Promising to shine brighter than ever, Light Night 2025 will feature dozens of spectacular light installations, family-friendly activities and live performances across the city centre. Among these is a new collaboration called Primal Future, a dance and digital crossover which will be projected onto Nottingham’s Council House at the event. Created as a collaboration between Nottingham-based dancer Tom Dale and digital artist Barret Hodgson, we asked them to reveal more about their work…
Firstly, how did you both start out as artists?
Barret: My passion for creating and studying art was ignited during a one-year art foundation course in Mansfield. At first, I imagined a career as a graphic designer, but I quickly fell in love with the freedom and conceptual depth of fine art. That course was transformative and reshaped my outlook on creativity and life. I went on to study Fine Art at Newcastle University, which was a very traditional program. During my university years I began experimenting with adding visual elements to house parties using second-hand slide projectors. I love music and the idea of making art that could transform a moment and environment fascinated me.
Tom: I learned to dance because of the rave scene in Essex. In the 90s, electronic music blew up, and the energy around dance music was insane. I loved the feeling of it all. There wasn’t much opportunity for art at my school but they were really into the performing arts and when I dropped chemistry for dance as an A-level, it just clicked and was perfect for me. I auditioned for Trinity Laban, a conservatoire for dance in London and was awarded a scholarship to train there. Later I was honoured with their award for Outstanding Achievement in Choreography.
Please tell us about Vent Media and Tom Dale Dance Company…
Barret: Vent Media was founded in 2007 after I completed my MA at Trent University. Establishing the company was built on my passion for combining motion graphics and projection with collaborative projects in the live arts. Over time, Vent Media has evolved and it now operates primarily as a platform for my freelance work, but I have the flexibility to bring in a network of specialists and collaborators as needed. Every project is unique, and this adaptable approach ensures I can tailor teams to fit each creative endeavor. My work takes me around the globe, but my studio remains rooted in Nottingham.
Tom: In 2010 I set up Tom Dale Company to explore how contemporary dance and digital art could collide and evolve. Our focus has always been on creating bold, innovative performances that engage audiences nationally and internationally. Collaboration is at the heart of everything we do, and my long-standing partnership with Barret has been pivotal. Together, we’ve brought cutting-edge digital design into dance, merging light, sound, and movement to create immersive experiences.
We love how Light Night lets us connect directly with the public in such a dynamic setting. It’s about more than performance. It’s about making dance accessible, inspiring people through movement and technology, and showing how creative expression can thrive in Nottingham’s streets and spaces.
What first brought you to the city of Nottingham?
Barret: I’ve always lived here as I grew up in Brinsley, near Eastwood. I went to Newcastle for my degree, but came back later and studied an MA in Collaborative Arts at Nottingham Trent University. The MA was a turning point for me, as it brought together creative practitioners from diverse disciplines to collaborate, opening my eyes to the worlds of theatre and dance. It was a pivotal experience that broadened my perspective and refined my approach to art-making. For many years I also did visuals at countless gigs for Rock City and Detonate, Nottingham’s drum and bass event promoters.
Tom: I moved here from London in 2012 as I needed a proper base for my company and my family. Nottingham was always a great place to tour and create, so it felt natural. Shona Powell at Lakeside Arts introduced me to Barret back then and we created I Infinite together in 2011, just before I moved up. That collaboration was our first and it’s a nice immersive piece that we continue to tour.
What inspires you when creating new work?
Tom: It depends; sometimes it’s people, music, politics, a feeling, something that is affecting how it is to be human or just an idea that sticks. I like to work with artists in a way that lets the work emerge through them. It’s rarely about dictation. I’m drawn to the layers of meaning in movement and how tech can bring that out. At the same time, I’m focused on the audience; what they need, how to make them care, and creating those moments that stay with them.
Barret: Inspiration can come from anywhere; whether it’s the striking typography of film titles, the intricate beauty of a Baroque painting, or something as unexpected as a catalog of dental procedures I once stumbled upon at the dentist’s office. One of my favorite sources of inspiration, however, is conversations with fellow collaborators. You never know what surprising ideas or perspectives someone might bring to the table, turning a simple exchange into a creative spark.
Tell us about some of the high profile work you’ve done…
Tom: SUB:VERSION and SURGE are two recent shows we’ve created that have toured dozens of theatres across the UK over the last couple of years. SURGE won a National Dance Award for Outstanding Performance by a Female Performer in Modern Choreography.
Outside of my own company I have danced with leading choreographers and companies, including Matthew Bourne’s New Adventures. I’ve also worked on commissions, including the award-winning Dark Clouds are Smouldering into Red with Sinfonia Viva and I Am a Believer, a piece performed in Trafalgar Square for visual artist Reza Aramesh.
Barret: A standout moment in my career was taking a show to the Sydney Opera House last year. It was a piece I created with the Javaad Alipoor Company called Things Hidden Since the Foundation of the World and was a truly unforgettable experience. Another highlight is working at Glastonbury Festival, where I oversee the projection for the Temple stage. The stage is meticulously video-mapped and visually stunning and being part of Glastonbury feels like coming full circle, reconnecting me to my nightclub roots.
On the commercial side, I’ve had the privilege of working with major brands like IBM, Red Bull, and the BBC. However, it’s the creativity and collaboration that continue to fuel my passion and get me excited to start each day.
You’ve collaborated regularly on projects together in the past too. Tell us about some of those…
Barret: From the moment Tom and I first met, we clicked instantly, bonding over a shared love of electronic music. I-Infinite went on to become a long-running show that toured globally, and I’m incredibly proud to have been part of its success.
Tom: Barret did the digital design for both SURGE and Digitopia. There’s a short film adaptation of SURGE that people can watch on the BBC website as part of their Dance Passion project. Digitopia was also celebrated for its integration of dance and technology, winning an award for Outstanding Production at the UK Theatre and Technology Awards.
The concept explores a world where ancient human instincts meet futuristic technologies, creating a visceral, sensory experience.
What are your previous experiences of Light Night?
Tom: After moving here I quickly noticed how massive the public’s appetite for Light Night was and immediately wanted to be part of it. It felt like the perfect opportunity to showcase our work and contribute to the city’s vibrant arts scene.
Partnering with Nottingham Contemporary, we’ve presented performances that combine our professional dancers and high production standards with a diverse group of community dancers. This integration is key to what we do. We’re passionate about bridging the gap between professional and community dance, creating space for the next generation of performers to develop and shine.
We love how Light Night lets us connect directly with the public in such a dynamic setting. It’s about more than performance. It’s about making dance accessible, inspiring people through movement and technology, and showing how creative expression can thrive in Nottingham’s streets and spaces. Being part of the event is always an amazing experience, and it’s exciting to see how the work resonates.
Tell us about the new work Primal Future, which people can expect to see projected on the Council House at Light Night 2025?
Tom: Primal Future is an immersive performance that combines cutting-edge digital visuals, a powerful electronic score by Felix Morgan and electrifying dance. The concept explores a world where ancient human instincts meet futuristic technologies, creating a visceral, sensory experience. This project is a collaboration between myself, Barret Hodgson, composer Felix Morgan, and a team of professional dancers.
We’ve also involved ten talented community dancers, integrating their energy and creativity into the performance. Audiences can expect a visually stunning and emotionally charged experience that challenges perceptions of the body, space, and reality.
Light Night Nottingham takes place on Friday 28 February and Saturday 1 March. The event is free to attend and funded by Nottingham City Council, It’s in Nottingham and Arts Council England.
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