ADAD asks... Marie McClusky

In each Hotfoot newsletter, ADAD will interview an experienced dance professional with connections to the sector that works with Dance forms of the African Diaspora (DAD) and ask them 10 direct questions.

In this edition, we meet Marie McCluskey MBE MA, Director of Swindon Dance, National Dance Agency.

• How do you strategically engage with the DAD sector?

Firstly, I must say that dance forms of the African Diaspora have been part of what I've been involved with and what I've naturally leant towards for a long time now. It is a very accepted and normal part of what we 'do' at Swindon Dance.

Strategically, our work includes developing new audiences and new Swindon audiences at that. The geography of our town and its varied communities necessitates a focus on culturally diverse dance.

Consequently it's been appropriate to commission dance, right from the early days of our 'Inner Rhythms' seasons. We supported companies such as Bullies Ballerinas and Sankalpalm amongst others during the 1990's. We've sought to actively engage the artists in other areas of our activity - such as being part of steering groups and by making our professional programmes and training courses relevant to DAD.

Finally, from the outset, we made sure that companies touring to Swindon (such as Phoenix Dance and RJC) always matched their visit to an educational residency.

• What events or initiatives do you programme at your venue under these strategies?

We regularly programme 'Inner Rhythms'. This annual season started after being awarded the runners up prize in the 1993 Digital Dance Awards. Its focus is on cultural identity and how that is defined through art and dance.

A far more recent initiative is 'Reflexions' - devised in partnership with Maria Ryan and Swindon Dance. It is a Black dance and dance artist support scheme. Everything delivered, planned and co-ordinated through this project comes directly from the artists present on the Black dance scene and part of the initiative.

• How did you devise or create these plans?

It is all linked to the artist/company relationships we build. The original 'Inner Rhythms' course is a great example where we saw a need and a potential. The steering group we formed was committed to the partnership and was present and responsible at all stages of the season's evolution.

• What audience development ideas do you use to raise the profile of dance forms of the African Diaspora?

Audience development in this area usually involves entire communities and its extended support networks. We tend to work with the parents, the young people and the parents of the young people's parents! That has been particularly positive in the Swindon West Indian community. I remember watching the wonderful educational sessions led by Jackie Guy and Kokuma, seeing the Caribbean elders performing the Quadrille with great enthusiasm.

• What is your present interpretation of DAD?

I believe there is a definite and distinct genre developing. There are connections across the sector that relate to the whole Diaspora of dance forms. I'll give you a few of my interpretations of the style. Firstly, the musical connections: there is a choice made that is often very rhythmical and driven. The work is often emotional and engages with its audiences. There is some kind of implied narrative. Not a story per se but a journey with sometimes even very light direction. It's physical. Bones, sweat, muscles. The dance flows from deep inside, out. There is a suggestion of race memory or cultural identity.

• What steps can still be made with the sector to build resources including artists' development and audience development?

Mentoring at every level and time of the artist's/company's/work's development is crucial.

Also matching the artists and companies with highly skilled managers - of which there is a national shortage. We need more entrepreneurs and people ready to roll up their sleeves. Take the example of Akram Khan and his manager Farooq Chaudhry - when they work, these relationships make things happen. We must never forget to have the ability to not approach problems in the same way across the board for every dance artist and company.

• Is the DAD sector relevant to the overall British dance scene?

Vital. It is currently one of the most important areas of dance.

• Why might this area of dance be important?

DAD transcends so many things. It cuts across social groups, age groups and emotional dispositions whilst remaining relevant to them all. It relates to its time and also to its traditions. It clicks with popular culture and is the 'voice of the people'. It provides us with spectacular role models and touches so many.

• What insights/predictions can you share with the ADAD readership of your future plans?

We intend to programme more artist and art form driven work-like the practice of 'Reflexions' - and to include commissions. I want to extend partnership investments to where there is a real and genuine need and call for our support

• What advice or 'words of wisdom' could you offer the DAD arena?

Don't expect or accept doing everything for yourself and on your own. Sometimes the class or community we come from puts us into a habitual and pragmatic 'to do' approach to everything. And finally - don't compromise on the quality of your work.

Marie McCluskey MBE MA, trained as a dancer at Arts Educational School (London) and London School of Contemporary Dance. She performed commercially before establishing a private dance school in Swindon. In 1979, Marie was became dance fellow for Swindon Borough Council and founded Swindon Dance (formerly known as Thamesdown Dance Studio) and in the same year was appointed its Dance Director. Swindon Dance gained National Dance Agency status in 1991; it is one of the first local authority established dance centres in the UK.

Marie's awards include the Winston Churchill Scholarship (1984) to study the training and development of Black dancers in New York at Alvin Ailey and Dance Theatre Harlem; the Digital Dance Award (1993 runner up) and an MBE in 1993 for services to dance. Marie is a current board member of Siobhan Davies Dance Company and former board member of the Foundation for Community Dance (Founder Chair) and ADAD (Founder Chair).