- Page 4 and 5: Section Two: Lottery expenditure on
- Page 6 and 7: List of tables 1 Dance field: Stage
- Page 8 and 9: 67 TMA audience data by genre for a
- Page 10 and 11: as a domestic one. I know we have t
- Page 12 and 13: dance • identify trends in the da
- Page 14 and 15: in the broadcasting and commercial
- Page 16 and 17: • the low levels of pay affect th
- Page 18 and 19: hip hop. The core ballet repertoire
- Page 20 and 21: PART ONE: Background 1. Introductio
- Page 22 and 23: Stage one set out to identify what
- Page 24 and 25: organisations and local government
- Page 26 and 27: living through dance but also amate
- Page 28 and 29: 3. Normative isomorphism results pr
- Page 30 and 31: A changing UK demographic has influ
- Page 32 and 33: 1987/1988 1997/98 2007/2008 Total A
- Page 34 and 35: This categorisation has been adopte
- Page 36 and 37: • primary research through online
- Page 38 and 39: PART THREE: Political ‘The real c
- Page 40 and 41: It outlines a set of national objec
- Page 42 and 43: • a central Grants for the arts p
- Page 44 and 45: ‘The Government is pleased to be
- Page 46 and 47: The DCMS responded by identifying t
- Page 48 and 49: As a direct result of the review, t
- Page 50 and 51: ‘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
- Page 128 and 129:
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
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% Table 51:Overall student numbers:
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However, the largest group of progr
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These partnerships appear to be gro
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The workforce is concentrated in th
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Further analysis of the membership
- Page 150 and 151:
Funding Are we training too many da
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‘Keeping traditional dance alive
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expertise and skill could be of maj
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FCD % NDTA % South East 219 15 221
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One respondent stated that the majo
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Katie Green Katie did not envisage
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have excellent leaders but that the
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although there are several high pro
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• artist as leader of a producing
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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
- 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
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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
- Page 188 and 189:
Dance’s central preoccupation wit
- Page 190 and 191:
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
- Page 198 and 199:
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
- Page 206 and 207:
this in a more sophisticated way by
- Page 208 and 209:
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
- Page 218 and 219:
24 different companies worked with
- Page 220 and 221:
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
- Page 228 and 229:
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
- 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
- Page 244 and 245:
Birmingham Hippodrome Theatre, Birm
- Page 246 and 247:
The impact of ANDA and now NDN’s
- Page 248 and 249:
There needs to be more work done to
- Page 250 and 251:
PART NINE: Conclusion Introduction
- Page 252 and 253:
We have sought to tabulate some of
- Page 254 and 255:
the balance of provision currently
- Page 256 and 257:
Appendices 1. Consultants Biographi
- Page 258 and 259:
Appendix 2 Arts Council England Con
- Page 260 and 261:
3 Requirements This process will in
- Page 262 and 263:
Queries should be addressed to: Jan
- Page 264 and 265:
ARTS COUNCIL ENGLAND (2008) What Pe
- Page 266 and 267:
DEDA (2007) East Midlands: Dance Au
- Page 268 and 269:
PFEFFER, J and SALANCIK GR. 2003 Th
- Page 270 and 271:
1969 -1979 1979 - 1989 1989 - 1999
- Page 272 and 273:
1969 -1979 1979 - 1989 1989 - 1999
- Page 274 and 275:
Political Shifts Associated develop
- Page 276 and 277:
ut few companies seem to be benefit
- Page 278 and 279:
Appendix 6 (a) RFO Data Descriptors
- Page 280 and 281:
West Midlands Dance South West Glou
- Page 282 and 283:
StopgapDance Co South West Attik Da
- Page 284 and 285:
Dance4 Ltd www.dance4.co.uk Region:
- Page 286 and 287:
commissioning, exhibiting, curating
- Page 288 and 289:
173,482 178,166 182,976 George Pipe
- Page 290 and 291:
Shobana Jeyasingh presents original
- Page 292 and 293:
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
- Page 302 and 303:
Candida Elton Regional Artist-Deda
- Page 304 and 305:
Emma Gladstone Sadler’s Wells (pr
- Page 306 and 307:
Amanda Drago Falling Cat Joelene En
- Page 308 and 309:
Lisa Cullen University of Salford A
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Question 2: Arts Development Staff
- Page 312 and 313:
Question 4: Please indicate budget
- Page 314 and 315:
Question 5: Please indicate budget
- Page 316 and 317:
Question 6: Please indicate budget
- Page 318 and 319:
Year on Year comparison: Below are
- Page 320 and 321:
Question 8: How many venues in your
- Page 322 and 323:
Question 10: How would you estimate
- Page 324 and 325:
Question 12: Dance Workforce Answer
- Page 326 and 327:
Private Teachers/ Schools Voluntary
- Page 328 and 329:
Question 13: Do you invest in Conti
- Page 330 and 331:
Question Three: Age Answered 795 Sk
- Page 332 and 333:
Question 5: If you answered yes in
- Page 334 and 335:
Question 7: Please tick any of the
- Page 336 and 337:
Question 9: Which of the following
- Page 338 and 339:
Question 11: What do you think are
- Page 340 and 341:
The Junction Waterside Arts Centre
- Page 342 and 343:
Question 3: Please give an indicati
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Are you a commercial venue? Answere
- Page 346 and 347:
Is your venue a member of a Dance T
- Page 348 and 349:
Question 6: Please indicate the siz
- Page 350 and 351:
350
- Page 352 and 353:
Question 9: How do you identify com
- Page 354 and 355:
Question 11: What tools do you use
- Page 356 and 357:
Question 13: What do you think are
- Page 358 and 359:
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
- Page 364 and 365:
Respondent H Region London Age 20-2
- Page 366 and 367:
Respondent J Region South West Age
- Page 368 and 369:
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
- Page 374 and 375:
Respondent R Region London Age 26-3
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Respondent T Region Yorkshire Age 2
- Page 378 and 379:
dance workforce is not diverse enou
- Page 380:
I want to add my thanks to Alan’s