Dance Mapping - Arts Council England

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173,482 178,166 182,976 George Piper Dances is a contemporary dance company led by ex-Royal Ballet dancers Michael Nunn and William Trevitt. It presents a mixed portfolio of award-winning live repertoire, innovative education and film. Our funding supports core costs. Greenwich Dance Agency www.greenwichdance.org.uk Region: London Constituency: Greenwich & Woolwich 2008/9 2009/10 2010/11 242,824 249,380 256,113 Greenwich Dance Agency is a regional dance agency that develops and supports individual artists, presents dance work and provides a dance programme to Greenwich and surrounding boroughs. Our funding supports core costs. The additional investment will build the capacity of the organisation. Henri Oguike Dance Company www.henrioguikedance.co.uk Region: London Constituency: Lewisham Deptford 2008/9 2009/10 2010/11 195,166 200,435 205,846 Henri Oguike Dance Company is a touring company led by award-winning choreographer, Henri Oguike. It aims to create high-quality dance often accompanied by live music, which is distributed through extensive touring and education. The company also provides training based on Henri Oguike's unique style. Our funding supports core costs. Jonzi D Productions www.jonzi-d.co.uk Region: London Constituency: Islington South & Finsbury 2008/9 2009/10 2010/11 131,125 134,666 138,302 Jonzi D productions are a hip hop theatre company led by hip hop pioneer Jonzi D. It produces work for national touring and education as well as running an extensive programme of professional development for young artists. Our funding supports core costs. The additional investment will enable the employment of an education officer to deliver the growing education programme. Michael Clark www.michaelclarkcompany.com Region: London Constituency: Cities of London & Westminster 2008/9 2009/10 2010/11 161,555 174,205 200,000 Michael Clark Company is a dance company led by Michael Clark and originally founded in 1984. Michael Clark has choreographed a repertoire of pioneering collaborations that have 288
involved leading visual artists, composers, fashion designers and film makers. The Stravinsky project: parts 1, 2 and 3 have re-established Michael Clark as a leading UK choreographer and the Company is now regularly distributing work on national and international touring circuits. Our funding will support the creation of new work and national touring. Rambert Dance Company www.rambert.org.uk Region: London Constituency: Brentford & Isleworth 2008/9 2009/10 2010/11 2,119,300 2,176,521 2,235,287 Rambert Dance Company is Britain’s leading contemporary dance company and a strong ambassador for British dance internationally. Rambert presents works by leading national and international choreographers, including its new artistic director, Mark Baldwin. Our funding will support the significant organisational change process the company is undertaking currently. Random Dance Company www.randomdance.org Region: London Constituency: Islington South & Finsbury 2008/9 2009/10 2010/11 361,514 371,274 381,298 Random Dance is celebrated for its dancers and repertory, its pioneering use of new media and technology on stage, and its record in accessing new audiences. Our funding will contribute towards core costs. Additional investment is to support increased national touring. Sadler’s Wells Trust Ltd www.sadlers-wells.com Region: London Constituency: Islington South & Finsbury 2008/9 2009/10 2010/11 2,273,494 2,375,916 2,468,189 Sadler’s Wells is a state of the art, large-scale dance venue for presenting major regional, national and international work. The organisation includes the main theatre, the smaller in- house Lilian Baylis, and the Peacock Theatre in London’s West End. Our funding contributes to core costs. Increases over the coming three years will directly fund the national touring of Breakin' Conventions and London Youth Dance. Shobana Jeyasingh Dance Company www.shobanajeyasingh.co.uk Region: London Constituency: Islington South & Finsbury 2008/9 2009/10 2010/11 328,640 337,513 346,626 289
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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
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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
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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
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 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 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
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
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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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Dance Mapping - Arts Council England

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