Third network meeting for professional development

Part I: Where can we develop work?

For our third network meeting in March 2016 we invited all attendants to think back at the opportunities they had taken part in and to share their experiences with each other. The meeting was a lively exchange and we’d like to pass on some of the insights to those who weren’t able to join. This is Part I: Where can we develop work? Click here for Part II: Where can we present work?

The purpose of the meeting and this write-up is to invite you to think proactively about the opportunities you apply for and to make informed decisions. Each and every opportunity we present is valuable and useful and has great advantages, but it may not fit everyone’s needs. There are of course many more opportunities out there and if you would like to share your experience of a particular programme or opportunity with your peers or you have points to add to the information below, please don’t hesitate to get in touch so we can add the information to this informal database.

In London

Clarence Mews

Clarence Mews offers several residency programmes throughout the year that can include rehearsal space, performance/sharing opportunities, peer feedback and mentoring.

  • Make strong connections with the other people on the programme
  • Learn from helpful and generous mentoring
  • Be part of enriching feedback sessions facilitated by Caroline Salem
  • Learn to give useful feedback and to react to and develop with the help of others’ feedback
  • Learn to create a supportive environment
  • Benefit from an invited audiences’ feedback
  • Feedback is often written down, so that the choreographer can take it home and continue reflecting on it and even use it for applications.
  • Benefit from a clean, state-of-the-arts space with good heating and a nice kitchen
  • Benefit from some of the best studio hire prices in London

Consider the following:

  • Are you able to plan several weeks or months in advance?
  • Will you be able to commit to the hours you booked or is it likely you have to cancel sessions and therefore lose money?
  • Will you be able to commit to weekly or monthly meetings or will you struggle to attend and therefore not be able to make the most of your experience?

1 year programme

  • 10-12 artists
  • Studio booking takes place three months in advance, with re-scheduling possible within 14 days if availability permits. If you can’t use your hours you lose them.
  • Monthly meetings for presentations and/or feedback/mentoring take place on Sundays.

1 month programme

  • 4-5 artists
  • Studio bookings take place in advance
  • Weekly meetings, in which you share work and engage in a feedback session take place on Wednesday nights.

There are also several other programmes and a Resolution package on offer. Find out more:


Dance Research Studio

The Speaking Dancer: Interdisciplinary Performance Training

  • Takes place on weekends over five months
  • Learn to give useful feedback and to react to and develop with the help of others’ feedback
  • Be part of a very enriching

The Dance Research Studio also offers studio space for hire and other opportunities. Find out more:


Outside London

Dance City’s Creative Summer, Newcastle

  • A week’s space (this year between 15.8.-2.9.)
  • Sharing of material created at the end of the week
  • Deadline for application this year is 25 March at 12 noon
  • Email with a short description of what you would like to develop during Creative Summer, which weeks you are looking for and how many people you will be working with during that week

Consider the following:

  • Finding a home in Newcastle for yourself and your dancers
  • Are you prepared to create for a sharing? Is a week a good amount of time for you?


Art Culture Centre Bækkelund in Bornholm, Denmark

Throughout the summer some artists take part in intensive Butoh training and some artists create their own work and join Butoh classes where possible. There are also some performance opportunities for the work created.

  • A beautiful house with a huge dance studio in the middle of nowhere
  • Single or shared rooms depending on how many artists are there, max. about 7-10
  • Bikes are available, the gears are broken and the island is hilly, so it’s a workout
  • Pay for travel there: when booked early Ryanair flights to/from Copenhagen can be very cheap (e.g. £20 return), bus and ferry to/from Bornholm is £65/return
  • Pay for accommodation by paying money or working on the farm in return for the stay, e.g. working on the farm for 3-4 days you can stay for altogether 12 days
  • Supermarket not far with food prices and cheap basic house brand options comparable to London
  • Financially brilliant if you fancy getting away from London anyway
  • Benefit from an insight into the art of Butoh
  • Benefit from intensive, challenging classes
  • Benefit from a lot of studio time
  • Benefit from incredible awe-inspiring nature surrounding you 24/7
  • Benefit from interesting film locations in the garden, house, stables (no animals) and the nature
  • Benefit from reclusion
  • Take a risk and see what happens
  • Very little or no internet, no TV, but there’s a stereo with radio and lots of CDs

Email Lucia if you’re interested in going to have a chat about this opportunity.


Au Brana Cultural Centre in rural southern France

  • A great place to create work as you are isolated and you can really focus on what you are doing.
  • Provides 24hr studio access, a kitchen and a dormitory
  • 100€/day for the studio
  • 20€/day for accommodation per person
  • People who run the place are helpful and friendly
  • You need to cover costs (travel, food, etc.)

Find out more:

Email Konstantina if you’re interested in going to have a chat about this opportunity.


These are some of the themes that were raised during the session that we invite you to reflect upon for yourself:

  • Do you feel lonely when producing your work? When do you feel this way and what can you do to alleviate it? (Join our meetings 🙂 )
  • Is an opportunity paid or not? Do you receive quality support? In what other ways might you benefit from the opportunity? Is this opportunity worth it for you? Be aware of your choices.
  • Is there an energy specific to London that makes you feel under pressure?
  • Have you considered mentorship? What might you gain?
  • How often do you want to and how often do you get to perform your piece? Consider its longevity and growth.
  • Think about it from the producer’s perspective, the difficulty of their choice, the amount of applications and inquiries they get, the costs they have, the funding they (don’t) have. Remember that producers are people too.


Wishing everyone all the best for their practice, great opportunities and the ability to take full advantage of them,

Kaleidoscopic Arts

This post was written by Lucia Schweigert.

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