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Education Pack Kinetica. Welcome Kinetica Dance Engine was created from a mutual passion for and desire to dance. In 2011 a group of dancers came together.

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Presentation on theme: "Education Pack Kinetica. Welcome Kinetica Dance Engine was created from a mutual passion for and desire to dance. In 2011 a group of dancers came together."— Presentation transcript:

1 Education Pack Kinetica

2 Welcome Kinetica Dance Engine was created from a mutual passion for and desire to dance. In 2011 a group of dancers came together simply to take class and to impart skills and knowledge within the local community. Through the Dancing for the Games project (2012),- managed by Dance Connected, the company expanded and was able to produce our first piece of repertoire ‘Sink or Swim,’ choreographed by Julia Griffin. The company now has a permanent studio space at the and is currently producing new repertoire and developing links with local schools and the wider community. Current projects include: Introduction to Dance workshops at Moorlands Sixth Form Centre and choreographing a new piece of work for S Edwards First School, Cheddleton for their Comenius Project.

3 “We depend on the arts to carry us toward the fullness of our humanity.” National Standards for Arts in Education Education To provide practitioners with a comprehensive artistic education that fosters excellence in all forms of dance, in a manner that embraces a passion for the art form. To offer well-structured, high quality workshops within the local and wider community. Inclusion To make dance accessible to everyone. Community To instill in it’s practitioners an enthusiasm and desire for individuals to extend their dance practice into their community. To provide an opportunity for the community to engage in an exciting collaborative and individual experience. Inspiration To provide positive role-models who motivate and instil confidence in participants and young dance practitioners. To produce workshops and repertoire that demonstrate best practice within the industry.

4 We offer a range of services designed to work in partnership with external organisations.  Bespoke workshops to match the needs of an individual client group or professional development programme. Workshops can be flexible in terms of timescale, a single workshop, short residency or regular termly input. Staffing will be deployed to match the bespoke nature of the workshop and requirements of the organisation.  Kinetica will work in partnership with the school to safeguard children following all relevant school policies and adhering to our own high standards of practice.  Workshops can take place in-house, on location or at our studio space in Tean, Stoke-On-Trent.  Consultation and advisory services can also be provided. We welcome enquiries regarding any of these services or any aspect of Dance or Physical Theatre that is not covered within this brochure.

5 Kinetica’s practitioners have wide ranging skills including:  Ballet  Tap  Disco  Jazz  Zumba  Choreography  Contemporary Dance  Physical Theatre  Devising Theatre  Documentary Theatre  Musical Theatre  Anatomy  Labanotation  Contact and Release Improvisation  Graham Technique  Laban  Humphrey Technique

6  Kinetica Dance Engine is located at  The excellent facilities include: 3 Studios (2 suitable for 10 students and 1 suitable for 50+ students) and a fully equipped kitchen.  The main theatre space (Studio 1) is flexible and can be utilised in a number of staging formations including traverse, end stage, arena or proscenium arch. A good range of sound and lighting equipment is fully installed and is operated by our fully trained technician.  The Venue is fully licensed in respect of performance and bar facilities and has capacity for 110 people.

7 Fees are flexible and can be negotiated and we are willing to apply for match funded projects with partner schools/organisations under written guarantee of the work.  Staffing fees are non-variable and are fixed at £25.00 per person per hour.  Time and dates of workshops are flexible.  Once set,the times and dates of the workshops can be transferred but not cancelled without incurring a charge of : 30% of the overall fee within two months, 50% of the overall fee within 4 weeks, 75% of the overall fee within 2 weeks and 100% of the overall fee within a week of the workshop.  Workshop fees are normally nominal as we will attempt to find funding before approaching a client.

8 Safeguarding Policy We aim to provide a happy and safe environment in which our participants can learn new skills and express themselves artistically. All our participants have the right to be safe, secure and free from threat, regardless of their gender, ethnicity, disability, sexuality or beliefs and we acknowledge that children, yourng people and vulnerable groups may need additional support to ensure this. To support our safeguarding policy we will:-  Treat participants with respect, listening to their concerns and acting upon them appropriately.  Provide appropriate staffing levels for each activity, utilising trained and experienced practioners.  Adhere to safe working practices as outlined in our health and safety policy, ensuring adequate risk assessments are in place to safeguard participants from harm.  Ensure that all practitioners are in possession of a current CRB check and are regularly assessed for ongoing suitability.  Ensure that practitoners receive appropriate training in recognising signs and symptoms of abuse, types of abuse and other safeguarding procedures.  Work in partnership with schools and community organistations ensuring awareness of onsite policies and procedures and reporting any concerns to the onsite safeguarding officer.  To minimise the risk of allegations our practitioners are unable to support participants in changing their clothes for an activity or to be left as a lone worker on a particular site.  Hold an appropriate level of public liability insurance.  Have a zero tolerance of bullying, ensuring that any aspects of bullying are dealt with promptly, sensitively and appropriately.  Carry out hazard checks on each area to be used before commencing work, reporting any potential risks to the onsite Manager.  Ensure that their is adequate first aid cover in place at each location, either through Fusion staff, school or centre staff.  Record all injuries in the acident book, respecting confidentiality and storing appropriately. Procedure to be followed if practitioners have concerns that a participant may be suffering from or at risk of abuse.  This may include physical abuse, emotional abuse, sexual abuse or neglect.  Practitioners to handle situation sensitively, respecting the views of the participant and explaining their duty of care to safeguard.  Practitioner to report concerns to the onsite designated officer for safeguarding.  Where no onsite officer is appointed the practioner to report their concerns to the company safeguarding officer who will report the matter to the duty social worker through the local First Response unit or the vulnerable adults team and Police.  If practitioners feel that concerns raised with an onsite officer have not been dealt with appropriately they will again report the concern to their designated officer who will refer the matter to the duty social worker.  In the unlikely event that an allegation is made against one of our practitioners the matter will be taken seriously and investigated thoroughly both by ourselves and where necessary utilising the duty social work team and police.

9 Kinetica will adhere to the following Rules and Guidelines with regard to Photography and Filming: 1. Images of Children posted on Kinetica’s website will not be identified by name. 2. To reduce the risk of inappropriate use of images only images deemed suitable will be used. 3. Anyone with any complaints about images posted on the website can speak to Kinetica‘s child protection officer and the images will be removed. 4. Anyone concerned about inappropriate use of images can report the matter to Kinetica’s child protection officer and procedures will be followed to report the matter to the appropriate authority. 5. The expectations for parents or spectators who wish to take photographs or film at an event are to avoid inappropriate or intrusive photography. Any child or parent who has concerns regarding inappropriate or intrusive photography must report their concerns to Kinetica’s child protection officer, who will, if deemed necessary report the matter to the appropriate authority. Our stringent procedures are in place to help any child who appears to be at risk or appears to be the victim of abuse. We will provide help and support if any child tells us they are affected by these issues. ______________is specifically responsible for children and child protection within the company and can be contacted on __________or via _________________. Kinetica has a Safeguarding (child protection policy) because we realise the importance of using our initiative to make our organisation as safe as possible. In writing the policy we used STOPCHECK an NSPCC guide for organisations to safeguard children and the procedures we will follow are as laid down within these guidelines.

10 The aim of this policy is to communicate the commitment of the management team of Kinetica to the promotion of equality. It is our policy to provide training, volunteer opportunities and self-employment to all irrespective of:  Gender including gender re-assignment  Marital, civil partnership status or family structure  Having or not having dependents  Religious or political beliefs  Race (including colour, nationality, ethnic or national origins)  Disability  Sexual orientation  Age We are opposed to all forms of unlawful or unfair discrimination. All self employed workers, students, volunteers and individuals utilising the services of Kinetica or participating in workshops will be treated fairly and will not be discriminated against on the above grounds. We are committed to:  Promoting equality of opportunity for all persons  Promoting a good, harmonious environment where everyone is treated with respect  Preventing the occurrence of unlawful direct and indirect discrimination, harassment and victimisation.  Fulfilling our legal obligations under the equality legislation and other relevant codes of practice  Complying with our own equal opportunities policy  Taking lawful, affirmative action where appropriate  Regard all breaches of the equal opportunities policy as misconduct and deal with appropriately

11 In order to implement the policy we shall:  Provide all self-employed workers with a copy of the policy  Ensure that those involved in selection processes are inducted in non- discriminatory selection procedures  Place a copy of the policy on a notice board in our studio where it is clearly visible to students, volunteers and hirers.  Ensure that all forms of discrimination are challenged appropriately. Monitoring and Review  We will establish appropriate information and monitoring systems to support the above policy.  The effectiveness of the policy will be reviewed annually and action taken as necessary. Complaints  Students, Volunteers and self-employed workers who feel that they have been treated unfairly with regard to any aspect of this policy are entitled to raise these matters following the agreed procedures. A copy of these is available from Eleanor Bott  All complaints will be dealt with seriously, promptly and confidentially by Eleanor Bott and in the instance of them being the accused perpetrator, by another member of the management team.  In addition to our internal procedures, individuals have the right to pursue matters in relation to the appropriate legislation:  This can only be pursued however after the notification of the appropriate person within the Venue/Fusion Performance Arts and after allowing the internal procedures to be completed  Every effort will be taken to ensure that the complainant is not victimised. Contact Eleanor Bott on : or

12 Clare Reynolds Trained at Laban, London, I have established myself as an independent Dance Artist working predominantly in the community performing, creating and delivering work across the Midlands and Northwest. As choreographer for arts collective ‘Restoke’ we are currently working alongside regeneration officials to animate public spaces and involve the community in arts activities and performance. Through my career as a Dance Artist I have developed strong skills in creating and delivering workshops for all age groups and abilities. As co-ordinator and founding member of Staffordshire Dance Collective I deliver weekly professional class as well as co-ordinate professional development opportunities for regional artists. Justine Cope has worked extensively as Drama Practitioner spending nine years working for Staffordshire County Council leading Music and Drama Departments for several Day Service Provisions and delivering drama sessions for adults with a learning disability. During this time, she formed ‘The Yellow Brick Theatre Company’ with the aim of integrating disabled actors into mainstream theatre and providing pioneering ‘breaking down the barriers’ workshops in local schools. Justine has worked with a diverse range of client groups in partnership with Staffordshire County Council, Stoke on Trent City Council, The New Vic Theatre, The Belgrade Theatre (Coventry), The Gatehouse Theatre (Stafford) and Embodied Arts, successfully securing funding for a number of community based arts projects exploring a range of topics from ‘Equality and Diversity’ to ‘Anti-Bullying’ and undertaking small scale tours as both a performer and director. Most recently Justine has delivered drama provision, workshops and summer schools within the West Leek Federation of Schools and Staffordshire Community & Learning Partnership. She is also a Director of Early Stages Limited operating a number of childcare and education settings in the area and is experienced in providing a range of corporate training.

13 Address: Kinetica Dance Engine, The High Street, Tean, Staffordshire, ST10 4DY Contact Us   Eleanor Bott: Jane Seddon:

14 Eleanor Bott Eleanor Bott trained at the University of Birmingham and has fifteen years professional theatre experience, both as a Dancer, Choreographer and Theatre Practitioner. In addition to this, Eleanor spent many years working within education as both a Head of Department (locally) and Lead Practitioner (nationally) in both Dance and Theatre Arts teaching a variety of age groups from 11 to adult. Ellie has wide experience of many performance genres from street theatre to contemporary dance from collaborations with the Halle orchestra to projects working with primary age children. She was Artistic Director of Red Pepper Dance Company who performed both locally and nationally from A passion for relevant and professional training for young people drove Ellie to create Fusion Performance Arts in The company strives to disseminate best practice in Theatre, Dance and Vocal technique to young people within Stoke-On-Trent.Ellie has recently worked for Reveal Theatre Company delivering workshops based on community outreach topics in relation to T.I.E. performances such as ‘Silent Anger,’ and has enjoyed the new challenges that this has created. Ellie enjoys collaborative projects with musicians and artists and has a particular interest in how art influences dance and theatre practice. Anna Belyavin I am a dance artist with strong performative skills and substantial training experience with a passion in creation, improvisation and collaboration with dramatic arts. I am enthusiastic about making dance inclusive and accessible to children, adults and disabled people.

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