Emma. Movement Artist & Choreographer

Emma is a twenty-three-year-old Movement Artist and Choreographer from Yorkshire. She has been in the Entertainment Industry for two years and is the Co-Founder / Director of Collision Dance Theatre.

How did you get into your field? What inspired you?

‘I began dancing at the age of 5. I remember always enjoying jumping up and down to music. To save our floorboards my Mum took me to our local dance studio. The first real memory I have of wanting to dance, was watching the end scene of Dirty Dancing - I think I was around 8/10 when I sneakily put it in the video player at home. I loved the rhythms and that’s when I began Latin American dance which still informs my way of moving today - using isolations in the body.’

‘As I grew older I began to listen to hip-hop artists such as Lauryn Hill and I loved listening and connecting to the lyrics of the music which made me fall in love with telling stories through movement.’

What did you study at college and did this help you get into your field?

‘At college I studied A-Level Dance, Drama and Theatre Studies, English Literature/ Language and History. I think all of them informed my learning and development as an artist. The dance course introduced me to contemporary movement, and combining the field with drama allowed me to explore the physicality of the whole body and gain confidence in using voice when creating.’

‘Studying English and History helped with my analytical skills - being able to dig deeper and understand the value in creating meaningful work which uses life experiences to connect with people. I think when getting involved in anything new you have to be a sponge, constantly learning about our history and the present is what informs our work. In particular, in dance theatre, telling the stories of cultures and historical events, or even if the work involves social topics such as mental health, it’s vital to do the research. Going and talkIng to people who are in the direct field you’re researching, reading up on the topics, and seeing what’s been created around the subject area previously, is fundamental when entering a new creative process.’

Do you recommend any particular studies, courses or degrees for your field?

‘When I was at college I was introduced to the CAT scheme and was fortunate to gain a place at Northern School of Contemporary Dance in Leeds. CAT schemes are set up all around the country and it’s a Centre for Advanced Training course in Contemporary Dance for ages 12-17. It’s pre-vocational learning and for me was a brilliant step ladder into Contemporary Dance. We trained three times a week with a range of artists and worked with choreographers who offered performance opportunities. The course really helped me to progress as a mover and also as a human being. You’re surrounded by like minded people and you’re constantly inspired by your peers and teachers, driving you to push yourself.’

‘The people I met on the course are beautiful artists who I am still in touch with today. The teachers too have constantly supported me as I’ve progressed on from the course. It’s this big supportive dance family and I would really recommend anyone checking out where their nearest CAT scheme is.’

What does an average day look like in your role?

‘On a work day shoots normally start very early, so at 4/5am I get up and have a good cup of tea to set the day off right. I always pack my bag the night before and make sure I’ve got some snacks and something to keep me entertained when not shooting, or if I have other work I take my laptop.’

‘When you arrive on set it’s always fun. I get to know the crew and cast then move onto hair and makeup. You can always bet that there’s going to be loads of good food which is great - I love that part of set! Throughout the day you have time to go through and refresh things from rehearsals that week but sometimes it’s a lot on the fly which I like. You’re always given a brief beforehand though, so any improvisation moments I always go over and plan my ideas ahead.’

‘Shoot days tend to wrap at 7/8pm, but they often run over. The last three hours are always manic trying to get everything shot in time. And then I always make sure I make use of the free stuff and grab a tea and snack before I leave!’

What is the best part of your role?

‘Meeting people one hundred percent is the best part! Freelancing is great because I meet loads of different creatives in different areas of the industry. You get to learn so much and I often turn up on a job and find out I’m working with someone I’ve worked with before which is always nice.’

What is the worst part of your role?

‘People asking you to work for exposure. I’ve come to hate that word. Some people may ask you to work for free. I find it quite insulting and it’s a huge problem in the industry. People know that the sector is full of many people wanting to get a toe in the door and think they can abuse their position and ask people to dance for free. I think if you’re approached to work for free you have to weigh up the variables. Is this someone someone you know and so is it a collaboration in which you can pull on each other’s skills to help each other in the future? And the most important question to ask is whether everyone on the project is working for free? No one should work for free. Your landlord and the supermarkets won’t take ‘exposure’ as payment. I think it’s the saddest part of our industry because so many artists are so humble, we almost forget how to say no. So I think what I’ve learnt from my peers is to hold my own and know my value.’

How important is work life balance to you and how much spare time do you have?

‘It depends on the time of year. I find I work continuously through Easter to autumn with not a lot of time to stop. There’s always that underlying worry of ‘when’s the next job coming in?’ - but things only really get quiet around Christmas and January which, for me, is a good thing because it means I can go and see family, catch up with friends and check in with myself.’

Do you have any hobbies?

‘I’ve always been really passionate about sports including football and climbing. Being from Yorkshire it’s in my blood to love the outdoors.’

Do you have any advice for people looking to start a career in the same field?

‘Keep going! There will be a time where you begin to question your role. But if anything, the arts teaches you through abundance of rejection to keep backing your authentic self - the yes will come!’

Have you ever experienced any uncertainties about your career? What did you do to overcome them?

‘Like I said earlier, it’s always uncertain as to when the next job is coming in. Last year I got injured on set which meant a suggested six month recovery on my hand. Injuries are the worst, they can easily become frustrating and mentally draining. But through support of my peers I just kept reminding myself it wasn’t a permanent thing. So I learnt and evolved by concentrating on what I could do instead of focusing on what I couldn’t do and I think that mindset helped speed up my recovery.’

Who is your biggest female inspiration and why?

‘Katie Prince is a choreographer and founder of ZooNation. I love her ability to tell thought provoking stories through movement. Her work constantly challenges social norms and invites those from outside the dance sphere into the conversation whilst remaining visually and conceptually beautiful to those of us who are in the industry.’