In response to the lockdown triggered by COVID-19, many arts organisations have taken their work online, sharing content for audiences to view for free. However, creating participatory engagement online is much more challenging and, as a sector used to being face to face with people in their practice, it’s clear that the current restrictions change the nature of participatory arts based activity substantially.

Following a vital conversation on social media led by Guy O’Donnell, Learning and Participation Producer, National Dance Company Wales which opened a discussion on how we can deliver participatory arts effectively, a range of partners are collaborating to lead Zoom discussions for the sector where we can talk about the impact of the lockdown on our work and work creatively together to think beyond the lockdown.

In partnership with ArtWorks Cymru a series of free Zoom meetings have been set up to discuss and share current working practices in participatory delivery.

Capturing the Learning

These Zoom meetings will explore how we capture the learning from organisations and artists who are currently delivering projects. We’ll explore what methods are working well, what are we learning through this experience, and how we are adapting  our working practices.

Director of Ardour Academy, Sara Sirati is presenting at the first Zoom Dance meeting on Wednesday 3rd June 3-5pm The meetings are free to attend but numbers are limited. Sara gives a personal response below to the challenges and solutions she has created to support participatory dance delivery in the current climate.

Hi can you tell me a little about yourself and your practice?

Hi I’m Sara… a therapist, dancer and choreographer. I’m also the director of a Cardiff-based dance and well-being, not for profit organisation called ‘Ardour Academy’.

What challenges did lockdown present to delivery of your participatory practice?

I think mainly wrapping our heads around the sudden change and making decisions that would benefit all our staff and participants, were emotional and practical challenges for us. We wanted to ensure we continued to run our services, when people need it the most and find effective ways of moving our services online. The Arts can struggle regardless of the COVID-19 crisis, and of course even more so recently, due to the crisis.

 What systems did you put in place to ensure delivery?

We made sure that we piloted a few workshops, using a variety of systems such as Ζoom, Microsoft Τeams and Facebook Live. We collected data from our participants regarding clarity of picture, sound, genres and duration of classes. Following government guidelines, we set up our studio with required equipment to ensure smooth and professional delivery of sessions, whilst keeping our instructors safe during lone working.We were very lucky to have local artists and practitioners that could walk to the studio and deliver sessions, whilst strictly following government guidelines.  

We also moved all our therapeutic practices to telephone and videocall services.

Did you have any particular challenges or success that you would like to share?

I guess funding was a major challenge for us. We were shocked to realise that all the small business funds released by the Welsh Government did not include not-for-profit organisation. We noticed a lot of “loopholes” in the information released, which discriminated against businesses like ours.  Although at the time feeling incredibly disappointed and defeated, we have instead made the decision to focus on Third Sector and Arts Sector funding. Politically this was a tough decision to wrap our heads around and accept that community projects would suffer, due to the nature of funding schemes passed by the Welsh Government.

On a more positive note, I would recommend connecting with others that are doing similar projects. I was positively surprised by the number of people that offered to help when I put a post out or sent an email. I would also recommend taking into consideration the fatigue caused by virtual learning and delivery. It’s important to manage your expectations and accept that it is not the same as what we may have been used to and our experience as result may feel different. Piloting projects and going in with an open mind has been very helpful for us.

What are your plans for future delivery?

We aim to have a virtual and varied timetable of dance, mindfulness and fitness by the end of June. It has been important to us to take our time with this, and try things out whilst holding a curious stance. Going forward, we see ourselves offering online classes for a minimum of six months. Our studio offers a lot of partner dances, including Salsa, Swing Dance and Tango which are intimate in nature, and contact based. We are not prepared to deliver those classes, even if government guidelines relax as we want to ensure our practice is as safe as possible. Hence, getting our online timetable right, and utilising the expertise of our instructors is key to us. We will also continue to run our therapeutic services online for the upcoming months. I would like to add here that we offer affordable counselling, and currently have the capacity to offer free counselling to a small number of individuals experiencing financial difficulties. We also issue hardship passes for our classes, which would allow a number of individuals to engage with weekly classes, they otherwise may not be able to afford.

Thanks for your time Sara

This piece choreographed by Alexandra Waiestall uses a structured improvisation for its’ choreography and was a part of National Dance Company Wales’ Kin tour. Unfortunately, due to current circumstances, the tour was drawn to a sudden halt. Therefore, in response to this, NDC Wales performed this piece via live stream, for audiences to watch from the safety of their own homes.

The screen was filled with seven boxes, each with one or a couple of dancers inside of them. With each of the ten dancers streaming from their homes, it allowed us as the audience to see into their worlds and connect with them as people and not solely performers.

It began with the speaking of a script, which in turn the dancers used as a set of instructions to aid the creation of their movement. These instructions provided context for the dancers’ making and provided clear connections within the movements between the dancers. Therefore, although they were each moving in their own isolation, they were connected as one. Even those who were performing in the same, shared space as others seemed separate and isolated from one and another. Occasionally, yes, they would enter each- others’ bubbles but it was not this direct communication that connected those in the shared space but again this more prominent connection through intention.

The point of focus flickers between the dancers themselves, their movements, and their views of their surroundings. We as an audience are with them, seeing what they see and engaging with the stimuli that is determining their movement. Each performer has their own understanding of the text given, with moments of pause and breath throughout. The dancers continue to move in and out of frame, reminding us that we are only seeing one perspective of each dancer, even though we are seeing seven different perspectives of the performance.

The introduction of the use of phones and torches brings a shift to the piece. We seem less focussed on the performers and more so the effects of this new dimension within the piece. They begin to interfere and although enhancing the performance, make me question the duality of how this relates to daily life. The dancers shift in their movement quality, and so does their intention and focus. Due to this we acknowledge a shift in our perception and question if we become the ones being filmed, or is it in fact that they are really filming each other? We change how we once saw the screen and question how we see through a lens as compared to before, and is this any different to how we previously watched the first part through our screens at home?

Such phrases stick with me from the text, such as, the “Electricity goes off”. The dancers would join in silence and stillness until the text spoke of it turning “on”, moving once again as the music returns. Another phrase being that of the reference to a “blue sky”. The dancers, although independently of thought, turned their attention to their external senses, prioritising their sight or the sensation of the light on their skin. Many showed us where they could see the outside, usually through a window and continued to move towards that reflection. This journey of visualisation showed us how each perspective of each performer although distinctly different was connected to each other and how their independent decision making often led to similar ideologies.

The score itself provides detail whilst still allowing space for thought and creativity. I would love to play with the score and test how my own methods for improvisation would be similar/ different to those for the company dancers. And how connected, I would feel to them through this one piece of text.

The piece seemed extremely relevant and pressing to our mutual experiences of lockdown. How can we continue to connect to one and another through technology but focus on how we can achieve this with real substance in a way that replaces human touch? Also, how do we see our surroundings, and do we take advantage of them by the misuse of technology in our daily lives?

Overall, it is wonderful that NDCWales shared this piece with us in an alternate format and it is even more wonderful that it was live and not just an online screening. It gave connectivity to an audience in a way in which a usual theatre setting cannot achieve and really provided a platform in which improvised work, that relies so heavily on inter-personal connections, can continue to grow.

Many Welsh or Wales based arts graduates are finding this current period especially difficult. Their usual opportunities to meet agents, prepare for final year exhibitions or productions may take place later in the year or sadly not at all. To raise awareness of the diverse talent graduating this year GTC is offering any Welsh or Wales based graduate the opportunity to be showcased on our website. If you are interested, please do get in touch.

Hi Robyn great to meet you, can you give our readers some background information on yourself please?

Hello! My name is Robyn Elias, I’m 24 years old and I’m in my final year of the BA (Hons) Dance Degree at University of Wales Trinity Saint David, so I will be graduating this year!

I’m mostly trained in contemporary dance but have a lots of experience in and enjoy ballet, tap, commercial and circus skills!During my time training, I’ve had the opportunity to work with artists such as Matteo Marfoglia, Gwyn Emberton, Zosia Jo, Emma Lewis, and Jo Fong. I’m excited to graduate and get started as a professional dancer, and see what stuff I can get involved in!

Can you tell us about your creative process?

I like to create from things that I enjoy or that intrigue me into wanting to discover more! I recently created a 25 minute dance work that investigated the creation and development of choreography that is derived from research into neuromusicology. This idea came from my love of listening to music! I was intrigued to how different types of music makes us want to naturally move in certain ways, so I wanted to explore this even further!

As as young Welsh artist graduating during a very difficult period, what investment and support do you think is required to enable your career to develop and prosper?

Well, the amount of online classes and streamed events that are available is amazing! So getting used to everything being online is a bit challenging to be honest. But it’s nice to see the dance community come together and support each other. This has really helped me stay motivated and keep moving through this time.It’s made me more aware of what is actually out there and enabled me to get to know dance artists and companies a bit more. It’s also allowed me to take classes with industry professionals in other styles that I wouldn’t normally get the chance to!

A range of arts organisations and individuals are now working online or finding new ways to reach out to audiences. Have you seen any particularly good examples of this way of working?

Yes! As not everyone has enough room to move in their homes, there has been many classes that encourage you to find places in your home that you can work with. There is enough out there for everyone of all ages and levels to get involved! E.g. the Royal Academy of Dance (RAD@Home) are offering free beginner ballet class videos on their website for kids and adults!

Dance companies such as Rosie Kay, Hofesh Shechter, Alvin Ailey, Trisha Brown, Martha Graham, and NDCWales have streamed classes and performances online that I have really enjoyed!

These have been through live streams or uploaded onto Instagram, YouTube, and Facebook, etc. Individual artists are also offering dance or yoga classes too! I discovered these by following them on social media.

If you were to fund an area of the arts in Wales, what would this be and why?

Space. More accessible spaces for artists to create! Education. Postgraduate opportunities in Wales! Dance as therapy. The recognition of the benefits of movement therapy for mental health and physical well-being!

What excites you about the arts in Wales?

How determined everyone in the arts is to stay in Wales, and continue to create work and opportunities, and expand the Welsh arts industry!

What was the last really great thing that you experienced that you would like to share with our readers?

I recently discovered the BBC Arts: Culture in Quarantine website! There’s loads of great stuff on there to watch or read and keep yourself entertained during the lockdown!

Thank you for your time Robyn.

Thank you!

National Dance Company Wales (NDCWales) will be launching its new online programme, KiN: Connected, on Thursday 16 April across its website and social media channels as part of the Company’s desire to create a community for dance online with audiences, participants and the sector.

At this critical time, how we tell stories through dance is fundamentally important.  KiN: Connected will be an online programme which will include some of the most popular, and previously unshown works, as well as running dance classes for adults and children, and the launch of a new commissioning opportunity to support the sector and freelance artists at this time of creative need.

National Dance Company Wales makes brilliant dance with and for all kinds of people in all kinds of places, touring across Wales, the UK and Internationally.  With innovation and imagination, NDCWales wants to widen the spectrum of what dance can be so that more people can make, watch, participate in and learn about dance in Wales and across the world.

KiN: Connected is part of the Company’s digital ambition to support artists outside of the studio as well as reach different communities. Over the last 12 months NDCWales has been exploring new ways of using digital as part of their work, such as dancers working remotely with international artists; developing ideas as part of the experimental platform, Laboratori, as well as being a part of the BBC Dance Passion digital day.  In response to Covid-19, NDCWales has accelerated the launch of its digital programme to support and engage artists and audiences in self isolation, and help connect communities through creative movement.

KiN: Connected consists of 4 basic strands: Watch Together, Dance Together, Create Together and Learn Together, with content in each strand for Adults, Children and Professional or training dancers.

KiN: Connected launches on Thursday (16 April) with a first ever live streamed performance of all 8 company dancers and 2 apprentice dancers in isolation from their own homes, coming together to give a re-worked version of Alexandra Waierstall’s2067: Time and Time and Time, which was originally created with the company for its Spring 2020 tour. This first social distancing live dance piece will be performed via YouTube on Thursday 16 April at 2pm.

On Thursday (23 April) there will be a short dance film inspired by Ed Myhill’s Why Are People Clapping!? in response to the weekly ‘Clap for Carers’ as a thank you to the NHS and Key Workers on Thursday evening which will be shared online after the national clap at 8pm.

NDCWales is also working in partnership with BBC Culture in Quarantine and BBC Cymru Wales to help reach those self- isolating over the next few weeks. The first event will be broadcast on BBC iplayer on Friday 17 April, 11am when NDCWales’ daily class will be shared across Wales and the UK. This week a ballet class will be taught to the company dancers in isolation, and viewers can also join in from home.  In the next few weeks the Company will also be launching its new initiative, Progression Routes Wales, which will be a new commission for freelancers.

NDCWales is known for its open-door access to its studios during classes and rehearsals and has an ethos of making dance as accessible as possible. The online programme is a progression of some of the existing programme, and feedback from audiences and artists online on what they would like to see. In their first week of isolation Company dancers honed their creative skills by creating, composing and editing a short film “Dancing Together, Apart” as part of Wales Arts Review’s #Digithon, which helped raise over £6500 for Freelance artists who lost work during the lockdown.

Chief Executive, Paul Kaynes said: “Dancers communicate in a way that is important for the world right now – by telling stories through visual movement, fusing fitness with creativity. We’re inviting people to join us by watching and dancing themselves: dance is one of the brilliant ways we can feed our artistic sides, and in the process keep fit in our living rooms.”

Full details of the KiN: Connected can be found at ndcwales.co.uk and on social media channels over the next week @NDCWales