Autumn 2007
Focus on participating in a common wealth of dance
For this issue of Animated we asked artists and teachers working in participatory dance but using different traditions and styles to write about what they thought about the benefits of people participating in dance, and what they got out of working with people in participatory dance themselves. The idea: to see what they had in common.
The writers reveal the passion they have in common for the dance and dancers they work with, and the joy and pleasure that brings to the participants. They demonstrate a diverse dancing communities, and an enormous commitment to getting people dancing whether for recreational, educational or artistic reasons. They reveal a dedication to creating positive experiences for their dancers, acknowledging dance as a powerful creative and social tool and its significant contribution to health and wider well-being. Underpinning everything...
Read moreIn this issue
| Donald Hutera had a whale of a time being willingly abducted in Edinburgh | |
| Ken Bartlett, Creative Director, Foundation for Community Dance | |
| This issue's focus has been prompted by a number of things that have happened recently... Ken Bartlett, Creative Director, Foundation for Community Dance | |
The focus: participating in a common wealth of dance |
| Francis Angol Artistic Director, Movement Angol Dance Company | |
| Diana Campbell Jewitt, freelance traditional dance teacher | |
Ruth Spencer, independent dance artist
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| Lee Fisher, Head of Creative Learning at Birmingham Royal Ballet | |
Maureen Flanighan, Dance Teacher
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| Desna Mackenzie, Bellydance performer and instructor | |
| Wendy Hermelin, choreographer and dance teacher | |
International |
| Tim Rubidge enters into an intercultural dance dialogue with Xhosa dancer Zamuxolo Mgoduka in South Africa | |
Policy |
| Brendan Keaney, Director of Greenwich Dance Agency, describes how cabaret nights have brought professional and community dancers closer together | |
Professional development |
Kate Scanlan, devised the programme for the first Jane Attenborough Dance in Education (JADE) Fellowship. Here she describes the working practices and the legacy of the programme
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Susan Norwood, co-Artistic Director of Project Volume outlines her approach to the professional development of learning disabled dancers
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Susie Cox, Course Director of CandoCo's Foundation Course, describes the approach taken that sought to prepare disabled students to access mainstream vocational training in dance
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| Rita Marcalo, Artistic Director of dance company Instant Dissidence describes the process of working with community dancers, a film maker and digital artists to create Aemilus Sense | |
