Greenwich Dance Agency has come of age! At least we like to think so. As we celebrate surviving a decade of dance activity, it is perhaps an appropriate time to review some of the practices that have placed gDA so firmly on the dance map and in the heart of the local community it serves.
It is the movement between boundaries and openness to the process of change that lends the organisation its structure. Given this state of constant flux, any definition of what we do is rather problematic. It therefore seems necessary to set today's activities in the context of our history. This might just provide some insight into where we want to be in the next ten years.
gDA was founded in 1993 as an educational charity to advance the appreciation of the arts, and dance in particular. It was born out of a marriage between opportunism and idealism. At that point the former Borough Halls, a grade 2 listed building in Greenwich, was empty and due to be 'mothballed' by the Local Authority. Despite the harsh economic climate, the founder and first director of gDA Richard Blanco recognised that, with the support of the local Council, there was a very exciting opportunity.
The late 80s and early 90s witnessed a substantial growth in the independent dance sector and the consolidation of the position of a number of 'choreographer-led' dance companies. There was also an increasing awareness that this entity called 'new technology' was going to have a profound effect on all aspects of peoples' lives. In addition the work of pioneering artists like Shobana Jeyasingh had successfully challenged the boundaries and definitions of contemporary dance. This was a time to indulge in some divergent thinking and seriously consider a new kind of arts facility to house 21st Century dance practice.
gDA was created in this spirit of optimism as a place where process and participation had equal priority with presentation and production. The building was old and tatty but the ideas were new and exciting, or at least they seemed that way at the time. The building in general is still in need of refurbishment (we have a magnificent performance space, but lack essential facilities such as showers). Despite the deficiencies, the organisation has grown into a thriving hub of dance activity.
Whilst it's policies have evolved in response to both need and constraint, a key philosophy remains. Brendan Keaney, director of gDA since 1996, insists that above all the Agency should be considered 'a meeting place between professional dance artists and the local community.' The building is brought to life by the people who inhabit it and are involved with our activities on a daily basis. It is no coincidence that the notions of meeting and dialogue, integral to the gDA's success, are nouns to describe human interaction. We aim to provide an environment both in and out of the building where people feel comfortable to interact with dance on a level that is relevant to each individual.
A commitment to access, quality and diversity remains at the core of gDA. These notions are evident at an operational level and also in terms of artistic programming. Whilst the programme has morphed and expanded quite radically in the last few years, it does in essence still consist of three strands: community and education, professional development and performances/events.
gDA's community and education programme is less about creating dancers than it is about encouraging and providing a way for people to become more dance literate. Let's Dance, an annual performance platform that brings together programme participants, provides an interesting example of how a dialogue can begin at a 'grass roots' level. Fostering a range of work and dance styles, Let's Dance 2003 saw the presentation of work created during a collaborative project between a local special needs school and a mainstream secondary school. The result was work of exceptional quality and beauty, with many audience members commenting on how moving the experience was. This generated discussions as to exactly how the piece evolved - the nuts and bolts of dance making. Whilst many audience members were there to see friends or family take part in a salsa demonstration or capoeira improvisation, informal conversations following the performance initiated a process whereby various dance forms were introduced and contextualised. This gradual demystification of dance is a subtle but essential element of gDA's approach to learning.
This dialogue and demystification is not confined to a community dance context. CandoCo: The Dancers' Project was initiated in 2001, its aim to create a conduit for the company to engage with the professional dance community. Initially members of CandoCo were invited to lead daily professional class at gDA. The goal was simple: we wanted to provide a practical illustration of how easy it was to lead open professional-level classes to people with a range of physical disabilities. The following year the project developed further when open classes were accompanied by a workshop/laboratory programme led by choreographer Jasmin Vardimon for both CandoCo company members and a group of specially recruited dancers. This initiative culminated in a site-specific performance, followed by a discussion between audience and participants. It is perhaps interesting to note that this project illustrates a two-way learning process. In addition to widening the perspective of non-disabled artists, gDA has since seen a number of disabled dancers regularly attending daily professional class.
Both of these projects grew out of discussions with artists and our users. They were not part of a grand scheme, they simply took shape. As a small team of ten, we are in continual contact with our constituencies. There is structure and planned development to our work, but details remain fluid. This allows us to be flexible and able to embrace new ideas rather than be constricted by an end-product. Consequently, gDA is in a position to respond to learning as the environment in which it operates evolves. A pertinent example of gDA responsiveness is the work currently being undertaken with young men in the community. In the past few years the Agency has struggled to sustain the interest of young men who joined our predominantly female youth dance company. We began to develop a number of projects that addressed this area under the name of Vital Moves, two of which took place within the Borough Halls and were led by Union Dance. All of the projects have involved an intensive working period culminating in a final production which twice took the form of a performance and, once, a film. This year we linked gDA's activities, inviting company member Michael Joseph to lead daily professional class in addition to team teaching on the Vital Moves project. Although not unique, the project successfully connected the community and education, professional development and events programmes.
The fluidity between the professional and wider communities gives rise to a rich ecosystem sustaining the local development of dance. It is this marriage that forms the backbone of gDA's activity and provides the ground for cross-fertilisation. For example, in the building at any one time a professional company might be creating their latest work, an artist could be working in the office on a funding application, a children's dance class can be in full swing and a meeting may be taking place between local dance leaders. Hopefully some of these things cross over and dialogue begins. Sometimes this happens organically, sometimes it's contrived and sometimes it does not happen at all, which is absolutely fine.
gDA places individuals at the heart of the process where they feel empowered to make choices and take control of their own learning. With adult and professional classes, we provide an array of opportunities people can buy into. In terms of children's classes, both based in the building and as part of our outreach programme, we aim to expose the students to a variety of dance styles and working methods. There is an atmosphere that endeavours to encourage rather than prohibit. To enable rather than enforce.
Reactivity versus pro-activity is our dilemma. Brendan sees the challenge for the next ten years as 'centering around the exploration of the sometimes schizophrenic role of service provider and artistic programmer. Between strategic development and flexibility. We have only just begun to delve into this relationship, and although the two functions seem to be opposing they can be unstoppable when successful.'
In many ways we remain as idealistic as we were when the organisation started, although we have perhaps realised that our ideas are not as new and original as we had hoped. However, what we now understand is that in order to evolve we simply need to remain committed to, and enthusiastic about, the art-form. The key driver has to be enthusiasm. We embrace an undeniable 'make things happen' policy. This is gDA at its best, unconstrained by boundaries but with an open and clear vision.
gDA runs a range of classes, workshops and projects. For more information contact gDA on 0208293 9741 or visit www.greenwichdance.org.uk