Dance Mapping - Arts Council England

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References marketing and distribution, building new audiences and virtual collaborations • technology can democratise dance and the arts; with audiences, producers and creators creating work together • dance needs leadership in this area to provide a national overview and a better sense of development opportunities. The field requires advocacy, creative and business support, and clear articulation of available funding streams • the power of broadcasting, social networking and new digital opportunities may open up new distribution mechanisms for dance and enable new audiences to engage with the form Department for Culture, Media and Sport and Department for Business, Enterprise and Regulatory Reform (2009) Digital Britain: The Interim Report London: The Stationery Office and online at http://www.culture.gov.uk/images/publications/digital_britain_interimreportjan09.pdf Arts Council England (2008) The Digital Opportunities Programme (unpublished) Leadbeater C (2009) We Think Gibson R and Porter L (2008) Digital Capacity in Dance: Snap-shot survey London: Arts Council England Knell John (2007) Whose art is it anyway? London: Arts Council England 190
PART SEVEN: Social In December 2008, The Guardian carried an editorial on the value of dance that stated: ‘Dancing is affirmative, optimistic and democratic. It embodies the idea that the world can be a better and a happier place . Those are useful ideas in difficult times.’ The BBC TV programme Strictly Come Dancing has now been sold to 38 countries and drew a weekly audience of between 8.5–12.2 million people during the last series. Large arena tours of the format are attracting audiences of between 10–20,000 around the country and tickets are already on sale for 2010. CCPR estimates that more than 5 million people are engaging in dance activity on a regular basis. 1. Dance as a social art form Peter Brinson 80 stated: ‘To talk about dance is to talk about you and you and me. Dancing… is part of the history of human culture and part of the history of human communication.’ 81 Dance is a social artform. The act of dancing is an innate human instinct. We ‘dance for joy’ when we are happy, we dance in clubs, at parties and at weddings. Our folk dance traditions go back to at least the 8 th century, social and recreational dance forms are all around us in clubs, at ceilidhs, tea dances and barn dances, in community centres and in dance halls. We dance on our own terms and invent our own steps and choreography. This part of dance culture is of significance to this mapping research as it is indicative of a support for dance that extends beyond the theatre and into the heart of people’s lives and existence. Participation and engagement in dance is significant. However, the majority of this activity relates to the social and recreational forms of dancing that form a part of everyday life. In December 2008, The Guardian carried the following editorial acknowledging the fact that Strictly Come Dancing had been a catalyst for the dance field more generally: ‘Tonight marks the end of what, as the BBC itself admits, has been the most talked-about series of Strictly Come Dancing so far. Much of the talk has been, in dance terms, for strictly 80 Brinson, Peter Neilson (1920–1995), writer and lecturer on dance 81 Brinson, P (1991) Dance as Education: Towards a National Dance Culture. London: Falmer Press 191
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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
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support the work of the charity and
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Copyright does not protect ideas or
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References Baumol W J and Bowen WG
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Ryan (1992) examined the organisati
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The implications of this are that w
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2. A diverse workforce Dance in Eng
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Contemporary 516 64.3% Creative 253
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Leadership • Dance appears to lac
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40% of schools within the SSPs had
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• 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
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 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
Page 220 and 221: Region Multi-arts groups Multi-artf
Page 222 and 223: • The voluntary arts sector is of
Page 224 and 225: Creative adult learning There are 4
Page 226 and 227: Children, Schools and Families and
Page 228 and 229: The StepBack project supports inclu
Page 230 and 231: 15. Key Findings Dance is a social
Page 232 and 233: Audiences London (2006) Contemporar
Page 234 and 235: 2. Talking about dance When asked t
Page 236 and 237: people could have quality. In dance
Page 238 and 239: ‘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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