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Dance Mapping - Arts Council England

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One respondent stated that the major challenge facing the field was:<br />

‘To DRASTICALLY improve the preparation for survival in the profession at university/<br />

vocational colleges and below which is needs to start regularly in students’ 2nd year at the<br />

latest and their CPD [continuing professional development] in their first years out of college.<br />

Being able to write and articulate about interests and practice seem particularly difficult for<br />

them’<br />

The skewed distribution of the workforce suggests that geographically there is not the supply<br />

to meet demand in certain regions.<br />

10. Diverse working patterns<br />

There is continuing and growing evidence of cross-sector working of portfolio dance workers,<br />

whose work is encompassing a wider range of work than previously, and is cutting across<br />

sectors within a mixed economy.<br />

Rafael Bonachela<br />

Rafael Bonachela has choreographed for high-profile individuals and companies in the<br />

commercial creative sector including; Kylie Minogue, Tina Turner, the Kills, Primal Scream,<br />

Jaguar Automobiles, Siemens Mobile and Hugo Boss. This supplements the limited income<br />

he earns through Bonachela <strong>Dance</strong> Company (BDC), which is a project-based company. He<br />

employs a commercial agent to manage this side of his career. He has also choreographed<br />

for other contemporary dance companies in Europe, Australia and Cuba.<br />

These partnerships have resulted in developmental and personal, as well as financial benefits<br />

for Rafael. For example, his commission for Sydney <strong>Dance</strong> Company was only the second<br />

full-length piece he had created, enabling him to expand his experience as an artist and<br />

further develop his aesthetic. Working with this wide variety of clients has grown his personal<br />

network of contacts and has raised his profile as a contemporary dance maker.<br />

Commercial relationships have meant that he can sometimes employ the dancers that work<br />

for BDC on more lucrative projects. However, they have not resulted in commercial<br />

sponsorship for BDC, probably because contemporary dance reach is too small for these<br />

companies. There have been some disadvantages for the company around his availability<br />

when working on numerous international projects.<br />

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