Cultivating the Environments for Dance Residency Programmes 
 

Hello and welcome.

First I would like to thank Mr Lee for inviting me and the kind hospitality I always feel on being here in Seoul.

I have chosen to approach this subject by referring to two specific residency programmes that I have personally been involved with, as it is this personal experience that has formedthese opinions and conclusions. I must stress these are personal opinions and no way represent the viewsorganization, dansehallerne in Copenhagen that I work for. I hope to leave sufficient time for questions as once again I believe that you asking what you want to know is a much more efficient means of knowledge transfer. 

So the first example I will draw on is the Daghdha Mentoring programme a project of Daghdha Dance Company in Limerick Ireland under the Artistic Directorship of Dr Michael Klien, I was the Director of the Mentoring Programme.

I quote.

Daghdha Mentoring Programme (DMP) provides a home, time and space, for independent artists to develop their own practice on a full-time basis. Set within the stunning surrounds of Daghdha Space, St. John’s Church, Daghdha Dance Company stimulates unique conditions for exchange, critical thinking and dialogue. The DMP is a full-time artist residency programme designed for dance artists and emerging choreographers seeking to develop their craft within new, professional contexts. The DMP offers financially supported positions to select participants for up to one year and within the framework of Daghdha Dance Company. In an open laboratory setting, this programme aims to develop an extended view of choreography and dance – testing borders and distilling new forms of knowledge. Daghdha is seeking motivated, enthusiastic and open-minded people to take part.

“The Daghdha Mentoring Programme, since its inception, has inspired artistic diversity and fearless exploration of the unknown. It offers participants the opportunity to engage with their own artistic practice in the utmost concentrated manner – to stretch their and all of our thoughts to their ‘proper height’. A year – freed from the restrictions of economic survival – that encourages intense dialogue, fruitful conversations and sharpened perception. Former participants are already working in Ireland and all over the world. The DMP provides a truly unique model for professional development that, in time, has the power to change the face of dance and choreography. As each programme completes, we can only assume the impact these artists and their work will make in years to come. We, at Daghdha, believe it will be significant and are proud to host such talent.”

(Michael Klien, artistic director)

One key element to this programme was the nature of the funding supporting the work. Each artist received a weekly salary of 200euros, which represented a basic income in Ireland at that time. Provided from a government employment programme. The basic premise being that this opportunity of deep personal research equipped the self employed and independent artists better to perform in a competitive market.

For the artist it removed, for 12 months at least the anxieties around shelter and food. It cannot be underestimated how important the provision of these basic needs are essential to the mental wellbeing of the artist and allow them the time and space to get on with their work.

The second and relatively unusual aspect to this programme as well as the length of the programme,unusually long, was that it was a stable group. In my first year as the Director there were 11 artists and my second year 14. They had to negotiate the dynamics of Group and more particularly how to develop fair systems of sharing resources particularly the Daghdha Space. (Show slides)

The second example is on a much larger scale in many ways and that is the Modul Dance programme/

Modul-dance is a multi-annual cooperation project with the participation of 20 European dance houses from 16 countries.

Its main aim is to support development, mobility and exchange for dance artists.

Led by Mercat de les Flors in Barcelona, the project operates under the umbrella of the European Dancehouse Network (EDN) and is funded by the European Commission through its Culture Programme.

Modul-dance lasts from June 2010 to December 2014 and it is one of the most important sponsored EU cultural projects.



VISION
 

That dance continues to flourish as a confident, innovative and vital contributor to contemporary culture at all levels of engagement, within and across Europe and beyond. 

A BEST PRACTICE MODEL 
 

The modul-dance project takes advantage of its partners’ specificities and variety of management models to maintain a permanent and sustainable network of cooperation that crosses borders and boasts a European vocation. The selection of artists creates a map reflecting artistic excellence and aesthetic diversity.  

Thus, modul-dance draws on difference to create a commitment, a working model for the future of the performing arts and cultural management in Europe and beyond.



An Artistic model: a community of European dance artists 
 

Based on artistic criteria, each project partner proposed an artist in the selection processes that took place (2010, 2011 and 2012).  

All the proposed artists were invited to a meeting with all the partners and artists in order to present their projects and see how modul-dance could support the creative processes. They became selected artists if more than 3 dance house partners were interested in collaborating in their projects.

After three selections, the project now hosts a community of 52 European artists.

Besides, more than 40 artists have been invited to carry out research work within the Carte Blanche programme at one or more of the dance houses participating.

Modul-dance offers them a framework to create and present their work to different audiences, linking diverse proposals, aesthetics and sensibilities under the same umbrella. A connection that provides regular interaction and exchange of ideas, for the present and for the future.



An arts management model: the modular system 
 

In most European countries independent dancers and choreographers lack suitable structures and financial means to develop their creations and promote themselves in front of new audiences.  

One significant determinant of quality in dance art creation is the length of time required for the careful preparation and completion of the different phases of the process.

Modul-dance has been created and structured to address artists’ needs during their process of creation and allow them to make itineraries across Europe. Accordingly, the core of the project is the modular system, an organized model of support for dance art, creation and dissemination.

The Modular system, simplified is that the Presenters were offering four different basic Modules. Research,Residency,Production and Presentation.



A cooperation model: a neywork for trust and collaboration beyween dance houses 
 

The 20 dance houses participating in modul-dance come from 16 European countries.They all work together through a trans-institutional exchange network in order to support, both innovative and culturally diverse, dance art beyond frontiers.  

Modul-dance is one of the projects developed by the European Dancehouse Network(EDN), which is the umbrella organization for most of the modul-dance project partners.

The aim and mission of EDN is to promote and present dance and artists cross borders and promote the profesional development of dance artists, dance infrastructures and dance as an art form, by drawing on the experience and strengths of each network partner.

The number one reason I engage with international residencies is to support this notion of cross pollination, like the bee the artists are leaving a little behind and taking something away with them.

I have always found that for me the best approach as a producer/presenter is to see the giving of the residency opportunity as a gift. To ask for nothing in return and to discuss with the artist what they wish to gain from their time with you. This can range from, they want nothing more than to work in the studio all day be left alone and go home to sleep at night, to the artist wanting to engage with various aspects of the place and people they are visiting. My advice though is to clarify expectations from all sides. In advance. I think I want to stress that point, via a series of communications be very clear with each other about what is expected from each party. I have found it extremely important to outline the roles of host and guest and what those things include. Particularly important, if like myself you work in a large institution it is crucial that your guests and staff know something of each other and a semi formal greeting meeting is a good place to start. It is also important that your guests get to meet whoever is the most senior person in the organization, this clearly conveys how important they, the artist and their visit is to you.

I must apologise if these advices are simple and possibly even patronizing, however it is these simple things of empathy and clarity that lay very sound foundations for good residencies.

Then there is of course the position of the host, the perceived giver of the gift. A question I have been asked many times by overworked staff- I can see what the artists get from this, But,well what do we get from it?

This of course depends upon what you as an institution are trying to achieve by offering these opportunities.

One reason that I have always quoted to Boards and other authorities is that as an organization I want us to be associated with the making of good work! By offering residencies you increase your opportunities for this to happen. You almost inevitably increase your own understanding of the artists work and processes. I have been active in this kind of work for over 30 years and it is this proximity to the creative process that has allowed me to remain informed and updated with how current generations of makers are shaping dance and Choreography.

You may have specific goals in relation to audience development, by inviting a relevant residency you and your community are able to gain a much closer and deeper understanding of the work. This has proven to be particularly successful when building an audience for performance. It is my belief we watch a dancer in a completely different way when we have some personal and human connection with them.Making us even more receptive to the other qualities of the work before us.

Marketing people very often speak of ,the word of mouth as a powerful tool in their armoury. A point I quote back to them in relation to residencies. I can garuntee that if an artist has had a bad time in a residency you have provided, then a lot of people will know. Equally if their experience has been a positive one you will find that more artists will approach you seeking opportunities.

In my current position in Copenhagen I am attempting to use residencies as a stimulus to the local community of makers.By bringing in high quality young artists who I believe are creating interesting results from within their practice. Primarily, to demonstrate the standard of work available to us as presenters, in the hope that this will motivate the local artists to make better work. To inspire them and the general audience with new, exciting and contemporary ideas. We facilitate this exchange through various forms of meetings between the parties. Sometimes informal gatherings mostly around food and drink or more focused discussions and even interventions into the artistic process for example feedback sessions or mentoring.Of course if possible we try to present some level of performance although this is not forced on the artist. However sometimes an inevitable condition of funding.

I resisted the temptation to present a top ten list of dos and donts for residencies, but it feels almost inevitable that I would eventually slip into that river. So I will just begin it and maybe your questions will reveal the relevant top ten.

So to start right at the beginning.

Selection is key, both as a resident and as a host. I cannot stress enough the importance of knowing what you want from each other in each case, and being clear enough in expressing that.

Finally, and again my apologies if patronizing. Evaluate each residency against the desired outcomes from each party, which you have established at the very beginning of your journey together. It is from these discoveries that you will be able to shape the residency model that best fits your particular circumstance. I wish you all the very best in what can be tremendously exciting and rewarding relationships. 

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