Penny Greenland reveals the path she took to her current role.
Director Jabadao (1985–present)
I seem to have supplied most of the rungs of this job ladder for myself. Why have I stayed so long in one job? It’s not a job – it’s my life’s work, my passion, my delight. And, latterly, my frustration and my despair. Jabadao has been through many organisational styles as it has grown, often making painful transitions. I am primarily a dancer, and I do the management stuff because it is necessary. The mounting frustrations centre on how little the policy-makers – education, health or arts – engage in joined-up thinking, despite the rhetoric. Twenty-five years of research, evidence and successful practice are easily ignored in favour of the latest bureaucrat’s idea.
Dance Animateur and Dance Development Office
Yorkshire Arts (1983–1985)
Right at the start of the dance animateur movement, I had a post within the Arts Council in Yorkshire. It was a stepping stone between dance being part of drama and becoming a department in its own right. It was a nightmare – no brief, many masters each with their own idea of what I should be doing, lots of politics. After a while I wrote a brief, asked everyone to amend as appropriate, argue amongst themselves and agree before they gave it back to me. I learnt a lot about the need for clear management and shared goals.
Fire eater (1983–1984)
The most fun I’ve ever had. I discovered that I could make an entire audience applaud by raising my arms above my head when I finished. Is that a management skill? These moments of little worry (except whether I would singe my vocal chords) and lots of fun were precious. There’s been plenty of worry and overtime since.
Actor and Director (1976–1983)
Finding no other dance company I wanted to work with, I moved into acting and then directing – more invaluable experience. I regularly came up against my own limitations. I think of these times often as I manage the large and geographically spread Jabadao team.
Dancer Ludus (1976–1978)
My goodness this was a feisty beginning. We made everything up as we went along as there were no role models. My first job was planning a touring schedule. A what? Two months later I discovered the disadvantages of dancing in Penrith in the morning and Rochdale in the afternoon. The second tour was better. We were four strong people trying to find a new way to work with dance and young people. We clashed, argued, agreed, howled with laughter – and danced all day long. I can’t imagine a better start.