1) Classically British & Co is celebrating 21 years of showcasing diverse talent. What inspired you to start this initiative, and how has its impact evolved over the past two decades?

“There was a lack of black and mixed-race representation of classically trained female and male dancers in the UK, and I felt this needed to be addressed. I was constantly being asked questions by my young students as to whether there are any black British ballerinas out there performing. I wanted to create an event reflecting this in the annual live agenda of dance that may represent this and to highlight the contributions and importance of black and mixed race classically trained dancers, choreographers and creative directors.

It’s fitting to showcase Classically British & Co during Black History season to spotlight the pioneers, the movers and trail blazers that help us to get to where we are today. Young people can see better representations of role models that they can identify with.”

2) You’ve spoken about the progress made in the UK dance sector regarding diversity. What do you see as the key challenges still facing dancers and choreographers of color, and how can the industry address these issues?

“The progress made in the UK has been immense but there is still a lot of work required. We now have such companies as Ballet Black and Carlos Acosta’s company who have done extremely well in influencing and inspiring a lot of people of colour with aspirations of going into the classical dance world. The challenges we are facing is to be able to choreograph ballets that are suitable for black and mixed raced ballet dancers based on the way they express themselves with both music and the aesthetic look of our bodies for the wider audiences. The industry can help by employing experienced people to offer this type of dance in the mainstream. Also ensure adequate funding and media attention is part of the norm rather than exotic or limited to Black History season.“

3) For this year’s gala, you’ve brought together an impressive lineup, including Namron OBE and Joy Sigaud. What can audiences expect from their pieces, and how do they reflect the themes of Black History Month?

“This year’s gala has brought together an impressive lineup of choreographers, musicians and composers, including Namron OBE and Joy Sigaud. Audiences can expect to be inspired, see narratives that relate specially to our community i.e the Windrush and the generations of immigrants to the UK of African and Caribbean backgrounds. They can expect a beautiful piece by Namron that has been choreographed to express the loss of his dear mother. Music by Ella Fitzgerald which of course is second to none. From Joy Sigaud we can expect to see a composition of classical and Afrocentric mix and collaboration with a young choreographer who was able to work with every single note of the music Joy has composed. The dancers have expressed choreographically how one can do that, working with the way we move and express ourselves with our classical training. People ask what does Classically British mean and my response is “it’s the experience that we have had being trained here in the UK classically and the ability to express through music and dance with our physical aesthetic and narrative. The audience can expect to see something truly inspiring.”

4) The educational afternoon with local schools offers a rare opportunity for students to engage with professional dancers. What do you hope young people take away from this experience, particularly in terms of representation in the arts?

“The matinee will consist of a dress rehearsal which will allow the young students to be able to see a few of the choreographed pieces which will be shown in the evening. They will be able to interact with the dancers in the form of a Q&A session and have discussions on how the production was put together. They will be able to speak not only to the dancers but also the artistic director, the production team and choreographers. In addition, they will be invited to come on stage and demonstrate their own talents. I am also hoping to understand what they have learnt and who they feel has inspired them the most. I hope the experience will be both inspirational and educational.”

5) Looking ahead, what are your future aspirations for Classically British & Co and the broader work of the Mark Elie Dance Foundation in shaping the next generation of dancers and choreographers?

“I would like to continue doing an annual production during the Black History season that is both educational and inspirational, providing a platform and shining a spotlight on the British black and mixed-race dancers here in the UK. I also hope we can replicate this format around the UK to inspire a wider audience. The next generation will hopefully be inspired by this generation of dancers and choreographers. We need to continue to attract young black choreographers and dancers that relate to the classically British experience which is “dance to inspire”. We are now living in an era of inclusivity with a new and diverse culture of dance in the UK. History has taught us when we work together the result is incredible for both participants and audiences alike. Everyone needs to be seen.

My future aspirations in addition to the above is to continue to showcase our talents across more of our brilliant opera houses and theatres, including the likes of Lilian Baylis, Sadler’s Wells Theatre, The Barbican and The Royal Ballet & Opera’s Linbury Theatre amongst others.”