In the Spring 2003 issue of Animated, I offered a perspective on being a dance manager in my article entitled 'Reflections of a Dance Manager'. This also focused on the project that I was producing and managing at that time which was 'The Mission'.
The Mission was a showcase of new work by black choreographers, and this year it toured to 23 Venues across the UK, with an accompanying Roadshow programme. Many worthwhile projects just 'happen' and the positive effects are assimilated without note. However, I feel that The Mission as a model of creative and professional development for artists and as an audience-building project would benefit from sharing with a wider audience.
- The Mission project provided employment for 33 dance artists/choreographers/teachers
- The Mission format enabled five selected choreographers to introduce their work to promoters as well as the general public. Within the tour they also had the additional benefit of presenting work to 400 promoters within the Decibel Festival in Manchester
- The choreographers selected for The Mission Tour 2003 were Maria Ryan, Robert Hylton, Irven Lewis, Bawren Tavaziva and Michael Joseph.
My company, State of Emergency's premise in producing The Mission was always based on the idea that concentrated exposure within a Black Platform would the lead to assimilation of Black dance within a mainstream programme. This is already starting to happen with the choreographers involved in The Mission.
The formula of providing an evening of varied work, from five different choreographers allowed the audience opportunities to engage with a range of styles and could appeal to a wide palate of interest. Audience feedback re-enforced this viewpoint with comments such as 'An appealing event for all ages, particularly teenagers and people new to dance', 'A great showcase, totally refreshing' and 'It was a real treat - excellent production, performance and choreography'.
By raising the profile and concentrated marketing activity on the selected choreographers The Mission succeeded in generating interest, work opportunities and career development.
Benefits gained by the choreographers as a result of exposure in The Mission include:
- For Bawren Tavaziva, a Continuing Professional Development Award from the Arts Council; a Trailblazers award from ADAD/Dance UK; an invitation to be part of Choreodrome at The Place Theatre; a commission from Jackson's Lane Zone 3 Festival; a commission from ACE Dance Company and setting up his own company which has already secured twelve dates for a national tour in Autumn 2004
- Maria Ryan received an invitation to appear in the Royal Opera House's, Festival of Firsts at the Linbury Studio. She set up her own company - Wild Roots Collective - and has also been invited to show her work at The Lyric Theatre, Hammersmith, London. Furthermore, Maria has had interest from a promoter in Vancouver to present work there at a festival and to perform at a festival at the Lilian Baylis Theatre. Maria was also invited to Hothouse -the intensive choreography and feedback days at The Royal Festival Hall and was offered a new commission from Swindon Dance
- Irven Lewis has received a commission from Derby Dance; has been invited to perform his work as part of at Studio Theatre, Westminster, in addition to other performances and was a recipient of a Continuing Professional Development Award from the Arts Council of England and a Trailblazer award from ADAD/Dance UK. He has also had interest shown in his work from West End producers
- Robert Hylton received an invitation to Choreodrome at the Place and is currently touring new work nationally with his own company
- Michael Joseph has had a valuable opportunity to take time out to concentrate on his choreographic development and the chance to create a musical soundtrack for his work for the first time
- Personal reflections by the choreographer's on their experience of the Mission include a comment from Michael that he was really appreciative of getting a tranquil uninterrupted space in a beautiful area of Dorset by the coast to concentrate solely on developing his choreography
- Maria felt that she could go on and develop her choreography with new-found confidence.
The accompanying Roadshow programme played a very important part in the success of The Mission. Educational workshops accompanying performance is nothing new, but the opportunity for teachers of contrasting styles to team teach in a collaborative way, enhanced the skills of the teachers as they learnt from each other and provided a more enriching experience for the participants.
Over 40 Roadshows took place and were extremely well received, offering new perspectives on Black dance for many participants. Where possible the Roadshows were delivered by two dance artists/teachers, with a team teaching approach and offering contrasting styles, highlighting the similarities, roots and range of what may be classified as black dance forms.
The participants were able to learn about and identify the styles and influences within Black British dance culture. It provided a context and deepened understanding of black dance forms and revealed the style and sophistication on offer. All too often black dance forms are ghettoised into what is generally expected of Black dance, tending in some areas of the country to expect more traditionally based or street dance forms. The Mission provided both performances and participatory workshops that drew on these styles, but also broadened these expectations by fusing these styles with contemporary dance, jazz and theatre.
Comments from Roadshow participants included: 'Brilliant. We were introduced to degrees of complexity in a way that brings about confidence, fun and tremendous joy.' and, 'very professional enthusiastic, passion and fun. Workshop conveyed both the technique and the cultural/social background and context - very informative'.
Week long residencies created new work with a wide range of groups including, school pupils, youth dance companies, professional dancers, college students, boys only groups, integrated groups and older adults groups. Through these extended relationships we succeeded in creating a shared ownership for The Mission Showcase when it performed in each venue.
Roadshow hosts and participants identified with the show, having met the teachers and dance artists involved; in many instances work created in the Roadshows featured as a curtain raiser to the main performance.
The Mission played generally to excellent audience capacities for dance, with 12 sell out performances and good audience numbers for other performances.
Touring fourteen dancers on the road for 23 performances is no mean feat, with the usual stress that goes along with people having to interact in such an intensive way for long periods. Therefore, it was unbelievable when one of the choreographers stated 'I don't want this tour to end, it's been so much fun!' The tour managed to take place without major crisis and with all relationships still intact at the end of the six-month period.
The impact of The Mission on the choreographers' careers is beginning to be felt, with numerous possibilities still in the air.
The choreographers involved in the tour must be credited for their commitment, reliability and professionalism, for without this kind of attitude The Mission would not have been the success that it was. They were able as mature adults, to give guidance and support to their dancers, who in most cases were at the beginning of their professional careers.
State of Emergency would very much like to work with these choreographers at some time in the future, as a company of dancers and choreographing on each other. This would be challenging and stretch their skills, for them in their dual role of choreographers and dancer, as each has their own unique and individual style and voice within the black dance genre.
In the future, State of Emergency will build on the success of The Mission. Much has been accomplished, but there is still much more work to do to seek out, invest in and support the development of black dance artists and choreographers in the UK. Much of what is positive and innovative in black dance forms goes unnoticed. Through experience of The Mission, it is also evident that opportunities offered to not reach the widest potential audience that may take up opportunities to develop their skills.
As a recently appointed Creative Advisor in the South West region of the Arts Council, I have the exciting and well needed brief to support the development of key emerging culturally diverse artists and organisations in the region.
This is an initiative that has developed out of the Arts Council Decibel initiative and it is exactly this kind of system that offers mentoring and support in development and funding support of black, Chinese and Asian artists that will have the greatest real impact in changing the landscape of the arts in UK in terms of the spread of funding support and the subsequent raised profile of these artists.
More initiatives of this kind are needed throughout the UK, hand in hand with venues taking this development on board through programming a wider range of work from black artists. Then perhaps, the circle will start to close as culturally diverse work gains visibility.
Until that happens State of Emergency will continue to be passionate about providing more opportunities for exposure to black choreographers and dance artists so that black arts are incorporated into mainstream programmes in all theatres and arts centres.
For more information on State of Emergency call 01823 480198 or e-mail soe@waitrose.com