We sat down for a quick chat with Freddie Opoku-Addaie, a critically acclaimed choreographer, dancer/performer, curator and teacher.
Freddie, Dance Umbrella is such a beloved part of London’s cultural calendar. What excites you most about this year’s festival?
Dance Umbrella brings a wider discourse to our global city of London with work by trailblazing artists. Every October, the festival becomes a kind of meeting point, not just for extraordinary dance, but for ideas, stories and connections that ripple far beyond the stage.
The programme stretches across the city and, digitally, across the world – inviting people to experience an international array of some of the best artists contemporary dance has to offer – including many that are not necessarily on our radar. We’re showcasing work that asks urgent questions, that experiments with form and that holds space for different perspectives. That mix of innovation, playfulness and accessibility feels very true to Dance Umbrella’s spirit.
Personally, I get a real buzz from seeing audiences encounter something unfamiliar – whether it’s a first-time audience member experiencing a sense of wonder about what they’re seeing or a long-time festival-goer discovering a new artist or company to add to their ‘favourite’ list. For me, that moment of shared discovery across our city is what makes Dance Umbrella such an exciting part of London’s cultural life, and why I’m so thrilled about what’s to come this year.
As the first Black Artistic Director in Dance Umbrella’s 47-year history, you’re making history yourself. What does that milestone mean to you personally, and how does it shape the way you lead?
For me, if being the first Black Artistic Director and CEO was my motivation, I wouldn’t have applied for the role. By 2025, I’ll have spent 29 years navigating practices and works as a student, teacher, lecturer, choreographer with over 20 years of that as an independent artist. At the core, my work has always been about resisting the single narrative and widening the discourse beyond the 3 Ts – Tick-box, Tolerated, Tokenistic. I’ve recently added a fourth: ‘Trend’, the label the systems slap on anything predominately outside the Western canon. All of this has creatively emboldened me to hold space and take accountability for how we can genuinely reimagine sustainable, excellent art that is equitable for everyone. That is both my implicit and explicit artistic leadership language.
The festival is equal parts live and digital – what made you decide to pursue this hybrid format??
The digital programme started out of necessity during COVID when the festival had an all-digital year. It was challenging but also kind of a period of discovery. In the past, we have had film screenings, but the festival has been hybrid throughout my time as Artistic Director and now it feels completely natural and makes a lot of sense. The digital space expands our reach even further, giving people who might never step into a traditional venue, who might not be able to easily access physical theatres, or get to London, a chance to connect with dance on their own terms.
The digital programme is hugely varied. There are connections to artists featured in the live programme and others that have been created for the screen. The Digital Pass is pay what you can, which gives an added dimension of accessibility in our affordability mission.
For me, it’s about dissolving boundaries. Dance doesn’t belong in one kind of space – it can breathe differently in each setting – and that’s part of the magic. By using digital platforms, we’re saying: this art form is for everyone, and it can meet you wherever you are.
You were once mentored by Sir Wayne McGregor, and now you’re championing the next generation of artists. How has mentorship shaped your journey?
Yes, Wayne has been a huge supporter in my development for nearly 30 years of me navigating this sector and the arts. There’s a kindred spirit of pro-actively holding space for excellence in artistic multiplicity across classes and lived experiences. And it’s great that Studio Wayne McGregor is one of our venue partners in this year’s festival.
Looking at the bigger picture – what role do you believe dance can play in helping diverse communities connect and share stories?
Dance is extraordinary at cutting across barriers. At its core, dance is a form of storytelling that belongs to everyone. Movement is something we all share and when artists draw on their own cultures and identities through dance, it opens a powerful space for reimagining diplomacy and exchange.
For diverse communities, dance can act as both a mirror and a bridge – on one hand, it reflects lived experiences in ways that feel authentic, and on the other it allows people to step into someone else’s story, even if it’s very different from their own. It can read between the lines of a non-verbal language.
What excites me is how, when we come together around dance, whether in a theatre, a community hall, in public spaces, or online, we’re reminded of our humanity, our collective heartbeat. It’s about connection, resistance, empathy and the joy movement gives us as we recognise ourselves in one another through dance.
Finally, if someone has never been to Dance Umbrella before, what would you say to them to encourage them to come this year?
Dance Umbrella is about holding space for everyone, whether it’s your first time or you’re a lifelong dance lover. What makes the festival special is its range and framing: one night you might be in a grand theatre, the next you could stumble across a performance in an unexpected corner of the city.
You don’t need to “know” anything about dance to enjoy it. What you’ll find is the chance to be surprised, moved, and to see the world through lived experiences and perspectives rarely shared. Above all, Dance Umbrella is a celebration of creativity across our global city. If you’ve never been before, come with an open mind you might just discover something that stays with you long after the festival ends.