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Dance Mapping - Arts Council England

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ut few companies seem to be benefitting from this<br />

• There is a need to develop economic multipliers for<br />

dance that will allow the full economic benefit of<br />

activity to be proven<br />

• <strong>Dance</strong> can have significant benefit on<br />

regeneration agendas – e.g. Laban, <strong>Dance</strong> City.<br />

New builds that have generated cultural as well as<br />

economic value in their locality.<br />

• Undervaluing the cultural value in use of dance??<br />

TECHNOLOGY<br />

• Digitalisation in three key areas: the work that is<br />

made, the way work is distributed and reaches<br />

audiences and the way we do our work<br />

• Data collection and consistent data sets or<br />

repositories of data appears not to be benefiting<br />

from the potential of digitalisation<br />

• <strong>Dance</strong> appears to be lagging behind other areas in<br />

its use of new technology where the growth is<br />

marked<br />

• There is little evidence of the use of social<br />

networking and the influence this might have on<br />

dance creation.<br />

• Broadcasting and narrow casting inroads are<br />

being made with more work being<br />

commissioned and this creates both new<br />

means of distribution and new audiences<br />

• Pockets of expertise in the use of new<br />

technology exist but they are isolated.<br />

• The development of the ‘prosumer’ has led to more<br />

dance on You Tube, mobile phone programmes etc<br />

• Technology could inform process of making work<br />

too …<br />

• Technology changes the notion of authorship and<br />

ownership of work.<br />

• Live streaming of work into cinemas being<br />

•<br />

developed<br />

SOCIAL<br />

• It lacks leadership, funding and has a multiple<br />

identity. I lacks a classical repertoire although some<br />

would say this is an advantage<br />

• What is leadership in dance? – Integrating practice<br />

values, messages?<br />

• There are no mechanisms for supporting ‘elderly<br />

statespeople’ and this links to leadership and<br />

advocacy<br />

• For artists to do more participatory work the ecology<br />

needs to shift<br />

• Is there enough support for new and emerging<br />

artists and do we support artists at all stages of<br />

their careers?<br />

• More people are taking part in dance activity – but<br />

what kind??<br />

• This activity covers an enormous range from<br />

striptease and pole dancing, night culture and<br />

clubbing, burlesque, folk, social dancing and social<br />

dance classes<br />

• <strong>Dance</strong> is often viewed as a female activity<br />

• <strong>Dance</strong> within pop culture has a different profile<br />

• The nude aesthetic in dance is frequently challenged<br />

• Broadcasting dance - Strictly Come Dancing - has<br />

captured public imagination but for a particular style<br />

of dance<br />

• The Big <strong>Dance</strong> 2008 appears to have attracted large<br />

numbers of people across the country<br />

• Appeal of musical theatre/ salsa programmes etc<br />

seem to reflect public taste in dance performance<br />

276

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