Regular Feature: ADAD Asks

In each Hotfoot newsletter, ADAD interviews an experienced dance professional with connections to the APD / Black dance sector and ask them 10 direct questions.

This edition, we meet Beverley Glean, Artistic Director of IRIE! Dance Theatre

• As Artistic Director of your own dance company, how would you briefly sum up the essence of your company's work?

The essence of IRIE!'s work is to educate and entertain through the delivery of a variety of creative, artistic and cultural activities; sharing the spirit of APD, particularly Caribbean dance and culture. Our aim is to maintain a strong Caribbean focus throughout the company's performance.

I believe that, that unflinching philosophy has supported IRIE!'s identity as a key contributor to the sector, whose values reflect the pride and heritage of APD in Britain over the past twenty years.

• What event, strategy or initiative of your company best encapsulates this concept and why?

It would be difficult to single-out any one particular event, (of which there are many) but I would have to say the events that had the most impact because of the number of people who participated and benefited from them were firstly 'Ancient Futures' in 1996, where IRIE!, in partnership with the Albany Theatre, hosted a 2 week international black dance festival and conference with Forces of Nature, USA and L'Acadco, Jamaica.

Then the two initiatives that have stimulated debate and effected change, are the UK's first full-time Accredited Course in African and Caribbean Dance, set up in 1998 and the company's most recent NESTA funded Dance and Diversity Action Research Project in 2004, looking at the place of African and Caribbean dance within mainstream education.

• Ideally - where next for your company over the next 3/5 years?

Where next? That's an interesting question, and one I often find myself pondering over particularly because of the challenging nature of arts support, funding and resources for the APD sector. However, IRIE! has always tried to navigate its way through adversity. We are very fortunate to be based in the London Borough of Lewisham. Deptford, north of the borough, where the company is located is a thriving hub of creativity, especially for dance. In 2004 the Mayor of Lewisham committed £2M towards the refurbishment of a disused building (Moonshot), which is due for completion in the summer of 2006.

IRIE! is relocating there and it will herald the realisation of a substantial next step for the organisation. Our aim is to make Moonshot a focal point for the practice of APD.

With two large dance studios, teaching rooms, changing rooms, archive and library the company plans to deliver the accredited qualifications in African and Caribbean dance, run a professional development programme, extend it's education and community outreach work, re-establish the performance company, broker relationships and provide access to/for APD practitioners.

That's enough for the next 3/5 yrs don't you think?

• What have been the most significant developments or changes in the Dance of the African Diaspora in the UK dance ecology since you began your role as Artistic Director?

Significant developments are:

The establishment of a full time certificate in African and Caribbean dance accredited by Open College Network and a full time diploma in African and Caribbean dance accredited by Birkbeck College, University of London; initiated in 1998 with support from ACE A4E. The above courses, which now include an access to HE and a part-time foundation degree, will be reestablished from January 2007.

A significant change is that not quite five years into the 21st century, we have lost two major companies from two major cities. Kokuma, Birmingham in May 2000. Adzido, London in April 2005.

The irony is that while the sector is crying out for stability, infrastructure, enterprise, creativity, employment, access, audience development etc the support systems needed to nurture and develop all of the above are becoming significantly weaker.

• What is your present interpretation of African Peoples Dance (APD)/Black Dance?

Any dance style which, draws its main influences, sensitivities, means of expression and technical base from the cultural heritage of Africa and the peoples of Africa living in the Diaspora?.

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

We know that the sector is already stretched and under-resourced and the current funding climate has done little to alleviate the problems. Existing companies, individuals and agencies need to find ways of coming together to share resources, share good practice and inspire critical debate.

Plus the sector needs to value and define its work. This will only happen if we start to pull together under a focused definition by recognising our similarities and our differences.

ADAD is making steps in terms of identifying where the gaps are, however support from the sector is necessary if we are serious about building resources, empowering artists and attracting new audiences.

• Is the APD / Black dance sector relevant to the overall British dance scene and why?

YES! Because, Black people and Black culture is a fundamental part of British society. Cultural diversity is on everyone's agenda; Socially and more importantly, economically we do have a voice, a voice that cannot be ignored.

Slowly but surely mainstream education is realising that there are untapped areas of APD that are increasingly significant to their development, in terms of widening participation, access and career paths into the cultural industries.

Emerging styles and fusions such as Hip Hop and Dance Hall and the work being done by companies like ACE in Birmingham and IRIE! Dance Theatre, not to mention notable West End productions such as Lion King and The Big Life make the case for the relevance of APD within the overall British dance scene.

• What keeps you focused and motivated?

Belief and evidence that what I do adds value, changes lives and continues the legacy of my culture and chosen art form.

• Have you noted any strengths or weaknesses to being a female AD?

Strengths! Always strengths. Personal strengths that I have noted; I value collective working, I am a firm believer in working to people's strengths and being as transparent as necessary. Certain situations can lead to feelings of vulnerability and sometimes, I believe I am taken less seriously because I am female. But I am usually aware of this and am often able to use these incidents to my advantage.

• What advice or 'words of wisdom' could you offer to those people working in the APD / Black dance arena?

APD is part of the British cultural landscape, it's here to stay; however, when you are in a situation where there is a dominant culture, as an artist you should be open-minded.

If necessary, learn to fuse and synthesise, that's the beauty of cultural diversity. But always remember who you are, where your roots lie and avoid being pushed into directions you are not comfortable with.

Beverley Glean - Founder and Artistic Development Director of IRIE! dance theatre has worked in the field of dance, in particular African Peoples Dance for over 20 years. Trained at the Laban Centre London, The Jamaica School of Dance and The Conjunto Folklorico Nacional de Cuba; she has continued her training and development in dance & culture by working alongside artists from West Africa, Europe, America, and the Caribbean.

Beverley founded IRIE! dance theatre in 1985. She also currently shares the Directorship of the NESTA funded Dance and Diversity project with Rosie Lehan, Senior dance lecturer at City & Islington College.