CPD Report 2010-2013

Cornwall

June 10

Noel PerkinsActivity: Body Resonance Butoh IntensiveThe workshop was roughly divided into two parts. The first 8 days were focused on Butoh training which involved  6 hours ( 7 some days) studio practice. Yumiko's methodology involved yoga, tai chi, breathing and nogouchi gymnastic exercises and learning some specific expressive forms, mostly based on animals and insects drawn from her work. The intention was to both relax the body and sharpen the body's expressive capacity, "polishing your antenna" as Yumiko put it.

The last 2 days of the workshop were devoted to devising and rehearsing a performance for the last day. This was developed partly from some of the exercises but also included elements of skills participants brought with them, for example Flamenco, Tango and music/singing. I was very impressed with Yumiko's skill in deftly combining together the many images and styles to choreograph a mesmerising and powerful piece. The response from the audience was fantastic with many asking what the company was called and when we were going on tour!

All in all it was an extraordinary, exhausting, inspiring 10 days. The core of the Butoh training was challenging particularly in getting used to the Japanese way of endless repetition with no explanation of why. The "why" came though in the performance which would not have been so powerful without the previous days work. I gained a lot in terms of a specific approach to body training, further insight in to theatre making and choreographic practice and most importantly felt I had been able to make a journey into the heart of one approach to Butoh. The workshop was also a great opportunity to network with artists from as far a field as Canada, America, Europe and Australia and to connect with the international performance research centre of Schloss Broellin.   Application- Managed Well

Claudia CaolinActivity: Barcelona Flamenco lessonsI have taken nine private dance lessons on a professional lelvel from the renowned dancer and teacher Angela Espanadero. We were working on the style of Solea de Buleria and I was issued with a whole choreography in that style. After practicing and and perfecting it for several months I will be able to perform it with my musicians. This piece is due to be an essential contribution to the

new program with which I intend to go on tour in bigger theatres within Devon and Cornwall next year. I will also endeavour to to teach a simplified version of the choreography to my students. It was very beneficial to be taught and corrected by a highly experienced Spanish dancer.Application- Managed Very WellAdditional commentsI am very satisfied with the service that The Works provides. They regularly let their members know about training opportunities or work and generally confer the confidence that they genuinely care about their members’ progress.

September 10

Jessica StreeterWorking with Yael Flexer and her dancers was an inspiring and valuable experience. I had the opportunity to focus on developing my technical skills through classes with Lyndsay McConville and worked closely with Lyndsay and Anetta in improvisation workshops to create our own section of material. It was fantastic to observe the clarity in which they moved and to have the opportunity to develop my own clarity of movement alongside the other members of All A Scrawl Dance Theatre. Working intensively for three days on the creation, development and performance of such detailed and informed movement was incredibly challenging but so enlightening.

Yael was very generous in offering her material for us to develop and expand for not only our own performances but also for workshops to both professional and dance students. We will be hoping to develop this work for our upcoming Mix Tape night and a mini tour from Summer 2011.Application- Managed Very Well

Additional commentsThe works managed my application quickly and professionally and it was so fantastic to be offered an opportunity like this. We have been working in the county for a few years now and this is the first time we have truly felt the support from our dance agency.

Taylor-Sion PackiuszcoAs a young emerging contemporary company, working in and around the South West, being able to take up the chance to work with a renowned choreographer has been a massive opportunity to showcase the company and emphasis our dedication to Dance in the South West. The residency really challenged me technically as a dancer in an enjoyable and inspiring environment. Yael’s openness to my company’s input gave us confidence and has also generated a variety of ideas and thoughts on how our company can develop. As director of my own company I have found the whole process and

production of the residency insightful and motivating. It has given me more passion and drive to push All A Scrawl further, to think bigger and to aim higher. It was a pleasure working with Yael and although it was a one off performance this month we have already been invited back to perform a couple of dates with them in the Spring.Application- Managed Very Well

Additional commentsThe Works have been absolutely incredible in the run up this project, during the project and after the project. Saffy Setohy has been fantastic. She has been responsive, patient and enthusiastic to all my company’s needs and has definitely played a huge part in making this residency possible. As a company we also really appreciate that members of The Works made the journey to Plymouth to support us on the performance day.

The Work’s support played a huge part in reaching the total Residency fees that enabled us to take on this project. Thank you so much! I feel that a good relationship between my company and The Works has formed which I hope will continue to flourish.

Stella AzzurrasActivity: Authentic Movement and Therapeutic presenceI have completed the 48 hours course in Authentic Movement and Therapeutic Presence. I am integrating into my practice the skills acquired such as a clear and compassionate presence for my clients moving and dancing experience; notions of embodiment and the connection between the unconscious and the body in movement and active imagination for moving. The course has enriched my teaching, offering insights for the delivery of new and exciting programmes.

It has also enriched my personal dance practice, offering new ground for exploration of my movement vocabulary. An exploration which has culminated in the creation of a solo performance in collaboration with a musician which will be presented in Cornwall and abroad. Application- Managed Very Well

Additional commentsI felt very supported. Having someone believe in you is the greatest form of support, and for it to be demonstrated financially obviously enables hopes and dreams to come true!!

December 10

Emily Dobson

Activity: CPD – Bungee Assisted Aerial and Release TechinqueThe benefits to the activity were:

Wired Aerial:

Given me the opportunity to experience some of the UK’s most cutting edge, bungee aerial work.

The Aerial workshops were something that I’ve been wanting to take part in for a long time and without financial support this would have never been possible, partly because of the distance to travel up to Liverpool.

The workshop was a great way to experience Wired’s work. The way they work is inspiring in terms of the scale of their latest project ‘As The World Tipped’, which is a huge outdoor performance spectacle. From a technical point of view, realising how core centred the work is was a physical challenge for me, and helped me rediscover some areas of core training I’ve done in the past (and also made me ache..a lot!) Having the opportunity to experience the weightless feeling and explore the space above your head in the way that the bungee allows was so exciting. Some of the partner work we played with was amazing, it gives you a whole new plateau to play with as a physical person, discovering new ways to fly through the air so it ultimately makes you feel like a kid again.

I have minimal training and experience of working in this way, but it made me realise that your skills as a dancer can always be used in a new way to create potentially exciting and gravity defying choreography. Training with the company has given me a foothold to start playing and exploring with the feeling of weightlessness, exploring different levels and space around the body and the joy of flying. I want to explore this to help develop some of the Freefall work that we deliver in class, and also as professionals to develop my style of moving. I’m also in the process of approaching an experienced rigger and trying some basic (low level) harness work out, and see where that might be able to develop, which is really exciting.

The Place – Easter Dynamics:

I spent a week taking release classes delivered by Tory East, and took part in the Hofesh Schecter daily workshops, delivered by two of his dancers. I took professional class at The Place and spent time researching in art galleries, photographic exhibitions and saw work by artists at Sadlers Wells and Independent Dance during a weekend Festival.

As an opportunity to take release based class at The Place, it was great to see first hand the level of discipline, technical ability and style of release being taught for various levels of dancers. From an independent point of view it was great to take part in class as a dancer, to revisit some areas of technique, and to also be pushed physically, discovering a slightly different approach to release.

From a teachers point of view it was great to see what is being taught in the capital, and comparing that to my own work in the Freefall classes and other freelance work. It was a really important way to refresh my own work, and to question and reassess my approach to teaching technique.

Having an opportunity to intensively attend classes at an institute like The Place is something that I would have struggled to make happen without financial support.

I took part in complete range of classes from beginners through to advanced, and also professional morning class and professional workshop with Hofesh Schecter company.

The Hofesh workshop was an incredible way to attempt to accomplish a completely new way of moving. Technically it was in a lot of ways the hardest type of technique I’ve ever experienced, the movement is so detailed and intricate it’s really hard to grasp the overall aesthetic on top of that as well. It was really inspiring, a totally different way of moving in comparison to the morning classes, I absolutely loved the challenge of having to take on board those different styles in the same day.

Application- Managed Very Well

Additional commentsPlease can these Dance Cards be available again at some point in the future. It’s really important that dancers and practitioners get the opportunity to train and experience working practices outside of the region they live and work in. The Dance Cards make the impossible possible by giving a financial contribution that makes such a huge difference.

Jayne DevlinActivity: NATIONAL CONFERENCE – MEMORY, DANCE AND DEMENTIAIn December 2010 I attended the above conference in Liverpool. This was a national gathering of specialists working within the fields of delivering dance and creative activities to people with various stages of Dementia, and qualified medical practitioners involved in current research around neuroplasicity.

Attendance at this conference was fantastic. The conference was perfectly hosted within a central location of a major city.

There was a wonderful variety of key-note speakers, all delivering fascinating experiences of new working practices and achievements within the field of dance and dementia.

For me, the most successful part of the conference was the opportunity to hear experts on brain neuroplasicity speak about how the brain responds to creative stimulation and how the brain in effected by the different stages of dementia. One of the most important new facts I learnt was the current research into “rhythm” and how it can alone stimulate activity with the brain.

The other important revelation that is current occupying my thoughts is that of “evaluation”. I believe this is crucial to the future of all therapeutic arts activities. We need to be building new partnerships across health and dance and attempting to find a common language so the different communities of people (medical and artists) can be working towards a common goal. This has directly effected my current projects, particularly my work at the Stoke Rehab Ward at Lanyon Redruth Hospital. We are in the final stages of this project and evaluation is the buzz word at the moment.

During the conference we also were privileged to hear recently graduated Dance Movement Therapy Students who are successfully managing to provide creative dance sessions whilst following a medical model for evaluation. This created some mumblings within the conference delegates, some positive and some critical which resulted in some interesting debates.

Also, during the weekend we had opportunities to participate in some physical workshops of which I participated in a sample of, BMC and some wonderful circle dancing!

It was also really exciting to witness a number of performances of dance which was created with a direct influence of people with Dementia and how their lives had changed.

Alongside all the speakers, workshops and performances, there was ample time for net-working and new partnership formations, and for me, reconnecting with some colleges from Liverpool.

I believe I have gained knowledge and expertise from attending the conference which has brought me new ambitions and aspirations for my career path. It has reminded me how important it is to keep up-to-date with current developments and how essential it is to network and keep connected to the wider circle of professional dancers working within health and communities.Application- Managed Very WellAdditional comments

The Works has proved to be essential in receiving advice and career counseling. Working freelance often means you are working alone. Having a confidential environment within which to discuss ideas or worries, without being afraid of judgment, is crucial for practitioners working freelance.

Conferences are a wonderful opportunity to see how your working practices fits into a national community of dance practitioners.

Gemma Kepthorne

Caroline SchancheActivity: Attending ‘Memory’ 1st National Conference in Dance and DementiaThe conference was extremely stimulating and provided a good opportunity to network with other practitioners. The experience also confirmed for me that my own work is of a good quality and runs along similar lines to those practitioners giving presentations. It has been valuable to bench mark and critique my own practice and since returning reflect upon the nature of my work. The conference provided stimulating links to theory and debate about working in dementia care which I am still exploring. I have made a connection with the director of ARTZ UK and am hoping that I can initiate an ARTZ programme here in Cornwall. This is a programme already running successfully in America and France where people with dementia are taken to major art galleries, look at specially selected paintings and then create their own work. This programme is now being set up in England. Attending the conference was a very positive experience that will continue to feed my work in to the future.Application- Managed Very Well

April 11

Sally WilliamsThe dance card bursary enabled me to go to The Place and undertake the Easter Dynamics course. The week long activity provided a really high level of training which was inspiring and invigorating and refreshed me as a practitioner and deliverer of dance. I did a daily release based class, daily floor Barre, 2 sessions of Garuda and did 5 workshops with Hofesch Schechter company learning rep and exploring the company’s devising process. These workshops were jaw droopingly brilliant and were not only really insightful into the work, but gave me lots of new ideas for creating work. The whole week was very challenging both physically and mentally and I felt re-charged and re-inspired. The workshops I took in Floor Barre and Garuda technique, has had a real effect on my

own teaching of body work and anatomy within dance technique and Pilates. I am keen to further explore the Garuda technique and am considering doing an intensive training which will enable me to teach the technique, bringing this unique style of movement training into Cornwall. The release based class was led by a really good teach, Tori East and I used a few of her ideas in classes that I have taught since the residency with CYDC and other technique classes. It is so valuable to undertake CPD of this nature and I ma very grateful to The Works for enabling me to have this opportunity.Application- Managed Very Well

Additional commentsA really clear and prompt application process which was not over complicated and fussy, but easy to apply to and easy to manage from a practitioner perspective.

September 11

Karen LawrenceActivity: Dance United TrainingTraining with Dance United clarified my approach for working with Hard to Reach individuals as a practitioner and an individual. The training was intense & raised important personal considerations when engaging in this work, the amount of non-dance support required & choreographic considerations.Primary benefits are a thoughtful re-consideration of why I wish to engage in this work, demands on time, importance of Health & Safety concerns for practitioners, importance of team teaching & team working (in all areas eg admin & non-dance support), the vital elements of time-keeping, discipline & an ethos of a ‘company working to performance’ emphasising company spirit & responsibilities. The latter was, for me, a logical approach as it embodied qualities & skills Dance United/‘hard to reach’ participants perhaps most require. As an artist the training has given me useful tools for workshops and performance generating, a new network of like-minded practitioners and, on a very personal level, a release from long held hurts. By engaging in an intense facsimile of what Dance United participants may encounter emotionally there was an entry into the work that was almost unnoticeable, very real and highly informative for future work.Application- Managed Very Well

Additional commentsThe training has enabled me to feel much more confident and realistic about my re-entry into work. As an often ignored section of society (40+ returners) this is invaluable. The support I have received from Saffy Sethoy has been thoughtful, consistent, encouraging and positive. Thank you, Saffy.

The whole process of working with The Works & Dance United has impelled me to disregard societal notions that only hinder & concentrate on the experience, skills and qualities I embody that are of importance and value. Finally, the process has encouraged me to begin documenting my practice and making performance again.

Stacy weeks

Hinterlands – April 2012 Hinterlands, run by Ailsa Richardson, was a 3 day residential site investigation set in the Welsh valley of Llandysul. Each day we would carry out a series of walking, movement, noticing and perception investigations, within the site, and small improvisational tasks based on body weather/ movement medicine in the on-site studio. There were questions set on day 1 (Where does it end, and how does it begin, A secret characteristic, an infinitesimal detail, etc) which we were to be mindful of during the next 3 days and the final day culminated in a personal task shared to the group. We were taken on our silent journey to various locations around Penpynfarch farm and woodlands, and when we stopped we wrote about thoughts, feelings, textures and presence in space. After completing the investigations, some of which allowed insight into authentic movement practice and witnessing, we all went to areas that stood out for us the most. I was drawn initially to an old tree that now acts as a perfect chair, allowing the back to nestle and rest in line with spine. I carried out a few of my own site sensing exercises and felt compelled to move toward the water and the bridge. My shared activity was in two parts. The first was finding our direction on the bridge, I asked the group to lie down across the bridge so that head was facing the river and toes were pointing downstream and work out which way was more comfortable to them. I had found that I was more comfortable lying along the flow of water, a drumming and a cleansing of the body. The second task I asked the group to take off their shoes and socks and stand in the river whilst I read a poem. I had filmed the change in state of my feet and wrote a poem. My research and practice is very much interested in this method of investigation, textures, space, site and memory. To be part of this workshop really supported both my physical practice in space, but also my theoretical research into site-specific movement practices. It gave me an awareness that I can transcribe into my dance filmmaking and new links with artists from outside of Cornwall.

Arts for Health interim Report – Stacy WeeksThe Arts for Health programme has become an important part of my dance development and opened up a source for interdisciplinary practice. Arts for Health are an organisation that thrives on being able to support a diverse range of communities in a creative and

engaging manner. Their current work ranges from stroke rehabilitation through movement, memory cafes and working with children and young people. The main intention is to facilitate people active and healthier through creativity. Each course attended has sprung ideas within my practice and how dance can be used within the health sector. The first session, an Introduction to Arts for Health, explored who the Arts for Health are, brief techniques that can be applied to any first gathering of participants, the role of the practitioner and volunteer, and the practitioner application process. The first workshop was attended by a broad range of practitioners, from dance, fine art, craft and ceramics. The workshop was interactive and allowed the participants to explore their own ideas with others based on the scenarios presented in the session. The practitioner application process should never be about just sending in a CV and what is refreshing is that the team at Arts for Health try to employ fresh practitioners for the projects advertised; everyone stands a fair chance for application. This is as I said refreshing as it allows new artists/companies to enter this field and have the same opportunities as others with more experience. I suppose the integral processes I will take with me from this session will be taking more time to research the short and long term benefits of my role within a project and be more explicit when negotiating the sessions I wish to run. I am now aware where to find the resources and inspiration from for particular projects and also measuring outcomes. The outcome does not have to physical evidence it could the process undertaken or leave a legacy with the participants, some of which wish to continue their encounter into other groups.The second session attended was entitled Arts and Mental Health. This time the session was more focussed on a particular group. After being involved, through Exim, in a performance supporting a group in the county, we were asked if at some point we could deliver a series of movement workshops for the people who use the service in mid Cornwall. This is an area as a community interest company that really engages us and an focus of work that we hope will be a large part of our practice in the future. I hope this session will help the company in an application to work with this group very soon. Being physically active is beneficial to mental health; it encourages support, good health and allows a creative output for memory, feeling and escape. It also helps to build confidence in the physical and mental capacities of the participant. There was a guest speaker at this session and a practitioner who demonstrated through an interactive afternoon session how she runs her workshops. Allen Godden is a community occupational therapist for the Carrick area (Falmouth & Truro) with Outlook South West. He highlighted the need for mental health teams and organisations like Outlook and Arts for Health. Allen Godden discussed the different jobs within the sector and pointed out points of contact if practitioners need assistance or further support. The mental health category covers a wide range of illness; anxiety, depression and self-esteem to more

advanced stages such as, multiple personality disorders, hallucinations and self-harming. In order to prepare us for developing our own practice, the morning session continued with discussing common behaviours, potential situation that may occur and how to deal with them effectively in a group setting. The course also offered comprehensive information on how to conduct ourselves as practitioners, instilling boundaries, maintaining a genuine interest and using empathy well. As a practitioner I feel confident to go and propose a series of workshops in this area after attending this course. The Arts for Health courses have currently been suspended due to lack of participants, I fully intend to continue attending the session when they resume, as each one so far has provided a wealth of knowledge and it is tailored to particular groups that they work with. It also provides a great way to network and meet other practitioners, a place to discuss practice, process and share stories of success. This kind of support would not have been possible with a leaflet sent to my home address and I now have links with people from other disciplines. I do hope the workshops will be rescheduled as I believe this is a vital resource that is not being tapped into. I am currently about to embark as a volunteer with an Arts for Health project in St Austell, my first session will be at the end of March and involves reading and dementia. The outcome and formula is not set and will grow organically as the project evolves, this is another key element from the Arts for Health workshops, knowing how to grow and let grow. The hope is that the people that come along will be able to discuss and read about their interests, triggering memories and stimulating communication between those involved, any friends or family members that attend and the new connections they will make. I hope I can get involved with other projects and support this fantastic and inspirational community of artists and the people that make it all happen.

December 11Isobella Shirley- MillerThe course has given me a rich well of resources for improvisation in Butoh and theatre generally. Particularly, I have gained valuable skills to share with fellow artists and apply to my workshops in Primary schools, in Cornwall and Devon. I now feel confident to deliver workshops and performances of my own in Butoh dance, for which I am currently in process of promoting- to take place April-June in Primary schools and publicly. I am performing at a festival of work in progress in Falmouth on Saturday 10th March, and plan to apply for a residency at Dartington in October to develop my work in Butoh further. Application- Managed Very Well

Sarah Jarvis

Activity- Skinner Release TechniqueThe workshop empowered me with further ways to access technical efficiency in the body through relaxation and improvisation. This kind of process is very relevant to my way of working, so really valuable, and I can incorporate all that I learnt into my personal practice and training and also into my teaching. A lot of the imagery used is quite mature, intellectual but I hope to be able to mold the work for younger minds as well when I teach, which I feel will work.Application- Managed Very Well

Additional commentsThe works were very understanding when the initial course for December fell through and let me take as much time as I needed to find the right replacement course by the same teacher. I really appreciated that. Thanks for the funding I actually had a wonderful time- it was extremely rewarding as a whole trip, just what I needed in fact, it wouldn’t really have been better. Fab.

April 12

Polly MotleOn participating in the Gag Intensive in Tel Aviv I developed a new understanding of a dance movement language that is unique yet also has the potential to inform how I teach, dance, perform and learn. The attitude to dance in Israel very professional whilst also welcoming with a deep interest in what is organic and healing in the world of dance. Gaga in particular shed light on the potential that dance can have not as a performative tool alone, but of a regenerating the loss of movement in the body. This interests me greatly, as my age and career develop I am becoming more interested on how movement and dance can enrich the lives of those who have lost mobility and how also dance can in some ways ironically restrict movement in a dancer – Gag offered the language to explore freedom of passage in the body and to unlock learnt patterns that are either dance related or not It is a wonderful mode of movement that welcomes professionals and those of the non professional dance community. I feel as though the gift of going to Israel to discover this relatively new dance form is the cusp of a journey for me. I was fortunate enough to be there when the first teacher training programme in gaga was graduating, therefore I was able to experience additional classes to the ones offered on the intensive free of charge, and also in the unique situation of these teachers beginning to embark on a new path. This offered me a wealth of learning – how to find ones voice in new dance terrain and share it. I made many useful international contacts in the dance world, many of whom expressed an interest in visiting the South west. It was invaluable for me to be the learner, to be able to immerse myself in dance not for a production or qualification, but simply for

the enriching learning of research – being open to the possibility. I am deeply grateful for this opportunity and hope to share what I discover. I also hope to return to Tel Aviv and continue this research in the future. Being able to learn this form of dance with the man who ‘gave birth’ to it was immeasurable. An opportunity that I feel very lucky to have experienced. I believe that in learning a style of dance with its master during its early research years will continue to inform me for many years to come.

Sarah HyamsI thoroughly enjoyed the 3 days of the Women in the Land workshop with Helen Poynor. I hope to be able to more of her workshops as I see that adding a dimension of body-consciousness to my work with be very complimentarty to what I do. Since participating in the workshop my warm ups have changed as well as how I set out the classes. I am planning to do a days workshop of dancing in the land with live percussion as well as collaborating with female pro-surfer to combine efforts to do a workshop with women by the sea with a holistic view.

I also hope to bring the work outdoors into the work I do in schools. It has started something new and interesting. I look forward to seeing how it develops.Many thanks for your support,Application- Managed Very Well

Additional commentsVery efficient! Obviously feel very pleased and privileged to have got the grant to be able to try out something that is not in my usual comfort zone. Very inspiring.

Feb 13Emily DobsonActivity: Professional CPD

It gave me an injection of inspiration to keep my work in 2013/2014 fresh, relevant and technically challenging.

I wish to push my abilities; technical understanding as a dancer and also a teacher and this training is a vital part of my responsibility to push my work to be competitive on a national level, as well as regionally.

Through my work as co-leader of Freefall Dance I deliver classes to dancers in training, teachers, community practitioners, professional dancers and create choreography also. This CPD opportunity is vital in feeding me with new ideas that I then feed into my work; inspiring a whole new generation of ideas formed by the participants that teach. The work also

inspires dancers, knowing that I have recently trained myself with teachers who work worldwide.

It keeps my ideas fresh and exciting, creating opportunity to push my work forward, helping me to be recognized for quality and originality.

It provides an opportunity for me as an independent dancer and dance artist to inspire my work. I would love the opportunity to take class myself, and be in the position of individuals I teach to help inform my teaching practice also.

Application- Managed Well

Sally Williams

Kathryn CooleyActivity: Irish Aerial Dance Festival - Letterkenny, IrelandThe benefits to the Irish Aerial Dance Festival that I attended over the weeks of the 1st - 23rd of June were endless. It is still all sinking in. The course introduced me to new working aerialist and performers from all over the world widening my connections and knowledge. The classes I took enhanced my skill level and teaching skills that I can soon bring back to Cornwall.I had the chance to perform at platforms over the festival and two teachers offered me possible jobs they want me to undertake depending on funding.

Also this year as part of the festival I was lucky enough to be invited to a third (Free) week funded my Circonnection and worked with Charley Morrisy on creating outdoor site specific work which I believe will be extremely useful in and around Cornwall, to develop the audiences and understanding for aerial dance work. It has given me tools, support and the confidence to create work in Cornwall that I would have not otherwise have had.Application- Managed Very WellAdditional commentsI am eternally grateful to The Works and always will be for their constant support and guidance I have received for over 10 years now. The Works have really been a huge contributor to my career so far and I wish to repay this by adding value to my presence in Cornwall and to continue to return, work and live in the area.

May 13

Charlotte MconnellActivity: Indian dance training

While training with The Dancing Nikita Company I gained experience of Kathak Dance training, Semi-Classical Indian Dance routines (13 minutes of performance time in total) and Yoga training. I danced at Nikita Thakrar’s end of term Summer Production and performed on stage alongside her current students and professional performers. I also began to learn a Contemporary Indian Dance routine with an experienced choreographer and performer based in London.I have a dvd of the performance and was included in the programme which can be photocopied.Since this training. I have choreographed several Classically inspired routines to teach in Schools and current weekly classes for adults. I have also gained the confidence to facilitate workshops in Primary Schools, telling the story of Rama and Sita, through dance and movement. On the whole it has given me the confidence to take on more challenging projects and next year I plan to apply for funding to lead a series of Bollywood Dance Workshops on a large scale in the community, to culminate in a big performance (possibly pop-up dances all round Cornwall?).I plan on going back to London to train with Nikita in the new year.Application- Managed Very Well

Devon

June 10Matt Macklin

September 10Ava Barron ThomasCourses: International Association of Dance, Medicine and ScienceThe greatest benefit of the conference was the chance to network with like minded people. It was very educational and inspiring. The key point I took from the experience was that although huge break throughs have been made within dance medicine and science the difficulty is filtering the information down to the practioners and dancers themselves, as well as attempting to implement changes within an art and culture which has grown from great tradition.

The conference provided a great revelation, rather than single handed (with very poor personal marketing skills) trying to spread the word of dancer health and the health benefits of dance to the local community, that if I can form alliances and collaborate with other dancers, teachers, dance scientists, other industry professionals, and corporate companies that we might be able to ‘shout the message’ louder and disseminate our knowledge further.

I came skipping back to Devon this week very excited, brimming with ideas and already I have pulled down my website ready to re-

build with a new brand and mission. I hope to create an ‘umbrella’ for freelance dance scientists; multi disciplinary approach to aid a multi disciplinary art. Enthused further by the up-coming ‘Dance and Academia: Moving the boundaries’ conference happening in Oxford next year, I would like to plan a similar event (possibly around Easter time)which will bring local and national performers and teachers together to talk dance Science.....working thoughts: ‘Does dance influence science or can science influence dance?’ local community groups could have an opportunity to perform a piece based on human science....such as the heart beat for example with talks from scientists on how dance is being quantatively and qualitatively studied. Of course this will all need huge planning and quite possibly a lot of help and expertise from the dance in Devon team! However, I feel that the IADMS conference has opened my eyes to a career path which I could create in Devon and fit around a young family.

Other valuable thoughts gathered from the conference: ‘the application of dance science within different dance populations.’ The majority of research is happening within university, vocational or professional settings; would a local street Dance class require the same information? Should there be different approaches to the way data is collected or provided? Should there be more research on a local level, the specific needs? What’s already happening? What needs to be done?And of course, how can I personally make a practical business model out of something I am so passionate about?

I have definitely come away from the experience with as many questions as I had answers. However, I do feel enthused to start a journey to answer a couple of themApplication- Managed Very WellAdditional commentsIt is very reassuring to know that there is support within the local dance community. I thank you for aiding me with this opportunity.

Jo Ashbeth CoffeyCourses: Celebrating Dance and MajmaBoth courses lived up to expectation having a variety of classes with a number of high calibre teachers. I did not always end up with the first choice of class, due to popularity of some teachers, however all the classes I attended were highly beneficial and educational as well as enjoyable.The very fact of being in training, being the student rather than the teacher was essential, and something I had been missing for too long. It aided my development to expose me to more new styles, even if somewhat briefly forsome. The two most obvious areas which fed back and out directly to students/attendees at my dance sessions are spoons and

variety/fusion:1) having had tuition in turkish spoons from Vashti (a turkish dancer who specialises in Kasik/spoons amongst other things) I was able to also ask her specifically about teaching spoons and thus was very well equipped when I taught a full term to my intermediate students of Kirton Kasik. This particularly followed Vashti's advice that the nature of spoons is that it varies village by village and therefore I should consider whatever my students dance to be their own variant (elements such as whether men dance with the women and which steps are the prefered ones of the range likely to be typical, therefore with Crediton being known as Kirton it helped the students engagement that they were aware that they were creating the new dance Kirton Kasik. I have taught a number of props or specific styles to intermediates in the past and am always on the look out for new special focus areas for each term.2) variety/fusion combis. Although I had already got some element of other dance styles influencing my work through general incidental exposure, and a little such as turkish gypsy dance from Celebrating Dance, the work on the residency fed in more different styles of dance into my influences and I started to find ways to combine elements from them into the ShimmyFit dance & exercise classes which I run, it was therefore invaluable when at Majma I was able to get exposure to a number of other new styles and go into the classes knowing I very specifically wanted to either take wholesale combis from them or even better take steps and moves which I could combine with my existing bellydance knowledge to create new ShimmyFit combis. A number of our favorite combis (and a few we love to dread because they are demanding but enjoyable) were created out of this. I have a pattern taken directly from barefoot flamenco with Valerie Romanin and bits and pieces of hoochie-cooch/charleston which mixed in with bellydance for other combis. However beyond these two obvious areas of benefit there were many many more, clearly the students benefit from any improvements to my teaching style and boosts to my confidence and injections of life into my inspiration for dance. I also managed to network with a few more dancers from the south west and further afield and to keep some kind of relationship with some existing contacts. I have now been specifically invited by the organiser, to dance at the Friday night delegates performance at next years Celebrating Dance (though I'm not sure I can afford the travel to Torquay and back or the ticket it's good to be invited – this is where either students and teachers who aren't yet of an international standard perform.) I feel this may be a chance to start building my reputation in the area further as well as a good performance experience for me. Also if I find a specialist area in years to come, my own niche, then I could end up with teaching work there for which having performed on the Friday is probably a prerequisite, the teaching would itself be great experience and would give me access to other workshops when I'm not teaching which would be useful

too. I am currently thinking that developing the multi-discipline combinations I have been working on because of this training so far is an excellent way to move forward if I can just get enough continuing training and new exposure.I hadn't realised quite how much I had missed just being in classes and learning new things for my dance and am very hungry for more now. As a direct result of this realization I have tried to create new ways with little cost to get more dance experience and to find other areas I can feed into the dance at minimal cost because of this inspiration. So far this has included organising a workshop afternoon of two dance styles, where I will teach bellydance and then the other teacher teachers her style, so I get to attend her workshop for no cost. I do believe the CPD helped my confidence in applying for and participating in the residency also and made me want to build a lasting relationship with Dance in Devon and support the organisation as I can. My students were also excited to hear about the events, which they heard about in more detail because I was going, and being able to give them the experience of what this kind of training is like second hand is wonderful. Even better a couple of them were so excited by the sound of it that they decided to come along for a day of their own accord to see what it was like. They really enjoyed it and learnt more which showed in their dance, althoughthey paid for their own tickets this really was still as a result of your sending me to attend as part of my development. They really benefited from being inspired to take it a step further and both of them not only learnt technical moves but you could see were more confident in their dance afterwards having attended workshops and been asked to share what they studied in classes on their return. Having the two events a number of months apart helped me realise how much I need some kind of regular exposure to immersion in dance and creativity to keep my creativity alive and not stultified. Although more frequent is always good actaully 4 months seemed a really good gap allowing me to absorb what I had done at one event and let ideas grow having been fed at the event. As a result I have managed to find an event which fills the other 4 month gap in the year in July and although I wouldn't normally have been able to afford to attend that either I did manage to work my passage this year and have got myself booked onto the staff for next year. I didn't get to attend so many dance workshops partly because I was working, but I was in the environment, and I did attend some, and also I was able to attend drumming workshops to help work on my interpretation and teaching of dancing to the drum solo rhythms, which are complex and varied within middle eastern dance and one of the specialist areas I am currently trying to develop further as I have plans and hopes for bringing a drum group my partner has worked with together with local dancers for a drum and dance picnic event, either on the moor or more locally sometime (probably next summer). I have tried to find other alternatives to keep my training

constant on a 4 monthly cycle so I don't stagnate again. I didn't realise I had stagnated, just that I needed some kind of stimulation, but I had and I am starting to crawl out of it now in a far better and more creative shape. I have of course offered my services to Majma and Celebrating Danceorganisers as steward/assistant in the hope I can attend them in that capacity in future but they are currently well staffed and though they have put me on the list as an experienced steward they are willing to use, they are unlikely to need me. I feel they are still some of the more appropriate, and potentially value for money training opportunities available. Because I was there courtesy of funding and knew I was to write this report I really engaged with writing up full notes for every performance or workshop I was able to attend.This really helped with how much I got out of the training, especially when writing up some of the notes a month or so later, from note pad to computer document meant I was reminded of elements which I had since forgotten which were suddenly more relevant. Because of this I also am now writing up full notes from the event in July which I got myself work stewarding at, even though there was no actual need to do so and I intend to continue with all future training opportunities and have a dedicated folder. I will also submit the notes I made though they are quite long so I will send them separately. ( Also some of the majma notes are still not typed up so it will be CD to start with and majma later – I have actually found spreading out the writing up of the notes helps. They are detailed enough that they are useful in original form, but the typing up makes me relive the workshop sometime later, getting double benefit and often meaning the typed version gets extra useful insights or comments). There was also the effect of attending a number of workshops with different teachers in a short space of time: this is excellent experience of observing teaching skills and learning from others good and bad moves. It also hammered home that one of the key things with a dance class is to set expectations accurately as the one class people appeared to have a problem with was the one where the description appeared to suggest a very very different class to the one the teacher tried to deliver. The growing confidence in the “bellydance with a bit more added combinations” which ShimmyFit has become has also meant I am more eager than ever to offer it as a workshop or drop in activity at events and I have run it at a local festival already and hope to offer it at more next year as the repertoire is developed and fed further. Even now I am aware that what I have described here is only a part of the benefit which both I and my current and potential future dance students had from the whole. I am gradually formulating a loose sense of a plan of where I need to be and what I need to do to move forward and to help the dance work I do in the local community grow. Repeating this experience at least once (of having a year of training weekend every 4 months which I consciously take elements from

and feed into the next term and all my dance work) is an important part of it. I am aware I need more new dance styles feeding in, and that I need to be working on picking bits out of those dance styles which are not only inspiring or fun, elegant or striking, but also those which are more accessible to those members of the public who wouldn't call themselves dancers, who are less able bodied maybe than some, people who want to dance, but have a bad knee or a bad shoulder so are limited to the more accessible moves. It's not about limiting what they are offered, but more about making sure that people don't feel excluded. All this has been fired in me and has started growing thanks to the support last year. I am fully intending to apply again this year, and though I have waited to see if there are other courses which would offer new options the fact that the two weekends have different teachers each year and 4 classes at any one time to chose from does mean that they usually offer an excellent experience as they are.Application- Managed Very Well

Additional commentsI particularly appreciated the speed with which the payment came through. Since I didn't haveenough money to pay for the course it was a bit of a juggling match to actually pay for the tickets inorder to claim them back, however the speed of payment did mean it was a less painful and trickyjuggling feat than it might otherwise have been.

Helen Poyner

December 10

Kathryn CooleyCourses: Aircraft CircusWith recent cuts to funding in the Arts, employment is getting tougher and employers are seeking multi skilled performers to fill places. The Aircraft Winter Circus Course gave me the opportunity to be trained in aerial dance and other circus related skills. This has opened up other possible pathways to employment as well as given me skills that I can take into teaching. I have, for the past 2 years worked for a Irish Aerial Company called Fidget Feet and this course will hopefully gain me more employment through them as well as others. The course has also allowed me to meet with other artist in this field. I have gained lots of contacts for possible future work and more professional development. I have also made contact with Swamp Circus in Cornwall who I can hopefully continue my training and teaching development alongside. Bristol contacts have also been made and I am hoping to move to this area to continue my development in the near future. The dance card money has really

helped me to make this all possible. Thank you for the help and support.  Application- Managed Very Well

Additional commentsExtremely helpful on matters that surrounded the application.

Katherine Nietzrebka

April 11

Pam Woods

September 11

Katrina Brown

Rosie Allen

December 11

Susanna Oxenham

April 12

Karina Gracia

Lizzy SwinfordWorking on the Devon Carousel Project with Kerry Chappell this term has been highly beneficial to me as it has given me an opportunity to reflect with other artists and Early Years teachers on what young children can gain from experiences in dance and the arts. With Kerry’s guidance we have also discussed and tried to identify what we are hoping to achieve through the approach we are taking. This has given my work more focus and a sense of purpose.

The opportunity to be observed was very valuable particularly because, in my early years work, I am aiming to give the children opportunities to explore and discover movement for themselves. This means that it is difficult to see everything that is going on during a session. Being observed gave me an increased awareness of the impact of different activities. It was particularly important that there was involvement from Early Years staff who could observe the effect the dance and art had on the children’s play and conversation in between sessions. Also they could give us an understanding of what we might be adding to the children’s experience that the permanent staff are not able to offer.

The opportunity to collaborate and reflect with other artists was very stimulating. It resulted in us experimenting with methods that enabled us to work in an integrated way and on a large physical scale. Through reflecting and working together we were able to discuss our aims and concerns and, as a result, findings were much broader and richer.

The opportunity for self evaluation and questioning has resulted in a number of new elements I will take into my own practice. I have some new ideas for activities and approaches in working with this age group. I have gained confidence in finding ways to use children’s own movement ideas, ensuring children are able to take a lead and develop activities in their own way but also in a way that is managed and encouraged by me as a practitioner.Application- Managed Very Well

Additional commentsThank you for giving me this opportunity!

Michelle Wilkinson

Noel Perkins

June 12

Ruth Jannsen

Ruth Bell

Kayley Anne Crook

Sep 12Sue Claire MorrisI recently attended a Moving Mandala course in Cornwall followed by a Teacher Training course in Devon, which Dance in Devon helped to fund. The course enabled me to explore new ways of working creatively with dance, empowering me to use all my existing skills and enhancing the work I have been doing for the past four years with labyrinths. We worked through each chakra, creating a clear understanding of how this relates to self, others and the environment and then weaving all this together to create a community dance piece on the labyrinth at Boswedden House in Cornwall.

We involved local people in Cape Cornwall who joined us in the dance on the labyrinth linking us all together. It was a memorable experience.

I now have the confidence from this training to present a series of workshops in Devon to facilitate others to link mind/body/spirit using the Moving Mandala as a container for the dance which can be done with people on the labyrinth or in other community settings.The course has given me new ideas and resources for my facilitation of others and I feel motivated, excited and encouraged to think that peoples' creativity can be unleashed using this tool of the Moving Mandala.

For me it is the last piece of the jigsaw puzzle to complete all the different strands of training I have done over many years, in order to offer something concrete to individuals that uses my full potential and honours others too.

Much gratitude to Dance in Devon for making this possible.Watch this space!

Feb 13

Rosalyn Maynard

Plymouth

December 10

Claire SummersSpending two weeks in Ghana has been crucial to my personal development allowing me to live and work in another country which has a very different culture and way of life to mine here in Plymouth. I lived with an African family for two weeks so I would get a true sense of African family life. Over the two weeks I spent an extensive amount of time at the University of Ghana where my host Tete Nii-Yartey is studying for his Masters in Choreography. Utilising my developing skills as a dance photographer I became the official photographer for the performance. This was an excellent opportunity for me to develop my photography skills, I was able to take some good photographs to add to my growing portfolio. As well as photographing the pieces I spent time observing and taking part in the traditional dance classes at the university and talking to the head of department, lecturers, teaching assistants and both graduate and undergraduate students. This was a fantastic experience and the conversations were rich giving me an incite in to how dance is viewed in Ghana, and of the work the university is doing to promote dance as a valid art form worthy of an audiences payment. During my second week I spent time with the Noyam dancers and the National Dance Company I was able to both

observe the way they worked and participate in their training sessions. Visits were also made to the Arts Centre in Accra, the National Theatre to watch a piece performed by a Company of Chinese disabled dancers and musicians and a eco beach camp in Ada.

The main aim of my visit was to meet the dancers of Noyam and to get a feel for what they do and of the life a Ghanaian dancer leads to aid me in the planning for an exchange between Plymouth Youth Dance Company (PYDC) and Noyam in 2012/2013. This aim was successfully achieved and I am confident that along with Hayley Mathews under CommonLand dance I will be able to make this exchange happen. The visit has enabled me to gain understanding of what it means to be a dancer in Ghana and how the company and the dance education system works. I have also built relationships with the Noyam dancers, the National Dance Company and the University of Ghana which will I’m sure prove invaluable over the course of this exchange.

It is my hope that the skills utilised though the planning and execution of this trip will help me in planning the exchange over the next two years. This future exchange it is planned will involve several organisations in Plymouth including The University of Plymouth, The Barbican Theatre and local primary and secondary schools, and Several organisations in Ghana including Noyam, The University of Ghana and The National Dance Company. If successful it would be an excellent and rich cultural exchange for both Plymouth and Ghana and could provide a template for other dance groups wishing to visit Noyam which will in turn help sustain Noyam a income and give the dancers a more secure wage.Application- Managed Very Well

April 11

Paula HockingActivity: Working with Epic Arts on an inclusion project reaching across three east end London schools. I chose to spend time with Epic arts because of the diversity of work they are involved in; from schools projects to commissioning disabled choreographers in the London area and in Cambodia and China. I was interested in both the structure of the organisation, the management of projects as well as the delivery of dance. During my three days I was able shadow the dance practitioner working in two of the schools and support the children during a music workshop and an arts/crafts session. I had conversations with Epics managing director, the project manager and the free - lance artists delivering.

The project convinced me that the arts are an affective facility to promote and express integration/inclusion. Pupils from the mainstream school were able to communicate how their understanding and perception of disability had changed.

Epic are willing to support me as the MD of Wheelfever Projects to develop a schools project locally. Funds permitting in October 2011I will begin developing a project that will aim to produce the same outcomes. Application- Managed Very Well

Jane CastreeActivity: Mentoring Support from Helen TipladyThe mentoring support I have been receiving from Helen Tiplady has been vital to me at this point in my career. Over the past 12 months I have been focusing on my choreographic practice, which has resulted in completing a research and development period, Making Space, in association with Dance in Devon, Beaford Arts Centre and The Northcott Theatre. Also I have been working on Trouble and Strife an evening of new dance work, by myself and two other female choreographers, which is touring the Southwest and was commissioned by Plymouth Dance, ACE and supported by The Barbican Theatre.

Working with Helen during this busy and exciting period has meant that I have had the time and space, whilst I am working on my current projects, to focus on the future and to strategically plan my next steps. As such, during this time I have applied for The Place Prize, one other commission project, for another research and development period and to the Glow Film Festival. This means that I am able to keep up the momentum of my choreographic vision and avoid the large gaps in between projects, which can feel creatively immobilising.

Helen and I have been working closely on where my career is currently and where I would like it to be and developing strategies to take it in this direction. This forward planning and sense of control over the direction of my career has been a fundamental shift for me in my working life, as I feel that I am developing the skills required to make more informed and strategic decisions about my career.

Working with Helen has benefited my work at UCF in Cornwall as it has enriched my practice through my choreographic development and the learning of new skills, which is something I am able to pass on to my students at UCF. I feel another benefit to working with Helen, as she is Cornwall based is that it has given me greater connections and links to other artists working in the area.

The legacy from my mentoring with Helen, that is enhancing my work in Plymouth, is that I am better placed to advise the dancers, students and young people that I am working with, it terms of career development. Furthermore, both the Making Space and Trouble and Strife projects have been instrumental in developing my teaching practice, organisational skills and workshop and technique class content, which is a benefit to my work with the Creative Space Group, Wheelfever Projects and the Plymouth Dance Advance Classes in Plymouth.Application- Managed Very Well

Additional commentsI feel that the Dance Card is a vital and unique opportunity for Independent Dance Artists working within Cornwall and Devon. The mentoring I have received and the financial assistance have been instrumental in helping me feel supported in my career trajectory as an artist and this is an extremely beneficial and invaluable resource for me.

September 11

Lucy TeedActivity: Kathak Teacher Training DayTaking part in teacher training for Kathak Dance has developed my confidence, understanding and ability to facilitate Kathak within both community and educational settings in and around Plymouth. The training day focused on suitable content and delivery for both children and adult beginners. This included warm up ideas, games, rhythmical exercises, classical movement sequences, suitable classical repertoire and how to incorporate creativity. I now feel more confident when it comes to pitching my classes at an accessible level. I am looking forward to facilitating a cultural and physical experience through this classical dance style that will be new to most participants.

I have also learnt through having to organise the training event myself and facilitating the opportunity to a small number of other Kathak practitioners interested in teaching.Application- Managed Very Well

Additional commentsThe kind support from Plymouth Dance has enabled me to start up community Kathak classes for adult beginners in Plymouth. They have provided financial support for the classes but they have also been very approachable, giving me valuable advice and encouragement.

December 11

Claire SummersActivity: Pathways to the Profession Symposium and Laban facilitating dance to people with Mental health issues.For the first part of my CPD activity I travelled to Dundee to attend the Scottish Dance Theatre symposium “Pathways to the Profession”. During my time in Dundee I was able to not only gain valuable incite into the work happening across the UK to support disabled dancers but to also network with other practitioners. This has been of huge benefit to my development and the development of my work in Plymouth and Devon. I have already travelled to Coventry University to spend time with Sarah Whatley and have been asked back there to share some of my research in the area of adapting technique for disabled dancers in April. I have also been awarded a travel bursary to attend the national steering group meting in Leicester in May, again because of contact I made in Scotland. In addition to the contacts I made being there reignited my passion for making dance training more accessible and I am looking to start a inclusive technique class for 14 to 19 year olds in September using ‘adaption’ as a technique , something inspired by the symposium.

My second activity was to attended a workshop lead by ‘Hoot’ at Laban in London, facilitating dance to people with Mental Health Problems. This was a fantastic and inspiring workshop. It not only gave me information to help me facilitate dance to people with mental health issues but the information was very relevant to all of the community work I am doing at the moment with vulnerable children (at Brook green school and the University for Widening Participation). On my return I travelled up to Newton Abbott to attended a meeting organised by the NHS for different mental health partner organisations throughout Devon and ‘patients’. I made a lot of connections at the meeting who have offered me their support in getting information out to people about any workshops/ weekly sessions that I set up. I have also been asked to write a article for BID (Be Involved Devon) and for PALS (Patient Advice and Liaison Service) which I am currently doing. I have recived interest from the Townstal community so I hope to trial a weekly session there from May and I would also like to set something up in Plymouth in the near future as I have already had interest from DIAC who have offered their support. In addition I have booked onto the FCD Summer school to spend a week with Miranda Tufnell focusing on dance Health and Wellbeing.Application- Managed Very Well

Additional commentsBoth activities have really helped to shape and influence my current practice in both Plymouth and Devon. Without the support of CPD I would not have been able to attend so thank you for this opportunity.

Kathryn Hawken

Kerri JacksonThe mentored training day was tailored to developing my future practice. Rob at Wired aerial theatre structured the day in 3 parts: - 3 hours safe practice, 3 hours all things bungee including stunt work and choreography and 11/2 hours warm up and cool down techniques. I plan on using my experiences in aerial dance to run classes in Plymouth, due to the safety of these classes extra training was imperative to doing this successfully. The day was absolutely fantastic and exceeded my expectations; it has made me think about safety and delivery of classes. But also my own need for development in aerial the use of bungee (which is different from my practice) is something I will now consider as a good investment for the future.Application- Managed Very Well

Additional commentsIt has been three years since I graduated University and I have tried to develop a practice whilst making that transition into the professional teaching sector and earning a living as a freelance dance artist. All these things are very difficult in this economy however pots of help like Plymouth Dance’s CPD are imperative to helping dance professionals maintain quality and developed practice. I want to thank you so much there is no way I would have considered such a course without this help.

Paula Hocking

June 12

Abbi JacksonActivity: Contact Festival DartingtonThe CPD card money was able to assist the finances needed to attend the week long contact improvisation festival held at at Falmouth University. The reason why this event was beneficial to me, personally, is due to the fact that I was planning to set up a weekly contact improvisation class in the Plymouth area that was open to professional and students. I planned to attend the festival to gain new teaching ideas and to boost my own confidence as a leader.

At present there are no session from students and professions on a weekly basis, therefore this experience was also able to benefit people interested in contact improvisation within Plymouth and the surrounding areas.Application- Managed Well

Additional commentsThe money I was awarded made the decision between not being able to afford to go and being able to go which was brilliant as this was an experience I did not want to miss out on.

It also meant that I was able to bring new teaching ideas to the sessions being held in Plymouth.

Sep 12

Sarah ChalmersActivity: Introduction to dance movement psychotherapyIn some ways the course hasn't met some expectations in what I was originally anticipating, however it has given me reassurance in the practise I lead and am passionate about as well brought refreshment/excitement within the work I am currently involved in.

The course has been an important step in defining my style and approaches as a dance practitioner, it has highlighted my beliefs and enhanced my current knowledge. I have a greater level of confidence in my practice where Iv noticed my ability to respond and approach new avenues has increased.

It has challenged the structures I hold and pushed to another level the content of my work and my colleagues. It has confirmed the approaches taken within my largest project 'IEI' are to a professional and recognised standard that is proven to enhance peoples well being. One of our key targets through this project in Plymouth. I have been able to share with my team other ways to develop our approaches and current ideas as well as highlight questions for discussion to allow our work to progress.Application- Managed Very Well

2013

Louise BarnesActivity: Circle Dance in Dementia course

I feel that this training was invaluable in that it provided me with all the information I require to run Circle Dance in Dementia sessions in Plymouth.

It included information about Circle Dance, how it was developed in the 1970s, and its features. It covered types of dementia and the impact of dementia on activities at the main stages. It also summarised the theraputic benefits – both physical and emotional - of dance and movement for people with the disease.

Two thirds of the training was given to the practical learning of the dances, both seated and standing or a mix of both. I brought back a 20-track CD and comprehensive notes on the different folk music used in Circle Dance including references for reminiscence work with users.

I was also given detailed guidance on running circle dance sessions, group skills and engaging users, as well as suggestions of the range of organisations and services where Circle Dance can be offered.

Application- Managed Very Well

Name: Abigail JacksonActivity: Senses and Perception Training

This training is the first step out of 4 I am hoping to achieve by July 2014. Currently it has helped me dramatically with my understanding of the body’s senses throughout movement. This is an understanding I have not only applied to my teaching style, mainly with children diagnosed with learning and/or physical disabilities, but also with the intentions throughout my planning processes. This course has opened my eyes to a more holistic way of working with said participants, which will, potentially, increase the benefits of my sessions. As mentioned, this is one of 4 courses, therefore I am still yet to add to, and develop this knowledge, before I am able to apply it fully. At present I feel as though I am truly inspired by the work I have taken part in, which would not have been possible without this grant, due to its location.

Application- Managed Very Well Other Comments:When arriving to the course I met another participant there from Plymouth. She informed that she had also applied for this CPD card and was also awarded with the money. We both thought it was a real shame that Plymouth Dance did not make this connection, as we could have shared travelling costs for the long distance from Plymouth to Liverpool. It would be really beneficial if there was a system put in place so that if there are two successful applications for the same course then they can be contacted to discuss this with the option of the other applicant being informed, then there is at least the option to make contact before attending, especially when travelling long distances.

Name: Claire SummersActivity: Integrated Summer School SeattleAttending this course was vital in my progressing in the fields of inclusive dance practice. Being on the course has already had a great impact on my practice and since returning from Seattle I have

been trying to embed the principles of adaptive technique into my class’s. In addition to the practical skills I developed it was also a fantastic opportunity to network with an international group of dancers and as I was speaking at the conference I was able to talk about and being awareness to the pioneering work being done in Plymouth in inclusive dance.Because of my adoption of this technique I have already been asked to lead workshops for students across the country at different university’s. Non of this would have been possible without the bursary for CPD. Thank you.

Application- Managed Very Well

Name: Jules LavillActivity: Freefall Summer IntenciveSummary report from Jules LavilleI found my 3 days in Falmouth at the ‘Freefall Summer Intensive Training’ extremely refreshing and rewarding; I left feeling totally refueled, oxygenated and inspired.

The 3 days were structured in a way that provided a good balance of time to network, explore/discuss business issues, train technically and play creatively. Being able to immerse myself in this world for 3 whole days felt like a real luxury; there was time to absorb the experience/information and not rush to the next task feeling burnt out, which is often the case within the ever growing pressures of my job role.

Business BreakfastI found 2 out of the 3 Business Breakfast sessions extremely useful. The first session was with marketing and PR consultant/lecturer, Suzanne Ball from Falmouth University. She talked about effective marketing tools for the web; how using more show reels/promo films is more effective in the 21st century than using pages of text and how to use less words, with a large image to create more impact. The second session was with ‘Crowd Funding’, again really interesting to find out how it works and hear about successful funding proposals in the region. Both were full of useful information and advice, which have been very applicable to my work now and in the future.

Technique Classes with International Artists: Yael Flexer and Helen ParlorOver the 3 days there were 2 technique classes daily for 1.5 hours. 3 hours of class is something I haven’t experienced in a long time… Although it was a bit of a shock and exhausting I really enjoyed being challenged and having the space to focus on my own practice.The classes covered many exercises some were variations of exercises I have practiced over of the years, (great to be reminded)

and many were new and very refreshing. I have been able to share, develop and use many of the exercise in my own teaching practice. Due to the fact that I am currently training and studying to become a Yoga Teachers (Vinyasa Flow) I particularly found Yael’s style of exercises inspiring as she used a blend of yoga and dance within here technical warm-up exercises. Although this is fairly common in dance I found her blended the techniques unique and natural in a way I have not seen or experienced before. This was confirmation for me that my study and practice of yoga is extremely beneficial to my work as a dance artist/teacher both creatively and technically. It has also given me the courage and vision to explore this within my own teaching and choreographic research.

Creative Sessions with Yael Flexer and Helen Parlor

The afternoon creative sessions were invaluable and I totally relished the chance to explore, play, perform and make dance material without pressure of an outcome/product. There was a diverse range of choreographic methods and strategies explored over the 3 days including work with inner and outer body sense, text for dance performance, solo, duet, group and contact improvisation etc. Some of the devising processes covered were really welcome reminders of tools used in the pass, but forgotten! Other tasks were fresh and new. I have used and shared many of them within my practice as a dance artist/teacher and will continue to use and evolve them within my work.

I have shared and passed on my learning from my FreeFall experience with the professional practitioners I engage with through my work at the Barbican Theatre, plus the 6 young dancers I am currently mentoring and training to teach dance within the Barbican Theatre’s ‘dance FORCE’. The experience has evolved my teaching and is now embedded within my teaching practice which includes, ‘Company b Dance’, Moves and Junction Dance classes 8-11 and 12+ yrs at the Barbican Theatre, plus within workshops at many schools, my Associate Lecturing at University of Plymouth and University MARJONS.

Name: Sophie ColthurstActivity:

Name: Toby GActivity:

Name: Helen WilliamsActivity: