Liz Charman

Photograph by Pedro Machado

Liz has worked with Candoco for 12 years now, on a freelance basis at first before it was decided that a company of this size ought to have a finance manager. She looks after the budgeting and financial reporting for the company, working closely with both the General Manager on the day-to-day finance administration and the Executive Director on longer term financial planning. It’s a part-time role, which allows her time to continue with some freelance finance and fundraising work for other, mostly dance, companies.

Liz has worked in dance for 20 years now. After graduating from Laban Centre, she did some academic research projects and dance journalism, alongside her first work in administration with Rambert Dance Company. It was here that she learnt the ancient art of double-entry book-keeping, which she has to say has held her in very good stead over the years! She stayed in her first ‘serious’ dance management job with Shobana Jeyasingh Dance Company for 8 years, experiencing all the ups and downs of producing and touring a rapidly growing contemporary dance company. She then left to undertake freelance work. This was the time of the Arts For Everyone Awards, so lots of her work involved developing proposals for the scheme as well as other fundraising initiatives for organisations such as Greenwich Dance Agency, the Laban Centre and Yolande Snaith Theatre Dance.

Though Liz doesn’t work fulltime in dance any longer, she still gets a thrill from the sheer physical impact of watching bodies move. She likes work, for the most part, which deals with the stuff of dance – weight, speed, rhythm, velocity. She did a few seminal dance performances–Merce Cunningham Dance Company at Sadler’s Wells in 1987 (she thinks!), Siobhan Davies Dance Company’s Wyoming and White Man Sleeps at Riverside Dance Studios with its extraordinary cast of dancers, Javier de Frutos’ early mad-cap, musical and exquisite solos. And her favourite Candoco piece? Sour Milk, with its thrumming drumming and Pedro’s eccentric, impassioned solo.