Board of Trustees
Dancers’ Career Development’s Board of Trustees bring a diversity of knowledge and lived experience to the charity
Trustees are responsible for the governance of DCD as well as overseeing finance, risk, auditing, compliance and other operational aspects of DCD’s work. The DCD Board is a group of committed and engaged individuals who have a strong commitment to the career development of dance artists in the UK and to DCD’s values and approach.
Dancers' Career Development are grateful for the continued support of our Trustees.
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Nancy Glynn
MBA
Chair
Nancy Glynn MBA, former ballet soloist, is a business owner and executive coach with significant board-level business and leadership experience. In her 10-year career as a dancer Nancy worked with The Royal Ballet of Flanders, as well as several other ballet companies. From there she developed at first as a communications/PR professional, earned a Masters in Business Administration, and moved into Board-level positions at European and global levels.
Now as an executive coach and advisor to boards and leaders, Nancy has a strong track record in advancing diversity and equality and in enabling sustainable high performance. She creates environments that allow people to excel and thrive, using an evidence-based approach. Nancy’s particular focus is on leadership agility and navigating complexity. She coaches in the private, public and third sectors at executive and Board level and has executive leadership experience in public and privately owned corporations, leading during extended periods of transformation.
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Charles Glanville
Vice Chair
Former managing director of Oberon Books, the most prolific publisher of new plays and books on theatre practice. Chair Yorkshire Ballet Seminars, Trustee The Faction Theatre.
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Fred Emden
Chair of the Audit and Risk Committee
Fred has held leadership roles in a broad range of third sector organisations over the last twenty years. This has included with Scottish Ballet, the Royal College of Obstetricians and Gynaecologists and at present, as CEO of the Society of Pension Professionals.
Nancy Glynn MBA, former ballet soloist, is a business owner and executive coach with significant board-level business and leadership experience. In her 10-year career as a dancer Nancy worked with The Royal Ballet of Flanders, as well as several other ballet companies. From there she developed at first as a communications/PR professional, earned a Masters in Business Administration, and moved into Board-level positions at European and global levels.
Now as an executive coach and advisor to boards and leaders, Nancy has a strong track record in advancing diversity and equality and in enabling sustainable high performance. She creates environments that allow people to excel and thrive, using an evidence-based approach. Nancy’s particular focus is on leadership agility and navigating complexity. She coaches in the private, public and third sectors at executive and Board level and has executive leadership experience in public and privately owned corporations, leading during extended periods of transformation.
Former managing director of Oberon Books, the most prolific publisher of new plays and books on theatre practice. Chair Yorkshire Ballet Seminars, Trustee The Faction Theatre.
Fred has held leadership roles in a broad range of third sector organisations over the last twenty years. This has included with Scottish Ballet, the Royal College of Obstetricians and Gynaecologists and at present, as CEO of the Society of Pension Professionals.
Click here to read bio.
Sue Sloan
Chair of the Grants Committee
Sue Sloan qualified as a solicitor with an international law firm. After practising in London and Hong Kong she moved into executive search, specialising for several years in senior legal appointments and consulting for leading UK and US law firms. She is a qualified executive coach and has worked in that capacity with senior law firm partners and executives.
Sue serves as Chair of the DCD Grants Commitee as well as Chair of the English National Ballet Development Board. She has been a member of the Development Committee of the Royal Ballet School, served on The Grange Festival inaugural Ballet Committee and was Chair of the London Supporters of the City of Birmingham Symphony Orchestra. She is a member of the V&A Photographs Acquisition Group
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Hilary Hadley
Equity Representative
Hilary Hadley is the Assistant General Secretary for Live Performance, at the Trade Union Equity, has been employed at the Union in a number of Official roles since 1988 and has the overall responsibility to support and improve the working lives of dancers who work in the live performance sector. This involves meeting dancers in the various workplaces and negotiating with Employers and Engagers. Hilary has long supported the work of DCD, and has been a Board member now for many years, supporting the extremely valuable help that DCD offers to dancers who are considering transition from the world of dance to alternative careers.
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Joce Giles
Vice Chair
Joce is Director of Learning & Engagement at Sadler’s Wells, overseeing the organisation’s extensive work with children and young people, local communities as well as talent development programmes including the National Youth Dance Company and Young Associates. Prior to joining Sadler’s Wells, Joce was Director of Creative Projects at Rambert, where he worked as part of the senior management team for 9 years. Having previously worked as a professional dancer, performing with Scottish Ballet from 1998 – 2004, Joce was supported by DCD in 2009 to undertake an MA in Cultural Leadership at City University London.
Sue Sloan qualified as a solicitor with an international law firm. After practising in London and Hong Kong she moved into executive search, specialising for several years in senior legal appointments and consulting for leading UK and US law firms. She is a qualified executive coach and has worked in that capacity with senior law firm partners and executives.
Sue serves as Chair of the DCD Grants Commitee as well as Chair of the English National Ballet Development Board. She has been a member of the Development Committee of the Royal Ballet School, served on The Grange Festival inaugural Ballet Committee and was Chair of the London Supporters of the City of Birmingham Symphony Orchestra. She is a member of the V&A Photographs Acquisition Group
Hilary Hadley is the Assistant General Secretary for Live Performance, at the Trade Union Equity, has been employed at the Union in a number of Official roles since 1988 and has the overall responsibility to support and improve the working lives of dancers who work in the live performance sector. This involves meeting dancers in the various workplaces and negotiating with Employers and Engagers. Hilary has long supported the work of DCD, and has been a Board member now for many years, supporting the extremely valuable help that DCD offers to dancers who are considering transition from the world of dance to alternative careers.
Joce is Director of Learning & Engagement at Sadler’s Wells, overseeing the organisation’s extensive work with children and young people, local communities as well as talent development programmes including the National Youth Dance Company and Young Associates. Prior to joining Sadler’s Wells, Joce was Director of Creative Projects at Rambert, where he worked as part of the senior management team for 9 years. Having previously worked as a professional dancer, performing with Scottish Ballet from 1998 – 2004, Joce was supported by DCD in 2009 to undertake an MA in Cultural Leadership at City University London.
Joce is Director of Learning & Engagement at Sadler’s Wells, overseeing the organisation’s extensive work with children and young people, local communities as well as talent development programmes including the National Youth Dance Company and Young Associates. Prior to joining Sadler’s Wells, Joce was Director of Creative Projects at Rambert, where he worked as part of the senior management team for 9 years. Having previously worked as a professional dancer, performing with Scottish Ballet from 1998 – 2004, Joce was supported by DCD in 2009 to undertake an MA in Cultural Leadership at City University London.
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Ida Levine
Ida Levine is a principal with Two Rivers Associates Limited, consulting on policy, strategy and governance. She is Policy Lead Expert and Non-Executive Director on the Board of the UK Impact Investing Institute. Ida also sits on the Board of Trustees of the Royal Academy of Dance and the Maria Bjornson Memorial Fund, and the Advisory Board of the UCLA Institute for Carbon Management.
Previously Ida was Board Director, Senior Vice President and Senior Counsel for the Capital Group in Europe. Before CG, Ida was European Counsel at JP Morgan Investment Management and a Partner at the international law firm Jones Day (London and New York).
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Ingrid Mackinnon
Board EDI Champion
Ingrid Mackinnon is a London based movement director, choreographer, teacher and dancer. Movement direction credits include Red Riding Hood (Stratford East), Antigone (Mercury Theatre), Romeo & Juliet (Regent’s Park Open Air Theatre), Bonnie & Clyde (UWL: London College of Music), Hamlet (Royal Central School of Speech and Drama), First Encounters: The Merchant of Venice (Royal Shakespeare Company), Typical (Nouveau Riche), The Border (Theatre Centre), Breathing Space (Royal Court), Liar.Heretic.Thief (Lyric), ReImagining: Cacophony (Almeida), #WeAreArrested (Royal Shakespeare Company), Kingdom Come (Royal Shakespeare Company), #DR@CULA! (Royal Central School of Speech and Drama), Fantastic Mr. Fox (associate movement director- Nuffield and Lyric Hammersmith), Hansel & Gretel (assistant choreographer – Uchenna Dance), The Headwrap Diaries (assistant choreographer – Uchenna Dance). Performance credits include Dallas Black Dance Theater, Tavaziva Dance, Disney’s The Lion King (West End), Royal Opera House, English National Opera, Green Candle Dance Company and Uchenna Dance. Ingrid also is a certified STOTT Pilates instructor in matwork and reformer. She holds a BA in Kinesiology from Western University in Canada and an MA in Movement: Directing & Teaching from Royal Central School of Speech and Drama. Ingrid is also co-founder of MoveSpace.
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Jean-Marc Puissant
Jean-Marc Puissant is an award-winning set and costume designer working internationally in opera, theatre, dance and musicals. For The Royal Ballet he has designed Christopher Wheeldon’s Aeternum, Electric Counterpoint, DGV: Danse à grande vitesse and Tryst, set designs for George Balanchine’s Jewels and Javier De Frutos’s Les Enfants Terribles. For The Royal Opera he designed sets for David McVicar’s production of Aida. Further work at the Royal Opera house includes Whelan/Watson: Other Stories for The Royal Ballet, A Dream within a Midsummer Night’s Dream for Ballet Black Arthur Pita’s God’s Garden and Alexander Whitley’s The Measures Taken. He has also appeared on the main stage as a dancer with Birmingham Royal Ballet.
Puissant began his career as a dancer, training at the Paris Opera School and dancing professionally with BRB and Stuttgart Ballet. He then studied on the Motley Theatre Design Course and studied art history at the Sorbonne. He designs for leading international companies including New York City Ballet, American Ballet Theatre, BRB, Dutch National Ballet, Rambert, Lyric Opera of Chicago, Los Angeles Opera, Santa Fe Opera, Scottish Opera, Norwegian National Opera, Palau de les Arts Reina Sofía, Valencia, Menier Chocolate Factory and Théâtre du Châtelet.
Several productions Puissant has designed have won Olivier, South Bank Show and Critics’ Circle awards. He was nominated for Best Scenographer at the 2016 Benois de la danse and was a finalist at World Stage Design 2013. Several productions he has designed have won Olivier, South Bank Show and Critics’ Circle awards. He has given talks about his work at the V&A and Guggenheim Museum, New York, has tutored theatre design at Central School of Speech and Drama. He is a 2018 Fellow at New York University’s Center for Ballet and the Arts.
Click here to read bio.
Dr Sara Wookey
BFA, MFA, PhD
Dr Sara Wookey trained as a Post-Modern dancer and choreographer in the US and is currently based in London, England. As an international dance artist and research associate with the Centre for Dance Research and Tate Modern, she specializes in dance as a relational, site-based practice in the museum and for other civic spaces. Her work has been in collaboration with, among others, the Hammer Museum, REDCAT, New Museum, and the Barbican and is now part of the permanent collection at the Van Abbe museum. Sara also speaks and writes on issues of labor and value in the arts and serves on the Independent Dance Committee at Equity, UK.
Sara is the director of Wookey Works, an organisation offering creative services in collaboration with cultural organisations, educational institutions and government agencies. She has worked with Yvonne Rainer since 2010 and is a certified teacher Rainer’s seminal dance work “Trio A” (1966) and other repertoire.
Parallel to her creative and professional practice Sara speaks and writes on issues of economy, labor and value in the arts and consults on public engagement with a concern for the preservation of and sustainability in dance.
Ida Levine is a principal with Two Rivers Associates Limited, consulting on policy, strategy and governance. She is Policy Lead Expert and Non-Executive Director on the Board of the UK Impact Investing Institute. Ida also sits on the Board of Trustees of the Royal Academy of Dance and the Maria Bjornson Memorial Fund, and the Advisory Board of the UCLA Institute for Carbon Management.
Previously Ida was Board Director, Senior Vice President and Senior Counsel for the Capital Group in Europe. Before CG, Ida was European Counsel at JP Morgan Investment Management and a Partner at the international law firm Jones Day (London and New York).
Ingrid Mackinnon is a London based movement director, choreographer, teacher and dancer. Movement direction credits include Red Riding Hood (Stratford East), Antigone (Mercury Theatre), Romeo & Juliet (Regent’s Park Open Air Theatre), Bonnie & Clyde (UWL: London College of Music), Hamlet (Royal Central School of Speech and Drama), First Encounters: The Merchant of Venice (Royal Shakespeare Company), Typical (Nouveau Riche), The Border (Theatre Centre), Breathing Space (Royal Court), Liar.Heretic.Thief (Lyric), ReImagining: Cacophony (Almeida), #WeAreArrested (Royal Shakespeare Company), Kingdom Come (Royal Shakespeare Company), #DR@CULA! (Royal Central School of Speech and Drama), Fantastic Mr. Fox (associate movement director- Nuffield and Lyric Hammersmith), Hansel & Gretel (assistant choreographer – Uchenna Dance), The Headwrap Diaries (assistant choreographer – Uchenna Dance). Performance credits include Dallas Black Dance Theater, Tavaziva Dance, Disney’s The Lion King (West End), Royal Opera House, English National Opera, Green Candle Dance Company and Uchenna Dance. Ingrid also is a certified STOTT Pilates instructor in matwork and reformer. She holds a BA in Kinesiology from Western University in Canada and an MA in Movement: Directing & Teaching from Royal Central School of Speech and Drama. Ingrid is also co-founder of MoveSpace.
Jean-Marc Puissant is an award-winning set and costume designer working internationally in opera, theatre, dance and musicals. For The Royal Ballet he has designed Christopher Wheeldon’s Aeternum, Electric Counterpoint, DGV: Danse à grande vitesse and Tryst, set designs for George Balanchine’s Jewels and Javier De Frutos’s Les Enfants Terribles. For The Royal Opera he designed sets for David McVicar’s production of Aida. Further work at the Royal Opera house includes Whelan/Watson: Other Stories for The Royal Ballet, A Dream within a Midsummer Night’s Dream for Ballet Black Arthur Pita’s God’s Garden and Alexander Whitley’s The Measures Taken. He has also appeared on the main stage as a dancer with Birmingham Royal Ballet.
Puissant began his career as a dancer, training at the Paris Opera School and dancing professionally with BRB and Stuttgart Ballet. He then studied on the Motley Theatre Design Course and studied art history at the Sorbonne. He designs for leading international companies including New York City Ballet, American Ballet Theatre, BRB, Dutch National Ballet, Rambert, Lyric Opera of Chicago, Los Angeles Opera, Santa Fe Opera, Scottish Opera, Norwegian National Opera, Palau de les Arts Reina Sofía, Valencia, Menier Chocolate Factory and Théâtre du Châtelet.
Several productions Puissant has designed have won Olivier, South Bank Show and Critics’ Circle awards. He was nominated for Best Scenographer at the 2016 Benois de la danse and was a finalist at World Stage Design 2013. Several productions he has designed have won Olivier, South Bank Show and Critics’ Circle awards. He has given talks about his work at the V&A and Guggenheim Museum, New York, has tutored theatre design at Central School of Speech and Drama. He is a 2018 Fellow at New York University’s Center for Ballet and the Arts.
Dr Sara Wookey trained as a Post-Modern dancer and choreographer in the US and is currently based in London, England. As an international dance artist and research associate with the Centre for Dance Research and Tate Modern, she specializes in dance as a relational, site-based practice in the museum and for other civic spaces. Her work has been in collaboration with, among others, the Hammer Museum, REDCAT, New Museum, and the Barbican and is now part of the permanent collection at the Van Abbe museum. Sara also speaks and writes on issues of labor and value in the arts and serves on the Independent Dance Committee at Equity, UK.
Sara is the director of Wookey Works, an organisation offering creative services in collaboration with cultural organisations, educational institutions and government agencies. She has worked with Yvonne Rainer since 2010 and is a certified teacher Rainer’s seminal dance work “Trio A” (1966) and other repertoire.
Parallel to her creative and professional practice Sara speaks and writes on issues of economy, labor and value in the arts and consults on public engagement with a concern for the preservation of and sustainability in dance.