Hi Gundija and Krystal, great to meet you both, can you give our readers some background information on yourself please?

Gundija: I am an independent contemporary dance artist based in Cardiff. Originally from Latvia, I have trained and worked in dance in Denmark and England, but now I have found my home in Wales – I have been living and working here for over 5 years now. I am also the Executive Director of Kokoro Arts.

Krystal: I grew up in Bermuda, in a green bungalow with my seven siblings and our parents. I continued dancing at my local dance schools until I moved to Wales in 2012, to dance with Ballet Cymru. Currently, I’m a freelance dance artist, choreographer, writer and emerging director, based in Newport. I am the Artistic Director of Kokoro Arts.

What got you interested in the arts?

Krystal: The arts have always been a part of me, my maternal grandmother is a mixed media artist. She creates sculptures and paintings, and uses found objects and transforms them into intricate works of art. Her house is the most beautiful and colourful place I’ve ever experienced – hand painted floor rugs and walls covered floor to ceiling with her artwork. My grandmother’s sisters were all writers, musicians, poets and fashion designers. My mother is a writer and would paint the ceiling in our kitchen into the image of the day sky. Growing up I was always taught to think differently, creatively; the house was filled with books and blocks and painted walls. The arts are an integral aspect of my identity and culture. 

Gundija: I have always been exposed to art when growing up – theatre performances, outdoor exhibitions, social cultural events, strong Folk dance and national singing traditions. Once dancing became my choice (rather than my parents) – I was exposed to different new dance styles, which led me to viewing dance as an art form not just a fun (and tough) movement activity. Through new international friendships – eventually collaborations – I started immersing myself into other art forms on a more professional level.

Together you run Kokoro Arts, the organisations mission is  “Kokoro Arts supports and promotes the development and work of young artists, facilitates sector-wide discussion and champions inclusion, accessibility and diversity throughout the Wales dance sector.”

How did the organisation develop and what are you working on at the moment?

The organisation developed out of passion and love; passion for the arts and a love for Wales – its culture and the wide diversity of the people here. It developed through conversation; through seeing the gaps in the sector and finding a way that we could fill them. We saw that there was a lack of support for young/early career artists, and we each understood what that lack of support feels like. We decided that we wanted to connect those artists with opportunities, with the sector, and to offer support for their development.

We offer support to young artists through 1-2-1 sessions, bespoke advice and feedback, application and CV writing support, sharing monthly opportunities, and ensuring we offer an open door for any questions/concerns they have. Also, we build and support networks, individually and as a company. Through the company last year we facilitated dance sector conversations and through that, the Wales Dance Network was formed. The Wales Dance Network | Rhwydwaith Dawns Cymru continues to bring the Wales dance sector together and we’re part of that steering group. We began an EU Artist Network, to be a support to artists living away from their home countries, and to share contacts and networks within that group. These connections are very important to us and our work.

Currently, we’re working on an incredible Arts Council Wales funded ‘Connect and Flourish’ project – Emerging Artists: Access, Inclusion, Connection – which will offer five early career artists the opportunity to collaboratively explore how access and inclusion can be integral to their movement practice.

The programme is in partnership with Stephanie Back, Krystal Dawn Campbell, Eädyth Crawford, Matthew Gough, Chris Ricketts, and Ballet Cymru, The programme places anti-ableist actions and perspectives at the centre of developing the next generation of movement artists in Wales. Along with that, we’re working on an Erasmus+ project; a partnership between Finland, Latvia and Wales. It is a transnational, interdisciplinary project that aims to explore and exchange practices on using creative body-based approaches for social inclusion and community building. And finally, we’re collaborating with a Bermudian organisation on a research and development project. The History of Us | Ein Hannes Ni explores how artists from different backgrounds, cultures, and languages share their artistic process and practice through discussions and dance sessions.

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Kokoro Arts has choreographed a new dance film for the National Dance Company Wales, Youth Dance company, The Associates. The project has been created entirely online and is inspired by the work of Artes Mundi 9 exhibiting artist, Prabhakar Pachpute. His practice “reflects on the working conditions, relentless excavation, unequal social development and land politics in his home state Chandrapur, known as ‘the city of black gold’.” Could you see any links between Prabhakars approach to Chandrapur and Wales in your work with the Associates?

Similarly to Prabhakar’s artistic approach to his work, we wanted the film we choreographed for ‘Now Begin’ to address issues that are pressing and important to young dance artists in Wales. In the film, they dance and speak about the change they want to see in the world – it felt really important to give them a platform to be seen and heard.

As the project has been delivered entirely online due to Covid-19 how did you approach the choreographic process and working with the young dancers?

It was important to us to make sure that the creation process was as engaging and interactive as possible. Collaboration with the Associates was essential to us – we really wanted to give them ownership over their creative process as well as the finished work.

While we had previously engaged with some of the Associates, it was our first interaction for most of the Associates. We spent time in the first session finding out about who they were as people and as artists; what was important to them about not only this process, but also their artistic development and ambitions.

We facilitated time and space for them to comment critically on each other’s choreographic work within the session using Zoom’s chat function. In giving feedback, artists engage quite differently with the work. The critique isn’t about higher legs or more stretched ankles, it’s about expression and movement; how the work is created, how it comes across and translates to audiences. Even the filming of their choreography allowed for them to engage further in the creation process. Each Associate chose their own filming location, choreography, and camera shots.

The NDCWales Associates are one of a number of youth dance organisations in Wales. Do you feel the opportunities offered by these groups are of value?

Yes, I believe that these programmes are of great value. They can connect young people to dancers from other dance schools, other parts of Wales, and the UK, in a way that helps them to engage differently with their practice and development.

Youth dance organisations have the ability to offer young artists a space to learn from different dance artists who come to teach and to create work on them and to learn different ways of moving from what they’re used to.

However, each of these programme’s could do with a lot more boldness in the range of dance styles they are offering and the range of artists that interact with the youth artists. I would love to see a wider diversity of young artists audition and accepted onto these programmes. This would offer young artists a diversity of lived experiences to interact, engage with, and learn from.

If a dancer wanted to stay and train in Wales and then pursue a career, what support system would you suggest they require in order to be able to do this?

• Access to dance classes that would develop their skill-set continuously.
• Sustainable ongoing support for their professional development rather than one-off engagements that have no continuity.
• Mentorship and coaches to support their artistic practice and help them reflect on their career development.
• Platforms and events that allow them to test their thoughts and creative practice at a variety of levels.
• For organisations and project funded companies to regularly advertise for new dancers rather than turning to those they already know.
• For organisations and project funded companies to have more paid apprentice positions or opportunities to observe and engage with them.
• More public discussions about dance in Wales
• A strategy for dance in Wales that helps the sector develop and therefore offer opportunities for those who want to remain here.
• Undergraduate training would be a good option but isn’t necessary to become a professional dancer.

Are there any examples of training systems or support networks that exist in other nations that Wales could look to utilise?

This is difficult to answer, because each nation’s system reflects a particular context. What works in one place might not work in another.

In Latvia The Latvian Academy of Culture offers an undergraduate degree programme in contemporary dance with an intake every 4 years, which offers an increased intensity and focus to their education; however it does leave gaps in graduate years.

Irelands Step Up dance project for graduates aims to bridge the gap between dance education and professional contemporary dance practice in Ireland.

CAT schemes in England show how additional opportunities can be facilitated, but we would need to be careful that they don’t only offer routes to conservatories or serve those more privileged.

What does Wales do well in dance or cultural training and delivery?

There’s a great commitment to bilingual and multilingual work, including an emerging commitment to British Sign Language.

Wales has created an environment that allows visiting (short project) artists to feel like they want to stay here – live, work, and feel at home.

There’s a rich diversity of dance styles in Wales from Welsh folk dance, concert dance, and contemporary dance, to a wide range of cultural, social and competitive dance practices.

There’s a commitment to community dance in Wales which provides a framework of dance for everyone.

The Wales dance sector attracts international interest; for example, events organised by National Dance Company Wales, Groundwork Pro and Cardiff Dance Festival as well as Wales based dancers who have an international presence on their own.

You are both parents of young children working in the arts. Given that you are both freelance artists and parents the Lockdown period must have been very challenging for you in combining the demands on your time? How did you approach this?

Krystal: For me, it was the same when I decided I would be a parent in the first place. I decided not just that I was going to do it, but that I could do it. That decision doesn’t change what happens, but it changes how I experience what happens. Those days that my son needs me even more than usual, I leave work alone and make myself available to him. I decide that that’s not a work failure but a moment to enjoy rest and connection. Motherhood has made me far more efficient in my work. I’m not lethargic, because I don’t have the time to be. I am definitely more tired than I was before I had a child, but I’m also more passionate, I’m more eager, and I have far more resilience. I decide that I can do it, and that doesn’t mean I always do it perfectly but it means I don’t give up.

Practically, I take on the work that I can do and I’m honest about the work that I can’t do. I find opportunities to get work done at odd hours. It’s about being really flexible. Learning that I could schedule my emails has revolutionised my working! If anyone ever gets an email from me at 8am, it’s because I stayed up the night before really late, responding to all of my emails. Making lists helps so much. I have pages and pages of to-do lists – this means that the tasks are out of my head so I don’t have to feel overwhelmed by them. I can look and decide what’s important to do each day. Another thing that helps a lot is having deadlines for when my work is due. This helps me to know when I need to focus on a specific task and when I have time to focus on other tasks; it’s essential to my wellbeing.

Gundija: The lockdown period, especially the very beginning of it was challenging, yes. There were suddenly new roles I felt I needed to fulfil as a mother whilst trying to work at the same time. What helped me was the repeated reminder (that came from myself, family and even social media sometimes) that I don’t have to be able to manage everything at once. So I learnt how to manage my time better (or tried to) – for example, when there were work meetings, I would tell myself it’s OK if my daughter has longer screen-time so that I can focus. Being present as a mother, for me is a priority, so whenever my attention is split and I’m neither with my daughter nor fully at work, I get stressed. The only way to avoid that is to clearly set times/moments when I know I will focus mainly on work and be less present as a mom and then have clear times where I’m fully engaged in activities with my child. And similar to Krystal – making to do lists helps me as well. It lets me get out of the chaos in my head when everything feels ‘too much’ and see all I need to do nicely organised on a paper.

Given the challenges you described above what support would help Creatives in Wales with young familes?

Flexible working hours and the ability to have children in the room whenever safe. Working with people who try to understand the unpredictability of life with a child would help reduce the guilt often felt by working parents. Having the ability to job-share more often would also be really great – that way a parent can engage with less worry about child-care costs. Where possible, including child-care as access costs would make a massive difference. Often, in order to work and have your child cared for, you end up losing money. Even a contribution towards child-care costs would make a big difference.

It would also be great, if there were a few parents, that the project or organisation could facilitate a shared child-care arrangement on the premises. Even something more informal would be a huge support. Potentially a child-minder who could take on a few children with the organisation/project covering a portion of the costs.

Get the Chance works to support a diverse range of members of the public to access cultural provision. Are you aware of any barriers that creatives in Wales face? If you are, what might be done to remove these barriers?

Despite some changes, there is still systemic excluding around multiple characteristics. The system needs to act on equality not just talk about it.

Cultural Contracts and Arts Council Wales requirements for Portfolio organisations are a step forwards, but there needs to be deep thinking and radical doing to shift our perception of who is and who can be an artist.

A big issue is that not enough new job posts are being advertised, so those who are most marginalised are at a constant risk of precarious work, (hourly paid staff, fixed contracts, not secure in their position) so they don’t have time and space to develop their artistic practice.

With the roll out of the Covid-19 vacancies, the arts sector is hopeful audiences will return to venues and theatres. If theatres want to attract audiences what do you think they should do?

Gundija: I don’t think Vaccine Passports are a good idea. I have found live streaming performances alongside live events works well, so those who cannot attend physically, can still access it. It would be good to organise events for different specific audiences – perhaps have a coach that would pick up a group of members from a specific area. I think Venues should lobby the government so that our return to theatre spaces can be equitable. Perhaps there are ways of reducing costs for people who might struggle to attend or engage? And I think co-creating with people and communities might help us return together in a sustainable way.

Krystal: I think venues and theatres should continue to get even more creative about how they offer arts performances and engagement opportunities to audiences. Clearly outlining safety measures in place, more performances in public spaces, and shorter performances to offer more audiences an opportunity to engage safely.

It’s great to see many venues and theatres taking advantage of their outdoor spaces to engage audiences safely.

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

Gundija: My priority would be to fund continuous support for early career artists. A scheme that would provide mentoring and opportunities for them to develop their artistic practice,  give space to share their work and learn how to reflect on their practice and critically discuss it.

Krystal: I would fund disability arts. It’s important to me that all people are able to access and engage in the arts. I believe that the most effective way to develop and innovate as artists and as a sector is to engage closely with those who are different from us. Disability arts, and ensuring a diversity of disabled people are a part of this, would ensure a wider diversity of voices sharing and imparting into the sector, strengthening us all as well as developing audiences in Wales and beyond. I would love to see Wales become leaders in innovative disability arts. So often, within disability arts, people are still marginalised and forgotten. I am passionate about seeing Wales changing this – not becoming complacent but continuing to push towards more inclusion and an active respect and appreciation for difference.

What excites you about the arts in Wales?

Gundija: What excites me the most is definitely the potential I can see and feel in the Arts sector in Wales. Potential for the sector to grow, develop and co-create a Welsh identity that’s built on a strong support network for one another, diverse voices and inclusivity.

Krystal: I’m really excited about Theatr Iolo’s solar powered travelling theatre and the potential long-term possibilities for this kind of touring and showcasing work.

Aubergine Cafe’s unyielding commitment to offering opportunities and development to neurodivergent people.

Literature Wales and National Dance Company Wales’ cross artform collaboration for Plethu/Weave; their commitment to offering a wide range of artists the opportunity to be commissioned and to collaborate.

Articulture Wales’ consistent commitment to offering opportunities to under-represented artists.

Ffilm Cymru offering opportunities to develop a new generation of diverse film-makers.

Arts Council Wales’ Connect and Flourish funding strand – we need more real collaboration in the sector and even more so need a stronger commitment to Black, disabled, and Welsh speaking people.

Music Theatre Wales’ New Directions Programme which will address the urgent need in opera to diversify the experiences and voices and the types of people who engage and make opera.

Yvonne Murphy’s co-creation and curation of new forms of engagement with democracy with 16-24 year olds on her Democracy Box project.

The Wales Dance Network|Rhwydwaith Dawns Cymru bringing the dance sector together.

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

Our Voice Network | Rhwydwaith Ein Llais  sharings have been an incredibly valuable and enjoyable space to be a part of. I feel that’s exactly what the sector needs – informal sharings of artist practices, a safe, supportive space to listen to artistic process and to ask questions. Each month this space is a place to enjoy the beauty of being artists; and each month the value of being a part of this space is clear.

Thanks for your time.

Get the Chance supports volunteer critics to access a world of cultural provision. We receive no ongoing, external funding. If you can support our work please donate here thanks.

In this interview the Director of Get the Chance, Guy O’Donnell chats to Wales based Dancer Yvette Halfhide and Musician Helen Woods. They jointly deliver the English National Ballet/National Dance Company Wales, Dance for Parkinson’s programme. ENB’s Dance for Parkinson’s programme has been running since 2008. NDCWales is an affiliated hub of ENB’s programme.

Hi Yvette and Helen, great to meet you both can you give our readers some background information on yourself please?

Yvette: Hi everyone, My name is Yvette Halfhide and I live with my family near Bridgend in South Wales. I graduated (many years ago now!) from Central School of Ballet and have been a dancer, choreographer, teacher, rehearsal director, creative movement session leader, as well as other jobs connected to dance and the arts. I am currently associate dance artist for the Dance for Parkinson’s Programme initially set up by English National Ballet and run, in partnership with National Dance Company Wales in Cardiff.

Helen: Hey all, My name is Helen Woods and I moved to Cardiff in 1997 – so I’ve been in Wales for nearly half my life…..nearly. I studied at Dartington College of Arts graduating with a degree in Music and Visual Performance. I work as a freelance composer and musician and have been lucky enough to have worked on a huge variety of projects including Street theatre with a Brazilian dancer, the Tiddly Proms (a show for under 5s that I write the music for and perform as Cherry Pie)

Community musicals, 2 operas for children and in 2013 I received a Creative Wales award to work on my own music writing a flute and piano sonata and a suite of pieces about some of my ancestors. I am currently associate musician for the Dance for Parkinson’s Programme and have the constant pleasure of working with Yvette.

What got you interested in the arts?

Yvette: Both my parents were keen on the arts in their own way. My mother loves all types of dance, musical theatre and theatre, and my father really enjoyed his opera and classical music, so I was lucky to be introduced at a young age to those forms.

Helen: Like Yvette, my parents gave me every encouragement to explore music and dance as a child. When I was four, my older sister was learning the recorder at school and I wanted to learn so my dad bought us a book and a recorder so that we would learn together. He used to leave for work quite early in the morning so we’d always start before the others were up, I loved that time with my Dad. My mum had always wanted to learn the piano but money had not allowed so she was incredibly supportive.

You have been delivering English National Ballets/National Dance Company Wales, Dance For Parkinson’s class since 2015. Dancing has been shown to support people with Parkinson’s to develop confidence and strength, whilst temporarily relieving some participants of these symptoms in everyday life. You have a dance and musical background; how do you use your artistic skills and background when delivering class?

Yvette: I think that as someone who delivers such an expressive art form, it is important for the participants to see that expression when you deliver, so you could say that you are performing as you teach. If you can convey how much you enjoy dancing (and a particularly wonderful experience when with live music, which is at the heart of the programme) then hopefully that enthusiasm is transferred onto those people in your class.

If someone living with Parkinson’s was interested in attending but didn’t think of him or herself as a dancer or singer would they be able to join?

Yvette: Absolutely. Speaking from a dancer’s perspective I truly believe that if you can move, you can dance. A simple gesture can become an exquisite piece of dance if done with intention.

Helen: From a music perspective – we sing because we love to sing, not to be a choir – we sing for ourselves.

Due to Covid-19 you had to cancel physical class delivery and move onto dancing on the Zoom platform. How did you approach this and how have your members found this change?

It is a very different way of delivering a dance class. The challenges of using new technology can be a barrier to some people wanting to move online, but we have found that those that have, have embraced it enthusiastically. NDCWales also work with Digital Communities Wales to support our members to get online and active.

We have found that when working through exercises, adding verbal instructions or imagery in the form of lyrics onto the music helps participants remember the movements. I would say that most participants would prefer to be in the studio dancing together but a major advantage of moving online is that we are able to reach individuals literally anyywhere in the world. Since starting Zoom sessions, as well as our regular participants from Wales, we have had people from England also join us.

This coming March you are piloting two new Zoom classes in North Wales with Coleg Cambria in Wrexham and Pontio in Bangor. What might these new classes consist of?

The sessions in North Wales will still follow the regular Dance for Parkinson’s format that works through specific exercises focusing on the different symptoms of Parkinson’s. Each term, we focus on a piece of work that is in either English National Ballet or National Dance Company Wales’ current repertoire and for this part of the term we will be exploring – a fun, Cuban-inspired homage to the black and white silent movie era.

What do you personally see as being the key to the delivery of a project such as this?

I think offering a fun, high-quality dance session that motivates those attending to continue to be as mobile as possible whilst developing an appreciation for the arts is key to the delivery of the project.

How would you like the project to develop?

According to the Parkinson’s UK website there are around 145,000 people living with Parkinson’s in the UK and that correlates to about 7,600 of those individuals living in Wales. We are only reaching a very small number. It would be fantastic if we were able to set up more hubs across all of Wales so that people living Parkinson’s have access to a Dance for Parkinson’s Class near to where they live. Admittedly, not every person living with Parkinson’s may want to attend a dance class, but it would be lovely to be able to offer every person living with the condition that option.

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

There are so many abandoned buildings around the UK that have the potential to be turned into these wonderful creative and artistic centres. Whether that be a site-specific installation, a live performance or a place for artists from all genres to come together to exchange ideas. There is such a wealth of history and beauty in many of these places – it would be wonderful to bring to them a new lease of life.

What excites you about the arts at the moment?

It has been a really challenging period for the arts at the moment, but I would say what inspires me perhaps more than excites me is the resilience of artists. Somehow, in spite of the theatres closing, performances postponed indefinitely, projects on hold, artists from all genres are still finding ways to be creative, to use this time to reflect on their work and find ways to express themselves.

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

As part of our training delivering the Dance for Parkinson’s sessions, English National Ballet invited all of the associate dance artists and musicians to come together (online) to explore the repertoire, chat with some of the creative team, exchange ideas and have time to reflect on our practice. It was just before Christmas and after nine months of lockdown I felt tired and drained but after the training, I was re-invigorated and had a renewed sense of purpose. Just coming together with other artists, I was reminded of that support; and it reiterated to me how important it is to be able to have the opportunity to connect and engage with like-minded people.

Thanks for your time

Bydd tair ffilm yn cael eu rhyddhau ym mis Mawrth fel rhan o Plethu/Weave #2, cydweithrediad traws gelfyddyd ddigidol Cwmni Dawns Cenedlaethol Cymru (CDCCyrmru) a Llenyddiaeth Cymru, a fydd yn cynnwys yr ail o dri chomisiwn arbennig fel rhan o flwyddyn Cymru yn yr Almaen.

Gan asio rhai o leisiau mwyaf cyffrous Cymru, mae’r artistiaid dawns Krystal Lowe, Camille Giraudeau ac Elan Elidyr wedi cael eu paru gydag awduron, beirdd ac arloeswyr Hip-Hop – Alex Wharton, Rufus Mufasa ac Ed Holden i greu tair ffilm fer ddigidol ar gyfer cynulleidfaoedd ar-lein.

Yn 2021 bydd Plethu/Weave #2, cydweithrediad traws gelfyddyd CDCCymru a Llenyddiaeth Cymru, yn dwyn ynghyd wyth o ddawnswyr annibynnol eraill o Gymru a’u paru gyda rhai o feirdd mwyaf talentog Cymru. Mae rhai o’r creadigaethau dros y flwyddyn ddiwethaf wedi’u hysbrydoli gan straeon, lleoliad, treftadaeth a chysylltiad yr artistiaid eu hunain â Chymru.

Rhyddhawyd y ffilm gyntaf o gyfres Plethu/Weave #2, Aber Bach, a grëwyd gan Y Prifardd Mererid Hopwood a dawnsiwr CDCCymru, Elena Sgarbi, ym mis Ionawr fel rhan o lansiad blwyddyn Cymru yn yr Almaen Llywodraeth Cymru.

Bydd ail gomisiwn Cymru yn yr Almaen Plethu/Weave #2 yn gywaith rhwng yr awdur, bardd a’r bardd plant o Dorfaen, Alex Wharton, a’r dawnsiwr, coreograffydd a’r awdur Krystal Lowe. Mae Pethau Gwell i Ddod yn canolbwyntio ar gynaladwyedd, yr amgylchedd a byd natur, sydd yn rhai o brif themâu blwyddyn Cymru yn yr Almaen.

Meddai’r dawnsiwr Krystal Lowe, “Mae’r geiriau hyn wedi’u creu’n hyfryd gan fardd sydd â chariad at y gofod y mae’n byw ynddo, gyda natur yn rhan ganolog o hynny. Mae Alex yn plethu geiriau fel ‘troelli’ a ‘dawns’ yn hyfryd er mwyn adleisio’r symudiad sydd i’w weld trwy gydol y ffilm ac mae ei lais diniwed yn gosod sgôr eiddgar a chyffrous imi ddawnsio ynghyd â hi.

“Rwy’n caru llenyddiaeth ac rwyf wrth fy modd â dawns – mae plethu’r ddau hyn gyda’i gilydd yn llawenydd ac yn fraint na fydd gen i byth y geiriau i’w cyfleu.”

Mae Krystal hefyd yn gweithio gyda’r dylunydd gwisgoedd cynaliadwy, Emma-Jane Weeks a fydd yn defnyddio llifyn ffabrig naturiol a dillad wedi eu huwchgylchu i greu gwisg gyda dyluniadau a deunyddiau gweadog iawn i ddynwared natur o amgylch y ffilm.

“Mae cynaliadwyedd mewn gwisgoedd yn eithaf prin felly braf fydd creu darn sydd yn dangos ei fod yn bosib gwneud dewisiadau synhwyrol wrth wneud gwisgoedd, yn ogystal â gweddu themâu’r darn dan sylw,”

Bydd Pethau Gwell i Ddod yn cael ei lansio fel rhan o flwyddyn thema Cymru yn yr Almaen Llywodraeth Cymru ar Ddydd Gŵyl Dewi, ddydd Llun 1 Mawrth 2021. Bydd modd gwylio’r ffilm ar eu sianeli cyfryngau cymdeithasol, cyn y bydd y ffilm ar gael ar sianeli a gwefannau cyfryngau cymdeithasol CDCCymru a Llenyddiaeth Cymru o 2 Mawrth 2021 ymlaen. Bydd y gerdd ar gael mewn tair iaith. Cyfieithwyd cerdd Alex i’r Gymraeg a’r Almaeneg gan Ifor ap Glyn ac Eluned Gramich.

Y ffilm nesaf fydd cywaith rhwng dawnsiwr CDCCymru Camille Giraudeau, a’r actifydd llenyddol, yr addysgwr Hip-Hop a’r rapiwr Rufus Mufasa. Themâu’r cywaith hwn yw mamolaeth a rôl a chryfder menywod yn y gymdeithas. Caiff y ffilm ei rhyddhau ar ddydd Iau 15 Mawrth.

Meddai Lleucu Siencyn, Prif Weithredwr Llenyddiaeth Cymru, “Mae’r pedair ffilm gyntaf o gyfres Plethu/Weave #2 yn cynnwys rhai o leisiau mwyaf cyffrous Cymru. Mae’r ffilmiau byrion hyn yn parhau i gynnig cip olwg unigryw ar Gymru i gynulleidfaoedd digidol, ac mae Llenyddiaeth Cymru yn falch o barhau gyda’r bartneriaeth gyffrous hon gyda’r Cwmni Dawns. Mae Plethu/Weave yn brosiect arloesol sydd yn darparu cyfleoedd datblygu awduron yn ogystal â dathlu diwylliant llenyddol Cymru.”

Bydd y drydedd yn cael ei rhyddhau ar ddydd Iau 29 Mawrth ac fe’i crëwyd gan yr artist dawns o Aberystwyth, Elan Elidyr, a’r arloeswr Hip-Hop, Ed Holden.

Meddai Lee Johnston, Cyfarwyddwr Cysylltiol CDCCymru, “Mae’r ffilmiau Plethu/Weave hyn yn archwilio pynciau hanfodol megis ein perthynas â’n hamgylchedd naturiol, a phrofiad mamolaeth. Maent yn agor straeon cymhellol a chraff ac yn deyrnged i bŵer barddoniaeth a dawns.”

Bydd cyfres Plethu/Weave #2 yn parhau yn ystod mis Ebrill a mis Mai, gyda rhagor o fanylion am y ffilmiau hynny i’w ganfod ar wefannau CDCCymru a Llenyddiaeth Cymru.

Three films will be released in March as part of National Dance Company Wales (NDCWales) and Literature Wales’ digital cross-artform collaboration, Plethu/Weave #2, which will include the second of three Wales in Germany commissions.

Fusing together some of Wales’ most exciting voices, dance artists Krystal Lowe, Camille Giraudeau and Elan Elidyr have been paired with authors, poets and Hip-Hop pioneers – Alex Wharton, Rufus Mufasa and Ed Holden to create three digital short films for online audiences.

In 2021 NDCWales and Literature Wales’ cross-artform collaboration, Plethu/Weave #2 will bring together a further eight independent Wales based dancers matched with some of Wales’ most talented poets. Some of the creations over the last year have been inspired by the artists own stories, location, heritage and connection with Wales. 

The first Plethu/Weave #2 film, Aber Bach, created by Mererid Hopwood and NDCWales dancer, Elena Sgarbi, was released in January as part of the launch of Welsh Government’s Wales in Germany themed year.

https://youtu.be/MtqjsBoYXGc

The second Plethu/Weave #2 Wales In Germany Commission will be by Torfaen-based writer, poet and children’s author Alex Wharton, and Bermuda-born, Wales-based dancer, choreographer, and writer Krystal Lowe. Good Things to Come focuses on sustainability, environment and nature, which are amongst the core themes of the Wales in Germany year.  

Dance artist Krystal Lowe said, “These words are beautifully created in the midst of nature by a poet and lover of the spaces he inhabits. Alex beautifully weaves words like ‘spin’ and ‘dance’ to echo the movement that will be seen throughout the film and his innocent cinnamon voice makes for an eager and exciting score for me to dance along with.

“I love literature and I love dance – to weave these two together is a joy and privilege I will never have the words to convey.”

Krystal is also working with sustainable costume designer, Emma-Jane Weeks who will use natural fabric dye and upcycling clothing to create a costume with very textured designs and materials to mimic the nature around the film.

“Sustainability in costume is quite far and few so it would be so great to make a piece that demonstrates how possible it is to make good choices when costuming as well as fitting with the theme of the piece,”  said Emma Jane Weeks.

Good Things To Come will be launched as part of the Welsh Government’s Wales In Germany themed year on Monday 1 March 2021, St David’s Day on their social media channels, and will be available on NDCWales and Literature Wales’ social media channels and websites from 2 March 2021. The poem is available in English, Welsh and German, by Ifor ap Glyn and Eluned Gramich.

The next film in March will be by NDCWales dancer Camille Giraudeau and literary activist, Hip-Hop educator, lyricist and rapper Rufus Mufasa and is themed around motherhood, the role and strength of women in society, and will be released on Thursday 15March.

The third film released for Plethu/Weave #2 film will be out on Thursday 29 March and has been created by Aberystwyth born freelance dance artist Elan Elidyr and Welsh Hip-Hop pioneer and poet, Ed Holden.

NDCWales’ Associate Director, Lee Johnston said, “These Plethu/ Weave films examine vital subjects such as our relationship with our natural environment, and the experience of motherhood. They open up compelling and insightful stories and are a tribute to the power of poetry and dance.”

Lleucu Siencyn, Chief Executive of Literature Wales, said, “The first four Plethu/Weave #2 collaborations features some of Wales most exciting voices. These short films continue to provide a unique snapshot of Wales for digital audiences, and Literature Wales is pleased to be continuing this partnership with our colleagues at NDCWales. Plethu/Weave is an excellent project providing writer development opportunities and celebrates Wales’ literary culture.”

Plethu/Weave #2 series will continue into April and May, with further details on those films released later in April on the NDCWales and Literature Wales websites.

National Dance Company Wales (NDCWales) and English National Ballet will be providing more opportunities for people with Parkinson’s to take part in its high-quality dance programme online and eventually at two new venues in North Wales.

NDCWales’ Dance for Parkinson’s class for people living with Parkinson’s, their family, friends and carers has been running since 2015 as an affiliated hub of English National Ballet’s Dance for Parkinson’s programme.

The first class was launched at the Dance House (Wales Millennium Centre) Cardiff 2015, and the second from Blackwood Miners Institute in Caerphilly County Borough in 2018.

During the 2020 pandemic lockdown, many of its participants had to shield. NDCWales continued to provide support and engagement with online sessions to connect with its loyal participants.

In 2021, NDCWales and ENB will continue to offer live online versions of its classes and will also be creating two pilot hubs in North Wales, Pontio (Bangor) and Coleg Cambria (Wrexham).

NDCWales are also working in partnership with Digital Communities Wales during the pandemic to give all participants the confidence and skills to use their laptops and tablets to access classes online.

In Wales, there are estimated to be around 6,000 people living with Parkinson’s – with the majority aged over 50.  Dancing has been shown to support people with Parkinson’s to develop confidence and strength, whilst temporarily relieving some participants of these symptoms in everyday life. The Dance for Parkinson’s Classes are expressive, creative and promote feelings of freedom from the physical and social constraints of having Parkinson’s.

Dance for Parkinson’s classes focuses on one English National Ballet or National Dance Company Wales production and explores the themes and ideas around the movements of that dance piece.

The classes this Spring will be focusing on two dance films from English National Ballet’s recent digital season, ‘Senseless Kindness’ by Yuri Possokhov first, then followed by Arielle Smith’s ‘Jolly Folly’.

Last term, the theme was inspired by NDCWales’ production of Ed Myhill’s Clapping?! which uses rhythm as a driving force and was reimagined online during lockdown. A short film, Ed & Flow, has been produced of the class and is available to view below.

NDCWales and their partners are putting plans in place to continue to start the interactive Zoom online sessions again, but when it’s safe to do so, offer the classes in person at all four hubs.

One existing Dance for Parkinson’s participant said, “The lockdown has been very hard, as I was no longer able to see people and my family.  I felt isolated and my speech was suffering.  I found the Zoom sessions helped me reconnect and it was lovely to see the teachers and all the participants of our group. The sessions were very uplifting for me and I always looked forward to them.”

Regular Dance for Parkinson’s attendees, Angela Harrison said, “It makes me feel I can cope better; I can walk better… it’s the best medicine. I come in feeling like a little old lady”, but I leave here feeling quite tall.”

Guy O’Donnell, NDCWales’ Participation Producer said, “We are really pleased to be able to work in partnership with Pontio and Coleg Cambria and provide this support in North Wales. We have seen the benefits of this programme and the impact it has had on our regular attendees here in South Wales.

“While we are unable to be in person together at the moment the ability to connect online has enabled existing attenders to take part from the comfort of their own home and stay connected to people sociably. The feedback we’ve had so far from our loyal Dance for Parkinson’s participants is that they wanted to still feel connected and still continue to feel the benefit of the programme on their health. They were keen and wanted to be adventurous and learn about technology, and fortunately with the continued support from Digital Communities Wales we have been able to do this.”

As well as encouraging new participants to take part in Dance for Parkinson’s, NDCWales is continuing to look for volunteers to help support participants in the programme.

If you would like further information and to sign up to the programme as participant or a volunteer please contact Guy O’Donnell, Learning and Participation Producer – guy@ndcwales.co.uk or 07305 534 981.

Dance for Parkinson’s is supported by the Moondance Foundation, the Hodge Foundation, The Austin and Hope Pilkington Trust, and Western Power Distribution.

For further information please visit ndcwales.co.uk