Dance South West (DSW) is a consortium across five counties, linking Dance in Devon, Dorset Dance, The Works: Dance and Theatre Cornwall, Take Art! Dance Somerset and Gloucestershire Dance.
Newly appointed Director, Kate Castle, brings to the region a refreshing inclusivity, a passionate belief in people and their potential and a desire to create an ecology where there is room for everyone. Her approach is driven by a view of culture as expressed by Professor Terry Eagleton - that it 'is not only what we live by. It is also, in great measure, what we live for: affection, relationship, memory, kinship, place, community, emotional fulfilment, intellectual enjoyment, a sense of ultimate meaning...' (1) He goes on to state that this view of culture needs to be set within 'an enlightened political context.' (2)
Castle has a strong sense of who she is and what she believes - informed by what she would describe as 'a range of encounters with inspirational individuals' and a diverse professional portfolio - not always in dance - that has provided refreshing insights. This transference across projects and sectors gives her an enviable long-term perspective.
A non-conformist from the outset - and she would concede not a natural corps-de-ballet member - she has always 'loved dancing - the joy of moving - technical and creative.' Her list of credits is impressive, having worked with Massine, Fonteyn and Nureyev when dancing with the Royal Ballet and under the direction of Peter Hall, John Schlesinger and Gillian Lynne during a freelance career: 'I've always enjoyed watching how other people work. You can learn something from everyone you meet if you remain open to new possibilities.'
But this love of dance has been countered by an acute awareness of the damage incurred by indiscriminate and insensitive feedback during initial training, coupled with issues surrounding physique and self-esteem. Although she acknowledges these as 'a function of their time and prevalent culture - the teachers and choreographers could only work with what they knew then' nevertheless her experiences have had a profound influence on the way she herself wants to work with artists.
The chance to study with the 'wonderful David Henshaw at Middlesex Polytechnic' where she qualified as a primary/secondary teacher helped to broaden her vision and acquire an appreciation of the value of dance in society. But it was when she became Dance Fellow (the forerunners of Dance Animateurs) - supervised by Val Bourne (then Greater London Arts Dance Officer) that she understood the necessity of finding routes and connections to dance for all kinds of people. She learnt about the importance of networking and of building dance communities. 'You name it, I did it - from the creation of an adult performance group, to work with schools, young people, with parents and toddlers living in tower blocks. Nadine Meisner wrote a wonderful review of a community platform in 1983, which I still treasure.'
After five years as Education Officer for the Royal Ballet, on moving to the Dancers Resettlement Fund, Castle discovered that she was "ill prepared" for the intensity of the experiences of some of the dancers that she encountered. Embarking on training as a counsellor, she began to understand the foundation for issues affecting dancers, but most of all realised how much she loved seeing people fulfil their potential, recognising resonance in the words of Carl Rogers: 'I am the architect of myself. Through accepting my individuality - which I can't expect everyone else to pat me on the back for - I shape my goals and desires.' 3 This fascination with personal development led to continuing research at the Tavistock Clinic and a subsequent MA.
Key consultancies in a freelance career continued to shape Castle's thinking and approach. A mapping exercise on Teachers as Artists enabled her to look specifically at creativity - what it is, what inhibits it. It reinforced her perception that creativity is a direction not a destination and that what inhibits it is a premature foreclosing of outcomes coupled with the use of evaluation as a judgement, rather than as a learning tool.
Working as 'poacher turned gamekeeper' - first as Dance Officer with South West and then with Southern and South East Arts Councils - provided Castle with invaluable insight into the arts funding system. But it was her role as facilitator with RESEO, the network of education units in European opera houses that has most recently shaped her thinking. Beginning as a small forum, RESEO grew rapidly throughout Europe ignited by an ethos of sharing and collaboration which was both inspirational and informative: 'I spent three years working with partners across Europe - France, Finland, Hungary, Portugal etc. which was an amazing insight into how other countries valued and thought about the arts.'
An invitation to work on developing a south-west dance agency, building on the foundations laid by Antony Peppiat, led to a nationwide recruitment process and Castle's eventual appointment as Director. Wide-ranging experience in dance and consultancy has led to her conviction that no business plan will work if it disregards people and complex human emotions, drives, and behaviours. 'Any plan has to take everyone with it - consultation is not about imposing a template or giving advice - people have to feel ownership. The essence of this is to consult, gather intelligence, convene forums, devise a joint action plan, implement, then do what you say you are going to and if not, be honest about why you can't or haven't delivered.
The sheer size of the region means that DSW will only achieve its ambitions if it adopts new ways of working: streamlined, efficient and above all co-operative - building consensus between the members, consulting with stake-holders and realising that more will be achieved by working together, than in competition: 'I'm very interested in the concept of "creative friends" - the recognition that it's more fun to work with others than to go it alone and that trust takes us further than suspicion.
'It's important to state that I am not Dance South West. Structurally speaking it's a consortium but in terms of vision and ambition anyone can be a part of it - it's a place for all.' Castle's role within the consortium is as a facilitator, but it's a role that also requires decisiveness and clear artistic vision: 'At the heart of DSW lies the ethos of respect, empathy for others. Each member, Jane Webster, Antony Waller, Jacky Poole, Sara Reed, Chris Fogg, Antony Baker, has extensive knowledge of their field and specific strengths - the exchange and learning that takes place is extraordinary - everyone is so generous in sharing - and they are all driven by differing dance passions.'
So, the all-important question, does this new model mean that DSW is in fact a National Dance Agency? 'Well yes! The Devlin Review of National Dance Agencies 4 welcomed new models. The challenge facing such agencies is fulfilling a regional, local and national role and balancing all agendas clearly. We are completely committed to regional development. Our national role will emerge - interesting models of practice, an ethos, a way of working, some amazing and inspirational work - those extraordinary moments that keep us all in the business!'
Above all, Dance South West is a social enterprise based on creating opportunities to make and experience dance - an ecology where people can work, make a living and grow - where they are a part of something, while being valued for their uniqueness: 'Practitioners are dancers, educators, mentors, managers, makers etc - each of which is equally valuable and we believe that there are many pathways to a successful and sustainable career in dance.
'We have already discovered how many wonderful facilities for dance there are - an audit we commissioned in partnership with the rural arts development agencies has identified over 300 spaces with the potential for promoting dance. Our promoters at small and middle-scale have identified a clear action plan, which dovetails with the artist development programme and depends on partnerships with other key strategic agencies. We have a comprehensive programme for supporting artists, including Associate Artists, and a mentoring scheme called Creative Consultants with June Gamble and Angus Balbernie. We will be offering a programme of platforms and commissions and we are committed to creating meaningful international collaborations. We aim to introduce our companies to the national dance touring circuit, but are currently in dialogue with national companies about creating relationships with the southwest. If they have something interesting and relevant to offer us, which adds to and doesn't supplant the work of the existing regional artists then they are welcomed.
'Our landscapes offer opportunities for major environmental/site specific projects in partnership with key agencies such as The National Trust, as well as the expected retreats and summer schools.
'DSW will continue to challenge existing notions of who can dance and where dance can be made and performed, making the practice and appreciation of dance of the highest quality available to all who live in the region and beyond ... where the place and people meet.'
The Dance South West consortium are:
Dance in Devon
Ann ClaytonCo-ordinatorfrom April
Dorset Dance
Jane WebsterDirector01202 884340
Gloucestershire Dance
Jacky PooleDirector01452 330300
Take Art! Dance Somerset
Chris FoggDirector01460 249450
The Works: Dance and Theatre Cornwall
Antony WallerDirector 01872 222622
Dance South West
Kate Castle Director 01202 417425
Notes:
1.,2. Eagleton, Terry, The Idea of Culture. Oxford: Blackwell Publishers Ltd, 2000
3. Rogers, Carl R, On Becoming a Person. London: Constable and Co, 1990
4. Devlin, Graham, Review of National Dance Agencies, The Arts Council of England, 2002