Niamh Dowling, Royal Academy of Dramatic Art (UK): “The bigger picture for formal education is that it fosters imagination, creative thinking, and innovative thinking”

One of the guests of Sibiu Performing Arts Market is Niamh Dowling, the Principal at the Royal Academy of Dramatic Art (RADA) in London, with whom FITS’s team had the privilege to talk extensively about the importance of formal education in the performing arts. 

RADA is renowned as one of the top drama universities in the world, celebrated for its rigorous training and illustrious alumni such as Fiona Shaw, Anthony Hopkins, Cynthia Ervio, Imelda Staunton, Adrian Lester, Aimee Lou Wood, Jamael Westman, Glenda Jackson, Gugu Mbatha Raw and Tom Hiddleston, to name a few.

Niamh's extensive training began with Monika Pagneux in Paris and Eva Karczag in New York. She is also a certified teacher of the Alexander Technique and has collaborated with Teatr Piesn Kozla in Poland for over fifteen years. Niamh's career as a movement practitioner has taken her across the globe, including the USA, Asia, Europe, Africa, and Central and South America.

In the past decade, Niamh has focused on systemic approaches to leadership, which has profoundly influenced her practice research in developing an inclusive and liberatory approach to performance training. Additionally, Niamh is a Cultural Advocacy Research Fellow at Queen Mary University of London and serves on the Editorial Board of Theatre Dance Performance Training.

Being in Romania for the third time, after previously working on a folklore project in Craiova and Dolj County, Niamh Dowling has had the opportunity to delve deeper into the rich cultural tapestry of Sibiu. For this edition of FITS, Niamh is moderating Cultural Conversations sessions.

I think the title is particularly interesting because the title suggests that you have something of value to exchange, to offer, and to receive. The title of the event is really interesting. If you just offered conversations for others to listen to, it is not quite enough, here everybody is having the opportunity to talk about what they do, meet others and make real connections. It is about collaboration, the possibility of participants widening their horizons and being introduced to other kinds of work and setting up conversations, meetings, potential encounters and collaborations. 

This depends on whether you mean I should focus on the benefits of vocational creative training or the creative arts education in general. Higher education vocational training provides the opportunity for individuals to spend an intensive period focused on a single trajectory or training. This is a fundamental pipeline to the creative industries and makes a significant contribution to the national economy. . 

The bigger picture about arts education in Universities, schools and society is that it fosters imagination, creative thinking, personal growth and innovative thinking. Expanding people's thinking in this way is crucial in education and to society because we aim to produce rounded individuals and innovators.

Training is different to non formal education because it's experiential and developmental. It is embodied learning and offers a structured accumulation of skills and education. 

At the moment in the UK, lots of performing arts courses are closing because the government does not recognise its inherent value and measures it against salaries earned by doctors and nurses and lawyers on graduation. This cannot be the metric that measures its value in institutions. The advocacy has to be around the development of the individual to think with originality, to think creatively, to be able to collaborate, work together, lead. 

In England, student fees are capped, meaning the government sets a maximum amount that universities can charge, and this cap has remained unchanged for the past ten years. Consequently, institutions are facing significant financial challenges as the fee is not enough income for Universities. RADA is very small with only 180 students. Despite its size, RADA is globally renowned, and its impact is extraordinary. 

To address the financial strain, we have begun direct conversations with the government. Over the past three months, we have met with the Treasury, the primary body responsible for allocating government funds, the Department of Culture, Media and Sport and major political parties as the UK election approaches. Our discussions have centered on the importance of performing arts and the need for their inclusion in party manifestos. While this level of advocacy is not common among the small specialist conservatoires in England, Scotland, and Wales, it is crucial for us. We are advocating for either an increase in student fees or additional government funding.

Another critical aspect is the special fund the government provides for world-leading institutions. In the field of acting, we receive this funding, which we secured last year for a five-year period. This recognition brings us some extra financial support due to the quality, status and impact of our work.

Because we are small, we must engage in significant fundraising efforts. We offer short courses and operate a business, RADA Business, which collaborates with corporate organizations to use performing arts as a tool for organizational change.

The philosophy of leadership in our drama schools in UK, has shifted significantly since Black Lives Matter and #MeToo. During the simultaneous occurrences of Black Lives Matter, #MeToo, and the COVID pandemic, we all faced considerable financial strain. Bringing students back during COVID required us to work in small groups, doubling the number of teachers, spaces, and resources needed. This increased the financial burden on all conservatoires and used up their financial reserves..

At the same time, the Black Lives Matter and #MeToo movements highlighted longstanding issues within the conservatoire training system.  This particular style of leadership exposed many underlying problems in the teaching and theatrical environments. This is changing. 

There is a desire of students, staff, and new leaders to ensure that curricula are up-to-date and representative. In other words, they need to represent Black and global majority perspectives, address the needs of students with disabilities, and be aware of issues concerning trans individuals, those from poorer backgrounds and care leavers.  Additionally, issues around religion and politics, such as the current situation in Palestine and Israel, are constantly present. These are the matters we're dealing with regularly due to the diverse makeup of our student body. We need to ensure that this group has access to relevant texts, that the history taught is not a white colonial narrative, that actors are also seen as creatives and active in the creative process and that the teachers they encounter are diverse. These are the pressing issues at the moment.

Another significant challenge is finding those teachers. Many have historically been excluded from institutions. While Black and global majority acting teachers are now a bit better represented in the UK, but there is a lot of work to do to be truly inclusive and there are still gaps in other areas of representation. To address this, we need to establish mentoring and training programs to bring younger and more diverse teachers into the teaching body.

I would say there are common factors in these experiences. When we travel, we bring our work with us, but each new culture we encounter influences it. For example, in Africa, there is no separation between the dancer, the actor, and the singer. They simply identify as musicians or performers and seamlessly integrate various forms of expression. British actors, however, often compartmentalize their skills, saying, "I am a singer, not an actor" or "I am a dancer not a singer." This cultural difference highlights how, in some places, like Africa, everyone is a well-rounded performer capable of acting, singing, dancing, and playing musical instruments.

Working in South America compared to North Europe, for instance, reveals emotional and cultural differences that impact their approach to performance. I particularly noticed this while doing Shakespeare in Uzbekistan, where young people were incredibly open, available, and connected, almost as if they didn't need traditional training. This raises the question of why we train in certain ways. Often, our training focuses on removing barriers, such as tension in the voice or body, to help someone become the best performer they can be. In some countries, these cultural tensions are not as prevalent, which influences their need for formal training.

How do you conduct your research upon arriving in a new location? Do you delve into academic literature, such as PhD theses, or do you engage in field research by interacting with various performers? Can you elaborate on your research process?

I primarily engage in field research. I meet people, talk to them, and attend their performances. I don't typically read academic PhD theses before visiting a new place. However, I might read a specific book about a type of travel or the culture and history of a particular region or art form. For example, when visiting Craiova, we consulted with a museum specialist in indigenous and ancient Romanian singing. We learned about traditional singing practices that have persisted for centuries and sought out an elderly woman in the mountains who still practices this art form.

During our first visit, we conducted exploratory research, identifying a village where children were learning traditional Romanian songs and dances. These young Romanian children were so skilled that they could teach our students, who were thrilled by their talent. In the same village, we also met older residents who had the old songs and stories and ways of singing and they taught songs to the group. This experience created significant interaction and exchange, enriching both our students and the local community. It's a deeply reciprocal process, beneficial for everyone involved.

The insight comes from having a broader perspective. For example, the syllabus where I work has remained largely unchanged for many years and is now in a five year cycle of review.  

I know that RADA graduates will feature in major films, lead in big shows, and become household names. Yet, the industry now requires them to participate in a slightly different way, generating more of their own work. This marks a significant shift because training young people to create their own work differs from training them solely as actors for text-based Shakespeare.

Incorporating collaborative devising and teamwork is now beginning to take hold in UK drama schools. Universities have already adopted this approach, although they differ from drama schools. Drama schools focus solely on experiential learning—physical training, vocal training, text work, dance, singing, and music—occurring in conservatoires. In Universities, students engage in more academic studies and writing essay alongside some practical training, perhaps in class six to ten hours a week. In contrast, conservatoires provide 30 to 40 hours of practice per week. The difference is substantial.

Yes, we refer to it as professional development or professional preparation. This includes discussions on financial management, working with agents, photography, resumes, writing letters, and creating portfolios. Talks and visits from agents, casting directors, directors and additionally, we cover social media awareness, emphasizing the importance of being mindful about what is posted, as it can be seen for many years to come. Professional development  is an integral part of the students' education.

Friendship is absolutely fundamental for all of us, especially in establishing connections and collaborations. To foster organizational collaboration, it must start at the individual level. If I as principal, I mandate a partnership with another university or a company, it doesn't have the same impact as allowing staff to attend a festival in Sibiu to make personal connections. When connections are made on a personal level, they have a greater chance of lasting and having a meaningful impact.

The core arguments, which relate back to your initial question, should focus on the development of the arts and the individual. It's about cultivating creative, innovative thinkers who take risks and push beyond existing boundaries.