Dance Mapping - Arts Council England

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Region Total private investment London 477.5 70 Scotland 39.4 6 South East 31.9 5 North West 24.8 4 Midlands 24.7 4 Wales 19.3 3 North East 19.0 3 Yorkshire 14.5 2 East 12.7 2 South West 12.6 2 Northern Ireland 8.5 1 £s % of private investment Table 31: Private investment by region Source: Arts & Business Annual Report 2007-08 Section Two: Lottery expenditure on dance Capital expenditure on dance 39 Arts Council England has had three capital programmes funded through the lottery over the past 15 years: 1. Capital Programme One 2. Arts Capital Programme 3. Grants for the arts – capital Capital Programme One (CP1) ran from 1995–2001, through which Arts Council England gave just over £1 billion to arts capital projects (the criteria for funding were very broad and small village halls and brass bands were funded as well as the more high-profile projects like Royal Opera House etc.) Arts Capital Programme (ACP) was launched in 2001, through which Arts Council England allocated c. £101 million of capital funding (there were nine priorities for this programme, which had a particular focus on Black, Asian and Chinese arts organisations). Grants for the arts – capital (G4A-C) was launched in 2004, through which Arts Council 39 The work on analysing Arts Council England data for Capital and Grants for the arts expenditure was carried out by Terry Adam, a freelance consultant contracted by Arts Council England for this work. 104
England allocated c. £62 million of capital funding (there were two main priorities: artist workspaces and diversity i.e. arts organisations led by black and minority ethnic artists and disabled artists) In the case of Arts Capital Programme and Grants for the arts – capital, a two-stage programme was implemented whereby a project was initially admitted to the programme with an allocation. The organisation would then have time to work up a more detailed application (i.e. a development plan) in order to apply for a formal award. The complexity and duration of capital projects is such that the current capital legacy portfolio includes a couple of projects from Capital Programme One and a significant number from Arts Capital Programme, as well as many of the Grants for the arts – capital projects. The awards are often made long before the project completes, which is why it is difficult to provide accurate figures of capital funding commitments to dance 2004–2008. Recipient Year Total Arts Council England funding Total project costs Region Contemporary Dance trust 1995 5,758,510 6,822,700 London New Sadler's Wells Limited 1995 46,984,207 60,500,000 London Eastleigh Borough Youth Theatre 1995 1,937,000 2,836,000 South East Royal Opera House 1995 78,500,00 240,000,000 London Northern School Of Contemporary Dance 1995 2,400,000 2,550,000 Yorkshire Northern Ballet Theatre 1995 2,064,960 6,325,000 Yorkshire Dance North Ltd (Dance City) 1995 2,223,427 6,013,000 North East Laban 1995 14,701,538 25,350,077 London The Magna Carta School 1996 725,000 982,100 South East Derby City Council 1996 1,573,500 1,873,434 East Midlands Siobhan Davies Dance 1996 3,168,325 4,200,000 London Hextable Dance Trust 1996 2,173,903 2,819,228 South East Ellesmere Port & Neston Borough Council 1996 374,792 439,004 North West Playbox Theatre 1997 2,029,120 2,705,590 West Midlands Wiltshire College 1997 836,008 1,171,475 South East Group 64 Youth Theatre 1997 292,167 389,556 London Aspire 1997 613,287 1,081,300 London Birmingham Hippodrome Theatre Trust Ltd 1998 25,000,000 37,945,149 West Midlands Total 112,855,744 Table 32: Capital Programme One (1995–2001) 40 Source: Arts Council Arena Data 404,003,613 40 The three tables in this Capital section of the research list all the programmes recorded in Arena (an Arts Council England grants management system) classified under the heading of ‘Dance’. 105
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ACKNOWLEDGEMENTS This research has
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Section Two: Lottery expenditure on
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List of tables 1 Dance field: Stage
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67 TMA audience data by genre for a
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as a domestic one. I know we have t
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dance • identify trends in the da
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in the broadcasting and commercial
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• the low levels of pay affect th
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hip hop. The core ballet repertoire
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PART ONE: Background 1. Introductio
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Stage one set out to identify what
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organisations and local government
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living through dance but also amate
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3. Normative isomorphism results pr
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A changing UK demographic has influ
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1987/1988 1997/98 2007/2008 Total A
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This categorisation has been adopte
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• primary research through online
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PART THREE: Political ‘The real c
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It outlines a set of national objec
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• a central Grants for the arts p
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‘The Government is pleased to be
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The DCMS responded by identifying t
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As a direct result of the review, t
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‘The National Campaign for the Ar
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2008/9 along with potential booking
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Page 56 and 57: But now cultural leaders are warnin
Page 58 and 59: increased political awareness of ho
Page 60 and 61: PART FOUR: Economy The dance econom
Page 62 and 63: Large-scale: capacity in excess of
Page 64 and 65: aesthetic and production values. Ho
Page 66 and 67: force organisations to amend their
Page 68 and 69: 2007/08 £s 2008/09 £s 2009/10 £s
Page 70 and 71: The list of organisations in table
Page 72 and 73: The rapid growth of some of these o
Page 74 and 75: ecomes 239,473 total engagement, wh
Page 76 and 77: Source: Arts Council England dance
Page 78 and 79: 2004- 2007 there was no dance compa
Page 80 and 81: Across the three year period the pr
Page 82 and 83: Some fluctuations may occur to thes
Page 84 and 85: DTP Core members are: Brighton Dome
Page 86 and 87: Producing and Touring Companies Eas
Page 88 and 89: There is more touring data availabl
Page 90 and 91: When asked if they had a dedicated
Page 92 and 93: Figure 3: Marketing the dance progr
Page 94 and 95: • ‘To find ways to engage audie
Page 96 and 97: Table 28 shows the average expendit
Page 98 and 99: Figure 4: Local authorities’ danc
Page 100 and 101: • ‘Due to budget restrictions t
Page 102 and 103: Cultural organisations and business
Page 106 and 107: There were other capital projects,
Page 108 and 109: In terms of looking at the asset cl
Page 110 and 111: £516,859,357 to 18 dance projects.
Page 112 and 113: attributable to fewer dance artists
Page 114 and 115: Region/ Sub dance form Total contem
Page 116 and 117: • Demand - a more educated and di
Page 118 and 119: and importantly, managing independe
Page 120 and 121: support the work of the charity and
Page 122 and 123: Copyright does not protect ideas or
Page 124 and 125: References Baumol W J and Bowen WG
Page 126 and 127: Ryan (1992) examined the organisati
Page 128 and 129: The implications of this are that w
Page 130 and 131: 2. A diverse workforce Dance in Eng
Page 132 and 133: Contemporary 516 64.3% Creative 253
Page 134 and 135: Leadership • Dance appears to lac
Page 136 and 137: 40% of schools within the SSPs had
Page 138 and 139: • the lack of dance specialists w
Page 140 and 141: % Table 51:Overall student numbers:
Page 142 and 143: However, the largest group of progr
Page 144 and 145: These partnerships appear to be gro
Page 146 and 147: The workforce is concentrated in th
Page 148 and 149: Further analysis of the membership
Page 150 and 151: Funding Are we training too many da
Page 152 and 153: ‘Keeping traditional dance alive
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expertise and skill could be of maj
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FCD % NDTA % South East 219 15 221
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One respondent stated that the majo
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Katie Green Katie did not envisage
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have excellent leaders but that the
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although there are several high pro
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• artist as leader of a producing
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many for whom their practice is sti
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within it work across the field in
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Hansen, RS (2009) Quintessential Ca
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• upgrading and modernising our d
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• successful regional roll out of
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• Broadcasting and narrow-casting
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The report points out that a number
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Creative uses Working in the virtua
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network users and to generate dialo
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Cinema through digital and film age
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Dance’s central preoccupation wit
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References marketing and distributi
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the wrong reasons - the viewers' re
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‘From ballroom to breakdance, hor
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Theatre dance and popular forms are
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o stronger muscles o stronger bones
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promote dance as a fun, physical an
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In terms of educational qualificati
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The survey found that attendance at
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this in a more sophisticated way by
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Heather Maitland’s research for D
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The Phase Two research then focusse
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Brand loyalty As an increasingly br
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Type of work No of perfs Paid Atten
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egional dance agency in programming
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24 different companies worked with
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Region Multi-arts groups Multi-artf
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• The voluntary arts sector is of
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Creative adult learning There are 4
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Children, Schools and Families and
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The StepBack project supports inclu
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15. Key Findings Dance is a social
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Audiences London (2006) Contemporar
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2. Talking about dance When asked t
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people could have quality. In dance
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‘Excellent culture takes and comb
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contemporary genre. Populist progra
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The survey of venues received 61 re
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Birmingham Hippodrome Theatre, Birm
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The impact of ANDA and now NDN’s
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There needs to be more work done to
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PART NINE: Conclusion Introduction
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We have sought to tabulate some of
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the balance of provision currently
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Appendices 1. Consultants Biographi
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Appendix 2 Arts Council England Con
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3 Requirements This process will in
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Queries should be addressed to: Jan
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ARTS COUNCIL ENGLAND (2008) What Pe
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DEDA (2007) East Midlands: Dance Au
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PFEFFER, J and SALANCIK GR. 2003 Th
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1969 -1979 1979 - 1989 1989 - 1999
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1969 -1979 1979 - 1989 1989 - 1999
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Political Shifts Associated develop
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ut few companies seem to be benefit
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Appendix 6 (a) RFO Data Descriptors
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West Midlands Dance South West Glou
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StopgapDance Co South West Attik Da
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Dance4 Ltd www.dance4.co.uk Region:
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commissioning, exhibiting, curating
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173,482 178,166 182,976 George Pipe
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Shobana Jeyasingh presents original
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and Continued Professional Developm
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60,566 62,201 63,881 Woking Dance F
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internationally. Our investment hel
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Jabadao www.jabadao.org Region: Yor
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Appendix 7 List of Those Consulted
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Candida Elton Regional Artist-Deda
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Emma Gladstone Sadler’s Wells (pr
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Amanda Drago Falling Cat Joelene En
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Lisa Cullen University of Salford A
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Question 2: Arts Development Staff
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Question 4: Please indicate budget
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Year on Year comparison: Below are
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Question 8: How many venues in your
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Question 10: How would you estimate
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Question 12: Dance Workforce Answer
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Private Teachers/ Schools Voluntary
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Question 13: Do you invest in Conti
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Question Three: Age Answered 795 Sk
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Question 5: If you answered yes in
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Question 7: Please tick any of the
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Question 9: Which of the following
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Question 11: What do you think are
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The Junction Waterside Arts Centre
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Question 3: Please give an indicati
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Are you a commercial venue? Answere
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Is your venue a member of a Dance T
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Question 6: Please indicate the siz
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350
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Question 9: How do you identify com
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Question 11: What tools do you use
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Question 13: What do you think are
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Respondent B Region West Midland (S
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Respondent D Region West Midlands (
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Respondent F Region South East Age
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Respondent H Region London Age 20-2
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Respondent J Region South West Age
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Respondent L Region London Age 51-6
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Respondent N Region London Age 36-5
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Respondent P Region East Do you ear
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Respondent R Region London Age 26-3
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Respondent T Region Yorkshire Age 2
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dance workforce is not diverse enou
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I want to add my thanks to Alan’s
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Dance Mapping - Arts Council England

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