LDIF founder Pawlet Brookes: 'By putting work online, we can still offer freedom and escape'

Over the past decade, LDIF has been building an archive of work from the festival and its research into dance by African and African-Caribbean diasporas, both in the UK and internationally.

Going online has provided an opportunity to reach a wider audience. As Brookes points out, the digital festival “has removed a lot of restrictions in working with artists across borders”. Considering that 70% of the festival’s artists are international, this has definite advantages. “We’ve been able to reach networks the festival wouldn’t have in its physical sense. Hopefully when we get back to taking work into physical venues, the festival can continue in these different spaces and places.”

In the meantime, the archive has enabled LDIF to curate its digital programme. Throughout the festival, a daily event – Dance Dialogues – will present footage from past conferences, sharing the thinking and practices of artists, choreographers and academics from African and African-Caribbean diasporas. “We had already drafted Dance Dialogues as a programme of works,” Brookes says, adding: “It’s just been catapulted forward at a speed I hadn’t anticipated.”

Finding new ways to share knowledge is central to LDIF. “America has built its own story, but in terms of black dance in the UK, we might look to the Caribbean and Africa, but we’re not always celebrating the people here,” Brookes says. “We’re often seen as niche but we’re not, we’re part of the story – why is it not in dance education?”

To address this, LDIF works closely with Leicester’s De Montfort University, and aims to connect with dance programmes at other universities. “It’s not about replacing anything; it’s about sitting alongside it,” Brookes says.

“For instance, I’m not talking to you about Balanchine without talking about Jean-Léon Destiné – it’s a joint history, and I can see how they influence one another. Philadanco and Joan Myers Brown have been around forever – she’s our patron and hardly anyone knows who she is.”

LDIF wants to make the work of these artists and many others more visible. It also wants to invest in black British artists and continue building the knowledge and awareness of its work outside of the festival period.

The festival’s annual publication, which draws together discussions from its international conference, is part of that drive, and this year’s online festival may also encourage interest. “It’s a chance to hear the voices of the people behind the work – what inspired and motivated them. You don’t normally hear all of that, but it’s important,” says Brookes.

“The more we get out there and meet with people, then dance is not as far removed as people think… It’s been a really interesting journey to put on the work of artists people don’t know.

“Just because someone is unknown doesn’t mean their work isn’t of good quality – it’s just that audiences haven’t been introduced to it yet. It’s about opening up new doors and avenues, for audiences and artists.”

Reflecting this, Alternative LDIF20 will culminate with the debut of a short dance film called 30 Seconds of Freedom. Comprised of movement clips submitted by dancers and enthusiasts from around the world, it’s a chance for artists and audiences to connect and be creative.

“Putting work online, we can still offer these moments of freedom and escape,” says Brookes. “It’s another opportunity to celebrate, share and be joyful.”

LDIF profile

Started: 2011
Founder/artistic director: Pawlet Brookes
When: Annual event starting on international dance day, April 29
Based: Leicester
Patron: Joan Myers Brown

Alternative LDIF20 runs online until May 16. Further details: serendipity-uk.com