Charlotte Edmond

I'd like to begin our discussion by asking, who is Charlotte Edmonds? Could you share a bit about your background and how you first became involved in dance?

I have an inspiring Mum who single-handedly raised my sister and me. When I was around four years old, she worked long hours to support us. Recognising my creativity and energy for physical activities, she found a local dance school to keep me occupied after school during her working week. Although I was young, I knew at that moment that the arts would play a significant role in my life.

How do you perceive the role of dance in enabling individuals to envision and delve into diverse social, emotional and moral viewpoints?

There are loads of ways for people to interpret the world. Words are powerful but, actually, I find movement expresses stories and viewpoints on another level. Dance provides a pathway for individuals with a keen emotional intelligence to evoke and elicit emotions through its profound impact and storytelling. Movement has the ability to embody and express a diverse array of social perspectives, influencing both the individual performer and the audience. In this dynamic exchange, a sense of connection is fostered between the performers and those observing. As choreography evolves, it holds the potential to deepen our knowledge of our capabilities and physical intelligence of our bodies.

What inspired you to embark on a career that bridges the worlds of filmmaking and dance? Or, to put it another way, between the roles of observer and observed? It's intriguing how art, in its abstract form, offers us the opportunity to experience a kind of rebirth each time we view it from a different perspective.

I utilise the mediums of dance and film to engage in critical social discourse, fostering both the advancement of the creative arts industry and broader societal perspectives. In producing and spearheading artistic endeavours centred around vital topics such as mental health, climate change, dyslexia, gender equality, and neuroscience, they are all aimed at igniting positive societal change. I've always been passionate about film. When I watch something at home with my partner, I find myself captivated by every detail on the screen. It feels like a natural extension of choreography, just in a different form. I have numerous ideas for short dance films and hybrid dance-scripted projects, all aimed at connecting with a broader audience and using art as a catalyst for cultural change.

When we discuss the concept of rebirth, what thoughts or associations come to mind for you?

What comes to mind: rebirth as many times as you wish in a lifetime and in whatever form. If we want to be progressive, renewing is an opportunity to cease.

What overarching themes or concepts do you typically aim to explore in your research projects? Do you find that there's a common thread connecting them all?

My research topics come from personal experiences and a wider thought process that considers "I'm not the only one who will find this interesting." I'm continuously looking to further my knowledge and understanding of the world around me whether it be neurodiversity, feminist leadership or cognitive behaviours. I'm intrigued by the ways in which being a choreographer can transport me to various realms and experiences.

Which project has had the most profound emotional impact on you?

The film ‘Sink or Swim’ (2017), a poetic depiction of depression portrayed through underwater ballet and a project that was both ambitious and immensely rewarding. Never before had a principal dancer of The Royal Ballet, performed by the remarkable Francesca Hayward, been filmed dancing underwater. I was moved by the generosity of Ian Cumberland, the artist behind the original self-portrait ‘Sink or Swim’. During our conversation about the intention behind the image and how I would translate it into a three-dimensional context, I recognised the potential for the story to resonate with an audience beyond the regular dance setting. Ian’s poignant reflection during the creation of his self-portrait was "If depression is like drowning, I’m constantly struggling to keep my head above water", which inspired me to set and choreograph the film underwater, amplifying the metaphorical language and depth of the narrative. The emotional aspect emerges from two distinct perspectives: working with the gravity of the subject matter and the responsibility of portraying it with sensitivity and impact, coupled with the personal journey of healing from my own experiences.

It was my first venture into spearheading a large production, which was especially significant after receiving a discouraging ‘no’ on the green light from a company to create the work. It wasn’t a straightforward project by any means. Encouraged by a mentor, I took it into my own hands and the success and positive response felt like a genuine triumph. Meeting and collaborating with incredible artists and partners were pivotal; without them, the project wouldn't have been possible.

What inspired the creation of Cameo, an event series dedicated to amplifying the voices of influential female and non-binary figures in dance?

Cameo isn’t to cast all men as misogynists but to question why so few women are in positions of power and to find a route forward to an inclusive space. We have to move beyond tokenism and embrace genuine equality.

At the end of last year, I unlocked the first three episodes of the new digital series which premiered with NOWNESS. Creating a space in which to engage with female and non-binary influential figures in the world of dance, spotlighting lived experiences within the industry. The first series enters conversation with contemporary choreography talents Holly Blakey, Jules Cunningham and Julia Cheng, inviting intimate discussions that expand on their methods of working with movement.

What these conversations reveal is that embracing gender and diversity in choreography is not only progressive but also enriches artistic expression. The imperative for change lies in embracing a spectrum of creativity, accessibility and perspectives within both performance stages and company culture. This entails comprehensive efforts, from strategic planning to policy implementation, to foster an inclusive environment where all artists can thrive. I believe that fostering a more equitable balance within our industry would mitigate or alter these experiences for the better.

To be honest, one of your projects, 'Goldfish', really captured my attention. In today's world, characterised by sensory and emotional overload, I sensed a subtle longing for rebirth, a desire to reclaim one's body and mind. I'm eager to learn more about it.

Goldfish (film) is a mediation on issues surrounding mindfulness, sensory overload and distraction in the modern world. It stars Aishwarya Raut (Rambert Dance Company) and Edwin Louis, and is set to an original score by Katya Richardson with sound design by Ryan Sullivan. Influenced by research from Crawford Winlove (Neuroscientist at University of Exeter), the choreography has evolved from a live 40 minute performance, ‘Generation Goldfish’, originally premiered with the Bayerisches Staatsballett in Munich, into the digital work it is today. I explored the metaphoric value, or lack thereof, of having the “attention span of a goldfish” by creating a physical and artistic response to the question of deteriorating mindfulness. The film is a testament for mental and emotional grounding in moments of sensory overload and how to mute the overwhelming noise.

Could you provide further insight into the research conducted by neuroscientist Crawford Winlove and how it influenced the choreography for ‘Generation Goldfish’?

I was interested in the duration of our ability to maintain focus on a particular subject – a question of relevance in neuroscience. Crawford and I looked at the relationship between performance and attention; whatever you witness during a performance leaves an imprint on you. He expanded on this by saying that elements of the performance capture our attention, which in turn, will impact us either immediately or at a later time. We spoke about how to translate scientific content into artistic forms and, of course, the care around it. While research and science stand independently, this artwork serves as another mode of dissemination – a means of sharing complex ideas in another form. His remarkable intellect extended beyond his research, as he generously shared his findings with the creative team. This enabled us to translate his insights into movements, sound, and lighting – creating an experience that could be both spatially and visually appreciated.