Dance Mapping - Arts Council England

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References Baumol W J and Bowen WG (1966) Performing Arts: The Economic Dilemma New York: Twentieth Century Fund Bilton C (2007) Management and Creativity: From Creative Industries to Creative Management London: Blackwell Burns, S 2007 Mapping Dance: Entrepreneurship and professional practice in dance higher education, Lancaster: Palatine Department for Culture, Media and Sport (2008) Creative Britain - New Talents for the new Economy London: DCMS. Online at www.culture.gov.uk/images/publications/CEPFeb2008.pdf Dance Heritage Coalition Inc (2003) Copyright primer for the dance community –. Washington, D.C. online at www.danceheritage.org/publications/Copyright-Primer.pdf Giles, K (2005) ‘Shall we dance - dancing and copyright law’ ART+ law, March. online at www.artslaw.com.au/artlaw/Archive/2005/05DancingAndCopyrightLaw.asp Hesmondhalgh, D (2002) The Cultural Industries London: Sage Intellectual Property Office (2009) About copyright online at www.ipo.gov.uk Siddall J (2001) Dance in the 21 st century: present position, future vision. London: Arts Council England Throsby, D (2001) Economics and Culture Cambridge University Press 124
PART FIVE: Ecology ‘Ecology n. the branch of biology concerned with the relations of organisms to one another and to their physical surroundings.’ (Concise OED 2001) 1. Introduction Dance deals in the generation of intellectual property through original choreography that is then performed by dancers in live, filmed and broadcast contexts. The performance is the result of many other processes that are essential to making it possible, including management, technical support and training and education. This means that the dance ecology is complex. A career in dance can be multi-faceted and unpredictable. This is not a new phenomenon and has been noted in many dance and performing arts research documents over the past 20 years (Devlin 1989; Clarke and Gibson 1998; Siddall 2001; Burns 2007). The field is an aggregation of many smaller micro-worlds or sub-communities, a social network emerging from the co-operation of these micro-worlds all with greater or lesser knowledge of the entire network. These sub-communities are perhaps best viewed as art worlds, a socio-economic network. Becker (1984) argues that a specific art world comprises all the people whose activities are necessary for the production of the characteristic works that the world would define as art. His theoretical approach therefore begins with a broad definition of ‘art’ as the collective activities constituting the production processes of art, and not the end product alone: ‘All art works involve the cooperation of everyone whose activity has anything to do with the end result. That includes the people who make materials, instruments, and tools; the people who create the financial arrangements that make the work possible; the people who see to distributing the works that are made; the people who produced the tradition of forms, genres, and styles the artist works with and against; and the audience. For symphonic music, the list of cooperating people might include composers, players, conductors, instrument makers and repairers, copyists, managers and fundraisers, designers of symphony halls, music publishers, booking agents, and audiences of various kinds.’ ‘The artist thus works in the centre of a network of cooperating people, all of whose work is essential to the final outcome. Wherever he depends on others a cooperative link exists.’ 44 The dance ecology is therefore best understood as being concerned with the social interaction of the people who work together to make dance possible. 44 Becker (1984) p 25 125
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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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promoters, venue managers and festi
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But now cultural leaders are warnin
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increased political awareness of ho
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PART FOUR: Economy The dance econom
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Large-scale: capacity in excess of
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aesthetic and production values. Ho
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force organisations to amend their
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2007/08 £s 2008/09 £s 2009/10 £s
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The list of organisations in table
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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 104 and 105: Region Total private investment Lon
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 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
Page 154 and 155: expertise and skill could be of maj
Page 156 and 157: FCD % NDTA % South East 219 15 221
Page 158 and 159: One respondent stated that the majo
Page 160 and 161: Katie Green Katie did not envisage
Page 162 and 163: have excellent leaders but that the
Page 164 and 165: although there are several high pro
Page 166 and 167: • artist as leader of a producing
Page 168 and 169: many for whom their practice is sti
Page 170 and 171: within it work across the field in
Page 172 and 173: 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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