Those 25 dancers we worked with for a day, in as highly productive a way as possible - a long class, a period of teaching bits of the repertory - in fact I didn't teach Bank, I've used parts of Oil and Water.
From Siobhan Davies
One of our problems is our sense of discipline - dancers have an extraordinary sense of self-discipline.
What we do now is to be valued - but we need to do more, so that it's more exciting to other people, and therefore that excitement shines back on us and we're able to have the energy to do more, to widen our creativity.
Yes - it's the same in any other work - the more you massage your thinking the more capable I believe you are of expanding how you go about things and learning.
We could ask artists from abroad to come in too, so that there could be a mixing and matching of skills from Europe, America and here which would widen our world.
On the other hand in London you can get an audience that desires dance to go as far as it can go: they've seen the bricks of ideas built over a period so therefore there is an acceptance of what otherwise might seem out on a limb.
I don't start a piece knowing exactly what effect it's going to have. There is a seed of an idea that I could never articulate, right at the beginning of the piece, literally like one cell.
If I only made dances about my own experience in dance, it would always be on my track, and I don't want that, I want to be on the track of where dance can take me.
Independent dance - and, fine, it's a very good thing that it remains independent - is a much tougher life: all dancers expect that, and accept that there will be periods of not being able to work, provided there are choice moments during the year when they really can work.
It's not just for its influence on us, but to know that we can play a part in it, to understand the influence that we have outside our own existence.
6 perspectives
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