CENTRE FOR ADVANCED TRAININg IN DANCE - Trinity Laban

TRINITY LABAN CONSERVATOIRE OF MUSIC & DANCE

TRINITY LABAN CONSERVATOIRE OF MUSIC & DANCE

CENTRE FOR ADVANCED TRAINING IN DANCE

CENTRE FOR ADVANCED TRAINING IN DANCE Magazine no 3 | Summer 2015

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Celebrating excellence What makes the Trinity Laban Dance CAT unique?

CREATIVE MISSION Developing choreographic potential

Centre for Advanced Training in Dance

Trinity Laban Conservatoire of Music and Dance Faculty of Dance, Creekside, London SE8 3DZ 020 8305 9400 | [email protected] trinitylaban.ac.uk/cat

THE BIGGER PICTURE CASE Circle of Excellence Bronze Winner 2014

Engaging with the wider world of dance

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Printed by Newton Print, accredited to ISO:14001 (Environmental Management) using vegetable-based inks and low-chemistry plate technology.

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welcome

elcome to the 2015 issue of the Trinty Laban Centre for Advanced Training in Dance Magazine, which shines a spotlight on the work we do in our Centre for Advanced Training in Dance (Dance CAT) and on the many talented young people who are or have been involved in the programme.

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The Dance CAT is a distinctive strand within Trinity Laban’s Learning and Participation (Dance) programme. It is a vital part of our work as a Higher Education Institution to advance the dance art form and train professional artists to take their place within the competitive dance sector. At Trinity Laban we view dance education and training as a continuum and our activities range from providing children with their first encounter with dance to providing world class professional dance artist training, and supporting choreographers and researchers to push boundaries and transform our understanding of the art form. Through the support of the Department for Education Music and Dance Scheme, our Dance CAT provides high quality training in contemporary dance to young dancers with exceptional potential. As such it complements our work with talented young musicians through Junior Trinity, also supported by the Scheme. There are a number of key features that characterise the Trinity Laban Dance CAT. We aim to balance the training required to achieve the technical rigour needed to be an accomplished dancer with enabling students to develop their creativity and their own unique artistic voices. We ensure that all the students are able to work with professional dance artists and experience their creative processes, to prepare them for the current dance industry. All our work is underpinned by research into education and dance health to ensure that our programme provides the

best possible platform for our remarkable students to prepare for their future careers. The location of the Dance CAT is significant: being within a conservatoire of music and dance enables the programme to explore the rich links between the two art forms, while the curriculum is informed by the ground-breaking movement theories of Rudolf Laban. The Dance CAT based at Trinity Laban is one of the largest in the national scheme with around 120 students. We work hard through our outreach programmes and bursary schemes to ensure that the Dance CAT is accessible to young people from diverse backgrounds, creating a unique community of young dancers. The majority of Dance CAT graduates go on to train professionally and work within dance. But even those who don’t pursue a career in the performing arts are able to apply the skills and discipline they have acquired with us to their chosen area of study or work. We explore some of these features in the following pages. While it is impossible to do justice to the amazing work and people within the Trinity Laban Dance CAT within a single magazine, we hope you enjoy reading this issue and discovering more about the programme and the wonderful young people with whom we work. Professor Anthony Bowne Principal Trinity Laban Conservatoire of Music and Dance

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Professional choreographers learn from our students as they learn from them

CONTENTS

6 PERPETUAL MOTION

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A brief history of the Trinity Laban Centre for Advanced Training in Dance

IDENTITY Providing the time and space to nurture creativity and build choreographic skills

12 home and away

Projects in London and Copenhagen

14 this year’s artists Bawren Tavaziva, Lee Smikle, Wayne McGregor|Random Dance, Renaud Wiser, Double Vision

22 the space to create

Reflections on Choreomission

student pathways 26 audition diary

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One young person’s journey to the Trinity Laban Dance CAT

30 telling it like it is

Current students talk about their experiences

32 out & about

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CAT students in the wider dance world

34 past students, future successes Our impact grows as our former students influence how dance develops

Celebrating the achievements of our alumni

making it work 38 community, challenge and commitment

Recruiting and retaining talented young dancers

40 health and injury management

Enhancing student performance

42 take your partners...

Creating opportunities through collaboration

44 Have you met vic?

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We can achieve so much more by working with others

Welcome to the ‘Vertically Integrated Conservatoire’

46 outward bound

The value of outreach

Editor Nuala McGreevy [email protected] Editoral Consultant Ian Bramley [email protected] Design Adam Hypki [email protected] Publisher Trinity Laban Conservatoire of Music and Dance Cover Photo James Keates Photography Rachel Cherry, Belinda Lawley, Benedict Johnson, James Keates, David Slate Print Newton Print www.newtonprint.co.uk



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Perpetual motion Veronica Jobbins Head of Learning and Participation (Dance), Trinity Laban

he development of the Centre for Advanced Training in Dance (Dance CAT) at Trinity Laban Conservatoire of Music and Dance has been a major enterprise, providing an extraordinary opportunity to set up a new and innovative training programme for young people that aims to have a significant impact on the professional dance sector.

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Trinity Laban’s Dance CAT is part of a national scheme of Dance CATs, with centres based in Ipswich, Leeds, Swindon, Birmingham, Manchester, Newcastle and north London delivering specialist strands in contemporary dance, ballet, South Asian dance, circus arts and urban dance to their regions. In 2005, following a review of the Department for Education’s Music and Dance Scheme, Centres for Advanced Training in both Music and Dance were established to enable talented young people to have broader opportunities in terms of dance and music genres, to develop their skills without having to attend a boarding school (such as the Royal Ballet School and Yehudi Menuhin School) and, crucially, to widen access to more young people from disadvantaged backgrounds. The new scheme aimed to:

‘help identify, and assist, children with exceptional potential, regardless of their personal circumstances, to benefit from world-class specialist training as part of a broad and balanced education, which will enable them, if they choose, to proceed towards self-sustaining careers in music and dance’ This year the Dance CATs celebrated 10 years of the scheme which is already making a significant impact on the dance sector. In the BBC Young Dancer 2015 – a new national dance award run by the BBC – Connor Scott, a student at the Newcastle Dance CAT, became the first ever winner. Other Dance CAT alumni did well in the competition: Kasichana Okene-Jameson (Trinity Laban) and Jodelle Douglas (Swindon) reached the semi-finals in contemporary and hip hop respectively, while Vidya Patel (Birmingham) and Jacob O’Connell (Swindon) competed in the grand final in South Asian and contemporary dance. For Trinity Laban, the foundation of the Dance CAT gave us an amazing opportunity to develop our existing education and community programmes. Until then, we had focused on

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a brief history of the Trinity Laban Centre for Advanced Training in Dance

increasing access to dance for children and young people in our local boroughs through outreach projects and regular classes in the Laban Building. There was a clear gap in provision for those young people with potential in dance to be supported to progress on to further and higher education and training, and ultimately pursue a career in dance.

Research and development At the outset, we decided to take a year to research and find out more about how to train young dancers. We wanted to avoid replicating existing training models within full-time vocational schools and instead develop an evidence-based approach driven by the needs of young people. We had a vision of a programme that nurtured young dance artists for a lifetime career in dance, that had strong links with the professional dance industry and that was open to young people from diverse backgrounds. We wanted to provide a rigorous and challenging contemporary dance technical training alongside a creative curriculum that inspired and provided the skills needed to be imaginative performers and future choreographers.

In response to our questions, the Trinity Laban dance science team undertook research which focused on identifying talent and talent development, physiological considerations (such as safe practice, growth spurt, nutrition, physical fitness and physiological gender differences) and psychological considerations (such as adolescence and dance, motivation and learning environments, perfectionism and psychological gender differences). We were also very influenced by a previous three-year programme of dance for boys and young men, Pick up the Pace, which aimed to challenge stereotypes about boys and dance, and resulted in Trinity Laban setting up a number of boys only dance classes and projects. Given the low percentage of male dance students in higher education how could we ensure that the Dance CAT had a good representation of boys?

An evolving curriculum The curriculum and programme we developed, which started in January 2007 with 35 students, has evolved over time but retained some fundamental elements. The programme runs every Saturday during term time, offers supplementary classes

As a first step, Trinity Laban’s dance science team joined forces with education and community programme staff to research existing models and educational approaches. By placing research and experimentation at the heart of developing the Dance CAT and being open to change, we started a process that has continued ever since. Key questions were: What should the content of the training be like? For instance, what was the place of ballet in contemporary dance training? How could we devise a programme that nurtured young creative artists who also had strong technical dance skills? What sort of teaching would motivate young people, enable them to be in control of their own learning and understand their abilities as young dancers? How could we identify young people with potential in dance, when we wanted to recruit both young people who had already developed through private dance classes and those who had had no formal dance training but showed incredible aptitude and motivation?



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during the week after school hours, and additional activities and projects during school holidays.

Challenges and successes

Each Saturday, the students take part in contemporary and ballet technique classes, and a creative dance workshop. The technical classes are taught in levelled, single sex groups, to take account of the range of student’s backgrounds in dance and the particular physical, psychological and learning needs of boys and girls that emerged during our research.

We are very proud of our Dance CAT programme and the 345 students who have been part of the scheme since 2007. Approximately 95 per cent of graduating CAT students go on to further training in dance at vocational dance schools, conservatoires or universities in the UK and Europe, and many are pursuing professional dance careers.

As the programme grew – we now have about 120 students – we realised the importance of pastoral support and introduced a group session each week with a personal tutor who can get to know each individual student well and provide an important point of contact with parents. The personal tutor also works with students on their Individual Training Plan, which is devised in consultation with parents/carers and tutors to monitor and support students’ learning and to ensure a balance is maintained between the demands of school work, dance training and other areas of their life.

Our work with the Trinity Laban dance science team has been vital in the development of our programme but also supports the Dance CAT programmes nationally. We led on Passion, Pathways and Potential in Dance, a study into dance talent development looking at psychology, physiology, anthropometry, injury, adherence and creativity across all nine Dance CAT centres.

Underpinning all our learning and teaching is research initiated from the Trinity Laban dance science team and we have a performance enhancement practitioner attached to the programme who provides support for both technical and creative training through physical conditioning, injury prevention, body awareness and nutrition. Our creative curriculum has also developed over time and now includes a strong emphasis on personal exploration and improvisation. This is underpinned by an understanding of fundamental movement concepts based on Rudolf Laban’s work and of formal choreographic structures and skills. Choreomission, an essential part of our choreographic curriculum, supports CAT students as young creative artists and choreographers. We also provide opportunities to see professional dance work and to experience other art forms through collaborations with music, theatre, film or visual arts. Every year, we have undertaken a dance and music project with Junior Trinity in the Trinity Laban Music Faculty, enabling young dance and music students to explore the synergies and creative potential in each other’s art forms.

A key aspect of the scheme, but also a challenge, is successfully recruiting and retaining young people from diverse backgrounds. Our outreach initiatives and talent development programmes remain at the heart of what we do. Recently we have commissioned Dr Angela Pickard from Canterbury Christ Church University to investigate our effectiveness in this area. Her initial findings have endorsed our approach to widening participation citing important elements such as the creation of an ‘enabling’ environment, the way in which the programme develops the motivation and sense of identity for young dancers, and the balance of creativity with skills development. In the future we want to investigate further the ways in which we balance and integrate the technical aspects of the programme with the creative, and also how best in our preCAT programme we can support the transition into the Trinity Laban Dance CAT. We remain committed to providing the best possible opportunities for the young people on our programme to develop their full potential as dance artists of the future, and we continue to be inspired and motivated by their energy and commitment.

Essential to the curriculum is a close connection to the dance industry through contact with the professional dance artists who are part of our regular teaching staff and through annual performance projects led by professional choreographers. The latter have included artists from companies such as Random Dance, Hofesh Shechter, Pina Bausch Company, Shobana Jeyasingh Dance Company, and choreographers including Lea Anderson, Arthur Pita, James Wilton, Lee Smikle, Freddie Opoku-Addaie and Sarah Linstra. We offer our students a range of performance experiences in high profile theatres such as Sadler’s Wells, the Royal Festival Hall and our own Laban Theatre, as well as less formal, sometimes sitespecific contexts.



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IDENTITY

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Home and Away LONDON AND COPENHAGEN Nuala McGreevy Programme Manager, Trinity Laban Dance CAT

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Each year the Trinity Laban Dance CAT welcomes new students, new choreographers and new opportunities. This year has been particularly exciting as alongside preparing for our annual Summer Show at the Laban Theatre we have been working in collaboration with Greenwich Dance and Lila Dance on an immersive dance experience, The Deluge, and for the first time ever we are taking a group of students abroad to the 13th Dance and the Child International Congress in Copenhagen, Denmark.

Copenhagen The Trinity Laban Dance CAT was selected to perform as part of the young people’s performance platform at the 13th World Congress, Dance and the Child International (daCi) running from 5 to 11 July 2015 in Copenhagen.

Lila Dance approached us through our partners Greenwich Dance to recruit a cast of 20 young dancers to perform in a new intergenerational piece of dance theatre inspired by recent UK events of flooding and torrential storms. Each performance of The Deluge transforms a venue into a fictional world with four professional performers supported by a cast from the local community.

The Congress, which explores the theme of identity in dance as it is experienced in formal and informal education settings, is a unique opportunity for everyone interested in dance and young people to meet, dance, share, present and discuss issues related to the theme across age levels and professions. The Trinity Laban Dance CAT is represented by a group of 20 students presenting a piece commissioned from Lee Smikle, which takes a personal look at what makes us us. Layering material created using their own unique fingerprints as stimuli, the dancers explore and share their identities through movement.

An open call to all 120 of our CAT students resulted in 20 young dancers from across the spectrum of age and experience signing up to the project. The Lila dancers, supported by our teaching assistants Isabel and Leanne, worked intensively over four weeks to create a swirling and dynamic chorus for the performance at Greenwich Dance on the 29 and 30 May 2015.

The Congress also includes a Professional Forum where experts in the field of youth dance present research, workshops and lecture demonstrations. Veronica Jobbins, Head of Learning and Participation (Dance), and Dr Emma Redding, Head of Dance Science, will be presenting papers on behalf of Trinity Laban.

London

‘The CAT students have been incredible throughout the project, their level of technical skill and performance energy was outstanding. From the very first session to the last show they have been tuned in, switched on and fully committed in their creativity.’

Both of these projects provide a rich experience for the students, professional development and mentoring opportunities for the CAT team, and the chance to engage with local and international partners in meaningful collaboration. We are already eager to see what next year will bring.

Lila Dance It has been lovely for us here at the Dance CAT to have the chance to work with Trinity Laban partners in this way and extend the range of performance opportunities available to our students.

‘It was so exciting to make material with professional dancers and then get to dance with them on stage. The Lila team treated us like full members of their company and it was great to work in a professional context in an amazing venue.’ Dance CAT student

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Each year the Dance CAT at Trinity Laban commissions a number of professional artists to work with the young people on the programme. The students experience the creative working practices of professional choreographers while developing dance works that are produced to the highest production standards and performed at high profile venues throughout the UK.

Bawren Tavaziva Lee Smikle Wayne McGregor | Random Dance Renaud Wiser Double Vision

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this y e a r ’s artists

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Bawren TAVAZIVA

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Zimbabwe born dance artist Bawren Tavaziva, moved to the UK in 1998 where he performed with Phoenix Dance Theatre, Union Dance Company, Jazzxchange, Carol Brown and Sakoba Dance Theatre. He choreographed his first piece in 1994 and founded his company, Tavaziva Dance, in 2004. Tavaziva Dance fuses diverse dance forms from Africa with contemporary dance, resulting in a unique dance style that is both contemporary and rooted in African cultures. Inspired by his own experience growing up in Zimbabwe, Bawren is passionate about providing opportunities for young people and nurturing talent.

You do a lot of work with young people in this and other countries. What draws you to this kind of work? It’s always a pleasure to pass back what I learnt when I was young. My training when I was younger was very technical and challenging and it is important to keep this old school training alive.

What characterises your work with young people? I always treat students and young people as professionals, not as children. I give them work that is both mentally and physically challenging. I think this approach helps them develop more quickly and helps them become stronger and more confident on stage.

language that speaks to the audience; to speak without talking. This work with the CAT students has the sense of people coming together and dancing in a village.

What was it like working with the students? How did it differ from other youth projects you have been involved with? It was amazing working with the students. They were all so professional, which is what I expected of the CAT students. I always have enjoyed working with them.

Did you accomplish what you set out to achieve? Can you describe the piece for the CAT students? This is a very happy and light-hearted work; there is an upbeat quality. We are fusing contemporary and African dance techniques. We are working with music that is South African, percussive and highly energetic, complementing the movement. There is a sense of the performers dancing together, in a village; a sense of community.

I have more than accomplished what I set out to achieve, because it’s not just me, it is myself and the students accomplishing and achieving great work together. Together we have found an honesty within the work, through the movement and its relationship to the music. Together we have achieved a life onstage. www.tavazivadance.com

How does the piece fit with your other creative work? My work always has a strong theme or story. There is always a reason for its creation; something that has inspired me, a story I want to tell, something I want to speak about. I see my movement vocabulary as a

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LEE SMIKLE Lee Smikle is a teacher, mentor, choreographer, artistic director and creative producer with a passion for youth dance. Lee has worked professionally in the dance sector since 1997. He was a core member of Matthew Bourne’s Adventures in Motion Pictures and New Adventures companies and helped to set up the educational arm of the company, Re:Bourne. He is the founder and Artistic Director of Shoreditch Youth Dance which he set up in January 2010. All Lee’s creative work supports and nurtures the development of other artists, especially his work with young people and dancers in training.

‘The Trinity Laban Dance CAT has been one of the most important and valuable parts of my career, to date. Not only does this unique and professional training environment support the creative learning of young people, it also provides valuable developmental opportunities for transitioning dance artists like myself. From 2007 to 2013, I was the Lead Teacher; supported by a brilliant team and professional framework I was able to develop my skills as a teacher, dancemaker, project manager and creative leader. I was therefore thrilled to be asked back to choreograph on the current CAT students this year. ‘In the creative process for Fingerprints I got the dancers to print out their own fingerprints (which got very messy) to determine and select which movement choices they would then develop and structure. ‘Fingerprints are formed by ridges in the skin, which form patterns: loops, arches, whorls. The simple, visual description, combined with the individual and factual information around fingerprints, allowed me and the dancers a multi-layered and interesting way in to connect and be inspired by the idea on many different levels.’ Lee Smikle www.smikleproject.com 18

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WAYNE MCGREGOR | RANDOM DANCE

Wayne McGregor|Random Dance’s work with the Dance CAT in 2015 is being led by Jessica Wright and Alvaro Dule, who joined the company in 2008 and 2013 respectively. Jessica has worked with theensemblegroup and Mobius Dance, and in 2005 she was selected to join D.A.N.C.E., an interdisciplinary programme based in Brussels, Aix-en-Provence and Dresden directed by Wayne McGregor, William Forsythe, Angelin Preljocaj and Frédéric Flamand. Alvaro was born in Albania and has danced with Zurich Ballet and the National Ballet of Portugal, the Italian choreographer Matteo Levaggi and Aterballetto. Together they have introduced the CAT students to the working processes of the Wayne McGregor|Random Dance company and enabled them to experience the fast and articulate choreographic style that it its trademark.

‘We tried to give the CAT students as authentic an experience as possible, using creative methods and tasks similar to those we have ourselves used with Wayne McGregor, as well as developing an original structure through the language we generated together throughout this process. The students were extremely responsive and offered many different solutions to the questions asked of them, taking our journey together in a direction that was new and unexpected for all of us. ‘Taking as a starting point everyday life, its pathways, actions and the people we meet who change our direction, we explored the idea of taking everyday gestures and amplifying and distorting them to the point at which their meaning is changed completely. We looked at ways in which movement can communicate and how it can retain the essence of meaning even after having been subjected to many levels of abstraction.’ Alvaro Dule and Jessica Wright

www.randomdance.org

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RENAUD WISER

London-based choreographer Renaud Wiser was born and trained in dance in Switzerland. He then pursued an international career as a dancer with companies such as the Geneva Ballet, Rambert and Bonachela Dance Company. In 2013, Renaud launched Renaud Wiser Dance Company. His work is known for its crafted physicality and intricate movement vocabulary. He has a particular interest in collaborative work strongly rooted in contemporary issues. He is also a regular tutor at the Architecture Association Interprofessional Studio, Rambert School and London Studio Centre.

‘Stomping Grounds is a piece about a community, the idea of belonging and going through life together. The group dynamic changes as time passes, with new connections and different interactions, but the sense of kinship remains, even when one is left alone. ‘I have now made a few pieces for various Centres for Advanced Training in Dance in the UK and I always witness this formidable energy that binds groups of young dancers together. ‘Movement and choreography unify a group within a shared enthusiasm for dance and it has been great to see the dancers from the Trinity Laban Dance CAT get together and achieve so much in a very short amount of time.’ Renaud Wiser www.renaudwiser.com

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double vision

Amanda Gough and Sonia Rafferty are choreographers, performers and directors in their own right but came together to form Double Vision in 1997. Their joint choreography for the company is characterised through carefully crafted pieces with a trademark sculpted, three-dimensional style that emphasises weight and flow. They use imagery and imaginative tasks within their devising process to inspire their dancers to create their own movement material and therefore work with dancers who are curious and enjoy deeply investigating, manipulating and refining their material.

‘Spheres of Influence was inspired by the anonymous quotation, “What orbit of the planets has put you and me in this place, at this moment? Where time takes a breath, and we dance on the edge of our dreams?” We considered the effect we have on each other – a gravitational pull. Working collaboratively with the students we explored ideas such as elliptical orbits, trajectories, potential energy, and twin or companion “stars” that can influence each other’s direction and speed. ‘Our group of CAT dancers is mixed in terms of age and it has been wonderful to see the older, more experienced students working with the younger ones to develop material together. We use imagery a lot to generate ideas, form relationships and enhance particular qualities – the dancers really responded well to this approach and engaged deeply with the tasks they were given. All the dancers have an inherent professionalism. They can really embody the intention of the work and the performance level is fantastic.’ Amanda Gough and Sonia Rafferty, Artistic Directors, Double Vision

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The space to create: reflections on Choreomission

Each spring term the Trinity Laban Dance CAT offers Choreomission as part of the curriculum. Choreomission provides students with an open space to play, explore and develop approaches to movement and choreography. This year the underlying theme was ‘identity’ and students interested in developing their own choreography were invited to put forward an application outlining their ideas. The chosen students were mentored by Will Aitchison and Stefano Rosato from the CAT team, and by Creative Consultant Lea Anderson, who encouraged the students to challenge their customary creative processes and take risks. Here Will Aitchison, Lead Dance Teacher at the Trinity Laban Dance CAT, shares his thoughts on this year’s Choreomission. How does Choreomission work? Students interested in developing their own choreography are invited to apply and fill in an application form based around a chosen theme – ‘identity’ this year. Students write a proposal of what they want to work on and the ideas that have come to them. The application process is really important. It forces the students to take time and come up with an idea and then put it down on a piece of paper. It helps to consolidate what’s in their head. We then look through the applications and decide on 10 to 12 pieces on which we want to start working practically. With a very open theme like ‘identity’, the students have to think what it means to them. It creates multiple possibilities of what they can do because you can pretty much relate anything to that theme. Last year’s theme was ‘fables and fairy-tales’ which was a little bit more closed but still had a certain openness. It’s a tool to get them to think on another level rather than something that they have to work around. At the beginning of the project we do a big ‘museum day’ where the students get to try out lots of ideas and look at different stimuli. They get to play around with ideas with many CAT dancers before they make their final casting decisions. They work for half a term focusing on the idea of process

and how they are doing it. Then there is a sharing where we make a cut and go from 10 to 12 down to six. The remaining choreographers carry on working in a similar way but with a little bit more focus on the final product. There is another sharing and then we make another cut from six to three and those final three are the ones that go into the show. The final three students do another half term of work focused on the final performance piece. How does Choreomission support the development of students’ creativity? Choreomission aims to provide students with an open space to play, explore and develop approaches to movement and choreography. It gives them the time and space to work on their own choreographic voice. These two things are really important and they are often things that you don’t get later in life when time and space are always short. They are free to explore ideas while at the same time getting support from us as staff. Usually we leave them a little bit to find their own way through and then we’ll give them advice here and there when they need it. We act as facilitators, giving the students the place to experiment. I think that’s really important. Creativity should be about playing and having fun with what you’re doing. That is when you are at your most creative. Think about children when they play games; it’s open, they do whatever they want through their imagination. We lose that – we unlearn it, almost. The young choreographers sometimes say to us, ‘What are you looking for?’ and we say, ‘We’re not looking for anything. We’re looking for you to show what you’ve been doing.’ But there can be a preconception that they’ve got to please others, please the audience. But the goal isn’t to please people; the goal is to make something that is their artistic voice. How we find that artistic voice is the really interesting thing.

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‘It is so important to have a choreographic element in dance training and to acknowledge its value. If you’re a choreographer, a teacher or a movement director you need to know how to choreograph. If you are a dancer you need to know about choreography in order to deal with it intelligently. It’s so important; it’s so central. I’m so delighted to see young people being exposed to choreography at an early age.’ Lea Anderson, professional choreographer and Choreomission Creative Consultant

Do the students benefit in any other way? The students also learn real skills: time management, people skills. They often get frustrated. Being there every week they are forced to deal with it. They work with different personalities not just their friends. They have to time manage the whole process and structure individual rehearsals every week. I also think they learn a bit of toughness and strength. Sometimes they’ll get feedback that isn’t what they wanted. Or when they get cut it may be unexpected. They learn that it is difficult to succeed in dance and you’ve got to work for it and I think that’s a really important lesson for them to learn. What surprises you about the students’ work? For me the most surprising thing is always the level of maturity of the work of the young people. Some of them are only 14 years old and they make decisions and lead rehearsals like they’ve been doing it all their lives. That’s delightful to see. I am often surprised by what pieces make it through and what pieces get cut. I think every year there is at least one piece that surprises me. And the future? This is only my second year of running Choreomission and we’ve already made changes from last year coming into this year. We need to keep changing and trying new things and enabling the whole process to become more creative. We need to keep experimenting with what we are doing with the young people so that they can experiment with what they’re doing. Otherwise it just becomes the same thing ever year. And that’s boring for us and it’s boring for them.

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STUDENT PATHWAYS

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AUDITiON DIARY by Kyle Creaton

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27 April

10 May

As soon as I heard about the Dance CAT at Trinity Laban, I immediately wanted to join. At the moment I attend a class called Launch at Trinity Laban. There are three classes: Boost, Lift and Launch which are for different age groups. Being in Launch has taught me lots of different techniques and qualities. It has also taught me good life skills: how to socialise, how to be confident and how to work well with others.

This is the day. This is the day of my audition. My dance teachers told me to be myself, put myself out there and that‘s exactly what I‘m going to do. They also said to take risks but not dangerous ones because that wouldn‘t be very good, would it? I’m feeling a little nervous but confident…

It feels like a natural progression to move from Launch to the Dance CAT. With the help of my teachers and family I may just get accepted on to the programme. It’s just 13 days until my first audition for the Dance CAT. I am feeling nervous about what’s in store for me and the other people auditioning but I’m also quite confident about it. I’m hoping that I make a good impression. I wonder if I will do well. I want to join the Dance CAT because I love dance. I love being able to be myself through the movement I do/make. I love to go and watch performances by choreographers like Akram Khan and Mathew Bourne. I also enjoy going to watch the BalletBoyz. I feel the Dance CAT will give me the training I need to be able to become a dancer and work with a range of talented dancers/choreographers. At the moment I attend Trinity Laban twice a week: on Wednesday I do contemporary and on Thursday I do ballet. I feel that this isn’t enough if I want to be a successful dancer in the dance industry. I need to do a lot more and work extra hard.

9 May To me, the Dance CAT is the best thing for me to join and train at because some of the dancers who attended the Dance CAT have gone on to do professional work. Also, it sounds incredibly fun. Some of my friends from school are in the Dance CAT and they say the people there are just like me so it would be a great environment for me to be in. But of course to get into the Dance CAT you need to audition. You attend one audition and if they think you’re good enough, they call you back for a second audition. The first audition is tomorrow and I’m feeling really nervous about what’s ahead of me and whether I will be called back for the second audition. Will there be people there who are more talented than me? Probably. Will they get in? Most likely. But this drives my motivation to work extra hard. Today, I’m having a nice relaxing day with my mum and we are going out for brunch. I had my hair cut because it needed cutting but also because I wanted to look good for the audition. Those 13 days sure went fast.

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…It‘s after the audition. I think I made a good impression and it went as well as it could have gone. I knew some people who were there and made some new friends. The audition was run by Will and Stefano who teach at Trinity Laban and the Dance CAT. The first half was led by Stefano and with him we worked on technique and learning sequences that were challenging at times. The second half was led by Will and we did creative work, which isn’t my favourite thing to do but I put that aside and did as well as I could.

11 May It’s the day after the audition and I’m back at school. I’ve been telling my friends and teachers all about it. They asked me how it went and I replied, ‘It was really fun and I enjoyed myself a lot.’ In Periods Five and Six, students from the London School of Contemporary Dance came in to show us some of their own choreography and what they had been choreographed to do. It was a good experience. I just got a call from my mum and she said that they want me back for the second audition! I’m so happy! If I’m accepted onto the Dance CAT it will be the first real step on a journey that could take me anywhere in life and in dance. I aspire to be that person who speaks to an audience emotionally through my movement. I want people to go away after a show and tell their family and friends how much they connected with me. I want to work with as many choreographers as possible because there are so many that have different styles. I also aspire to open up my own dance school in London when I’m older and hopefully teach young people different styles of dance and also give them the training they need. One of my main aspirations is to make my family proud – especially my grandad. He’s the one who pushes me and will continue to do so until I have made it as a successful dancer. Kyle Creaton (14) was successful at his second audition and will join the Trinity Laban Dance CAT programme in September 2015.


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Joining the Dance CAT has been such a positive and important step for our daughter; she is really flourishing technically and creatively. She is also developing her self-confidence, both in and out of the studio, has made some great friends, and gets excellent teaching and support from the tutors. Fiona Wallis, parent of Trinity Laban Dance CAT student

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lik it g llin e T s torie s ent d tu s : is it e lik it g llin e tories T GEORGE (13) How have you settled into the Dance CAT? I knew a couple of people from previous classes at Trinity Laban so I had somebody to be with for the first few weeks. I then discovered that a few people from my school were on the programme as well. I know this is not the case for everyone, but all of the other students on the programme are really kind, funny and easy to talk to. I am the youngest on the programme this year, and may well be next year, so if I found it easy, anyone will. I was surprised by how much everyone was like a family and how easily I mixed with lots of other people that are not in my classes or year. I am used to being isolated as a boy doing dance, especially in nondancing environments. It is really nice to be with other boys like me who also like dancing. Staff and teachers are approachable and very supportive, understanding and make it fun!

Is the Dance CAT programme what you expected? I didn’t really know what to expect as I wasn’t very experienced in contemporary dance and didn’t know much about Trinity Laban. All I knew was that it is a great opportunity in terms of high quality training. I soon found out that it meant meeting new people, making new friends, going on amazing theatre trips, extending my knowledge of contemporary, ballet and other dance styles, and most importantly, having fun! The Dance CAT is really enjoyable and I look forward to it every week!

What has been your highlight so far? I love going on trips to different places, especially to see performances. Seeing Akram Khan and Sylvie Guillem in Sacred Monsters and the three ballets in the English National Ballet’s Modern Masters programme were amazing experiences. Another highlight was when I managed my first pirouette.

What have you found challenging? Sometimes I feel I am not very good compared to other, older students. I remind myself that they are older than me or they have had more training and that with age comes experience. It makes me want to work harder. When I find classes a bit hard and repetitive, I just tell myself that I won’t be able to dance well if I haven’t practised the technique as best as I can.

Do you have any advice for newcomers on the programme? You are probably going to feel that someone is better than you but that’s all the more reason to work harder, and if you find the perseverance and resilience needed hard, you are not the only one. Even professional choreographers say they found it hard! The most important thing is to make the most of it and have fun!

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: is it e lik g it

llin e T s torie student s

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, ecca Denby . lked to Reb ta CAT a ce m an Em D nina and ity Laban George, Ja r at the Trin to Tu d an or Administrat

JANINA (15)

EMMA (18)

Can you describe a typical Dance CAT day?

What have you gained from studying at the Trinity Laban Dance CAT?

As I enter the double doors on a Saturday morning, I know a hard but incredibly fun day is about to begin. After a joint warm-up session, boys and girls separate for technique classes. I begin with ballet. Ballet really helps us with our contemporary technique as we can apply work we do on posture, turn-out and performance quality to our contemporary movement. Lunch provides an important time to socialise, relax, eat and talk. After lunch, we have Tutor Time when we divide into school year groups and talk about dance, world issues and everyday life. In the afternoon, we do contemporary classes and then a creative class, in which the boys and girls are brought back together. Creative classes change throughout the year. During the first term we work on our dance skills; this year we focused on dynamics, spatial awareness and quality of movement. In the spring term we explore the creative processes of influential choreographers. In the third term we work with professional choreographers and then perform the pieces in the endof-year shows in July.

How do you manage studying at the Dance CAT alongside your school work? I create timetables and stay very organised to make sure that my work is done on time and that I can attend as many classes as I can during the week. I organise work days when I don’t have dance, during which I do as much revision and homework as I can, so I am free for the days when I do dance. There are compromises, such as not being able to meet up with friends so often, but it is worth it. Over the years I have found a healthy balance of dance, work and free time.

Do you have a particular highlight from the Dance CAT programme to date? Performing for the first time at the Laban Theatre last year in a dance choreographed by Mafalda Deville was a highlight. The piece was about teen anger and so we were able to show really expressive emotions on stage. Stepping out on stage and seeing the lights and the audience just gave me such a buzz and I hope that feeling will always stay with me.

What have you found challenging? I can find the number of new movements and steps in ballet challenging but because of the great support I receive I am able to progressively build upon my knowledge. Because I love and enjoy dance so much, the challenges become fun and exciting. Now whenever I come across a new challenge I think not of how hard it is but how I am able to use my body in a clever way to make it work and learn from it.

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This is my fourth and final year on the Trinity Laban Dance CAT programme. During this time, a lot has changed but the scheme has been a great support throughout everything – from auditions to deciding what I want to do with my future and personal issues such as injuries or illness. The technique and creative classes every week have enabled me to make lifelong friends and created an atmosphere where everyone is equal. It feels like a huge extended family! Feedback is constantly given, which I find very useful, because it has enabled me to improve and achieve my personal goals. As an aspiring performing artist, this has been vital to the progression of my learning and to enable me to work through challenges rather than settle for how I am working currently.

What characterises the Dance CAT at Trinity Laban? Professional projects with choreographers and dancers within the industry have provided brilliant performance opportunities. For example, when working with Darren Ellis, we performed a flash mob at the Horniman Museum. I have learnt many transferable skills when auditioning and creating my own work, such as being free to explore yet being decisive. I have also been lucky enough to have had one-toone sessions with experts from the industry in order to support me as an aspiring musical theatre student. Something Trinity Laban does well is integrate students from different backgrounds, ages and abilities. By working with such a range of people, I have learnt how to engage with other people’s opinions and ideas – as well as giving my own – within a working environment.

How do you feel about leaving the Dance CAT and furthering your career in the performing arts? In October, I attended an ‘Audition Toolkit’ event along with the other Year 13 students from all the Dance CAT programmes across the country. We visited three conservatoires: The Place, Trinity Laban and the Northern School of Contemporary Dance. At each of the schools, we were given a mock audition, with at least one technique class and creative session, and the chance to talk to staff and students. This gave me a real insight into each conservatoire and highlighted the difference between the courses. I have gained a lot of confidence and knowledge from these opportunities and from the tutors on the Dance CAT scheme. Overall, I have loved my time on the Dance CAT scheme and would recommend it to anyone looking for something creative to challenge themselves and explore their abilities. Although I am excited for what the future holds, I still haven’t decided where I am going next year to study but feel confident and prepared for either a university or a conservatoire.


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George Littell

Boys from both ends of the Dance CAT spectrum successfully auditioned for Lord of the Flies, Matthew Bourne’s critically acclaimed dance adaption of William Golding’s classic novel. Joey Barton (17), who has been with the Dance CAT for five years, and George Littell (14), who only came to us this year, joined the London cast of the production and in October 2014 performed with New Adentures at Sadler’s Wells. The Guardian praised the piece for its ‘seamless integration of amateur and professional dancers’.

n y Laba e Trinit ccess h t , s t n de to a , h pad our stu ber of d as a launc dance world m u n a r e t e d c n id a For a w s nts CAT ha nities in the eir tale . Dance case th eir creativity portu w p o o h g s in h o t z t a p m am g the develo enablin

out

For a number of years, CAT student Karim Dime (19) has been a member of Cando2, Candoco Dance Company’s youth company for disabled and non-disabled dancers. This year he performed with the main company in Jérôme Bel’s The Show Must Go On as part of a cast of 20. The production, which showcased ‘just how versatile, how unstinting, the dancers are’ (The Herald), toured to London, Nottingham and Glasgow in spring 2005.

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Elliot Minogue-Stone (17) was selected as one of this year’s Young Creatives, gaining the opportunity to perform in his own choreography at the Clore Studio at the Royal Opera House in April 2015. The prestigious Young Creatives scheme supports young people to develop their choreographic skills and deepen their knowledge of choreography. It is a national programme managed by Youth Dance England in partnership with the Royal Ballet School and the Royal Opera House.

about

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Elliot Minogue-Stone, photo: Katherine Hollinson

Molly Walker (17) and Ben Head (18) are both members of the National Youth Dance Company based at Sadler’s Wells, London. The Company brings together some of the brightest dance talent from across England to work with internationally renowned artists. In April 2015, they both performed at Sadler’s Wells in the premier of Frame[d] a new work for the Company by its current Artistic Director, Sidi Larbi Cherakaoui.

Molly Walker


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Past students, future successes Nuala McGreevy Programme Manager, Trinity Laban Dance CAT

the time of writing we are nearing the end of the summer term at the Trinity Laban Dance CAT. This is a bittersweet time for those students who leave us this year as they perform with us for the last time and take on the badge of CAT alumni. Many will go on to train in dance at institutions such as London Contemporary Dance School, Northern School of Contemporary Dance, Rambert School or at other vocational dance schools. Others will go on to attend universities in the UK and Europe, with some choosing to use the skills and experience they have gained in fields other than the performing arts.

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It therefore feels a good time to reflect on the achievements of those who have already left the programme. Eve Ponsonby is currently playing the role of Viola in Shakespeare in Love at the Noel Coward Theatre in the West End. Tom Jackson Greaves has danced with Matthew Bourne’s New Adventures in Cinderella and Sleeping Beauty, and now directs and choreographs musical theatre productions, music videos and contemporary work. Claudimar Neto, who joined the Dance CAT in 2006, is now a successful commercial dancer and has danced with Rita Ora, the Thriller Live tour, Beth Ditto, So You Think You Can Dance and Little Mix. Kasi Okene-Jameson left us last year to train at Northern School of Contemporary Dance in Leeds. Kasi was one of just five dancers from across the UK to make it through to the BBC Young Dancer contemporary dance finals, screened on 17 April 2015.

Hannah Rotchell, from the 2010–2011 Dance CAT cohort, has just graduated from Jasmin Vardimon’s professional development company, JV2. Taha Ghauri graduated in 2014 from PARTS in Brussels, a highly prestigious performing arts training school, which selects students from all over the world, and is now making his own work. We look forward to seeing more great things from our past students as they continue to influence and enrich the world of dance.

‘The Trinity Laban Dance CAT has had a significant positive impact on my growth as a young person. Being in a supportive, creative environment where questions were welcomed allowed me to be comfortable with my own strengths and weaknesses. I was lucky enough to work with choreographers such as Tom Dale, Arthur Pita and dance artists from the Hofesh Shechter Company, and had the time, freedom and guidance to create my own work. My passion and aim of becoming a professional dancer was solidified, as I had a greater understanding of the work required to get there. I was surrounded by inspiring, passionate and giving teachers who pushed me even further. The Dance CAT scheme gave me a fuller understanding of what it means to be an independent artist and expanded the expectations I had of myself and what we can do with dance.’ Kasi Okene-Jameson, former CAT student and BBC Young Dancer 2015 contemporary finalist

Jack Humphrey, who graduated from the Trinity Laban Dance CAT in 2011, is currently dancing with 2faceddance.

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Kasi Okene-Jameson. Photo: BBC Pictures

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MAKING IT WORK

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Community, challenge and commitment Dr Angela Pickard Canterbury Christ Church University

2014, I began a pilot research study with 10 young dancers engaged in the Dance CAT programme at Trinity Laban. The dancers, aged between 13 and 16 years, were interviewed about the experiences and opportunities that led them to join the Dance CAT programme. They were questioned about their past and present experiences in dance, inside and outside the Dance CAT. The study tracked the dancers’ starting points in learning to dance and their participation in one-off or longer term dance opportunities (such as schools or community projects, creative

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‘Someone from Trinity Laban came to my school and did a workshop. They kept noticing me and giving me praise. Afterwards they gave me a leaflet and said, “Audition for the CAT.” ‘I didn’t really know that I was talented. I knew that I liked moving but didn’t really think about doing more dance until then. I got to second audition and was quite surprised at myself but I wanted to get in. I did get in!’ Trinity Laban Dance CAT student Gaining a place on the Dance CAT programme provided a considerable sense of achievement and self-worth for the dancers, not least because Trinity Laban Conservatoire of Music and Dance is viewed as forward thinking and as having high status. As the Dance CAT is for young dancers aged 13 to 18 years, this adolescent phase of physical and social development is significant, particularly in relation to young people developing a greater sense of self and identity. The findings of this study led to the development of a research project following the development of young dancers who started on the Dance CAT programme in 2014–15. This larger study uses interviews and observations, and is particularly focused on finding out more about the dancers’ experiences, thoughts, ideas and feelings in relation to how their talent is being nurtured as they develop as contemporary dancers.

dance classes, syllabus focused classes, workshops and taster days) that provided stepping stones to starting at the Dance CAT. Many of these dance experiences were provided by Trinity Laban’s own Learning and Participation programme. Such opportunities often open the door for children and young people with potential in dance to develop their talent. They also enabled the young dancers to develop a greater knowledge of possibilities through signposting, become part of a dance community, and increase their self-belief and confidence.

The Dance CAT programme provides term-time classes on Saturdays and weekday evenings in contemporary dance, ballet and creative work, as well as projects during school holidays, performance opportunities and visits to dance performances. Given that the young dancers are teenagers how do they balance their home life, school life and social life with participation in the Dance CAT? Many of the CAT students travel to Trinity Laban from across the South East, meaning early starts on Saturday mornings and during holidays, so what keeps them motivated to maintain their commitment?

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What is it about the Dance CAT programme that is so successful and appealing? Outlined here are some of the findings; they suggest that there are a number of interrelated factors within the environment that support, enable and motivate the young dancers to commit to the Dance CAT.

Support As CAT students are teenagers they all need varying levels of support. This support takes the form of a partnership between provision at the Dance CAT and parental support at home. It is crucial that a parent values dance as an appropriate and valuable activity for their child to spend time doing; this enables the young dancer to feel comfortable to commit. Similarly, a parent must be willing and able to commit to the Dance CAT programme, in many ways as much as their child, because they are often needed to aid a young dancer’s scheduling of school and other activities with the demands of the Dance CAT, support the dancer to eat appropriately, organise bedtime routines, liaise regarding health or injury concerns, aid time management and facilitate transport. Furthermore, parents praise, encourage and watch performances. Financially, there are bursaries to support some dancers but there are still some costs, such as purchasing dance clothing. All the dancers (even the oldest) commented that they could not be part of the Dance CAT if it were not for the support their parents offered. Support provided through the Dance CAT was recognised as beginning with a welcoming ethos where individuals were valued. The dancers felt cared for by the tutors and ‘special’ as individual artistic personalities, noting an emphasis on nurturing strengths and interests. Personal tutoring was seen as important for self-improvement and development. In addition, the development of a community of CAT dancers and friendships were significant.

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Challenge There are high expectations for the young dancers at the Dance CAT, in terms of technique and creativity. However development is carefully nurtured by the experienced team of professional dance teachers and artists. Sessions take account of group and individual needs as well as progression. There is an expectation that the young dancers will ask questions, check meaning and make mistakes, and a careful balance of support and challenge recognises that these young, adolescent dancers are able to push themselves, take risks and try something more challenging.

‘I’m never bored here as I always feel I am progressing and trying new things. ’ Trinity Laban Dance CAT student

Identity The young dancers viewed the emphasis on community development but also on individual self-improvement as positive. They felt a sense of ownership of themselves and as part of the group. This links to their perception of enjoyment and developing identity as a dancer where they ‘fit in’ and this is motivating.

‘It feels proper and professional here, I love getting on my sweatshirt and looking in my CAT diary. I love feeling like a proper dancer.’ Trinity Laban Dance CAT student Trinity Laban’s Dance CAT programme is appealing and inspiring to young dancers because they feel valued, nurtured and challenged as individuals within a community of dancers. This research is ongoing and will continue to explore teaching and learning methods that nurture talent, creativity and identity. TRINITYLABAN.AC.UK/CAT 39

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Health and Injury management Niamh Morrin Performance Enhancement Teacher, Trinity Laban Dance CAT

s the Performance Enhancement Teacher at the Trinity Laban Dance CAT, I, alongside the entire team, make every effort to effectively manage the health of our dancers. My job incorporates aspects of health and fitness advice, posture and technique assessment, and injury management.

tests. Our dancers are very lucky to have access to the National Institute for Dance Medicine and Science (NIDMS). NIDMS provides specialist care for dancers through the NHS. With growing numbers of clinics, currently based in London, Birmingham and Bath, access to NIDMS is getting easier for all injured dancers.

Injuries in dance are common; research suggests that 80 per cent of dancers sustain at least one injury each year.1 With regards to injury, working with adolescent dancers brings its own set of unique challenges. Many of the dancers go through the growth spurt whilst training with us and biomechanical changes during this developmental stage can predispose the adolescent dancer to overuse injuries.

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Finding and maintaining correct knee, foot, pelvic and shoulder alignment is key to preventing these injuries; this can be difficult for the maturing dancer. Managing the complexity of correct posture and alignment is an important focus of technique classes but so are musicality, clarity of connection, complex coordination and fluidity. As the Performance Enhancement Teacher I observe classes and work with each technique teacher to pick out the most common technique faults/difficulties amongst the dancers. I then address these within an anatomically based session that gives me, the technique teacher and the dancers dedicated time to explore the capabilities of their bodies and explore safer and more effective ways of moving. Strength and flexibility are key aspects to finding and maintaining correct posture and alignment and are therefore crucial physical fitness attributes required not only in injury prevention but also injury rehabilitation. We address these attributes in a number of ways.

Physiotherapy The Dance CAT is very fortunate to work with Chartered Physiotherapist Janet Briggs. Alongside her work with dancers at the Royal Ballet School, Janet visits the Dance CAT three times each term. Her expert assessments and advice allow dancers to tailor their training whilst managing their injuries. Together we compile an exercise training sheet for the dancers that they can refer to whilst caring for their injury. On occasion, Janet may suggest that a dancer seeks further diagnostic

A new aspect of my role is the delivery of personalised oneto-one sessions. These sessions greatly benefit our dancers in terms of injury rehabilitation, performance enhancement and injury prevention. The sessions provide opportunities to work on prescribed rehabilitation exercises and/or a unique chance to carefully assess alignment and technique which is subsequently followed by strengthening and/or stretching exercises and advice. Usually dancers have up to six successive sessions with progress assessed on a weekly basis. Dancers can also book an appointment to discuss health concerns like nutrition and hydration or to seek advice on improving particular aspects of their technique.

Strength and conditioning toolbox On a typical Dance CAT training day, dancers have access to a ‘strength and conditioning toolbox’, which contains specialised equipment and detailed strengthening exercises that are specific to the general needs of a dancer. This toolbox can be utilised at any time during the day and its use is encouraged in the case of an injured dancer who cannot participate in class. Here at the Dance CAT we pride ourselves in our openness and dedication to health and injury care. Every dancer is encouraged to inform us of any pain that they are experiencing – the onset of pain could be an early warning sign of a more serious injury. Early intervention through a one-to-one session or a physiotherapy appointment is key to managing pain and preventing further injury. For more information on the National Institute for Dance Medicine and Science (NIDMS) visit www.nidms.co.uk

Laws, Helen (2005) Fit to Dance 2: The report of the second national inquiry into dancers’ health and injury in the UK, London: Dance UK

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This year I have attended oneto-one sessions to help with the alignment in my upper back. I feel that because of my sessions I have been able to gain better control over my body and this has helped with improving my technique. Trinity Laban Dance CAT student

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Take your partners… Veronica Jobbins Head of Learning and Participation (Dance), Trinity Laban

he Dance CAT is only one part of the Learning and Participation (Dance) programme at Trinity Laban, which offers a wide range of youth, schools and community projects and activities, professional training and short courses for people of all ages and different experiences.

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Each week we engage with over 1,000 people and last year over 10,000 people took part in a programme that includes children’s classes, youth dance activities, Dance Ability for children with and without disabilities, an adult short courses programme, as well as dance workshops and projects for schools locally, across London and nationally. Over the last few years we have developed Retired Not Tired, dance and music groups for the over 60s, and a number of initiatives for health and well-being, including projects in health centres, hospitals and, recently, Headway, based at the Albany performing arts centre in Deptford, providing weekly dance classes for people who have suffered an acquired brain injury or stroke. Vital to all that we do are our partnerships and collaborations locally, across London and nationally. Linking up with dance, arts, education, local authority and other partners enables us to extend what we do, keep up to date, take advantage of new opportunities, and increase the number of people who have access to dance and music activities. With its position within the Learning and Participation (Dance) programme at Trinity Laban, the Dance CAT is able to benefit from these partnerships and also initiate and develop new ones.

Local partnerships While Trinity Laban Conservatoire of Music and Dance is an internationally recognised specialist institution for higher education and training in music and dance, we have a long history of working within Lewisham and are committed to our home borough, delivering a range of projects and programmes in local schools and community venues as well as providing regular classes for people of all ages in the Laban Building in Deptford. Our iconic Herzog & de Meuron designed building in Deptford, supported by Lewisham Council, was officially opened in 2002 and remains a focus for dance participation in the borough. As part of our mission, we are committed to our role in the development of the arts in South East London frequently connecting with other cultural and arts organisations such

as Lewisham Education Arts Network, Older People’s Arts Network and the Horniman Museum. The Dance CAT outreach and recruitment programme is strongly linked to our local schools so that currently about 20 per cent of our CAT students live or go to school in Lewisham. In the last year CAT students have taken part in Live at Trinity Laban, a dance and music performance in the Laban Theatre, part of Lewisham Live!, an annual festival showcasing the music and dance of young people in the borough. This summer, a group of CAT students working with Tavaziva Dance are taking part in Africa Dance! the opening event of the Horniman’s African Summer on 5 July 2015. Trinity Laban has been working with the Horniman Museum for over five years: the first major collaborative project, the Big Dance Picnic in 2012 (part of the Olympic celebrations) reached over 4,000 people of all ages. In July 2014, we jointly produced the Horniman’s Curious Tea Party, with Arts Council funding, reaching nearly 8,000 people over a single weekend.

Partnerships with arts organisations Links with major dance, music and arts organisations provide richness to what we do and provide essential links with the professional arts industry, often resulting in opportunities for our participants to experience the work of leading international artists through both performance and participation. We have formal partnerships with Southbank Centre, London Philharmonic Orchestra, Candoco Dance Company, Institute of Contemporary Arts and Wayne MacGregor|Random Dance as well as a very close association with Greenwich Dance, with whom we have National Portfolio Organisational (NPO) status with Arts Council England. This year some of our CAT students are working with Wayne MacGregor|Random Dance as part of their professional projects and others are collaborating with Greenwich Dance on The Deluge, a performance project with Lila Dance. This April, with Greenwich Dance, Trinity Laban hosted the London Regional Platform of UDance, an annual festival run by Youth Dance England that draws together some of the best youth dance work from across the country. Trinity Laban submitted a dance piece jointly with Candoco Dance

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Company bringing together both our youth dance groups in Splintered Spiral, an inclusive dance choreographed by Jamie Dryburgh, which has been selected to go to the National Youth UDance Festival in Plymouth in July. Karim Dime, who came on to our Dance CAT programme in September 2013 has been part of Candoco Dance Company’s youth dance programme for many years, and performed with them at Sadler’s Wells as part of Jérôme Bel’s award winning The Show Must Go On. He has also been part of the Trinity Laban/Candoco Dance Company collaboration for UDance.

Dance and music collaborations As a conservatoire of music and dance, Trinity Laban, has championed many ways in which the two art forms can work together. Almost every year since its inception, the Dance CAT has worked with Junior Trinity, in the Music Faculty, also part of the Department for Education Music and Dance Scheme, to present music and dance collaborative performance pieces at high profile venues such as Sadler’s Wells, Southbank Centre and the Festival Hall. In 2009, we explored the nature of dance choreography and music composition with our students as they led on creating their own joint performance pieces. This year we collaborated on a joint dance and vocal piece, You Should Tell that at Parties, devised by Mark Griffiths (Conductor, Vocal Consort) and Will Aitchison (Dance CAT Lead Teacher). Trinity Laban Youth Dance Company perform at the Horniman Museum in July 2014 as part of the Horniman’s Curious Tea Party

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Have you met VIC? John Fosbrook Head of Marketing and Communications, Trinity Laban

he Dance CAT at Trinity Laban is not only a fine thing in its own right, but also exists as part of a greater network of activity. Our Principal, Anthony Bowne, describes Trinity Laban as a ‘Vertically Integrated Conservatoire’ – or VIC for short. It’s a model which enables talented young dancers to progress all the way from beginners to professionals, and in which each strand of activity both enriches and is enriched by the others.

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Undergraduate programme Trinity Laban’s three-year undergraduate programme is recognised as the international gold standard for dance training. Third year student Sebastian Abarbanell enjoys learning from

‘…the most inspiring tutors who are still active as dance artists. In the course of three years you are introduced to many different techniques including Release, Cunningham, Graham and Limon based classes. Each tutor brings their own style into the class depending on their previous experience and personal practice. This prepares you perfectly for the professional world where you constantly have

to adapt to new environments and styles. The students at Trinity Laban have the opportunity to become strong technical dancers with an artistic and creative mind.’ Alongside daily classes in contemporary dance technique and classical ballet, students participate in creative workshops and major performance projects. They perform in specially commissioned works, develop their own independent projects, and take part in special events such as the second year ‘Historical Project’, where visiting professionals work with students to recreate iconic contemporary works. Student Jack Philip recalls

‘I was working with Wayne McGregor and Random Dance on their work Entity. It was an amazing experience to take class with them and learn the rep; it challenged me as a dancer and will stay with me as one of my favourite moments in dance.’ Students at Trinity Laban also enjoy being part of an international community of like-minded creative artists. With music and dance students from some 50 countries, students form lifelong friendships and artistic relationships. Recent

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graduate Camille Desmarest loves the ‘cultural richness’, and comments, ‘You create an international web and network… It gets you to places or encounters you could have never possibly imagined!’

Postgraduate programmes At postgraduate level, students can choose from a wealth of one- and two-year diploma and masters programmes, allowing them to focus on specialisms such as choreography, community dance, creative practice and dance science. A flagship programme is the MA Dance Performance in which students form the graduate dance company Transitions. They develop new works with leading choreographers and take them on an international tour. This incredibly competitive programme attracts the world’s very best young contemporary dancers.

At the same time, knowledge often moves in the opposite direction. For example, students on our MA Dance Science work with undergraduates, helping them to eat well, maintain fitness levels and train effectively. Our researchers’ investigations into pedagogy influence teaching practice at all levels, including on the BA and Dance CAT programmes. Inspiration travels in all directions. Any one of our students, from the youngest to the oldest, can provide inspiration for any other, through their creativity, hard work or simply an encouraging word. The transparent studio walls in the Laban Building are a constant reminder that we can and should observe and learn from each other. Thanks to VIC, there are many opportunities to do exactly that. To find out more about studying at Trinity Laban, visit trinitylaban.ac.uk/dance

Some of our students have previous training, others have relatively little; some come straight from undergraduate degrees, while others join later in life. David Kam studied as an architect before coming to Trinity Laban, first completing a diploma and then joining Transitions. He comments that:

‘What I enjoy most about studying at Trinity Laban would have to be the talented, passionate and supportive students and staff members alike. I feel constantly inspired by them… the diversity of my peers, from various training backgrounds and academic perspectives, constantly challenges my personal practice.’

Research programmes In 2014, Trinity Laban was highly rated for the quality of its research, and was described in Times Higher Education as the number one UK conservatoire for ‘research intensity’. This recognises that there is a small, highly active community of researchers – many of them studying for MPhils or PhDs – who are very involved within the life of the conservatoire. There’s a huge variety of research at Trinity Laban being undertaken by academics, dancers, choreographers and dance scientists. What links all of this research together is the fact that it is practice-based. So the end product of a study of choreography is more likely to be a live performance than a book, and a study of dancers’ physiology will result in practical advice for performers.

And VIC? How are all of these components linked? Firstly, there is a clear progression between each level: CAT students can and do move onto the undergraduate programme, then onto a postgraduate programme, and then into the profession.

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Outward bound Katy Pearce Project Manager, Learning and Participation (Dance), Trinity Laban

As the Project Manager within the Learning and Participation (Dance) team, I oversee a wide range of outreach projects and programmes, including outreach for the Dance CAT programme. Outreach work is intended to offer opportunities for young people to engage in dance, at whatever level they are currently at, and has the purpose of helping signpost them to further opportunities that are suitable to them both currently or for the future. Promotion of the Dance CAT scheme is one part of this, for those who show real potential in dance, ensuring that they understand what this training offers for their long-term aspirations.

OUT Opportunities for young people to take part in contemporary dance sessions with Trinity Laban: workshops, projects, taster sessions, both within schools or through visits to the Laban Building

Understand the purpose of the Dance CAT programme and what is expected of students

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Training opportunities in both technique and creative work, to develop engaged, thinking young dancers

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Blaze and Explode: free dance taster days in February half-term for anyone aged 11 to 16, with any level of experience, to come and try different dance techniques and watch performances

Dance workshops/projects in secondary schools: contemporary dance introductory sessions, curriculum support, afterschool clubs and bespoke workshops

One-off workshops for schools in the Laban Building, including classes, a tour of the building, and a talk about dance opportunities and dance careers

Continuing professional development sessions for school teachers covering a wide range of topics, including choreography skills, identifying gifted and talented pupils, behaviour management, and dance for boys

Taster days: one-day visits to the Laban Building for school groups taking GCSE or A Level Dance, offering the opportunity to hear about the undergraduate programme, watch professional dance training activities and take part in technique and creative classes

Careers talks: helping young people to understand the range of career options possible in dance and what options there are for study post-16 in both further and higher education

Signposting from outreach activities to: the Trinity Laban Youth Dance Programme, the Young Dance Ambassadors Scheme, the Trinity Laban Youth Dance Company and the Dance CAT scheme

CAT open days: anyone interested in the Dance CAT scheme who wants to find out more about the programme can visit the Laban Building, take a taster CAT class and have their questions answered

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E R A C H Raising achievement and aspirations

Educating young people about opportunities in dance: both for where they are now and for their futures

Continuous professional development for teachers: how to spot, develop and nurture talent and direct their students to other training

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Accessible for all, at all stages of development

Helping signpost young people in the right direction and helping them make choices that are right for them


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