As I began to write this article, I realised that my interest lay more in describing some of the complementary aspects that support the methodologies used on a project. Just as outcomes are measured by their hard results (statistics) and their soft outcomes (e.g. greater self esteem) so too do the methodologies employed to deliver a project span a wide range. This spectrum covers the clear tasks that are set out for each session as well as a range of elements that act as a crucial support to these tasks. I chose therefore to focus on some of these supporting aspects, which I feel are vital for the overall success of a project.
My main starting point is always with the music. I have to be totally inspired by what I hear, especially as I am going to be working with it intensively. Increasingly, I work with my colleague Tara Herbert and fortunately we both share the same love of music and know instantly when something is going to work for us. This choice is made regardless of the group we are about to work with. I do not take into consideration whether or not they will like it. If I am inspired then I know that this energy will transfer onto those that I work with and it is that passion that will help to motivate the group through the process. I never aim to try and guess if one type of music might engage a particular group. I don't believe in hanging my work on such a hook, trying to win the group around by pitching music at their taste. Firstly, I can only begin to guess what that taste might be on a very superficial level. Secondly, many people at the end of a project are grateful for being introduced to a new style of music.
Most recently I directed a project in Berlin with 200 young people aged 12-22. The music was Ravels' Daphnis and Chloe and was pre-chosen by Sir Simon Rattle. Some of the school children were especially challenging in their behaviour and I was worried by this choice of music, as it was so romantic and soft. However, whilst some of the group commented that it wasn't really their kind of music, every single one of them danced with passion and quality. This confirmed to me that if there is an understanding and motivation behind the work, then there is also a real acceptance of all styles.
I have been strongly influenced by such leading figures as Royston Maldoom and Rosemary Lee. Both of these practitioners use very different approaches yet both have informed me greatly. Royston delivers his work with an energy and a passion that almost jump starts participants into a new frame of body awareness. His work is choreographed by himself and whilst there may not be much space for individual creativity, he inspires and leads people on a thrilling dance adventure. Whilst working with Rosemary on the 'Take Me To The River' project, it was a joy to see her really delve into the quality and personalities of those involved. Their energy shaped her ideas and the dancers felt very immersed in the process. My training at the Laban Centre also gave me vital opportunities to feel confident in my work. Most recently, working with Tara provides me with a wonderful springboard for ideas and constant feedback. The last two pieces we have created have given us an opportunity to delve deep into what makes a project successful and what elements from our past experiences we want to leave behind.
The range of people we have worked with includes school children, senior citizens, homeless people from the Water Project (1), women in prison, dance students, those with mental and physical special needs and street children.
Our over-riding belief is that everyone can dance and it is simply our job as professionals in this field to be able to pitch the work at a level where this can be achieved. I reflect on what inspired me when I was a participant in a project. For me, it was that mixture of being challenged and led forwards step by step so that I wasn't terrified along the way, aware that I had achieved something new everyday.
This continues to inform my approach. It is important that after the very first session the group feel a real sense of achievement and can actually dance a short section of the piece. Each session, new elements may be introduced but the foundation block is set on that first day and built upon in some way.
One crucial aspect in the work that I undertake is to really try to engage with those that I work with. If Tara and I are working in a prison, for example, we take the time to speak with the participants beforehand, telling them how the project is going to run and give them the chance to voice their concerns. We talk about our expectations of them and tell them that we will treat them as professionals from the first day.
This approach allows for Tara and myself to be able to work with any person regardless of their circumstances. I am fully aware that I have worked with women who have committed the most serious of crimes, including murder. However, if I go into a prison then I make a choice to work there unconditionally. I never ask why they are there and I ask for the prison officers not to inform me which individuals are particularly difficult. This information is not going to help me relate to that person in a professional and unbiased way. It will only serve to make me nervous at best and prejudiced at worst and therefore taint my approach and consequently keep them chained to their label of being a difficult individual. When that information is withheld, Tara and I can work much more clearly. Often, certain individuals shift their behaviour patterns during a project as we simply make the same demands on them as we do for all the others.
These demands that shape our methodology are the same for every group that we work with. Our work is non-issue based and our expectations of individuals are high, regardless of their circumstances, age or ability. Tara and I plan each session meticulously. As all of our work leads to a performance, we have a clear deadline and therefore a real motivation, which helps to drive the process. The art form is the primary focus and along the way we support the individuals and give time and energy to help them realise their full potential.
It is important for us that the structure of the piece includes sections for individual creativity as well as parts that are clearly choreographed. Creatively, we give clear and simple tasks to the group and encourage and guide them as much as is needed. For some individuals, this creative element is inspiring as it allows them to express themselves. It is also a chance for those who struggle with the taught sequences to have a greater freedom in which to move. For others, it is difficult and frightening to have a free reign. For this reason, we timetable this element in the rehearsals to be quite short initially, then, as the confidence grows, more time is given to this aspect. The creative input is important as it helps to demystify the creation of choreography and gives them a deeper understanding and sense of ownership of the piece.
One of our main aims is to achieve stillness and focus for each member of the group. Clearing away all the fidgets and protective habits of scratching and twitching allows the body the stillness and neutrality that is essential in order to start moving. Partner work, group work, weight-bearing exercises are all included in our process, however basic or complex they may be. With our constant reminder to the group to support each other and work as a team, the interaction that has to occur in order to successfully carry out these tasks together, brings the need for co-operation into a clear understanding and reality.
With the work that we have undertaken in the prisons, local dance agencies and artists are now involved, providing a more sustained commitment to dance. This team of people have their own methods and approaches but what it has allowed for is a development of talent and skills for certain individuals serving longer sentences. Last year, we were consequently able to take a group of dance students from London to perform in a project at HMP/YOI Bullwood Hall. One of the pieces in the programme involved three inmates from the previous year's project and the dance students. This integrated cast allowed for a wonderful sharing of skills. Time was set aside for sections of the previous years' work to be taught to the students by the inmates and vice versa. This interaction provided an opportunity for young women of the same age but very different circumstances to really connect and find the positive qualities between them. Both groups had fears about the other and time was given to discuss this. As a result, the quality and standard of their performance was truly exceptional. This kind of engagement is valuable as it allows people to truly relate to each other and places community dance back into a wider social spectrum.
This level of engagement recently happened in Berlin where I choreographed a pas de deux for the Daphnis and Chloe project. The two young soloists were chosen for me and during the week that I worked with them, I struggled. They were different in nearly every way. Technique, height, personality, expectation, and quality - you name it. We rehearsed, they were professional and they achieved a good standard but beyond that there was no richness. With so little time, I was content to just let them perform the work as it stood. I was therefore thrilled when they came to the next rehearsal with a glint in their eye and a joyful, flirty flavour in the air as they danced. This change had happened over a coffee and a chat. Hurrah! That was all that was needed to transform the piece into something beyond the movement and into an enchanting and gloriously human experience. This is now something that will become a part of my methodology on a project. Enforced coffee breaks. Do not under-estimate their power!
The methods that I use throughout a project hold no great mysterious ingredient. Getting people to believe in themselves and giving them an opportunity to express that with others through dance is where my passion lies. My interest is in supporting people, by whatever method I have available in my experience, to make those human connections and take them to the level where they can become artists. Sometimes that connection can shape the work, and at other times the work can be the vehicle for helping people to really engage with one another.
Suz Broughton is associate artistic director, Dance United and a freelance dance artist.
(1) The water Project is an initiative of The Place, Learning and Access and was featured in Animated, Summer 2003