Music by Jan Garrett & JD Martin ©2008) ~~ Jan’s Stories Behind the Songs 1. Turning Tide Words & Music by Jan Garrett & JD Martin ©2008 There is a promise....I feel it coming In the rising of a turning tide Where every burden shall be lifted On the surge of faith inside And every spirit will feel the blessing Every soul will be satisfied We are rising higher higher In this turning tide We are rising, rising, In this turning tide We are rising, rising, In this turning tide I hear the music....in the madness I see the vision of a brighter day I draw compassion....from our sadness, and fuel the Fire for a better way I put my money.....where my mouth is I get on board the freedom ride We are rising higher higher In this turning tide We are rising, rising, In this turning tide We are rising, rising, In this turning tide And so the promise becomes the present And the future is opening wide We are guided, we are gifted We are lifted up inside And nobody....can do it for us, we sing our Own Hallelujah Chorus We are rising higher higher In this turning tide We are rising higher higher In this turning tide © 2008 Foolchild Music (ASCAP) Gill ‘n’ Goldie Music (ASCAP) www.Garrett-Martin.com 2.
    [Show full text]
  • An Intergenerational Narrative Analysis of Black Mothers and Daughters
    Still Waiting to Exhale: An Intergenerational Narrative Analysis of Black Mothers and Daughters DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Jamila D. Smith, B.A., MFA College of Education and Human Ecology The Ohio State University 2012 Dissertation Committee: Professor Elaine Richardson, Advisor Professor Adrienne D. Dixson Professor Carmen Kynard Professor Wendy Smooth Professor Cynthia Tyson Copyright by Jamila D. Smith 2012 Abstract This dissertation consists of a nine month, three-state ethnographic study on the intersectional effects of race, age, gender, and place in the lives of fourteen Black mothers and daughters, ages 15-65, who attempt to analyze and critique the multiple and competing notions of Black womanhood as “at risk” and “in crisis.” Epistemologically, the research is grounded in Black women’s narrative and literacy practices, and fills a gap in the existing literature on Black girlhood and Black women’s lived experiences through attention to the development of mother/daughter relationships, generational narratives, societal discourse, and othermothering. I argue that an in-depth analysis and critique of the dominant “at risk” and “in crisis” discourse is necessary to understand the conversations that are and are not taking place between Black mothers and daughters about race, gender, age, and place; that it is important to understand the ways in which Black girls respond to media portrayals and stereotypes; and that it is imperative that we closely examine the existing narratives at play in the everyday lives of intergenerational Black girls and women in Black communities.
    [Show full text]
  • Chinese Exclusion and Tong Wars in Portland, Oregon
    Utah State University DigitalCommons@USU All Graduate Theses and Dissertations Graduate Studies 12-2019 More Than Hatchetmen: Chinese Exclusion and Tong Wars in Portland, Oregon Brenda M. Horrocks Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/etd Part of the History Commons Recommended Citation Horrocks, Brenda M., "More Than Hatchetmen: Chinese Exclusion and Tong Wars in Portland, Oregon" (2019). All Graduate Theses and Dissertations. 7671. https://digitalcommons.usu.edu/etd/7671 This Thesis is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Theses and Dissertations by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. MORE THAN HATCHETMEN: CHINESE EXCLUSION AND TONG WARS IN PORTLAND, OREGON by Brenda M. Horrocks A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF ARTS in History Approved: ______________________ ____________________ Colleen O’Neill, Ph.D. Angela Diaz, Ph.D. Major Professor Committee Member ______________________ ____________________ Li Guo, Ph.D. Richard S. Inouye, Ph.D. Committee Member Vice Provost for Graduate Studies UTAH STATE UNIVERSITY Logan, Utah 2019 ii Copyright © Brenda Horrocks All Rights Reserved iii ABSTRACT More Than Hatchetmen: Chinese Exclusion and Tong Wars in Portland, Oregon by Brenda M. Horrocks, Master of Arts Utah State University, 2019 Major Professor: Dr. Colleen O’Neill Department: History During the middle to late nineteenth century, Chinese immigration hit record levels in the United States. This led to the growth of Chinatowns across the West Coast.
    [Show full text]
  • The Friends of Whitefiars Oxford Trust
    Company registered number: 2931636 Charity registered number: 801552 ONE DANCE UK (A Company Limited by Guarantee) TRUSTEES’ REPORT AND FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2019 ONE DANCE UK REPORT AND FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2019 CONTENTS Page Reference and Administrative Details of the Company 1 Trustees’ Report 2 Independent Auditor’s Report 15 Statement of Financial Activities 18 Balance Sheet 19 Statement of Cash Flows 20 Notes to the Financial Statements 21 ONE DANCE UK REFERENCE AND ADMINSTRATIVE DETAILS OF THE COMPANY FOR THE YEAR ENDED 31 MARCH 2019 Trustees Andrew Carrick Anthony Bowne Anu Giri David Watson Denise Nurse (appointed 15 August 2019) Julian Flitter Piali Ray Susannah Simons Susan Wyatt (Chair) Victoria Igbokwe Company registered number: 2931636 Charity registered number: 801552 Registered office: Ensign House, Battersea Reach, Juniper Drive, London, SW18 1TA Chief executive: Andrew Hurst Independent auditors: Haysmacintyre LLP, 10 Queen Street, London EC4R 1AG Bankers: Cater Allan, 9 Nelson Street, Bradford, BD1 5AN CAF Bank Ltd, 25 Kings Hill Avenue, West Malling Kent ME19 4JQ HSBC Bank Plc, 18 Ballards Lane, Church End, Finchley, London, N3 Solicitors: Sean Egan Consultants Limited, 50 Sheen Park, Richmond, London, TW9 1UW 1 ONE DANCE UK TRUSTEES’ REPORT FOR THE YEAR ENDED 31 MARCH 2019 Report of the Trustees for the year ended 31 March 2019 The Trustees are pleased to present their annual directors’ report together with the financial statements of the charity for the year ended 31 March 2019 which are also prepared to meet the requirements for a director’s report and accounts for Companies Act purposes.
    [Show full text]
  • Singing Songs in Sign of Basketball Students Studying American Sign Language Perform Popular Songs in the EMU Arena Faces New Hurdle
    Track Student Film River Float Ducks headed to NCAA Theater student Dusty Your guide to the best TODAY Championships in Iowa Bodeen premieres his first way to float the river Showers next week. PAGE 9 film “Phoned.” PAGE 5 this summer. PAGE 5 59°/48° The independent student newspaper at the University of Oregon dailyemerald.com SINCE 1900 | Volume 109, Issue 176 | Thursday, June 5, 2008 Construction Singing songs in sign of basketball Students studying American Sign Language perform popular songs in the EMU arena faces new hurdle A city official ruled in favor of neighbors, requiring the University to have a conditional use permit RYAN KNUTSON News Reporter The University’s arena project hit a big hurdle on Wednesday when a hearings official ruled the development must have a conditional use permit before construction can begin — a decision that complicates the project and could delay it months. The decision overturned a ruling by City Planning Director Lisa Gardner, and it serves as vindication for the neighbors who have bat- tled to have more say in the arena project since the site was first targeted in 2003. “This should have been a conditional use permit process from day one,” said Jeff Nelson, former co-chair of the Fairmount Neighborhood Association. Nelson currently serves on the neighborhood association’s are- na subcommittee. If it had been, “we would have had all these issues resolved by now.” It’s unclear whether the ruling will turn to ARENA, page 8 JAROD OPPERMAN | Photo Editor Rob Mason and Jordan Shively finish signing Johnny Cash’s “Cocaine Blues” in the Ben Linder Room Wednesday morning.
    [Show full text]
  • No Furaacelike Tins
    Urg ,, Tail,bUin Circulation Eaittr• n 'Kent and Job Printinf wMtern Ionia Counties THE LOWELL LEDGER prices. Phone 200 —'V —L--— —^ VOL. XXVI Uh*«r.v LOWELL, MICHIGAN, DEC. IQ, IQIS No. 28 IT T THE REXALL STORE To the Farmers Mra. John A. Arehart Taken From Wage Ldaa in Michigan Alone ia Her Little Ones. $2,000,000. ALWAYS IN THE LEAD Mrs. John A. Arehart passed away Lansing, Mich., Dec. 17.—Spanish " mm Only useful and sensible Christmas gifts ere offered of This Community at her home in this village at 0 p. influenza continues to increase in m., December 15, after a brief ill- Michigan, despite efforts of health by us this year and you are sure of both satisfaction end ness. aged 33 years. Private funeral oflicers to.check it by individual economy if you make your Christmas r ureHases a t the A New Yeer it elmosl here end we ere going services were conducted at the home quarantine, Rexell Store. Here are a few of the many lines we offer. Monday by Bev. Jos. Ellig, pastor of . This latest order of the state to help you stert Nineteen-Nincteen right, by sup- - St. Mary's Catholic church; burial board of health is apparently being msi mm msm plying you with e worth-while System Celende^. in St. Mary's cemetery. utterly ignored in some places, but Genuine White Ivory Books Frances Izene Bergm. daughter of is being rigidly enforced in others. John S. and Mary Bergin, was born So far no general good result has Goods All the new Popular Copyrights This celender not only hes good tiled figures Uuc.
    [Show full text]
  • Dutch Afro Latin Dance Championship 2021
    VIRTUAL DUTCH AFRO LATIN DANCE CHAMPIONSHIP 2021 DALDC REALITY DANCE COMPETITION RULES & REGULATIONS SALSA Welcome Champions... Welcome to the Virtual DUTCH AFRO LATIN DANCE COMPETITION 2021 (DALDC). A new online Reality Dance Competition, brought to you by the NK Bachata & NK Salsa organization. Our primary goal is to redefine the way we do competitions in the future. Our second objective is to facilitate a digital platform where all talents can present themselves to join this great competition. During this COVID-19 Pandemic we made use of our time and created a new Platform to revolutionize the way we compete. A new era that opens up a world of possibilities but most of all: KEEPS US DANCING, CONNECTING AND DOING WHAT WE LOVE. The DALDC is a Reality dance competition where competitors can join from anywhere in the country. Competitors will need to submit their choreography video, and videos that give us some insight into the competitor’s life and passion for dance. These videos will be used to create web episodes that will be broadcasted on our Video on Demand platform for the world to see. THE VISION OF THE All competitors will receive their scores virtually COMPETITION In the rules for the SALSA CHAMPIONSHIP we repre- sent the most danced styles in the Netherlands and the fundamentals of the Salsa dance. We believe a competitor should be able to represent the funda- mentals but still have the freedom to explore different styles. We have decided that each competitor is allowed to choose any style he or she wants to dance but the choreography has to have enough emphasis on the fundamentals of Salsa.
    [Show full text]
  • Power, Innovation, and Language Creativity in an Online Community of Practice
    Power, Innovation, and Language Creativity in an Online Community of Practice A thesis submitted to The University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2020 Lisa Donlan School of Arts, Languages and Cultures Contents List of figures ............................................................................................................................ 6 List of tables.............................................................................................................................. 9 Abstract ................................................................................................................................... 10 Declaration.............................................................................................................................. 11 Copyright statement .............................................................................................................. 12 Acknowledgements ................................................................................................................ 13 1 Chapter 1: Introduction ................................................................................................. 14 Rationale for research................................................................................................ 14 Research questions .................................................................................................... 15 Contributions ............................................................................................................
    [Show full text]