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The writer Peter Ackroyd claimed, ‘I truly believe that there are certain people to whom or through whom the territory, the place, the past speaks'. 


This he said, was the essence of territorial imperative, and nowhere in the world, he argued, was it more powerful than in England.

‘English writers and artists, English composers, and folksingers, have been haunted by this sense of place, in which the echoic simplicities of past use and tradition sanctify a certain spot of ground. These forces are no doubt to be found in other regions and countries of the earth, but in England the reverence for the past and the affinity with the natural landscape join in a mutual embrace. 


So, we owe much to the ground on which we dwell. It is the landscape and the dreamscape. It encourages a sense of longing and belonging. It is Albion.’


As a working-class queer Northerner with a mixed cultural upbringing, my relationship to England is complex. It is a mix of deep patriotism in one hand, and on the other, it is convoluted by a deep suspicion of English patriotism. In recent years, English patriotism, in its platitudinous and broader superficial guise, has not always epitomised a country in which I am proud to call home, nor has it always spoke to (or for) the communities in which I live amongst, with and belong to. 


‘Brexit, an overwhelmingly English project, only deepened a conviction that rising nationalism in the United Kingdom’s largest country is a much darker affair than its Scottish equivalent. Xenophobia, nostalgia for empire and cultural authoritarianism are judged to be its trademarks.

But if progressives are not, paradoxically, to find themselves on the wrong side of history, it might be time for the left to undertake its own English journey.


Proud to be English: How we can shape a progressive patriotism’
Julian Coman – Proud to be British. The Guardian.


EnglandFeverDream is an exploration into an England in state of flux, looking towards our landscapes, our dreamscapes, our historical and mythological interpretations of Englishness and the place in which we call home, to present an alternative future vision of an England more in tune with its multi-immigrational origins. I am interested in developing conversations with audiences that speak about England’s subconscious dreams and nightmares. Who are we? Where do we come from? Where are we going? I want to expand upon these questions and develop a project in which wider communities can see an England through an alternative lens and with a more soulful depth, hopefully sparking conversations for positive change. 


Most importantly, I want to create and celebrate an alternative vision of an England that is not only imagined from a rich international tapestry of history, folklore, and territorial imperative, but also one in which all communities can be part of that story, shape in some way, and belong to. 


‘The people engaged with folklore customs now aren’t nostalgic, they’re looking forward – they’ve realised seasonal traditions are a way to reconnect with the planet.’


Simon Costin – Museum of British Folklore


This will be achieved through developing a full-length dance theatre production that excels in artistic excellence with a team of renowned collaborators, celebrating a creative and cultural country that can have long lasting impact on regional, national, and international audiences (whilst also providing opportunities for multi-faceted arts projects to emerge from engagement opportunities).


Our vision

‘The history of this country is so much wilder and more interesting than people seem to think. Our history is more smashed up and rebuilt than any other European country due to the number of different people and therefore cultures that have invaded and populated us over the years. As a result, these influences are reflected in our art and culture.’

Art That Made Us

James Hawes – Historian 


We want to challenge the preconceptions of English patriotism and reclaim an England for a newer, more progressive generation. In asking the questions ‘Who are we? Where do we come from? And where are going?’, we want to encourage conversations that support the derivative origins and customs of the English peoples and their sense of place as being an accumulative product of international impact, influence, and immigration. An old nation, still shapeshifting. Most importantly, in presenting a vision of England as a confluent concept, in which an England in constant movement and change correlates to its national origins, we want to create an audience experience which celebrates an England and its people for the future. 


As this stage of the project is Research and Development based, we have devised a series of questions that will help guide us through the preliminary stages of exploration and culminate in a confident outcome for the next stages of the project (creation and tour). These are based on the concept, context, and content of the work with the following main themes:


  • Territorial Imperative: An English sense of ‘place’

  • National Identity: What makes England different. What are our dreams, hopes and fears? (And how are our communities responding to this?)

  • Folklore and Customs as a form of anarchy: Can we change how the world sees us, and how we see ourselves in becoming a more progressive and inclusive society, by looking backward (and forwards) with our forgotten customs?


Proud to be English: How we can shape a progressive patriotism. Julie Coman.


Cool as folk: why Britain’s young rebels are embracing ancient rites.



  • – What is drawing us to these images? How are nature and the landscape embedded? Are there any common themes that the team are interested in?  

  • Should we follow a specific narrative?

  • Who are the people on stage? Do they already exist within a specific fictional/folkloric or non-fictional context? 

  • Who/What is the central protagonist and why are they (/how can they be) vitally important to the concept of the work?

  • How does the world imagine England? How do we explore this creatively, and can we be part of a positive shift in feeling (including on an international platform)?

  • In reference to folkloric stories and customs, should we be fixing this work within a particular season? 



  • Is this show set within a specific moment?

  • What is inspiring us within our residencies (e.g., specific objects from the Auckland Project collections)

  • Do we focus on a particular region of England (such as the North), or do we keep it geographically broader? How will this impact international touring?

  • How can the work be mailable enough to be site adaptive (understanding the transference from traditional theatre venues to non-traditional spaces)



  • How are we using theatre, and how are we ensuring that we are pushing new creative boundaries?

  • How are we using language?  What is the impact of using several different languages? Can old English be used (if so, who do we find to help us with this?)

  • How do we ensure that we take inspiration from lots of other sources, yet keep it authentic to our work?

  • How are we pushing contact-based work on older dancers?

  • How can we continue with the success of ROMA (ACPG-00449234) when exploring the relationship between musicians and dancers/performers? Does this work in this instance?

  • What props are we using? 

  • Can we explore the use of nature, influenced by images gathered? ( 

  • Is our work speaking to our communities?

  • Who do we think will want to see this work?

Planning to date

Prior to submitting this application, we have been in a close working dialogue with all of artists and partners currently engaged with the project so far, which has helped us to be in a strategically strong position whilst we prepare to move into the next stages.  


Anthony has been working with some of our artists and partners to ascertain the potential direction of project. Their investment in time and resources has allowed Anthony to explore some elements of how the project may look and feel with further funding, support, and opportunities in the future. Planning to date includes:


Auckland Project Residency:

Supporting Footage -


During our time with Auckland Project (18.08.23-23.08.23), we undertook a trial residency to test what the most successful model for a larger residency could look like. This was a first for Auckland Project, and so it was also an essential way for them to understand how artists can be in residency and working amongst exhibitions (including collecting data for barriers and hurdles associated with the artworks), work in harmony with visiting public and hold engagement opportunities for local communities. 


Our following priorities consisted of:

  • Developing relationships with Clare Baron (Head of Exhibitions) Laura Roberts (Head of Community Engagement) and Jonathan Ruffer (founder) to discuss the best plan of action for EnglandFeverDream, including space, time, artworks of interest and future engagement opportunities. 

  • Test out ideas with some members of the creative team and discuss the concepts of the work in relation exhibited items (supported by a tour of the gallery with Caroline Smith (preservatory).

  • Understanding the mission of Auckland Project and how EnglandFeverDream could contribute to that.

  • Holding space for an observation and discussion with Auckland Projects Can Any Mother Help Me?  Bishop Auckland mothers group to develop relationships with the group and observe how we could facilitate more opportunities at Auckland project (Can Any Mother Help Me?Article 


  • Queens Hall Arts Residency

  • Supporting Footage -



  • We were supported with space in kind from Queens Hall Arts to explore some preliminary ideas (Queens Hall will continue to be an active partner and have committed to programming the work in 2025). In the above footage, we experimented with themes centred around the natural world/Herne the Hunter, Shakespeare’s ‘The Merry Wives of Windsor’ and Dan Hilliers Fount (


  • From this residency, the following questions arose:

  • Will this work require a narrative/plot? If so, could this be a specific folkloric story, or is it possible that we can design one for this work (to be confirmed during the R+D). Will this require a scriptwriter?

  • Can set/props influence the themes of land, nature and ‘territorial imperative’? (Herne the Hunter captured an evocative feeling of darkness and winter, which was an inspiring concept when in the studio.)

  • Seaton Deleval Hall


  • We have been developing a partnership with Seaton Deleval Hall for the past 12 months to prepare us for a closer working relationship with EnglandFeverDream. This has included:

  • Young Peoples gardening/talking group with support through Us Active Charity

  • For this, we have been working in collaboration with Us Active Charity ( to test out a model of bringing young people into heritage spaces (with emphasis on mental well-being and those with limited access to heritage spaces e.g., refugee/asylum groups). This has been trailed with a monthly gardening club for young people aged 12-25 which also provides a space to talk and reflect. We plan to engage these young people further by inviting them to join us for an open rehearsal/discussion about the concept of our work when in residency at Seaton Deleval Hall. 


  • North East Artists Music and Movement Jam

  • On September 29th, we hosted a North East Music and Movement Jam, which was supported by Emma Thomas (General Manager) and Siobhan Falkus (experience and visitor programming). As well as supporting the time to trail working collaboratively with Emma and Siobhann, this event also allowed us to test working creatively within Seaton Deleval Hall. This supported the understanding factors relating such as working on a listed floor, visitor experience, room temperature, and conservation issues, as well as how a live performance could work at a future date. This ensures that when we go into the space to work as part of our research process, we are already aware and prepared, thus saving time and resources figuring these things out later.

  • TeesDance

  • Supporting Footage –

  • We have been working to strengthen our relationship with TeesDance for several years. As a working dance artist from Middlesbrough, Anthony is passionate about continuing to contribute to the cultural offering of Teesside and providing opportunities where they are currently limited. By continuing to work with TeesDance on opportunities throughout this project, we are keen to build an ongoing legacy and strengthen the visibility (and viability) for Dance in Teesside. 

  • Most recently, this has been achieved by inviting the young people currently engaged with Teesdance to join us for several observation sessions, workshops, and curtain raiser performances for ROMA (ACPG-00449234), the most recent of which can be seen in the above link, which takes place during our Performance of ROMA at SIRF Festival on August 3rd, 2023. During the next stages of the project (2025+ touring) we will be working with Teesdance on developing a series of curtain raiser performances that will be presented before performances of EnglandFeverDream. 

  • DYCP-00536120-R15

  • Anthony is currently being supported by a DYCP project grant to research the potential impact of a dance festival in his local town of North Shields in 2025. This will coincide with the 800-year anniversary of North Shields, which is encouraging the exploration of the potential thematic concepts of a dance and theatre festival which would relate to the identity of the local area (the ocean, immigration and migration, the north, and horizons). These themes will also influence our time in the studio, which will help us to consider EnglandFeverDream as one of the productions that could sit into a proposed 2025 festival alongside other relative works. With this is mind, we are in discussions with Steve Bishop (Head of Culture for North Tyneside Council – ) who will be invited into our rehearsals. 

  • Another part of Anthony’s DYCP has consisted of building communities for dance in North Shields (thus building audiences and further engagement opportunities for 2025) This includes:

  • North East Artists Music and Movement Jam


  • NTYD – North Tyneside Youth Dance


  • International Arts communities situated within Port Cities / histories of sea faring communities.





  • We will ensure that all communities that are currently engaged with us during this DYCP research work will also be kept informed with EnglandFeverDream and all opportunities available throughout this stage of the project. This will include open studios, invitations to classes and workshops and an international residency at TAN Theatre Naples to continue to strengthen international connections for our work. 


  • Refugee/Asylum:

  • ‘Without immigration, there would be no England.’


  • We believe that everyone should have access to great art, and we want to share our work with people, without limitations. As a person of mixed cultural heritage, Anthony’s work is rooted deeply in conversations surrounding the ideas of home and belonging. When explored within a socio-economical context, there is a natural correlation with the current immigrant and refugee crises. 

  • This was first trialled during our 2017 project Savages (GFTA-00009864), in collaboration with CAST Doncaster and a regionally based refugee action group. This activity received great response and subsequently fuelled us to work with other refugee/asylum groups during our 2022 tour of ROMA (ACPG-00449234 ) in which we worked with Rainbow Home ( ) and Middlesbrough Community Learning ( to deliver a series of observation opportunities, workshops and ring-fenced free tickets. 

  • To continue with this work, we are working with several partners during the Research and Development of this project who share these values and will support us in delivering the following:


  • Middlesbrough Community Learning (

  • Invitation to an Open Rehearsal invitations and feedback session on 17/06/2024 at Middlesbrough Town Hall. Supported by Middlesbrough Town Hall.


  • Breckon Hill Romani Traveller group ( 

  • Music Jam workshop with Brendan Murphy on 19/06/2024 at Breckon Hill Community Centre. Supported by Middlesbrough Town Hall.


  • Queer work presented within Heritage venues:

  • Following on from a performance event of our work L’uomo ( at Coventry Cathedral (08.07.19 as part of ACPG-00144992) we highlighted and fed back to Arts Council on our collated findings of poor representation for Queer focused work within Heritage venues. Audience feedback collected from our performances at Coventry Cathedral demonstrated a highly positive response, showcasing the need of representation for Queer work to be more accessible within Heritage venues across England (demystifying 

  • stigma and opening conversations for positive change). Audience feedback from L’uomo at Coventry Cathedral can be found on the following link:


  • We have utilised these findings to encourage further opportunities for Queer work within Heritage spaces to be more accessible for audiences across England. Most recently, this was achieved through our 2022 tour of ROMA (ACPG-00449234) ( in which we presented the production in York Minster and Durham Cathedral.  

  • Audience feedback from ROMA at Durham Cathedral and York Minster can be found on the following link:


  • We aim to continue to expand on opportunities for Queer work to have a place within heritage spaces. 


  • For this stage of the project, we are also working with our partners at Us Active ( and Seaton Deleval Hall to welcome PLUS group visiting Seaton Deleval Halll to meet members of the artistic team and give feedback on the work on 12.06.24.


  • Audiences

  • ​Audience feedback from previous productions:







  • Press Reviews:
    ‘Beguiling and intensely personal… 
    There is a dream-like quality to Anthony Lo-Giudice’s latest dance work, even though it has been rigorously choreographed…It’s as riveting and unpredictable as it is intensely personal. That it is pregnant with a meaning that might not fully reveal itself doesn’t diminish its appeal as a spectacle.
    such dream-like fare – served up by top-drawer performers – offers much to chew over.’

  • Cultured North East for ROMA

  • ‘Soul stirring gravitas…
    Roma was a beautifully rich and powerfully emotive work. From music to the choreography, it was a joy to watch master craftsmen (and women) at their best’.

  • Crack Magazine for ROMA

  • ‘The choreography is slick, gentle, and carefully crafted to build tricks of the eye. Images swell up and dissolve away; focused on the central bench that sits in front of the studio-style backdrop, family portraits are attempted, and failed, arrows of wheat and dried flowers pierce hearts, controlled by hidden dancers from behind. The piece builds a transient and beautiful image of family relationships, showing how time and memory affects our construction of the past and the small interactions and moments that seem to stick in our minds, whether misremembered or not.’

  • Dance Art Journal for ROMA


  • The duet refused to hide behind long and complex movement phrases, this personal, intimate, and heart-felt subject was handled extremely sensitively and intelligently; the most intense and emotive moments were the ones of a touch, a smile, an embrace, a connection. The performers gave a nuanced and captivating performance – I truly felt the audience disappear during the work, I was completely drawn in by the delicacy and rawness of the piece which tangled, separated, and fused on the stage before me.’

  • Jack Ward for L’uomo


  • ‘This is not just dance. This is a multi-Disciplinary masterpiece.’

  • NARC for Savages

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