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How does an independent theatre producer ever get started? Well, consider this: any show needs investors. Investors need convincing with an attractive proposition, which means a strong creative team and an attractive cast. They need convincing too, which probably necessitates getting a theatre on board. How do you do that? Well, it helps to have investors and a decent proposal. How's that for a pile up of Catch-22s?

Of course, it's never as neat as all that, but producing - particularly as an independent - hinges on contacts and the confidence of others, both of which must be earned. You're responsible for almost every aspect of a production, from casting to contracts, all of which require a certain know how. That comes from experience and, as a new producer, it's the one thing you don't have.

Producer James Quaife remembers these conundrums well. Starting out, he repeatedly met with scepticism from established industry figures: agents would question his age and inexperience; investors would ask him to come back to them in a few years, with something bigger and better. He had to ask actors to work at reduced rates. "It's difficult to get people to trust you," he says. "You have to have a catalogue of work - a track record."

Four years on, the 28-year-old is co-producing his first major West End show, Barking in Essex, a new comedy starring Lee Evans and Sheila Hancock. It's a phenomenal opportunity for an emerging producer, made possible by a £50,000 start-up fund (the biggest ever) from Stage One, a charity that supports producers early on in their careers.

"The jump between the fringe or off-West End to the West End is a substantial one," explains Stage One's chief executive Joseph Smith, himself a commercial producer by day. "Mostly that's about money. You can produce a show in a 100-seat theatre off-West End for anywhere between £10,000 and £25,000. You cannot do it in the West End, even in a small theatre, for much less than £350,000."

The start-up fund is designed to make that jump possible. Applicants undergo a rigorous interview process and must match any investment with money raised independently. For that reason, it's only open to producers who have already completed other Stage One schemes.

Quaife has completed the full set, from a three-day intensive workshop about the basic principles of producing, to a long-term mentoring relationship with established producers. He was mentored by Carole Winter and Michael Edwards of MJE Productions, the commercial outfit behind Ghost the Musical and What the Butler Saw. As a result, he heard about a new play in development, Barking in Essex, and after attending an early rehearsed reading, Quaife approached Winter about getting involved. "It was a great play and I could see the commercial potential," he recalls.

They offered him the role of co-producer. But to accept he needed financial capital. "Money talks in commercial theatre," explains Smith. "You don't want loads of different voices around a table; you want a couple of key voices. The more capital people take on, the fewer voices around the table and the more efficient the process."

However, even in the last few years, the requisite sum has increased. A number of factors - the increasing commercial clout of subsidised theatres, the ease of Broadway transfers and an abundance of musicals - have made the West End more competitive than ever, according to Smith. "Even three years ago, a co-producer would need a combined investment of between £50,000 and £75,000. For James to feel like he had a seat at the table, it needed to be £100,000." As such, Stage One have doubled the maximum start-up fund available to £50,000. Quaife is the seventh recipient since the funds began three years ago.

To guarantee that money, Quaife must match the investment - and as Smith stresses, it is an investment rather than a donation or prize, capable of generating a financial return for Stage One. Intriguingly, Quaife has found convincing investors easier than on smaller-scale productions: "You mention the names involved - the creative team as much as the cast - and suddenly people sit up and take note."

The key, says Smith, is to afford the new producer "a voice at the table. Carole and Michael have put James in a position where he's their equal." Quaife is fully involved in the decision-making process, providing invaluable experience at a completely different level. For example, where marketing budgets for fringe and off-West End productions are either non-existent or very small, Quaife says he has "to understand money and publicity on a much bigger scale. There's a lot more to get wrong or right."

Smith points out that while increased competition has not put investors off, it's forced producers to work harder to entice audiences. "We're having to constantly invent new ways of reaching out with discounts and packages." Producing, in other words, has never been harder.

Not that Quaife's going it alone. "There's safety in working with established producers that know what they're doing," he says."Money aside, Stage One provide this stamp of belief and, in this industry, that can outshine capital." Smith notes the benefits to the mentors as well: a new working relationship with "the producing partners of tomorrow".

However, it's not all without risk. Quaife was encouraged to take liability for the production. Should funds run out before the show's contract with the theatre expires, he'll have to cover the costs himself. Fortunately, that's rare - "like an airplane falling out of the sky," jokes Smith - but it rather ups the stakes. "I feel much more empowered as a result," Quaife explains. "It's daunting, but everyone else does it."

And as Smith says: "There's no textbook for theatre producers. Ultimately, you can only learn it on the job."
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How does an independent theatre producer ever get started? Well, consider this: any show needs investors. Investors need convincing with an attractive proposition, which means a strong creative team and an attractive cast. They need convincing too, which probably necessitates getting a theatre on board. How do you do that?

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Producers - are they there to run your show or pick up your dry cleaning? The movie industry would never manage without them, likewise the theatre. But in the dance industry, especially in New Zealand, employing a producer is more-often seen as a luxury, something to aim for but not essential to mounting a dance work. Steadfastly adhering to the Kiwi 'can do, No 8 fencing wire attitude', the producing role is just added to the choreographer's duty list, or distributed piecemeal among other helpers. The results, as anyone who has experienced this will tell you, creates at best a split personality, at worst - burn out.

Gradually this mindset is being seen as outmoded, and the considerable advantages of bringing a producer on board are being recognised. But old patterns are hard to change, and choreographers are sometimes unwilling to drop control of the reins, leaving many able producers under-utilised.

Probably the most famous dance producer of all time was Russian impresario Diaghilev. A highly creative genius, he drew together some of Europe's most original and talented choreographers, dancers, composers and designers to create a fabulous array of modern ballets that transformed the art form forever.

Such flamboyant brilliance belongs to early 20th Century Paris for sure. However a century later, by employing talented producers and allowing them full scope, choreographers can fully realise their creative vision's potential and reach and retain a substantial audience.

Matz Skoog, former artistic director of the Royal New Zealand Ballet and the English National Ballet, now an independent ballet teacher and consultant, says that the role itself is somehow indefinable and depends to a large part on the relationship between the creative party and the producer.

He says "You can't really write a job description for a producer. It can't be a fixed, definitive position. It depends entirely on the circumstances. I know the responsibilities and functions that a producer can potentially fill, but there are a whole range of activities as I see it. It can be anything from an administrative flunky to someone with a very definitive, creative input into a new piece of work - the level to which that happens has entirely to do with the relationship between the two parties."

He said the role also varies according to the situation and the genre of the work, but it is important first to define its various domains.

"If you want a producer to be an impresario, an adjunct to the creative process, you have to allow the producer certain control over the work because they are going to put up the funds perhaps, or set up the theatres, the touring circuits, identify the audience that they want to sell the product to. In this case the producer function is actually one that becomes more influential."

"If you are looking at a typical Broadway/West End type producer you are talking about someone with a lot of influence and power. If a project is their initiative they will be looking for someone who can create the work they envisage and expect an extensive amount of input into that work. This is only fair if they are actually obtaining the funding, setting in place the infrastructure."

Matz says that in arts institutions such as a ballet company, the infrastructure is set up as a production-enabling function and the producer's role is well defined - often spread over different people. "It is partly administrative, marketing, production functions and so on. Each member of the team will be making their contribution towards enabling a new work or any work to be put on stage."

"In these companies, the process of selecting work takes into consideration a broader function than the creative desires of one person; you have an established audience; a certain way of doing things that has to be followed."

For small companies or independent choreographers, ballet or contemporary, these enabling structures are more often not in place, so self-producing becomes an option. Susan Jordan, manager of DANZ in Auckland, says that she definitely does not advocate self-producing. "On the other hand, you may have to if you have no money to pay anyone."

Regardless, she says, it is important that all choreographers know what producing entails. In her career as a choreographer she never fully utilised producers. "When I engaged producers, I still kept control of so many things it must have frustrated them! I kept control of the money, all the decisions, rehearsal schedules. Now these seem like small things, but in fact if a producer can do them they feel more in control and contribute more. I never clarified the roles; basically all I really wanted was a publicist and a marketer. The producer role is far bigger than that. A producer needs to be empowered and if they are not, they are actually just becoming a gofer - do this, do that - do whatever."

Susan sees the role of the producer for independent choreographers as clearly defined, and has devised a chart where she lists 15 direct responsibilities that a producer might fulfil. These include budgets and cash flows, sponsorship, rehearsal schedules, marketing through to front of house, tax and GST. She says if a project is the brain-child of a creative artist then they should choose a producer they feel is appropriate for their way of working. "If it proves to be a team that works well, it can become on-going."

A key role, she says, is that they take the responsibility away from the creative artist. Doing both choreographing and producing, she says, is like splitting your mind; especially when it is a new work. They are not complimentary roles "You are in the creative process and your brain gets drained away to the producing side. This impacts greatly on your creative output; it is an inhibiting factor. You come into a very deep philosophical discussion - what is the nature of creativity. When you are in the process of creating, it is very right brain; you need to be in the zone where you can channel things." She says after working creatively, if you then have to come out of that stage and turn your left brain on for the producing, it is draining. I think it is that deep."

Susan believes that it is vital that the producer is brought in at the beginning; as soon as the choreographer's idea moves from the creative book or mind to 'yes I am going to make this a reality'. "I have never expected my producer to ever take the financial strain, but a lot of producers, especially if they are part of a company, are willing to that."

How a producer functions also depends on a producer's style of working. For Felicity Letcher, who successfully produced Michael Parmenter's 2008 season TENT, it was the first time she had worked in the dance world. Coming from an experienced background producing in theatre, comedy, TV, film and commercials, she has developed her own approach and ethos to producing.

She works in a highly collaborative way. Her approach is to sit and talk for a long time with the director or choreographer and understand what they are trying to achieve. "With a dance work, it is a little different from working on a normal theatre piece where you have a script and you know what the work is in many ways. With dance you are actually developing something, possibly from the word go."
Read Part 2: Producing - A Passionate Commitment

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Producers - are they there to run your show or pick up your dry cleaning? The movie industry would never manage without them, likewise the theatre. But in the dance industry, especially in New Zealand, employing a producer is more-often seen as a luxury, something to aim for but not essential to mounting a dance work.

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FAROOQ CHAUDHRY
Farooq Chaudhry has been working with Akram Khan since 2000 and as a producer for English National Ballet since 2014.
I became a producer through a beautiful accident. I started out as a dancer, and always loved the process of making work, sometimes more performing it. Then for a while I was a dance manager, working with choreographers Russell Maliphant, Charles Linehan and Aletta Collins. And though I found I was quite good at raising money and finding co-producers, I missed that connection with the creative process.

Then I met Akram Khan in 1999. He was a solo dance artist interested in becoming a choreographer, I was an ex-dancer interested in process, and we were both fledglings, discovering what we were doing. The alignment was perfect. I calling myself a producer rather than administrator or manager when I began working with Akram. My priorities shifted onto the production itself rather than managing the people and organisation around it. It's a step closer to the artist. To the art, actually. I always say to Akram: I don't serve you, I serve the art; you are part of that process.

A producer needs endurance and conviction. You need to believe in the art first. If you have the belief, you then need endurance, because building the framework to realise it can be very fragile and unpredictable.

I love having a lot of input in the production. Sometimes it's hard to pinpoint what idea came from who, because we're so closely involved in those discussions together. One of my biggest roles is in the final stage of creation, as an editor. I used to be more involved throughout, but when you do that you begin to accept the flaws in the work, or not see them, or maybe even fall in love with them. So it was good for me to maintain more distance during development and play a bigger role in the final edit.

A producer has one eye on the art and one eye on the money, but there's also a third eye which senses where you are in the world

One significant change since I started is the world around us. A decade ago, no one was working with simultaneously in China, America, the Middle East and Africa. It happens a lot more now. Our technology and mobility enable contact with a bigger pool of cultural riches. It's a reflection of what's happening globally. A producer always has one eye on the art and one eye on the money, but there's also a third eye which senses where you are in the world. So you have to be aware of that broader context, whether it's dealing with cultural perceptions or watching global currency markets to see how they affect your contracts. You have to be that plugged in to stay ahead.

But that's what I love: this wonderful interplay between the artist, yourself and the outside world, which you're constantly trying to make sense of.

KARTHIKA NAÏR
Karthika Nair is an Indian-born, Paris-based dance producer, whose longest and closest collaboration (2006-14) has been with Belgian choreographer Sidi Larbi Cherkaoui.
When an artist demands an elephant on stage the producer is the person who replies: African or Asian? She's also the person who may have to say, some weeks into rehearsal, "Can we use a stuffed elephant or a video projection on tours? Otherwise this beautiful show will have such a limited life." It sounds like an analogy, but it really happened.

When an artist demands an elephant on stage the producer is the person who replies: African or Asian?

I became a producer by accident. I was a journalist in Kerala and found myself working at the Alliance Française there, almost accidentally. I ended up handling fundraising, management and production, before even knowing what those terms meant. It was only later, while studying arts management in France, that I discovered a full-fledged sector.

The reason I started in contemporary dance was, ironically, because I knew nothing at all about it. I had worked with world music festivals in my first years in France. When I got hired at the Centre Nationale de Danse, it was because the department director wanted a solid production manager who was totally hands-off about the artistic programme. And what I didn't know about, I couldn't interfere with.

In fact, the CND was the best place for me to discover dance. I got to see so much, and it has amazing archives. When I moved to become head of programming and production at the National Museum of Immigration, we commissioned a multimedia dance installation by choreographer Sidi Larbi Cherkaoui, whom I had met while at the CND. The next year, I joined Larbi as his manager, then we founded Eastman, his company, together.

The producer's job is to bring in the resources to realise the artist's vision. Not just financial and practical resources, but also the right artistic and technical collaborators, the right support system. Apart from big ballet companies, which have their own theatres, guaranteed budgets and permanent teams, dance companies in Europe wouldn't survive without co-producers. They usually give a defined sum of money, or resources in kind, or both. It's more than an investment; it's a crucial means of support.

It is equally important to choose the right venues with your choreographer. You need to identify and ensure the proper setting for the work, position it well. Stay unruffled, and proactive - always have Plans B, C and D, because you are constantly faced with imponderables. And often, you have to be the 'translator' (and sometimes buffer) between your artist and the team.

Above all, you need immense conviction. You need to understand the work, warts and all, to defend it with honesty, and to develop a shared vision with your artist. That is vital, because you really have a lock-and-key relationship with the artist. There are many wonderful artists that I'd probably be a lousy fit for. But when you are completely in synch with your artist, it's incredibly fulfilling. To see what an idea can become, to enable something so ambitious, so beautiful and so much in resonance with your own beliefs - that's one of the biggest highs I have known.

ANAND BHATT
Anand Bhatt works as a producer with contemporary kathak artist Aakash Odedra.
I didn't plan to become a dance producer. At the age of 12, actually, I thought I would become a Michael Jackson impersonator - which is when my parents, in their wisdom, sent me to kathak class. In 2007, when I was working in the charity sector, Aakash Odedra and I were both part of a performance for Keith Vaz's 20 th year in office. I was absolutely awful. Aakash was brilliant. I came out and said: I will never dance again - but if I can help Aakash, that would be fine.

That's what I did. I wasn't really aware of what managing or producing was, even though I had already managed some large-scale community dance projects, and produced three commercial Michael Jackson tribute shows. The biggest was MJ Timeless at the Blackpool Globe Theatre: 46 dates in 6 weeks. Everything looked fine on stage, but offstage was a different story. I worked with two other producers, and there was a real clash in our outlook. It was a huge learning experience. I think the crucial thing we lost was clarity of vision.

A producer helps make something happen - in practical terms, of course, but also through ideas. For example, Aakash's Murmur (2014) came about after I got in contact with science and media technology group Ars Electronica. We talked pretty open-endedly about how the intricate details of ancient Indian dance, visible in temples and courts, were lost on vast modern stages, and technology's ability to blow things up larger than life - a kind of warped and exaggerated reality. Meanwhile, Aakash started thinking about exaggerated and warped realities, and something clicked: that was how he experienced dyslexia. That became his starting point for the piece.

promoters and programmers can be very choosy... But you need to choose well too.

You don't serve the artist, but the artist's work. On one hand, you are very close to the artistic practice, so the relationship with the artist is central. Your ideas and ambitions need to match. You need to articulate that vision to prospective partners such as promoters and programmers. They can be very choosy about who they want to work with and why. But you need to choose well too.

On the other hand, positioning is very important. With Aakash, I looked at where we wanted to go, and I looked to the top. I felt that the best people for him were in contemporary dance, because the South Asian dance sector is significantly more financially limited. So we went to international contemporary dance fairs, and Aakash got seen. The results weren't immediate, but it was worth it. And I learned who the people were and how they work, and I continue to talk to the best in the sector. I didn't know anything about contemporary dance when I started, but I have found it very embracing, open to influence by other genres and able to evolve organically. That's what makes it so exciting to work in. You always feel you're doing something new.

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Make it happen: the role of the dance producer *

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Farooq Chaudhry has been working with Akram Khan since 2000 and as a producer for English National Ballet since 2014. I became a producer through a beautiful accident. I started out as a dancer, and always loved the process of making work, sometimes more performing it.

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Getting started with arts marketing - CultureHive

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This guide offers a broad introduction to arts marketing, with the aim of supporting any organisation or artist working in the arts.

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We help you deliver on the triple bottom line – your artistic vision, social purpose and business resilience

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Introduction to Theatre Production Management (Online Workshop)

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Make Work Digital (online workshop) with Ben Pugh

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Make Work Digital (online workshop) with Ben Pugh

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Here you'll find FREE resources we've made for freelancers working in the creative and cultural industries - if you find any of them useful, please share on social media.

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"arts council england" "arts culture" "arts funding" artsmark

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We are the national development agency for creativity and culture. We provide funding, resources and more for individuals and organisations to help bring creativity and culture to doorsteps across the country. Twitter: @ace_national Instagram: @aceagrams TikTok: @artscouncilengland LinkedIn: linkedin.com/company/arts-council-england Facebook: facebook.com/artscouncilofengland Website: artscouncil.org.uk

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Support for arts freelancers to get stuff done. Affordable training, free resources and blitz sessions covering ACE Project Grants, arts fundraising, producing and more

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Support for arts freelancers to get stuff done. Affordable training, free resources and blitz sessions covering ACE Project Grants, arts fundraising, producing and more

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resources: Arts Council England

​All of our resources related to Arts Council England can be found on this page. These are the tools we use to make our producing and fundraising easier, and hopefully they're useful for you too.

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​All of our resources related to Arts Council England can be found on this page. These are the tools we use to make our producing and fundraising easier, and hopefully they're useful for you too.

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We are the national development agency for creativity and culture. We provide funding, resources and more for individuals and organisations to help bring creativity and culture to doorsteps across the country. Twitter: @ace_national
Instagram: @aceagrams
TikTok: @artscouncilengland
LinkedIn: linked…

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Welcome to Arts Council National Lottery Project Grants

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Without Walls: 10 years of excellence in outdoor arts

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Case Study: Open Sky's digital journey from creating digital content to setting up eCommerce

Open Sky Theatre is a small theatre company with big ideas based in rural Herefordshire, combining new writing with physical and digital theatre to tell powerful, moving stories based on real world events. Read on to find out how the Digital Culture Network supported Open Sky's Digital Director, Lisle Turner, in reimagining the organisation's digital strategy. Case study from December 2020.

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Case Study: Open Sky's digital journey from creating digital content to setting up eCommerce Open Sky Theatre is a small theatre company with big ideas based in rural Herefordshire, combining new writing with physical and digital theatre to tell powerful, moving stories based on real world events.

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Investment Principles Resource Hub

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What are the Investment Principles?

In Let's Create, our strategy for the next ten years, we introduce four Investment Principles: Ambition & Quality; Dynamism; Environmental Responsibility; and Inclusivity & Relevance.

The Investment Principles are a family, interlinked and designed to be used together, informing the development of well-run, future facing organisations and individual creative practice. They are most effective when applied as a whole, but to help understand them, each Investment Principle is organised into three core features which provide you with the detail needed to help you apply them in your context.

When applying to the Arts Council for funding, depending on the scale of investment you are applying for, we will be interested in how you are embedding the Investment Principles in your project or organisation. The resources below share more information about our Investment Principles and how you could begin to embed them into your organisation and activity.

This animation exploring the Investment Principles and our Essential Reads are a good place to get started.

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What are the Investment Principles? In Let's Create, our strategy for the next ten years, we introduce four Investment Principles: Ambition & Quality; Dynamism; Environmental Responsibility; and Inclusivity & Relevance. The Investment Principles are a family, interlinked and designed to be used together, informing the development of well-run, future facing organisations and individual creative practice.

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When you are finished, you can generate a report on one evaluation or comparing several.

You will be asked to assess your performance and how important the issue is at this point in time and you can also add notes. Taken together these measures show where you are currently performing well, and where your priorities for improvement are.

Your evaluation is private. While we will know how many people use the tool, we can't view the details of the evaluation itself.

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When you are finished, you can generate a report on one evaluation or comparing several. You will be asked to assess your performance and how important the issue is at this point in time and you can also add notes. Taken together these measures show where you are currently performing well, and where your priorities for improvement are.

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Part 3 Investment Principles Getting to Grips with the new ACE Project Grants Christina Poulton Creative-2

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ACF Webinar - cultural placemaking (1).pdf

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ACF Webinar - cultural placemaking (1).pdf

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ACF Webinar - cultural placemaking (1).pdf

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APPG AHW Webinar - Young People, Co-production, Creativity & Mental Health Services

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APPG AHW Webinar - Young People, Co-production, Creativity & Mental Health Services

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APPG AHW Webinar - Young People, Co-production, Creativity & Mental Health Services

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Welcome to the Community Business Patchwork Hub!

Join for free and catch up on all the latest news from the network.

Connect with others, share your views on the members forum, upload your own news and stories about your community business.

This group is run by and for community led businesses in the UK. It is about solidarity, inspiration and practical peer support.

We are stronger together.

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Welcome to the Community Business Patchwork Hub! Join for free and catch up on all the latest news from the network. Connect with others, share your views on the members forum, upload your own news and stories about your community business. This group is run by and for community led businesses in the UK.

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Tuckshop Dance Theatre develop innovative practice to amplify youth voice, stories of humanity and issues of global concern, with a commitment to excellence and diversity. We work with people to shape cultural learning opportunities and meaningful experiences to transform people's lives. We empower young people to celebrate their individuality, organise and express their creativity through shared lived experiences. We celebrate the power of young people and creative practice to lead change, ideas and actions that connect people, give back to their communities and ignite the spark for life long cultural learning. We recognise that all of our values are iterative, active and creative processes. Diversity Authenticity Curiosity Empathy Flexibility Collaboration Kindness

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Tuckshop Dance Theatre | 342 followers on LinkedIn. We help people to learn, develop and thrive through cultural experiences, learning and participation programmes | Tuckshop Dance Theatre develop innovative practice to amplify youth voice, stories of humanity and issues of global concern, with a commitment to excellence and diversity.

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Community Practitioner's Network

The Community Practitioners' Network (CPN) brings together community practitioners from across the UK. It provides an informal space where people come together, reflect and listen to each other's experiences. It also provides expert input and guidance through guest lectures and webinars as well as informal networking opportunities and wider issue based discussion groups.

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The Principles of Practice have been developed to guide all those involved with community organising to understand and share the same behaviours, actions and approaches.

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Principles of Practice - Community Organisers

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This site uses cookies. By continuing to browse and use the site you are agreeing to our use of cookies. The Community Practitioners' Network (CPN) brings together community practitioners from across the UK. It provides an informal space where people come together, reflect and listen to each other's experiences.

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Webinar 2

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Business Planning Digital Retreat Webinar 2

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Download print friendly
By 2030, we want England to be a country in which the creativity of each of us is valued and given the chance to flourish, and where every one of us has access to a remarkable range of high-quality cultural experiences.

Let's Create is the result of nearly two years of evidence-gathering and consultation with people working in museums, libraries and arts organisations, the public, our stakeholders and our staff.

The Strategy centres around three Outcomes which we will work to deliver over the next decade:

Creative People: Everyone can develop and express creativity throughout their life.

Cultural Communities: Villages, towns and cities thrive through a collaborative approach to culture.

A creative and cultural country: England's cultural sector is innovative, collaborative and international.

To achieve these the Arts Council and the organisations and people we invest in will need to adapt, steered by our four Investment Principles:

Ambition & Quality: Cultural organisations are ambitious and committed to improving the quality of their work.

Inclusivity & Relevance: England's diversity is fully reflected in the organisations and individuals that we support and in the culture they produce.

Dynamism: Cultural organisations can thrive and are better able to respond to the challenges of the next decade.

Environmental Responsibility: Cultural organisations lead the way in their approach to the climate emergency.

By committing to these Investment Principles, we believe organisations will be able to deliver the Outcomes and provide even greater benefit to the public.

In spring, we will publish our first Delivery Plan, that will include a set of priorities and detail how we intend to deliver the Strategy for the period 2020-23.

Looking for a different format?

Our strategy for 2020-2030 is also available in large print, audio, BSL, Easy read and Braille.
Find the version you require >

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Download print friendly By 2030, we want England to be a country in which the creativity of each of us is valued and given the chance to flourish, and where every one of us has access to a remarkable range of high-quality cultural experiences.

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Fundraising 101: What to think about before applying with Gemma Rooke

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'Stay Strange' - Tim Crouch caravan provocation

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How changing your story, can change your life.

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How changing your story, can change your life.

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Lori Gottlieb: How changing your story can change your life

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Stories help you make sense of your life -- but when these narratives are incomplete or misleading, they can keep you stuck instead of providing clarity. In an actionable talk, psychotherapist and advice columnist Lori Gottlieb shows how to break free from the stories you've been telling yourself by becoming your own editor and rewriting your narrative from a different point of view.

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My advice to my younger self would be to take care of the things you take with you: the memories/ feedback that you categorise as the most important, that you will in turn spend the most time thinking about and using as a motivator to propel onwards. Be wary of the instinct to collect primarily the difficult experiences, offhand remarks and criticism - notice as they burrow underneath your skin and live within you. These things will spur on reactionary decision-making and yes, you can grow and learn from areas of weakness/ perceived weakness, but could you also find time to acknowledge your strengths and give them the nourishment to flourish? Be specific when you curate the positive experiences - not only letting them live in saved emails or notebooks that you can locate when you need a reminder of why you're doing this. Let the experiences/ memories/ comments that give you heart reside closer to your heart and be with you always as a catalyst to grow - find the seeds of wonder and the impulse to share them, as often as responding to the roots of discomfort and challenge within your body. Believe in the compliments that amplify your strengths as much as the criticisms which fuel your insecurities. You don't have the capacity to take everything with you, so be aware of what you are choosing to bring along for the ride. Be ready to accept that you may need to let go of some things to make room - you will need to continually update your resources for the ever-changing present but select carefully to preserve your archive, striving not only to survive but also thrive.

Would I have listened back then? I don't know...but I'm trying to take note now! So, in an effort to take my own advice I want to collect here some of the landmark experiences, conversations and feedback I've got in my archive that I am encouraging myself to remember to hold closer as I travel on.

Thinking back to my postgraduate year of training at NSCD, I still marvel at a creative session which Rachel Krische lead us through. We each developed a short solo of movement and then partnered up to watch one another on a one to one basis. Rachel asked us to observe our partner's movement with the intent that we were watching to understand their approach to movement enough that we could imagine unzipping their body and climbing inside to perform our own movement study in their body. So often, I find myself encountering learning somebody else's movement - translating their movement onto my body, but this experience felt so powerful in each person keeping ownership of their own movement sequence but with the possibility of approaching it with yourself as the 'new' body. Something about this really appeals to me, looking back, as a way of elevating empathy to a physical experience.

Sticking with studio experiences, 3 years ago I attended Kerry Nicholls' Professional Development Lab in which Hannes Langolf lead one of the workshops. A moment that really struck me in this workshop occurred when all of us clustered together and Hannes asked us to put all of our effort into getting across to the other side of this cluster of bodies. When everyone approached this task simultaneously, it became an impossibility - every movement was contended, challenged and dampened out as no one was prepared to give ground. After a pause, Hannes asked us to restart with a shift in our intention to let people pass and to give our utmost care to helping other people get to the other side. Suddenly the whole mass was shifting, yielding and able to pass through harmoniously - while you were helping others, they were prioritising you, and suddenly everyone was able to achieve the original aim many times over. It was such a beautiful moment of collective understanding that really excites me as a model for approaching unity and achievement.

Another day, another studio (oh how easy it used to be!), and I arrived to take a professional morning class in a crowded studio midway through the week. I got chatting to the friendly Giacomo Pini - a familiar beacon amongst a sea of less familiar faces - and as class was about to begin, I started to sidle away. Giacomo questioned why I was moving towards the back of the room, and encouraged me to stay in the space we had been warming up in - centre front of the action. I did and enjoyed the challenge of being visible in a space whilst playing 'catch up' having not done the previous classes of the week. After class, I thanked Giacomo for his generosity in welcoming me to stay in the space he had found for class, and he shared that he feels he benefits from my calming presence when we take class near to each other. A seemingly insignificant exchange, in a day to day scenario and yet it has left an imprint on me - however inwardly frantic and tumultuous you're feeling perhaps outwardly you might be offering grounding support to others without realising.

Stepping outside for a moment for a countryside walk, and an enquiry from Oscar, the child of a family friend: 'So even as an adult, you use your imagination every day?' That I could answer yes seemed such a fizzy wonderful revelation for him, and a reminder for me to keep tapping in to the playful outward investment in imagination as much as the inward wonder.

To finish, I'm going to search out an email from Fiona Millward sent at the close of working on Rosemary Lee's 'Under the Vaulted Sky'. Fiona thanked each member of the team for the individual qualities they had brought. I considered her word choices entirely fitting for each person she thanked which makes me believe her choice of words for me may also be a good fit. So, this is me taking a moment not to leave them tucked away in an email, but to remember them with the same clarity with which I hold more critical observations, and to find a way to move on registering that these qualities are strengths within my practice:

"Effie, for your steadfastness, caring, and heart in all your undertakings."

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What advice would you give to your graduating self... - Effie McGuire Ward

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'What advice would you give to your graduating self?' is a question I keep seeing posed in this moment where there has been a welcome influx of dance artists speaking/ writing about their career trajectories online.

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Hagit Yakira Company creates work whereby storytelling, intimacy, dance and text are uniquely interwoven into an individual interpretation of inter human relationships and emotions through dance theatre and performance.

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To purchase by phone for "Anafaza", please call: 02-3724141 between 9:00 a.m. and 5:00 p.m.

Performed by The Compnay and The Ensemble Dancers
Tickets More Info

Future home of Batsheva Dance Company
More Info

Gaga enables an experience of freedom and pleasure in a simple way, in a pleasant space, in comfortable clothes and accompanied by music.

More Info

A unique training facility for outstanding young dancers

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All the playlists you can dream of in one place: music from performances, playlists of dancers and choreographers and guest choreographies.
More Info

Matan Cohen, Company Dancer

More Info

Future home of Batsheva Dance Company
More Info

The official archive website of Batsheva Dance Company
More Info

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To purchase by phone for "Anafaza", please call: 02-3724141 between 9:00 a.m. and 5:00 p.m. Performed by The Compnay and The Ensemble Dancers Tickets More Info Future home of Batsheva Dance Company More Info Gaga enables an experience of freedom and pleasure in a simple way, in a pleasant space, in comfortable clothes and accompanied by music.

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Chunky Move acknowledges the Boon Wurrung as the traditional owners and sovereign custodians of the land on which Chunky Move is situated, along with the Wurundjeri and all Kulin Nations, and we extend our respects to their ancestors and elders past and present, and to all First Nations people.

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Chunky Move - Contemporary Dance Company Melbourne

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Chunky Move acknowledges the Boon Wurrung as the traditional owners and sovereign custodians of the land on which Chunky Move is situated, along with the Wurundjeri and all Kulin Nations, and we extend our respects to their ancestors and elders past and present, and to all First Nations people.

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the website of theatre maker and writer daniel bye

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salt.

A journey to the bottom of the Atlantic Ocean. In February 2016, two artists got on a cargo ship, and retraced one of the routes of the Transatlantic Slave Triangle - from the UK to Ghana to Jamaica, and back. Their memories, their questions, and their grief took them along the bottom of the Atlantic and through the figurative realm of an imaginary past. It was a long journey backwards, in order to go forwards. This show is what they brought back.
FIND OUT MORE

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Selina Thompson | Artist and performer based in Birmingham

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A journey to the bottom of the Atlantic Ocean. In February 2016, two artists got on a cargo ship, and retraced one of the routes of the Transatlantic Slave Triangle - from the UK to Ghana to Jamaica, and back.

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Bryony Kimmings is an English live artist based in London and Cambridgeshire. She creates mind-blowing, multi-platform art works to provoke change.

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New Conversations

New Conversations is a programme funded and delivered by the British Council, Farnham Maltings, High Commission of Canada in the UK and Canada Council for the Arts .
UK-Canada artistic partnerships working in theatre and dance are invited to apply for funding of up to £3,500 GBP / $6,000 CAD to explore how they can develop new creative ideas, exchange knowledge and practice without meeting in person.
Launching in 2018, New Conversations started as a two-year programme designed to encourage collaboration between Canadian and UK artists with an emphasis on physical exchange and artist mobility. The first two rounds invested in 22 partnerships, many of which have developed into ongoing projects, further exchanges and friendships.

Round 3 of the programme responds to a radically different context. In light of the current restrictions on international travel and the ongoing climate emergency, we want to learn how partnerships can develop and flourish remotely and are interested in seeing how artists and arts organizations respond creatively to this challenge.

The fund is open to UK and Canada based artists, collectives, independent companies and organizations. Cross-art form collaborations with a strong and relevant foundation in theatre and/or dance are also welcomed. Priority will be given to project proposals led by groups or people who identify as minority ethnic, D/deaf, disabled, and LGBTQIA+

How to apply
Before submitting an application please view the Application Guidance.
The guidance is available in BSL, ASL and LSQ via the video playlist below.

You can download the written guidance here in English and French: Guidance (EN) | Lignes directrices (FR)
One partner (UK or Canada) must complete an Application Form on behalf of the partnership.
To view the Application Form in BSL, ASL and LSQ please see the video playlist below.

You can download the written Application Form here: Application Form (EN) | Présentation de la demande (FR)

Once the Application Form is complete, please submit it to the New Conversations Application Portal no later than 27 November, 2020 at 23:59 GMT or 17:59 EST. All applications submitted after this date will not be considered.

We are committed to making the programme and application process as inclusive as possible. If you would like to discuss any requirements, please contact either:

Carrie Hage (Canada), British Council Carrie.Hage@britishcouncil.org
Gavin Stride (UK), Farnham Maltings Gavin.Stride@farnhammaltings.com
Click on the right hand corner to see the full playlist of videos, in BSL, ASL and LSQ.
Previous rounds

Please download the press releases below for more information on rounds one and two of the New Conversation programme, and the successful partnerships.
Press Release Round 1 Press Release Round 2

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New Conversations is a programme funded and delivered by the British Council, Farnham Maltings, High Commission of Canada in the UK and Canada Council for the Arts . UK-Canada artistic partnerships working in theatre and dance are invited to apply for funding of up to £3,500 GBP / $6,000 CAD to explore how they can develop new creative ideas, exchange knowledge and practice without meeting in person.

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Digital Retreat Workbook

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Business Planning Digital Retreat Workbook

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Supporting Local Partnerships

We work with partnerships in a number of London boroughs to shape work that can support more children and young people to develop their creativity and play an active role in the city's culture and heritage

Find out more

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Supporting Local Partnerships We work with partnerships in a number of London boroughs to shape work that can support more children and young people to develop their creativity and play an active role in the city's culture and heritage Find out more

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Become a member

As a member you will have access to our support, insider knowledge, experiences and spaces.

We want to grow our community, so our members can share our create workshops online, mentoring and consultancy. In addition to our community and news, you can access our co-working spaces, studios and teaching spaces.

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As a member you will have access to our support, insider knowledge, experiences and spaces. We want to grow our community, so our members can share our create workshops online, mentoring and consultancy. In addition to our community and news, you can access our co-working spaces, studios and teaching spaces.

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Whather it is training to become an Adviser, or checking in with about delivery; the Arts Award events run in the region with support Supporters, Centres and Advisers get the best out of Arts Award in their delivery.

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Whather it is training to become an Adviser, or checking in with about delivery; the Arts Award events run in the region with support Supporters, Centres and Advisers get the best out of Arts Award in their delivery.

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Curious Minds - Championing Cultural Education for Children and Young People

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Curious Minds exists to improve the lives of children and young people by increasing opportunities for their active participation in arts and culture.

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IVE is a social enterprise that is working to ensure a more creative future for businesses, teachers, children and young people. IVE supports the development of creativity as a transferable skill to improve employability and productivity.

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Artswork enables children and young people through arts and culture to find their voice, become skilled leaders and achieve their aspirations.

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When: Wednesday 29th June, 3pm - 6pm

Where: Midlands Art Centre
Are you looking for ways to bring the curriculum to life?
Come and meet a host of arts organisations, venues and artists all brimming with ideas to refresh the curriculum.
Who is it for?
Early Years, Primary, Special and Secondary school teachers will be able to meet arts organisations, museums and artists who are delivering some of the most exciting education programmes in the country!

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When: Wednesday 29th June, 3pm - 6pm Where: Midlands Art Centre Are you looking for ways to bring the curriculum to life? Come and meet a host of arts organisations, venues and artists all brimming with ideas to refresh the curriculum. Who is it for?

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YOUR HOME Head Wrap Diaries Uchenna Dance

Hair - worn long, worn short, worn wavy or in braids - is the subject of The Head Wrap Diaries, a funny and uplifting dance theatre show by Uchenna Dance.

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YOUR HOME Head Wrap Diaries Uchenna Dance Hair - worn long, worn short, worn wavy or in braids - is the subject of The Head Wrap Diaries, a funny and uplifting dance theatre show by Uchenna Dance.

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Dance Ireland -Developing Dance in Ireland - Dance Ireland

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Dance Ireland is the national development organisation for dance in Ireland, providing training, professional development and enabling the success of dance artists.

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Greenwich Dance is the home of dance in South East London, hosting classes, workshops, events and performances across the Royal Borough of Greenwich.

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Dance Base: Scotland's National Centre for Dance

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Dance Base in Edinburgh encourages & celebrates the potential for dance in everyone. Join a class to experience the physical & emotional benefits of dance.

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East London Dance - inspirational dance projects, events and classes

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East London's leading dance organisation offering performances, events, classes, projects, artist development, and loads of opportunities to get involved in dance.

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Dudley Performing Arts (DPA) encourages people of all ages and abilities to participate in community music and arts activities. DPA works in partnership with schools and other organisations, both in the borough and regionally, to deliver opportunities for young people.

Any student attending school or living in Dudley can access half a term of lessons from Dudley Performing Arts at £8 a lesson. Lessons will take either at school, at our base on The Waterfront in Brierley Hill or Online.

More information including how to enrol can be found on the page called DPA Direct.

Dudley Performing Arts has long been at the forefront of music education in the Dudley borough, both in the classroom and other community settings.
Information for schools Information for parents and young people

The group supports DPA events by stewarding, fundraising and offering moral support to the young people taking part. Just by being there you can make a big difference to their experience.

Find out more by contacting Dudley Performing Arts and we will put you in touch.

Netherton Arts Centre, Northfield Road, Netherton, Dudley DY2 9ER

The Dudley Performing Arts' team is more than happy to hear from you, talk through any queries or concerns and go through the options and opportunities on offer through our services.

Phone: 01384 813865

Email: dpa.cs@dudley.gov.uk

Facebook: @NethertonArtsCentre

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Dudley Performing Arts (DPA) encourages people of all ages and abilities to participate in community music and arts activities. DPA works in partnership with schools and other organisations, both in the borough and regionally, to deliver opportunities for young people.

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Activate Performing Arts, presenting, promoting and producing outdoor and performing arts for Dorset, Bournemouth & Poole.

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We use cookies to optimise site functionality and give you the best possible experience. Déda is a creative centre for Dance, Contemporary Circus and Outdoor Performance, located in the heart of Derby and connecting locally, nationally and internationally. Déda has something for everyone!

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Dance in Devon - A charity for happier and healthier communities

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COVID-19 Update from Dance in Devon

To all our communities, partners, artists and supporters, we hope you are keeping safe and well in these unsettling and challenging times.

The Dance in Devon Project Manager and Administrator have now returned from Furlough leave to re-join our Director in working from home.

At this time of physical isolation, it is important that we still retain a connection to our local communities and to our dancing communities, online and in a virtual capacity, as far as we can. There has been a surge of activity to get alternatives in place to support those who need it most and to keep people feeling positive and safely moving and dancing in their homes, which is wonderful to see.

We have plans for some dance activity and projects this summer and are continuing to work on creating plans for how we will set up our other project activities again in the autumn, as well as continuing to work on new plans for new projects.

Dance in Devon can be contacted via email or via our website so do not hesitate to get in touch. Please note there may be a delay in responding to your messages at this time.

We have compiled details of guidance and support for dance artists and creative practitioners, in light of COVID-19, and these can be accessed below. We will also keep sharing updates, information and opportunities via social media so we look forward to connecting with you there too.

Warm wishes from the Dance in Devon team

Sue, Kate and Martha

Resources:
If you are starting to teach your classes online and would like some support and advice, Anna Leatherdale, Director of Learning at People Dancing, has created an informative video surrounding risk assessment for teaching from home. This page also has a variety of other resources and guidance relating to adapting to the current situation. CLICK HERE

Dancing Together Alone aims to be a central resource for the digital dance world that is beginning to bloom. A place to take part in live streamed professional dance classes, as well as create and watch alongside other artists. CLICK HERE.

Social Media can also be a supportive place at this time, there are plenty of groups being set up for artists to support one another and share their art through creating brand new communities. For example, you can join the new Facebook group: 'South West Artist Hub- Supporting one another creatively in isolation' or 'UK Theatre Industry Coronavirus Support'

Dance in Devon are taking our Dance Café meet-ups online! We think it is important, now more than ever, to keep connected with our local dance community and freelance dance artists. Sue invites local dance artists to meet with her via Zoom to stay connected, share an idea, talk funding, think about the local dance-scape or talk collaboration, grab a (virtual!) coffee and say hello. If you would like to find out more and book a chat, please CLICK HERE.

More Resources and Advice pages:
Culture, Health & Wellbeing Alliance: online resources, training and events for practitioners and organisations COVID-19 Freelance Artist Resources Independent Arts Projects: Advice and Support for Arts Workers Dance Professionals Fund Diverse City: Advice on remote working
GOV.UK pages:
If you are employed or self-employed and your work has been affected and you are concerned about access to sick-pay, wages or rent costs, please CLICK HERE.

If you run a business and are concerned financially, the Government are providing options to support businesses and their staff through schemes and grants. CLICK HERE.

CPD Dance Card Bursary Business Coaching for Dance Artists and Companies

Our Passion Projects

Inclusive creative dance and movement sessions for children and their families across Devon.

Dance classes to improve confidence, strength and balance of older people at risk of falling

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Introducing one of our volunteer dance reviewers, Poppy O'Reilly: Since graduating from London Studio Centre with a BA (Hons) in Theatre Dance in 2016, Poppy has returned to Devon to explore a career in teaching and dance journalism. In addition to this she spends her time coaching sports, rock climbing ...

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Home - Dance in Devon - A Charity for Happier and Healthier Communities

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COVID-19 Update from Dance in DevonTo all our communities, partners, artists and supporters, we hope you are keeping safe and well in these unsettling and challenging times. The Dance in Devon Project Manager and Administrator have now returned from Furlough leave to re-join our Director in working from home.

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Create...... Learn...... Experience......

Despite COVID-19, We're Still Dancing!

Due to the Coronavirus, Cheshire Dance has suspended all face-to-face classes and sessions. However, it is delivering a selection of sessions online. To date, 10 Live and Interactive Virtual Classes have been launched and Pre-Recorded Activities are available for older adults and those living with disabilities to follow at home on YouTube. Our new virtual dancing community can be found by clicking on the images below.

Educational facilities that are committed to keeping young people dancing - and who wish to ensure that the art form still forms an integral part of pupils' education during the pandemic - are able to visit our Dance & Education in Schools During COVID-19 page.

How Can You Help During This Challenging Time?

Times are tough in the world - and the dance sector is no different. But at Cheshire Dance we believe in our team and in supporting our freelancers. With this in mind, we have created a Donations Fund to not only allow us to push through these challenging times, but to continue to support our freelance dance artists that lead YOUR classes. If you would like to help us to do this, please Text CHES001 to 70970 to donate £5. Alternatively, please"Donate As You Feel" here.
Please also keep an eye on www.cheshiredance.org/coronavirus for additional updates.
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Discover the transformative power of dance

Founded in 1976 as a charity established to champion the role of dance artists in society, Cheshire Dance creates opportunities for people of all ages, abilities and backgrounds to access dance and benefit from its transformative power.

It invites people to participate in the range of dance groups and professional development opportunities on offer as well as attend the enticing programme of events and performances promoted throughout the year. Cheshire Dance is a National Portfolio Organisation of Arts Council England.
Registered Charity: 1020584
Discover classes across Cheshire East and Cheshire West

Delivering dance across Cheshire, including sessions for young people, older adults, those with learning disabilities including Profound and Multiple Learning Difficulties, and those living with conditions such as Dementia.

Find a class today or email us at classes@cheshiredance.org for queries regarding which session might be best suited to you.

Find out about what's going on in the north west this spring. Discover dance performances, CDP and training courses, classes for professionals, call outs and more. Read the latest Cheshire Dance Newsletter here.

To join our mailing list, please fill in your preferences at this link.

Latest News From Cheshire Dance

FREE pre-recorded dance activities for those with Learning Disabilities are now available with warm up sessions, creative tasks and cool downs for individuals (including those with PMLD) and their carers. Read more here.

Cheshire Dance's NW Performance Listings are now live.
Discover what's coming up across the North West and find out about the dance performances, CPD opportunities, commissions and events that will be taking place this spring. Ps. Help more people experience the power of dance by sharing. Take a look here!

Find out all the latest news and updates from Dance Consortia North West Partners here. Please share this link with those in your network and encourage them to sign up for news here.

Cheshire Dance's NW Performance Listings are now live.
Discover what's coming up across the North West and find out about the dance performances, CPD opportunities, commissions and events that will be taking place this winter. Ps. Help more people experience the power of dance by sharing. Take a look here!

DCNW has announced the recipients of the first two DCNW commissions for creating new dance works in the North West of England, namely Movema and Company Carpi. Find out more here.

Cheshire Dance seeks an ADMINISTRATOR to work within its core team, 15 hours/week. The Administrator will be responsible for the financial and office administration of the organisation in the achievement of its artistic and business objectives. Find out more here.

This year, we're working hard to put more in place to make Now Northwich more accessible to everyone. Find out more here. And, for information on performances, The Youth Zone, The Family Zone and the Fun Palace, follow the event on Facebook.

Cheshire Dance and DCNW bring you the latest news. Discover what's coming up across the North West and find out all about the fantastic dance performances, CPD training events, call outs and opportunities that are coming up this autumn. Read and Enjoy!

Now Northwich 2019 is returning for its second year to bring international and national performances together with community groups and schools. This event is supported using public funding by Arts Council England. Find out more about Now Northwich 2019 here - or follow the event on Facebook.

If you would like to support Cheshire Dance and its activities, you can now fundraise or donate to our community projects via Facebook. To find out more, please click here.

Photos photos in the gallery gallore. New images from the Now Platform and Open Workshop as well as Tuckshop's 'Neverland' at Storyhouse. See them, share them here!.

Meet Ivan! Dance Consortia North West's new Partnerships Director. DCNW is a partnership of artists, venues, HEIs and dance organisations in the region who have come together to usher in a new era of dance development in the North West

The latest Wildfire Newsletter is now LIVE! Why not sit back, have a read and enjoy? With performance listings, industry news, information on personal development training courses and more... Wildfire keeps you up-to-date and 'in the know'. Read Wildfire now, or sign up to our newsletter if you haven't already done so.

Making Dance Performance with and for Older Adults: In conjunction with Cheshire Dance, Fergus Early OBE is to lead a 2-day intensive workshop on 13th & 14th April for people who are working with (or intending to make performance work with) older adults. For more info and tickets, click here.

We have updated our Gallery!! Go and see the pictures from Chester Zoo Wild Worlds, NOW Dance Platform 2018 NOW Dance Youth 2018 and Takeover 2018

Read the latest version of our Wildfire news by clicking here this quarter there is more information on our Dance and Dementia Project go here for info, you can also read the Dance and Health evaluation document here

Inquiring Bodies 3 images now live. Thanks to Adam Benjamin, our fabulous host at Plymouth Uni and to all the guest artists and fellow inquiers. Great road trip! See also main Inquiring Bodies page.

'I wish I could do this everyday. I would learn so much', 'Connected, Challenged, Inspired by many', 'Was able to find a strong connection with my body in a way I haven't really experienced before' - participants from IB3

Some great images from a unique In THIS Moment CPD opportunity for artists, carers, support workers, activities co-ordinators and personal assistants to support dance and movement activites for the elderly, including guest dancers from Beechmere care home.

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Karen Nelson Contact Improvisation Intensive 24th-25th April 2015

Unimaginable~Flow~Resonance. An opportunity to engage deeper with Karen Nelson during this two day workshop

Contact Improvisation Jam 16th -19th April 2015

Come and join us at the Conway Retreat Centre, Anglesey with Karen Nelson from the USA and Jacqueline McCormick UK/USA

Inquiring Bodies 2 photographs are now available to view in our gallery

'what a truly wonderful day, generous and spirited - I think it will feed me for a good while...' Simon Whitehead Inquiring Bodies 2 Guest Artist

ITM films hit the headlines on artplayer.tv news....

Intergenerational Dance Project ITM can inspire people accross the sectors'. Mutual psychological and emotional growth shines through beautifully.'

The Dancing Games
'Absolutely Brilliant' (Participant and audience member comment) - The Dancing Games, 15th - 17th August. More info and images.

In THIS Moment celebration events at Beechmere and Sables Cottage. Places are limited. To attend, please contact jane.atherton@cheshiredance.org.
More info here

'I don't remember everything anymore but it's ok. I don't have to when I'm dancing. I don't feel alone anymore and I have my confidence back.' Ivy (Alzheimers Sufferer) Can you support our dance programme with Alzheimers sufferers. Donate online now

Gallery Update
Check out recent goings on through the lens. Photo Gallery

Calling all Artists.
CPD for dance artists working with older people
14th May, 2014 in Crewe. Click here for more details or here to book.

Calling all Teachers.
CPD for primary and special needs teachers. Develop inclusive and child-centred approaches in dance, including links to Arts Award and Artsmark.
6th May, 2014 at Leighton Academy, 4pm - 6pm
7th May, 2104 at Kelsall Primary School, 4pm - 6pm
Click here for more details and to book.

Alito Alessi joins us from the USA in April 2014.
Alito will be delivering an Introduction to DanceAbility on 5th & 6th April at Chester University.
Alito and Cheshire Dance's Jacqueline McCormick will be hosting a(c)ontact (i)mprovisation residental jam on 11th, 12th, 13th April at the Conway Retreat Centre on Anglesey.

Helping YOU get older people healthy through dance.
A unique CPD opportunity to receive training, workshop appropriate material and experience hands-on working with older people
Developed from our current In THIS Moment project.
Wednesday 14th May 2014 - BOOK NOW !

See our new ConfiDance Leaflet for our comprehensive dance offer for primary, secondary and special schools inc. support for ArtsMark and Arts Award.

Local Govt Assoc Conference - Cheshire Dance invasion! The 8 minute invasion was caught on videophone and is on our artplayer.tv channel.

COLLECT: Live!, The Documentary of the COLLECT:Capture project, including extracts from Cheshire Dance's COLLECT:Live are now available online.

In THIS Moment, celebrating the youthfulness of young and older people, gets underway. In THIS Moment is an 18 month intergenerational dance project linking residential care centres with primary schools and their local community. And its also about taking a fresh look at dance as an artform with these groups, supported by a local partnership and The Baring Foundation. More Here

And check out what else is going on using the links to the side of each page:-
Classes / Children and Young Peoples' Dance / Addressing health inequalities / CPD and Training / Performance projects / Programme / Gallery.

Cheshire Dance

Cheshire Dance provides an advice service and we are always interested in discussing new projects. Call our office on 01606 861770. We look forward to speaking to you!

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Cheshire Dance is the development agency for dance in Cheshire, UK. We provide classes and performances open to the public, health, education and inclusion projects with groups and organisations seeking to address issues of inequality of opportunity and a professional development programme for participatory and community dance that attracts artists from across the country and community professionals (teachers, youth, health and care workers) locally.

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Currently Cambsdance sessions are taking place online. Links to register for each Friday session will posted on the Cambsdance Facebook group a few days before so please do check in regularly! Sessions run from 7:15-9pm.

Taking part in the dance is by donation. If you can pay the normal cost of the class from £5-£12 then please do. If you are moved to pay more, less or anything in between that is also welcome. No-one will be excluded due to lack of funds!

We know these are difficult times, so we have put together a list of resources on the Cambsdance Facebook group that may help you outside the dance. Cambsdance cannot endorse or recommend any of the suggested sites, as we are not qualified to do so.

Cambsdance is a community of people who love to dance.

We organise regular dynamic dance meditation classes including 5 Rhythms, Open Floor and Freedom Dance and are interested in other conscious movement and presence practices happening in Cambridge.

Conscious dance is a free form of dance that anyone can do, whatever their age, shape, gender, mobility or fitness level. No prior knowledge is needed, there are no steps to learn and nothing to get right. It allows you to connect your body to the music, and, if you like, to connect with others in non-verbal communication of common movement.

We are a friendly group of people who love to welcome new dancers into our community.

Currently we dance on Friday evenings in St Philip's Church on Mill Road, and we have an All Ages community who dance on Saturday mornings in St Paul's School on Coronation Street.

Conscious Movement releases & energises the mind, body and uplifts the spirit.

Let go of your mind, let the music move through your body to awaken your heart, find richness and openness in your life.

Etiquette

Respect all dancers, including yourself! Be aware and respectful of when someone wants to dance by themselves. Don't be afraid to be clear in your body language if you prefer to dance without touch or by yourself. When dancing with another person, be sensitive and respectful about if and how you invite physical contact, and if you are dancing in a group, be mindful of others in the room. Keep your communication non-verbal, in order not to distract others.

Please take care for your own safety and well being. Cambsdance and the teachers cannot be responsible for any physical injuries incurred during online classes.

Cambsdance is an alcohol- and drug-free zone.

Website © Cambsdance; site design © Chris Veness; dancers © Anne-Florence Dujardin ( CC BY-SA).

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Currently Cambsdance sessions are taking place online. Links to register for each Friday session will posted on the Cambsdance Facebook group a few days before so please do check in regularly! Sessions run from 7:15-9pm. Taking part in the dance is by donation.

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Yorkshire Dance - Dance development organisation for Yorkshire, based in Leeds

Yorkshire Dance is a charity which champions the value of dance and its development in Yorkshire.

Latest News
More
We create opportunities for people of all ages, backgrounds and abilities to see, make and take part in high quality dance.
More

0113 243 8765

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Yorkshire Dance
3 St Peter's Buildings
St Peter's Square Leeds
LS9 8AH

Yorkshire Dance Centre Trust
Registered 2319572 England & Wales
Registered Charity No. 701624
VAT No. 418 0193 70

Privacy Policy Accessibility

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Yorkshire Dance - Dance development organisation for Yorkshire, based in Leeds

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Yorkshire Dance - Dance development organisation for Yorkshire, based in Leeds Yorkshire Dance is a charity which champions the value of dance and its development in Yorkshire. More We create opportunities for people of all ages, backgrounds and abilities to see, make and take part in high quality dance.

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Swindon Dance will be moving into a purpose built building on the Kimmeridge site as part of the Cultural Quarter. Viv Slayford, Artistic Director at Swindon Dance, said: "Swindon Dance has been based in the town hall for over...

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Dive deep into the ballet Giselle with the unveiling of this brand new multi-media projectFind out more

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Digital Programme

Take part in our online activity!

Our digital programme includes classes, performances and more. Click below to take a look...
FIND OUT MORE

IMPORTANT UPDATE

We are delighted to announce that we are now able to start a phased reopening of the Jerwood DanceHouse. Core office staff have been happily working in the DanceHouse for the past month, ensuring that the building is fully COVID secure, with a range of safety protocols in place. Artists are starting a socially distanced return to our studios and we will shortly be welcoming our Centre for Advanced Training and University students back to the building to start their training.

For now our class programme will still be delivered online, and we have an exciting range of live classes going on sale from Monday 31 August. We will be sharing more news soon on our plans to restart performances within the building, with some really special things in the pipeline. In the meantime, watch this space for some new activity for children and young people...
Find out more

It has been very difficult to know how best to respond to the shocking event in America and the inspiring Global reaction that followed. We have been using this time to reflect as we are critically aware that we need to take responsibility for our actions and indeed, any lack of action in the past.

We have embarked in a dialogue with artists and peers across and beyond the arts and cultural sector to understand how we can best contribute to combatting systemic racism. We therefore take this opportunity to state that we support the Black Lives Matter movement and we understand that we should be judged on how we champion change and meet the challenges ahead.

BECOME A FRIEND

DanceEast is a registered charity with big ambitions and relies on the generosity of people like you, to create great dance opportunities for everyone. Become a Friend, Best Friend or Patron today.

360 TOUR

NOW LIVE

Take a virtual tour of the DanceHouse, exploring our dance studios, theatre, green room and dressing rooms - you can even see what the performers see with a view from the stage!
Take the tour

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DanceEast - The Home of Dance in the Eastern Region

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Our digital programme includes classes, performances and more. Click below to take a look... FIND OUT MORE We are delighted to announce that we are now able to start a phased reopening of the Jerwood DanceHouse.

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Welcome to our 10th Anniversary Season at Pavilion Dance, Bournemouth.

It's different from what we had planned but it's still a special moment to celebrate the quality and range of dance that we've brought here.

Live events and classes were planned for 5 September but we have shifted to digital instead for now.

Between 2010-2020 half a million people danced with us and 50,000 children and young people took part in a bespoke activity. That's no mean feet - I know 'feat' - I just couldn't miss the chance for the pun.

We hope you enjoy sampling some of the moments we've made.

Check out our social media and website to hear new podcasts, see images of activity and brochures from the first decade and watch a film giving you a glimpse into our new Covid Secure signage around the building.

There have been tears of joy and relief from dancers and staff as we have unlocked the building for creative use this week.

For the dancers it's about being able to feel free to dance in a large purpose-built dance space rather than within the confines of their living rooms. For the staff, it's the emotional impact of what we all lost through Lockdown.

But we're back. Coast Youth Dance Company auditions even took place in person and we're looking forward to working with this year's cohort of young people. Some activity, such as our weekly Parkinsons' Dance classes, will remain on zoom for now and we'll work with our different communities to assess when there is the appetite to return to the building and we can provide a safe space to do so. We hope to introduce some live classes again in October.

Details of our Covid Secure processes are on the website here https://www.pdsw.org.uk/news/were-good-to-go/ Do check them out because it reveals the considerable care and thought that has been put into place to keep everyone using the building as safe as possible. I think it has actually personalised the spaces more and maybe we'll want to keep some aspects of it into the future!

Closing our building and stopping live activity has prevented us from earning income and we really need your support to ensure we're around for the next decade and more.

Two ways to support us are by using the donate button on our website or you can sign up to Give As You Live - where every time you shop we'll receive a donation at no cost to you - virtuous purchasing!

Coming up

Women Leaders South West: Find Out More

'Listen Up' Podcast by Natasha Player

Our story

Pavilion Dance South West is a registered charity (1111641) dedicated to transforming communities through dance. Communities might be professional choreographers, dancers, producers, young people, or people living with Parkinson's.

PDSW projects grow from one blueprint: to enable communities to enjoy creativity and well-being offered through dance.

Our Work...

How does dancing make you feel? Discover what dancing means to our community and embrace what it could do for you no matter what your ability. Everyone just loves to dance!
Discover

Dance for health

As both a form of exercise and a lifestyle choice, dancing has been proven to positively impact fitness, physical and mental health and overall wellbeing - for any age.

It is our mission to pioneer innovative programmes targeting specific health needs, rooted in research and built with sustainability and legacy at its heart.

Surf The Wave

An ambitious programme to create a step change in how the UK showcases dance and extends and strengthens tours for artists and companies.

Discover

Venue hire

If you're looking for a unique venue to hold your performance or any type of event then look no further.

Explore

Latest news at PDSW

Empowering Women of All Backgrounds to be Leaders in the Arts

PDSW reflections on actions for a more equitable future

Support PDSW

Do you believe in a world where everyone leads a healthier and happier life through dance? We do! You can help make this vision a reality.

This website uses cookies to improve your experience. We'll assume you're ok with this, but you can opt-out if you wish. Cookie settings ACCEPT

We are carrying out a survey to better understand who our digital audiences are. We would like to know how you engage with our digital work and what motivates you to do so.

We're also interested in how digital audiences are engaging with arts and culture online, more generally, and how this might be changing during the COVID-19 crisis.

We would love to hear your thoughts, please take 5 minutes to complete our survey, thank you very much for your time.
Take our Digital Audience Survey

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Welcome to our 10th Anniversary Season at Pavilion Dance, Bournemouth. It's different from what we had planned but it's still a special moment to celebrate the quality and range of dance that we've brought here. Live events and classes were planned for 5 September but we have shifted to digital instead for now.

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Dance4 is an international centre for the development of extraordinary 21st century dance. A unique voice in the UK dance sector, our work supports artists and practitioners who are interested in the development of dance.

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Dance City is a vibrant and friendly place where people come together to take part, enjoy, experience and talk about dance.

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Located in the heart of London, The Place is the UK's premiere centre for contemporary dance uniting dance training, creation and performance in our unique, purpose-built centre.

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The Cheshire based Performing Arts Company with performances and choreography for your special events as well as resources and support for teachers and schools

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"Up-country" followed, and the founding of the Small Things Dance Collective to create a dance performance sensitive to places and situations around and about what was then a new, striking silver building. An improvised clutter of manic movement and small things in different sizes, landscapes and viewpoints was created by Cath Hawkins, Lisa Dowler and a specially formed group of eight young women from the Leigh area.

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"Up-country" followed, and the founding of the Small Things Dance Collective to create a dance performance sensitive to places and situations around and about what was then a new, striking silver building. An improvised clutter of manic movement and small things in different sizes, landscapes and viewpoints was created by Cath Hawkins, Lisa Dowler and a specially formed group of eight young women from the Leigh area.

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Your training and nutrition programme will be fully interactive, allowing you to record and track progress from session to session and week to week.

Chat and share with the rest of the #SUFsquad through the app as well as receiving continued motivation and support from your trainer.

Our customised app also connects with Fitbit, MyFitnessPal and Skype so that everything you need is in one place.

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Your training and nutrition programme will be fully interactive, allowing you to record and track progress from session to session and week to week. Chat and share with the rest of the #SUFsquad through the app as well as receiving continued motivation and support from your trainer.

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Wish upon a Party-Children's Party Entertainment on The Wirral.

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Wish Upon a Party- provides Princess and Superhero character themed children's parties across Wirral, Liverpool & Cheshire.

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'A collaborative dance between borders'

Contemporary dance collective working to establish sustainable creative relationships between artists in UK and globally, through cross-cultural exchange and interdisciplinary collaborative practice.

We work to develop a theatrical language, capable of translating through body, movement, image, music ; innovative,
relatable and accessible work that speaks
​in multiple tongues.

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'A collaborative dance between borders' Contemporary dance collective working to establish sustainable creative relationships between artists in UK and globally, through cross-cultural exchange and interdisciplinary collaborative practice. We work to develop a theatrical language, capable of translating through body, movement, image, music ; innovative,relatable and accessible work that speaks​in multiple tongues.

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Born and Bred Dance Theatre are based in Mossley, Greater Manchester. We live in a beautiful place so we find our inspiration locally, exploring our heritage, landscape and community through dance-based work.

We collaborate with other local artists of all disciplines to co-create our performances and projects, driven by our ambition to bring dance, art and creativity to as many people as possible. Feel free to peruse our website to learn more about what we do and how you can get involved.
Find out more

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Born and Bred Dance Theatre based in Mossley, Greater Manchester

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Born and Bred Dance Theatre are based in Mossley, Greater Manchester. We live in a beautiful place so we find our inspiration locally, exploring our heritage, landscape and community through dance-based work. We collaborate with other local artists of all disciplines to co-create our performances and projects, driven by our ambition to bring dance, art and creativity to as many people as possible.

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I work from a theme or topic based approach - my lessons support and consolidate the learning that takes place in other subject areas.

So let me know the theme, the age group of your students and I will create challenging, engaging and exciting lessons that are easy to follow and replicate.

The photo below, taken by Brian Slater, shows Cat, CC, Kayleigh, Ellie & Leanne in a dance inspired by Balanchine.

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I work from a theme or topic based approach - my lessons support and consolidate the learning that takes place in other subject areas. So let me know the theme, the age group of your students and I will create challenging, engaging and exciting lessons that are easy to follow and replicate.

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Founded by Artistic Director Gianluca Vincentini, Möbius Dance arose out of the need to establish a company that supports artists both creatively and practically, seeking opportunities that put the Dance art form at the centre of its activities, production and outreach.

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Previous Projects

Short Film; SnuffmanManifesto for a New City at northern stage
Fiction; Video Diary of a Cardboard Citizen
Oil

Document; Unnamed
As you like it with Pete Searles
Psi Fu

Catcher in the Rye(extract)Star & Shadow
Dhamma Punk Revolution at the Star and Shadow

1st in 3 with the Noize Choir at Northern Stage

on going projects;
film; MacBeth(feature length)

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Short Film; SnuffmanManifesto for a New City at northern stage Fiction; Video Diary of a Cardboard Citizen Oil Document; Unnamed As you like it with Pete Searles Psi Fu Catcher in the Rye(extract)Star & ShadowDhamma Punk Revolution at the Star and Shadow 1st in 3 with the Noize Choir at Northern Stage on going projects; film; MacBeth(feature length)

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Pro Makeup Artist, Liverpool, www.ib-beauty.com

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Professional makeup services in Liverpool, UK and North West.

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Active in Hillingdon, Brent, Ealing and Kensington and Chelsea boroughs

Online classes have commenced please see "Break the Net"

We provide Safeguarding Training for facilitators and anyone who work with children, please enquire within.

Welcome to SKiPZ PRODUCTIONS CIC

At SKiPZ PRODUCTIONS CIC we are deeply passionate about giving Children and Young People the safe and positive foundation for them to learn from in creative arts. This is why we bring creative workshops to them. They learn how to write lyrics, how to script write and create stories, act, dance, draw, paint and above all how to positively express themselves and perform better in life. We currently work with Community Schools and Housing Associations.

We cater to children aged 4 years plus. Please click below for more information regarding a list of our creative workshops we provide:

For your child to gain extra training and make new friends send them along to our Youth Theatre Group. For more information please click here

Our Promise include:

Fully qualified and well-presented Tutors

High standard of teaching

Provide a safe positive and supportive environment for the children to work, grow and be creative in.

In all our areas of work we follow The United Nations Convention on the Rights of the Child (Rights Respecting Award).

If you would like further information

please send us a message using the 'Contact us' button below or email us at

We will be running half terms Camp very shortly. Any enquiries please use our Contact page or email us at

Our Timetable:

We currently provide the following after school clubs in the Hillingdon, Brent, Ealing & Kensington and Chelsea boroughs.

Below is our Partnership timetable from Academic year September 2019 - July 2020

Monday Rap and Drama Club Hayes Park Primary School

Wednesday Dance Club (Rec & Yr 1) Alec Reed Academy

Friday Dance Club Hobbayne Primary School

Dance Club Harlesden Primary School Detective Club Colville Primary School

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Performing Arts | skipzproductionscic | Online Classes | London

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Active in Hillingdon, Brent, Ealing and Kensington and Chelsea boroughs Online classes have commenced please see "Break the Net" We provide Safeguarding Training for facilitators and anyone who work with children, please enquire within. Welcome to SKiPZ PRODUCTIONS CIC At SKiPZ PRODUCTIONS CIC we are deeply passionate about giving Children and Young People the safe and positive foundation for them to learn from in creative arts.

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Reimagine digital lifestyles - #StandWithYouth

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Reimagine health and wellbeing – #StandWithYouth

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Overview

When you say "audiences" to cultural organisations, most think of their physical audience first: the people who sit in their theatres, visit their exhibitions or listen to their music in situ. But the vast majority also have a virtual audience - whether that's the people who buy their tickets through a website, who like a Facebook or Instagram post about an upcoming event, read programme notes online or watch a short video interview with a featured artist.

This toolkit from The Space will guide you on where to start in finding your online audiences and is packed with tips and pointers:

An introduction to what we mean by online audience engagement

How to do an online audiences audit

Advice on how to approach digital distribution

Pros and cons of the major social media platforms

Dos and Don'ts for creating great social media content

How to give your content the best chance through Search Engine Optimisation (SEO), social media algorithms and seeding strategies

Guidance on how to measure your success in a meaningful way

Format

External website

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Overview When you say "audiences" to cultural organisations, most think of their physical audience first: the people who sit in their theatres, visit their exhibitions or listen to their music in situ.

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Developing staff digital skills: approach and process

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Resources to help museum people understand and use digital tools and channels, hand-picked by Culture24

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Sophie Nüzel | Choreographer // Creative Producer // Dancer

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Joss Carter | Contemporary Movement & Performance Artist