Over the last decade, there has been an emergence of artist-led networks and collectives that reveals the importance of solidarity, activism and belonging. In today’s contemporary society, the term ‘network’ denotes the building of a local community (which could be physical or online). This article will explore some of these networks and collectives and their function for the communities they serve. In addition, it will question what the rise in artist-led networks/collectives reveals about the current economic and artistic position of dance in the UK, focusing in particular on the path new and emerging dance artists take after leaving any kind of formal training and entering the realms of freelance, versatile and fragmented ways of working. What are the options available to this group – commonly referred to as ‘emerging artists’ – and what are their expectations of further training, maintaining their practice and finding their position in an unstable environment? What do artist-led networks/collectives offer to the emerging artist? What can training institutions offer their graduates to prepare them for this way of working? These are some of the questions that drove the research for this paper. I ground this research in my part-time role as Associate Director of an artist-led collective, Birmingham Dance Network, and map other networks and collectives that have arisen over the last decade. With a specific interest in the opportunities available for young graduates, I will explore artist development programmes and mentoring schemes as offers for training and career progression.

在过去十年中，出现了以艺术家为主导的网络和集体，揭示了团结、激进主义和归属感的重要性。在当今的当代社会中，“网络”一词表示建立本地社区（可以是实体的或在线的）。本文将探讨其中一些网络和集体及其对所服务社区的功能。此外，它将质疑艺术家主导的网络/集体的兴起揭示了英国舞蹈当前的经济和艺术地位，特别关注新兴的舞蹈艺术家在离开任何形式的正规培训后所走的道路进入自由职业者、多才多艺和分散的工作方式的领域。这个群体——通常被称为“新兴艺术家”——有哪些选择？他们对进一步培训、保持实践并在不稳定的环境中找到自己的位置有何期望？艺术家主导的网络/集体为新兴艺术家提供了什么？培训机构可以为他们的毕业生提供什么，让他们为这种工作方式做好准备？这些是推动本文研究的一些问题。我作为艺术家领导的集体伯明翰舞蹈网络的副主任兼任这项研究的基础，并绘制了过去十年中出现的其他网络和集体的地图。由于对年轻毕业生可获得的机会特别感兴趣，我将探索艺术家发展计划和指导计划，作为培训和职业发展的机会。