SECTION 1:

1) Why?​

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'England stands at a pivotal moment of socio-political transformation. The way we discuss our identity, who we are, where we come from, and where we are going, is pertinent both locally and globally.

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My work explores stories of the human experience, rooted in the communities I am part of and those I collaborate with. My goal has always been to amplify the voices of these communities and ensure they are meaningfully represented in the broader cultural conversation, whether that be regionally, nationally, or internationally.

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As a queer, working-class immigrant from a Council Estate in Middlesbrough, I know firsthand the urgent need for authentic, tangible representation. I am committed to building a company that is grounded in these perspectives. Navigating the sector as a choreographer within these boundaries (/hurdles), I see how vital investment in sector development and learning support is. It opens doors to richer cultural output, higher quality work, and stronger workforce opportunities.

 

Above all, I believe there is a pressing need for art that people can engage with deeply and in ways that resonate with them, whether through co-creation, immersive experiences, or simply as thoughtful spectators. Art that is relevant, excellent, and enduring.

Anthony Lo-Giudice

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2) Our Commitment to Inclusivity and Relevance

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'The work of mine and my collaborators creative practice is shaped by the lived experiences of underrepresented communities and driven by a commitment to equity, representation, and artistic excellence. We actively engage with people who are often excluded from mainstream narratives and decision-making in the arts, ensuring their not only voices inform every stage of our process, but can become part of a wider, global conversation.

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Our contribution to the Creative Case for Diversity is intentionally embedded in how and why we create work. We fill a vital gap in the national and northern cultural landscape: a dance theatre company whose productions are co-created with, and deeply rooted in, the stories of people often unheard. Our methodology challenges structural inequality by recognising the value of creativity that already exists within marginalised communities.

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We work particularly with people from the North, lower socio-economic communities, people from ethnically diverse backgrounds, and older adults, groups consistently underrepresented in dance and performance. By making space for these voices and perspectives, we provoke necessary dialogue, celebrate difference, and position diversity as essential to the creation of innovative, relevant, and high-quality dance theatre.

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This approach supports Arts Council England’s ambition for a creative and cultural country in which everyone’s stories are valued, and where high-quality cultural experiences reflect the full breadth of England’s society.'

Anthony Lo-Giudice

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3) Audience Feedback from previous projects​​

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4) Supporting Reference:

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Name of Referee Bradley Hemmings

Referee Job Title: Artistic Director

Referee Organisation:  Greenwich and Docklands International Festival. FESTIVAL.ORG

Referee Email address: bradley@festival.org

Referee Phone Number: 07787 346 712

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'I’ve known Anthony for more than 10 years, having first worked with him on the Millionth Finish of the 2014 Great North Run. His work then at an early stage in his career, with a large cast of volunteer performers, demonstrated the thoughtful, respectful and considerate approach to the collaborative creation of movement, which always shines through when I think of him. 

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During the pandemic, we presented his beautiful duet, L'uomo as part of the Greenwich+Docklands International Festival in 2020, audiences were deeply moved and engaged by the power and tenderness of a work which explored the challenges experienced by two men in expressing physical affection in a public space. The piece was given further resonance by the audience’s experiences of safe distancing and the loss of touch and connection during the pandemic. It became a performance, which was not just site-responsive in the conventional sense, in which Anthony re-choreographed the piece for contrasting public spaces, but also reverberated with political urgency in addressing the continuing homophobic challenges experienced by LGTBQI+ people. 

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Recently, I’ve been excited to see rehearsals of Anthony’s developing work, “The Ghosts of England”, in which he is reframing ideas around identity through contemporary use of folk idioms and mythologies associated with Englishness, to foreground diverse experience and voices. 

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His work is profoundly rooted in the North East of England whilst also revealing an international, perhaps Global sensibility which opens up exciting new worlds and possibilities. 

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He’s an artist with an emotionally intelligent sense of landscape, place and community, which sets his work in a category of its own, making him an exceptionally compelling artist for the sadly fragmented and divided times that we’re currently living through.'

 

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5) Supporting evidence for Why:

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'Six in 10 of all arts and culture workers in the UK now come from middle-class backgrounds, compared with just over 42% of the wider workforce, according to new research.​ And while 23% of the UK workforce is from a working-class background, working-class people are underrepresented in every area of arts and culture. They make up 8.4% of those working in film, TV, radio and photography, while in museums, archives and libraries, the proportion is only 5.2%.

The report by the Creative Industries Policy and Evidence Centre draws together data from the 2021 census and the quarterly Labour Force Survey, breaking down inequalities in the UK’s arts, culture and heritage workforce by background and regions.'​​

Read Guardian Report ​​

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​'The unsettling truth is that social class barriers and biases are pervasive throughout the creative industries. Talented journalists, artists and actors from 'lower' socioeconomic backgrounds face a grotesquely unlevel playing field, characterised by a series of material and cultural hurdles that impede their progress.

...This suggests we need to do more to challenge those in powerful positions to recognise this missing dimension of diversity. Class discrimination, meanwhile, is a struggle that impacts a richly diverse set of people.'​

Read The Class Ceiling in the Creative Industries Report

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'80%of theatre workers believe working-class people experience "disadvantage" within the industry, according to research from Creative Access'​

Read The Stages Working Classes Industry Report

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'We need to challenge and overcome barriers of class and social mobility with the same level of commitment that we respond to inequities in relation to race, disability and gender – all protected characteristic groups under the Equality Act. The same legal imperative may not apply to class and social mobility, but the Creative Case for Diversity is driven by artistic excellence not just legal requirements. Quality data and robust measurement frameworks will help us get there.'

Read Breaking Barriers on class and social mobility in Arts and Culture - Arts Council England Report

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'Official figures state that total creative industries employment in Tees Valley as 3,965 – a fall of 20% from the 4,930 jobs recorded in 2019, and 34% from 2015’s total of 6,015''. 'The Tees Valley lost 840 creative jobs (more than a quarter of the pre-Covid total) from the start of the Covid pandemic. £100M GVA (9% DROP) CREATIVE SECTOR LOST Research from the Creative UK Group also suggests that recovery from the impact of COVID is not equal across the UK. The creative industries in the North East is predicted to be the slowest of all English regions to return to pre-pandemic levels.'

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'Young people and diverse communities do not identify themselves within current cultural offer.'

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'Weaknesses -  Limited opportunities for career progression / development'.​

Read Tees Valley Cultural and Creative Industries Baseline Report

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'While there are subjects of historical significance to Middlesbrough, it is appreciated the town lacks a natural theme that could be sufficiently exploited, save for its iron steel heritage'​​

Read MIDDLESBROUGH COUNCIL FINAL REPORT OF THE CULTURE AND COMMUNITIES SCRUTINY PANEL CULTURAL EVENTS IN MIDDLESBROUGH: - THEIR IMPACT AND FUTURE

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SECTION 2: 

1) Proposed impact

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The Strategic Case for Establishing a Dance Theatre Company in the Tees Valley:

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Through prior consultation with regional and national partners, we have summarised that the founding of a dance theatre company in the Tees Valley would address several pressing needs and generate long-term benefits. These include:

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• Challenging Sectoral Inequality: By diversifying who makes and participates in dance, we will challenge socio-economic stigma and contribute to wider conversations on class, race, and social mobility in the arts.

• Growing International Partnerships: Strategic relationships with the Campania region in Italy, The Baltic Nordic Fringe Network, and Stockton International Riverside Festival will facilitate international collaboration, knowledge exchange, and cultural diplomacy.

• Supporting Cultural Employment and Skills Development: We will create sustained employment pathways for North East cultural sector workers, supported through apprenticeships, mentoring, and freelance opportunities. These models have already shown success through projects like ROMA (ACPG-00449234) and The Ghosts of England (NLPG-00750772-V2).

• Expanding Community Engagement: Identifying future opportunities through reviewing previous models and current activities such as workshops, curtain raisers, and Pay What You Decide ticketing will deepen access and participation across a broad demographic, especially in underrepresented communities.

• Contributing to Regional Regeneration: High-quality cultural events will increase footfall and investment, while raising the Tees Valley’s profile locally and internationally. This supports the ambitions outlined in the Tees Valley Combined Authority Growth Plan (Read here) and aligns with Middlesbrough’s designation as an Arts Council Priority Place.

• Shifting Perceptions: Through ambitious storytelling rooted in the lived experiences of diverse local communities, we will redefine how Middlesbrough is culturally represented, both regionally and globally.

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Anthony’s Developmental Needs:

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Anthony’s practice has matured significantly over the last 15 years, gaining recognition for producing bold, politically charged work from within the Tees Valley. However, to transition from a sole trader to a sustainable company structure, targeted support is now essential.

• His projects are increasing in scope and complexity, but current capacity limits prevent long-term planning, audience development, and strategic delivery.

• Independent evaluations (e.g., ROMA, 2022) have highlighted the need for stronger infrastructure to realise full impact and scalability.

• Key developmental gaps include company governance, policy design, legal and financial frameworks, and access to national and international co-investment.

• Anthony is ready to step into a leadership role within the North East cultural sector, contributing to broader ecosystem development while creating high-quality, inclusive dance theatre.

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With Arts Council support, this next stage will solidify Anthony’s long-term contribution to the region’s creative economy and position the Tees Valley as a vital site for dance theatre innovation.

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2) Current Swot Analysis: Anthony Lo-Giudice (Organisational Development Focus)​

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Strengths​

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• Distinct Artistic Identity: A recognised conceptual and choreographic voice with a socially engaged focus.

• Proven Track Record: 15 years of delivering high-quality, critically engaged work across regional, national, and international platforms.

• Unique Perspective: A working-class, multi-heritage artist from the North East with a distinct narrative lens rooted in social justice.

• Audience-Centred Practice: Evidenced ability to engage audiences through accessible storytelling and non-traditional performance spaces.

• Collaborative Networks: Established partnerships with respected practitioners, programmers, mentors, and producers across the UK and Europe.

• Funding Success: Strong track record in securing public funding from ACE Project Grants, commissions, and regional partners.

• Youth Engagement: Creation of the Northern Youth Dance Company (2023), demonstrating commitment to sector development and young people’s progression routes.

• Community Engagement: Proven capacity to engage underrepresented communities through participatory activities and co-creation models.

• International Links: Cross-cultural connections with Teatro Area Nord (Italy) and Reykjavik Fringe (Iceland), offering platforms for international exchange and growth.

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Weaknesses

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• Sole Trader Model: Current legal structure limits scalability, fundraising capacity, and long-term sustainability.

• Lack of Business Infrastructure: Absence of a strategic business plan and delivery team undermines growth potential.

• Limited Brand Clarity: Existing name and branding do not fully support audience or market accessibility.

• Gaps in National Recognition: Lack of national-level awards or accolades affects visibility and reach.

• Underdeveloped Physical Infrastructure: No fixed base, rehearsal storage, or dedicated production facilities.

• CPD Deficit: Limited investment in continuing professional development over the last five years (aside from DYCP in 2023).

• Fragmented Company Structure: Youth and core company activity are not yet integrated into a sustainable model.

• Missed EU Opportunities: Limited uptake of international programming and funding opportunities, despite EU eligibility.

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Opportunities

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• Organisational Transition: Establishing a Limited Company structure will increase access to investment, talent, and strategic planning.

• Brand Development: A refreshed name, visual identity, and messaging can improve audience and stakeholder engagement.

• Profile Building: Upcoming productions in 2025/2026 offer opportunities for national touring, critical response, and sector engagement.

• Audience Insight: Strong response to personal storytelling and non-conventional venues can be leveraged for growth and marketing.

• Expanded Workforce: New collaborators and advisors can bring vital expertise in business planning, evaluation, and producing.

• Increased Visibility: Regional positioning within a Priority Place (Middlesbrough) aligns with ACE’s levelling-up agenda.

• CPD and Leadership Development: Tailored training can enhance artistic product, governance knowledge, and strategic capacity.

• International Expansion: Build on European relationships to increase England’s cultural reach and artistic exchange.

• Stronger Investment Strategy: Improved planning around advertising and PR to boost earned income and resilience.

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Threats

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• Funding Dependency: Future progress hinges on securing key organisational development investment.

• Competitive Landscape: Other regional artists and companies are competing for limited resources and attention.

• Space Insecurity: Lack of a long-term physical base may reduce opportunities for strategic development and community visibility.

• Strategic Fit: Without clear leadership or a strong business team, artistic output may not reach national benchmarks.

• Artistic Compromise: Programming in heritage or non-traditional spaces may require adapting work to meet non-artistic agendas.

• Momentum Risk: Failure to secure core funding could stall business development and limit growth potential.

• Market Readiness: Questions remain around the competitive positioning of the work at national/international levels.

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SECTION 3: 

How will we develop Scip-Steorra?

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1) Appointment of Artistic Director and Project Manager to support development growth, sustainability and resilience.

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NLPG-00793036 will enable Anthony Lo-Giudice (Artistic Director) and Amy Swalwell (Project Manager) to be employed to deliver our project ambitions. At present Scip-Steorra is a newly established, project based company with no staff. This currently means that without strategic investment support, we are unable to build planning opportunities for long-term sustainability and be reactive to our external environment.

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The appointment of Anthony and Amy will support Scip-Steorra to identify opportunities, ascertain and mitigate risks, and deploy resources more effectively in order to build a long-term plan to continue delivering ambitious artistic work in line with the Let's Create strategy.

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2) Consultations with sector leaders to understand and implement effective Artistic, Management, and Governance Structures.

Alongside the project managerial support from Amy, Anthony will invest in coaching from sector leading NPO's, Programmers, and Directors in order to fully understand and develop the project outcomes of NLPG-00793036. The culmination of this research will result in an organisation that has the skills and knowledge to anticipate and adapt to economic, environmental and social change, whilst also being driven by the development of a long-term plan. 

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The learning outcomes of our consultation coaching through NLPG-00793036 will also support us to develop:

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• Artistic Policy and Action Plan

• Accessibility Policy and Action Plan

• Audience Development Policy and Action Plan

• Engagement Policy and Action Plan

• Environmental Policy and Action Plan

• Equality Diversity and Inclusion Policy and Action Plan

• Evaluation Policy and Action Plan

• Financial Policy and Action Plan

• Recruitment Policy and Action Plan​

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3) Development of a 3-year business plan

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In consultation with Professor of Practice in Cultural and Creative Economy at Newcastle University, Mo O’Toole, Anthony and Amy will develop a 3-year business plan. This will be a product informed by the outcome from the results of our research through NLPG-00793036.

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The process of writing our business plan will enable us to:​​

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• Establish long term goals

• Identify our strengths and weaknesses

• Identify our USP and the earned/contributed income our USP can attract

• Establish clear financial goals

• Identify and mitigate risks

• Develop strategies for sustainability and growth

• Define audience trends and how they relate to our work

• Set a clear plan for International market growth

• Identify how we can develop in our market and create strong marketing plans

• Understand where we currently sit within in our industry and how we can develop our artistic growth

• Develop clear review markers

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(For sections 3.6-3.7 - please now refer to Section 7 below and Business Plan attachment.)