International

Developing international connections and collaborative research projects

International Inclusive Dance Project

Between July 2024 and March 2025 George took part in an International Inclusive Dance research project funding by Arts Council England.

The project involved George working with five international companies; Limòn Dance Company (USA), Con Cuerpos (The Netherlands), Indepen-dance (Glasgow), Light Sound Friend (South Korea) and the Estonian National Ballet (Estonia).

Limón Research Collaboration

We teamed  up with one of the most renowned dance companies in a unique international collaboration.

Never before had such a diverse group of professionals from four countries come together to learn and explore the Limón movement technique for their own artistic practice. It was made possible thanks to the Four Nations International Fund which supports individuals and organisations in developing international partnerships and co-creation projects.

George and Helen travelled from Lancashire to Glasgow to meet up with Julie Spence and Neil Price from Indepen-dance, Scotland’s award winning dance company for disabled and non-disabled performers.  They then connected virtually with former Scottish Ballet principal dancer, Eve Mutso in Estonia and Limón company dancers, Joey Columbus, Savannah Spratt and Lauren Twomley in New York.

The sessions were a rich and valuable opportunity to further our work, challenge ourselves and open up new opportunities. We’re now looking forward to sharing some of the learning with more dancers at Gathered Together International Festival in Glasgow – July 2022.

We recognise the value and potential for further research in this area. We’re now looking to explore how the principles might be applied within other contexts, including our dancers living with Parkinson’s.

More information about the team who joined us can be found below.

Supporting well-being and relationship building – reflections on online teaching

ICDS4 was a safe, supportive and enriching environment to present my first conference paper following my MSc in Dance Science and Education. The rich and diverse programme of seminars and practical workshops quickly dispelled my preconceptions about practice being distinct from academia.

A conference of Dalcroze studies by its very nature draws on the practice of ‘doing’ in a way that other conferences might not. Any ICDS workshop is a melting pot of artform specialisms, cultures, perspectives, and experiences that provides a fertile ground for new ideas, experiences and inspiration. The time, the space, the people and the responsiveness all contribute to an unrepeatable and unique experience. It also harnesses a sense of community which, for my nerves, was especially helpful given the new territory of paper presentations! Little did we know as we parted company in Katowice, in August 2019, what life would be like just a few months later.

Moving online

The energy which manifests between people from practising Dalcroze, dancing or playing music together activates a physiological response that positively influences multiple body systems. As facilitators we utilise various communication modalities to fine tune and respond to the needs of others. Similar to my experience at ICDS, this experience fosters a sense of community and supports wellbeing. However, when the COVID-19 pandemic forced me to work online, it felt an impossible task to replicate this impact.

As a dance artist I have a particular interest in the relationships between music and movement. I am a bassoonist and have studied Dalcroze for many years and frequently incorporate activities inspired by Dalcroze Eurhythmics and the Dalcroze Subjects. I also specialise in practice that engages people living with health conditions such as Parkinson’s, dementia, people living with a physical or learning disability, and those who may identify as neuro-divergent.

I strive to create a space where barriers to inclusion are overcome, where individuals can form a community with the common purpose to engage in a creative artistic experience. Initially remote teaching felt totally counterintuitive to this idea. Furthermore, embarking into the unknown world of online teaching I found myself concentrating on its limitations whilst still attempting to reproduce my live practice. Early group sessions were more didactic, more choreographed, less responsive and ultimately less person-centred.

Subsequent developments have been a result of a community effort between our team of artists, and the participants who have enthusiastically provided constructive and honest feedback for self-reflection. This led to a realisation that it was often social isolation that was bringing people online.

Understanding why participants were choosing online classes required a review of content. Were the sessions addressing need? How could participants find a meaningful connection to self and others?

Adaptations and benefits

Small adaptations have made a big difference, for example:
1. Personal touch: Ensuring zoom boxes provide the correct name of each participant. Everyone can then address each other personally.

2. Taking time, slowing down: Recognising that relationships are highly valued, activities were factored in that helped to foster the sense of community. It included time for those who attended in pairs or as a bubble, with opportunities to connect to each other in their homes.

3. Acknowledging personal environment: Incorporating activity that encourages participants to turn their focus away from the screen, by using strategies that help people connect to their surroundings. Taking time to explore their rooms using sight and touch.

4. Individual encouragement: It is easy to feel invisible in a virtual class. Having personal recognition values individual contribution.

5. Familiarity: Participants take longer to embody material so more repetition is valued. Our participants have expressed how they enjoy working with familiar music too. The mute function encourages participants to sing along to well-known melodies in a way that they may not have done in a live class.

6. Co-curating: Finding ways for participants to contribute ideas which ultimately creates a more meaningful experience for all.

7. Connecting to others: Giving time for everyone’s voice to be heard and listened to. Participants might be muted throughout much of the class, but including time to arrive in the online space to connect to others, time at the end to touch base and also, moments during the class to check in, ask questions, give feedback have been valuable. Breakout rooms have given extra social time at the end of class.

8. Discovering the creative possibilities online: We have investigated ‘Zoomography’, through improvisation and set material, exploring how the proximity to the screen and our individual Zoom box can offer creative opportunities. Interacting with each other via the screen and to others in our home environments, we have also created dance film and had the opportunity to link up with other groups nationally.

Online artistic practice may present challenges, but there are also clear benefits.

It is accessible. Assuming there is access to a computer with a camera or tablet, it can provide a lifeline for those who would otherwise be unable to attend classes. The home is a safe space and new opportunities are at their fingertips with no need to commit and no need to be visible; you can just turn the camera off!

It is cheaper. Without travel costs and time to consider, classes can be more affordable for the participants and cost-effective for the teacher. Project work for vulnerable groups rarely covers costs, so when funding streams are tight, online activity can offer a more sustainable alternative.

Looking ahead

We are planning to continue the delivery of our online programme. They may even remain a permanent feature of our offer. Our community is committed, passionate and benefitting from the classes. For many, they would be unable to engage in activity should we move back into live delivery.

As creatives, we are resilient, resourceful and versatile. With this new medium, we have a responsibility to review who we do not reach. How do we build safe spaces for more people to come together to experience the benefits of music and movement feels more valuable than ever?

Personally, I have been able to attend more professional development in the last year than I have in ten years, and that is with two young children and without leaving the front room. An opportunity to engage in high-quality activity is at my fingertips, affordable, and relatively carbon neutral. It may be different to sharing a room with others but it remains undeniably enriching and fulfilling. I am in no doubt that ICDS5 will be equally as generous as previous ICDS events whilst addressing some of the barriers for some who would otherwise be unable to attend in person. I am very much looking forward to it!

Joseph Columbus – USA

Joey began his dance training in the Chicagoland area where he studied with Forum Dance Theatre under the direction of Eddy Ocampo. In May of 2016, he graduated from The Alvin Ailey/Fordham University BFA program where he performed works by Alvin Ailey, Pascal Rioult, Adam Barruch, Robin Mineko Williams, and Jae Man Joo. During the summer months, Mr. Columbus studied on scholarship at The School at Jacob’s Pillow Contemporary Program, Hubbard Street Dance Chicago, and Springboard Dance Montreal. He has worked with choreographers such as Alexander Ekman, Mark Morris, Marguerite Donlon, and Evangelos Poulinas. Upon graduation, Mr. Columbus joined RIOULT Dance NY where he toured domestically and internationally. He has performed with Company XIV in their production Queen of Hearts. He has also had the pleasure of performing with The Metropolitan Opera’s Ballet Company in productions such as Rusulka, Samson et Dalila, Marnie, La Fille du Regiment, and Don Giovanni. He joined the Limón Dance Company in 2019.

Eve Mutso – Estonia

Eve Mutso is a freelance dancer & choreographer and former Principal Dancer of Scottish Ballet, Scotland’s national dance company.

Her repertory with Scottish Ballet included roles in the works of Ashton, Arias, Balanchine, Brew, Bruce, Caniparoli, Darrell, Elo, de Frutos, Forsythe, Hampson, Loosmore, MacMillan, Van Manen, Page, Pastor, Petronio and Pickett. In 2012 she created the leading role of Blanche in Meckler/Lopez Ochoa’s A Streetcar Named Desire.

Eve was born in Tallinn, Estonia and graduated from Tallinn Ballet School in 1999, going on to join Estonian National Ballet. She returned to Tallinn in 2011 as Guest Principal to dance the title role in MacMillan’s Manon.

In 2015 she was nominated by the Critics Circle for the National Dance Award for Outstanding Female Performance (Classical). She had previously been nominated for Best Female Dancer in 2005 and 2013.

Her first choreographic work was elEven, performed as part of Edinburgh Festival Fringe programme in 2014 and since then she has continued to create further works performed by herself and other dancers.

Eve’s interests have led to various collaborations with filmmakers, composers and photographers and in 2018 she danced with Scottish Opera in their new production of Eugene Onegin.

Her interest in aerial arts resulted in the creation of aerial solo loop, commissioned by The Fruitmarket Gallery in Edinburgh in 2018.

In 2018 Eve was commissioned by Estonian National Ballet to create Echo and in 2019 she choreographed Flock for Lothian Youth Dance Company. Her work, 111, a collaboration with Joel Brown (Candoco Dance Company) premiered at Edinburgh Festival Fringe in August 2019 and was part of the Made in Scotland showcase, followed by national and international tour alongside Unlimited Festival at Southbank Centre and HAY Festival Digital Arequipa.

She currently collaborates with artist/poet Rhona Warwick Paterson for 3 new commissioned works for Fruitmarket in Edinburgh and is creating new work for Indepen-dance for spring/summer 2022.

Eve has created workshops and taught company class for Estonian Dance Academy, LPM Dance Theatre, Artists for Africa, Tallinn Ballet School, AXIS Dance Company, Edinburgh Dance Academy, Alonzo King LINES Dance Center, Royal Conservatoire of Scotland, Lothian Youth Dance Company, Aerial Edge Circus School, Indepen-dance, Estonian National Ballet and Scottish Ballet.

Eve is guest lecturer at Estonian Academy of Music and Theatre and Guest Artist with Estonian National Ballet and is consulting dance composition for New Voices Theatre and mentoring independent freelance dance makers worldwide.

She is a board member of Indepen-dance, an inclusive dance company for disabled and non-disabled people in Scotland since 2017.

Neil Price – Scotland

Neil started working with Indepen-dance in 2009 to deliver workshops for the weekly core programme. He joined Indepen-dance 4 in 2013 and has now worked with many well known choreographers, touring nationally and internationally.

In 2017, Neil was awarded “Best Dance Performer in Scotland” by the Sunday Herald Scottish Culture Awards. This gave him the confidence and inspiration to create his own choreography. With the support of his uncle, Frank McConnell – Artistic Director of Plan B, Neil performed his first choreographic solo – Tantalus in March 2019; described as ”an intensely personal statement of aspiration and achievement in the face of pitfalls” and described the challenges that a young man with Downs Syndrome may encounter in life.

Julie Spence – Scotland

Julie started working professionally with Indepen-dance, Scotland’s award winning inclusive dance company for disabled and non-disabled people.

She gained an HND in Professional Stage Dance from Stow College, progressing to UWS in 2014 for a BA (Hons) in Musical Theatre where she created a dance piece using sleep shields for her final exam. In 2019 Julie progressed to the role of Dance Worker, where she leads many of the weekly core classes. Julie has performed with IND4, Indepen-dance’s professional company, touring to Colombia in 2019. Most recently Julie has been working with the newly formed Small Ensemble on a new piece of work choreographed by Eve Mutso, premiering in 2020.

Savannah Spratt – USA

Savannah Spratt joined the Limón Dance Company in 2016. Born and raised in Rochester, Pennsylvania, she attended Lincoln Park Performing Arts Charter School to study dance alongside high school academics. Savannah holds a BFA in Contemporary Dance from the University of North Carolina School of the Arts and was a recipient on the honorable Sarah Graham Keenan Scholarship. Beyond Limón, she collaborates often with Helen Simoneau Danse and the Merce Cunningham Trust, most notably performing in the Los Angeles installation of Night of 100 Solos. She has been an instructor on faculty with the Limón Dance Foundation since 2018, sharing movement with communities around New York City and the country. Savannah is a licensed GYROKINESISÒ Level 1 Apprentice and enjoys knitting in her down time.

Lauren Twomley – USA

Lauren Twomley, born and raised in Brooklyn, New York, graduated summa cum laude from SUNY Purchase with a BFA in Dance and a minor in Arts Management. She began her professional training at Fiorello H. LaGuardia High School. She joined the Martha Graham School in their performance of Panorama at Lincoln Center in 2011. During her Purchase career she worked with a variety of choreographers such as Doug Varone, Sidra Bell, Dylan Crossman, Kevin Wynn and Ana Maria Lucaciu, and has performed their work both inside and outside of Purchase. She has also performed in masterworks by choreographers Martha Graham, José Limón and Merce Cunningham. Lauren is the 2018 recipient of the SUNY Purchase President’s Award for Achievement in Dance. In fall of 2016, she was afforded the opportunity to study abroad in Rotterdam, Holland at Codarts Dans Acadamie where she explored the repertoire of Jiri Kylian and Joost Vrouenraets while performing in small projects around the city of Rotterdam. Companies she has danced for include Crossman Dan(s)ce, A-Y Dancers, and Obremski Works. During her time with the Limón Dance Company, she has performed in Limón’s classics and has worked with contemporary choreographers Chafin Seymour, Francesca Harper, Kate Weare, Raul Tamez and Olivier Tarpoga. Lauren currently works with Soluq Dance Theater, acts as a dancer, rehearsal coordinator and social media manager for Peter Stathas Dance, and is a teaching artist for the José Limón Dance Foundation. She joined the Limon Dance Company in 2019.

Sharing the Power of Dance

Sharing the Power of Dance

Creating diverse and ambitious dance experiences that bring communities together