Dance Mapping - Arts Council England

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This categorisation has been adopted in order to structure the findings of the mapping research as, just as it is important to recognise where dance has come from, it is also important that the overall environment within which the dance field exists informs both its current state and its future development. The trends and issues identified are examined in each section of the report. References Arts Council of Great Britain 1987/88 Annual Report Arts Council of England 1997/98 Annual Report Arts Council of England (2000) Towards 2010: New times, new challenges for the arts, London: Arts Council of England Burns S (2001) ‘Dancing with Figures: Changing Patterns in the Funding of Dance in the UK 1987–1997’ in Trends and Strategies in the Arts and Cultural Industries ed.Janssen, Halbertsma, Idjens and Ernst. Rotterdam: Erasmus University Di Maggio P and Powell WW (1983) ‘The Iron Cage Revisited: Institutional Isomorphism and Collective Rationality in Organisational Fields’, American Sociological Review 1993 vol.48,pp 147–60 Di Maggio, P and Powell WW (eds) (1991) The New Institutionalism in Organisational Analysis Chicago: University of Chicago Press Handy C (1989) The Age of Unreason. London: Business Books Limited Hawley, A (1968) Human Ecology. In International Encyclopedia of the Social Sciences David L. Sills, 328–37. New York: Macmillan Pfeffer, J and Salancik GR (2003) The External Control of Organisations: A Resource Dependence Perspective. California: Stanford Business Siddall J (2001) 21 st century dance: present position, future vision, Arts Council of England: London 34
PART TWO: Methodology 1. Methodology The original brief for the Dance mapping research is contained in Appendix Two. The methodology was spread over three research stages. The project began in July 2008, the interim report was produced in October 2008 and the final report was delivered in May 2009. Stage one set out to identify what was known about the state of the dance field. It collated and used existing research to examine existing Arts Council England investment in dance and attempted to locate this within a context of what we know about the wider field across the regions. The following methods were used in stage one: • data gathering and analysis using Arts Council England regularly funded organisations 10 and Grants for the arts 11 data 2008–11 • data gathering and analysis using Arts Council England regularly funded organisations and Grants for the arts data 2004–07 12 • data gathering from regional offices of Arts Council England • data gathering from government websites, HESA statistics, NALGAO, Youth Dance England etc • literature review of existing research, publications and reports • attendance at key events (e.g. Arts Council England Dance Conversation Days and meetings of the key strategic dance agencies) Stage one was completed in October 2008 and an interim report was presented to Arts Council England and a summary produced for dissemination on the Arts Council England website. This research highlighted gaps in knowledge and allowed a refinement to the methodology for stage two of the research. Stage two comprised primary research that sought to plug the gaps in existing knowledge about the dance field and to generate a better understanding of the environment within which dance exists. In stage two the following methods were used: 10 Arts Council England regularly funded organisation 11 Grants for the arts 12 Data for 2007–08 was not available in stage one. The intention was to analyse this in stage two. However, at the date of submission of this draft the data was still unavailable to the consultants. 35
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 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
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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
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contemporary genre. Populist progra
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The survey of venues received 61 re
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Birmingham Hippodrome Theatre, Birm
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The impact of ANDA and now NDN’s
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There needs to be more work done to
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PART NINE: Conclusion Introduction
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We have sought to tabulate some of
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the balance of provision currently
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Appendices 1. Consultants Biographi
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Appendix 2 Arts Council England Con
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3 Requirements This process will in
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Queries should be addressed to: Jan
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ARTS COUNCIL ENGLAND (2008) What Pe
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DEDA (2007) East Midlands: Dance Au
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PFEFFER, J and SALANCIK GR. 2003 Th
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1969 -1979 1979 - 1989 1989 - 1999
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1969 -1979 1979 - 1989 1989 - 1999
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Political Shifts Associated develop
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ut few companies seem to be benefit
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Appendix 6 (a) RFO Data Descriptors
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West Midlands Dance South West Glou
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StopgapDance Co South West Attik Da
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Dance4 Ltd www.dance4.co.uk Region:
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commissioning, exhibiting, curating
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173,482 178,166 182,976 George Pipe
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Shobana Jeyasingh presents original
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and Continued Professional Developm
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60,566 62,201 63,881 Woking Dance F
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internationally. Our investment hel
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Jabadao www.jabadao.org Region: Yor
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Appendix 7 List of Those Consulted
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Candida Elton Regional Artist-Deda
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Emma Gladstone Sadler’s Wells (pr
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Amanda Drago Falling Cat Joelene En
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Lisa Cullen University of Salford A
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Question 2: Arts Development Staff
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Question 4: Please indicate budget
Page 314 and 315:
Page 316 and 317:
Page 318 and 319:
Year on Year comparison: Below are
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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
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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
Page 380:
I want to add my thanks to Alan’s
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Dance Mapping - Arts Council England

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