Dance Mapping - Arts Council England

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within it work across the field in multiple roles. The workforce is responding to new developments and crossing over into more commercial areas of work at a significant level. • existing workforce development interventions may not be generating a workforce fit for purpose. There are significant skills gaps and distribution issues, suggesting underemployment in the context of the overall dance marketplace • there is evidence to suggest that some people develop careers in dance across a lifetime. There are a wide range of transitions taking place across the workforce, with performers developing new skills such as teaching skills and management to cope with the end of a performing career. • the field has many outstanding leaders who should be recognised, valued and celebrated. Initiatives should be developed to identify and develop the leaders of the future • almost half (49 per cent) of the workforce is concentrated in the south of England. This has an impact on competition and creates skills shortages elsewhere • the workforce is highly educated but poorly paid; 62 per cent hold degrees. Of those who make a living through dance 38 per cent earned £5,000–£20,000 in 2008/09. Almost a quarter (23 per cent) earned under £5,000 from dance • the low levels of pay affect the sustainability of careers, leadership within the sector and the ability of potential key champions to emerge • workforce development should take into account the diversity of the field and adopt a more holistic approach to solutions that are not sector-specific but field-specific. Thus, whilst dance may be growing in popularity, the workforce remains unevenly distributed and underpaid. Capacity is stretched in some areas and there is underemployment of others. There are key skills gaps in relation to market needs that could be met with a workforce better fit for purpose and thus generate more sustainable careers in dance. The challenges here are for the funding system and the field itself but also crucially for those responsible for the planning of initial training. The notion of the definition of the dance field in England may need to expand to encompass a more holistic view of the overall ecology, reflective of its diversity, which must place greater 170
value on workforce development, recognise the interdependence of different processes within the field and work collectively to address the issues it faces with courage, confidence and a greater sense of self. References: Arts Council of England (2000) Towards 2010: New times, new challenges for the arts. London: Arts Council of England Arts Council England, (2007) Where to Next?, London, Arts Council of England Bates, J (2008) ‘An investigation into the effectiveness of UK dance training in preparing students for a career in dance’ Unpublished dissertation. London: City University Becker, HS (1984) Art Worlds. Berkeley: University of California Press Birch, E, Jackson,C and Towse R (1998) Fitness for Purpose Report: dance, drama and stage management training: an examination of industry needs and the relationship with the current provision of training. London: Arts Council of England. Bourdieu, P (1994) The Field of Cultural Production Cambridge: Polity Press Brinson, P (1991) Dance as Education: Towards a National Dance Culture. London: Falmer Press Burns, S (2001) ‘Dancing with Figures: Changing Patterns in the Funding of Dance in the UK 1987–1997’ in Trends and Strategies in the Arts and Cultural Industries ed.Janssen, Halbertsma, Idjens and Ernst. Rotterdam: Erasmus University Burns, S (2007) Mapping Dance: Entrepreneurship and professional practice in dance higher education, Lancaster: Palatine, www.palatine.ac.uk/files/723.pdf Carruthers J (2009) ‘Invisible Imports’ – Arts Industry, March 2009 Clarke, G and Gibson, R (1998) Independent dance review report London: Arts Council of England Cross, S (2009) ‘Dance by Degrees Part 1’, Dancing Times, March Cunningham, C (2006) Dance UK mentoring programme. Dance UK News. Issue 63 Winter, pp.24-25. London: Dance UK Dance UK (2003) Research into payscales in dance. London: Dance UK / Foundation for Community Dance Devlin, G (1989) Stepping Forward: Some suggestions for the development of dance in England during the 1990s. London: Arts Council of Great Britain Di Maggio P, Powell, WW (eds) (1991) The New Institutionalism in Organisational Analysis Chicago: University of Chicago Press Di Maggio, P and Powell WW (1983) ‘The Iron Cage Revisited: Institutional Isomorphism and Collective Rationality in Organisational Fields’, American Sociological Review 1993 vol.48,pp 147–6 Jeffri, J (2005) ‘After the ball is over: Career transition for dancers around the world’ International Journal of Cultural Policy. Vol. 11, No. 3 Oxford: Routledge Handy, C (1989) The Age of Unreason. London: Business Books Limited 171
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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
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ecomes 239,473 total engagement, wh
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Source: Arts Council England dance
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2004- 2007 there was no dance compa
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Across the three year period the pr
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Some fluctuations may occur to thes
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DTP Core members are: Brighton Dome
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Producing and Touring Companies Eas
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There is more touring data availabl
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When asked if they had a dedicated
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Figure 3: Marketing the dance progr
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• ‘To find ways to engage audie
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Table 28 shows the average expendit
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Figure 4: Local authorities’ danc
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• ‘Due to budget restrictions t
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Cultural organisations and business
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Region Total private investment Lon
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There were other capital projects,
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In terms of looking at the asset cl
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£516,859,357 to 18 dance projects.
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attributable to fewer dance artists
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Region/ Sub dance form Total contem
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• Demand - a more educated and di
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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
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 172 and 173: Hansen, RS (2009) Quintessential Ca
Page 174 and 175: • upgrading and modernising our d
Page 176 and 177: • successful regional roll out of
Page 178 and 179: • Broadcasting and narrow-casting
Page 180 and 181: The report points out that a number
Page 182 and 183: Creative uses Working in the virtua
Page 184 and 185: network users and to generate dialo
Page 186 and 187: Cinema through digital and film age
Page 188 and 189: Dance’s central preoccupation wit
Page 190 and 191: References marketing and distributi
Page 192 and 193: the wrong reasons - the viewers' re
Page 194 and 195: ‘From ballroom to breakdance, hor
Page 196 and 197: Theatre dance and popular forms are
Page 198 and 199: o stronger muscles o stronger bones
Page 200 and 201: promote dance as a fun, physical an
Page 202 and 203: In terms of educational qualificati
Page 204 and 205: The survey found that attendance at
Page 206 and 207: this in a more sophisticated way by
Page 208 and 209: Heather Maitland’s research for D
Page 210 and 211: The Phase Two research then focusse
Page 212 and 213: Brand loyalty As an increasingly br
Page 214 and 215: Type of work No of perfs Paid Atten
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Page 218 and 219: 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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