TL’s Dance Science study indicates dancers’ creativity can be improved through developing mental imagery skills.
Research from a study Trinity Laban conducted with Coventry University and University of Plymouth has been published in Thinking Skills and Creativity.
Across three years, the project brought together dance science, education and creative practice. It involved 200 the assistance of Trinity Laban undergrads, several teaching staff, three fully-funded PhD students and many MSc students.
The ‘Enhancing creativity by training metacognitive skills in mental imagery’ study showed that training improved students’ scores on a flexible thinking test and students’ creativity on an objective choreographic assessment. These findings are promising in terms of the value of mental imagery for improving creativity in dance.
The study also enabled the development of workshops and validation of repeatable measures, positively contributing to the toolkit of future research.
Find out more about our Dance Science department on our study pages or at our Dance Science Virtual Open Evening Thursday 5 November 17:00-19:00. Register now.
The TL Professor of Choreography will hold the coveted position for four years.
Italian arts festival La Biennale Di Venezia has announced that multi-award-winning British choreographer Wayne McGregor CBE will succeed Canadian choreographer Marie Chouinard as its Director of Dance from 2021.
Wayne, who is Resident Choreographer at The Royal Ballet and Artistic Director of Studio Wayne McGregor, will take over the dance strand of the annual international festival, beginning with a 10-day celebration next summer (23 July – 1 August).
Known for pushing the frontiers of physical intelligence through dance and technology, the choreographer hopes to bring a fresh perspective to the Biennale during his tenure. He tells Lyndsey Winship of the Guardian that his plans include showcasing contemporary dance from the African continent and South America, and using the festival as an opportunity to explore “high-touch experiences that we’ve been deprived of” showcasing “the joy of the physical moving body”.
In the festival’s press release, Wayne commented –
“A dream challenge ahead… Honoured to be appointed the new Director of Dance for La Biennale Di Venezia. A chance to use a different part of the creative brain and an unrivalled opportunity to invite artists I respect and admire to share their brilliance.”
In addition to this new position, Wayne Professor of Choreography at Trinity Laban, choreographs internationally, works in music direction for film (Harry Potter, The Legend of Tarzan) and is currently working on a major production for Dutch National Opera.
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Find out more about studying at Trinity Laban on our Dance pages.
Image: Courtesy La Biennale di Venezia/photo by Andrea Avezzù
Our roundup of some of the news, projects and achievements of Trinity Laban alumni this month.
October saw the celebration of Black History Month. Tomorrow’s Warriors celebrated with the premiere of new commissions created for the Soon Come Ensemble by alumni Camilla George and Cherise Adams Burnett. The evening featured work by alum Femi Koleoso, and Mark Kavuma at Camden’s Jazz Café. Tower Hamlets Black History Month Photo-Open Exhibition displayed photos featuring dance artist and alum Sweets or Sour Tonny A.
Alumni have been recognised for a range of stellar awards and achievements across many creative disciplines this October. Charlotte Pook was appointed the new Rehearsal Director for National Dance Company Wales. Check out the playlist she has put together for NDC Wales on Spotify.
Mercury-nominated drummer Moses Boyd (Innovation Award), Tromponist and composer Rosie Turton (Breakthrough Act of the ‘Year), Composer and Saxopohonist Cassie Kinoshi’s SEED Ensemble (PRS For Music UK Jazz Act of The Year and Album of the Year, for Driftglass), Trumpeter Mark Kavuma (Instrumentalist of the Year), and Keyboardist, composer and arranger Joe Armon-Jones (PRS For Music UK Jazz Act of the Year) were all nominated at this year’s Jazz FM Awards.
Sir Matthew Bournebroke records winning his 9th Olivier Award in October, becoming the individual with the most awards following a win for “Best Theatre Choreographer” for Mary Poppins – The Musical (which he shares with Co-Choreographer, Stephen Mear).
TL Honorary Fellow, Choreographer and Artistic Director Siobhan Davies received a Damehood in this year’s Queens’ Birthday Honours. Also recognised was Paul Philbert (Principal Timpani of Royal Scottish National Orchestra) who received an MBE for his services to music in recognition of his international performance career and dedicated interest in inclusive music education.
Alumni have continued to create and perform in a rich variety of projects, festivals and collaborations both online and in person across the UK and abroad. Cellist Stjepan Hauser performed a stunning version of Hans Zimmer’s ’Now We Are Free’ from Gladiator, surrounded by equally stunning scenery, while Bastard Assignments premiered Browsing, Idling, Investigating, Dreaming was streamed live for the Artistic Research Autumn Forum 2020, presented by DIKU, and Francesco Rocco dedicated an arrangement of Pat Matheny’s ‘Letter From Home’ to those unable to be with loved ones in the past months.
Following the release of her critically-acclaimed album SOURCE, Nubya Garcia performed at the Barbican. The composer and saxophonist shares insights into her life as a musician, including inspirations, bandmates and new album in a behind-the-scenes documentary.
Shelly Maxwell, who was nominated for the Best Choreography Award at the Black British Theatre Awards again this year, joined a virtual panel for a discussion exploring issues and experiences of parenthood and womanhood within the dance and creative industry as part of East London Dance’s Mesa Festival. Alumni Kim Chi Le, Hattie Harding, Alison Thomas, Tillie Ridge and Kajsa Sundström were all involved in producing this interactive multi-arts festival.
Musical Theatre alum Elliot Coombe joined the cast of Agatha Christie’s ‘The Mousetrap’ as understudy Christopher Wren. The landmark production reopened on 23 October at St Martin’s theatre.
Tommy Cattin’s EREM dance presented their first original performance ‘SOIR HB’ in Delémont, Switzerland at the Forum Saint-Georges on 30 October. An exploration self-discovery and the emotional and physical imprints left on us by Beauty, the short piece was part of the Tanzfaktor 2020 concert co-hosted by the CCRD and Reso – Réseau Danse Suisse.
Joumana Mourad and her company IJAD Dance Company launched Open Online Theatre, a specialist platform and training programme to support performing artists to bring their work into the digital space and build sustainable careers. Find out more.
Alumni Associate Artist Theo TJ Lowe featured alongside the likes of Danny Boyle and Misty Copeland in The Silent Burn Project, a three-hour collection of films and interviews created to celebrate the 20th anniversary of Akram Khan’s dance company. Read Lyndsey Winship’s review for the Guardian.
The Siobhan Davies Next Choreography Festival was led by choreographer and alum Alexandrina Hemsley and featured work from Renée Bellamy and Alison Thomas for Siobhan Davies Dance Explore Flesh and Frame created by alum Alison Thomas in collaboration with Zoe Tankard.
Suzannah Dessau and Erin McNulty co-directed, choreographed and performed in their first collaboration Floodstream. Exploring the toxicity of giving and taking beyond the limits of equilibrium, the dance film premiered last month at the Shawna Shea Film Festival and featured original music by Boston-based experimental violinist Josh Knowles. Watch in full.
October saw a section of new releases from alumni: James Layton released his stunning new album ‘Into the Ocean’ a collection of experimental works for solo viola by emerging British and American composers; Panayotis Archontides released Elements of London, a new album featuring piano duets by contemporary classical composers Hugh Shrapnel and John E. Lewis, and Stelios Kyriakidis wrote and performed Optica, a new collection of solo guitar works. Listen to ‘Prelude in D’.
Several alumni featured in the press this month. Oscar Jerome spoke to Clash Magazine about his career and the release of his long overdue debut album, Moses Boyd was featured on Mr Porter, and double bass tutor Leon Bosch’s opinion piece about masterclasses featured in October’s issue of The Strad.
Alum Heather Main spoke to The Spectator about how, following a successful singing career, she now trains race horses and regularly sings to them: ‘Well, the lazy ones do tend to get a bit of Rossini. A little coloratura helps.’
Joseph Housel explores the history of dance in Mongolia from folk dance, to ballet and Buddhist ritual dance. Read the article. Alum Elly Braund appear in stunning images of Richard Alston’s dance company in a recent Guardian article. John Savournin returned to the stage at Alexandra Palace in ENO’s La bohème, the first drive-in opera production in Europe. Read The Stage article to find out more.
Phil Meadows talked to Jazzwise about Musicians’ Movement: “a UK-based organisation here to discuss, plan, and implement vital change within our industry’s infrastructure”. Recently they published an open letter to the Department of Digital, Culture, Media & Sport demanding urgent action to support the arts and freelance musicians.
October saw several alumni involved in new education initiatives. Dance alum Joseph Houseal’s organisation Core of Culture hosted a new four-part lecture series on ‘Mudra and the Diamond Spheres’, the organisation’s four-year initiative assisting the preservation of Buddhist ritual heritage in dance and movement. Piano alum Geénia released an online tutorial course for students: ’Transform Your Practice: A Complete 11 Stage Guide’. Christopher Russellreleased Notes on the Piano. A distillation of many years of teaching the piano, the book is now available to buy as an e-book or paperback. Ear Opener’s new series of videos on composition from top industry professionals, including the Mercury-nominated Cassie Kinoshi, demonstrate how to arrange music, write to a brief and create balance.
The TL community is deeply saddened by the passing of Dave Toole OBE, a founding member of Candoco Dance Company, who sadly passed away aged 56 on Friday 16 October 2020. Our thoughts are with his family.
COMING UP
Studio Will Dutta’s immersive Autumn/Winter 2020 programme celebrates the connectivity of digital whilst maintaining the power and intimacy of live performance and is being broadcast from their new home in East Kent. More info.
Multiple alumni are taking part in the EFG London Jazz Festival including Daniel Casimir, Laura Jurd‘s Dinosaur, Cassie Kinoshi‘s SEED Ensemble, Ayanna Witter-Johnson, Emma-Jean Thackray, Rosie Turton, Samuel Eagles, Moses Boyd, KOKOROKO, Nubya Garcia and Ezra Collective.Book now.
Online festival series London Sound Gallery curated by The Gesualdo Six is designed to raise money for artists, helping to recover some of their COVID-19 losses. It highlights some of the UK’s finest young talent including Helen Charlston, Fieri Consort (Hannah Ely) and The Hermes Experiment (Heloise Werner). Get tickets.
Join composer Adam Saunders in conversation with musical facilitator James Moriarty and singer Natasha Lohan in the Press Play Webinar Series on Nov 18 to find out more about community music leading. Tickets at £5 per webinar, with concessions for TL alumni. Current students and 2020 graduates go free. Get tickets.
Catch Ayanna Witter-Johnson and Camilla George performing at The Jazz Café on 17 November and 19 November
Educator and applied researcher Erin Sanchez graduated from Trinity Laban with an MSc in Dance Science in 2010.
Ten years on she works for One Dance UK’s Health, Wellbeing and Performance Department, is the Manager of the National Institute of Dance Medicine and Science (NIDMS), and also works for Safe in Dance International as one of their Quality Assessors and Registered Providers.
We caught up with her to find out more.
How did you get involved in dance science?
“When I was younger, my ballet teacher taught us about anatomy, alignment, and caring for our bodies, and so through my dance training I was always interested in the body and how it works.
“My undergraduate training was in sociology, psychology and dance, so I also learnt a little about brain development. During my undergraduate I met an incredible woman called Ginny Wilmerding, a pioneer of dance medicine and science, who suggested I look at Trinity Laban as an opportunity for further training and development.
“I looked and was really interested in the masters programme. I didn’t know much about dance science before I arrived in London and I can’t have imagined what it was going to do for me in terms of opening doors for professional development.
“When I arrived, I was delighted to learn about all the different aspects of dance science – the application of psychology, physiology and biomechanics to dance. I was fascinated and it was the beginning of a deep love and passion for dance science and what it can do to help people.”
What were the most valuable things you learned from during your time at Trinity Laban?
“I was able to partake in research in a variety of different fields. I was involved in the Centres for Advanced Training (CAT) research project as my master’s dissertation, where I looked at cultural background variables in dance talent development. That was a wonderful opportunity to see other researchers such as Prof Emma Redding, Dr Sanna Nordin-Bates, and Dr Imogen Aujla doing incredible work. I was very lucky to work alongside them at this earliest stage in my experience of dance science – Trinity Laban offered a huge variety of such opportunities!
These teachers, contacts, and colleagues were very influential in my next steps when I finished at Trinity Laban.
“I also had some wonderful people in my year such as Dr Sarah Needham-Beck, now a researcher in dance physiology and fitness, and Karine Rathle, who is now the President of Healthy Dancer Canada. I am still lucky to be working alongside them in many different respects.”
How has your career developed since training at Trinity Laban?
“After graduating in 2010 I started working at Dance UK, following in the footsteps of my good friend Dr Needham-Beck. Through this role, I have had a variety of opportunities to develop my advocacy and education skills.
“I was also honoured to serve on the International Association of Dance Medicine and Science (IADMS) student committee, and concurrently completed my Certificate in Safe and Effective Dance Practice from Safe in Dance International.
“I also had truly amazing support from my master’s dissertation supervisors which enabled me to publish my first academic paper in 2013. That was a big milestone for me. I am very proud of that.
“I also served as a part of the IADMS Education Committee, an opportunity to work with leading international individuals in education in dance medicine and science. As part of that work I presented the first course to prepare for the Safe in Dance Healthy Dance Practice certificate in Colorado, working with dance science pioneers including Jan Dunn and Margaret Wilson, who are superstars of the dance science world.
“After that, I started to get more involved with hip hop and dancer’s health. I was lucky to meet a woman called Nefeli Tsiouti who began Project Breakalign, a pioneering team of professionals in dance, science and medicine looking at trying to reduce injuries in hip hop dancers. If you haven’t heard of it, look it up, it’s amazing.
I’ve had the good fortune with with Nefeli to develop education resources and information for hip hop dancers, supported a great deal by Breakin’ Convention. So that’s been one of the definite amazing moments of my career development.
“The most recent thing I’ve been working on is my PhD at the University of Edinburgh, looking at the pursuit and attainment of high performance in dance. Specifically, investigating the nature, development and deployment of psychological skills among dancers. This is certainly the biggest (and best!) challenge I’ve experienced and I’m loving every minute!”
You are Manager of Dancers’ Health, Wellbeing and Performance at One Dance UK – what’s involved in managing this programme?
“More work involves education and advocacy. The Healthier Dancer Programme is the education arm of NIDMS and within that we provide introductory, entry level education to members of the dance profession and dance students about dance medicine and science. The idea is to make it accessible and applied to the dance environment so people can apply it to their work. We also have information sheets and website resources relating to topics around dancers’ health.
“At One Dance UK, we’re also responsible for providing industry standards from research and feedback from the dance sector that we’ve developed over the last three decades. We also provide a Health Care Practitioners directory through One Dance UK. My colleague Jess Lowe administrates all of this excellent work – and she is also a graduate of the Trinity Laban MSc in Dance Science!
“We also run the All-Party Parliamentary Dance Group where we feed up information to ensure dance is recognised as an important aspect of society and that dancers can be healthy and safe and have sustainable careers.”
Erin Sanchez and Judith Palmer at Dance UK’s Framing the Future event. Photo Rick Senle
You are also Manager for National Institute of Dance Medicine and Science – can you tell us about this role?
“I’m relatively new in the post, and I am following in the footsteps of three incredible women – Helen Laws (who wrote Fit to Dance 2), Claire Farmer, and Stephanie De’Ath (both MSc Dance Science graduates from Trinity Laban who are immensely accomplished – look them up!) but it’s a brilliant opportunity to be involved with our incredible partners.
“I am part of a partnership that ensures a long-term future of the Institute as a focal point to access dance science and medicine expertise. In practice, that means I’m responsible for providing dancers across the UK with free access to specialist, multi-disciplinary preventative and rehabilitative care. That includes our three NHS injury clinics in Birmingham, Bath and London which provide care through sports and exercise services and are free at the point of access.”
How have your studies helped or impacted your career?
My studies have been incredibly influential to my career path and trajectory. I’d have to say that without my experiences at Trinity Laban I wouldn’t be doing what I’m doing now. My experience opened up a whole new world to me, as well as a lot of opportunities for professional networking.”
“Trinity Laban has been a perennial support for me. I graduated a decade ago and yet I still have very strong ties to the Dance Science Department. I’m in touch on weekly basis with work questions and issues. I come back and listen to graduate presentations every year which keeps me up to date on master’s level research and introduces me to the newest and brightest of the dance science world.
“I feel so lucky to able to access the resources of the Laban Library as an alum. I feel honoured to be able to work alongside the incredible staff (the incomparable Ralph Cox in particular!) who do such a brilliant job.”
Any advice to share for those interest in dance science?
“Sometimes it’s hard to know what education will bring to your life or to your way of thinking, but I have to say I found that openness was a really important aspect of my enrichment through education.
Be learning all the time. Be open to other people knowing more things than you do, and seek opportunities to be out of your comfort zone. Try new things. Allow yourself to make mistakes.
“If I hadn’t, I would never have found myself with the career I have.”
Any future plans you’d like to share with us?
“The first project I’m excited about is my PhD. I’ve been wanting to do a PhD since my masters’ degree but it did take me about eight years to organise my thoughts, to find the right supervisor and programme. It’s a big adventure. It’s really scary but it’s so much fun to collaborate on this level with people and add to the knowledge about talent development, psychological skills and mental health for dancers.
“The second project I’m super excited about is in collaboration with Safe in Dance International, Healthy Dancer Canada, The Rudolf Nureyev Foundation and NIDMS on safeguarding for dancers. It’s in development at the moment, but it’s a huge opportunity for the entire dance sector to draw together research. We’re aiming to develop guidelines and resources for the entire dance sector to inform better practice. Check out our presentation at the IADMS iConference as a part of the dance educators’ content.
It is so inspiring to be working with the international community I found through Trinity Laban on such big and important work.
“I’m so honoured to be a part of this. There’s no way I could have done either of these things on my own. I think it is so important to be working in partnership and recognising the strengths that organisations and individuals can bring.”
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Join us for our free Dance Science Virtual Open Evening 17:00 – 19:00 Thursday 5 November 2020. Register now.
The Trinity Laban MFA student explains why we need to encourage highly trained professionals to keep making art.
There has been widespread anger about the now-infamous Government advert depicting a young dancer putting on her ballet shoes with the tagline “Fatima’s next job could be in cyber (she just doesn’t know it yet)”. Shouldn’t Fatima be able to keep dancing? Just ask MFA in Creative Practice (Dance Professional Pathway) student Julia Pond who spent 9 years working in tech and watching her creative work suffer, before deciding to return to dance full time – with a creative reboot at Trinity Laban.
“I’m basically a pre-Fatima Fatima”, she notes.
Having trained at Boston Conservatory and built a successful international career as a freelancer, Julia began what was meant to be a parallel career in tech nearly a decade ago. When asked why she decided to shift direction in her professional life, Julia explains “I was living hand-to-mouth in a traditional starving artist kind of way, stressing about where my rent was going to come from. I was burnt out on that life and I wanted some interesting work that would allow me to relax a bit about money.”
Julia “inadvertently” climbed the corporate ladder, moving from part-time Editorial Assistant at a start-up to the VP of Content and, following an acquisition, to Head of Editorial Content at a large digital travel company.
Julia hadn’t initially intended to forsake her artistic roots, but as her work in tech flourished, she felt her creative life slipping through her fingers in a way that left her miserable.
“There was a dissonance between who I was as a person and what I was doing with eight hours of my day. It just wasn’t compatible.”
So, in 2019, she decided to ‘Rethink. Reskill. Reboot.’ and quit her “steady” job to return to the arts, enrolling on the MFA in Creative Practice at Trinity Laban.
The course, delivered in partnership with Siobhan Davies and Independent Dance, offers a space to nurture interest and develop artistic practice. Designed to encourage a stimulating environment of intellectual and creative inquiry, it is open to students from all backgrounds and experience, be it traditional routes or unexpected pathways.
It may not be the ‘retraining’ the UK Government intended but reclaiming her creative identity has been life changing for Julia. She has even been able to incorporate her experience into her MFA research.
“Dancing has always been at the core of who I am. […] I’m so much happier than the decade-or-so I spent at a tech company.”
Julia’s professional journey from dancer to tech and back is testament not only to her passion and skill, but to the value and necessity of our creative industries.
“We need to be seeing what we can do to keep artists making art and not encouraging highly trained professionals to learn to code,” urges Julia.
Blackheath Halls has been awarded £76,043 as part of the Government’s £1.57 billion Culture Recovery Fund (CRF) to help face the challenges of the coronavirus pandemic and to ensure they have a sustainable future.
Blackheath Halls is one of 588 cultural and creative organisations across the country receiving urgently needed support – with £76 million of investment announced this week. This follows £257 million awarded to 1,385 organisations, also from the Culture Recovery Fund grants programme being administered by Arts Council England on behalf of the Department for Digital, Culture, Media and Sport.
Opened in 1895 as part of the oldest purpose-built cultural complex in London, Blackheath Halls runs a full programme of activity including performances, hires and community engagement projects welcoming over 40,000 participants a year.
Thanks to Culture Recovery Fund support – along with ongoing donations from our generous audiences and participants – the venue is in a position to cover its overheads until the end of March 2021 and to continue a limited number of Covid-secure live events including socially distanced recitals and some community engagement activity.
Culture Secretary Oliver Dowden said –
“This is more vital funding to protect cultural gems across the country, save jobs and prepare the arts to bounce back. Through Arts Council England we are delivering the biggest ever investment in the arts in record time. Hundreds of millions of pounds are already making their way to thousands of organisations.
“These awards build on our commitment to be here for culture in every part of the country.”
Chair, Arts Council England, Sir Nicholas Serota, said –
“Culture is an essential part of life across the country, helping to support people’s wellbeing through creativity and self-expression, bringing communities together, and fuelling our world class creative industries.
“This latest set of awards from the Culture Recovery Fund builds on those announced recently and will help hundreds of organisations to survive the next few months, ensuring that the cultural sector can bounce back after the crisis. We will continue doing everything we can to support artists and cultural and creative organisations, with further funding to be announced in the coming weeks.”
Director of Blackheath Halls, Gemma Okell, said –
“We are relieved and grateful to have received this support from the Culture Recovery Fund. This year we have seen first-hand the crucial importance of the arts and culture to so many people’s lives and well-being. We are delighted that with this government funding, combined with the generosity of our audiences, donors, artists and friends, we can continue to operate and hopefully return to a full programme of activity again next year.”
Visit the Blackheath Halls YouTube channel to see the results of their online activity to date including original film A Journey Through The Rake’s Progress.
The current TL student has been named Breakthrough Act of the Year.
Launched in 2013, the Jazz FM Awards are an annual celebration of both emerging artists and established stars from across the genre’s increasingly vibrant and diverse community.
This year’s awards saw fourth-year Trinity Laban student Xhosa Cole named Breakthrough Act of the Year.
Since being crowned BBC Young Jazz Musician 2018, and Jazz Newcomer of the Year in the 2019 Parliamentary Jazz Awards, the Birmingham saxophonist has performed with groups such as the Jazzlines Ensemble and his own quartet: the CharCole Collective.
Several alumni at the forefront of the UK jazz scene were also shortlisted for this year’s Jazz FM Awards, with a total of six nominations:
Trombonist and composer Rosie Turton (Breakthrough Act of the Year)
Trumpeter Mark Kavuma (Instrumentalist of the Year)
Keyboardist, composer and arranger Joe Armon Jones (PRS For Music UK Jazz Act of The Year)
Composer and saxophonist Cassie Kinoshi’s SEED Ensemble (PRS For Music UK Jazz Act of The Year and Album of the Year, for Driftglass)
Congratulations to all the winners and nominees. For the full list, visit the Jazz FM Awards website.
This year’s awards took place at Ronnie Scott’s Jazz Club in a closed event on 27 October. The evening was livestreamed on both the Jazz FM and Ronnie Scott’s Facebook page alongside special dedicated programming on Jazz FM.
To find out more about studying Jazz at Trinity Laban, visit our Department pages.
Dance Studies researcher and lecturer Dr Sara Houston completed her undergraduate in Dance Theatre in 1994 and MA in Dance Studies in 1996.
Sara was the first dance studies scholar to win a BUPA Foundation Prize in 2011 for her research on Dance and Parkinson’s in association with English National Ballet. She has since published Dancing with Parkinson’s (2019), a book exploring the benefits of dance through the lens of people living with the disease.
A National Teaching Fellow, Sara has worked at University of Surrey and London Studio Centre, and is now Deputy Head of Dance at University of Roehampton. She also served as the Chair of People Dancing for seven years.
“It’s a unique book because it’s the first on dance and Parkinson’s. There have been autobiographies written by people with Parkinson’s who dance, and there are lots of journal articles that look at perceived physiological changes of that population, but there have been no philosophical, sociological academic studies at book level until now.
“My training is Dance Studies rather than Dance Science, so although I brought in Ashley McGill [TL Dance Science alum] I thought it was also important to look at the various context in which dance for Parkinson’s takes place. The book includes teachers, producers, dance organisations, programmes and initiatives from all over the world. They were all using dance styles, forms, pedagogical tools and artistic facilitation techniques. It highlighted the fact that dancing doesn’t have to be a therapy just because people have Parkinson’s. It highlighted the artistic nature of a lot of these classes and initiative and workshops. Even people with a movement disorder who can’t move as well or fluently can dance with artistic integrity.
“Dancing can change people’s lives. It can at least change how they approach their lives. That’s a strong theme running through the book.”
How did the book come about?
“In 2010 I was invited to be an independent evaluator on English National Ballet (ENB) pilot project for people with Parkinson’s.
“I spent a whole summer reading every single research paper going and interviewed doctors and nurses and people with Parkinson’s. I also went to a dance class for people with Parkinson’s – there were only a handful at that time.
“People would walk into class with their walking sticks. They’d be shuffling, bent over, slow. By the end of the class some of them even forgot their walking sticks. There was a real sense that there is something here worth investigating.
“We investigated the physiological change as well as the motivations, experience, social changes and assumptions. The most important thing wasn’t the physiological change, it was the whole approach that people had to life.
“The project was so successful that ENB won a lot of money from Paul Hamlyn foundation to continue the programme for a further three years. They asked if Ashley [McGill] and I would stay on and research for the duration. We continued to gather data for about four years in the end, and then spent a year writing it up.
“When I started the research I had an idea I was going to write a book on dance and social inclusion, that’s really what I’m interested in. Then I realised that this project – which was just going to be a little case study in the book – could actually be a book in its own right.
“The book came out last year, 2019, and it was published with Intellect Books who were great to work with.”
How has the book been received?
“I’ve had a lot of feedback from people living with Parkinson’s who’ve read and said ‘I really recognise me in there and I really recognise what dancing can do’. I’m really pleased that that is the case. You’ve always got to be quite wary as an academic where you’re coming into a situation as an observer, an outsider.
“It’s a full-on academic book, but I’m passionate about public engagement so I tried to write it in a way that was accessible. It’s difficult to write for multiple audiences, but I did try to write it as clearly as I could. Judging from the reactions from non-academics that’s succeeded to some extent.”
You’ve been interviewed on BBC Breakfast, and featured alongside Joe Wicks for an international broadcast recently. What is that like working with the media?
“At first it was really nerve wracking. I found I was getting indignant if a journalist misinterpreted my words. But having done quite a lot of this now I’ve realised that you’ve just got to have thick skin. As long as the general key point gets across, then it’s ok.”
What does your role at University of Roehampton involve?
“Being an academic involves teaching undergraduate, postgraduate and doctorate students, a lot of programme, department and student management and administration. On top of that you must fit in time to run research projects, bid for grants, and write book or articles. Public engagement is increasingly important for academics so that cutting edge research happening in universities is spread wider.
“I love coming in to contact with new people and ideas.
“I’m of the opinion that research students need to own their project and run with it themselves, so I’m there as a guide to provoke ideas.”
How have your studies at Trinity Laban impacted your career?
“The performance focus of my undergraduate dance degree set me up for general dance studies teaching. I needed to have a sense of my body in space, the general historical flow and what’s happening currently in contemporary dance.
“My master’s degree involved in-depth reading, writing and discussion about dance. It really set me up in a big way because it allowed me to read widely across the disciplines of aesthetics, sociology and politics. It allowed me to think in a broad, deep way about how dance is not in a silo. It’s something which exists within society and is influenced by people and can influence people.
“The bits of those degrees I was most interested in was how dance connected with society, with political and social ideas. That really sparked me.
“Early on I realised that I didn’t want to become a dancer, but I was still really interested in dance. That set me up for being an academic. I went on to do at phD at Roehampton and I’ve worked in the University and Vocational School Sector since then.”
How did you become interested in community dance?
“After my PhD I became interested in social inclusion and did a post-doc study in an adult male prison with MotionHouse. I realised that I’m interested in community dance – done by people who are not necessarily trained – and in people who are excluded or marginalised in society whose experience of dancing can lead to something else.”
You’ve recently retired as Chair of People Dancing, the national support organisation for community dance – what did this role involve?
“I got a call from the then director [of People Dancing] Ken Bartlett who said ‘Sara, you’ve got a really good sense of the bigger picture, where dance sits, we need someone like you on our board’. So I joined. I became vice chair and then chair in 2013. It allowed me to be at the centre of decision making and to see what was happening in terms of policy making.
“It’s incredibly hard stepping away but I’m still involved in People Dancing’s Dance for Parkinson’s partnership and will continue to do that.”
Any advice to share for those interested in community dance or dance research?
“It’s important to connect with other artforms, policy makers and allied disciplines such as health. I think the more that you can do this as a student, the more you can bring your skills into play in society. It’s really good to build up different networks and cultivate a diversity of relationships.
“For anyone interested in community dance, become members of People Dancing. They really do support the sector in a big way. Check out their summer school because they always have different professional development workshops and training available which is really useful. If you’re just starting out, they’ve got a brilliant introduction workshop you can do.
“I’d also recommend shadowing someone more experienced so that when you come to do it on your own you’ve got more in your armoury to use.
“Community dance is very rewarding but it’s also hard work, don’t underestimate the challenge. Don’t do a project just because it’s topical or sexy, do something you’re truly passionate about. And it’s important not to go into this work just for you. Think of your participants first.
“In research, methodological stances are often narrow, but it’s important to never forget that there is a wider context. I have come across some scientists who haven’t seen the bigger picture and I find that their approach to dance isn’t as imaginative.”
Any future plans you’d like to share with us?
“I am writing a lay book on dance and health which should be out next year. And the Parkinson’s world hasn’t got rid of me yet. I’m continuing to write articles and do public engagement on that.
“I’m also continually trying to find ways to work with my European partners (Directors of European Dance Houses) and keep discussions going on dancer’s soft skills, Parkinson’s research and vulnerable people going through forced migration. I feel Brexit is going to be an isolating situation, so I’m doing my utmost to think of ways I can still connect with these very close and inspiring partners. My intellectual circle would diminish if I couldn’t access these people.”
The BA Contemporary Dance 2020 graduate is the recipient of the coveted JV2 bursary grant.
Kent-born dancer George Perez trained at Trinity Laban, graduating with a BA in Contemporary Dance this summer. He now joins Jasmin Vardimon Company’s highly esteemed professional development programme as the recipient of a £2,500 bursary.
Designed to nurture emerging artists, the JV2 Professional Development Diploma provides a unique opportunity to learn the specific approach developed by Vardimon. Alongside dance techniques, students will explore theatrical skills, voice coaching, body conditioning, analytical and education techniques, music and the visual arts. George will continue developing as a versatile and multi-disciplinary performer under the guidance of influential British choreographer Jasmin Vardimon and members of her celebrated touring company including fellow TL alumni Jasmine Orr, Andre Rebelo and Joshua Smith.
George Perez comments –
“I am thrilled to be joining JV2 and be awarded the Ashford Designer Outlet Bursary. This financial support will make a huge difference, and it will allow me to fully concentrate on my dancing this year. I am looking forward to really focusing and getting as much as I can from this amazing opportunity. I can’t wait to get started.”
Reflecting on his recent studies at Trinity Laban, George adds –
“My time at Trinity Laban was filled with unlimited experiences in all kinds of styles and practices. The three-year programme developed my creativity, technique, and knowledge of the industry. With the help of some amazing teachers, my training prepared me for challenges and allowed me to grow in confidence and become a more rounded dancer.”
London’s creative conservatoire is delighted to announce Anuvrat Choudhary as the first recipient of the Bagri Foundation Scholarship. The Indian-born pianist joined Trinity Laban’s Faculty of Music on the two-year Masters of Music (MMus) Programme this September.
Supported by the Bagri Foundation, talented young musician Anuvrat Choudhary will study within Trinity Laban’s internationally celebrated Keyboard Department. Over two-years of postgraduate study he will enhance his technique and performance skills, collaborate with fellow artists and make lasting connections to support a successful career as a professional musician.
Established in 1990, the Bagri Foundation was founded on education, and is committed to individual excellence in the arts. It works collaboratively across artistic disciplines to engage and inspire, raising the visibility of artists and experts from across Asia and the Diaspora.
The Scholarship is part of the Foundation’s Springboard strand of activity which encourages emerging artists from Asia and the Diaspora to develop their work, especially those who need extra support.
As a Bagri Foundation Scholar at Trinity Laban, Anuvrat will continue exploring his interests in performance, teaching and the philosophy of music to add a fresh perspective to the presentation and interpretation of musical works.
On being awarded the inaugural scholarship Anuvrat comments –
“I am hugely excited to be the first Bagri Foundation Scholar. The generous support from the Foundation allows me to study on Trinity Laban’s Master’s programme, which will be of great benefit and value, both materially and in spirit. It will be my most earnest endeavour to do full justice, in the course of my study at Trinity Laban, to the recognition that has been accorded me by the Bagri Foundation.”
Trinity Laban’s Director of Music, Havilland Willshire comments –
“Trinity Laban is a leader for international development in arts education and innovation, and we are proud to be working with the Bagri Foundation to further our commitment to widening access for talented and dedicated international students. Our relationship with the Foundation is highly valued and of huge importance to us. It is our hope that we can continue to work together into the future to support young performing artists from Asia.”
Alka Bagri, Trustee of the Bagri Foundation says –
“The Foundation is pleased to welcome the first Bagri Foundation Scholar to the renowned Trinity Laban institution. With our roots in education, we are excited to continue this legacy through our Springboard strand, where we aim to make real difference to the artists we support. We cannot wait to see how Anuvrat develops his talents on the Master’s programme and look forward to working with him and Trinity Laban throughout the academic year.”
Trinity Laban has adopted the International Holocaust Remembrance Alliance’s definition of antisemitism.
The definition states that –
“Antisemitism is a certain perception Jews, which may be expressed as hatred towards Jews. Rhetorical and physical manifestations of antisemitism are directed towards Jewish or non-Jewish individuals and/or their property, toward Jewish community institutions and religious facilities.”
Further information and examples of manifestations of antisemistism may be found in the International Holocaust Remembrance Alliance’s press release.
Trinity Laban stands against antisemitism and in solidarity with our Jewish students and staff.
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