Léim Live

Sheila Creevey: Module B Dublin Part 2 / Dublin Dance Festival

Author: Sheila Creevey
Photo: Tundra by Emma Martin Dance
Photographer: Ros Kavanagh

Module B has offered me the opportunity to investigate further the current trends in dance support and development; including European networks and projects, support for artists, and infrastructural and policy needs. Building on the first part of my “home” placement with Dance Ireland in February, I spent a week in Dublin during the Dublin Dance Festival at the end of May 2014.

I revisited some of the research I started on artist development in February, by meeting and interviewing the remaining Dance Ireland Associate Artists. It was interesting to hear of their experiences on the programme, and how this has impacted on the development of their work since that time. The nature of the Dance Ireland Associate Artist Scheme is such that it offers support in response to the artists’ needs. For some this meant extensive studio time, or administrative support; and for others, it offered a sense of place, of belonging. The networks, connections and communities that are built up around these programmes, are as important as the artistic output. This is what sustains artistic practice.

I am pleased to have been able to arrange my placements to coincide with major dance festivals in Europe. I have been able to indulge in dance, and see a lot of exciting (and not so exciting) dance work from across the world. Dublin Dance Festival (DDF) is one such event that has quietly, but steadily built a reputation and profile for presenting interesting and exciting programmes of Irish and international work, over the past ten years. The eclectic programme, under the direction of Julia Carruthers, doesn’t necessarily work on a thematic basis, but I enjoy drawing together threads of ideas from my experiences. Of particular note for me this year was Irish artist Emma Martin’s Tundra – a dance theatre experience that has left a long lingering sense of trepidation, that I can’t quite articulate. I also enjoyed the pure indulgence of Andersson Dance Name of the next song; and L’après-midi d’un Foehn – Version 1 was a revelation in approaching contemporary dance for young audiences.

During my stay in Dublin, I was pleased to be able to catch up with some of the international presenters and programmers I have met along my Léim journey. These placements provide a wonderful opportunity to build my network, and to increase my knowledge and understanding of the European dance scene. My final placement will be in August at Tanzhaus NRW in Düsseldorf, to coincide with Tanzmesse, where I hope to meet up with some of my Léim project colleagues, and to share our experiences so far.

Tundra Emma Martin Dance - Photo Credit Ros Kavanagh

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