UK dance graduates and preparation for freelance working: the contribution of artist-led collectives and dance agencies to the dance ecology

Abstract

Over the last decade, there has been an emergence of artist-led networks and collectives that reveals the importance of solidarity, activism and belonging. In today’s contemporary society, the term ‘network’ denotes the building of a local community (which could be physical or online). This article will explore some of these networks and collectives and their function for the communities they serve. In addition, it will question what the rise in artist-led networks/collectives reveals about the current economic and artistic position of dance in the UK, focusing in particular on the path new and emerging dance artists take after leaving any kind of formal training and entering the realms of freelance, versatile and fragmented ways of working. What are the options available to this group – commonly referred to as ‘emerging artists’ – and what are their expectations of further training, maintaining their practice and finding their position in an unstable environment? What do artist-led networks/collectives offer to the emerging artist? What can training institutions offer their graduates to prepare them for this way of working? These are some of the questions that drove the research for this paper. I ground this research in my part-time role as Associate Director of an artist-led collective, Birmingham Dance Network, and map other networks and collectives that have arisen over the last decade. With a specific interest in the opportunities available for young graduates, I will explore artist development programmes and mentoring schemes as offers for training and career progression.

Keywords:

• Dance
• artist
• artist-led
• network
• freelance

Notes

1 Regional dance agencies are non-profit organisations, partly funded by Arts Council England, to deliver dance activity in the region. You can find a full list here: https://www.onedanceuk.org/resource/regional-dance-agencies/

2 I thank Dr Debbie Fionn Barr for this term, borrowed from her (unpublished) PhD thesis, which I had the pleasure of examining.

3 See https://birmingham dancenetwork.co.uk

4 See https://www.mcrdansortium.com

5 Sometimes called ‘professional skills’ and other variations.

6 See: https://www.artscouncil. org.uk/sites/default /files/download-file /Dance_mapping_ full_report.pdf

7 See: https://www.artscouncil. org.uk/national- portfolio-2018-22 /more-data-2018-22

8 See http://www.watchingdance.org

9 See http://www.junctiondance. co.uk

10 See https://www. facebook.com/ eastmidsdanceartist network/

11 See http://www. prodanceleeds.com

12 See https://www. dancemama.org

13 See: https://www.grace-nicol. com/womxn-srsly

14 See Sutherland and Gosling (2010) article for more information.

15 Some dancers have participated in the Clore Leadership Programme (https://www.cloreleadership.org) that provides training for cultural leadership in the arts.

16 It is important to acknowledge that there is potential for artist-led organisations to become established institutions – as has positively happened with organisations such as Independent Dance.

17 This figure is from OneDanceUK’s ‘A Guide to Careers in Dance: Championing dance for all young people’, found here: https://www.onedanceuk.org/wp-content/uploads/2017/02/Careers-Guide-Digital-version.pdf

Additional information

Notes on contributors

Karen Wood

Karen Wood is a Birmingham-born dancer, maker, researcher, educator and producer. She has an MSc in Dance Science from Trinity Laban, London and a PhD from the University of Manchester. Karen has taught at a number of universities, Centre for Advanced Training programmes and community contexts. She is Assistant Professor at the Centre for Dance Research, Coventry University and has previously worked as a freelance dance artist and teacher in Manchester, London and Birmingham. She is co-founder of Manchester Dance Consortium and Associate Director of Birmingham Dance Network.