Did we find it?

< Back LUCY BAYLISS Mother of two. Head of Creative Programmes, DanceEast DanceEast are a partner in Season 2 Dance Mama Live . What is the most challenging aspect of working in dance and being a parent for you? The eternal juggling of priorities and negotiating – it can be quite exhausting and I feel like I eternally dash from place to place, trying to switch between home and work and not drop anything in the meantime. The hours in any arts job (and many other jobs too) are completely irregular so I am always checking with myself that I haven’t pushed it too far in terms of time away from home, missed bedtimes etc. I work full time and each week is different, so it’s really important for us to plan together as a family to work out where we’re all going to be each day and what we need with us. I am lucky that my parents provide childcare two days per week, and both myself and my husband work in the town where we live and the school and nursery in town too – without this combination I don’t think I could do the job that I do or be at peace with working full time. What support did you feel you had from work when you were pregnant? I was really lucky in many ways. I let my employers know early that I was pregnant and they were very accommodating, both in terms of appointments and conditions for Maternity Leave and returning. I was the first employee in quite a few years that was part of the organisation whilst pregnant so there wasn’t any pressure to do what others had done before me. I was part of the process of identifying Maternity Cover too which meant I was included in all decisions. Was there anything that may not have been in place that you felt could have been useful? Perhaps a manual on ‘how to leave’ would be useful! The hardest thing for me was working out how to not be here. Working, working in dance and being around dance is so much a part of my identity that it was very strange to not be in the midst of it. Finding Maternity Cover is a challenge for organisations but also a challenge for post-holders so I found it difficult to judge how to handover things that I’d been working on for years, with enough detail for someone to pick up but not so overwhelmingly detailed that it was overkill or there was no room for them to be creative in the role (I managed this much better the second-time round!). Fortunately there were some brilliant people that agreed to work here on both occasions. ​ One good thing that came of the preparation to take some time away was that I learned to keep a more organized record of my work and communications; I now religiously use my iPad to keep notes and records so that they can easily be shared and filed (and it’s housed in a bullet-proof cover for when it’s tipped off the arm of the sofa mid-Peppa Pig at 6am). ​ Do you think being a dancer/ working in the dance industry made you think differently about your pregnancy/recovery? Even though I don’t really dance any more, years of training and education makes us much more aware of our bodies and we probably place higher expectations on ourselves than people who haven’t been through a dance training. Losing control of your body is a tough thing for most of us to manage (I think! Tell me it’s not just me?!) but it also meant that I knew how to manage my recovery healthily so I regained my pre-baby weight and fitness fairly easily. If you were expected to dance postnatal (either by yourself or your employer) how did you approach your recovery? Not relevent to Lucy's role as it is office based What changed most for you on your return to work? During my first Maternity Leave we had a change of Artistic Director so on returning to work, not only was I juggling ‘mum head’ and ‘work head’ and trying to learn how to do both roles at the same time, there was lots of change happening around me too. I fully accept that I was probably a bit useless for a while as I found my feet, but fortunately no one else made me feel that way. I’m hoping it’s normal to feel a bit vacant for a while on return. I am more reasonable now about the expectations I place on myself. I am still dreadful at saying no, but I am getting better at knowing when I’ve done everything within my control to make something happen / good / work. Having to hare out the door when I’m doing nursery pick-up means that I have to just stop whatever I am doing at that moment and leave (even if I do pick it up again later after bedtime!). I think being a parent puts everything else into perspective and sometimes we all have to remind ourselves that although it’s incredibly important to all of us, it is just dance. Does parenting help you in your work? My house is like a training ground for negotiating skills. The endless bargaining, coaxing, encouraging and explaining helps me to develop patience and to see things from all viewpoints. Does dance help you in your parenting? I’m always the mum getting over-involved at parties and Tots & Co classes, so I guess it might make me a more entertaining care-giver! Do you know of any resources that already exist for parents who work in dance? Erm, no Anything else you think would be worth raising? Maybe the idea of a mummy-buddy during a first pregnancy might be nice. It’s always good to have people to talk to who have similar experiences and who have been there before you… ​ ​

Lucy McCrudden Founder, First Director/ CEO lucy@dancemama.org LUCY's STORY aka Dance Mama, is a London-based dance entrepreneur, advocate and TEDx Speaker. She is Founder of dancemama.org - a community and platform profiling significant parents in dance and the arts. Lucy has dove-tailed her own work with holding key positions in learning and participation over the last 20 years. These include: Dance Artist in Residence for DanceXchange (2004), Manager for London Contemporary Dance School, The Place, Centre for Advanced Training (2005-11), Expert Panel member of the DFE Music and Dance Scheme representing the National Dance CATs (2007-2010), Vice-Chair of Royal Borough of Kensington & Chelsea Arts Grants Panel (2006-2009), Learning & Participation Manager, Rambert (2014-16), Chair of the Board of Trustees Dance Woking (2014-16) , Head of Learning and Participation, Rambert (2016-18), Project Manager, Chance to Dance, Royal Opera House (2019-2020) and Lecturer and Mentor, DDP, ISTD (2021-). As an independent specialist she has taught over 19,000 people across the UK and has engaged with a wide variety of dance and arts organisations in many other capacities; consultant, management, choreography, and presenting/public speaking. She is Ambassador for the Parents in Performing Arts Campaign and Secretariat to the Scientific Advisory Board of the Active Pregnancy Foundation. She has an Honourable Mention as a Nominee of the inaugural AWA Dance Woman in Dance Award 2021. 2022 sees her commence her PhD at Christ Church Canterbury University researching pre and postnatal professional dancers, becoming a Nominee for AWA Woman in Dance Leadership Award and delivering her TEDx talk at TEDx Frensham, and shortlisted for One Dance UK's Change Maker Award 2022. Fe rn P otter First Dire ctor FERN's STORY Fern's expertise is in fundraising and development, having raised millions for various arts organisations, over more than 20 years. She has worked in senior development roles for a number of organisations including (most recently), Birmingham Royal Ballet, Orlando Ballet, Dance UK, Dance Umbrella, Ballet Boyz, Barbican, and was founding Director of Essexdance. ​ She has also worked in the corporate sector as Business Development Manager with Tom Peters Company (UK). Fern is a skilled facilitator and mentor, with an entrepreneurial flair in leveraging funds from statutory sources and private funders. She is passionate about sharing her expertise with others through freelance training and consulting and currently mentors for the Chartered Institute of Fundraisers’ RAISE programme, Mercury Creatives and Heritage Compass programme. She is a regular trainer for Arts Funding and Philanthropy programme, and lecturer in fundraising for City, University of London’s MA Culture, Policy, and Management. She also consults on change management and Board development. ​ Along being Chair of Viviana Durante Company, Fern sits on the Creative Estuary Commissioning Group and Southend Creative and Culture Network. She holds a MA in Arts Management from City University and is a full member of the Chartered Institute of Fundraisers. Joce Giles First Director Joce is Director of Learning & Engagement at Sadler's Wells, overseeing the organisation's extensive work with children and young people, local communities as well as talent development programmes including the National Youth Dance Company and Young Associates. Prior to joining Sadler's Wells, Joce was Director of Creative Projects at Rambert, where he worked as part of the senior management team for 9 years. Previously a professional dancer with Scottish Ballet, Joce is passionate about supporting parents who work in dance and the performing arts. Joce has 2 children: Max, 10 and Jack, 3. Lise Smith Director Trained at Trinity Laban, Lise has over 20 years' experience of producing professional touring theatre and participatory projects at all scales with clients including Akademi South Asian Dance, Kate Flatt Projects, VOXED Dance and Kamala Devam Company. Lise recently worked with Shobana Jeyasingh Dance as Company Manager from 2019-2022. She is currently Operations Manager at Russell Maliphant Dance Company, joining RMDC for the UK tour of Vortex in 2022. Lise also enjoys supporting emerging and mid-career artists with touring and organisational development. She produced the dance films Story of a Night Pianist with Bricolage Dance UK, and An Evening With Taglioni with Jess + Morgs Films. Lise previously worked as a teacher and animateur for organisations including Greenwich Dance Agency, Barnet School Sports Partnership, Theatre Royal Bury St Edmunds and Artis Education. As a Dance Mama she performed onstage while seven months pregnant with daughter Scarlett, who is now 7 years ol Lise still performs on occasion - most recently at Greenwich World Festival 2017, Notting Hill Carnival 2018, and with Stage and the City in 2022. Balbir Singh Director Artistic Director of his own company, Balbir Singh Dance Company is originally from Punjab, India. He moved with his parents to the UK as a child, growing up in Bradford, West Yorkshire, where he still lives. ​ Balbir Singh studied dance at Northern School of Contemporary Dance (NSCD) after a stint in Law School. Balbir’s restlessness found expression in sport; particularly long-distance running, swimming and cycling, coupled with a passion for literature, language and an inherent urge to move. On graduating from NSCD, another chance encounter led Balbir to discover Kathak , the classical North Indian Dance form, which until that point had been a closed book for the young contemporary-trained dancer. ​ Balbir’s discovery of Kathak immediately felt like coming home – though not for the expected reasons. In fact, it was not Kathak’s cultural provenance, but its precise and mathematical use of numerically defined rhythms that entranced him. Balbir had always had a tendency, sometimes bordering on an obsession, with numbers and letters. Here, at last, was an outlet for his seemingly limitless capacity for finding patterns in the shapes and numbers of everyday life. Balbir delved further into Kathak choreography as a way of making sense of the myriad thoughts and ideas spontaneously suggesting themselves to him. Ancient as the Kathak tradition is, the art form is nothing if not dynamic. Throughout his career, Balbir has been encouraged by his guru, leading Kathak pioneer and powerhouse Padmashri Guru Pratap Pawar MBE to explore new ways of combining Kathak and contemporary sensibilities to express his emerging artistic vision. The result is a distinguished body of work that combines Balbir’s artistic interests with his love of collaboration. Kimberley Hayes Director Following a life-long love of ballet, Kimberley studied Arts & Event Management at London Metropolitan University before starting her career in Stage Management. She has worked with English National Ballet as Assistant Stage Manager and the Stage Manager for ENB2’s national tour of My First Sleeping Beauty and My First Cinderella. Her career highlight was Stage Managing Itzik Galili’s And the Earth Shall Bear Again for English National Ballet’s performances as part of Dance GB in 2012. Kimberley also worked with Dance Woking and was a Project Manager for Entertaining Dementia, a project with The Phoenix Theatre and Arts Centre to deliver a carefully selected programme to give those living with Dementia easy access to the arts. Kimberley was made redundant on maternity leave in 2014 and was determined to pursue a career in Law to understand more about how she could safeguard and advocate for mothers in similar positions. She is currently working as a Paralegal and is a Parent Governor for Chawton CE Primary School. RESEARCH ADVISORY GROUP Dance Mama has its own Research Advisory Group, including the brightest minds in dance science, sports and exercise science and medicine to support our work as we strive to deliver the highest quality in all our endeavour. We are privileged to say that this group includes: ​ Dr Marlize de Vivo, CEO & Founder, Active Pregnancy Foundation, Senior Research Fellow, Canterbury Christ Church University Laura Godfrey-Issacs, Midwife, Co-Founder of Maternal Journal, Artist and Activist Martin Lanfear, Head of Performance Medicine, Scottish Ballet Helen Laws, Project Manager, Russel Maliphant Dance Company and PhD researcher, Coventry University Dr Nicky Keay (NK), GP, Endocrinologist and Author Rachael Kuik (RK) independent women’s health and musculoskeletal physiotherapist and Pilates instructor (supporting ENB) Kelly Massey, Olympic Athlete, Researcher, Liverpool John Moores University Niamh Morrin PhD (NM), Female Exercise Specialist (on maternity leave) Founder, SOMA Karen Palmer MSc (KP), Director, Performing Arts Development Edel Quin Msc FHEA (EQ), Programme Leader for Dance Science, University of Chichester Erin Sanchez MSc (ES), Manager of Health Wellbeing and Performance, One Dance UK

TURNING YOUR PROJECT MANAGEMENT CHALLENGES INTO SENSIBLE STEPS TO SUCCESS We want more artists to have the skills to put their work out into the world. Especially those who have a lot on their plate - that's you Dance Mamas! In demand for over a decade, learn the tried and tested approach of Lucy McCrudden (Dance Mama Founder/CEO) to arts project management from her wealth of experience in world-class organisations including The Place, The Royal Opera House, Rambert. GO TO COURSE 30% OFF WHEN YOU JOIN JOIN SILVER MEMBERSHIP MAKE YOUR ARTISTIC PROJECT IDEAS A REALITY ⚡️ Now in digital format to learn at your convenience. 💥 In demand for over a decade, learn the tried and tested approach of Lucy McCrudden (Dance Mama Founder/CEO) to arts project management from her wealth of experience in world-class projects. Lucy will lead you through 3, glorious lessons of online training on the ins and outs of project management in a dance learning and participation context which is applicable to most arts projects. Project Management Masterclass has been delivered to a variety of people via Dance Mama’s online sessions in the pandemic stand alone, as well as in collaboration with the Royal Opera House, Dance East and New Adventures since Lucy made this available in 2013. ​ 💯 of attendees have said: 😀 they felt more confident in their project management abilities 📝 found all three parts very useful 🤖 loved the digital resources 🔗 said they made useful new connections ❤️ would recommend it to others ​ Topics covered include initial ideas, building partnerships, finance, delivery and evaluation across three sections: Consolidating Your Idea, Planning and Delivery, Self-Management. ​ With over 20 years’ experience in leadership and project management in high-profile projects with organisations including the Royal Opera House, The Place and Rambert as well as the creator of award-winning Dance Mama, Lucy will give you a good understanding of best practice on how to get your idea up and running. ​ IN 3 EASY PARTS LEARN AT YOUR OWN PACE GIVING YOU... CLARITY Better define who you are, what you do and what your project is about APPROACHES Insight into the techniques, processes and cycles to ensure best delivery TEMPLATES Digital resource pack including templates and links to need-to-know information on all aspects of managing a dance project. GO TO COURSE Previous participant feedback '[I came away with a]...greater understanding of the most efficient way of running a successful project' GO TO COURSE

< Back PROFESSOR ALI DUFFY​ Mother of one. Associate Professor of Dance, Texas Tech University, Artistic Director, Flatlands Dance Theatre and Author What is the most challenging aspect of working in dance and being a parent for you? The most challenging aspect for me has been learning to say no to some professional opportunities in order to prioritize the needs of my family. Because I chose to have a baby at an older age than many other women (my son was born when I was 37), my career was already well-established when I decided to get pregnant. At that time, in my professional roles, I prided myself on being the colleague who could always be counted on to commit to new projects, take on additional responsibilities, and produce successful results quickly. As any first-time mother knows, after the baby is born, everything changes. Your time is no longer your own, your schedule belongs to your baby. This is as it should be, but no one warned me about how significant a change this would be, so I struggled in that first year as a mother to acknowledge and accept my new life and to negotiate the various roles I play in it. Even now, having been a mother and a working person for three years, I have to force myself to say no to opportunities that would take me away from my family for an extended period of time because I know my son needs my presence and I want to be there with him and my husband. I am fortunate to be able to work in positions that do not necessitate much travel, however, I love to travel and have new experiences, so it is difficult for me to turn down exciting possibilities. Nevertheless, these sacrifices are completely worth every twinge of longing or discomfort; I know my child will only be young once and I don’t want to miss the chance to be the best mother I can be to him. What support did you feel you had from work when you were pregnant? Fortunately, I had a very easy pregnancy, so I really didn’t feel I needed much support. I kept dancing throughout my pregnancy and was even working out on the day I went into labor. It was extremely helpful to have colleagues who had recently experienced pregnancy and early motherhood. Not only did they provide helpful advice about pregnancy and motherhood, they also served in an advocacy capacity for me to colleagues who were less open to hearing and supporting the needs of pregnant women and mothers. It was the postnatal period during which I felt support was most lacking. Aside from FMLA policies, the US doesn’t support pregnant women and new parents in the way it should, nor do most US companies. I did not have the benefit of a maternity or parental leave and went straight back to working within two weeks of birth. My supervisor informally offered to let me teach in a distance capacity, which helped me be able to stay home with my newborn, but other challenges emerged later as a result of this informal assignment. My institution has since improved and clarified some formal policies, but I don’t feel they yet offer adequate support of new parents. Was there anything that may not have been in place that you felt could have been useful? Yes. Any parental leave would have been better than none. FMLA is available to full-time workers in some US companies and was available to me at the time, but it is an unpaid leave, so I could not afford to take it. Also, it would be helpful to ensure operational policies reflect the needs of dancing pregnant women and mothers specifically because our work is physical. Access to childcare for working parents is absolutely essential and this needs to be made an urgent priority in US companies and government. Finally, providing education to supervisors and senior colleagues about the needs of pregnant women and parents in the workplace would, I think, go far in starting to shift cultural biases, prejudice, and marginalisation. Finally, funding sources specifically for mothers in dance would provide wonderful and needed support. Do you think being a dancer/ working in the dance industry made you think differently about your pregnancy/recovery? Yes. Because we dancers are trained to be in tune with (seemingly) the most miniscule shifts of our physical, mental, and emotional states, I think our sensorial capabilities are heightened. I was hyper-aware of the bodily changes that occurred throughout my pregnancy and as I recovered from a pretty brutal delivery. Almost four years later, I still negotiate changes in my pelvis and lower back that I attribute to pregnancy and delivery. At the same time, I was pleasantly surprised by how malleable my body was throughout pregnancy and how powerful I felt during that time. It was the recovery period that made me feel less capable as a dancer for about six months postnatal. From your experience, what advice would you give to an expectant parent regarding leave? Take leave. And don’t assume anything, document everything. Don’t be afraid to advocate for what you and your baby need and enlist the help of others who have gone before you to add emphasis to your needs. You only get one chance to bond with your baby, so a few uncomfortable conversations to get what you need, I think, are worth your trouble. Some mothers want to return to work immediately as I did, and that should be a respected, completely personal choice, too. In this case, again, make sure whatever you arrange with your employer is documented so you’re all on the same page about expectations of each other. ​ If you were expected to dance postnatal (either by yourself or your employer) how did you approach your recovery? I wanted to dance ASAP, but had some stitches due to tearing, so waited until about six weeks postnatal. I started slowly with one weekly rehearsal and some low-impact cardio and gradually increased intensity and length to a regular class and rehearsal schedule by about 5 months postnatal. My body didn’t feel bad, but I lost A LOT of strength in my pelvis and abductors in particular, and I had weird issues with my neck and shoulders because of improper babywearing and poor alignment and posture during breastfeeding. Also, my lower back has never felt the same again – more tightness and pain since giving birth that I will probably need to rehabilitate professionally. What changed most for you on your return to work? In addition to the bodily changes I mentioned above, the major change was in my personal approach to my work. I love my work more than ever because it is such an important part of my identity and I find it so rewarding. However, I have become quite good at setting boundaries on my availability and do not feel the slightest guilt about it. I realised I had not been living a balanced life prior to giving birth, but now, I feel I am being proactive about integrating my work and personal life. ​ Does parenting help you in your work? Absolutely. Parenting has helped me better relate to my students and to sense how their development as young adults on their own for the first time is an important consideration in my teaching and mentorship of them. I am more forgiving of colleagues who disappoint me and am more willing to provide flexibility to the dancers in my company, the students I teach, and my colleagues. Also, I no longer keep quiet when I perceive something to be unjust and I attribute this to my commitments to my son which include using my privilege and power for the benefit of others who have less of it, and doing the right thing because it is the right thing. Finally, parenting has helped me manage my time in a way I never thought possible. Professionally, I have been more productive as a parent than I was before having my son. I no longer waste a moment of my time because I no longer have the time to waste! Does dance help you in your parenting? Definitely! A career in dance has consistently taught me to hustle, in all the best ways: dance taught me how to work hard in the face of exhaustion, how to be organized and efficient, how to cultivate community, and how to prioritize self-care and health. All of these traits have helped me in my parenting. I also believe that because I have prioritized healthy diet and exercise in my dance career, I was better enabled to have a successful pregnancy in my late 30s and keep up with an active little one in my 40s. ​ Do you know of any resources that already exist for parents who work in dance? Sadly, no, I am not aware of many resources specifically geared to dancers. This gap in literature and resources is one of the main reasons I decided to write a book about mothers working in dance. Dancing Motherhood will be published in Routledge’s book series on Diversity, Equity, and Inclusion. I find my colleagues across the country to be my best resource throughout my pregnancy and during this motherhood journey. Additionally, I loved reading other women’s birth stories in books and hearing their stories in The Birth Hour podcast. I also recommend podcasts specifically geared to working mothers such as The Double Shift. Anything else you think would be worth raising? No, but thank you very much for including me on your fantastic site and thank you for the work you are doing for working parents in dance! ​ More about Ali Ali Duffy is a President’s Excellence in Teaching Professor, Associate Professor and Graduate Advisor of Dance at Texas Tech University. She is the founding Artistic Director of Flatlands Dance Theatre. Her first book, Careers in Dance: Practical and Strategic Guidance from the Field, was recently released by Human Kinetics. Her new book, Dancing Motherhood, is in progress and under contract with Routledge. She serves on the Cultivating Leadership Committee of the NDEO. She holds a PhD from Texas Woman’s University, an MFA from UNC Greensboro, and a BA from UNC Charlotte. info@mysite.com 123-456-7890

< Back KJ MORTIMER​ Mother of two. Self employed for performing (currently with Stopgap Dance Company) & producing and employed by University of Chichester as Associate Lecturer (Contemporary). What is the most challenging aspect of working in dance and being a parent for you? I find managing and juggling my time the most challenging part of being in dance as a parent. I struggle finding the right balance between time for my family and time for dance. It’s my biggest challenge being a dancer and teacher, having all the commitments that go with it like- long days, long commutes, travelling away on tour, staying in shape, having the time to plan and doing a job that isn’t 9-5 in the 9-5 slot! I want to do all the above whilst still giving 100% energy, support and love to my daughter and wife. I feel like sometimes I manage my life well and then other times I don’t… I’m still learning. Ideally I’d like to be close to home, working in dance but still having enough quality time with my family. I believe it’s achievable through selecting the right jobs for me (emotionally, geographically, work-load) but it takes compromise and trial and error. What support did you feel you had from work when you were pregnant? I felt I had a lot of support from my employed work at University of Chichester (UoC) and all my teaching and producing work. However, as a freelance dancer on mostly project based work there’s only a small amount of security you can feel and a BIG amount of worry. When I was pregnant I was involved in lots of outdoor work which was too dangerous to be doing whilst pregnant. I had to let my ego and self-ambition go and support the rehearsal process and the new dancers learning my role. This was bitter sweet for me as I desperately wanted the work and choreographers I had invested in to be successful, but I was sad to not end what I had started. When I returned to dance after giving birth these jobs were over and I began to wonder- would I get any more work as a new mum? Luckily these feelings were unfounded and I was able to restart my career in my new life. My body felt far away from the dancing body I knew (I could not recognise let alone connect with my centre!) so I had to get to know the new me, and nurture myself back to fitness patiently. However the anxiety, panic and self doubt felt very real and when also fuelled by the hormones that were charging round my body it was often difficult to believe a return to dance could be possible. Was there anything that may not have been in place that you felt could have been useful? I’m not sure what more could be done with our current climate of funding and freelance work? Could the Arts Council further support small companies in their engagement of pregnant/ new mothers? Do you think being a dancer/ working in the dance industry made you think differently about your pregnancy/recovery? Yes! Very differently! I was pregnant at the same time as some of my other friends who can take up to a year off with their jobs and for most of that time period they have some income coming in. With my freelance work I was only eligible for statutory pay. I had to take all my “keeping in touch days” (time allowed to work whilst receiving statutory pay) after 4 months of leave, therefore I was back to part-time work after 4 months. This wasn’t terrible but looking back now I wish it could have been longer. Also working practically in dance I was only just starting to find confidence in my dancing self by 4 months, I was still breast feeding and therefore my body was locked into nurture mode, whereas I needed it to get up and go and earn income! I started to feel more secure in my dancing body around 3 months. I would have continued to breast feed longer if I could, but my milk went around 6 months due to a hormone deficiency and therefore I experienced this changing “climate” in my body as I was dancing throughout this change. Overall, I felt resistance from my body to dancing in this time and I wanted to listen to it but I felt external pressure from the industry and internal pressure from my own ambition. Looking back and knowing what I know now I would have liked to have given myself a little more time – I would do that differently if we have another baby. From your experience, what advice would you give to an expectant parent regarding leave? I would say make sure you know the possibilities around your work and maternity/paternity leave so you can make the best decisions for you. I would also say if possible try not to feel too pressured to go back until you’re ready! That is different for every parent and the pressure you feel may be from yourself…it was for me! I was really worried about “losing the connections” I’d worked hard for before pregnancy. Now in hindsight I feel those connections would have been there a few months later and if they weren’t, there would have been others - that’s the positive thing about an ever-changing project based industry. ​ If you were expected to dance postnatal (either by yourself or your employer) how did you approach your recovery? I was very keen to start moving after birth… quite soon actually as I felt I’d really missed it and the pregnant body I didn’t feel was “me”. I absolutely loved carrying my daughter, feeling her was incredible… it’s just I had been so used to being athletic before pregnancy it then felt shocking to not be so agile. But the body is an amazing thing and I feel more myself than ever now with my beautiful daughter by my side. So I did lots of walking with the pram and a little gentle yoga. I did try to take it slower and I noticed massive changes, I had no doubt that my body needed time to recover, What I had been through was huge. Also fitting in exercise becomes more challenging than ever before- your relationship with time has been turned upside down. I think after having a baby (which is an amazing experience to see your body go through) I was surprised at the rush of gratitude I had for my now recovering body … It sounds so cheesy but I was just really grateful to be back dancing again. What changed most for you on your return to work? Coming back to work my priorities have changed the most. It goes without saying if my baby is ill I need to be there for her and for me to know she is ok. Therefore some days I have unexpected changes which can’t be helped. Before I had a baby if I was ill I would still go into rehearsal whereas if my little girl is unwell I must leave work or my wife has to and there isn’t a plan B. So in all that I believe it helps to put perspective in place, however that does bring with it new challenges and compromises. I am lucky to work with very understanding employers and a very supportive partner but it’s a clear difference in a cast that have dancers / artists without children and dancers with children. ​ Does parenting help you in your work? Yes, parenting helps because I find myself with a better skill set to deal with many things. Parenting also gives so many positives. I’m a ‘fuller’ person and therefore feel confident in ways I didn’t before. I have a different perspective and I am “lighter” about feeling the importance of dance. Does dance help you in your parenting? Yes, I think dance helps my parenting in lots of ways, many practical reasons – I’m energetic and creative with my daughter and we roll around together on the floor. My wife and I are always happy to jump around and love to see our daughter exposed to lots of art forms as she develops. Being in the arts provides a mixed friendship and social group which we also like for our daughter to have. ​ Do you know of any resources that already exist for parents who work in dance? No… it seems that more things are happening now and Dance Mama is great! - I wish I’d known about the stories when I was expecting. ​ More about KJ KJ is currently performing with Stopgap Dance Company in FROCK and with Commotion Dance in Will & When . She has also danced for choreographers: Akram Khan, Lîla Dance, Flexer and Sandiland, James Wilton, Jorge Crecis, Tim Casson, Katie Green, GlassHouse Dance and Balbir Singh. KJ also loves to teach and be involved in community projects. She is an associate lecturer at the University of Chichester (since 2014), is regularly commissioned to choreographer for Instep Dance Company (Kent) and is leader of Retrospectif Dance company (over 50’s The Point). KJ is also a producer as the Agent for Dance Excellence at The Point, Eastleigh. KJ was a motehr of one at the time of this interview. ​ You can also read more about KJ's experience as a #dancemama on the Stopgap Dance Company site . ​ ​ ​

< Back TARA-BRIGITTE BHAVNANI Mother of two. Dance Artist and Teacher, Former-First Artist (Professional Ballet Dancer) at The Royal Ballet Tara's striking portait is featured in Dance Mama Founder's TEDx talk, following Tara's contribution to Dance Mama's initial workshop in 2019 at the Royal Opera House . What is the most challenging aspect of working in dance and being a parent for you? Scheduling! Our rehearsal schedule varies week to week and when we have a performance it makes for a really long day. Organising childcare can be a challenge, and when my daughter gets ill it’s a real juggling act! What support did you feel you had from work when you were pregnant? So much…I was really ill in my first trimester and they were thankfully really understanding! I couldn’t continue performing for very long unfortunately- initially because I didn’t want to be sick on the Royal Opera Stage (I was once in a stage call though!) and later because I couldn’t fit into any costumes! Was there anything that may not have been in place that you felt could have been useful? No! I feel so lucky that I could really look after my body while I was pregnant. To be able to take ballet class or do some strength training in the gym or some Pilates/gyrotonics made me really appreciate my job more than ever! Do you think being a dancer made you think differently about your pregnancy/recovery? I felt really in tune with my body while I was pregnant. Initially very annoyed with it for making me so ill, but then in complete awe at how it just adapted to growing a little human in me! I found it rather fascinating! ​ From your experience, what advice would you give to an expectant parent regarding leave? Do what feels right to you. It’s such a short period and such an incredible time, that I think it’s important to really listen to your body. If you were expected to dance postnatal (either by yourself or your employer) how did you approach your recovery? Slowly but surely. I had several illnesses in my first year with my daughter (including glandular fever and postpartum thyroiditis), so it was important that I take things slowly and not push myself prematurely. What changed most for you on your return to work? I was eventually able to somehow focus better than before when I was at work - which is strange considering I’ve had months of dealing with a hugely sleep deprived brain! It also made me value my time even more with my daughter. Does parenting help you in your work? On the surface, no! It’s really hard to do both! But I guess the more I think about it, the more I realize that I think it’s made me love my job even more. Does dance help you in your parenting? It certainly does, even when I was pregnant... I think my daughter loved all the movement from when I danced with her in my tummy. I continued to do certain steps when she was born which would (usually!) calm her right down. Now that she is more mobile, I continue to dance for her and look forward to when I can dance WITH her! Any other thoughts? If anyone is interested in learning more about my pregnancy as a ballet dancer and my daughter’s first year of life, then they can check out my youtube channel www.youtube.com/brigitteballet (and embedded on this page) I will also be leading some baby wearing dance session at the Royal Opera House on June 15th 2019. More info will be released on the ROH site soon. More about Tara A professional ballet dancer of Canadian-Indian heritage, Tara has been based in the UK for over 17 years and performed as a First Artist with London’s Royal Ballet both at their historic home in Covent Garden and in many of the most famous theatres around the World.​Renowned for her love of the art form and her knowledge of the classical technique, Tara is a popular teacher amongst both newcomers and seasoned dancers and is often invited to present at dance seminars at home and abroad.More recently she has developed her profile into online and social media having presented live for World Ballet Day on Facebook and hosting several videos on YouTube. Tara was featured on Woman's Hour during the pandemic. Further information on Tara can be found on LinkedIn ​ ​

< Back ROSIE KAY-PRICE Mother of one. Rosie formed her own company, Rosie Kay Dance Company, in 2004, and K2CO in 2022. Rosie delivered a workshop in Season 1 of Dance Mama Live, FREE when you join our site. What is the most challenging aspect of working in dance and being a parent for you? The most challenging aspect of being a parent and working in dance is probably also the best thing- the irregularity. I never have two days the same, or two weeks or two months, so planning is essential. Its hard to make a routine, and so childcare is difficult, as well as making a stable life for our baby. But it is also the best thing- I am never stuck in an office, and I can bring my baby to work with me. He has been in the studio since he was just a few weeks old, so now he is very used to it. What support did you feel you had from work when you were pregnant? Well, it was very hard actually- it took me by surprise. I had waited until I felt my life and my career was as stable as it could be, and then was delighted when we found out I was expecting. Suddenly though my financial situation became very precarious, and I was shocked how vulnerable I was. I wanted to take more time off pre and post baby, but first of all I had to work to earn money, and secondly, my Arts Council grant came in late, so that my planned maternity break got cut short due to a new project timeline. In effect, I had to look after myself really, and that was hard, as I didn’t know how much or how little I could or should do. The best support I got was from my husband helping to cook, shop and look after me, and from my assistant, who could really get up and shout for me in the studio- although I still did a lot of that right up to the last weeks! Looking back now, I wish I had been just a bit kinder to myself and taken more time off and not worried so much about the money and security! You get obsessed with making sure that everything is stable and ready for your new baby, but actually life does continue afterwards! Was there anything that may not have been in place that you felt could have been useful? Well, if I had a bigger company, I could have covered my workload more, but in effect, I am my company, so it was important that I worked. The work we do as artists is so specific that you need to be there to be the driving force, whether it is for clients who are paying for your work, or artistic projects that need a passionate advocate. What I have put in place though since the birth is a slightly bigger team around me to support the company work. Do you think being a dancer made you think differently about your pregnancy/recovery? I thought it would be easier to be honest! I was really fit and strong before I was expecting, so I expected a return to normal quite quickly- I honestly didn’t believe that it would take about a year to regain my fitness and control! As a dancer I think it can be worse, as you have worked so hard for so many years- it is difficult to see and feel our body so out of control and so different. I had an emergency caesarean, and so it took a few weeks for that to heal before I could start exercising again. I’m not there yet, but I try not to feel so bad about it- I’ve got other priorities now. I have worked consistently after the birth to feel myself again, and going through serious injury in the past helped me stay focused and persistent. You don’t get changes immediately, but I am pleased that my desire to move and to dance is stronger than ever, even if I do feel a bit different. If you were expected to dance postnatal (either by yourself or your employer) how did you approach your recovery? I made sure I did a little bit as often as I could. Sometimes that was twice a day, sometimes a lot less. I really got into walking with my baby - going out everyday for an hour or so, which got me outside in the fresh air, got me stronger and I was with my baby. I tried baby yoga and baby Pilates classes, but I preferred my own programme at home, when baby was asleep. I got all my equipment out and had a little corner to do just a little every day to get back into my body. Then I started to pick up the swimming and the gym. I learnt that I couldn’t rush my recovery- it would and still is taking months and months. However, I’m now back choreographing, teaching and dancing, and while I’m not happy with where I am, I do love feeling a bit more like myself again and I love the fact that I’m still desperate to dance! What changed most for you on your return to work? Time keeping! I have to be so super organised- to get to work on time, which is hard with a breast feeding baby, having breaks in the day to feed him, or getting home straight afterwards- no more hanging around for a beer and a chat! I also get more tired than I used to, also due to feeding several times through the night still. Does parenting help you in your work? Yes- I am much more focussed, and surprisingly I find myself even more driven that before! I know what’s important and at times I can be more direct as I can’t waste time. Does dance help you in your parenting? I think it makes me a very dancing, singing parent! G loves to be in the studio and loves to be with dancers- he is very physical, very social and very friendly, which I think comes from being around so many dancers! Do you know of any resources that already exist for parents who work in dance? No Any other thoughts? Dance Mama has been really invaluable for me to read- I really don’t know how other women do it- as it’s such an important part of your life, but quite private and secret in the arts. We are all juggling so much, with such varied and quite frankly, insecure jobs. I wanted to speak honestly to share my experience with other women as it is a difficult time. Having said that, It’s also the best thing ever, and I’m happier than I’ve ever been! Original Interview 2015 ​ More about Rosie Rosie Kay trained at London Contemporary Dance School, and formed Rosie Kay Dance Company in 2004. Kay has created award-winning works that include; Sluts of Possession (2013) in collaboration with the Pitt Rivers Museum, There is Hope (2012) exploring religion, 5 SOLDIERS - The Body Is The Frontline (2010-2015), which is touring in the UK and Internationally, and Double Points: K (2008) in collaboration with Emio Greco| PC. Site-specific works include Haining Dreaming (2013), The Great Train Dance (2011) on the Severn Valley Railway, and Ballet on the Buses (2007). Kay creates installation and dance films: 5 SOLDIERS - the film, was exhibited at The Herbert Gallery Coventry, Stadtmuseum Dresden and is in the film collection of la Médiathèque du Centre National de la Danse, Paris. Feature Film credits include choreographer for Sunshine on Leith (2013). Kay was the first Leverhulme Artist in Residence to the School of Anthropology and Museum Ethnography, University of Oxford, 2013-2014, and is currently Research Associate, with the first paper published in Medical Humanities. Kay is Associate Artist of danceXchange, Birmingham. ​ ​

ARTICLES WHATCHA READIN'? Here's a selection of articles about being a parent working in dance from across the globe. ​ Happy to add more recommendations! Contact me. Meet 4 High-Profile Pros Who Have Launched an Online Platform to Support Other Dancing Mothers Dance Magazine ​ Dancers, Ingrid Silva, Grace Whitworth, Xin Ying and Allison­ DeBona are profiled about starting Instagram account, Dancers & Motherhood. ​ ​ APRIL 2023 READ Surfing the raging sea: pregnancy and motherhood in dance during a pandemic Taylor & Francis Online ​ ​ Professor Ali Duffy (Texas Tech University, USA) writes her findings on being a parent in dance during the pandemic. ​ Professor Ali Duffy has contributed her story on Dance Mama which you can read here . ​ She is also a founding member of the International Parenting And Dance Network which you can find out about here . ​ MARCH 2023 READ Acknowledgment of Dance Mama Support from Scottish Ballet Principal The Sunday Post ​ ​ Bethany Kingsley-Garner speaks to The Sunday Post about her return to dance and how Dance Mama played a role in her transition back on stage. ​ (image: Bethany Kingsley-Garner , Principal, Scottish Ballet, featured in our film . ​ DEC 2022 READ Dance Mama Supports Professional Dancing Parents in the UK Dance Magazine US ​ ​ Julia Mary Register speaks to our Founder, Lucy McCrudden, about how Dance Mama supports parents in dance. ​ (image: Bethany Kingsley-Garner , Principal, Scottish Ballet, featured in our film . ​ JUNE 2022 READ Australian Ballet - A Mother's Laugh Australian Ballet ​ ​ Amy Harris, Amber Scott and Dana Stephensen reflect on motherhood and their roles within the company in celebration of Mothers' Day. ​ MAY 2022 READ Dancing Parents One Dance UK ​ ​ Katie Stevens gives an update on the advancements in parenting in dance. ​ AUTUMN 2021 READ Disappearing Act: Dance Artist Mothers in the Gig Economy of the Performing Arts in Canada Demeter Press ​ ​ Susie Burpee, Artistic Producer, Balancing Act Canada contributes to Mothers, Mothering, and Covid-19: Dispatches from the Pandemic ​ Edited by Andrea O'Reilly and Fiona Joy Green ​ 2021 READ Portfolio Professionals - an update from Dance Mama Portfolio Professionals ​ Lucy McCrudden ​ As an arts case study in the third edition of 'Building A Portfolio Career' (Adrian Bourne, Christopher Lyons & Colin McCrudden), Lucy gives an update on how her portfolio has evolved over the pandemic. ​ MAY 2021 READ Dance and Motherhood with Dance Mama Imperial Society of Teachers of Dancing ​ Lucy McCrudden ​ Interviewing five women who are members of the ISTD who work across the sector, Lucy highlights the issues faced by women business-owners in dance at different stages of parenthood. ​ APRIL 2021 READ Patter of tiny feet: dancers on leaping into motherhood The Guardian ​ Lyndsey Winship speaks to #DanceMama Elizabeth Harrod, Lauren Cuthbertson, Bobbi Jean Smith, Temitope Ajose-Cutting, Kate Prince and Colette Hansford about their parenting experiences, supporting parents and the COVID-19 lockdowns. ​ 2021 READ Ballet dancers in lockdown hear the patter of tiny feet The Times ​ The Times speaks to #DanceMama Lauren Cuthbertson and Tara Brigitte Bhavnani of the Royal Ballet talk about their parenting experiences in lockdown. ​ 2021 READ The Lights Aren't On And Everybody's Home PiPA Campaign Ambassadors - incl. Lucy McCrudden​ ​ #DanceMama contribution to the PiPA Campaign article on parents in the arts during the COVID19 crisis ​ 2020 READ Does the dance industry lose it's female dancers to motherhood? Belinda Lee Chapman ​ Belinda explores the question around why there are less women working in dance who are parents. ​ 2019 (originally published 2016) READ Dancing after having a baby KJ Mortimer blogs about her experience as a #DanceMama whilst performing with Stopgap Dance Company 2019 READ Dancers in a new role Danceinforma.com talks to three American #DanceMama 2016 READ Are you a dancer and a mother? Danceinforma.com talks to four American #DanceMamas 2016 READ Ballerinas with bumps: Elizabeth Harrod and Laura McCulloch on the challenges of balancing dancing and motherhood Chris Shipman Head of Brand Engagement & Soical Media The Royal Opera House ​ Chris interviews two Soloists - one a new mother and the other expecting - on the challenge of juggling two hugely exhausting but rewarding jobs. ​ 10 APRIL 2015 READ Does the dance industry lose its female dancer leaders to Motherhood? Belinda Lee Chapman ​ Fellow of The Arts Foundation /Dance UK Mentoring Programme 2015 ​ Belinda explores her experience as a parent in dance and the effect this experience has on her peers and colleagues career advancement in the dance industry. ​ Belinda is also a featured story . ​ 2015 READ Dancing a new routine Lucy McCrudden​ ​ #DanceMama original article for One Dance UK ​ 2014 READ Dancing Through Pregnancy Dancemagazine.com.au talks to Australian #DanceMamas 2012 READ TARA TIMES Ali Duffy - Pandemic Mam

"A vital and unique resource for the 40,000+ strong workforce in dance" Andrew Hurst MBE, Chief Executive , One Dance UK REAL LIFE STORIES OF PARENTS IN DANCE TEDx ALL J OIN More Mamas and Papas! DANCE PAPAS ARTS MAMAS ARTS PAPAS

< Back SARAH SCHMIDT-LINSTRA Mother of two. Dancer, Dance Artist, Dance Teacher & Choreographer. Freelance dance artist including teaching at Trinity Laban CAT at time of interview. What is the most challenging aspect of working in dance and being a parent for you? As a freelance dance artist you’re always weighing up the job against the pay, not because you want to, but because you have to, if you want to pay the rent at the end of the month. The most challenging part of being a mum and a freelancer has been juggling this ever challenging money-job issue and now taking in to consideration, childcare. Expensive childcare. On top of that I felt my priorities changed and some jobs were not as important for me anymore than spending time with my daughter, and therefore learning to say ‘no’ to jobs I would normally say yes to. I am also aware I am a very lucky mummy as my husband is a freelancer too and we’ve been able to juggle the freelance jobs and looking after our daughter between us without having to fork out for expensive childcare. Yet…. What support did you feel you had from work when you (your partner was) were pregnant? With my first pregnancy I was working five different jobs and felt supported by all five. The dance community, schools and companies I worked with were all quite kid friendly and pregnancy aware so I felt I had good support all around on the dance-work floor. Adapting what I could and could not do or felt comfortable with and being flexible by giving me options and having cover in place. Was there anything that may not have been in place that you felt could have been useful? Being pregnant for the first time I don’t think anybody can tell you, or could tell you, what and how you and your body is going to react and how that may influence your work. So eventhough I felt like I wanted more information on what was going to happen next as I was growing bigger. In hindsight I don’t think anybody could’ve done that for me. Every body is different and so is every person. Do you think being a dancer made you think differently about your pregnancy/recovery? Yes I think so. First of all if you are a dancing, working, pregnant dancer you have to deal with the shape, size, weight change directly and every day. You are confronted with all the small changes in your body and the fact that you will have to adapt. It’s such an amazing thing to carry a whole new little person inside you, it made me feel even more proud of what my body could do as a dancer. From your experience, what advice would you give to an expectant parent regarding leave? Take your time and take as much as you can. I remember saying to people before I had Abigail, “I’d be so happy to be going back to work again”. And in my head I had an ideal of going back to work as soon as my Maternity Leave was over. In reality, recovering from an emergency c-section was a long and sour process. And in the end it took me a lot longer then I wanted to slowly get back into work and even then I still had to make changes to my normal working schedule to make sure my body was okay with it. If you were expected to dance postnatal (either by yourself or your employer) how did you approach your recovery? Because I took a lot longer to recover from the emergency Ceasarean I had to have with my daughter. Luckily I was given the time by some of the employers and had good conversations with other about me not feeling up for taking the work on. I had to say goodbye to some of the freelance jobs I was planning on going back to but that was a combination of things time, pay, recovery etc. and I still have a great relationship with all those I didn’t return to. What changed most for you on your return to work? Looking after my body, looking after myself, looking after others. A massive sense of responsibility comes with becoming a mum and I think I take part of that with me in my work. Also your time gets a lot more precious, time spend away from my daughter. But on the other side also having the time away from her, in my eyes and for me personally just as important. If I’m happy my children are happy, you need to find a balance that works for you. Does parenting help you in your work? Hmmm, not sure. In the beginning definitely not. Sleep deprived and out of shape and routine I would say parenting was making it very clear returning to work wasn’t going to be a doddle. But teaching the young talents at Triniy Laban CAT I sure do feel more responsible, sympathetic and involved with my student then I perhaps did before. I spend precious time and energy teaching the next generation and in return they make me proud. Does dance help you in your parenting? Yes, I don’t shy away from a boogy in the park or public playground. Imaginary (crazy) play is not a problem for me. Creativity and movement is vital creating a playful relationship with my daughter, especially since she’s now a precocious little toddler that never sits still or stops playing and acting. Abi loves to sing and dance and has been on the move from a very early age. I took her to Waddle&Jam when she was just over a year and she loved it. Anything else you think would be worth raising? Sharing non judgemental thoughts and sharing experiences between mums and my dancer colleagues that have now become dancing mums has really helped me. To perhaps take a step back and look at how I want my career and family life balance to work out. Sort out priorities, needs and necessities. More about Sarah Sarah lives in The Netherlands. After finishing her highschool education at the Havo Voor Muziek en Dans Sarah graduated with a Bachelors Degree in Dance at the Codarts Dance Academy in Rotterdam. ​ Whilst there she gained an apprenticeship with Club Guy&Roni were she later became part of the company touring throughout Europe with Guy&Roni’s production, Language of Walls . From 2004 she worked as a freelance dancer in Amsterdam with several choreographers including Leine&Roebana where she danced in productions as Ditto, Eye in All, Terts, Sporen, Ballads . In 2006 Sarah moved to the UK to join the Henri Oguike Dance Company in London as a company member. Performing old and new repetoire with the company including; Front Line, Tiger Dancing, White Space, Second Signal, Finale, Little Red, Green in Blue and Touching All/All Around . Touring in the UK, China, Israel, US (Jacobs Pillow festival), Portugal, Italy, Switzerland (Steps Festival) and Germany. In May 2009 she danced in the Roundhouse production Underdrome, choreographed by Darren Johnston. Spring 2010 Sarah made a guest appearance as dancer in Henri Oguike’s new triple bill Butterfly Dreaming , performing in the piece Toccato on cello suites by Bach at The Royal Opera House. ​ Sarah was the educational facilitator of the Henri Oguike Dance Company and still is a freelance contemporary teacher at several schools throughout the UK including Laban, The Place, London Studio Centre and Swindon Dance. She also teaches the young talents at Trinity Laban’s Centre for Advanced Training Scheme. And next to creating her own work and dance films she choreographs for youth, semi professional and community dance projects. ​ ​

< Back KATE TYDMAN Mother of one. Actor & Producer In our second podcast series, featured #dancemama in our short film, Kate Tydman talks about her experience being pregnant whilst on tour in the musical Love Me Tender, and continues to follow her substantial career in musical theatre and acting, including plays and films directed and produced by Kenneth Branagh. ​ ​

< Back CLARE HALSE Mother of one. Musical theatre performer and dance teacher. In our second podcast series, featured #dancemama in our short film, Clare talks about her experience of becoming a mum during the pandemic following lead roles in the West End including White Christmas and 42ND STREET, and how she is navigating motherhood and continuing her career teaching and preparing for her return to performing. ​ ​