Dance Mapping - Arts Council England

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Respondent T Region Yorkshire Age 26-35 Do you earn a living through dance? Yes, I am Employed in Dance No – regarding Q5 & Q6 part-time, as I was an MA student If you answered yes in the previous question, please could you give an estimate of your earnings for 2007/08, in the following categories: Earnings Under £5K £5K - £20K £20K - £30K £30K+ From Dance X From Arts From Non-Dance Please indicate the percentage of you working hours, in one year that you spend in the following areas of Dance: Teaching (Schools) – 15% Teaching (FE/HE) – 50% Dance Therapy – 5% Examiner – 30%lease tick any of the following organisations that you belong to: Dance UK Foundation for Community Dance Other – ADMP UK Please tell us where you obtained your training HE Undergraduate Degree in Dance HE Postgraduate Degree other Other training - MA Dance Movement Therapy Which of the following genres best describes your engagement with dance? Contemporary, Creative Do you engage with any of the following? Tick all you are involved with: None What do you think are the challenges for dance in 2008-2012? Funding. The influence of Popular Culture i.e. the X Factor generation 376
Appendix 12 A response from the Director, Dance Strategy This report is an important milestone for dance. It gives us a chance to understand the ecology, environment and economics of dance with much firmer evidence than we have had in the past. It is ‘a window on dance’, which can be looked through in many directions: helping to inform the dance field’s planning and decision-making, and refreshing Arts Council England’s perspective on a form that has changed rapidly over a relatively short period of time. All of the findings in this executive summary are backed up by evidence in the full report which you can access at www.artscouncil.org.uk/dancemapping The report, although it contains plenty of ideas, did not set out to firm up recommendations in relation to future strategy. What it has done is confirm an artform in growth, which is increasingly operating in a mixed economy context. And it celebrates the extraordinary achievements of the many and varied talents of choreographers, performers, teachers and community dance artists working across the UK and increasingly into Europe and the wider world as well. Audiences are increasing, albeit from a small base. Dance is widening its presence in theatres and galleries as well as exceeding all expectation through the work of dance houses such as Sadler’s Wells, and venues such as the Lowry and the Birmingham Hippodrome. A new generation of young artists is starting to emerge through the centres for advanced training (CATs) and through the work of organisations such as Youth Dance England. Popular culture has brilliantly helped to raise the profile of dance. TV shows such as Strictly Come Dancing and Britain’s Got Talent, as well as Billy Elliot the Musical, have captured the public’s imagination. As a consequence more people are dancing and classes are full in many places across the country. Dance has moved out of theatres onto the streets, into site-specific locations, pubs and clubs, interconnecting with physical theatre, aerial work and new circus. Alongside all this, our traditional forms of dance, such as Morris and Rapper Sword dance, continue to thrive. There are a number of important factors that will need to be taken into consideration as Arts Council England moves towards developing a national arts strategy. Diversity is clearly emerging as a major priority on a number of different levels. There is a need to widen understanding of the many and varied different kinds of dance that now make up the dance field, influenced by the social and demographic richness of British society, and by other artforms. Dance needs to celebrate and respect its differences, and not see them as barriers to mutual cooperation. And although shifting, leadership within dance and the make up of the 377
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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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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
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Year on Year comparison: Below are
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Question 8: How many venues in your
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Question 10: How would you estimate
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Question 12: Dance Workforce Answer
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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
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Page 346 and 347: Is your venue a member of a Dance T
Page 348 and 349: Question 6: Please indicate the siz
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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 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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