Dance Mapping - Arts Council England

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Are you a commercial venue? Answered 69 Skipped 8 Yes 9 13.0% No 60 87.0% 344
Question 5: I don’t how you will want show these other than how I’ve done…I tried with a column graph to summarise them all in one (see bottom). Please answer the following questions: Do you have a dedicated <strong>Dance</strong> Programmer? Answered 74 Skipped 3 Yes 23 31.1% No 51 68.9% Is your venue a member of a <strong>Dance</strong> Consortium? Answered 75 Skipped 2 Yes 16 21.3% No 59 78.7% 345
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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
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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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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
Page 340 and 341: The Junction Waterside Arts Centre
Page 342 and 343: Question 3: Please give an indicati
Page 346 and 347: Is your venue a member of a Dance T
Page 348 and 349: Question 6: Please indicate the siz
Page 350 and 351: 350
Page 352 and 353: Question 9: How do you identify com
Page 354 and 355: Question 11: What tools do you use
Page 356 and 357: Question 13: What do you think are
Page 358 and 359: Respondent B Region West Midland (S
Page 360 and 361: Respondent D Region West Midlands (
Page 362 and 363: Respondent F Region South East Age
Page 364 and 365: Respondent H Region London Age 20-2
Page 366 and 367: Respondent J Region South West Age
Page 368 and 369: Respondent L Region London Age 51-6
Page 370 and 371: Respondent N Region London Age 36-5
Page 372 and 373: Respondent P Region East Do you ear
Page 374 and 375: Respondent R Region London Age 26-3
Page 376 and 377: Respondent T Region Yorkshire Age 2
Page 378 and 379: 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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