I’m Maria Ryan and I am currently the Creative Learning Producer at The Place.

My main responsibilities are overseeing a Camden based Partner Schools programme, producing platforms for local schools to perform at The Place, as well as arrange ad hoc school workshops or projects across London. We manage community projects and produce contextual events that support the shows in the theatre programme. We co-produce performances for young people with the theatre team, and also support the them with any participatory performance projects. 

I started dancing at 16 years old, when I went to Islington Sixth From Centre, where I did GCSE dance. I was fortunate that my teacher was Veronica Jobbins, who inspired my love of dance and introduced us to Lewisham College’s (then SELTEC’s) touring company. I saw them perform and realised that’s exactly what I was meant to do!

I auditioned and did the two year Foundation Course, then auditioned for London Contemporary Dance School (LCDS) and completed the 3 year, BA Honours Degree in Contemporary Dance & Choreography. I completed a fourth year to perform with 4D (now EDGE). In between starting with 4D, I was given a scholarship to go to the Alvin Ailey Summer School. It was THE best thing I have ever done! Seeing Black ballet and contemporary teachers, in studios full of Black dancers was mind-blowing! I felt completely different about myself and my body when I went back to LCDS. As well as feeling technically strong, I felt invincible. It was an incredible experience.

4D gave me the confidence to try different processes and methods of learning and performing movement and the opportunity to work with a variety of exceptional choreographic voices. I worked out what I liked and what wasn’t so fun. 

In my first job as a dancer I worked with a choreographer that I admired for their business acumen (I always thought that contemporary dance could afford to be a little more commercial then), however, I later realised that there was very little integrity in their work in my opinion… there was no choreographic process as such, and the movement, created by the dancers, was propped up by designer costumes, sets, excellent lighting and a bit of nakedness thrown in for good measure! Which I did not participate in I hasten to add. But you live and learn and it was a good learning experience. I appreciated my time with that company and met some great performers/friends.

I worked over many years with Yael Flexer, (Bedlam) which allowed me freedom to express my individuality and move the way my body enjoyed, although it was a challenge as I recall I wasn’t so comfortable with contact improvisation as a student and at the start of my career, but with my fellow dancers at Bedlam, I learnt to understand it’s importance in creating organic, interesting and spontaneous movement, that wasn’t about making pretty shapes and lines. I learnt to enjoy it because I trusted my friends who I danced with.

 I was lucky enough to work pretty consistently as a performer but I also fell in to teaching and choreographing. I worked with Henri Oguike whose meticulous attention to movement detail was admirable, challenging and slightly nuts! I spent the best 4 weeks of my career performing in Nubian Steps, a platform for Black dancers & choreographers. Reaffirming and refreshing times.

I wished I had been given more opportunity to learn about pedagogy whilst at LCDS. We did a very short course in one term I think but it wasn’t enough to prepare me for the world of opportunity that was out there. There are so many skills to learn that mean you are better equipped to teach children aged five in a school setting, or a group of young offenders, or a group of over 60’s who use wheelchairs. One size does not fit all! … and as we know, being a great performer does not make you a great teacher. I learnt on the job as it were, and there were many amazing experiences that I had as a teacher and choreographer but I never felt fully accomplished at either, even though I tremendously enjoyed doing both. 

 I did learn however, that I could organise and make things happen pretty effectively. I had started my own dance school in Islington aged 23 and contracted teachers to work with me in between performing. I ran it for a few years before performing took up too much of my time. To be honest I got tired… teaching is all about giving, and whilst it’s very rewarding, it’s also completely exhausting! 

Funny story… I was about to start taking singing lessons to audition for The Lion King, then I auditioned for my dream company in Leeds, got the job and I thought I had finally made it! 

For a year I felt like I was dreaming. I was taking class every day, performing regularly, nationally and internationally, it was great! It didn’t last unfortunately. There were challenges all round and I felt I couldn’t be true to myself; that I was going against all the moral things I believed were important and I wasn’t enjoying the work. But I learnt that I had a voice and I could use it, which I did. I made a choice that meant I lost the job that I had dreamt about since leaving LCDS but it was the right choice and I felt empowered to make it.

 Disappointed, I moved back to London and I took a part-time Arts Management course at Roehampton University. When I completed this I realised it was time to move on from performing. I had made so many great friends during the 10 years I was performing, I had no regrets…. That’s a lie I do actually regret not auditioning for The Lion King! 

My first administrative part time job was with Independance, helping with morning classes at Jerwood Space. Then I applied for a job at Swindon Dance as Dance Education Officer, under the careful and considerate direction of Marie McCluskey. A totally inspiring woman and a superb role model. I worked there for 3 years and learnt so much from the wonderful team there.

I was actually still doing a small amount of performing at this time with a group of friends, thanks to Deborah Baddoo and State of Emergency’s touring opportunities. We were called Wild Roots Collective. I felt we could have built a strong place in the industry as three Black women. It was so much fun; we had a great relationship and had formulated an exciting creative process. But life had other plans. We did our last performance at the Linbury Theatre at the Royal Opera House; I was four months pregnant at the time. State of Emergency had supported me as a performer and choreographer over many years, for which I am very thankful.

Becoming a mother meant my priorities changed and I had the opportunity to take a year out to be mum. I did some freelance work whilst my daughter was young; teaching mainly. I became manager of a company that had been newly funded as one of ACE’s National Portfolio Organisations. It was way too challenging. After setting up a Board of Trustees, taking on all of the administration and management with very little experience and support, I was not prepared at all for this level of management. I felt I had to step away and I felt embarrassed about this ‘failure’ for a long time. This was one of those ‘failures’ that I learnt so much from. I should have asked for help and support, I didn’t, but I know better now. 

I then worked for 3 happy years as a Community Dance Officer at the Wycombe Swan Theatre. I realised that it was this work that inspired and excited me; working with people, young people mainly, providing opportunities for them to dance and producing life-changing shows and experiences. The most brilliant projects I did there were with young people who were from low socio-economic, difficult backgrounds, and those who were finding it a challenge to stay in school. Those moments when you see the positive change in a young person, almost in front of your eyes. It’s incredibly wonderful and so rewarding.

My advice for students and graduates now would be to understand what it means to curate a portfolio career; to take advantage of as many learning opportunities as possible, even while you are studying. Find out and see what artists, companies are doing, get involved where you can. Find out what the industry offers; there is so much more than performing and you may need some of these skills to make a living. You may find you want to pursue arts management as a career! If you want to find out about a specific area of the profession, go to an organisation or company and ask for advise. If you don’t ask you don’t get. Get a wide variety experiences; as many as you can. Take yourself out of your comfort zone sometimes. Look for opportunities to develop as a person and as a professional. Be brave!

My hope for the future of dance (and the world!) is that it is fully inclusive… not a box ticking exercise for stakeholders, or just words… and that it is kind. The world definitely needs more kindness.