Dance Mapping - Arts Council England

although there are several high profile examples of this in England – Professor Chris
Bannerman at Middlesex University and Professor Emilyn Claid at Dartington to name two –
this is something that could be maximised by the field.
The challenge is to:
‘...build on the developments of 80 years of dance in the UK without losing sight of the work of
the founders...’ (Workforce survey)
and to ......
‘ .. retain the skills of mature artists that have over the years received substantial investment.’
(Workforce survey)
‘Some of our country's finest artists, having contributed over 20 years to the cultural growth of
this country are struggling to make ends meet. How often I find myself and other artists like
me at meetings sharing knowledge and advice for free in order to develop dance/art provision
with representatives of organisations who are paid to be there – but who couldn't do their jobs
without the artists being there.’ (Workforce survey)
‘How can we better support mature practitioners; document and archive practice, allow
people (artists) to have longer careers, and create a broader range of practice’(Workforce
survey)
‘To bring respect and recognition to those that have provided a legacy of dance facilitation
and creative practice’(Workforce survey)
‘Dancers over the age of 40 are considered past it, but they have a wealth of knowledge and
expertise that they can share and mentor new practitioners. I am fortunate to have had a full
career in contemporary and African dance for over 25 years, including teaching in higher
education, further education and schools, as a performer ,independent dance producer and
dance project manager, I have managed a dance organisation and served as Chair for over
five years. I currently coach, mentor and choreograph for dance graduates/practitioners while
working as a qualified dance teacher in a high school. I feel that more of this work is needed.
Many of these practitioners are struggling to make a living out of dance and will in time
disappear into education.’ (Workforce survey)
The challenge must also be to simultaneously find ways to support experienced practitioners
whilst also providing support for artists at key stages of development. One respondent noted
that there is a ‘ ..tendency to fast-track promising dance makers who have little experience –
despite their potential they are often set them up to fail at a level they are not ready for’.
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