Working for Exposure.

 In June of last year I had an article published in the The Independent, which highlighted the many struggles that the UK dance industry had suffered as a result of the pandemic. Now, almost eight months later, the situation remains virtually the same. Our beloved theatres and performance spaces have been closed for nearly a year now, leaving the hundreds of creatives who occupy them out of work. 

As a 2020 graduate, I have had no opportunity as of yet to work in the industry that I have trained in since the age of three. Auditions and opportunities are scarce, with only a limited few being hired for new productions, that may or may not happen within the next year. Dancers, however, are particularly open to finding new ways of maintaining their practice. We are driven by our commitment to our craft and find few excuses to give it up, even though the country has been in lockdown for the majority of the past year. Whilst work is not coming in, spirits remain high. 

An Instagram account emerged last month which sought to expose the wrong-doings of the dance industry. It was soon deleted, however had already gained a considerable following; suggesting the shared concern of the matter amongst the industry. 

The account highlighted the issue of 'free work', which has been a longstanding debate that never seems to be resolved. 'Free work' is commonly perceived as creatives being employed with the offer of exposure as a form of payment. Whilst exposure into the industry may be important, so is being able to pay the bills. Essentially, the lead of the project is gaining valuable, creative input from talented individuals, in order to develop their own practice and ideas. The definition of 'free work' is often moulded into different things in order to soften the blow: "an intensive week working on a new piece with ....", "4 weeks of research working with top choreographers", "an exciting opportunity for professional dancers to develop their practice". All very different statements, with the same underlying problem - they are all either unpaid or require a fee. 

With the hundreds of talented performers who are searching for work, wouldn't it be better to create opportunities that truly develop our practice, and add financial value to our craft? It's a well known fact that those who work within the arts 'do it for love rather than money', but how far can this statement be stretched? Essentially, as creatives, we take up work as a means of being able to do what we love; but this is not sustainable if the work is offering less than a living wage, or worse still: no wage at all. 

It must also be considered that as a result of the pandemic, many performers are working unrelated jobs in order to pay their way whilst the industry is closed. How are those who are working 35 hour weeks in supermarkets going to be able to take part in an unpaid exploration for longer than a week? This further creates a divide between artists who are able to succeed due to their financial situation, and those who fall behind whilst they work multiple jobs to support their career.

We are living through incredibly difficult times and the world is longing for the return of live theatre, something that eventually will return and be better than ever. Whilst we wait on its return, we need to make sure that creatives and their talent are being nourished in a way that will keep us inspired and ready for getting back to what we love. I hope that the leading figures of the dance world will recognise the struggles that they once experienced to gain their position in the industry, and will spare a second thought to the new generation who are going through the same thing. 

*Free work mustn't be confused with opportunities like workshops; which are fantastic ways for performers to learn repertoire, meet company dancers and develop artistry. Workshops are advertised as such and provide key experience for those taking part.*