As a “fledgling tweeter” I am still learning the art of twitter, and tend to read everyone’s entries absorbing information as well as learning from the “experts” who seem to make it look so effortless. The other day, inevitably the discussions and activity on Twitter swirled around International Women’s Day. I was overwhelmed with the discussions of how there are not enough women in all levels of organisations, but particularly at the “decision making” level in a company. I felt bewildered by this, and really can’t believe that StopGAP is so different from the general view that was being promoted in those discussions.
Women feature very strongly in StopGAP, from our apprentices, within our dancers, throughout our management and senior management teams, and into our board. It is mainly women who we are training for our next generation of integrated artists and leaders, and our current leaders in management, artistic and at board level are all women. Externally we are working very closely with three consultants – all women who are leading their fields and are making a significant impact into how we are developing as a company and operate as a close knit team.
The leadership style of the company enables everyone to blossom, work to their full potential and is distinctive with it’s consensus building and other soft skills that are traditionally seen as “feminine” rather than “masculine” approaches. I am beginning to understand that these “feminine” traits are the approaches that are seen as revolutionising the “mainstream” business world and are being taught to the emerging leaders of commerce. There is even a book I am reading that extols the virtues of building on strengths rather than combating weaknesses – an approach that was the first cornerstone of StopGAP philosophy as part of my rebellion against the traditional approach of training and managing dancers that has been revealingly portrayed in the recent English National Ballet documentary. But to us, our leadership style is one that has developed naturally over the past 15 years, based in a curiosity of how to enable each individual to achieve to their full potential that underpins the artistic focus of the company – and it works for us. How can it not work, when each person is functioning to the best of their ability and as part of a co-operative and highly ambitious team?
There is an issue in the dance world about the lack of visible female choreographers, and I would agree with this. However, I am heartened by the exciting women who have become established in the UK dance scene over the last decade, and feel the new generation is coming into view, so maybe it is a question of time and determination from everyone involved for the balance between the genders to become even. Maybe it is the responsibility of women in power to ensure opportunities are given to our female artists, or maybe women need to get better and finding their champions? Maybe it’s both?
Our in-house choreographer is Lucy Bennett. She is a very inspirational and astutely creative woman who is developing our work for out door spaces and non-traditional venues as well as constantly pushing our experience, knowledge and theory in integrated practice. She is working alongside me at the moment and I am so excited to see how her leadership flourishes, and influence she will exert over the artistic development of StopGAP.
I wonder how things will be looking in another decade and what the discussion will be on that international women’s day, both within StopGAP, as well as the arts world in general.
