Dance Mapping - Arts Council England

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1969 -1979 1979 - 1989 1989 - 1999 1999 - 2009 1974: Laban launches a three year full time programme which became the first BA (Hons) in Dance in 1976. Conference on Dance Education and Training led to the formation of the Council for Dance Education and Training in 1974 1975: First National Festival of Youth Dance in Leicestershire 1982: The Place launches a 3 year honours degree in Contemporary Dance although some LCDT dancers had been studying before degrees before this date 1988: National Dance Teachers Association formed 1980: Dance Education and Training in Britain published by the Calouste Gulbenkian Foundation 1991 National South Asian Youth Dance Company formed 1991: Brinson's Dance as Education: Towards a National Dance Culture published. 2004 Youth Dance England Launched: 2008 announcement that dance will receive a £5.5 million investment from the Government. Funded through the Departments for Culture, Media and Sport and Children, Schools and Families and Arts Council England. 2007 Palatine research on Dance in HE highlights 80 institutions offering dance at FE and HE level. Overall student numbers on dance HE programmes grows by 97% from 2002 - 2007 with 3645 students entering training in 2006/07: UCAS carries 506 listings for dance for entry in 2009 2004 6 Centres for Advanced Training (CATs) established by government funded by the Department for Children, Schools and Families and managed by the Music and Dance Scheme (MDS). 2008: A further 6 announced. 2001: Jeannette Siddall's 21st Century Dance published by ACE 272
Milestone Reports ACE Dance Directors Funding System Milestones Funding Regimes 1969 -1979 1979 - 1989 1989 - 1999 1999 - 2009 Arts Council Music Department employs a Ballet and Dance Officer; London Arts Board employs a Dance and Mime Officer - Val Bourne 1984: The Glory of the Garden published recognising that dance is underfunded and that national touring, the animateur movement and regional companies needed to be strengthened Ruth Glick report on the Dance and Mime Animateurs 1988: Review of Independent Dance Sector by Gill Clarke and Rachel Gibson 1986: A Great British Success Story and the Myerscough reports (1985) bring a new emphasis on economic impact of arts investment 1979:Arts Council establishes its Dance Department under direction of Jane Nicholas Regional Arts Boards appoint Dance and Mime Officers: Susanne Burns at Northern Arts and Sue Harrison at Yorkshire Arts in 1985 1987 Incentive Funding scheme launched 1989: Graham Devlin Stepping Forward; some suggestions for the development of dance in England during the 1990's published 1990: Penny Rae's report Young People Dancing calls for a national back up organisation for the work 1989 Sue Hoyle appointed Dance Director: 1994 Hilary Carty appointed Dance Director 1995 Lottery funded Capital Programmes begin 1991: Enhancement Funding replaces Incentive Funding 2008 Tony Hall's The Dance Review: A report to government on Dance Education and Youth Dance in England leads to major investment in Youth Dance England. 2003 Jeannette Siddall appointed Dance Director: 2007 Janet Archer appointed Director, Dance Strategy 2000 Devolution of NDAs and Development Funds to the RABs 2003 Grants for the Arts Launched 273
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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
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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
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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
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within it work across the field in
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Hansen, RS (2009) Quintessential Ca
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• upgrading and modernising our d
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• successful regional roll out of
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• Broadcasting and narrow-casting
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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
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Dance’s central preoccupation wit
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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
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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
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this in a more sophisticated way by
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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
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24 different companies worked with
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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 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 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 318 and 319: Year on Year comparison: Below are
Page 320 and 321: 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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