Hello from the other side of the world! My recent trip to the UK has left me full of ideas and inspiration for the future of dance in the Northern Rivers.

In London, I reconnected with familiar faces on the opening night of ‘Over and Over (and over again)‘ by Candoco Dance Company, directed by Australian-born disabled artist and former colleague, Dan Daw. It was staged at the newly opened Sadler’s Wells East, situated in the swanky East Bank precinct of Queen Elizabeth Olympic Park, Stratford.

The set of ‘Over and Over (and over again)’, Sadler’s Wells East

This vibrant new arts hub, right beside the iconic Olympic Stadium from the 2012 Games, felt like a fitting setting for Candoco’s trailblazing inclusive dance. The chance to reconnect with former Candoco colleagues Sarah Howard, Jemima Hoadley, Gideon Feldman and Dawn Prentice, and other past company dancers at the opening night was really cool, reminding me how lasting creative friendships and shared histories enrich and inform our work today.

Sadler’s Wells East

Equally rewarding was visiting Chickenshed Theatre, whose latest youth production featured an extraordinary and diverse cast of young performers, each bringing unique energy and expression to the stage. The work moved me, not only because my nephew (Rafael) was part of the cast, but because it showed how inclusive, community-driven theatre can create deep connection and pride from a young age.

While in London, I met up with Paul Russ, Executive Director of Fabric Dance, to discuss their ambitious work across regional England and explore possibilities of reconnecting for my research project in October. Fabric is a trailblazer in the British dance sector for regional engagement, supporting independent artists and pioneering innovative producing models that centre on collaboration and community.

Inside the Lowry, Manchester

Manchester was equally inspiring and energising. The city is fast becoming a cultural leader, anchored by institutions like the BBC’s MediaCityUK, the Lowry, the Royal Exchange Theatre, HOME, and Factory International’s Aviva Studios.

I really enjoyed going to the Manchester International Festival’s ‘International Weekend’. I saw some powerful shows like ‘A Single Man’, ‘Football City, Art United’, ‘FALE SĀ / SACRED HOUSE EXHIBITION’, and ‘THE HERDS’. Each one explored themes like identity, community, and our sense of place in unique and meaningful ways.

This year’s festival theme was “Dream Differently”, led by Creative Director Kee Hong Low. The program featured fresh, bold voices from around the world and showed just how a festival can be both forward-thinking and inclusive. MIF 2025 was really impressive, and I’m excited to learn more about how they run things, like their artist residencies, event planning, and curating process.

Still image of Rest in Pũlotu | RIP FAFSWAG, 2025

Another highlight in Manchester was visiting the Lowry and meeting with Project Auske, a UK-based organisation founded by Brisbane colleagues Bridget Fiske and Joe Lau. Our conversations went deep, exploring the intricacies and paradoxes of the dance sector and weighing the challenges and opportunities of working across hemispheres. We delved into the nuances of funding landscapes, residency possibilities, and commissioning structures, shedding light on the unique ways creative practice can sometimes be shaped by geography, social urgency and arts policy. This encounter felt particularly meaningful, not least because Bridget and I once danced together at Buzz Dance Theatre in Perth, making this a special kind of creative homecoming and exchange.

What made this journey to the UK truly valuable were the many rich, generous conversations with artists, producers, and cultural leaders who openly shared knowledge about how dance can thrive through new models, both at home and abroad. I look forward to returning to continue researching the independent artists, organisations and venues that are change makers ahead of their game.

Regional Arts Australia 2025 Fellows (L-R top row): Felicity Chapman (Qld), JAJA Dare (WA) & Samantha Kucurs (Qld). (L-R bottom row): Ben Joseph Andrews (Vic), Nadia Refaei (Tas), Philip Channells (NSW), and Amanda-Lyn Pearson (Qld).

I’m incredibly proud to now begin my Regional Arts Australia Fellowship in the UK in October. Alongside this, PH(R)ASE, the new artist-led producing organisation of the Northern Rivers and an advocate for independent practice, is being shaped by local voices and the insights gleaned from this research residency. PH(R)ASE will develop its business model inspired by the residency, commissioning, and producing frameworks I will experience in the UK, aiming to champion independent artists and foster sustainable new work and creative relationships in our region.

I gratefully acknowledge the support of Regional Arts Australia. This Fellowship is supported by the Regional Arts Fund, an Australian Government program delivered in partnership with Regional Arts Australia. Their ongoing investment in regional creativity makes opportunities like this possible, and I can’t wait to bring all I’ve learned back home.

Main image: The inflatable mascot, Brody, in ‘Football City, Art United‘ at the Manchester International Festival is the collaborative work of Mexican sculptor and fashion designer Bárbara Sánchez-Kane and former Mexican goalkeeper, Jorge Campos.