Dance Mapping - Arts Council England

More documents

Recommendations

Info

There needs to be more work done to build a small-scale network of venues other than those managed by the dance agencies to increase reach and audiences. Alongside this must be a commitment to increase the provision of high quality small-scale touring work. This was identified as a gap in a number of discussions as well as through the venues survey The large- and medium-scale venues committed to presenting dance feel that there is more that could be done by companies to build a stronger relationship with them and this includes ballet as well as contemporary companies. It is now more common for venues to have artists in residence as well as dance agencies. This could alleviate the problem of rehearsal spaces and creates an opportunity for work to be created with an audience in mind. 6. Key Findings This section does not offer a critique of the aesthetic but looks at the issues around the understanding and development of the aesthetic, where the gaps are and where the challenges might come from. The research refers to one aesthetic, but underlying this is the UK’s increasingly diverse culture. • the dance aesthetic in this country is informed by the plurality of styles, histories and cultures that exist in the UK, as well as increased international touring by our leading artists • we appear to have reached a moment in time where a level of homogenisation is evident. This has had an impact on the dance aesthetic within some of our subsidised touring companies • there is a need for wider debate around dance aesthetics and different genres of dance in order to further develop excellence, innovation and diversity through bringing together choreographers, producers and dancers to reflect on their practice • we need to better understand what venues and audiences want as well as the ambitions of artists • dance artists need more time for both creation and research and development. There should be opportunities for new choreographers to experiment in safe environments, be mentored by more experienced choreographers and get feedback about their work from their peers and audiences 248
• venues need help to understand the breadth and diversity of dance, and support to build audiences throughout the season, rather than through one-off events that are hard to sell • companies need access to better information about venues and promoters interested in promoting dance, and their target audiences • working in physical, creative and business contexts simultaneously is highly challenging for independent dance artists without company structures to support them • the outcomes of the dance agency audit should address the core business of dance agencies and fund the strands of work to an appropriate level to ensure they deliver the highest quality. References Archer J and Beattie T(2009) Joining up the dots: an audit of Arts Council England funded dance agency provision Arts Council England (forthcoming) Arts Council England (2008) What people want from the arts London: Arts Council England McMaster B (2008) McMaster Review –Supporting Excellence in the Arts – from measurement to judgement London: DCMS Devlin G (1989), Stepping Forward: Some suggestions for the development of dance in England during the 1990s. London: Arts Council of Great Britain Devlin G (1999) A review of the national dance agencies London: Arts Council England Devlin G (2005). A review of the national strategic agencies London: Arts Council England Venner K (1990) A feasibility study into regional dance agencies Arts Council England 249
Page 2 and 3:
ACKNOWLEDGEMENTS This research has
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
Page 52 and 53:
2008/9 along with potential booking
Page 54 and 55:
promoters, venue managers and festi
Page 56 and 57:
But now cultural leaders are warnin
Page 58 and 59:
increased political awareness of ho
Page 60 and 61:
PART FOUR: Economy The dance econom
Page 62 and 63:
Large-scale: capacity in excess of
Page 64 and 65:
aesthetic and production values. Ho
Page 66 and 67:
force organisations to amend their
Page 68 and 69:
2007/08 £s 2008/09 £s 2009/10 £s
Page 70 and 71:
The list of organisations in table
Page 72 and 73:
The rapid growth of some of these o
Page 74 and 75:
ecomes 239,473 total engagement, wh
Page 76 and 77:
Source: Arts Council England dance
Page 78 and 79:
2004- 2007 there was no dance compa
Page 80 and 81:
Across the three year period the pr
Page 82 and 83:
Some fluctuations may occur to thes
Page 84 and 85:
DTP Core members are: Brighton Dome
Page 86 and 87:
Producing and Touring Companies Eas
Page 88 and 89:
There is more touring data availabl
Page 90 and 91:
When asked if they had a dedicated
Page 92 and 93:
Figure 3: Marketing the dance progr
Page 94 and 95:
• ‘To find ways to engage audie
Page 96 and 97:
Table 28 shows the average expendit
Page 98 and 99:
Figure 4: Local authorities’ danc
Page 100 and 101:
• ‘Due to budget restrictions t
Page 102 and 103:
Cultural organisations and business
Page 104 and 105:
Region Total private investment Lon
Page 106 and 107:
There were other capital projects,
Page 108 and 109:
In terms of looking at the asset cl
Page 110 and 111:
£516,859,357 to 18 dance projects.
Page 112 and 113:
attributable to fewer dance artists
Page 114 and 115:
Region/ Sub dance form Total contem
Page 116 and 117:
• Demand - a more educated and di
Page 118 and 119:
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 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 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
Page 216 and 217: egional dance agency in programming
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
Page 240 and 241: contemporary genre. Populist progra
Page 242 and 243: 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 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
Page 294 and 295: 60,566 62,201 63,881 Woking Dance F
Page 296 and 297: internationally. Our investment hel
Page 298 and 299:
Jabadao www.jabadao.org Region: Yor
Page 300 and 301:
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
Page 310 and 311:
Question 2: Arts Development Staff
Page 312 and 313:
Question 4: Please indicate budget
Page 314 and 315:
Page 316 and 317:
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
Page 344 and 345:
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
Page 360 and 361:
Respondent D Region West Midlands (
Page 362 and 363:
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
Page 370 and 371:
Respondent N Region London Age 36-5
Page 372 and 373:
Respondent P Region East Do you ear
Page 374 and 375:
Respondent R Region London Age 26-3
Page 376 and 377:
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
show all

Dance Mapping - Arts Council England

Create successful ePaper yourself

Delete template?

Save as template?