Dance Mapping - Arts Council England

contemporary genre. Populist programming in contemporary repertoire, such a Rooster
performed by Rambert Dance, is seen by the company as problematic in planning repertoire.
This is because it is so popular with audiences and there is always a desire to see the work,
but it is not appropriate within particular repertoires and dancers tire of performing the piece.
This wide range of dance product available across the dance field for both attendance and
participation is dynamic. There is a great deal of participation work in dance covering a range
of genres, but the view of those consulted and the evidence in the Arts Council England
funding portfolio is that the funding system predominantly funds western contemporary dance
and ballet. This limits the range of product available to venues, programmers and audiences.
Many feel that the growth of neo-classical or contemporary/classical work has come to
provide a bridge between the classical and contemporary genres. Leading choreographers
have made work for both, notably most recently Wayne McGregor making work for the Royal
Ballet as their choreographer in residence and companies such as Rambert, drawing on
elements of the traditional, classical discipline and contemporary dance. Dance artists now
move between companies, with a consequent increase in crossover work on a variety of
scales. This crossover of choreographers and dancers impacts upon the perceived aesthetic
of dance, and challenges audience perceptions of both genres of dance. The audience for
this work needs more research.
Crossover is not limited to ballet and contemporary forms; choreographers are working
between the diverse contemporary dance styles, including South Asian and African and
Caribbean dance. This has the effect of creating varied choreography within the traditional
repertory programme of the companies and offers high-quality choreographic opportunities for
the dancers. The downside of this is that contemporary companies begin to look very similar
in their programme. Choreographers are perhaps over-stretching themselves working with so
many companies and the companies themselves can often lose their distinctive style with
mixed bills such as these. This is noticeable when watching companies at BDE. Promoters
mentioned this in their feedback on the event and are particularly challenging about the
quality of British dance.
Within their own companies choreographers may also feel pressured to create work each
year. The lack of a repertoire in companies means there is always pressure to create new
work to tour, keeping successful work to tour further and generate more money for the
company, as well as providing opportunities for more people to see successful work.
Choreographers are not limiting themselves to the stage, but are working in broadcasting,
creating dance videos for music artists, creating adverts and involving themselves in the
creation of dance through and with new technology.
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