Chrumblr

When I started, I was making work maybe with only the promise of performance. When you start you draw in your friends, you beg for space, you do work in an entirely unsubsidised way. You have to go through various gateways as a contemporary choreographer - something like Choreodrome I think is verging on exploitation, because you have to ask your dancers to work for free. You try to make sure you don’t exploit them, but how else are you going to get a good idea off the ground to show to someone who might believe in you, who might produce you, who might take you to the stage? You’re constantly playing a balancing act till hopefully you get to the stage where you can say, no, I will never take advantage of anyone ever again, I will only do work where I’m paying my dancers properly.

- Rosie Kay at theartsdesk Debate