From Nigeria’s film industry, one of the world’s most prolific, to South Africa’s increasingly popular theatre scene, amid the intoxicating rhythms of Afro-pop sweeping the continent, the centuries-old history of African art is undergoing yet another renaissance. And with internet-connected technologies growing evermore ubiquitous among African youth, the rate and scale of artistic innovation is bound to accelerate at unprecedented levels.
For creatives like Ian Mills, founder of Ian Mills Productions, this spells opportunity. Ian Mills is a celebrated British producer, choreographer and instructor, with productions appearing in major television broadcasts and acclaimed theaters globally. Ian Mills Productions, the commercial choreography firm which he founded in 1998- more than two decades ago, is one of the world’s most successful. He recently launched Ian Mills Productions in South Africa.
I recently had the opportunity to speak with Ian who, in addition to his existing South African choreography enterprise, has also worked as the catwalk choreographer for the acclaimed television show Britain’s Missing Top Model, as well as Naked and Cabbies and Estate Agents.
What were the motivations behind launching your independent practice, that of Ian Mills Productions; give us a sense of what makes your particular brand unique?
Since I was a teenager – even beforehand – I’ve been drawn to visual, sound, performing arts – any outlet that afforded the creative the opportunity to express themselves in dynamic, energetic ways.
In the years since, I’ve drawn my inspiration from the incredible people with whom I’ve been privileged to work alongside as a dancer, choreographer, television producer and director.
I was fifteen years old when I was lucky enough to score a role in a production of the National Youth Theatre of Great Britain in London, where I got to work with a young Mr. Daniel Craig and many others that contributed so much to my personal, artistic and professional development. I can’t imagine a life more fortunate, where I had the opportunity to work with amazing creatives and my other early colleagues, folks who’ve played such an instrumental role in shaping our perception of modern theatre and cinema.
But my dancing debut didn’t come until later in my career, when I joined Andrew Lloyd-Webber’s ‘Starlight Express’ where, for four years, I danced through both Japan and London’s West End. Luckily, while touring I had the opportunity to cast the performers in the stunning Kylie Minogue’s “I Can’t Get You Outta My Head” music video production. This is where I found my passion for dance; the aesthetics, the energy, the intensity and the pure fun of it all.
I think it’s fair to say that my brand has grown – has come into its own – as my private choreography practice did. It’s certainly fair to say that they grew together, simultaneously and intertwined, one didn’t precede the other. It’s not so black and white, then again, not much is within the arts industry.
I began my own choreography practice after getting some exposure and experience working on television commercials, shows and corporate launches for major brands such as Nike and Müller Yogurt.
Each and every experience in this respect gave me concrete examples of just how powerful human movement – dance – can be in communicating messages of emotion, thought, and principle. Of course, this was within the context of communicating key brand messages and values, but the lesson remains.
So I established Ian Mills Productions with this understanding in mind. I want to help major brands and other organizations shape their image, their relationships with their customers through human movement. You’d be hard-pressed to find anyone who’d say a little jingle, or a static image were as effective tools of communication as dance. I operate under the impression that movement is the loudest and most effective form of communicating – it’s the most powerful microphone at our disposal.
That’s my brand – my trust in the value of dance versus other modes of communication. Anyone can be convinced of that. It just takes the right vision.
You’ve set up shop in South Africa? Could you describe your experience there – What kind of climate does a dance choreographer and producer find there?
Let me start by saying that South Africa is an incredible country, with a rich culture, history and most importantly, an art scene open to change.
But my affection for South Africa has also been a work in progress. When I first arrived, I quickly found that it wasn’t the easiest place to begin anew, build professional networks and, honestly, find work. It’s partly for this reason that a great deal of my firm’s work is with international clients – it keeps the lights on while I continue to build up my domestic clientele and docket of projects.
Regardless of the slow start, I remain optimistic. Apart from maybe Nigeria, South Africa, has long been a favourite location for the global television, film and advertising industries. The reason being that, in much of the country, the weather and climate are consistently ideal and predictable for video recording, and the local crews are highly skilled, informed and very professional.
And there are opportunities for me to expand the offerings of Ian Mills Productions, too. For instance, I just wrapped up writing and directing a social media campaign for a local aerospace and technology company that wanted to showcase some of their new and excitingly innovative products. I’ve also recently choreographed a promotional dance video for a local airline company.
But foreign contracts in South Africa began to dry up last year with the onset of the Cape Town water crisis. Though the worst-case scenario was avoided, thankfully, it still put serious pressure on those of us in the arts industry. We felt the impact while shooting the first-ever Viagra television advertisement for the UK in Cape Town.
Fortunately, the crisis has been averted and so has any long-term disruption to the growth of Cape Town’s film, television and other creative industries. It’s back to work for us.
Are there any aspects of South Africa’s creative industries you’re still learning, familiarizing yourself with?
Well for one thing I’m always surprised that Johannesburg hasn’t yet attracted international film and performing arts projects at the same scale as Cape Town, even though it has so much diversity and dynamism to offer and consistently ranks as one of the most culturally influential cities in the world.
If my opinion has any weight, I’d say ‘Joburg’ is truly one of the coolest metropolitan areas on Earth.
However, while it is easy to find locations to film with optimal weather and easy access to professional crews, I’ve found that casting is more difficult than anticipated in Johannesburg. Many well-trained, versatile dancers are ending up in London, Paris and New York, and that’s perfectly understandable, I don’t fault them for that. After all, I got my start in London. That said, I must say that South African dancers excel in areas uncommon among dancers from other corners of the world, and this presents an exceptional opportunity for innovative choreography.
Among the local dancers I’ve cast in my productions, I’ve seen an admirable commitment to professionalism, as well as a tremendous appreciation for the creative process, and that’s not to be taken for granted. It’s the tenacity and innovative aptitude that’s so prevalent in South African communities; a culture that gives South African dancers a competitive edge on the global stage.
So I’d reckon that the reason casting has proven somewhat difficult is because arts as an industry is still relatively novel, not yet adopted by educators, policymakers and entrepreneurs here in South Africa in the same way it’s been adopted in the UK, France or the US.
Hopefully that changes soon – The talent is here, it’s just a matter of establishing the institutions needed to bring it to market.
What is the importance of community development programs (e.g. dance and the arts) in South Africa?
As I’ve just alluded to, South Africa’s arts industry is, despite its potential, held back by a sort of “hesitance” towards it being fully embraced. This isn’t to say, of course, that artistic endeavours are somehow not appreciated. Not at all. Throughout most of human history, the African continent has produced awe-inspiring art, in all its forms.
However, the systems that support aspiring creatives in the United States, Europe and other more developed parts of the world simply aren’t in place here in South Africa and other parts of the continent. It’s kind of like football in Europe versus football in, say, Latin America or Africa. Think of all the highly-specialized, incredibly well-established talent development programs that exist in France, Germany or the UK and compare them with the same programs in Latin America or Africa where football is arguably even more popular. We see the results of these disparities at the World Cup, for instance, where most champion teams are European.
Regardless, art-oriented community development programs are absolutely critical in developing the creative South Africans of the future.
It’s for this reason that I’ve committed much of my personal time to help train young dancers from disadvantaged backgrounds. I do most of my community engagement work through the contemporary company “Moving into Dance Mophatong” using the classic “Martha Graham technique.” This is based out of CBD in Johannesburg, so it’s not always a place for the faint of heart.
But things are improving. New world-class art centres and theatre spaces pop up all the time; New Town Junction and Maboneng are just buzzing with creatives who understand the arts are accessible, they’re not just a dream. These creatives are also receptive to the notion that the arts can be a form of cultural reflection, preservation and memorialization, which in some instances can be a form of coping with the past transgressions experienced by these individuals and their communities.
The stage can quite literally become a platform for reaching into one’s past and cope with the pain and struggles of day-to-day life.
Forty years since Sylvia Glasser launched the company in a garage, Dance Mophatong is now in its 40th year, and it’s stronger than ever. The company has produced numerous award-winning choreographers and is a leader in working with underprivileged children outreach programmes all over the country; to be a part of it has been a unique honor.
The company uniquely harnesses the superbly effective pedagogical method of “Edu-dance” which, simply put, is a method of educating young children about the challenges of day-to-day South African life, such as a lack of water, pollution and climate change. So I’m both humbled and inspired by the stories of first year dancers who’ve had to overcome enormous obstacles that I’ve not experienced in my own life. It’s been a transformational experience, and has only solidified my commitment to community development programs that emphasize the importance of the arts.
Where do you envision your practice in five year’s time?
Since transitioning from London to South Africa, I’ve been developing creative concepts for events companies that are looking for unique productions to enhance brand value with their customers.
I’ve presented a radio show, brought a theatre production to stage, started teaching young dancers, and directed several productions. Though perhaps my greatest professional achievement has been my regular columns for local newspapers, where I review and promote art. I’m particularly proud of this on account of my dyslexia, and I’ll never forget the pride I felt in having my first article published.
In a way, this is indicative of the sort of philosophy I’ve held since moving here. I’m always looking for opportunities to push my personal and professional limits, and South Africa has afforded me countless opportunities to do so. The same can be said for Ian Mills Productions.
And as far as dance and choreography, I’ve learned since relocating here that teaching is the most effective method of learning.
So where do I see my practice in the next five years? I plan on continuing to embrace new opportunities to guide brands, local and international, to their goals through dance, film and other creative methods. I would also like to take-on more directing roles, and continue to pursue my passion for education, supporting the creatives among South Africa’s young and inspired, and eventually see South Africa take its rightful place in global arts industry.
Credit: Mfonobong Nsehe