Interview with James Bamford
In the middle of rehearsals for his new choreographic work, funded by the Dicky Buckle Fund, we caught up with artist, director and choreographer, James Bamford about his new piece and what he is most looking forward to about Hatch House 2024.
Thanks to the Dicky Buckle Fund, James is currently creating a new work for Hatch House 2024. A truly collaborative and transdisciplinary piece, combining music, dance, art and projection, we are incredibly excited to premiere this unique work.
James is a producer, creative, teacher and performer with a passion for freedom of expression and storytelling through dance. In 2018, at the age of 14, James founded arts organisation Project Dance, a vessel he would use to facilitate opportunities for anyone to be able to engage with dance. Six years on, the company now produces original, full length narrative works which tour nationally, alongside the provision of an array of social engagement activities, reflecting the organisation’s commitment to its founding values.
Photo credit: Grace Noelle.
Can you tell me three things people don’t know about you.
I was a footballer for a very long time before I went into ballet. I like Krispy Kremes and I have hayfever!
Can you please tell me how long you have been working with Covent Garden Dance Company?
I first worked with the Covent Garden Dance Company just over a year ago when there was a Dicky Buckle (DBHF) fundraising performance and I presented a new piece especially for that. It was at that point that I found out that fundraising had been secured for me to create a new work for their main event in the summer this year.
Photo credit: Studio H Photography
What has the DBHF grant meant to you?
The Dicky Buckle Fund is really exciting. It’s really empowering and it’s really inspiring. I’ve been able to meet the trustees behind the charity and witness their passion for the arts, for continuing Dicky Buckle’s legacy and supporting the creation of new works. I think in the current climate, where the arts’ sector currently stands, that cannot be underestimated. Its value is incomparable and that is something that I am really excited to foster and champion through this new work.
“I have really enjoyed being able to speak on behalf of this charity and to fly the flag and beat the drum for what they are trying to do. I think it is really exciting.”
What are you looking forward to most about your piece premiering at Hatch House?
I am really excited to premiere something different at Hatch House; a work that I think will stand out for its uniqueness amongst such an exciting bill of works.
I am really excited to present two dancers who are right at the beginning of their professional journey, but are so exquisite at what they do and I feel very, very fortunate to be able to work with them.
“Any opportunity that I have to work with brilliant dancers, I take as an absolute privilege.”
Photo credit: Len Copeland
What inspired you to create this piece?
As the Director of an arts organisation called Project Dance and with the company, I have taken works across England. My favourite thing is narrative dance theatre and we toured with Growing Pains last year and this year we are making a new show called All That Matters.
“This is what makes me most passionate, it’s telling stories which people can connect to.”
How did this new piece come to life?
I first met Matt Brady (Director of Covent Garden Dance Company) when he came to watch my production of Growing Pains where there was an element of transdisciplinary arts engagement between the dancers and projection and art; the three unique disciplines working together to create a spectacle and that was when this concept was first conceived. We’ve taken inspiration from that and expanded it in a really holistic and thorough way, and that was how this new piece came to life.
The possibility of various creative mediums: dance, music, animation, costume, art, uniting together to enrich a single creative output entrances me, and the work presented today is a manifestation of such. Exploring this multitude of outlets has catalysed new opportunities for collaboration, for which have all been joyous and I am immensely grateful for.
“The dancers; young, ambitious, kind, have been magnificent to work with - that’s all I can ever ask for.”
Andrew Parfitt, James Bamford & Grace Noelle in rehearsal.
When you’re watching this piece, how does it make you feel, and what do you hope the audience feels?
I feel very inspired by the work of the dancers and how they are connecting with one another and the intimacy that they are portraying. I am also inspired by the true charisma that they share for one another, the space that they are working in, and the art that they are making.
It is truly exciting to be able to work with the dancers, because there is something very real and very honest and very authentic about them both. It is coming from a very true and organic place and I think that it is very fulfilling to work with as a choreographer, but you can also feel it permeate as an audience member.
Tell us about who will be dancing your new work and why you chose them.
Grace Noelle is a classically trained ballet dancer, originally from California. She trained with Bolshoi Prima Ballerina Alla Khanashvilli and Vera Ninkovic. She has danced principal roles such as Sugarplum Fairy (The Nutcracker), Aurora (Sleeping Beauty), and Mercedes (Don Quixote) with Palos Verdes Performing Arts. She has been a company dancer with Project Dance for over a year and will be the associate producer and rehearsal director in the company’s upcoming show, All That Matters.
Andrew Parfitt is an 18 year old dancer from Hertfordshire and is currently training at London Studio Centre. He previously trained at Italia Conti Junior School, Kreative Dance Academy and MEPA Academy and was an associate at The Royal Ballet School. Andrew is currently a member of 2 companies: Project Dance and the Dane Bates Collective and previously, Sol Dans Youth.
Andrew’s professional credits include the Wicked movie, London Fashion Week, Britain’s Got Talent, ‘Kam’ in Project Dance’s‘ Growing Pains and other corporate jobs.
Tell us about the piece of music you are using
We are using a brand new piece of music that I have been able to commission thanks to the Dicky Buckle Fund. It is by a fantastic composer called Benjamin Kahn and he has created a really sensitive, thoughtful piece using piano and cello; it will compliment the dancing in a really sensitive way.
I’ve known Ben for a really long time and I’m really excited that finally, I am able to work with him in this way.
How important are charities like the Dicky Buckle Fund for the future of dance?
The future of dance is dependant on charities like the Dicky Buckle Fund. The amount of surplus money that exists currently solely for the creation of art is so minimal. Public funding is in a precarious position at the moment, so having funds like the Dicky Buckle Fund which are able to create and be the catalyst for new work without the process of going through public funding routes, not only does it preserve the creation of new work, but it also makes artists feel like their work is valued and that it is wanted, necessary and valued.
Many children will be coming to watch the premiere of your piece at the rehearsal on the 24th July - you do so much to support the future generations of dance already, what will it mean to you to watch them watching your new work?
One of the massive things that I enjoy working with Project Dance is how we are able to engage with the communities that we work in, so I am really excited that the dress rehearsal is opened up to so many children in the local area so that they can get their first taste of what ballet actually looks and feels like.
Photo credit: Meg Sayer
“It is such a special thing. I feel very proud that I can contribute a work that will be part of that and it resonates really deeply with the values of Project Dance.”