Grand Visionary Solutions

Rugby League 2013 Dance Programme Evaluation Report Raising the Game World Cup 2013 Dance Programme - Evaluation Report 02 03 Contents

Contents

Executive summary 04

The Dance Programme - summary of programme content 06

The evaluation 08

Success of project against aims and objectives 09

Impact on participants 13

Impact on dance and sports sectors 16

Learning 18

Conclusion 26

Appendices 28 Raising the Game Rugby League World Cup 2013 Dance Programme - Evaluation Report 04

1. Executive summary

Achievements

• The programme successfully introduced new ways of working which inspired communities to get involved in the Tournament and raised the bar in terms of the quality of match-day entertainment

• The project contributed to the creative development of the artists involved by providing them with an opportunity to create work for large-scale arena contexts and contributing in a variety of ways to their professional development

• Almost 4,500 people took part in the project and the performances played to live, online and broadcast audiences of over 10 million

• The project engaged whole communities and offered participants an experience that gave them new skills, new friendships and built their confidence

• The project was an exemplar for cross-sector partnership-building and investment with financial support coming from sports and arts sources, local authorities and trusts and foundations as well as from a range of arts and sports organisations that supported the project in-kind. 05 Executive summary

The Dance Programme was created by Grand Visionary Solutions (GVS) for the Rugby League World Cup Tournament 2013 (RLWC2013). It was the lead project of the cultural programme and one of five community initiatives of the Tournament. The programme comprised three distinct but interwoven strands: Road to Victory , choreographed by James Wilton for a group of 47 professional, graduate and student dancers, Pride of Nations , a mass community performance piece choreographed by Jeanefer Jean-Charles and a viral logo - The Refbot - created by New Art Club. The planned programme was augmented by celebrity “From the drama of the Elite, involvement in the opening ceremony from Camilla Dallerup and Erin Boag from Strictly Community and Strictly dance Come Dancing with partners, the presenter performances at the Opening Gethin Jones and ex-Rugby League Ceremony in Cardiff through the International, Martin Offiah. A further additional performances of Pride of Nations and feature was the involvement of ex-Rugby League International player Gareth the viral dance in all weathers at stadia Thomas in the closing moments of Road to across the UK, to the reprise at Victory . Wembley and the final viral dance The programme achieved its aims and performance in front of a sell-out Old delivered more activity than was originally Trafford crowd, the dance programme planned. It was a powerful demonstration of has delighted hundreds of thousands the unique offer that dance can make in celebratory sporting contexts. Over 4,500 took of people over the past few weeks. It part and live and broadcast audiences of over captured the imagination of the TV 10 million viewed the works at the Opening commentators and brought a Ceremony and other RLWC2013 tournament matches. The Dance Programme brought new wonderful sense of the joyous spectators to Rugby League and new involvement in the Tournament to audiences and participants to dance, the thousands of youngsters and their majority of whom said that their newly families, many of whom were new to acquired interest in Rugby League or dance would continue into the future. Rugby League Rugby League. It gave seasoned fans Cares has now successfully secured funding the chance to see a different for a major legacy project - Join the Momentum interpretation of the game and its - which will develop the skills and infrastructure to sustain dance as a feature of match-day crowds seen through the different entertainment into the future. medium of dance” - Nigel Wood RLWC2013 Director The Dance Programme was an ambitious and complex project and represented a significant learning opportunity for all those involved, from the artists, co-ordinators and producers to the RLWC2013 team. One of the programme’s many achievements has been the development of a pool of artists, producers and organisers with the knowledge and skills to deliver large-scale works within a world-class sporting context. Raising the Game Rugby League World Cup 2013 Dance Programme - Evaluation Report 06

2. The Dance Programme - summary of programme content

The Dance Programme was created by Grand A film featuring New Art Club, England Rugby Visionary Solutions (GVS) for the Rugby League League International – Josh Charnley, members World Cup Tournament 2013 (RLWC2013). It of the Elite Cheer-Leader squad and staff of was the lead project of the cultural programme Get-The-Label (one of the RLWC2013 sponsors) and one of five community initiatives of the all dancing The RefBot was produced and Tournament. The programme comprised three available on-line and used as part of the distinct but linked elements: tournament promotion in the latter stages of the build up to the Opening Ceremony; and the Road to Victory, a large-scale piece logo was then performed live on the pitch at choreographed by James Wilton with music by the Opening Ceremony and at all tournament Gareth Williams and costume design by events by the Pride of Nations cast and Kinetika. This was presented at the Opening cheer-leading squads, with the public in the Ceremony in Cardiff, and as part of the stands joining in. Individuals and groups could semi-final activity in . Performed by a also learn The RefBot from viewing an online bespoke company of 47 professional, graduate tutorial and were encouraged to then make and and student dancers, the performance captured perform their own version of the dance and the passion, skill and thrill of Rugby League. upload video of this to the Fanzone page on the Adrenalin-fuelled and explosive, the RLWC2013 website choreography was athletic, highly detailed and (www.rlwc2013.com/fanzone). compelling, conceived specifically to engage sports fans and to draw new audiences to An additional celebrity dance element was dance. added for the Opening Ceremony. This featured Camilla Dallerup and Erin Boag from Strictly A community engagement programme led by Come Dancing with partners, the presenter Jeanefer Jean-Charles with a team of specially Gethin Jones and ex-Rugby League England recruited dance practitioners leading to International, Martin Offiah, respectively. The pre-match performances of Pride of Nations on celebrity involvement formed part of the the pitch by participants from diverse and hard funding agreement with the Welsh to access communities, across the North West, Government and was additional to the plans in the North East, Wales, Bristol and London. The GVS’ original proposal. The celebrity element music for Pride of Nations was composed by was very helpful in terms of PR for the dance Daniel Gale Hayes. A colourful and vibrant programme in the build-up to the Opening setting for the performance was designed and Ceremony, added thrill to the experience of the executed by Kinetika. community performers and served as a hook and ‘endorsement’ of the programme as a A Dance Logo - The RefBot - commissioned whole for an audience with little or no from New Art Club with music by Gareth experience of or interest in dance. A further Williams. This was a fun, elegant, easy to learn additional feature was the involvement of dance phrase that was disseminated virally in Ex-Rugby League Wales international player advance of the Tournament to build a sense of in the closing moments of Road anticipation and involvement. to Victory . 07 The Dance Programme - summary of programme content The evaluation 08

3. The evaluation

The purpose of this evaluation is to provide a record of the Dance Programme which reflects on its impact, provide advocacy material for the role of cultural activity in sporting contexts and offer a learning tool for the planning and delivery of future events. It draws on quantitative evidence and the feedback received from all those involved to assess:

• The extent to which key aims were achieved • The impact on those involved • The impact on the dance and Rugby League sectors • Practical lessons learnt in the planning and delivery of the event

Methodology

Feedback was gathered from all those involved in the project including:

• Partners • Stakeholders • Creative teams • Dancers • Participants • Project managers

Using a variety of methods including:

• Questionnaires • Face-to-face and phone interviews • Written reports.

The material was collated and overviewed by independent arts consultant Rachel Gibson in March and April 2014. 09 Success of project against aims and objectives

4. Success of project against aims and objectives

The programme was conceived as The Dance Programme was successfully three interlocking segments that realised and delivered in line with these objectives. The final programme included more together would: activity than was originally proposed, including the celebrity involvement in the Opening a. Create and present high-quality Ceremony. The delivery of the programme was achieved despite late contractual decisions choreographic work that was fitting for from RLWC2013, which impacted on planning an international sporting context schedules and a final budget of £394,400 (£200,000 less than originally planned).

b. Engage audiences and communities a. All three elements of the programme were in the realisation and ownership of a successfully delivered at RLWC2013 world class event tournament venues except at:

• The / semi-final c. Demonstrate the special role that where a planned performance of Road to dance can play within celebratory Victory did not go ahead. This was the most sports contexts significant fall-out from RLWC2013 not having included dance in the original discussions and contract with host venues d. Provide learning opportunities and • The Quarter Final where performances create lasting impact for all those on the pitch were not allowed • St Helen’s due to adverse weather conditions involved in the project (but the logo was performed) • Rochdale, where there was insufficient e. Develop relationships and networks development time, within the compacted timeframe of the project, to realise a Pride of with potential to support the Nations performance although The RefBot was continued development of performed at half-time. partnerships between dance and sport. The creative team, participants and dancers felt that the work they produced and performed achieved its artistic aims.

“The final results of the shows in the regions and on television were a testament to the huge effort of the entire team. The professionalism at each stage ensured the experience was once in a lifetime and the quality of the work I believe spoke for itself.” - Jennifer Irons, Assistant Artistic Director. Raising the Game Rugby League World Cup 2013 Dance Programme - Evaluation Report 10

All three artistic strands were appropriate for their context and successfully engaged audiences. It was remarked at Wembley that “no-one had ever seen so many people stay in their seats for half time entertainment” Event 360 Stage Manager

b. The Dance Programme reached a total of 462,993 people including artists, participants and live audiences and engaged over 1 million broadcast/online audiences. There are some variations between the original targets and final numbers:

Audiences/participants Target Outcome Reason for variation

Artists 80 70 • Time limitations reduced time available for recruitment

Participants 12,500-15,000 4,460 • Inconsistencies from RLWC2013 who at first wanted as many people as possible involved and later became concerned about the impact on pitches and stadia (The original premise had been 1000 performers in the Opening Ceremony and 500 for other matches • Limited planning time and budget reduced capacity to recruit participants

Live audiences 500,000 458,463 • Target based on venue capacities. Ticket sales were outside the control of GVS

Broadcast/online audiences 40 million 10.8 million • Final numbers are an estimate - the actual total may be higher 11 Success of project against aims and objectives

c. Demonstration of special role that dance can e. The success of the project was dependent play within celebratory sports projects upon the development and maintenance of a range of partnerships across the sports and Feedback from all those involved in The Dance arts sectors. This included: Programme shows a wide consensus that The Dance Programme successfully demonstrated • Over 70 organisations consulted during the the unique role that dance can play within a development of the original bid - see Appendix sporting context. The Programme inspired 2 for full list those that took part as well as those who saw • RLWC2013, Event 360 and the host stadia the performances and raised aspirations for the • Funding partners - Arts Council England future in terms of the quality and range of (ACE), RLWC2013, local authorities, Paul match-day entertainment. The Programme also Hamlyn Foundation (PHF) and the Wooden demonstrated how participation in dance can Spoon Charity, Arts Council Wales and the contribute to community cohesion and create Welsh Government new interest in Ruby League. • A wide range of schools, youth dance groups and other community organisations across the Writing to GVS after the event, Nigel Wood country as participants in the Pride of Nations the RLWC2013 Tournament Director said: piece • Dance organisations including Dance “From the drama of the Elite, Community and Manchester (formerly DIGM), Roehampton Strictly dance performances at the Opening University, Yorkshire Dance, Northern School Ceremony in Cardiff through the performances of Contemporary Dance, Three Mills Studios as of Pride of Nations and the viral dance in all providers of rehearsal and audition spaces and weathers at stadia across the UK, to the information conduits to artists and community reprise at Wembley and the final viral dance groups. performance in front of a sell-out Old Trafford crowd, the dance programme has delighted Legacy planning was built into the project from hundreds of thousands of people over the past the outset. Funding from PHF included support few weeks. It captured the imagination of the for a legacy project in which The Dance TV commentators and brought a wonderful Programme dance practitioners will act as sense of the joyous involvement in the mentors to Cheerleading leaders to develop Tournament to thousands of youngsters and their skills. In the first instance this work will their families, many of whom were new to result in the development of dance Rugby League. It gave seasoned fans the performances for matches in the Rugby chance to see a different interpretation of the League 2014 season. In the longer term the game and its crowds seen through the aim is to develop the Cheerleading leaders into different medium of dance, and many enjoyed a new generation of dance sport facilitators. not only the spectacle, but also the use of Following the success of The Dance Rugby League commentary in the soundtrack.” Programme Rugby League Cares (RLC) has made a successful Grants for the Arts d. The planning, realisation and delivery of the application to ACE for a larger legacy project was a unique learning opportunity for programme which will enable RLC to develop the creative, management and production and secure dance as a key component of teams as well as for RLWC2013 and Event 360 match day entertainment in the longer term. personnel. Individual feedback from the artistic This project has incorporated the PHF-funded directors, artists, regional community education mentoring programme into the wider legacy co-ordinators, production and management plan. staff is summarised in Section 6 below. This illustrates how the project made a major contribution to the personal learning and professional development of all those involved. Raising the Game Rugby League World Cup 2013 Dance Programme - Evaluation Report 12

An example of the impact that The Dance • Maintaining the partnerships and networks Programme has had on arts and sports created by the project collaboration is St Helens’ recent successful • Retaining dialogue with the sports sector and ACE Creative People and Places application for finding opportunities to create future events a project entitled “Heart of Glass” which takes • Offering dance classes at sports facilities its inspiration from two strong cultural • Developing a database of choreographers and identities of the town - Rugby League and glass dance artists who are interested in the making. St Helens (Saints) Rugby League Club interplay between contemporary dance and is a key partner in this project. sport • Encouraging sports personalities (e.g. Gareth Views on the potential for legacy were sought Thomas) to engage in dance events and from all those involved in The Dance become ambassadors Programme. There was a widespread view that • Exploring further links via Big Dance and with the Programme was a landmark event which cultural / sporting events calendar had placed dance on an international stage, • Sharing evaluation findings with the wider demonstrated its unique offer as a headline dance sector including the HE/FE sectors artform within a sporting context and provided • Continued engagement with groups involved a significant learning opportunity for all those • Assessing current match day entertainment involved. Reflections from the creative, at the RLWC2013 tournament’s stadia where production and management teams on the pitch performances took place and looking potential steps towards a legacy included: at ways in which community dance can be included in RFL’s match day entertainment • Creating a dance logo for the // Grand Final tournaments.

A number of these ideas will now be realised through the Rugby League Cares’ legacy project - Join the Momentum - for which funding was confirmed in mid June 2014. 13 Impact on participants

5. Impact on participants

39 of the 4,460 participants involved in the 14 respondents had watched a Rugby League project completed evaluation questionnaires. This match before and 20 had not (5 respondents is a small sample but one that is broadly gave unclear answers to this question). Of those representative of the wider participant group. The who had not watched a match before 16 said questionnaire responses, along with comments they would watch one again and 3 said they from the creative, production and management would not (one did not respond to this question). teams, form the basis of an assessment of the 5 respondents said that watching the impact of the project on those that took part. matches/seeing the players was one of the things they enjoyed most about the project and 8 Quantitative assessment said that they would have enjoyed the project [Not all respondents answered every question] more if they could have met the players. The data strongly suggests that the sporting context for Of the 39 respondents: the project was a significant part of its appeal, even for those that had no previous experience of 32 were female and 7 were male sport in general or Rugby League in particular. The overall age range of those taking part was 37 respondents said that they would like to be 6-70 years. The age range of those responding to involved in similar projects in the future, with only the evaluation questionnaires was 8-49 years. 2 saying they would not. Within this the predominant age range was 11-21 years: (13 aged 11-16 and 17 aged 16-21) Qualitative assessment 32 had danced before and 7 had not. The Participants were asked what they liked best previous dance experience of participants was about being a part of the project and were also wide-ranging and included cheerleading, asked to sum their experience up in three words. street/urban dance, contemporary, line dancing, By far the most common responses to what they Irish Dance, Ballet, modern, ballet, tap, disco, liked best were performing at the stadia in front jazz, musical theatre, ballroom, latin and of a large crowd (18 respondents) and the overall freestyle. The predominant previous experiences experience (10 respondents). Other common were street/urban and contemporary (cited by 16 themes were the opportunity to meet new and 14 respondents respectively). people (6 respondents), the atmosphere and being able to watch the matches (4 respondents None of those involved had ever participated in a each). mass public performance before.

Respondents were fairly evenly split between The words that respondents chose to describe those who took part in sport (18) and those that the project were overwhelmingly positive. The did not (21). The range of sports engaged in was favoured choices were “amazing” (15 wide and included gymnastics, cheerleading, respondents) and “fun” (11 respondents). Other running, dance, netball, rounders, athletics, common choices including “exciting” (8 football, swimming, tennis, horseriding, respondents), and “brilliant”, “fantastic” and trampolining and fitness. Predominant amongst “enjoyable” (5 respondents each). Overall 39 these were cheerleading and dance with six words were used and only 4 of these - “tiring” (1 respondents citing each of these activities. It is respondent), “cold” (1 respondent), “scary” (1 clear from the data that the project appealed respondent) and “disorganised” (2 respondents) equally to those that did and did not take part in were anything less than positive. sport. Raising the Game Rugby League World Cup 2013 Dance Programme - Evaluation Report 14

Participants were asked if there was anything they did not like about the project and if there was anything that could have been done differently that would have improved their experience. 11 respondents felt that nothing could have been done better and 22 offered areas for improvement. In the main the things that people did not like or felt could have been improved were single comments which appeared to reflect one individual or group’s particular experience - e.g.:

• Not being able to have more input into the choreography • Falling because the pitch was wet and muddy • Not being able to go after the performance.

Some common themes emerged. Between 2 and 8 respondents highlighted:

• Not being able to meet the players (8 respondents) • Some poor organisation during match-day events (5 respondents) • More rehearsal on the pitch (or in a pitch-sized space) (3 respondents).

Despite the highlighting of possible areas for improvement it is clear that the majority response to the experience was enormously positive. The opportunity to be part of a high-profile event and to dance on-pitch in front • The groups were involved in a high-profile of a crowd of thousands was a unique international event and their biggest experience for all involved. Participants were performances ever appreciative of the opportunity to learn more • It offered an amazing opportunity for the about Rugby League and would have community as a whole. The performances welcomed more opportunities to meet and engendered a sense of achievement and pride engage with the players. The opportunity to and an opportunity to share this with family and meet new people and learn/do something new friends were also highlighted. These views were • It instilled a sense of belonging to a wider reinforced by the Pride of Nations creative community of dancers team (Jeanefer Jean-Charles, Jennifer Irons, • The participants were able to work with a the Dance Practitioners and Regional professional organisation and experience Community Engagement Co-ordinators) who performing at a very high level were asked to comment on the benefits of the • The participants learnt a fun, energetic dance project for participants. Foremost amongst routine and acquired new dance, teamworking their perceptions were: and inter-personal skills • The project provided an opportunity to see and understand more about Rugby League • The project highlighted ability of dance to build vital life skills. 15 Impact on participants

“Thank you so much for giving us all an absolutely amazing opportunity, lots of happy precious memories, new friendships formed and a love of Rugby and Dance born. Infusion Dance really enjoyed every match and every performance. Thank you so much and a big well done to everyone!” (Pride of Nations Group Leader - North Wales)

“I have never been a sporty person, however this has given me new learning and understanding. I really enjoyed the project, the sense of excitement and being able to feel something in terms of healthy competition - this has helped turn my negative view of sporting events (having experienced a lot of football as a teenager - which put me off being anywhere near sports events), into a positive one. I am honestly now a rugby fan and will happily go to watch it.” (Pride of Nations participant - )

“We feel extremely privileged to have been part of the event. Performing at Wembley was such a brilliant experience for our young people and I am sure that it is a memory that will stay with the girls for a very long time. The enthusiasm of the choreographers and staff was contagious and really helped our young people go in with the right mind set”. (Pride of Nations - Longmeads Dance group leader - London) Raising the Game Rugby League World Cup 2013 Dance Programme - Evaluation Report 16

settings - a potential rich resource for future projects of this kind. 6. Impact on dance and sports sectors

As the first occasion where dance was the The project set in motion a range of headline artform within a major sporting relationships between partners, funders tournament, The Dance Programme had artists and communities which, with further enormous potential to impact on both the arts investment and nurturing, provide potential and sports sectors. The project fulfilled this pathways for future work of this kind. potential on a number of levels. This section draws together feedback from key partners Perhaps most importantly the project builds including RLWC2013 and feedback from the the legacy of sports/arts collaboration provided creative teams, artists and participants to by the 2012 Olympic and Paralympic Games assess this impact. and takes this into new areas by offering an exemplar of the special role that dance can play The Dance Sector in sporting contexts and providing evidence and key messages for advocacy. The project created and delivered three interwoven performance strands that were The Rugby League and wider sports sector devised especially for non-dance audiences. The pieces played to live audiences of over The Dance Programme demonstrated the 450,000 and broadcast and virtual audiences unique properties of dance and its ability to of over 1 million, thus significantly raising the translate into a stadium context and “speak” profile of dance with a wide-ranging public and to mass first-time audiences. The physicality demonstrating the celebratory role that dance of the artform and its ability to be energising can play within sporting contexts. and spectacular enabled it to sit comfortably in a sporting environment. Through the dance The Pride of Nations strand provided a unique logo element of the project the stadium experience for almost 4,500 participants, some crowds were provided with an opportunity to of whom had not danced before. Even those join in with as well as watch dance, creating with previous dance experience had not had a holistic experience that clearly added to the the opportunity to take part in a large-scale overall appeal of the programme. event of this nature before. Pride of Nations reached beyond the individual participants The performances successfully engaged to their wider communities through the sporting audiences whose previous experience experience of performing to mass audiences of on-pitch performances were, in the main, on their “home turf”. limited to displays such as cheerleading. Equally the project enabled dance participants For the creative team and the artists involved to watch and gain an understanding of Rugby the project provided a wealth of learning League. Many were doing this for the first time opportunities and offered new employment and the majority of these were enthusiastic routes at a time when finding paid work as about watching matches again in future. The a choreographer or dancer is increasingly project clearly demonstrated the potential of difficult. It also provided a first step towards dance/sports collaborations to generate new creating a pool of practitioners with knowledge audiences for both dance and sporting activity. and experience of creating and presenting large-scale events in non-traditional dance 17 Impact on dance and sports sectors

“RLWC2013 successfully introduced a number of new ways of working for Rugby League, the most significant of which was the quality of the match-day presentations. At the heart of this positive transformation was RLWC2013 Dance. The principle of embracing dance as part of a match-day programmes is not entirely new, however, the introduction of world-class choreographers, artists and dance practitioners to develop the quality and variety of the performances proved to be a tremendous success, inspiring communities to get involved in the Tournament as either participant, or audience member. Many of these new people have subsequently stayed in the sport”- Mark Foster, Marketing Manager RLWC2013 Raising the Game Rugby League World Cup 2013 Dance Programme - Evaluation Report 18

7. Learning

The Dance Programme was an GVS was originally contracted by RLWC2013 enormously ambitious project in terms to carry out a consultancy to inform the development of a programme including writing of its scope, context and the numbers up to 3 funding bids (one of which was to be a of people involved. It was the first Grants for the Arts bid) and providing the occasion where dance was the template for RLWC2013 to do further fundraising. During this consultancy it became leading artform in a major sporting clear that RLWC2013 lacked the capacity and tournament as well as the first time a expertise to fundraise for and deliver the major cultural participatory event had programme and GVS proposed an extension featured in a Rugby League World to their own contract to enable them to lead on further key bids and to maintain the Cup programme. momentum and interest that had begun to gather as a result of the consultancy process. Planning, realisation and delivery of the activity RLWC2013 was slow to agree the second represented a significant learning curve for all phase of the contract which delayed the those involved. A number of delays in submission of a number of funding decision-making and a lack of clear contractual applications. This in turn caused delays in arrangements magnified the innate complexity signing off the funding agreement with ACE of the project and caused a number of negative as partnership funding could not be confirmed. impacts throughout the development and These delays shortened the overall project delivery of the Programme. lead-in time with significant knock-on effects on planning.

The contractual arrangements between RLWC2013, GVS and Event 360 were weak. RLWC2013 contracted GVS to produce The Dance Programme, but all funding was channelled through RLWC2013 who remained the overall budget-holder and nominal “owner” of the programme. Event 360 was contracted at a later stage to manage the relationships with stadia and provide the infrastructure and overall management for match-days, but there was no contract between Event 360 and GVS. The lack of clear contractual arrangements between the three key players meant that ownership and responsibility for the programme remained unresolved throughout the project. 19 Learning Raising the Game Rugby League World Cup 2013 Dance Programme - Evaluation Report 20

Overall responsibility for marketing was also an unresolved aspect within the management of Those that responded did so with perception, the project; the Dance Programme as an idea honesty and generosity. It is clear that they felt had originally been conceived of by the an enormous sense of pride and achievement RLWC2013 Marketing Manager and was a in having been part of a team that successfully plank in the overall marketing and audience delivered this ambitious and complex project. development strategy for the Tournament. However it never became embedded within the actual marketing of the tournament and “First entering GVS’s request to discuss a Marketing Strategy and at pitch side for the Programme once it was green-lighted was never taken up. Ultimately, although was incredible. The excitement marketing was not a responsibility within amongst the whole cast was very GVS’s contract, GVS lead and implemented a clear and this energy carried through successful Twitter and Facebook campaign. Furthermore, it had been GVS’s to the performances. After coming recommendation in the early development “offstage” after both performances stages that the Dance Programme should have the sense of accomplishment cannot a brand/name so that participants felt they were part of a group/community; the name quite be captured. This is an “RLWC2013 Dance Programme” did not roll experience that will stay with me off the tongue and was not appealing to the forever” - James Wilton, wider public. RLWC2013 having agreed to Choreographer, Road to Victory discuss this with their Marketing/Brand Consultants did not pursue it until it came to the scripting of the Opening Ceremony in “Ultimately I think this fantastic October 2013 when there was a realisation programme produced two very that it was necessary to give the Pride of Nations cast a name; an early suggestion of professional pieces of contemporary GVS’s - “Ground Shakers”- was used but as dance that the whole dance sector this had never had any promotion it was can be proud of and that everyone effectively meaningless. If GVS’s recommendation to brand the programme from involved will remember for the rest of the outset had been taken up it could have had their lives.” - Adam Gain, Dancer, a proper impact and also helped with carrying Road to Victory the legacy forward post tournament - i.e. the brand could have been continued. “I would like to thank Jeanefer, Jen, The major learning point from The Dance Gwen, June, Austin and team and Programme is the importance of decisiveness Morton Bates for being lovely people and clarity in the early planning stages, particularly where a project’s success is to work with/for! Great support and dependent upon multiple delivery partners and although, at times, I have been quite the interplay between them. stressed out with the odd situation in All members of the creative, management and my region, there has always been production teams were invited to provide someone on hand to help out! That is written feedback on their experience, focusing not always the case on many projects on their perceptions of what went well, what could have been done differently, their - so Thank you!!” - Gill Burns, Dance perceptions of impact on those involved and Practitioner, Pride of Nations the wider dance sector and their personal learning. 21 Learning

“This was an incredibly rewarding experience for me, providing an opportunity to utilise a diverse range of skills and strengths. I am grateful to GVS for placing trust in me and for the chance to play such a key role in the RLWC2013 Dance Programme. As a result, I will look forward to embracing similar challenges in the future and hope to be able to involve the groups I have worked with on the project and build on new partnerships that have developed as a result” - Lynn Hoare - Regional Community Engagement Co-ordinator - Pride of Nations Raising the Game Rugby League World Cup 2013 Dance Programme - Evaluation Report 22

similar events:

Importantly the things most commonly identified by people as having went well were Preparation and planning those elements that were essential to the achievement of the project’s ambitions and The lack of planning/lead in time has been impact including: referred to in earlier sections and it is unquestionable that the Dance Programme was • The R&D and rehearsal process (for both Road implemented within an extraordinarily short to Victory and Pride of Nations ) time frame: typically a project of this scale • The performances including the opening would be developed over a minimum ceremony and the regional stadium dates - 18 month period and funding would be again for both Road to Victory and Pride of confirmed and the project green-lighted with Nations a good 4 - 6 months lead in before activity in the • The experience of performing to crowds of public domain was to begin. Ultimately thousands and the feeling of being a part of the RLWC2013 Dance Programme was bringing dance to significant new audiences green-lighted 6 weeks before activity • Personal insights and learning in terms of necessarily had to begin. Feedback technical dance skills, people management skills demonstrated a good collective understanding and large-scale mass participation event skills of lead-in time constraints and the consequent • A strong sense of team working and mutual need for flexibility and coping with the respect for the particular challenges that each unexpected. The management team had clearly individual team member or group was facing. briefed well on this. The comments summarised here were, in the main, made in Where things were identified as having gone that knowledge and illustrate where that lack less smoothly it is clear that many of the of planning time had the most profound impact challenges encountered had their origins in the and, for the future, demonstrate some of the decision-making and contractual issues outlined key planning issues for events of this kind: above. From the perception of the creative teams these manifested as: • Overall allow for a very minimum 3 month window between confirming go-ahead and • A requirement to deliver within a very tight activity needing to be delivered in the public time-frame domain. • Budgetary restrictions • Book space and confirm schedules earlier: • The scale and complexity of the project audition and rehearsal spaces were a particular • The difficulties of communicating production issue for Road to Victory where late booking needs to RLWC2013 and Event 360. and last-minute changes were perceived to Communication with RLWC2013 improved once have had a negative impact on auditions and led Clare Morrow came on board as Creative to some rehearsals taking place in small and Director RLWC2013 but relationships with inadequate spaces Event 360 and the individual stadia remained • Recognise the additional time needed to difficult throughout as neither had a sense of involve groups without previous dance ownership of the programme or any knowledge experience and disabled participants. The ability or experience of producing or staging newly to recruit such groups within the Pride of commissioned high quality arts [as opposed to Nations programme was prevented by ‘entertainment’) or mass participation events. insufficient time for recruitment and the lack of adequate budgets to cover things such as travel Individuals’ perceptions were inevitably costs for disabled groups. dependent upon their specific role within the • Achieve greater buy-in from Local Authorities project and suggestions for doing things for participatory programmes. RCECs reported differently were many and varied. The most significant differences in the extent to which prominent and forward-facing of these are listed Local Authorities engaged in the programme here as a checklist for the future planning of with recruitment of groups being much more successful in those areas where Local 23 Learning

Authorities were enthusiastic and involved

• Consider child protection issues as early as Information and communication possible. Involving a large number of young people from a wide range of local authority • Produce a ‘one-stop’ information pack which areas greatly added to the complexity of brings together in a single document all of the ensuring that child protection requirements information that was otherwise provided in were met. Each Local Authority had different separate documents; describing the project’s procedures and worked to different timescales. aims and scope, setting out schedules, roles, For future events research into the child responsibilities, lines of communication and protection requirements of partner local procedures for areas such as health and safety authorities should take place at the initial and child protection scoping stage • Take greater account of external factors such • Clarify lines and methods of communication as length of the school day, parental pick-up and from the outset. It is clear from the comments drop off and the stamina of groups in the received that communication between the scheduling of rehearsals and mass rehearsals. A creative, management and production teams number of comments from those involved in worked well as the management and production Pride of Nations highlighted problems caused by teams were approachable and quick to respond. late scheduling and last minute changes to However, respondents highlighted that they did arrangements originating from within the overall not always know who they should contact and event management process. that multiple forms of communication - email, text, drop box - sometimes led to confusion and Roles and responsibilities important information being missed

• Define roles and responsibilities clearly from • Provide a clear briefing to all members of the the outset. Clear job descriptions were issued to creative team about the financial parameters for all but a number of respondents felt that some the project. A number of respondents problems were caused by a lack of clearly (particularly Road to Victory artists) raised issues defined roles. The most frequently highlighted relating to levels of fees and expenses. Some of area of confusion was between the DP and these comments suggest that the scale and RCEC roles. Some DPs felt that they were context of the project (within a major expected to take on group co-ordination international sporting tournament) gave the responsibilities that should have sat with the impression that the budget for the Dance RCECs and some RCECs felt that there were Programme (which was publically subsidised) certain areas (e.g. the allocation and distribution was greater than in fact it was. Giving those of costumes) that would have been better involved a sense of the financial constraints handled by the DPs. Both DPs and RCECs felt coupled with advanced agreement of fees, that the RCECs should have been more involved payment schedules and travel reimbursement in the R&D phase of the project so that they had arrangements would help to ensure that a better understanding of the choreography and expectations are realistic. were better positioned to assist during mass rehearsals. Had key decisions by RLWC2013 been made sooner, then recruitment of RCECs and DPs could have been made earlier which would have enabled them to be more involved in the initial stages of the project. Greater clarity of individual roles and responsibilities might have been achieved if it had been possible to bring all creative and production team members together for a briefing session at the outset, but constraints of time made this impossible. Raising the Game Rugby League World Cup 2013 Dance Programme - Evaluation Report 24

Contractual arrangements with RLWC2013 Personal learning and Event 360 Respondents were asked to reflect on the Ensure that clear contractual arrangements and project’s contribution to their own professional a shared understanding of requirements are in development and personal learning. For many place between the creative producers and the their learning was as much about affirming and event organisers. The inadequate contractual having greater confidence in existing skills as it arrangements and confusion about project was about learning something new. ownership resulted in a number of organisational problems that had a major Key areas of affirmation included: impact and would have been relatively simple to avoid. For example: • Recognising and valuing their • Difficulties in liaising with individual stadia abilities as team-leaders and players which undermined the organisation of mass rehearsals and match-day performances and in worst cases prevented some planned on-pitch • Recognising personal attributes performances from going ahead including flexibility, patience and the • The Wooden Spoon Charity had agreed to ability and desire to go “above and provide hoody tops and jogging bottoms for all Pride of Nations participants but reneged on beyond” to make a project happen the provision of jogging bottoms at short notice. As the funding agreement was with • Recognising interpersonal skills. RLWC2013, GVS was not able to negotiate with Wooden Spoon and was left having to buy and distribute thousands of jogging bottoms. This had significant budgetary implications as well as causing a major logistical challenge • GVS was not allowed to include participants’ water requirements within the RLWC2013 order to their designated water provider. As The Dance Programme’s water requirements fell below the water provider’s minimum order requirement GVS had to order and distribute water separately, again with significant budgetary and logistical implications. 25 Learning

And areas of new learning included: • Understanding the challenges of large-scale productions in unusual • Developing skills in mass-movement settings choreography and specific techniques such as charting • Developing regional networks and links • Development of stage management and production skills • Insights into how to react to different and difficult situations • Understanding the importance of clarity about and communication of • Understanding that there is a expectations knowledge gap between sports and dance with learning needed on both Raising the Game Rugby League World Cup 2013 Dance Programme - Evaluation Report 26

sides.

8. Conclusion

“In recent years the profile and importance of dance has grown The Dance Programme was a successful project substantially. A wide range of public that was positively received by all those involved. events from the Olympic There is strong evidence that it delivered against Ceremonies and the Rugby League its aims and in terms of its impact on artists, participants and the wider dance and sports World Cup 2013 to Strictly Come sectors. The project brought new audiences to Dancing, have increased the visibility both dance and sport with evidence that the of dance and provided more live interest generated during the Programme has been retained and will continue into the future. opportunities for audiences.” Arts Council England, Investment The project was delivered successfully despite in Dance 2015-2018, 1st July 2014 representing a significant learning curve for all those involved. Feedback from artists, participants, producers and organisers was thoughtful and perceptive and provides insights into how future projects might be developed and delivered. Both the Dance Programme itself and the learning from it have enormous potential to influence the development of future arts/sports collaborations.

The Programme demonstrated the unique role that dance is able to play in large-scale mass performances and in community involvement and cohesion. This has been recognised by Rugby League Cares, which is now in the process of delivering a legacy programme that will consolidate the provision of quality dance as part of match-day entertainment. 27 Conclusion

Raising the Game Rugby League World Cup 2013 Dance Programme - Evaluation Report 28

Opening Ceremony only: Vicki Igbokwe, Wendy Steatham

Appendices

Appendix 1

The Project Team

Management Team Co-Executive Producer: June Gamble / Production Team Grand Visionary Solutions Production Manager: Austin Lawler @ CUE / Co-Executive Producer: Gwen Van Spijk / http://www.cueperformance.com Grand Visionary Solutions Production Co-Ordinator: Leon Smith http://www.grandvisionarysolutions.co.uk Production Co-Ordinator: Gareth Green Assistant Production Co-Ordinator: Creative Team Zach Walker Artistic Director Dance Programme & Company Stage Manager: Elly Crowther Choreographer/ Pride of Nations : Jeanefer Jean Charles / http://www.jeanefer.com Regional Community Engagement Assistant Artistic Director: Jen Irons / Co-Ordinators http://www.jenniferirons.co.uk Bristol and South West: Katy Noakes Choreographer/ Road to Victory : James Wilton Cardiff/South Wales: Lynn Hoare / http://www.jameswiltondance.org.uk London: Vicky Frayard Choreographers/Viral Logo - Refbot: North West: Leah Biddle Pete Shenton & Tom Roden/New Art Club / Wrexham/North Wales: Vicky Allan http://www.newartclub.org Yorkshire: Portia Simpson Composer/ Pride of Nations : Daniel Gale Hayes Composer/ Road to Victory and Refbot: Gareth Williams / http://www.garethwilliamsaudio.com Design: Kinetika / http://www.kinetikaonline.co.uk Additional design for Road to Victory costumes: Julia Kalache

Dance Practitioners Bristol and South West: Helen Wilson London: Vicky Frayard Cardiff/South Wales: Rachael Robertson North West: Gillian Burns, Stacey Goodall, Katie Pearson, Natasha Khamjani Wrexham/North Wales: Vicky Allen Yorkshire: Jenni Wren, Jon Beney, Natasha Khamjani, Helen Wilson

29 Appendices

Appendix 2

Road to Victory Dancers Adam Gain KJ Mortimer Elisabetta d’Aloia Andrew Gardiner Catherine Muckle Jade Barton Aina Gargallo Ashleigh Musk Dagmar Birnbaum Perrine Gontie Daniel Ovel Sally Bower Anso Hee Nathaniel Parchment Luke Bradshaw Much Hemachandra Aurelie Poles Christian Brinklow Claire Lambert Harlan Rust Roger Fernandez Cifuentes Oska Lake Thomas Gemma Shrubb Franco Conquista Jolanda Leollmann Joshua Smith Gabrielle Cook Ashley Lewis-Hind James Southward Henry Curtis Mary Mannion Kate Szkolar Onyemachi Ejimofor Hannah Martin Naomi Tadevossian Theo Fapohunda Gareth Mole Sarah Taylor Amaia Elizaran Letamendia Kynam Moore Emily Thompson-Smith Russell Fine Jamie Morgans Josh Wild Kayleigh Flood Kyan Morrison James Wilton

Pride of Nations Hag Fold Schools Out Perform and RefBot Dancers Higher Fold Shewa Youth Dance Company Arlies Angels Holy Cross Stagecoach Ascendance Hull Primary Schools St Brendan's College Blue Stars IDA Step n Up Brooksbank School Infusion Dance St Richard Reynolds Calderdale College Academy/Leigh Centurions Community College Chew Valley School Insynch STRIDE Clevedon School Knowsley College Sutton Academy Coda Youth/Roehampton Lakes College Sutton Tornados Seniors University LWDance Switch Coleg Sir Gar Lockdown Tiger Paws Dance For Life Longmead Girls Variations Dazl Meythr College Wilberforce College Dance Star Motion Control Wildcat Kittens Delta Academy Papparazi Dance Winstanley Doncaster Youth Dance Penrith Stars Wright Robinson College Elite Academy Rise & Rise Juniors Wyke College Fairfield School RJC WYZ Dancers Filton College Rubicon Open YATE/OPEN Fit2Dance Saints’ Angels Yorkshire Dance Youth Frizington Friday Night Project Samba Twe Young Oldham Dance Go Theatre Searchlight Youth Company

Celebrity Dance Team Choreographers and Performers: Erin Boag and Camilla Dallerup Performers: Gethin Jones, Martin Offiah Performer/Road to Victory: Gareth Thomas Raising the Game Rugby League World Cup 2013 Dance Programme - Evaluation Report 30

Appendix 3

Organisations consulted during the development of the original bid

Allerdale Borough Council Movema Arrington Arts Centre National Dance Company Wales Arts Council Wales National Youth Arts Wales Big Lottery Fund Port Talbot Council Bristol City Council Newport University Fashion and Design Calderdale Council North East Wales Dance Cardiff City Council Northern Ballet Theatre Castleford Claws Dance Team Northern School of Contemporary Dance Cheshire Dance Oldham Council City of Bradford Metropolitan Borough Council Phoenix Dance Theatre Company Chameleon Pro-Excel Crewe and Alsager College Quays Culture Culture Warrington RJC Dance Company Dance Bristol Royal Welsh College of Music and Dance Dance Manchester Rubicon Dance United Academy Salford Council Dare Dance Skylight Circus Dazl South Gloucestershire Dance East Riding Council Spiral Dance Fallen Angels St Helens Council Foundation for Community Dance/Big Dance St Helens RLFC University Super League Dance Academies Greater Manchester Sport Partnership Swindon Dance Hull City Council Tameside Council Hull Dance The Lowry Hull KR Trafford Council Kala Sangam UC Crew Kirklees Council University of Salford Leeds City Council University of Wales Institute of Cardiff Leeds Metropolitan University Wales Millennium Centre/Big Dance Wales Link4Life Welsh Assembly Government Special Events Link4Life Rochdale Welsh Government Liverpool Institute of Performing Arts Wigan Council Ludus Dance Wigan Leisure and Culture Trust M6 Theatre Wired Aerial Theatre Manchester City Council Wrexham Council Manchester University Yorkshire Dance Merseyside Dance Initiative Youth Dance England Momentum 31 Appendices

Appendix 4

Looking ahead - key information and links

http://www.grandvisionarysolutions.co.uk

http://www.rlwc2013.com/fanzone

http://www.rlwc2013.com/rugby-league-world- news/article/1487/review-reveals-extent-of-rugby

http://www.rugbyleaguecares.org

Credits and Thanks

Photographs: Chloe Bennett; James McCauley, Special thanks go to chaperones, Nikki Jones-Garland and Keith West and photographers The RLWC2013 Dance Programme was produced Kevin Clifford and James McCauley; and also to by Grand Visionary Solutions [GVS] on behalf of Carol Brown at TAN Dance, Desi Cherrington, Pam Rugby League World Cup 2013. It was supported Johnson, Clare Morrow, Janet Smith, Karen with public funding from the National Lottery Jaundrill Scott, Erica Stanton, Deb Ashby, Rob through Arts Council England; and funding from Stirzaker, CoDa Dance Youth Company, Kathryn Paul Hamlyn Foundation, Wooden Spoon Charity, Woodvine, Nathan Isom, Louise Basso, Dawn Arts Council of Wales, Welsh Government, Don, Anne Timpson; Janey Moran, Vicky Fletcher, Allerdale Borough Council, Hull City Council and Ann Wishart and Myra Redman all of whom went South Gloucestershire Council. The RLWC2013 beyond the call of duty in supporting the project Dance Programme also benefitted from additional with resources, advice and enthusiasm; Karin support from Dance Manchester, University of Davis who provided invaluable support back stage Roehampton, Northern School of Contemporary for the Opening Ceremony; all of the group Dance, Edge Hill University, Rugby League Cares, leaders who juggled their plans, let us access their YMCA London South West, Calderdale College, spaces, and who remained patient in the face of Archbishop Sentamu Academy – Hull, Leeds City ever-changing schedules; parents, friends and Council, Castleford Academy and Neath RFC. family of participants who provided transport, enthusiastic match-day support and who remained flexible and undaunted by the demands of the rehearsal and match-day schedu le; George of England, Gruber and all mascots who joined in the RefBot; and Jon Beney, whose knowledge of both the Dance and Rugby League worlds was invaluable and whose enthusiasm and goodwill buoyed the project through to the last try. Raising the Game Rugby League World Cup 2013 Dance Programme - Evaluation Report

Raising the Game Rugby League World Cup 2013 Dance Programme Evaluation report