Independent Dance and Siobhan Davies Dance are offering bursaries of between 5k – 8k to support students on the jointly delivered MA/MFA Creative Practice: Dance Professional Practice Pathway, run in partnership with Trinity Laban. The bursaries, named after founder Gill Clarke, are supported by The Leverhulme Trust.
This MA/MFA course, now in its tenth year, is designed to provide a flexible programme of study and an environment of rigorous creative enquiry, supporting practicing artists in their further development. Studio practice is accompanied by reflective and theoretical study; modules are devised to be conversant with one another, allowing for an interdisciplinary approach individual research. Areas of study range across perspectives, including theoretical and philosophical underpinning of arts practice, in visual art, film making, writing and embodied practice and other disciplines.
To be able to apply for a bursary, you must have applied and been accepted onto the MA/MFA Creative Practice: Dance Professional Practice Pathway. For all information about the bursary, please see click here.
International and UK-based students are eligible for bursary awards.
Deadline for bursary applications for 2020/21: Monday 22 June, 5pm.
On time deadline for course applications to be able to apply for the Gill Clarke Bursary: 15 June 2020.
Applications to the course can be submitted after this date, but won’t be eligible for the Gill Clarke Bursary.
Other bursaries are also available from Trinity Laban. Click here to find out about more funding opportunities.
Anyone interested in applying is welcome to have an informal conversation: please email Independent Dance at email@example.com
Contemporary dance is anecdotally described as a white field of practice. Although there is a growing body of arts research that examines whiteness as racial privilege, there is little that investigates the phenomenon of whiteness in British contemporary dance. Contemporary Dance and Whiteness is a research project that explores how race and racism mark the cultures, institutions and aesthetics underpinning contemporary dance in the UK.
The project’s aim is to explore racism in contemporary dance and to critique whiteness as part of a commitment to the field’s anti-racist futures. We examine whiteness as a structure of racism that exists in the relationships between personal prejudice, cultural norms, and the lived conditions of inequality and racial violence. We as a project team want to walk a fine line in understanding and critiquing the default presence of whiteness in the field of contemporary dance while centering practices of liberation and solidarity through which whiteness is to be dismantled.
The research will be built on a number of conversations/interviews with dance artists, administrators and a wider project group of people invested in questions of race and race privilege in the dance industry. The ideas and experiences discussed in those conversations – along with reading available literature – will help develop our understanding, and we will share the research through the following outcomes: a journal article, an academic presentation, a public workshop, a public presentation, a video essay and this website.
The video essay can be viewed here:
The research team is Royona Mitra (Brunel University), Arabella Stanger (University of Sussex) and Simon Ellis (C-DaRE, Coventry University). The project partner is Independent Dance in London.
Contemporary Dance and Whiteness is funded by the British Academy through their partnership with the Department for Business, Energy and Industrial Strategy. The project runs from May to December 2019.
Royona Mitra: firstname.lastname@example.org
Arabella Stanger: email@example.com
Simon Ellis: firstname.lastname@example.org
Call for contributions, ideas, proposals
and dialogue with the editors
Henrietta Hale and Nikki Tomlinson, Independent Dance, email@example.com; Gitta Wigro, independent, firstname.lastname@example.org
Training Grounds Editor: Dr Sara Reed, Coventry University email@example.com
Dance Training (Issue 12.2)
This special issue guest edited by Henrietta Hale, Nikki Tomlinson and
Gitta Wigro draws from our roles at Independent Dance, an organisation that
supports and sustains independent dance artists to develop dance as an art
form. The ‘independent dance artists’ that ID engages with can be many things.
They may produce or perform in choreographic works in theatres, galleries,
digital formats or outdoor / informal sites. They may work as facilitators or
teachers with other professionals or in community settings, engaging untrained
people in dance. Or they may be practitioners from other disciplines such as
fine arts, architecture or science who engage in an embodied movement practice
to complement and bring new knowledge to their field.
The aim of this issue is to consider and map how movement practices that
have evolved from specific traditions or situations are used and re-articulated
for other purposes; and show how this plays out in inter-related, international
networks of practitioners.