ArtsProfessional reveals the career paths of the sector’s senior managers.
Director, Dance South West, (2004–present)
This has to be my dream job: working with the staff team and network of dance agency directors, seeing new work, and encouraging people to dance. Plus, now, the chance to develop a brand new dance house, Pavilion Dance. And I’m enjoying being at the stage of my life when I can see the bigger picture, and have learnt the difference between important and urgent.
Freelance Consultant (1990–2004)
I worked for Arts Council England, local authorities, in the visual arts, and for dance and theatre companies. I enjoyed working outside dance. I also facilitated the development of RESEO, the European network for opera and dance education, leading the artists’ development strand. Consultancy worked well for me as I have five children, and with good childcare, I have always managed a family and a career.
Director, Dancers’ Resettlement Fund and Trust (1989–1990)
I carried out the review leading to the establishment of Dancers’ Career Development, which advises and supports dancers during career transition. Their stories were so resonant that I wanted to understand more about being an artist – and a human being – so I trained as a counsellor, acquiring an MA in Psychoanalytic Studies.
Dance Officer, South West Arts (1987–1989)
A useful time working within the arts funding system, which I’ve now observed through several metamorphoses.
Education Officer, Sadler’s Wells Royal Ballet and Royal Ballet (1984–1989)
Now that the cultural industries and education are so inextricably linked, it’s hard to get across just how much pioneering had to be done. This was exhilarating work, challenging the status quo. I met some remarkable individuals, (including my Opera Education colleague, Pauline Tambling) while creating opportunities for more people to engage with the Royal Opera House.
Dance Animateur, London Borough of Waltham Forest with Greater London Arts (1979–1984)
In one of the first posts of its kind, I ran youth groups, adult performing groups, integrated groups, parent and toddler sessions and dance in schools. The best moments were working alongside practitioners such as Greta Mendez and Carl Campbell.
Manager, Marks and Spencer Plc. (1972–1974)
My transition from dance included training in business management, and what good experience it was, albeit something of a culture shock. M&S’s method involved sampling everyone’s job from warehouse to staff restaurant, including helping to cook and serve Christmas lunch for an entire London store.
Dancer, Royal Ballet, Royal Opera, film and television (1968–1984)
After training at the Royal Ballet School, I toured the regions and Europe with the Royal Ballet. I was fortunate to work under the direction of Ashton, Massine, de Valois and Gillian Lynne, and film directors such as Michael Cimino and Milos Forman. Observing great artists at work was an insight into the moment where inspiration meets perspiration. I would do it all again…