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Special Focus on Careers • Transitions from Education Health • Reflections on the mentoring to musical theatre with •  teaching career pathways • Parents in Performing process with Rosie Kay and OBE, • James Cousins on the new Arts campaign Kristin Kelly-Abbott Leanne Cope and An American GCSE Dance Syllabus • Johnny Autin and A Positive Life • In conversation with Beverley in Paris — win tickets! • Cut out resources for teachers • Foundation strength for dancers Glean MBE • Anu Giri on her career journey The One Dance UK Magazine Issue 3, Autumn 2017

The Careers Issue One – The One Dance UK Magazine Staff Trustees Arts Fundraising Contents and Philanthropy Welcome

3 Welcome by Andrew Hurst Andrew Hurst Sue Wyatt With thanks A lot has happened since the last issue of One. programmes specifically to artists based in Chief Executive Chair to our Funders We have celebrated the first anniversary of what Scotland. The funds will allow us to employ a In the Spotlight Hannah Alderdice Anthony Bowne is now the only Sector Support Organisation for Scotland-based intern to produce a Scottish edition 4 News Project Assistant Principal, Trinity Laban Dance in the UK! The team worked very hard to of our Launch event for recent graduates in early Conservatoire of Music and 8 Cameron Ball secure National Portfolio status for One Dance UK, 2018. In addition, we have recently opened our One Dance UK Dance Teaching Awards Dance Special Projects Coordinator Winners Announced Andrew Carrick so thanks must go to the entire staff, the board, Dance Artist Mentoring and Choreographers 10 U.Dance 2017 picture gallery Heather Benson Director of EdComs and Arts Council England for enabling us to reach Observerships programmes to Scottish artists, Dance of the African Diaspora Irving David this important milestone. We now have funding including the opportunity to participate in our (DAD) London Programmer - Partner Special Focus on Careers International Development secured until March 2022, and will continue to second ‘Fundraising Pitch Party’. DWFM Beckman Solicitors With thanks to our 12 Introduction by Tomorr Kokona Charlotte Constable evolve to ensure the services and support we offer The areas of our work that support more Julian Flitter Principal Sponsor 14 Rising Star – an interview with James Cousins Marketing and our members, and the entire sector, are as excellent sustainable careers in dance are very close to my Communications Assistant Partner Andrew Hurst by Claire Somerville Goodman Jones LLP and as relevant as they can be. Thank you too to all heart, so I am really pleased that we are able to 16 A Mentoring Journey with Rosie Kay and Kristin Jessica Choi Chief Executive, of you, our members, funders and followers, for broaden the impact of this work to reach more Interim Head of Development Anu Giri Kelly-Abbott by Tomorr Kokona Executive Director One Dance UK your continued support! dancers right across the UK, and that careers Stephanie De’Ath 18 A Career in Dance with Anu Giri by Andrew Hurst Dance Umbrella With thanks to our Later this month we will be announcing are the theme that we have chosen for the latest Manager, National Institute 21 Career Transitions: The Power and Potential of Dancers Vicki Igbokwe project funders and another successful funding application which will issue of One. of Dance Medicine & Science supporters by Jennifer Curry Choreographer and Director open up new funding streams for our members, Finally, our new CRM system is up and running Claire Farmer Uchenna Dance ACE Dance and Music 22 Where Are They Now? A snapshot of some One Dance Manager, National Institute Akademi and the sector more broadly, to scale up existing so hopefully by the time you are reading this you UK supported artists of Dance Medicine & Science Piali Ray OBE Arts Funding and successful work with dance and public health. Our will be able to manage your membership through Freelance Artistic Director Philanthropy Rachel Gibson 24 Wales Wide Training Programme by Tracey Brown and Choreographer Birmingham Hippodrome Dance in Health & Wellbeing programme with the website, and we should also finally have the 25 Organisational Canada Council People Dancing is underway (see page 30) – do specialist directories accessible online. Many thanks From Ballet to Broadway with An American In Paris Tamara Rojo CBE Change Manager City of London Corporation by Cameron Ball - win tickets! Artistic Director stay tuned for further developments. for your patience with this, and as always, please Spencer Halls Creative Scotland 28 Enriching Creativity with Richard Chappell Excitingly, we have also secured funding do keep your feedback and suggestions coming on Fundraising Consultant Dancewear Central by Claire Somerville Susannah Simons dance Immersion, Toronto from Creative Scotland to extend some of our both the magazine and the website. Tomorr Kokona Director Dancing Times 30 Dancers’ Health, Science and Medicine Careers Professional Development Arts and Outreach, CANVAS De Montfort University by Erin Sanchez Manager DWFM Beckman Solicitors An update on the Dance in Health & Wellbeing Helen Laws Patrons Ernest Cook Trust programme by Jan Burkhardt Head of Industry and Artist Equity In This Issue 33 A Living Legacy: In Conversation with Beverley Glean Support / National Institute Carlos Acosta CBE Garfield Weston of Dance Medicine & Science Children and Young Gordon and Co. Insurance MBE by Heather Benson People’s Dance Brokers Hanna Madalska-Gayer 34 Government of Quebec Trailblazers Starters 2017/18 by Heather Benson Advocacy Manager Peter Badejo OBE 36 Dissecting Principles: CPD for Dance of the African Granada Foundation Hollie McGill Bob Lockyer Idlewild Trust Diaspora by ‘Funmi Adewole Marketing and IRIE! dance theatre Dame Gillian Lynne DBE Communications Officer ISTD Arlene Phillips CBE John Feeney Charitable Cut out Resources for Teachers Robyn Mondesir-Clarke Trust Office and Membership Richard Alston CBE 37 All About Me for Early Years First Stages by Laura Kendal People Dancing Manager Champion of U.Dance 39 Dance for Camera for KS4 & 5 and for Youth Companies Safe in Dance International and Young Creatives working with 13yrs+ by Charlotte Conroy-Legge Mercy Nabirye Sun-Vit D3 Head of Dance of the African The D’Oyly Carte Diaspora (DAD) Editorial and Charitable Trust Features The Grimmitt Trust Katy Noakes Advertising The Rayne Foundation 41 Dance has a voice: how students can make a difference South West Programmer, The Rowlands Trust Dance of the African Cameron Ball in schools by Amy Swalwell Trinity College London Diaspora (DAD) Magazine Editor 42 Dance Teaching Pathways Trinity Laban Conservatoire Charlotte Constable 44 Parents in Performing Arts by Cassie Raine Oluwatoyin Odunsi of Music and Dance James Cousins Anu Giri Christopher Wheeldon OBE Beverley Glean MBE North Programmer, Dance of Copy Editor Wayne Sleep Foundation James is Artistic Director Anu is Executive Director of Christopher is Director Beverley has worked in the 46 A Positive Life by Johnny Autin William A Cadbury the African Diaspora (DAD) Hollie McGill of James Cousins Company Dance Umbrella and is a board and Choreographer of An field of dance, in particular 48 Bloom Festival of Dance of the African Diaspora 2017 Copy Editor Charitable Trust Claire Somerville Zurich Insurance Group and has been recognised by member for One Dance UK, as American In Paris and is dance of the African Diaspora, by Katy Noakes Head of Children and Young Hannah Alderdice 50 One Dance UK Conference Season 2017 People’s Dance Editoral Assistant Opinions, views and Time Out magazine as one well as Rambert and Scottish Artistic Associate of The for over 20 years, and is policies expressed in . He trained at 51 Foundation Strength for Dancers by Nico Kolokythas Suzannah Robinson Advertising Enquiries of the ‘future faces of dance’. Ballet. Previously she was Co- Founder and Artistic Director One Dance UK magazine Director of English National The Royal Ballet School and 54 Boost Your Career with your One Dance UK Membership Fundraising Fellow Contact Cameron Ball at are those of the contributors In 2012, he was the winner of of IRIE! dance theatre. [email protected] Christopher Rodriguez and not necessarily those the inaugural New Adventures Ballet School and spent ten danced with the Company She developed City and 020 7713 0730 Deputy Chief Executive/ of the publisher, editor, Choreographer Award. James years at Arts Council England 1991–3, where Kenneth Islington College and London Finance Director One Dance UK employees or board of trustees. No has created works for National where she was Head of Dance. MacMillan encouraged him Metropolitan University’s Erin Sanchez responsibility is accepted Ballet of Chile, Oper Graz, She has worked with Shobana in his choreographic work. In two-year Foundation Degree Healthier Dancer Programme for advertising, content, nor Royal Ballet of Flanders and Jeyasingh Dance Company, 1993 Wheeldon joined New in Dance. Her additional Manager/Rudolf Nureyev One Dance UK any harm, however caused, Foundation Medical Website Ensign House which results from editorial . His work Within , York City Ballet, was made work involves researching Resource Administrator Battersea Reach or advertising content. Her Eyes is on the GCSE Dance Chitraleka and Company, in 1998, and became and acting as choreographer, Amy Swalwell Juniper Drive Syllabus. Claire Russ Ensemble and the company’s first Resident artistic director, trainer and London SW18 1TA Dance in Education Manager 2017 www.onedanceuk.org Dance 4. Anu also works in a Choreographer in 2001. He mentor to several dance Claire Somerville Registered Charity number freelance capacity, supporting has created works for leading companies and individual Head of Children and Young 801552 dance artists and organisations ballet companies and events artists. People’s Dance VAT Registered with business development worldwide and has received Alan Tuvey One Dance UK 451 0858 58 Finance Manager and fundraising. Tony, Olivier and London Cover photo: Leanne Cope in Please contact One Dance Critics’ Circle Awards. An American in Paris Joanne Whittaker UK if you would like to Design at the Dominion Theatre. Office and Membership receive this magazine in a TM Photo: Left: SW Headshots; Center Left: Gianluca De Girolamo; Center Right: Johann Persson; Right: Carole Edrich Center Right: Johann Persson; Carole Photo: Left: SW Headshots; Center Gianluca De Girolamo; © Copyright Photo by Angela Sterling Administrator different format. tm-studio.co.uk Page 14 Page 18 Page 25 Page 32

The One Dance UK Magazine | Autumn 2017 3 In the Spotlight In the Spotlight A roundup of some of the latest industry news. News For more, go to www.onedanceuk.org/news

One Dance UK Dance of the African One Dance UK team to Equity and One Dance attend international UK host Open Meeting for Healthier Dancer Conferences 2017 Diaspora National Mapping Survey conference Choreographers Supporting the adolescent dancer Many voices in hip hop health

From August to October 2017, those working within DAD by Managers from One Dance UK On Thursday 27 July, 50 people Working with young people is a including Sujata Banerjee, we will be conducting a survey providing a national snapshot and the National Institute of gathered to discuss the issues rewarding journey for any dance Classical Indian Dance Artist; to help us understand some of of the current trends, styles, Dance Medicine and Science affecting choreographers today. educator, but can bring many Hakeem Onibudo, Impact the key issues affecting dance resources and services available. (NIDMS) are attending the questions and challenges. On 26 Dance and Changemaker at The artists and dance professionals By completing the survey, 27th annual International Equity and One Dance UK May, Dance East, One Dance UK Place; Sarah Lewis, Glass House who are practicing and working you will be entered for a Association of Dance Medicine hosted an Open Meeting for and the International Association Dance and DanceEast Centre within Dance of the African chance to win one free year and Science (IADMS) Choreographers, which took for Dance Medicine and Science for Advanced Training; and Diaspora (DAD). of membership with One Conference in October. To place at the Hospital Club in (IADMS) joined forces to present Tracy Witney, Northern School Our aim is to understand the Dance UK! Our findings will be held in Houston, Texas London. The event comprised a day on mental and nutritional of , shared changing landscape within this be presented and published in from 12-15 October, this is a panel discussion entitled health, safe environments their experiences working with sector and to continue to support Spring 2018. Watch this space! the largest conference on the Understanding Contracts for and training methods, and dancers. international dance medicine Choreographers – What Do We resilience for young dancers Speakers from across the Further information and science calendar and will Need and What Do We Want?, UK also included One Dance bit.ly/DADMappingSurvey at DanceEast in Ipswich. help the team keep updated and presentations from the This exciting day brought a UK members Katy Chambers, Contact Oluwatoyin Odunsi, Dance of on the latest knowledge and Music Sales Group and One range of teachers, artists and of , Bantu Arts at Re-generations the African Diaspora North Programmer at research. Dance UK. Members and non- 2016 in Birmingham [email protected] choreographers together to and Siobhan Mitchell, of the The NIDMS team is very members of Equity and One look at the social, physical University of Bath. Siobhan On 11 May, hip hop dance artists, Breaking with Emmanual ‘BBoy pleased to be presenting Injury Dance UK’s Choreographers and psychological aspects of recently worked with One healthcare specialists, and dance Manny’ Adelukun and Anthony trends from a national healthcare Directory were in attendance. adolescent development; build Dance UK to create a workshop teachers gathered at Stratford ‘BBoy AJ-47’ Jackson from Soul service dance injury clinic: The panel was chaired by increasing interest in applied for dance teachers, and two Circus Arts Centre and University Mavericks; Locking and Popping Five year review at this year’s Hilary Hadley, Head of Live dance medicine and science new information sheets on the of East London for our first with Frederick ‘Realness’ Folkes; conference. Performance at Equity, and research in educational settings; physical and psychological Healthier Dancer Programme and Krump with Theo ‘Godson’ featured Andrew Hurst, Chief and share models of best practice aspects of adolescent dancers’ (HDP) conference on health in the Oloyade. Seminars on training Further information Executive of One Dance UK, in working with and for children development an d guidance for training and lifestyles of hip hop and injury care came from www.iadms.org Sara Wookey, from Equity’s and young people. training. artists and teachers. Nefeli ‘sMash’ Tsiouti of Project Dance Committee, and An especially valuable Powerful discussions on Breakalign and Sonja Cimelli, Maggie Rawlinson, a former multidisciplinary presentation experiencing injury, respecting podiatrist and co-founder of Committee Further information centred around the value of To find out more about these resources or to your culture, living the life of a Soul Footwork Dance. Dietitian member at Equity. studying dance in vocational book the workshop, visit: bit.ly/HDPTalks hip hop teacher and artist, and Zerlina Mastin and Miroslav ‘BBoy An insightful discussion women in hip hop started the day. Mayro’ Sekula looked at healthy and recreational settings, On the day of the event, One Dance UK on the challenges faced by perspectives of teachers, partner Safe in Dance International also Speakers such as Michael ‘Mikey J’ nutrition for hip hop dancers, and New Additions to the choreographers was followed challenges that dancers might launched a new online learning programme Asante (Co-Founder & Co-Artistic Stephanie De’Ath (Co-Manager by a prioritisation exercise, with People Dancing entitled Preparing for face at this age, information and Safer Dance Practice. To learn more visit: Director, Boy Blue Entertainment); of NIDMS), Olivia Daniell (soft One Dance UK Board where attendees put forward support for parents. Speakers bit.ly/PreparingForSaferDancePractice Caroline Jubb (Physiotherapist, tissue therapist and dancer), and their priorities for Equity to Royal National Orthopaedic Lauren Filer (dancer, teacher, take into negotiations for new Hospital); Ithalia Forel (Co-Director and conditioning coach) looked of Trustees choreographers’ agreements. of Movema and One Dance UK at injury management. Training Hot topics of discussion Trailblazer Champion 2016/17); sessions in acrobatics with Silvia We welcome two new members to the One Dance UK included choreographic Sunanda ‘BGirl SunSun’ Biswas Fratelli of Mimbre, alternative hip Board of Trustees. Joining the current members are commissions, (in)adequate (dancer, teacher, choreographer, hop with Luther ‘London’ Dyer fees and the exploitation of and MC); and co-founders of and with Ithalia Andrew Carrick and Piali Ray OBE. emerging choreographers. Exception-Elle, Olivia ‘BGirl Forel also gave artists a chance to Andrew is Director of education a lively interest in the cultural Moving forward, Equity Gravedigger’ Daniell and Lauren try new movement styles. consultancy EdComs, advisers influences and experiences of and One Dance UK intend ‘BGirl Hot Feet’ Filer shared ideas The day continued with far- to many prestige organisations people of South Asian heritage. to hold another meeting and provoked conversations. reaching conversations around the (public, private and third She is currently chairing the that is tailored towards One of the most unique aspects incorporation of fitness training, sector) on their successful and advisory group for Utsav 2017: choreographers and dance of the conference was the afternoon injury prevention, and further responsible engagement with Birmingham City Council’s artists in the independent session leaders, who shared not cultural education into the existing education. Year of South Asian Culture sector. only their artistic knowledge, but knowledge and rich community of Andrew is particularly and has joined the Birmingham Don’t miss our third Healther Dancer Programme also enormous knowledge in hip hop. Dancers left the day with interested in opportunities for Weekender 2017 team as an healthcare, fitness and research. the tools to begin implementing expanding the role of dance in Artistic Director. Her formidable Conference of 2017, focusing on psychological and Talks from Dr Roger Wolman and this into their own training and sociological elements of care for the dancer. Part schools, and in more generally energy and vision led to the Further information Caroline Jubb from the National teaching. Our thanks go to East supporting dance for children setting up of arts and heritage To discuss being part of the Choreographers of One Dance UK’s Conference Season 2017, the Institute of Dance Medicine and London Dance, Stratford Circus and young people. organisation Sampad in 1990. Andrew Carrick Directory, please contact Tomorr Kokona, Science (NIDMS) NHS Dance Arts Centre, SunVit D3, University Director of Education Professional Development Manager, at conference will be held on 26 November at Trinity Piali has been an Among her many awards, Consultancy, EdComs [email protected]. Laban, London. Injury Clinic focused on how of East London, Arts Council internationally recognised she received an OBE and an hip hop dancers engage with England and One Dance UK’s Piali Ray OBE Thank You dance performer, teacher and Honorary Doctorate from the Further information NHS services. Fitness training Principal Sponsor Harlequin Floors Freelance Artistic Director Thank you to everyone who helped to bit.ly/ODUKConfSeasonTix

Photo: Top: Foteini Christofiolpoulou; Bottom Left: Michael Donald; Bottom Right: Sreenanda Shankar Mish Foteini Christofiolpoulou; Bottom Left: Michael Donald; Right: Sreenanda Photo: Top: choreographer, and maintains University of Central England. and Choreographer make the event such a success. Anthony Jackson Right: Photo: Left: Chrissie Moore; sessions were divided into style: for making this day possible.

4 The One Dance UK Magazine | Autumn 2017 The One Dance UK Magazine | Autumn 2017 5 In the Spotlight In the Spotlight A roundup of some of the latest industry news. News For more, go to www.onedanceuk.org/news

Yorkshire Dance’s Launching Dance Dance Creates Conference 2017 Careers in Scotland ERIC Festival 2017

Dance Creates is a northern Launch is One Dance UK’s U.Dance 2017 Project Manager experiences as freelancers, 2. Create Networks conference for anyone professional development Claire Eve spoke at ERIC Festival: “an theatre makers, technical The dreaded ‘networking’ is a interested or involved in and networking day specially inspirational and revolutionary new managers, agents and actors. valuable tool in increasing your dance for young people, designed to help dance students type of career fair educating young Pertinent themes included: knowledge and capacity by exploring young people’s and recent graduates starting people on jobs within the creative social media promotion, digital sharing expertise and ideas. voice in dance choreography out in their careers. The next industries”. technology and the rise of For example, attending and performance. event will take place in Scotland Hosted by The Hospital Club on immersive theatre. Edinburgh Fringe Festival It brings together people in spring 2018. 25 June, ERIC Festival focused Alongside Mike J. Asante, is a rite of passage for many who work with dance in a The packed day will provide on careers in Theatre and the of award-winning Boy Blue performing arts professionals, range of contexts for engaging seminars and hands-on practical Performing Arts. Previous Entertainment, and actor/ and it is a brilliant place to meet and essential discussion. advice from a mixture of festivals have given attendees playwright Yolanda Mercy, industry professionals and Representatives from One emerging and established dance insight into the Advertising and I discussed The Future of future colleagues. Dance UK will be presenting National Youth Dance Company professionals, all of whom have Delegates at Launch 2016 Marketing and Broadcast Media Performance and we shared at what promises to be an in Michael Keegan Dolan’s had successful careers both as industries. our tips for starting out in the 3. Clear Vision “An inspirational and revolutionary In-Nocentes at Sadler’s Wells insightful event. dancers and in other diverse The first thing that struck me performing arts industry: The path to your end goal new type of career fair educating Dance Creates, to be held roles the dance industry offers. about ERIC Festival was how may not be direct, but if your young people on jobs within the in Halifax on 26 October, Launch will give aspiring dance vibrant and relaxed it was. Not 1. Be Versatile vision is clear then all projects creative industries.” is a collaboration with the professionals the relevant a corporate exhibition stand in The performing arts is, by nature, can provide valuable learning Claire Eve Children and Young People’s information and tools to choose Further information sight, this is a careers fair for experimental and creative. Current experiences. Have your end U.Dance 2017 Project Manager Dance Network North. and successfully pursue specific Register your interest now and be the first young people that reflects the productions fuse traditional goal in mind and utilise every to hear about bookings! Group discounts roles in the sector, including will be available. creative industries the festival techniques with innovation, science opportunity and partnership to teacher, manager, dancer, seeks to represent. and the arts. Be open to learning benefit your future career. Further information Contact Contact choreographer, researcher and new techniques and working yorkshiredance.com/whats-on/event/ Niamh Bryson Hannah Alderdice Speakers offered attendees Further information conference-2017/ 0113 243 9867 everything in between. [email protected]. valuable insight into their across genres. www.ericfestival.com

One Dance UK’s One Dance UK and Dance Advocacy Work Consortium Dance Ambassadors Applications are closing soon!

Look out for One Dance UK’s Advocacy Updates for members, sharing the latest about how we’re working to make the case for dance in the UK, and what you could be doing to increase support for dance in your local area. With a new government in Dance professional place following the summer’s General Election, changes to bodies and industry partners, One Dance UK, working venue visits, talks by senior practice at Middlesex the national curriculum, and to giving politicians a first-hand in partnership with Dance managers and dance artists, Brexit, it’s more important now experience of dance by bringing Consortium, is looking for and hands-on support at events than ever to ensure policy and them along to a range of dance proactive and confident young like the national U.Dance Our highly flexible online distance education courses are decision makers recognise the events and performances. people (aged 15-25) from across festival and advice from staff designed for dance artists and practitioners looking to significant role dance has to Through our advocacy work England, Scotland, Wales and at One Dance UK and Dance integrate their professional expertise with academic learning play in education, health and we can make our members’ Northern Ireland to help us Consortium. As part of this at a renowned centre for dance practice and research. social cohesion, as well as being voices heard. Get involved or champion dance and its place years’ programme, Dance a vital art form. just find out more by signing in education, health and the Ambassadors will also be We at One Dance UK up to make sure you receive our cultural life of the UK. involved in the Future Leaders // BA Professional Practice (Arts) are working hard to make regular updates by contacting Dance Ambassadors will be project, developed by Dance // MA Professional Practice in Somatic Studies sure that dance is part of the the email below. given training and a wealth of Consortium. Applications conversation when it comes to opportunities to develop their close 18 September 2017. // MA Professional Practice in Dance (specialisation) the big decisions being made skills and experience, through Contact [email protected]. // MA Professional Practice in Dance Technique Pedagogy mdx.ac.uk/MAdance that affect our industry. Our activities range from briefings

with government officials, to Further information

Photo: Top Left: Jane Hobson; Top Right and Bottom Left: One Dance UK; Right: Brian Slater Left: Jane Hobson; Top Photo: Top working together with public [email protected] MDX592_Dance ad PG_185x127mm.indd 1 21/07/2017 14:17 6 The One Dance UK Magazine | Autumn 2017 The One Dance UK Magazine | Autumn 2017 7 In the Spotlight News One Dance UK Dance Teaching Awards’ Winners Announced

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Many of the award winners, shortlisted nominees, panel members & One Dance UK representatives.

One Dance UK’s inaugural The high number of nominations We received an Dance Teaching Inspirational Work in Education Award Dance Teaching Awards took demonstrates the positive astounding number Awards Sponsored by place on Sunday 16 July at impact dance teachers have on of nominations, almost Winners 2017 Safe In Dance International the Circle Restaurant in the their pupils, and highlights the 900 across the board, Hertfordshire County Rising Star Award 10% Dance Teachers’ Association Birmingham Hippodrome. importance of keeping dance of which 27 were Sponsored by The Awards were hosted by prevalent in the education shortlisted to join us Trinity College London Inspirational Lecturer DISCOUNT at College, University One Dance UK board member, system. for the ceremony. Anna Zhavoronkova or Conservatoire Award & FREE DELIVERY Anu Giri, and began with a Geoff Barton presented the Outstanding Primary Sponsored by Dance Teaching Award prosecco afternoon tea before ‘Most Supportive Senior Leader DWFM Beckman Solicitors FOR TEACHERS Sponsored by Anna Hall the awards were presented. Award’, reiterating the words Dancewear Central Gemma Richards, winner of Gemma Richards: “this is Julie Guile Most Supportive Senior Leader or Governor Award of the ‘Outstanding Secondary the best job in the world… Outstanding Secondary Joy Ballard Dance Teaching Award’ said helping children.” He went on Dance Teaching Award Gemma Richards Above and Beyond Award in her acceptance speech, to highlight the issue of dance Janet Marmot “we have the best job in now being at a “critical level Further information Inspirational Community The nominations for next Dance Practitioner Award Lifetime Achievement the world…being able to in schools”, asserting that a year’s awards will open in Sponsored by Award The UK’s Number 1 Dancewear Specialist dance every day and getting “divide” will occur if dance and February 2018! People Dancing Sponsored by the children that we teach the arts are not considered an Charlotte Tomlinson Harlequin Floors Contact Veronica Jobbins

Photo: Brian Slater passionate about dance.” entitlement to all children. [email protected]

8 The One Dance UK Magazine | Autumn 2017

DWC ad Aug 17.indd 1 14/08/2017 14:10 U.Dance 2017 Highlights The nation’s annual youth dance festival For more information go to: www.u-dance.org

With thanks to Premier Partner Partners: Thanks to the following Birmingham Hippodrome ACE Dance & Music, trusts and foundations Birmingham Royal for their kind support: Ballet, DanceXchange, Ernest Cook Trust, Akademi, Sampad, ISTD John Feeney Charitable and Arts Council England Trust, The D’Oyly Carte Charitable Trust, The Thanks to all volunteers, Grimmitt Trust, The funders and partners Rowlands Trust, who made the festival William A Cadbury possible Charitable Trust

500+ dancers 3 evenings of performances

Photo: Brian Slater 6 career sessions 18 dance workshops Special Focus on Careers Introduction Dancing In my role as Professional Development Manager at One Dance UK, I am constantly reminded of the diversity and creativity that abounds in the sector. My job is to meet artists, goes beyond creators, and managers, and support them with their art form and entrepreneurial development. The hunger for knowledge and career development is certainly abundant, and I find performance the generosity of knowledge and willingness Tomorr Kokona to share very inspiring. Professional Development My career has certainly been varied, Manager, One Dance UK having worked as a movement director, dancer, choreographer and producer. I now thrive on connecting dancers with mentors and collaborators, and work to boost their networks. Industry-leading programmes like One Dance UK’s Trailblazers Fellowships, Mentoring, Choreographic Observerships and our Choreographer’s Directory have all impacted many careers for the better, and that is encouraging to see. In the dance sector today, the need for networking and upskilling is huge. I recommend you take full advantage of the exclusive online networks, resources, networking events, advice and promotional opportunities a One Dance UK membership offers you. Events for your diary are our Conference Season (see page 50), networking events and Annual General Meeting in December 2017. We are always keen to hear from members about how we can further help you advance your career. Our strength is in our membership, and as we assist you in advancing your career development, the wider sector will in turn benefit.

Highlights

14 Rising Star An interview with James Cousins

16 A Mentoring Journey With Rosie Kay and Kristin Kelly-Abbott

18 A Career in Dance With Anu Giri

22 Where Are They Now? A snapshot of some One Dance UK supported artists Develop your creative identity and become 25 From Ballet to Broadway a thinking dancer on our Dance Studies BA. With An American In Paris • Turn your love for dance into a world of 28 Enriching Creativity inspiring possibilities for a fulfilling career. With Richard Chappell 32 A Living Legacy • Roehampton has a global reputation – we In Conversation with Beverley Glean MBE are rated No. 1 for in the UK.* 42 Dance Teaching Study with us by visiting:

Photo: Studio 1B Career Pathways *Research Excellence Framework Careers roehampton.ac.uk/dance 12 The One Dance UK Magazine | Autumn 2017 Special Focus on Careers Special Focus on Careers that it may not have been James Cousins talks to Head of Children and Young People’s Dance before, and is glad that the piece was carefully created Claire Somerville about his career development and exciting next steps. several years before AQA approached him, so that there was a depth of creativity and Aged just 28, James Cousins when you’re in the middle of huge opportunities available understanding underpinning has achieved a great it all. Upon reflection I realised to him through the school the choreography. He’s often deal, as both sought-after just how far I’d come. Ten and extra-curricular activities, asked by teachers, “How do I choreographer and Artistic years ago I was performing which enabled him to dance get the pupils to lift each other Director of his own company. with FuzzyLogic and Berkshire every day. James studied GCSE off the floor?” His work has been praised Youth Dance Company at the Dance alongside ten other “Of course, that’s not by the likes of Arlene Philips national festival [a precursor to GCSEs, achieving A*s across really what it’s about,” James and Wayne McGregor; he was U.Dance] and now I can meet the board, before going on says. “For students, it can be the winner of the first New up with Matthew Bourne for a to study A-Levels in Dance, a great gateway to exploring Adventures Choreographer coffee to chat about my work.” English and Maths. Clearly, his the concept of partnering.” Award; and his choreography James loved dance from potential was broad, but his He tries through Continuing features on the GCSE Dance an early age, creating dance passion for dance took him to Professional Development James Cousins Syllabus, so you might expect performances for his parents London Contemporary Dance (CPD) and workshops to a certain swagger about him. at home, and rallying his School. Upon graduation he encourage teachers and When I met him at The Place fellow pupils at primary joined Matthew Bourne’s New pupils to explore contact work, during one of his rehearsals, school to perform in assembly. Adventures Company for a and the underlying skills that he confessed he’s recently been He went on to Park House five-month run ofSwan Lake. enable them to create a work in through a certain amount of School in Newbury, which he “[It was an] amazing first that way. introspection. describes as a great hub for job and obviously super Being on the GCSE Dance “I was thinking ‘what youth dance, having several physical, learning the whole syllabus has brought him am I doing?’ ‘What have I youth dance companies based show in three weeks and then I got [an] enormous [amount “I don’t believe trying to build the blocks of the closer to the world of dance achieved?’. It’s easy to forget there. He is grateful for the just having to do it. of] performance experience company under our feet.” education and, like many – 60 shows over that period. the experience of Since then, James and his other choreographers, James It’s a great company, a big watching dance on company have been working is dismayed by the current family and I’ve continued to hard to grasp opportunities rhetoric around dance in have a relationship with them film can replicate the with both hands. They’ve schools: throughout my professional experience of seeing toured globally and been “I think the notion that career.” supported by The British doing a dance GCSE is easy or In 2011 James presented it live on stage, but Council to create a new work, a ‘doss’ subject is completely his first work in Resolutions, going through the ROSALIND, in Korea, all while invalid and not taking into The Place’s platform for new process of making James maintains a post as a consideration all the things that choreography. At this point, Work Place Artist at The Place. dance teachers give. It’s not just Star he was also starting to perform the dance work for In 2015, James was about learning to point your as a freelance dancer and got the camera, a totally approached by AQA (the toes and dance around; dance a taste of working in smaller Awarding Body for GCSE & provides communication skills, companies, a world away different medium, is A-Level Dance) to have his [teaches you] how to trust, Rising from New Adventures. In work Within Her Eyes on the be supportive and cooperate exciting.” 2011, James had his ‘big break’ new GCSE Dance Syllabus. with people. You’re learning James Cousins winning the New Adventures The piece had been made how to analyse, to talk about Choreographer Award, getting three years earlier for the stage things that you’re seeing and the opportunity to make and and AQA were keen to have those skills are completely present his own new work to a it adapted for the camera, for transferable… Dance trains raft of industry professionals. pupils to study. Despite having that part of your brain to think “I was quite inexperienced to find the money to make and work creatively.” really and thought that it this happen, James enjoyed James is now considering would all continue like that. the opportunity to realise what’s next for the company, There was momentum and his ambition to create work with funding applications it was an amazing leg up for the camera and enable a going in, continuing rehearsal from Matthew - “here is a 360-degree view of the piece, for ROSALIND’s tour and a choreographer, take note!” - and which he’d felt had always new screen dance project with everyone was there. That had multiple viewing aspects CANVAS. opened so many doors for me, anyway. His advice? “Say ‘yes’ to the but that’s also when the work “I don’t believe the opportunities that come your started.” experience of watching dance way as you never know where What followed was the on film can replicate the they may lead. Have aims for formation of his professional experience of seeing it live on what you want to achieve, but company aided by Creative stage,” he explains. “But going don’t necessarily live your life Top: SW Headshots Top: Producer Francesca Moseley, through the process of making by them; things are always with whom he continues the dance work for the camera, going to shift and that’s okay, to work. They had made a totally different medium, was exciting even! Also make sure their Sadler’s Wells debut as exciting.” to take time for yourself; to culmination of the award, and James is aware that his feed yourself creatively and to Camilla Greenwell; in an effort to capitalise on the work is now scrutinised by give space to take stock of what exposure, “were frantically pupils and teachers in a way you’ve accomplished.” Photo: Photo: Hannes Langolf

14 The One Dance UK Magazine | Autumn 2017 The One Dance UK Magazine | Autumn 2017 15 Photo: Tim Cross Journey Mentoring A Special Focus onCareers 16 recent experiences ontheDancers’ Programme. Mentoring mentee Kelly-Abbott Kristin andmentor RosieKay, on their Development Manager prove tobeanenrichingexperience forthementors. Professional tracking thecareerdevelopment ofmany and emergingartists One Dance UK’s mentoring schemes areresponsible forfast- TheOneDance UKMagazine| Autumn 2017 while learning to be new while learning to benew working withnew dancers project management and both were jugglingrehearsals, articulating thisvision.We but shewasalmostshyabout passionate andverydriven, with me.Ifoundherbrave, her dreams andambitions about ourlives,andsheshared sunny evening,andtalked her -wesatoutsideonawarm a lovelywaytogetknow Birmingham. Thiswassuch then Iinvitedhertodinnerin talking onthephone,and choreographer. offer mysupporttoanother time soImyselfwaskeento beneficial tomeatadifficult Programme. Thiswashugely Dance UKDancers’Mentoring previous cohortoftheOne by Caroline Thomsonina Abbott. Ihadbeenmentored choreographer KristinKelly- me tobeamentor One DanceUKapproached Rosie KayDanceCompany Mentor and Artistic Director, Rosie Kay Kristin and I spent time Kristin andIspenttime

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@rosiekaydanceco For information,goto www.rosiekay.co.uk touring theUKthis Autumn. Rosie Kay’slatestwork 5Soldiersis bit onherexcitingjourney. and Ihopehelpedheralittle with hersuccessfulfunding, achievements, onstageand opportunities andfunding. think ahead,lookingforfuture on herlonger-term goalsand to helpKristinkeepaneye for where togonext.Iwasable the artistisleftwithnoplan by aproject, butwhenitends, one canbeentirely consumed The workissoabsorbingthat goals andconstruct strategies. the middleandlonger-term press -thatitishard tolookat relationships, marketingand with dancers,creation, venue busy inthemoment-dealing choreographers’ livesare so while Iwastouring.Often and metagaininNewcastle with exhaustion! everything andnotcollapse share togetheronhowtojuggle mothers, sothere wasalot to I amveryproud ofher We spenttime onSkype gets an insight from both gets both aninsightfrom

“ Rosie Kay was empowering.” that stating her to understand boastful, andinstead By asking questions By askingquestions ambitions was not and digging deeper, shestarted

Photo: Erik Fischer Special Focus onCareers @KADT_kadt www.kellyabbottdancetheatre.co.uk 2018. Forinformation, goto a NationalTour ofLaunchDayinSpring Kelly Abbott DanceTheatre isplanning any time. in relation tomycompanyat and Ifeelcouldaskheradvice still intouchwithRosienow, on thephoneorviaemail.Iam approachable andwechatted contacts forme.Rosiewasvery up awholenewnetworkof approach, sothisopened few different peopleIcould immediately suggesteda lighting designer, andRosie length production – regional tourofmyfirstfull- for dancerstotakepartina was planninganaudition to the Arts CouncilandI I hadsubmittedanapplication At thetimeofmymentoring, that throws intothemix. family lifeandallthehurdles dance makerwhilstjuggling it ispossibletobeasuccessful really encouragingtoseethat Rosie. Itwasself-assuringand family atthetimeofmeeting I toohadrecently starteda had recently startedafamily. admired butalso,onewho choreographer whomI to bementored byafemale for me.Ifounditbeneficial a veryappropriate match Kay, whoinmymindwas production. creative teamandtouringa managing mydancersand an auditionformycompany, website, preparing andholding company, creating acompany for funding,marketingmy company structure, applying areas: settingupasuitable guidance inthefollowing I neededsupport,adviceand Theatre (KADT)in2013,but set upKelly-AbbottDance with mydancecompany. I what Iwouldliketoachieve who hasalready achieved mentored byaprofessional could really benefitfrom being in mycareer where Ifelt Scheme, Iwasatacrucial point Dance UK’sDancersMentoring On embarkinguponOne Kelly Abbott DanceTheatre Mentee and Artistic Director, Kristin Kelly-Abbott I was also looking for a I wasalsolookingfora My mentorwasRosie Launch Day.

“ Kristin Kelly-Abbott for hercompany right dancers for this forthis dancers right me really usefultips particular project.”particular how sheprepares Rosie openly shared and advice, which auditions andgave enabled me tofindthe ROH_One_Dance_Mag_Half-page_Vertical_Ad_2017.indd 1 •

Explore thetechnical andexpressive skillsneededto perform Infra TEACHER ANDSTUDENT WORKSHOPS work indetailandget moving inourworkshops Photo: EricUnderwood andMelissa Hamilton inInfra ©ROH/BillCooper 2010 • Highlightclearlinksto theAQA GCSEDance specification specially designedfor teachers andstudents. To request aworkshop head to ourwebsite Bring Infra into your studios, explore the • Usecreative tasksto generate movement material • Explore diff Are you studying Infra withyour www.roh.org.uk/learning • Learn ashortsectionofInfra repertoire or [email protected] WAYNE MCGREGOR’S • Discuss features oftheproduction The student workshop will: The teacher workshop will: GCSE Dance students? Bookings now open And muchmore… erent ways ofperforming material

TheOneDance UKMagazine| Autumn 2017 THE ROYAL BALLET

14/08/2017 21:52 17 Special Focus on Careers Special Focus on Careers “A career in dance, whilst hugely rewarding, can be challenging on many fronts so it’s A Career in important to be smart about it. ” Anu Giri

Left: Yinka Esi Graves in Clay, part of Out of the System

Below: Satchie Noro Dance and Silvain Ohl’s Origami Anu Giri is Executive Director of the upcoming Dance Umbrella, London’s international dance festival, and has had a diverse, influential career in the arts. She speaks to One Dance UK Chief Executive Andrew Hurst about her professional journey.

Eun-Me Ahn’s Let Me Change Your Name Indian dance that led to my first professional job in the sector. I was taken on as Projects Administrator at the newly launched Dance4, which was running the Year of Dance and Leicester International Dance Festival in 1993 with Val Bourne as Artistic Director. My South Asian dance background complemented the team’s Anu Giri knowledge. The focus of the role Executive Director, was to assist across all areas and, Dance Umbrella in so doing, it provided hands-on training in dance administration. Contemporary dance was new Your career has to me, and I have to thank Val for encompassed many taking me under her wing and different roles in dance. Can nurturing my understanding and you tell us how you got to appreciation of the various forms. where you are now? I was in awe of the variety of I first fell in love with ballet at age different styles and productions I seven, not through a performance saw that year and the artists I met, but through a book that told which I feel influenced my career the story of Anna Pavlova. choices going forward. It completely caught my I have worked across several imagination and I started seeing styles: South Asian, ballet, hip-hop ballet everywhere, so I asked and contemporary dance; and my mum if I could start lessons. different types of organisations: Disappointingly, she said “no”: it dance agencies, touring companies was not the norm in my culture. (small, middle and large scale), But she agreed to send me to funding bodies, schools and now Bharatanatyam classes instead, a festival. Interestingly Dance which I quickly fell in love with. Umbrella, where I now work, After years of badgering, I finally was founded by Val Bourne in did ballet when I was 14, but 1978, so in some ways I have

Photo: Left: Gianluca De Girolamo; Centre: Eunji Park; Top: Mantse Aryeequaye; Right: Karine de Barbarin Mantse Eunji Park; Top: Centre: Photo: Left: Gianluca De Girolamo; ironically it was my classical come full circle.

18 The One Dance UK Magazine | Autumn 2017 The One Dance UK Magazine | Autumn 2017 19 Special Focus on Careers Special Focus on Careers Which has been the most You must come into contact dance artists, when they strike “I think a mentor challenging role so far, with a lot of dancers and out on their own, it can be quite and why? dance artists who are a lonely place to be all of a can deliver bespoke They have all been challenging in looking to develop their sudden. advice, knowledge and their own right and have been the careers within the dance My mentors have both skills to support an right level of challenge for me at the sector. What advice would broken through many glass Career Transition time I took them on. you give them? ceilings in their own successful artist’s development, However, I think the You spend a lot of your life careers, and been inspirational build their confidence hardest role I undertook by working, so if you have found role models to myself and through coaching The power and potential of dancers far was during my ten-year a vocation you are passionate others. Alongside their own tenure at the Arts Council. The about then you should ambitions, they have been and, most importantly, by Jennifer Curry, Dancers’ Career Development Executive Director number of internal and external definitely go for it. hugely inspirational for those believe in them.” stakeholders was vast, and it I would say take advantage of us in their wake, and given Anu Giri required considerable dexterity to of all the training that is out many of us a helping hand to manage everyone’s expectations! there, actively network and get ahead. As well as always “Giving dancers an make contacts that can support giving me wise counsel, I know What does your current role you, be informed, and develop they are in my corner, experience of a new as Dance Umbrella Executive the skills you need so you no matter what, which is hugely working environment Director involve? can really maximise every empowering. will provide an Emma Gladstone has opportunity that comes your What do you wish for the introduced an ambitious and way. exciting opportunity inventive vision for Dance future of the dance sector for those embarking Umbrella and contemporary Why do you think mentoring in the UK? dance that I fully believe in, and schemes and fellowships are Following tradition, I have on transition to the delight of my job is to support important for dance artists? three wishes: explore other career her to make this a reality. And if you had any mentors - ‘STEAM’ not ‘STEM’ for the In practice I lead on finance, personally can you tell us national curriculum options.” business strategy and fund- who they were? - For culturally diverse artists and dance forms to take raising and produce specific I think mentorships are very Dance Umbrella, London’s international projects. During festival time, important, especially for dance centre stage alongside ballet dance festival, is currently in its 39th year. I roll my sleeves up with the artists. When you are training and dance Running from 11 to 28 October, this year sees 59 artists from 11 countries performing rest of the team and take on in dance you are always in - And for more people to in 17 venues across the capital. front of house duties, running a group and even when you discover the brilliance of Kevin Muscat Further information Designer and Founder, Muscat Bridal, events, ushering and stuffing join a company you are part of dance in all its forms. DCD Retrained Dancer. Muscat Bridal is To book tickets visit a founding partner of DCD’s new Career programmes! a collective. I think for many www.danceumbrella.co.uk Insights Programme.

Dancers’ Career Development DCD works with a wide variety Transition is a constant for us all. also celebrating the successes (DCD) has supported over 2000 of artists who have such skills, We create an environment where of dancers across the UK, with dance artists across the UK ambition and potential; it is a change is viewed as a positive, DCD Alumni celebrations in cities to successfully transition into pleasure to observe dancers on where being curious and playful around the country. alternative careers after retiring their journey and to see them with possibilities is encouraged, We are always looking at what from professional performance. flourish as they embark on and continuous learning and new support services we can The charity is grounded in another phase in their careers. professional development is a offer, responding directly to the support for the individual artist Dancers can feel unsure priority. needs of dancers. In September and is expanding the scope of about taking action in the face In order to best prepare them 2017, DCD launches a new its work, with a wider regional of uncertainty and how to for transition, DCD supports Career Insights Programme, presence and working with practically demonstrate the dancers from training, and all where dancers will be able to partners such as Facebook. wealth of skills, experience throughout their performing gain practical, paid experience Each day I am inspired by and knowledge they have career. Our ambition is that outside of the studio. As part of the artists that I meet. Some to a potential employer. Our every dance artist across the this programme we are thrilled may be at the very beginning message is clear: Dancers are country is aware of the support to have partnered with Facebook, of their journey with DCD, and not alone. Any dancer can be we can offer and has access to it. who will be opening its London others may have already been in touch with DCD at any time With the valued support of Headquarters to dancers in Discover dance supported by DCD to retrain to have a conversation about our funders and partners, we September for an Inspiration and and are continuing to fly high where they are now and how are building a strong national Training Day. in their careers. we can help them. presence. Since 2014, DCD has We will continue to work to at Middlesex “The Transition can be a DCD fosters a culture of delivered EVOLVE workshops empower artists to navigate happy challenging time in a dancer’s life. support for the individual. in Cardiff, Birmingham, and successful career transitions. Join us at our outstanding London campus to build Dancers tell us they experience Each transition is unique and Glasgow, Leeds and London The power and potential of the skills and knowledge for the career you want. feelings of loneliness, fear and that is why it is critical to take and in 2017 we expanded dancers is phenomenal – with a isolation as they move beyond a the time to support each artist our Coaching Programme little support, dancers can, and do, performance career.” individually. nationwide. This year we are achieve anything. // BA Dance Performance Further information // BA Dance Studies 020 7831 1449 // Foundation Year mdx.ac.uk [email protected] www.thedcd.org.uk Facebook /DancersCareerDevelopment Twitter @dcd_dancers Instagram DancersCareerDevelopment Photo: Karen Hutchins Photo: Karen

20 TheMDX590_Dance One Dance UK ad UG_185x127mm.inddMagazine | Autumn 20172 20/07/2017 14:39 The One Dance UK Magazine | Autumn 2017 21 SpecialSpecial FocusFocus onon CareersEducation Special Focus on CareersEducation For more information on One Dance UK’s professional development programmes and how we can boost your Where are they now? career, go to: www.onedanceuk.org/careers

Over the years, One Chris Scott Vicki Igbokwe Hubert Essakow Dance UK’s professional Freelance dance artist, Creative Director, Choreographer Freelance dance artist, development programmes performed with National and Founder of Uchenna Dance choreographer and lecturer in Dance Company of Wales Ballet at Trinity Laban. Recently have helped hundreds of and for various productions Programme involved created a piece for Ballett Am Rhein. Trailblazers Starter (2007-8) and dance professionals reach for The Royal Opera at new heights in their careers. Champion (2012-13) Programme involved Covent Garden among others. Choreographic Observership We profile a small selection Recently completed filming on How did your time spent on 2014/15, observing Javier de Frutos who have gone on to diverse Mary Poppins Returns (feature the programme enhance your How did your time spent on successes in the sector. film). career journey? The Trailblazers Fellowship the programme enhance your Programme involved programme was pivotal in my career journey? Bawren Tavaziva Eve Mutso Mel Knott Sonia Sabri Dance Ambassador/U.Dance career change, moving from a I thought observing a Artistic Director of Tavaziva Freelance dancer and Head of Learning, Curve Theatre/ choreographer’s creative process Independent dance artist and participant full-time role as creative projects Dance. Created Africarman choreographer and recently manager for an established dance freelance dance consultant/Chair without being involved in any choreographer; Artistic Director of Children and Young People’s of Sonia Sabri Company (toured the UK 2015-17). How did your time spent on presented her work organisation, to embarking way was very useful because I Expert Panel for One Dance UK Currently in creation for the programme enhance UNKNOWN at San Francisco on a professional career as an had a detached, wider view of what Javier de Frutos was trying Programme involved Izindava (touring Autumn 2017 your career journey? International Arts Festival independent choreographer. The Programme involved to achieve. He was so generous Mentoring Programme 2015, & Spring 2018) U.Dance provided me with the 2017. Eve also teaches and programme enabled me to grow as a choreographer and to develop Dance Teacher Mentoring and informative about his process, Mentor Rebecca Marshall (Wayne opportunity to perform on some coaches internationally. the Uchenna Dance company. Programme, 2013-14 and I remember how impressed McGregor’s RANDOM Dance) Programme involved world-class stages at such a I was by the atmosphere and Programme involved It gave me the time, space and How did your time spent on Trailblazers Fellowship young age, and being involved energy he created in the room How did your time spent on Choreographers Observership resources to reflect on my work, the programme enhance your Scheme 2003-04 in those festivals was the reason and how he engaged absolutely the programme enhance your Scheme 2015-16, observing identify my present situation and career journey? that I decided to pursue dance everybody with energy and career journey? How did your time spent on as a career. I remember feeling Christopher Bruce to plan where I wanted to be in the Being part of the Dance Teaching future. dynamism. I was very impressed I was very fortunate to have the programme enhance so inspired. Being a Dance Mentoring Programme enabled Rebecca Marshall as my mentor. How did your time spent on by his instinctive understanding Ambassador taught me so many me to connect with someone She enabled me to discuss things your career journey? the programme enhance your What’s next for you? of the psychology and characters crucial things about the industry. new, whom I had not worked I would normally hesitate to When I embarked on the career journey? I am currently in rehearsals for my of his performers, and I try to have I was able to interview politicians with and, therefore, had no talk about, including personal Trailblazers programme I Observing Christopher Bruce new show, The Head Wrap Diaries, this same sensitive understanding and made contacts that allowed preconceptions about what I do, challenges within and of the was relatively new to the UK. creating a brand new work touring nationally from September and insight into the characters me to go and speak about the had done or should do! Speaking dance sector. For someone like I was given mentoring and for Central School of Ballet’s 2017 to Spring 2018, and have of the people I work with. It’s so benefits of youth dance all over on a regular basis to my mentor myself who entered the dance advice from Robert Hilton, students gave me great insight begun work on a two-year important. the world. It taught me how gave me space to think and to industry at a very early age, into how to create a supportive, commission to create a brand-new who helped me understand important it was to fight for dance, question and she often threw in performed internationally and creative environment in the show (watch this space!). What’s next for you? the industry and dance that you need to invest your time nuggets of inspiration to make had run a company for over ten studio. Inspired and fuelled by I am creating a work for Trinity scene in London. I was lucky just as much out of the studio, me stop and evaluate. The years, there is an expectation that that experience, I went on and Laban students, and then working enough to go to , which allows you to be in the introduction to another dance one has “know-how” of leading choreographed numbers for on an event at The Print Room in studio. organization allowed me to look at a successful career. However, the with equipment I was able to graduating students of the BA November with a poet, musician purchase, to capture aspects of dance education from a different and dancer. Next I am making a reality is that the concept and What’s next for you? Modern Ballet course at The Royal perspective, which shaped my life there - the detail of which piece for The Royal Ballet’s Draft context of dance has evolved and I have been elected to Conservatoire of Scotland. interest and understanding in I wouldn’t have been able Works evening at the Royal Opera continues to evolve at a rapid Equity’s Dance Committee, how to work in a range of contexts to hold in my memory. The What’s next for you? House Clore Studio in February pace. This can cause one to divert and continue my work as outside of a school. from their vision which manifests material collected inspired I am starting a new collaboration 2018. I am also in the process a freelance dance artist. I into uncertainty and self-doubt. with Scottish composer Giles What’s next for you? of putting in an Arts Council my work directly. As a young recently started filming the The programme allowed me Lamb, and creating a brand I will continue to be an advocate application for an evening work chorographer, I felt incredibly to take time out to develop an new filmMamma Mia: Here new work with Candoco Dance for dance with children and that will be shown at Longfield Hall supported by the programme. artistic and business strategy with We Go Again, working with Company member Joel Brown. young people and to continually in Camberwell. Fingers crossed! a highly experienced producer Anthony Van Laast. be involved in supporting the What’s next for you? and provided me the confidence development of our future dance Tavaziva is an NPO to be imaginative and bolder educators. I am currently the organisation, with funding Further information Further information Further information about my work, its presentation @chrisscott1990 www.uchennadance.com chair of the Children and Young hubertessakow.co.uk until 2022 to continue the and positioning without @uchennadance People’s Expert Panel for One @hubertessakow compromising the integrity of my work that I create and Dance UK, where I hope I can art. to deliver our extensive support the sector in delivering education programme. I’m high quality dance and make What’s next for you? currently making my eleventh a positive difference to young I am currently touring with a work Izindava, which will people’s access to the arts. solo enhanced with interactive tour extensively in the UK, digital design, and have created a with aspirations to tour short dance film for film festivals internationally. worldwide.

Further information Further information Further information www.tavazivadance.com www.evemutso.com www.ssco.org.uk/ Photo: Left: The Head Shot Guy; Center: Brian Slater; Right: Steven Wright; Top: Simon Richardson Top: Photo: Left: The Head Shot Guy; Center: Brian Slater; Right: Steven Wright; Photo: Left: Tavaziva Dance; Bottom: Nicholas Dawkes; Right: Robert Perry Photo: Left: Tavaziva @tavazivadance @evemutso @soniasabrico

22 The One Dance UK Magazine | Autumn 2017 The One Dance UK Magazine | Autumn 2017 23 Special Focus on Careers Special Focus on Careers Wales Wide Training Programme connects the community dance sector Tracey Brown, Mentoring,Training and Development Leader From Ballet for Cardiff-based Rubicon Dance, reports on the programme assisting community dance practitioners across the country. to Broadway

The Wales Wide Training Programme The programme has six strands: (WWTP) is an initiative to support the • Continuing Professional Development development of community dance (CPD) events practice and provision across Wales. The • Network meetings involving the programme creates and connects a network community dance sector and key partners of dance professionals, working together • Bursary Award Scheme to support training and professional • Mutual Exchange Programme development for the community dance • Community Dance Apprentice and sector across Wales. The network extends Mentor training to individuals and organisations who are • Best Practice Forum involved in the activities of the WWTP as participants, partners and contributors. The overall aim of the project is ‘to inspire What does it take for a dancer to It is steered by a partnership of thirteen and sustain community dance in Wales organisations who work together to design by providing training in a strategic way, transition from a and organise training and professional responsive to sector need’. Benefits of development programmes being involved include professional to a musical? One Editor Cameron that respond to sector need. development support such as continuing Ball talks to the cast and creatives In 2011, consultation with the professional development (CPD) training, community dance organisations across access to specialist support, encouraging of the West End hit An American Wales highlighted the ongoing need for best practice, and, importantly, reducing sector-networking and exchange; with professional isolation. We find isolation in Paris to find out. affordable professional development to (perceived or otherwise) to be an issue in support quality of practice; and community Wales, and the programme has gone some dance apprenticeships to meet demand for way to addressing this: Leanne Cope and Robert Fairchild in appropriately skilled practitioners. An American in Paris at the Dominion Theatre “The key has been In 2013, thanks to funding from the Arts “As a freelancer based in south Wales often working in isolation, it can be difficult to share collaboration. By working Council of Wales, Rubicon took up the reins and now manages the WWTP on behalf of ideas creatively. Having CPD days provided in together as a sector, we can the sector in Wales. Rubicon is well placed Wales at affordable rates allows community dance There’s no doubt that a career in Wheeldon says the casting coming to an end. I was so excited improve the quality and to do this because of its experience in practitioners to come together and do just that, a ballet company is a demanding process demanded many of the to be cast as the White Cat - I was managing a long-established community with input from specialists in specific areas.” one, requiring acute focus and cast have a professional ballet ready to have my moment in the quantity of community dance apprenticeship programme, as well Participant, CPD training day WWTP dedication, usually from a very background, but not all. spotlight after so many years in dance in Wales. ” as having a dedicated “Mentoring and early age. In musical theatre, Alicia , a member of the the !” The network aims to unite voices, promote Tracey Brown Training” post in-house. the demands are different, with ensemble, trained at Elmhurst Adding to the mix the Working in this way has benefitted the cohesion and partnerships, and create singing, acting and proficiency Ballet School before performing pressures of singing live and community dance sector to develop their a collective mechanism for policy and in other dance styles also being in ballet companies including reciting dialogue, and even tap skills and expand their networks. Former programming of sector-wide professional important. An American in Paris, “I was definitely Ballett Dortmund and Ballett dancing, means that for many Rubicon community dance apprentice and development. now playing at the Dominion looking for a few Zürich among others. She has of the company, this production recent ‘Rising Star Award’ nominee in the Plans are already underway for three Theatre in London’s West End, strong ballet dancers combined ballet and theatre is a virtually new physical One Dance UK Dance Teaching Awards, CPD days which will focus on Dance for blends these two worlds together, styles in recent years. For her experience. Louise Lloyd said, “The apprenticeship Parkinson’s with the support of People and boasts many former ballet in the cast, but I was musical theatre debut, she Leanne Cope was a member with Rubicon Dance has given me a unique Dancing, a Youth Dance focus and a Dance company members in its ranks. eager to mix them went straight into the UK and of The Royal Ballet, and for her for Older People day. We also have an opportunity to develop my skills as a dance Directed and choreographed with great Broadway European Tour of Cats, as Victoria. first musical theatre role was leader within a positively challenging Evaluation Forum planned led by Sue by Christopher Wheeldon OBE, It was perfect timing, she says, originator of the stage role of yet very supportive environment. It has Akroyd. All of these will happen during himself a former dancer with dancers as well. I and a chance to diversify. “After so Lise Dassin (following in the given me the chance to understand where 2017-2018. The Royal Ballet and soloist at figured the crossover many years in Europe, I wanted footsteps of Leslie Caron on my strengths and interests lie within For information on the Wales Wide Training Programme or , it fuses would offer me more to come back to the UK and it just screen). She agrees the role she the community dance sector, and gain CPD opportunities, contact Kathryn Williams or Tracey Brown, ballet with a mix of styles so happened that Dame Gillian plays placed new demands on Rubicon Dance: 02920 491 477 [email protected], invaluable experience with a diverse range [email protected] This was written using an extract of including traditional Broadway variety.” Lynne was auditioning for Cats her body, but now thrives on the

Photo: Paul Whittaker of groups.” a report written by Sue Akroyd (2017) Kenton Photo: Tristram jazz and tap. Christopher Wheeldon OBE when my ballet contract was variety of styles. “For me one of

24 The One Dance UK Magazine | Autumn 2017 The One Dance UK Magazine | Autumn 2017 25 Special Focus on Careers Special Focus on Careers Win Tickets! Maintaining Dancers’ Health We speak to Moira McCormack, company physiotherapist for the An American in Paris cast and The Royal Ballet.

Compared to your work with corps de ballet. In musical theatre This is an all-demanding show The Royal Ballet dancers, we also have ‘swings’, who and so the dancers really don’t what sort of different are performers who need to have much recovery time - only demands does this show be prepared on a daily basis to a Sunday. So they have had to place on the dancers’ jump into different ‘tracks’ if learn how to accommodate, bodies? needed. They need to maintain maintaining regular ballet class Christopher Wheeldon in rehearsal This is not just a ‘musical fitness and strength while they and other exercise to balance the for An American in Paris theatre’ show - it is a demanding are not performing. effect repetition of choreography the challenges was the dancing dance performance and requires has on the body. We have in heels, because of the pressure multiple talents from the Have you seen the ballet installed a ‘gym’ in the theatre that your foot is under as it cast. The ensemble are doing dancers’ bodies change as with weights and equipment for gets pushed to the front of the eight performances per week they adapt to the other styles the dancers to use for strength shoe. I ended up hurting more which demands stamina. The of dance in the show? training, yoga and Pilates. from them than from the pointe We have two top price tickets show is busy from beginning They have developed better The already-practised shoes.” Her body soon adapted, to give away to An American to end with choreographed stamina and have had to learn musical theatre dancers have she says. “Now I love dancing in in Paris. To enter, simply go movement of set, which requires how to pace themselves. It found it easier psychologically, heels: it’s fun and it’s feminine to One Dance UK’s Facebook adjustments strength-wise, and is hard to give your all, all of whereas the ballet dancers and brings to mind all of those or Twitter pages and share/ costume changes (including the time, but the standard of have found it more gruelling. old movies that made me want retweet the pinned post! runs up and down the stairs the performance has to be However, they do find the to dance in the first place.” Enter by 22 September 2017. constantly to change!), with consistently high. Bodies have show artistically satisfying For Max Westwell, an Terms and conditions apply. changes of shoes in the female not changed in look, but they and this, along with the The cast of An American in Paris dancers – from pointe shoes, to have developed in strength in wonderful reception the show ensemble member, this is also at the Dominion Theatre his first foray into the musical For Monday to Thursday tap shoes, to heels. different ways. receives, is really important for theatre world, having previously performances, strictly subject to The stage is sprung (which is encouragement and positive risen to the ranks of soloist with says, “I am dancing a lot in eight shows per week puts a coming months he is combining allocation availability. helpful of course), but it is also What recommendations do thinking. The cast have risen to raked which has taken getting you give them to keep up the challenge admirably. English National Ballet. Becoming pointe shoes in choreography different pressure on the body, his classical commissions Further information used to a new movement that could easily be in one of because you are repeating the with more musical theatre. In An American in Paris is now playing at the used to. The ensemble all have the eight-show-per-week language and style was an Christopher’s ‘rep’ . Then same movement every night. I the works are his staging An Dominion Theatre in London’s West End. different ‘tracks’ (parts) with schedule? Does it take To book or for more information, go to mental resilience as well? interesting challenge, he says. “I in between all of that, I do a tap have one side of my back that American in Paris in Japan, and www.anamericaninparisthemusical.co.uk. different demands, unlike a think ballet dancers have a great number, sing at full voice and is much stronger than the other, a concert version of Brigadoon base already there. You know also dance a lot of the show in because it tends to be that all for the your body and can learn new show girl heels. It puts a big the arabesques are on one side! Encores series. In some ways, things quickly. The discipline you strain on the lower back and I spend a lot of my free time choreographing and directing already have transfers well into a the feet because of the constant doing Pilates and swimming, a show like this was always new skill set.” ‘change of weight’ for the body.” trying to make sure my body high on the list. “I always loved Christopher shares this The cast have regular ballet remains as even as possible.” musicals. I think if I could sing viewpoint. At the helm of this class, understudy rehearsals For Max, who understudies I would have trained that way diverse mix of artists, he was and working notes sessions the lead role of Jerry Mulligan, before . No pipes keen to see this process develop so the consistency of activity, alongside the dancing there here though!” and had faith “that they would especially with the demands of were some different demands, For the cast, while the move all learn each other’s disciplines an eight-show week, remains with the singing expectations from ballet company to musical A LEADING PROVIDER OF quickly - be inspired by one high. Christopher’s classical taking him outside his comfort has been a brave one and not another.” background and demanding zone. “I have been a professional without its challenges, under EXCELLENCE. FUELLING YOUR The rigours of performing choreography means the on stage for 12 years and Christopher’s guidance the eight shows per week, in such workload remains intense. never made a sound until change seems to have been PASSION AND DEVELOPING a mix of styles, means different “I expect them to take class now. Speaking and singing overwhelmingly positive. Leanne pressures on the body. As Alicia every day as they would in a have been a huge adjustment. has been on a long journey with YOUR ARTISTIC PRACTISE AS ballet company. It’s actually a Hearing yourself amplified the show, having starred in the necessity: the show is just too over an audience really takes Paris and Broadway productions, A CREATOR AND PERFORMER. hard on the body without it.” some getting used to!” Having and remains grateful for the Leanne says she found it relished the opportunity to play opportunity it presented. “I was VISIT US, OPEN DAYS 2017 somewhat different performing a leading role, he is broadening not looking to leave The Royal “I was not looking to leave • Saturday 23rd September The Royal Ballet, however such a consistent workload, his scope for future work, taking Ballet, but I knew I had to jump at having spent a career an interest in acting roles. this opportunity. I have absolutely • Saturday 30th September this opportunity came performing a ‘rep’ schedule. Indeed, the musical will loved the fact that I have created • Saturday 14th October around and I had always “The main difference for me, continue to play in London and the stage role of Lise, and that • Thursday 26th October been a big fan of musicals. is when I was working in a rep with a cast change imminent, does not happen very often. I When I found out what company, you are rehearsing for Leanne, Alicia and Max it know how blessed I am and it www.chi.ac.uk/opendays the project was, it was two or three different ballets is time to make decisions to will be very rare that I would get from varying choreographers either continue in this show, to do that again. I love singing something I was desperate in the day, then performing a or broaden their horizons and I love acting, and I look to be part of. ” different one at night. Whereas, and move on to new work. forward to combining these with www.chi.ac.uk/dance | | | | doing An American in Paris Christopher remains busy. In the dancing in the future.” Photo: Johann Persson Leanne Cope

26 The One Dance UK Magazine | Autumn 2017 The One Dance UK Magazine | Autumn 2017 27 Photo: Faye Tan Enriching Creativity Special Focus onCareers 28 28 Somerville He recently chatted withHeadofChildrenand Young People’s Dance, Creatives scheme, developinga OneDance UKproject choreographers. aspiring basedinDevon andLondon.Chappell Dance, Heisanalumnusofthe Young choreographer Richard andfounderofRichard Chappellisasuccessful TheOneDance UKMagazine| Autumn 2017 , about his path from promising youngster to professional dance maker. about youngster, hispath promising toprofessional from Claire Claire

Photo: Top: Gem Ward; Bottom: Matt Austin Special Focus onCareers pursuing this freelance career and pursuing thisfreelance career and If youare really interested in others? you hadtoface that mighthelp Are there any that challenges that sentmeintherightdirection. tandem withtheartisticside,so which verymuchhelpedmein things from otherorganisations, guidance onthepracticalsideof This ledtomore supportand way tosucceeding,albeitslowly. my beliefthatIcouldforge my about youngpeople’svoices. shows, hadanunderlyingfaith McGregor whenhewasatthe Sarah Dowling,andWayne like my Young Creatives mentor practical. Ithinkalotofpeople, that waspossiblenorit own thingbutdidn’treally think programme Iwantedtodomy I thinkwhenwasdoingthe for you? programme openedany doors ofthis Has beingpart done isdone. can justletitgoandacceptwhat’s enjoy thatsensation,becauseyou experience forme.NowIreally before, sothatwasaveryalien my choreography from thefront was. Ihadneverreally seenany of my everydayenvironment. little bitofguidance,outside someone thatcouldgiveyoua someone thatcouldmentoryou, make apiecewithsomeone, because oftheopportunityto things. Young Creatives appealed and findmyownwayofdoing resources toquestionandtry I startedtobegivenmore it. DuringmytrainingatRambert, and whypeoplewantedtowatch questioning whyIwasdoingit I startedtodance,wasalways choreography. From themoment I wasalwaysquiteinterested in experience? apply andhow didyou findthe the 2013 project. Why didyou end of2012 totake in part Creatives –itwas at the application for Young rememberI can your I think it certainly kickstarted I thinkitcertainlykickstarted I justremember hownervous I

world andpeople around me. stay curiousand receptive tothe growing Ihave alwaysneededto who likesdance,buttokeep producer, performer, orperson You canbeachoreographer, to beveryintegralmypractise. nature. Ifindhavingtimeoutside and swimming,walkingin the coastbecauseIlikekayaking, your artisticidentity. Imovedto hard tomanage,defineandforge tours andsoon.Itcanbequite write grantapplications,plan of production where youmust you getthrust intoaworld When youleavetraining, How doyou stay inspired? university there. both afull-timecompanyand two newworksinSingapore for in thenewyear, Iwillbecreating Company atTrinity Laban;then, piece withTransitions Dance I amcommissionedtocreate a Dance inDevon.Thisautumn intergenerational piecewith called SilenceNowandan a Shakespeare basedcompany alongside leadingresearch with McGregor andaUKtour, residency atStudioWayne I recently completedafive-week What you are uptonow? people wantandneedtodo. a choice,anditissomethingthat times, thefactisthatthiscareer is noting thatthere willbetough very hostile,butwhileit’sworth far between.Thebusinesscanbe choreographer canbefewand of asteadyincomeasyoung especially whentheopportunities to catchupwithyoualittlebit, those. Sometimesreal lifehas dance successesandcelebrate on, weverymuchwanttoproject artists usingsocialmediaandso why youwanttoexplainit. about you,whatexcitesyouand talk topeopleabouttheartfirst, understanding thatyouneedto learning curvesIhavehadis to say. Ithinkamongthebiggest belief thatyouhavesomething have tobequiteboldinyourself- lifestyle afterleavingschool,you I think sometimes as young I thinksometimesasyoung

“ Richard Chappell @RChappellDance richardchappelldance.co.uk Further information people, which very much other includes have asenseofgenerosity topeopleand much togive moreimportant back because actually,it isacommunity. It’s I thinkit’s that really you important choreographers aswellchoreographers asaudiences. ” communicating something diverse with consider choreography tobea way of and mutually exchange knowledge. I don’t seeothermakers ascompetition

TheOneDance UKMagazine| Autumn 2017 29 Photo: JK-Photography by Erin Sanchez, Erin by medicine careers: where tofindadvice Dancers’ health, dance science and Special Focus onCareers 30 30 They haveanexcellentguide, of informationinthisarea. (IADMS) isagreat resource Medicine andScience Association forDance and minds. dancers, theirtraining,bodies understand more about and academicsettingsto or workinginresearch other healthcare practitioner, specialist physiotherapistor skills, becomingadance nutrition ormentalhealth using fitness,conditioning, settings withdancers from workingineducational Careers inthisarea canrange performance andhealth. focus onimproving dancers’ medicine andscience,witha are traininginaspectsofdance choreographers andteachers Increasing numbersofdancers, TheOneDance UKMagazine| Autumn 2017 The International The International

Healthier Dancer Programme ManagerHealthier Dancer Programme internships. also welcomeapplicationsfor (NIDMS) partnersnationwide Dance MedicineandScience field. excellent experienceinthis event planning,whichoffer based administrationand focussed oneducation,desk internship orworkplacements Dancer Programme hasregular educator. Dance Scienceresearcher and Senior Lecturer inDanceand case studyof Ashley McGill, of adviceandfeatures agreat Careers inDance and mentorshipschemes. internships, clinicplacements including degree programmes, Dance MedicineandScience, Educational Opportunitiesin The National Institute of The NationalInstituteof One DanceUK’sHealthier One DanceUK’s

alsooffers lots A Guideto

DanceScienceCareersFAQ FAQs: Science and Medicine Dance within and Working Studying comprehensive guideentitled One Dance UKhasa Got morequestions? [email protected] NIDMS [email protected]. Healthier Dancer Programme bit.ly/ODUKCareersGuide A GuidetoCareers bit.ly/IADMS-EducationalOpportunities IADMS Further information

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developments. e-news, sostay tunedformore updates inour member Premium. We willsendregular via thePEandSchoolSports funding allocatedtoschools and £160millionadditional allocated totackleinactivity, of SportEnglandfunding dance sector, with£120million major opportunitiesforthe for dance.There are some and tocreate newmarkets of thehealthbenefitsdance will worktoraisetheprofile communities andgroups. We to peoplefrom disadvantaged make dancemore accessible and weparticularlywantto the potentialtoimprove health inactivity through dance. inequalities andtotackle vision istoreduce health wellbeing ofthenation.Our improving thehealthand the role thatdanceplaysin new initiativetostrengthen & Wellbeing programme: a launched theDanceinHealth Dancing haverecently programmes. in participatorydance study thereturn ofinvestment health economicsresearch to UK intendstocommission a lotmore, andOneDance Dance isphysicalactivityplus up to£8forevery£1spent! treatment costsandsaving illness, cuttingexpensive public money, asitprevents is oneofthebestwaystosave Getting inactivepeopleactive particularly inolderpeople. how dancecanimprove health, from thepublichealthsectorin paths. opportunities forsimilarcareer dancers mayfindexciting for healthandsocialcare, other emerge asmajornationalissues health andsocialisolation As physicalinactivity, mental journey overa30-yearperiod. an interesting andfulfilling it didforme,andit’sbeen a career inpublichealth? Yet choreographer couldleadto working asadancerand Who wouldhavethought Jan Burkhardt by Wellbeing programme Dance inHealth& An update onthe All genres ofdancehave One DanceUKandPeople There isgrowing interest © MerlinHendy SHOBANAJEYASINGH.CO.UK/EDUCATION LEARNING RESOURCE AVAILABLE SEPT 2017 0207 6974446 [email protected] To bookcontact and getafree workshop Book aminimumof10tickets Exclusive workshopoffer: Subject toavailability Sadler’s Wells, London (promo codeSJD) The Lowry, Salford £8 perperson Schools ticketoffer: La Bayadèresearching fortheroots A radicalreimagining of the ballet of theoriginaltempledancer. Sadler’s Wells, London Mon 16–Tue 17Oct Thu 28–Fri29Sep The Lowry, Salford 0843 2086003

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31 Special Focus on Careers Special Focus on Careers Beverley Glean MBE speaks to Heather Benson, Dance of the African Diaspora Re:generations 2016 speech, for individuals and how, with nuances that is so profound; Finally, receiving an honour Hilary Carty talks about how support, those individuals it’s better understood than from the Queen and being (DAD) London Programmer - International Development. To read and listen we keep our trailblazers, the have contributed by feeding speech. awarded an MBE, what people who’ve gone before, back into the sector. I want to develop work that might it mean for dance to the full interview, check out our latest edition of HOTFOOT Online. in the ‘now’. She said we audiences, especially black of the African Diaspora in just simply keep mentioning So with these challenges, audiences, are able to recognise the UK? their names. It really is about how does it reflect in the themselves in. Individuals Personally, one of the issues the small steps and keeping movement or the work will be able to look at the work within the creative sector and/ A Living Legacy pushing to make sure we’re that you do with IRIE!, and get a sense of where it’s or voluntary sector seen and heard. with the Foundation from, why it’s being done, and is that we move so fast. We More specifically, I think it students or the movement what it’s saying. That’s why don’t often get time to sit and is always the issue of funding, vocabulary created with the reggae music and its cultural reflect on what we’ve more importantly about professional company? influences has been the done, what we’ve achieved, opportunity and access. I can The movement vocabulary creative language of my choice. how we’ve managed it and We were delighted to see that Beverley Glean received the MBE for Further Information Check out the latest edition see now that key venues are has always been about the Also, to see a cross section who are the people her invaluable contribution to African and Caribbean dance in the of HOTFOOT online at: beginning to open their doors. dynamics of my culture, as a of young and mature people who’ve held us up to do that. bit.ly/HOTFOOTSpring2017BG UK, so soon after receiving a Lifetime Achievement Award from One Dance UK has a lot to do woman of the Caribbean with from different cultures What the MBE did in a with that in terms of being British experiences. I mean that have been part of the sense was allow me to go One Dance UK’s Dance of the African Diaspora (DAD) programme. present and focusing on ‘diverse within its diversity’ - course, working with African ‘Wow! There are people out Recently, Beverley relaunched the IRIE! dance theatre professional individual talents, allowing how we as a people have been and Caribbean dance there who believe what I do artists to hone their skills, able to fuse and synthesise and forms where they can identify is of value, it has some company to continue the work and legacy of her contributions to while the organisation engages all the time embracing other the synergies and use the significance, and somehow African People’s Dance (APD) in the UK. and partners with key venues influences to create new forms to develop their own it has helped change the for access. One Dance UK’s and fantastic work. The language; it’s a beautiful thing. landscape a little bit or Trailblazers programme interest for me is about change individual lives or demonstrates what a small body language, the form of attitudes.’ For me that’s amount of funding is able to do Caribbean communication heartfelt and humbling. Life’s Footnote ‘Stay Afloat’, dancers Adrian Falconer & Simone Foster Why have you decided that spearheaded a number to relaunch the IRIE! of developments, including professional company? IRIE!’s Re:generations For me, it was never a case of partnership with One Dance IRIE! not performing or being UK. relaunched in the future. The We had no idea it would fact of the matter was that take as long as it has, which within the African People’s is daft really, as we realised Dance (APD) sector there are that we were trying to change so few of us who have the a framework that has existed opportunity to develop and for hundreds of years and a nurture. We wanted to national curriculum operating From Left to Right: His Excellency Karl Hood, Lifetime Achievement address the issue, which since 1988. That’s what took Award 2016 Recipient Beverley we felt was to focus on the the time; making the case for Glean MBE and Jackie Guy MBE CD formal element of APD. how important and critical We considered the huge these developments were demographics of young black and the value it would add to children in our inner city performing arts and education. secondary schools, who were Part way, we realised the interested in dance and were approach needed to be via bringing their cultural and Higher Education (HE). styles to the Now, with our Dance classroom. This wasn’t Foundation Degree (DFD) - in featured nor reflected in the partnership with City and curriculum. Islington College and London So we took on that challenge Metropolitan University - to address the barriers to APD running successfully for eight in formal education. IRIE! years - we felt we’d done a as a performance company lot with the accreditation, had been going for almost 25 development and talking. It years. We knew we couldn’t was time for people to see commit fully to both things. what we were talking about. “It really is about We felt that IRIE! had enough of a profile, therefore we What do you think are the the small steps and could bank it (the professional main challenges facing company) for a while and put the dance sector in the keeping pushing our energies into looking into UK context generally, and to make sure we’re dance and diversity within the specifically with DAD work? formal education curriculum. Sometimes the simplest things seen and heard.” This led to the three-year dance are the things that make

Photo: Left: Carole Edrich; Right: worldofcaptivemedia.com Photo: Left: Carole Beverley Glean MBE and diversity research project the biggest impact. In her

32 The One Dance UK Magazine | Autumn 2017 The One Dance UK Magazine | Autumn 2017 33 V4 EHU UDANCE 2017.qxp_Layout 1 24/08/2017 14:44 Page 1 Special Focus on Careers Special Focus on Careers Trailblazers Starters 2017-18 by Heather Benson, Dance of the African Diaspora (DAD) London Programmer - International Development Trailblazers Starters 2017-18

This past May, One Dance UK’s Dance of Dickson Mbi The Trailblazers Fellowship will Iris De Brito Iris will create a dance Dickson is a world-renowned support Dickson in his research Originally from Angola, documentary that will serve as the African Diaspora (DAD) team, with dancer in the Hip Hop and development for a new Iris trained at Lisbon’s a ‘guide to Kizomba & Semba’ industry partners, selected the 2017-18 community. He has a work which he will premiere at conservatoire of music & for the dance sector in the UK background in jazz, ballet and The Barbican as part of The Pit dance, completed her dance and abroad. Furthermore, Trailblazers Starters. From a highly contemporary dance having Theatre Open Lab Programme. studies at London Studio she will create a non- competitive group of applicants, four trained at Lewisham College, Additionally, Dickson has Centre, and trained intensively narrative dance theatre piece, fellows were awarded the Trailblazers London Contemporary Dance performed with Boy Blue at the with the late William Louther portraying the evolution, School and been mentored 2017 Edinburgh Fringe Festival, Dance Theatre. A dance influences and significance Fellowship, which is part of One Dance by Stuart Thomas. Currently, will collaborate in creating a practitioner since 1995, she of Afro-Luso dance forms UK’s commitment to the continuing he is completing his MA in new work for Zoonation, and is currently working and in a contemporary context. choreography at The Place. tour Asia. researching Afro–Luso dance This new work will premiere professional development of artists and styles. During the Fellowship, during the annual Batuke! the promotion of DAD. Each Fellow is Festival at Rich Mix. awarded a bursary of £2,000 and a bespoke professional development programme. The latter includes artistic and professional mentoring by a leader of their choosing in the dance sector, life-coaching and training in subjects important to running a business such as marketing, fundraising and finance management.

We are proud to support Dickson Mbi, Iris De Brito, Jamaal Burkmar and Zinzi Jamaal Burkmar “The Bursary will support the Zinzi Minott is interested in the space Minott. Read on to find out more about Originally from Leicester, development and creation of Zinzi’s solo and collaborative between dance and art and is their individual projects for the 2017-18 Jamaal trained at the Northern two new quartets. Volume 1 pursuits focus on the creating a habitat between the School of Contemporary is a work about my home and relationships between dance two worlds. The Trailblazers Trailblazers Fellowship. Dance (NSCD) and has been my family. It’s about taking and politics. She is interested bursary will support Zinzi’s commissioned by VERVE, the feeling of listening to in how dance is perceived investigation into the Further Information BA(Hons) Dance ACE Dance and Music’s D’angelo in the car on long through the prisms of race, structures, rhythms and steps bit.ly/Trailblazers17-18 BA(Hons) Drama youth company, and others. journeys or trying to teach queer culture, gender and that appear in Grime dance; Most recently, Jamaal is the my dad to dance to rap music class. Her practice is driven working towards a better BA(Hons) Dance and Drama recipient of Marie McCluskey’s when we were kids on holiday through dance, and her articulation of the movement BA(Hons) Music DanceMakers Fund, the New in Italy. The whole work takes outcomes range from dance developed around Grime. BA(Hons) Music Production Adventures Choreographer these memories and squashes and performance, to live Award and will present his them into a soundtrack that art, sound, and film. Zinzi BA(Hons) Musical Theatre work in a Wild Card showcase inspires the restoration of BA(Hons) Performing Arts at Lilian Baylis Studio – these images into an abstract In spring 2018, there will be a final presentation from the MA Making Performance Sadler’s Wells. piece. Volume 2 is inspired by artists at The Place, London, showcasing the research Jamaal on his focus for the a score being created with my and development throughout the entire year. Please stay Trailblazers Fellowship 2017-18: musician Otis Jones.” connected through our social media networks and website edgehill.ac.uk for latest news on our Trailblazers Starters 2017-18. Photo: Top: Irven Lewis; Bottom: Danilo Moroni Photo: Top: Ayinde Basil Photography; Bottom: Rohan Photo: Top:

34 The One Dance UK Magazine | Autumn 2017 The One Dance UK Magazine | Autumn 2017 35

Special Focus on Careers Teacher Resource CUT OUT AND KEEP A collaborative project exploring neo-traditional African by ‘Funmi Adewole All About Me for Early Years Dissecting Principles Foundation Stage (0-5 years) by Laura Kendal Over the years, my colleague, based on my knowledge of also invited three speakers to talk project. In the autumn we will Judith Palmer and I have Somatic Inquiry to support the about their practices: Mbulelo engage in further studio based discussed, on and off, a common physical understanding of the Ndabeni, Rachael Nanyonjo and research and the outcomes will interest: the aesthetics, skills and dances. Judith, keen on rhythmic Avatâra Ayuso. Around thirty underpin training packages The Early Years Foundation Stage (EYFS) ‘All About • Expressive arts and design knowledge inherent in neo- accuracy, incorporated the dance artists and practitioners for dance teachers, dance Me’ topic is a great opportunity for teachers to get to Making a cube/creating a flower and learning, traditional African dances. When vocalisation of drum patterns attended the event and artists and schoolteachers, know their children, and for the children to start to creating, changing and performing a dance that we found that The Exchange to accompany the learning of generously gave their feedback. the staging of performance were supporting collaborations dance movement. Though some Judith and I are seeking and theoretical articles. Watch discover things about themselves, as they begin their represents their own ideas. between academics and artists, teachers use vocalisation, it is funding to continue the this space! journeys at nursery or in reception class. When this we jumped at the opportunity to an underdeveloped teaching topic is taught through dance, it enables the teacher Lesson structure apply for funding for a project. practice. Working with the to encompass all seven Early Learning goals. Each lesson begins with a warm-up, then moves Dissecting Principles was the dancers and musicians helped onto the main part of the lesson that is based on a outcome. us gauge the effectiveness of the Age group specific stimulus. There is often an opportunity for the Judith is CEO of African exercises. Additionally, from my Early Years Foundation Stage or children aged children to create their own action to add to a dance, Heritage UK and was principal analysis of Judith’s performance 0 to 5 years and then work is shared with peers before a cool- dancer of Adzido Pan-African and teaching in the lab, I devised Dance Ensemble (now closed). a creative task, which guided the down all together. These six lessons form a scheme I am an early career researcher creation of variations of the core- Early Learning Goal that can be delivered as weekly sessions throughout based at De Montfort University, step of a dance, in keeping with • Communication and language a half-term. www.bbo.dance Ensign House, Battersea Reach, Facebook: /bbodance Leicester, researchingEmail: [email protected] ancethe neo-traditionalJuniper Drive style., Lond on Twitter: @bbodance Through learning set dances children are listening other things danceTel :history, 020 8748 1241 FollowingSW18 1theTA labs, in June Instagram: /bbodance to/following instructions; doing creative tasks by Warm-up and cool-down for all lessons choreography and dramaturgy. we held the Dissecting Principles Avatâra Ayuso, Mbulelo Ndabeni, Further Information Rachael Nanyonjo and ‘Funmi Adewole responding to instructions appropriately; working Warm-up - Discovering body parts and counting: Dissecting Principles took the sharing: an exciting, uplifting dissectingprinciples.wordpress.com lead the Dissecting Principles panel cooperatively with a partner to identify parts of the 1. Children travel around the space using either form of three labs in which Judith event. We delivered a workshop discussion Read a blog on the event by Emily taught three dances, a series of on the Ghanaian Agbadza dance Labhart at: bit.ly/Blog-EmilyLabhart body; sharing ideas with others during creative skipping, galloping, jumping, hopping etc. (This can www.bbo.dance tasks; describing others’ actions in a dance change each week depending on the abilities of your meetings and a public sharing. using a teaching method based With thanks to funders My idea was to devise exercises on the outcomes of the labs. We wearetheexchange.org performance. children). • Physical development 2. Teachers can either hold up a sign or call out a Learning parts of the body: during the warm-up, number and a part of the body. The children then learning the importance of physical activity in have to identify that part of the body and put together maintaining a healthy lifestyle and how to be safe the correct number of those body parts, eg.: when moving around the room; showing control and coordination in performance of work. 2 x tummies • Personal, social and emotional development 3 x heads Allows children to try new things, to talk about/ 4 x elbows / knees / shoulders describe other’s work, express their likes and 6 x feet / hands dislikes on their cube or flower and understand 10 x fingers (trick!) www.bbo.dance people from other counties. 20 x toes • Literacy NEW FOR 2017-18 Writing letters and words on their cube or flower. When introducing the warm-up, teachers can • Mathematics emphasise the importance of physical exercise in Musical Theatre Primary Syllabus Counting the number of body parts in the warm-up. maintaining a healthy lifestyle. • Understanding the world Introducing the fun, Looking at pictures of people from other parts of Cool-down – circle time: www.bbo.dance Ensign House, Battersea Reach, Facebook: /bbodance accessibleEmail: [email protected] andJuni pengaginger Drive, London Twitter: @bbodance the world in the extension task, and understanding Children stand in a circle and copy teacher-led syllabusTel: 020 8748 1241 from SbbodanceW18 1TA Instagram: /bbodance similarities and differences between themselves actions at a slow pace. Teacher should move one and people from other countries. part of the body at a time, eg. circle ankle, reach an arm up, raise a shoulder. Teacher wtraining,ww.b bstudento.danc e workshops and repertoire classes

Ballet Ballet Designed to pull out and Tap Tap keep, we will offer fresh Musical TheatMusicalre Theatre ideas for lesson plans for Jazz Jazz various Key Stages in each Modern issue of One magazine. www.bbo.dance For further resources and teacher information, go to

Photo: One Dance UK www.bbo.dance www.onedanceuk.org 36 The One Dance UK Magazine | Autumn 2017

Ballet Tap Musical Theatre www.bbo.dance Jazz v v

Teacher Resource CUT OUT AND KEEP Teacher Resource CUT OUT AND KEEP Creating Dance for Camera for KS4 & 5 and for Youth Companies working with 13yrs+ by Charlotte Conroy-Legge

With young people being constantly stimulated and traditional or idiosyncratic musical forms. The Lesson 1 – Body Parts petals containing information about themselves on it, exposed to videos and social media platforms, Dance intention may be to produce what cannot be for Camera is a great way to engage them and spark conceived in a live performance or to stretch and • Learn and perform a dance based on body parts, eg. favourite book/hobby/sport/toy/game etc. a new means of creating dance. This resource gives condense a multi-media form. eg. Head, Shoulder, Knees and Toes or Dem Bones. • Repeat Head, Shoulders, Knees and Toes/Dem With Dem Bones, move each part of the body in turn Bones, and Dance. an outline of the processes in creating Dance for Camera work. Music videos created by dance artists (usually hip-hop when it is mentioned, then shake hand out in a variety • The teacher then creates a dance with the children’s of different directions during the chorus, eg. to the input. The teacher either rolls the cube or selects one or commercial dance) often use Dance for Camera, right side x 4, to the left side x 4, up x 4, down x 4. petal from the flower and creates an action based on Age group but it is mainly used as another way for dance artists Key Stage 4 & 5 and youth groups/companies to express themselves or tell a story. • Perform this to each other in two halves. Can the the item/activity described with the children’s input. children watching name a part of the body that is The fourth action ends in a still ending position. The working with 13 years or above. being moved as part of the dance? children then rehearse the dance and perform it to Learning outcomes each other. What is Dance for Camera? • To be able to identify key features of Dance for Dance for Camera can also be known as Dance on Camera Lesson 2 – Body Part Bingo! • In Lesson 6, children are given the opportunity to Screen/Screen Dance or Dance for Film/Dance Film. • To produce a Dance for Camera work using your • Repeat the performance of the dance learnt in add to the teacher’s dance. They can select one or lesson 1. two of their flower petals or roll their cube and create Often it is site-specific, set in an interesting location own choreography other than the dance studio, and where both the • Learn and perform a Shake Dance. Shaking (or more actions based on their favourite sport/hobby/ wiggling) each part of the body from head to toe. book etc. Children perform the completed dances dance and camera-work/videography are integral Possible curriculum links to a work. Film, Media, Landscape/Geography • Body Part Bingo! In pairs children are given a sheet to each other in two halves. Can they guess what with six images of different parts of the body, and another child’s action is based on? then six separate pieces of paper with each body part Dance for Camera considers the placement and Use the information above to give knowledge to written out. The children then have to match each Resources movement of the camera, the lighting, the balance students as well as showing a variety of work to word to each picture. When complete, they each Music: A mix of popular upbeat current music for the of foreground and background, and the composition inspire. Search the following on YouTube to look at: select their favourite part of the body from their sheet warm-up and chill-out or classical for the cool-down. within the framing of each shot in the overall and practice shaking/wriggling this. From Lesson 1 - Head, Shoulders, Knees and Toes/Dem choreography (different from archival records of • Horse by Alexander Girshon stage or site-specific dance compositions). Often • SLIP choreographed by Phillip Chbeeb & Renee • Repeat the Shake Dance, but this time at the end, Bones. From Lesson 2 - Shake it Off by Taylor Swift. each pair shakes or wriggles their chosen parts of the Lessons 5 & 6 – You Got a Friend in Me by Randy the choreographer works in collaboration with a Kester body (selected from their sheet). Newman from the Toy Story film soundtrack. composer, cinematographer, editor, and a director. • Elastic Heart choreographed by Ryan Heffington Alternatively, the choreographer may also assume all • Let it Go – Dance | A Break Up Story choreographed Lesson 3 & 4 – Funny Bones Other: Images and words of body parts to play Body those roles themselves. by Talia Favia In preparation for this lesson, the teacher could read Part Bingo; Funny Bones by Janet & Allan Ahlberg; •  Essential Dance Film – The Silence choreographed Funny Bones by Janet & Allan Ahlberg to the children. cut-out skeleton image (all separate parts); template The structure for a dance in this context may be by Nicki McLusky for a flower image with large petals to write/draw on, driven by a kinetic or visual design concept, poetry or narrative, imagery from reality or dreams, • Repeat the dance learnt in Lesson 1. or a paper cube with six sides to write/draw on. • Repeat the Shake Dance but shake the body parts in a different order (each lesson). Possible extension tasks • Lead a discussion on board about the book Funny Understanding the World Bones, and the specific part in the book where the In the classroom – look at pictures of people from other dog is re-built. If possible, re-build a chopped-up parts of the world. Answer questions such as: what do Specialist insurance for skeleton, asking children to come forward and put they look like? What do they wear? Where do they live? each body part in the correct place. What do they eat? What language do they speak? dance teachers • Now perform the Shake Dance in the correct order - from head to toe – and ask the children to name Personal, social and emotional Tailored cover against the risks you face from just £5 a month the body parts in the correct order and perform all In the classroom – identify similarities and differences together. between you and people in your class. Following the extension task related to Understanding the World GET AN ONLINE QUOTE AT WWW.MARKELUK.COM/DANCE Lesson 5 & 6 – Cube or Flower Dance (above), identify similarities and differences between In preparation for this lesson, each child must have you and people from other countries. produced a paper cube or drawn a flower with large Photos: Brian Slater

38 The One Dance UK Magazine | Autumn 2017 The One Dance UK Magazine | Autumn 2017 39 v v

Teacher Resource CUT OUT AND KEEP Dance in Education Manager Amy Swalwell Case Study Louisa Petts (aged 20), investigates how students are standing up for University of Roehampton dance in schools Dance has a voice: how students can

Participants in a Dance for Camera make a difference workshop with Wayne Sables at U.Dance 2016 in schools

Primary and secondary schools, they’ve found studying it at Key In secondary school, competitive and colleges and universities all Stage 4 (KS4). Even if a school community performance platforms Task A Low angle — Shot taken from below facing upwards have children and young does not have a scheme of peer were championed, encouraging Years Watch three Dance for Camera works, decide which towards dancers. people at the centre of mentoring, dance teachers can 7 through to 11 to interact. These their provision. They give use their current cohort at KS4 opportunities effectively provided one is your favourite and write a brief description about Eye level/first person perspective — Shot taken at eye opportunities for students to to speak to earlier year groups. peer mentoring among all age groups, why you enjoyed this film the most and why it worked level or as if looking through one of the dancer’s eyes. change and influence their This can be very powerful, as acting as a promotion for new students well. Try analysing camera shots/angles/effects and Moving shot - The camera is not static and moves own education and experience. young people respect their to choose GCSE Dance. The guidance explain how effective they were. around the dancers. Students themselves can be the peers and are easily inspired by and teaching I received from students voice for dance: ensuring dance them. in the older, more experienced years, Task B: Choosing stimulus/theme Possible Homework remains part of the curriculum, Through Student Voice or built my confidence and encouraged me Brainstorm some ideas in a group. Once a stimulus has Print off images and write a few sentences about why and increasing opportunities for Student Councils, students can to consider pursuing dance in higher education. been chosen, explore what the stimulus means and each one works. the broadening of their dance improve their access to dance, experience through performing their opportunities to perform As a result, I continued to study how to portray it, the number of dancers, location (can and trips to the theatre. or take part in dance activities, Dance at A Level alongside History, be in school/school grounds), actions, key dynamics, Task E In both primary and or improve their equipment English Literature and Psychology. I spacing/levels that may be key to the stimulus, Create your story board (give students a template secondary schools, there and facilities. Students have the was lucky enough to have been a part relationships and any props/equipment needed. to use; boxes to draw in), decide on camera angles/ are schemes such as peer power to influence their school of a passionate and dedicated dance position, what body part (if any) will be shown, mentoring, Student Voice to introduce dance where there department, sporting a wealth of careers Task C any editing effects/camera trickery and what and Student Councils. Peer is no provision. I have personal advice and experience at both universities and vocational training centres. This Working independently, create choreography based on accompaniment will be used. mentoring gives older students experience of this, helping set the chance to guide and inspire up a dance club at my primary ultimately aided me in shaping my own your chosen stimulus and aural setting. (This may need younger students. school many years ago. dance career path. guidance from the teacher over a few lessons). Start filming! Peer mentoring helps Colleges and universities At my university, I am part of the Advise students to film the choreography multiple students who are about to also have methods of letting ‘Programme Representative’ scheme, Task D times from different positions and angles and to think leave, by allowing them to students make change through which is run for all courses with the aim • Visit your location, perform in the space and see about continuity in shots. reflect on their journey in either surveys or programme of using student feedback to better the what parts of the choreography work and what needs school, and share advice to help representatives. resources, facilities and tuition provided. adapting/reshaping to fit the location. Editorial Phase settle new Year 7 students into In the current climate, we At any level of education, being proactive secondary school life and get need to fight to keep dance on with your student voice is imperative in • Take still images/photographs of key actions/gestures Students to upload and edit footage by cutting the the best out of their education. the school agenda. By utilising gaining the dance education and training in the location, trying out different camera angles to movement together so that the film flows nicely. Dance students often have students that are in schools, we you want. best show the movement (think about the stimulus and Then adding the accompaniment to the film, this can the best attributes to be a peer can help those in leadership Throughout my academic career, peer justify why the angle works well). be done before or after editing depending on the mentor - they have excellent see, hear and acknowledge mentoring and careers support have been relationship between music and movement and the communication and leadership what’s important to young key in my professional development Long shot/wide shot — a shot where the entire scene is software used. skills, discipline and can people’s learning. Young people in dance. It is the guidance I received shown, usually taken from far back. confidently provide support. should have a right to a creative through education that prompted me to Additionally, dance students education and by making small continue my studies and seek a career in Mid shot — Closer up than a wide shot, usually all Possible software: Further information can help with promoting changes in every school and See One Dance UK’s Dance dance. dancers can be seen. iMovie for Mac computers/ Windows Movie Maker for dance to younger students, college across the country, we Teaching Pathways chart Close up — Sometimes all the dancers cannot be seen Microsoft computers (overleaf) for help with articulating why they enjoy can contribute to the wider aim progression routes/options and the focus is on one. dance in school and how of making dance accessible to all. on dance teaching careers. Extreme close up — Usually only a body part is visible. Perhaps have a ‘film night’ sharing the students work. Birds eye view/high angle — Shot taken from directly “Through peer mentoring at school above or shot taken from a high angle. I could promote GCSE Dance and encourage the younger years to Aged 15-25? Join One Dance UK and Dance Consortium and become participate.” a Dance Ambassador! Improve your skills, gain expert advice and access our events. Find out more:

Photos: Brian Slater Photo: One Dance UK Louisa Petts, University of Roehampton bit.ly/DanceAmbassadors1718

40 The One Dance UK Magazine | Autumn 2017 The One Dance UK Magazine | Autumn 2017 41 Key

References to key details for A Universities may request B To be a researcher/scholar, C Universities may accept ** Some Level 6/7 qualifications Scotland have been added working towards a teaching one route is to study at experience/expertise over include teaching for inclusive in red. qualification (in house) whilst Master/PHD level in a subject qualifications and request dance. To improve your in a researcher/academia post. specialism. However, there working towards a teaching practice with Inclusive dance: Dance Teaching Pathways Additionally, with a teaching are Higher Education qualification (in house) whilst See: IRIS StopGap, Candoco, post/PGCert teaching Fellowships after completing in post. Magpie , and Section 4 for qualification a university may a PGCert in teaching. professional development. request working towards a Guidance on routes into teaching and qualifications research fellowship (in house).

What is your Which For more information go to Teaching CPD/ starting point? setting do bit.ly/ODUKTrainingGuide Qualification/ Teaching you want to Training Routes Resources/ teach in? Training

1 2 3 4Keep developing your teaching practice and Level 7/8 QTS/GTCS Teacher but As a qualified teacher you need The Level 3, 1st4Sport Higher Education/ Research & Teaching subject knowledge. (Key A) • Doctor of Philosophy (PhD) in subject not a dance specialist resources or a course/training Qualification is ideal for qualified Universities to help give you the tools/ teachers wanting to learn how specialism If you’ve done a Level 6/7 teaching qualification you may want to do a Master’s in Education to Perhaps a PE, Drama, knowledge to deliver dance and to deliver dance or Scotland’s Undergrad and Postgrad Research (Key B) • Masters degree (MA) in subject specialism Performing Arts or feel confidently in doing so. MEd 2nd subject professional courses • Higher Education Academy Fellowships deepen knowledge whilst working. Primary Teacher registration in dance with GTCS. after completing a PGCE/PGCHE See Section 3 for qualifications Teaching (Key C) Continuing Professional Development (CPD) and Section 4 for professional See UCAS and Higher Education Academy development. websites The following are CPD options, without certification Further Education • Day courses As an experienced artist/performer • Post 16 Compulsory • Week courses you have dance subject knowledge Level 6/7 • Twilight sessions Dance Artist to be able to teach but lack Education in College/ • TeachMeet Choreographer understanding of pedagogy. To gain Sixth Form • PGCE Secondary Dance with QTS • Conferences/symposiums this, pick the setting to teach in. • School Direct, School-centred Initial Teacher Performer • NC/HNC/HND Scotland’s Postgrad/MEd in Training (SCITT) with QTS One Dance UK Not a qualified teacher Teaching and Learning (Performing • Diploma in Dance Teaching and Learning/ • Introduction to Primary Dance Arts) and PGDip/MSc in Dance Dance Pedagogy with QTLS • Develop Performance, Composition and Science and Education with GTCS • PGCE/CertEd in Post-Compulsory Appreciation Skills in Primary Dance is aimed at artists teaching in Secondary School/ Education/Lifelong Learning/Further • Delivering Dance at KS3; Creative Responses various settings. Education and Training with QTLS to Feedback in Dance Sixth Form • PGCert in Performance Teaching (option • Delivering a Successful Youth Dance • Key Stage 3, 4 & 5 to get FHEA accreditation to teach in a HE Performance Event • S1-S6 institution) • Creating Dance for Performance • Youth worker Your experiences/talent have • PGDip/MSc Dance Science and Education with • Dance teaching conferences GTCS • Career change given you the right attributes to teach, however you need to • MEd Initial teacher education in dance with For more information contact • Need to upskill upskill your dance knowledge or A qualified primary teacher GTCS [email protected] • Cannot access formal progress into teaching from Level may lack dance subject • MEd Teaching artist in higher education knowledge and can gain (HEA accredited) education (degree or 2 upwards. To do so, pick which setting you’d like to teach in. Primary School this, becoming confident • MEd 2nd subject professional registration higher) • Early Years in delivering dance by in dance with GTCS completing the Level 3 Training • Key Stage 1 & 2 1st 4Sport qualification. See UCAS and Higher Education Academy The following are training options, working • Primary 1-7 websites towards a certification • Safe practice in dance Completing a three year study Graduated from • Child protection and safeguarding gives great knowledge and • First aid University with a BA understanding of dance in its (Hons) in Dance or artistic form/creation/ history/ One Dance UK recommends: culture but doesn’t necessarily Syllabus Teaching equivalent Safe in Dance International - Healthy Dance embed skills of teaching and Private Dance Sector Level 4/5 Practice Certificate (HDPC) learning to qualify students as teachers. To become qualified • Diploma in Dance Teaching/Education pick the setting to teach in. • Diploma in Education and Training (progressive to Level 6/QTLS) • Certificate in Dance Teaching Resources • Certificate in Education/Cert Ed • Lesson Plans (progressive to Level 6/QTLS) • Schemes of work • Masters in Education; Teaching and Learning • Learning frameworks in the Performing Arts (Teaching Artist) Dance BA (Hons) Degree; Community Settings • Assessment documents

See UCAS website for degree providers • Skills Ladder Freelance/Contract work See CDET and UCAS websites • Books and publications

One Dance UK Formal Other Dance • Lesson plans (150+ online) Qualifications Provision Level 3 • Schemes of work • AQA AS/A Level Dance • Dance Leadership Award(s) • Assessment Without Levels at KS3 Dance Compulsory Education • 1st4Sport: Supporting the Delivery of Dance (or Performing Arts) • Arts Award(s) • Dance In and Beyond Schools in Physical Education and School Sport 16–18 years • BTEC/UAL Level 3 Diploma • Graded Syllabus Exams 6-8 • Dance Teaching and Learning: Shaping in Dance/Performing Arts • Youth Dance Performance Inclusive Dance ** Practice (3rd edition) See One Dance UK website • OCR Level 2/3 Cambridge Technical Company • Learning Frameworks for all Key Stages Diploma in Performing Arts • National Centres for Advanced • Publications and books for education and health • SQA Higher Dance or NC, HNC, Training (CATs) HND in Dance or Performing Arts • National Youth Dance Companies For more information contact [email protected] (NYDC, NYDCS, NYDW) Level 2 • Choreographic Schemes • Dance Fitness Qualification • Exercise to Music Qualification • Zumba/Yoga/Pilates Qualification Compulsory Education • AQA GCSE Dance Sport & Fitness Initiatives • Level 1/2 BTEC in Performing Arts Gyms See EMD website 11–16 years • AQA/BTEC Level 2 Technical/ Tech Award in Performing Arts Level 2-5 qualifications can provide a route • SQA National 5 Dance into Level 6/7 qualifications. However, to work in schools and colleges (the formal education sector) you are required to have a undergraduate degree and a teaching qualifications with QTS/QTLS/GTCS).

42 The One Dance UK Magazine | Autumn 2017 The One Dance UK Magazine | Autumn 2017 43 Working together to support parents to continue working and training in OF MUSIC & DANCE CONSERVATOIRE LABAN TRINITY the performing arts sector by Cassie Raine Parents in Performing Arts REGIONAL

In October 2015, myself and carers and parents working in • Self-employed people are a more robust infrastructure Anna Ehnold-Danailov called the performing arts. significantly disadvantaged by to ensure increasing business DANCE DAYS a meeting of performing arts The consortium identified current provisions for childcare resilience and profitability as professionals at the Young the need to begin with the support. well as improve accessibility, Vic in London. The aim was sector we knew the best, • Childcare responsibilities equality and diversity. Do you want to pursue a to discuss whether there were theatre, with the aim of fall predominantly on women, career in Dance? Are you challenges faced specifically moving into dance and music which consequently affects Whilst the data gathered in the in years 11, 12 or 13? by carers and parents working in our second year. There was their career progression first research project specifically in the performing arts. There an urgent need to conduct opportunities. pertains to theatre, there is an Get a taste of training at were over 400 hundred people research and collect data to • There is a tacit working increasing demand to explore the Trinity Laban by taking at that meeting: technicians, ensure that everything we did culture in theatres that challenges and barriers faced by part in a Regional Dance actors, singers, dancers, was industry-led and rooted in disadvantages people with dance professionals with caring artistic directors, employees, reality. caring responsibilities responsibilities and to identify Day near you. freelancers, men and women, PIPA’s firstBest Practice and moreover, that caring sustainable solutions. and over 70 babies. It was clear Research Project, conducted in responsibilities that are not To book or find out more to everyone that a change in collaboration with The Royal for dependent children are In November 2017 the Barbican, please visit: attitudes and practices was Central School of Speech and invisible to employers. Bim Malcomson, One Dance long overdue and so Parents Drama in 2016/17 revealed the The second part of the UK and Parents in Performing TRINITYLABAN.AC.UK/EXPERIENCETL in Performing Arts (PIPA) was following: research project trialled Arts will host a Connecting born. • 81% of self-employed people solutions to address the Conversations event at the We did not predict that just and 57% of employed people findings, at 15 leading UK Barbican. The event will include one year later PIPA would be had to turn down work due to theatres. The outcome of the discussion from the perspectives an established consortium of caring responsibility. research project is the PIPA Best of dance companies, institutions RCS 18 leading arts organisations*, • 66% changed their jobs as Practice Charter which will be and practitioners about GLASGOW campaigning for equal a consequence of becoming launched this autumn: a set of managing caring responsibilities opportunities and access for parents. guidelines that will support in the professional dance world. SAT 21 OCT 2017

* The Parents in Performing Arts consortium is led by , London and includes Actors’ Children’s Trust, Belgrade Theatre Coventry, Birmingham Repertory Theatre, Chichester Festival Theatre, Donmar Warehouse, Dundee Rep Theatre, English Touring Theatre, Equity, Family Arts Campaign, Hull Truck Theatre, ITC, Mercury Theatre Colchester, National Theatre of Scotland, One Dance UK, Spotlight, Stellar Quines Theatre Company and UK Theatre. THE LOWRY SALFORD The day SUN 29 OCT 2017 was brilliant, ELMHURST thoroughly BALLET SCHOOL BIRMINGHAM enjoyed by TUE 24 OCT 2017 all and very DANCE HOUSE TRINITY LABAN inspiring! CARDIFF LONDON Participant, 2016 SAT 10 FEB 2018 FRI 13 JUL 2018 Lucy Hind and her baby Davey

Further information TRURO We want your involvement! For more information about PIPA please visit our CORNWALL website: www.pipacampaign.com or get in 2018 Photo: Brian Martin touch via email: [email protected] #EXPERIENCETL 44 The One Dance UK Magazine | Autumn 2017 Director of Autin Dance Theatre, Johnny Autin, opens up the conversation about “It raises awareness for the students in an exciting sex education and stigma surrounding sexual health with A Positive Life. way that is more stimulating than a talk.”

School Teacher A Positive Life

A Positive Life is an immersive Midlands and beyond. We have in the initial consultation would then feed into our dance theatre, spoken word, environment. For most young collaborators, young people, Further Information dance theatre experience for reached over 700 participants phase, and into this year’s ‘six words story’ exercise, music and choreography people, it was their first and supporters has been a www.autindt.com young people aged 11-24 and audience members from programme of activities. We encouraging the participants making the piece feel genuinely time engaging with such an truly rewarding opportunity @autindt that follows the stories of five May to July 2017. held workshops to explore to share their own stories and experiential, providing many immersive and interactive live for Autin DT. And we are now characters around sex, love We have always been issues around sexual health, self-reflect. ways to connect with each of performance. And the feedback planning the third phase of and relationships. The work passionate about making work sharing sex education stories A Positive Life is an the characters and the themes has been extremely positive. the project which will include comprises a 60-minute dance that is relevant, that questions and discussing a wide range immersive experience; the raised. Teachers and leaders have further artistic development of theatre performance alongside the world around us and that of taboos related to gender, audience mingle among the We quickly realised that also benefitted from another the work along with a national a series of creative and has a lasting impact on our sexuality, body image, sex, performers and the work most young men and women model of delivering sex, tour of A Positive Life. educational workshops. audiences. With this work we consent, and self-love. We happens around them. It also we met had received sound relationship and wellbeing This project is funded by Autin Dance Theatre (Autin are trying to address sexual would start with a physical features elements of audience sex and relationship education education - one which is Arts Council England with DT) recently completed the health stigma head on, with warm-up and some fun interaction and a moving at school but were missing the outside the confines and the support of Birmingham second stage of research and the aim of inspiring young ice-breaker games; setting scenography. Set at a house safe spaces to continue those limitations of traditional text Education Partnership, Arts development for A Positive Life, people to lead healthy and the mood for more in- party, moving red curtains conservations, to ask questions book, video and talk-based Connect, and mac birmingham. visiting six different cities on fulfilling lives. depth choreographic tasks, shape the space, creating and share stories, to talk openly learning. A Positive Life will be presented a 14-date tour to secondary Young people have been movement explorations, different rooms in which the about their insecurities and To develop and A as part of BEDLAM Festival schools, universities, youth at the centre of our creative and conversations. Those scenes, and the stories unfold. think critically about their Positive Life in collaboration 2017 on Tuesday 17 October at centres, and theatres in the West process from the outset; both conversations around taboos The performance combines ever-changing adolescent with our partners, artistic mac birmingham.

Above: Creative Director Johnny Autin leading A Positive Life Workshop

Left: Michael Kelland, Jasmine Gardosi, Jerome Wilks, Katie Albon and Becca Thomas

“The young people, especially during the show, were incredibly engaged. They are not always willing to watch and participate in activities that are outside of their comfort zone, so it was wonderful that you had their attention. Important ideas about sexual health and wellbeing were explored during the day at an appropriate level with all ages and our wellbeing staff team were particularly impressed.”

Carla Priddon

Photos: DDonata Kukyté Programme and Performance Manager, The Way, Wolverhampton Youth Zone

46 The One Dance UK Magazine | Autumn 2017 The One Dance UK Magazine | Autumn 2017 47 Having launched in May with our Trailblazers Showcase at The Place, Bloom What’s National Festival of Dance of the African Diaspora (DAD) is now in full Coming Up? , pollinating the lands with a glimpse of the talent and diversity of practice that blossoms in our communities. DAD South West Programmer, 16 September Funk the Trinity Dance Battle Katy Noakes, gives us her highlights. Trinity Arts Centre, Bristol (Performance & Competition)

22 September Project X – Let’s Move to More Visibility Tramway, Glasgow (Symposium)

29 September – 1 October Afro Dance Xplosion At the time of writing, Bloom This saw Natasha work with Connecting to our work with With special thanks to Rambert, London has hosted eight events with community dance groups to the regional Dance & Museums Bloom 2017 partners: (Showcase & Workshop) ACE Dance and Music partners in Liverpool (Movema devise, rehearse and perform Network established by PDSW, Oyé and Africa Oyé), London around PDSW and Pavilion we hope to continue to create African Heritage UK 9-11 October (African Heritage UK with Gardens. Flooding the grounds and support opportunities for Alleyne Dance Afrika Eye Festival, Bristol Bernie Grant Arts Centre ‘Funmi Adewole, Stopgap and with colour and infectious DAD artists to develop their Bristol Museums (Afrika Eye hosts Trailblazers GDIF, Movema and Southbank carnival energy, the companies practice with museums Dancing Strong starters 2015-16 Rachel MDI Nanyonjo to discuss her Centre’s Africa Utopia and performed and taught and await the outcome of a Movema Bernie Grant Arts Centre), movement from Central and consortium bid to offer two PDSW research project and film in Bournemouth (Pavilion Dance to a joyous throng dance artist residencies with Phoenix Dance 2016) Southbank Centre South West (PDSW) with of spectators and participants. museums. Stopgap Dance More Information Trinity Centre Bristol Natasha Player) and Bristol You can read a blog from one bit.ly/BloomBrochure2017 (Bristol Culture with Adesola of our Dance Ambassadors, Akinleye). Jessica Eades, following the Further information The focus in the South link opposite. Visit our website to read BLOOM related blogs: bit.ly/bloomblog17 West has been on dance in A second South West event the public realm; working so saw Trailblazers Champion Visit Jessica Eades’ website and blog: far with PDSW and Natasha Adesola Akinleye perform bit.ly/Blog-JessicaEades

Left: Ila at Bristol Player as part of the ten-day Ila - her new work which uses Visit Emily Labhart’s website: Museum and Art Gallery outdoor programme Discover, dance to explore museum www.emilylabhart.co.uk

Below: Ithalia Forel Play, Dream: Dance! to deliver collections – at Bristol Museum Read about Bloom Chapter and CPD for DAD at Southbank Centre’s Artists, Dissecting Principles, on Page 30 the Urban Carnival Roadshow. and Art Gallery. Africa Utopia “By planning each Bloom chapter with local partners, we are able to respond to the strengths and interests of the sector in different regions, knitting together a nuanced, embedded and locally grown programme.” Katy Noakes

Left: Bloom Festival “The Urban Carnival 2017, Urban Carnival Roadshow at PDSW’s Roadshow was an Discover, Play, Dream: Dance! festival in absolute joy to host. Bournemouth The pieces captured the Above: An Evening of imagination of people Jazz – Dance and Music at Bernie Grant Arts wandering through the centre park.” Zannah Doan Chief Executive Officer, PDSW Photos: Left: Katy Noakes; Right: Heather Benson Nabirye Mark Simmons; Bottom: Mercy Photos: Top:

48 The One Dance UK Magazine | Autumn 2017 The One Dance UK Magazine | Autumn 2017 49 It’s not about bodybuilding: it’s about building your body, by strength and conditioning coach Nico Kolokythas. Foundation strength for dancers

As we discussed in the article hamstring raises, single-leg on strength training in dance Romanian deadlifts for the in the Spring issue of One, lower body and press ups foundation training does not (or downs), inverted pulls demand specificity; in fact, it for the upper body may be is important to stay away from introduced based on individual dance-specific moves. Dancers competences. need to develop competency Progression in training in fundamental movements is important for the body (squats, lunges, push ups) that to be challenged, however, will prepare them to advance in regression is also necessary, strength training in a safe and in cases of injury or long term efficient way. The focus should inactivity. Training age can be on these big movements and help in determining the level, not on individual muscles. but it is advisable to progress Depending on the current slowly and methodically. Just conditioning status of the as you can’t skip steps in your dancer, chronological and dance training, you can’t in training age, foundation strength training. You need to training can take anything from feel comfortable and safe to four to eight weeks before you perform an exercise before you can move on to the next phase. increase the load or the level of Even though the choice of difficulty. exercises is limitless, promotion An example on how of muscle balance across joints exercises can be progressed or and between opposing muscles regressed can be found in the groups (eg. quadriceps and table below. Exercise specialists hamstrings, gastrocnemius should refrain from prescribing and tibialis anterior) is the weight that the individual recommended. Multi-joint should be lifting according to structural movements and their estimated 1 repetition exercises such as squats, maximum (1RM), as maximal lunges, single leg squats, efforts are not the ultimate aim Goblet Squats with Jade Wallace, Apprentice at Birmingham Royal Ballet

Exercise Level 1 Level 2 Level 3

Squat Goblet* Squat Barbell Front (Zombie) Squat Barbell Back Squat

Single Leg Squats TRX (supported) TRX (supported) Unsupported 1 Leg Down – 2 legs Up 1 Leg Down – 1 Leg Up Single Leg Squats Hamstrings Bench Hamstring Raises Single Leg Bench Hamstring Raises Swiss-Ball Hamstring Raises (Demi Pointe or Heels) (Demi Pointe or Heels) Press Ups Press Downs Press Ups Full Press Ups Go down slowly, use your Start on the floor and try to push knees to get up yourself up, use your knees to go down Step Ups Dumbbell Step Ups Barbell Step Ups Barbell with Hanging Weights

* The Goblet Squat is great for teaching technique to beginners and for major squat movements where weight isn’t the focus. You can use dumbbells or medicine balls. Hold the weight like a goblet in front of you and close to your body, sit down between your legs until your thighs are parallel to the floor, keep your chest out and your upper back tight,

Photo: Nico Kolokythas push the knees and floor apart.

The One Dance UK Magazine | Autumn 2017 51 of resistance training in dance. This promotes individualisation and may last up to 72 hours. Further information Up the Spiral film: bit.ly/UpTheSpiral The rule of thumb is simple; and ownership of the prescribed Resistance should be the last two repetitions (reps) program. increased gradually and Nico Kolokythas (MSc, ASCC) is an need to feel harder than the first Rest between sets should be carefully as strength levels accredited strength and conditioning coach, and the creator of Up The Spiral, two. If they don’t, the weight kept between 30-90 seconds, increase, in order to minimise with vast experience in athlete/dancer is too light. If the dancer can’t depending on the perceived the risk of DOMS. A 5-10% development. He is currently doing a PhD The making of complete the desired number of difficulty of the exercise by overall load increase is in strength and power development for adolescent ballet dancers in Elmhurst Ballet repetitions, then the weight is the dancer. The dancer may appropriate for youth (aged School, via NIDIMS partner University of too much. Jade Wallace, dancer experience muscle pain in the 14 years +) and beginners in Wolverhamption. in Up The Spiral film explains “I following couple of days, this general. Careful and competent started doing Single Leg squats is referred to as Delayed Onset instruction, together with a dancer with two dumbbells of 1kg. Muscle Soreness (DOMS). This correct cueing for alignment Nico used to tell me that this is is the result of overloading the and posture, make supervision simply two packets of sugar, muscle and should not be feared essential at the start. Repetition but I was afraid to increase the or should not be confused with does not make perfect, but weight in case my thighs went an injury. This type of pain, permanent, correct repetition bigger. It was during the first depending on the conditioning creates perfection. An example few weeks that I understood the of the dancer may start 24 to 72 of how the sets and reps could be meaning of load and overload”. hours after a training session progressed can be found below:

Week 1 Week 2 Week 3 Week 4 Week 5 Week 6 Week 7 Week 8

3 sets of 12 reps 3 sets of 10 reps 3 sets of 8 reps 4 sets of 8 reps 4 sets 10 reps 4 sets 8 reps 4 sets 8 reps 4 sets 8 reps

Increase resistance by 5-10% every time number of reps goes down Photo by Nicola Selby

arlequin Floors visited and safety. As professional choreographer to jump and go through your feet as much Liverpool Institute for and LIPA dance graduate Thomas Ashton as you want but if the oor is not providing “The first 4-5 weeks were Performing Arts to  nd explains, “As a dance student you live and you with that shock absorption you will H breathe in these rooms, so you have to feel eventually get injuries”. out how dancers are being probably the biggest challenge: at home and you have to feel safe in your prepared for the future. training environment. The facilities are quite This is where Harlequin Floors comes in. Over the last year alone, Harlequin has the exercises were simple but On a Harlequin exclusive tour around LIPA possibly the most important part of the decision-making process.”  tted several studios at LIPA. When asked with Head of Dance, Sarah E. Baker, it was why Harlequin Floors were chosen, Sarah still challenging in order to get clear why lead patron, Sir Paul McCartney This wisdom on health and dancer safety Baker put it simply: “Harlequin makes a very named the school ‘one of the best alignment correct. Now, five has clearly been successfully imparted to safe oor and it’s imperative for all of our performing arts schools in the world’. LIPA the students, such as Myles Harper, who students to maintain a healthy body”. months later I understand the is on point with its priorities. Not only are stepped away from rehearsals in one of the the facilities state-of-the-art and designed many studios  tted with Harlequin Floors, to LIPA is proof that a dancer can only be as importance of those weeks. You with student safety in mind but the teachers talk about the importance of a good oor: good as the oors they are dancing on. feel you want to fast forward give students the freedom to be individual “We come in early in the morning and go Their investment in the highest quality and unique, whilst providing the versatile home late at night so sometimes we are facilities and their devotion to preparing training to make them employable dancers tired. The oors in this studio are amazing. students for a successful career is what time but you simply can’t, you with bright futures and long lasting careers. Being a dancer, means you’re doing a lot of makes this school such a success. And for have to persevere before the The students are pushed and encouraged to jumps, a lot of leaping around and you need Sarah, Harlequin Floors plays a huge part in be the best dancers they can be, but there to know that the oor is cushioning enough this: “When I think of Harlequin Floors I think fun times come with resistance is no compromise when it comes to health to be able to take your weight. You can learn of high end professionalism”. training.” Jade Wallace, Apprentice at Birmingham Royal Ballet LONDON LUXEMBOURG BERLIN PARIS MADRID For more information or samples please LOS ANGELES contact us on freephone 0800 28 99 32 PHILADELPHIA or enquiries@harlequin oors.com FORT WORTH SYDNEY Barbell Step Ups with Jade HONG KONG Wallace, Apprentice at www.harlequin oors.com TOKYO Photo: Nico Kolokythas Birmingham Royal Ballet

52 The One Dance UK Magazine | Autumn 2017

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54 The One Dance UK Magazine | Autumn 2017

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