Dance Mapping - Arts Council England

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Shobana Jeyasingh presents original work using new music, new media and contemporary dance. The company also taps into the deep wellspring of South Asian dance technique Bharata Natyam to expresses a unique British Asian identity. Our funding will contribute towards core costs. Siobhan Davies Dance www.sddc.org.uk Region: London Constituency: North Southwark & Bermondsey 2008/9 2009/10 2010/11 575,011 590,536 606,481 Siobhan Davies Dance is a building-based contemporary dance company making and presenting new work to engage audiences, encourage debate and celebrate the dancer as a creative artist. Our funding will contribute towards core costs. Tavaziva Dance www.tavazivadance.com Region: London Constituency: Regent's Park & Kensington North 2008/9 2009/10 2010/11 182,156 187,074 192,125 Tavaziva Dance is a touring company led by Place Prize finalist, Bawren Tavaziva. The company tours nationally and internationally and aims to explore new territories in combining traditional dance forms of Africa within a contemporary Western base. Our funding supports core costs. balletLORENT www.balletlorent.com Region: North East Constituency: Tyne Bridge 2008/9 2009/10 2010/11 105,000 154,980 170,013 balletLORENT contemporary ballet company that has been producing original and innovative dance in theatres and non-traditional venues for the last 14 years. The company tours its work extensively throughout England and internationally. Dance City www.dancecity.co.uk Region: North East Constituency: Tyne Bridge 2008/9 2009/10 2010/11 375,369 385,503 395,912 One of ten National Dance Agencies, Dance City pursues its remit to develop dance through work in four ways; artistic support, education, dance performance and participation, and regional development. From classes and workshops and presentations of work to superb educational opportunities through academy and degree courses (in partnership with Northumbria University) Dance City offers the public and professionals alike the opportunity to participate in dance at all levels across the North East of England. 290
Tees Valley Dance www.teesvalleydance.co.uk Region: North East Constituency: Stockton North 2008/9 2009/10 2010/11 92,430 94,926 97,489 Tees Valley Dance is a dance company that produces and develops dance education in the Tees Valley. Breaking Cycles www.benjireid.com Region: North West Constituency: Manchester Central 2008/9 2009/10 2010/11 105,576 105,576 105,576 Breaking Cycles is an artist-led company, dedicated to hip-hop theatre and playing a key role in its development as an art form. It challenges the boundaries of multi-disciplined art form, layering contemporary vision with classical inspiration. It also challenges and creates new audiences for theatre. Our funds support production, in the creation and staging of new work for national tour; participation, in the development and delivery of outreach programmes; research and development of participatory festival/event; and organisational development. Cheshire Dance www.cheshiredance.org Region: North West Constituency: Eddisbury 2008/9 2009/10 2010/11 89,760 92,183 94,672 Cheshire Dance in Winsford is one of the main dance development agencies in the region. The company is a team of dance workers who directly run a range of projects, as well as organising and buying in professional expertise to run special projects. Our funds support participation, in the development and delivery of community/education dance programmes; and Continued Professional Development, in the support of the creative and skills development of dance (and related) artists. Dance Initiative Greater Manchester www.digm.org.uk Region: North West Constituency: Manchester Central 2008/9 2009/10 2010/11 89,760 92,183 94,672 Dance Initiative Greater Manchester is one of the key dance development agencies in the region. Our funding helps provide regular youth sessions, work on disability with international artists, and residency work with visiting companies. The company also provides advice, information, commissions and small grants to community groups. Our investment supports participation, in the development and delivery of community/education dance programmes; 291
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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
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‘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 288 and 289: 173,482 178,166 182,976 George Pipe
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
Page 338 and 339: 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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