Dance Mapping - Arts Council England

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increased political awareness of how dance benefits society. This led to the establishment of the All-Party Parliamentary Group in 2006, chaired by Sir Gerald Kaufman MP. The group supported the Dance Manifesto produced by Dance UK and the National Campaign for the Arts in 2006 • since 2004 dance has benefitted from new investment from the Department for Children, Schools and Families through the Centres for Advanced Training (CATs). In 2008, after the Department for Culture, Media and Sport published the Dance Review (a report to government on dance education and youth dance in England by Tony Hall), a Dance Programme Board was established to oversee the development of a national strategy for dance and young people, led by Youth Dance England • increasing internationalism brings both economic and aesthetic benefit. Collaborations and co-productions can generate new ideas and fresh influences as well as supporting the making of work. However, there are several risks facing the field in relation to this area of work relating to the recession, the changing legislation on immigration and visa systems and the changing role of the British Council. • the Cultural Olympiad presents a major opportunity for dance • greater collaborative working within the field points to a strategy that will assist in meeting many challenges being faced. • the dance field is not exploiting its assets as fully as it could. The repertoire is not currently valued and intellectual property is not capitalised upon. Neither is our position as a world leader in certain types of practice: for example, youth dance and community dance are well ahead of the rest of the world References Arts Council England, 2008) Review of Arts Council England’s regularly funded organisations’ investment strategy 2007-08 – Lessons learned. London: Arts Council England Arts Council England (2008) Great Art for Everyone 2008–11. London: Arts Council England. Arts Council England (2009) Organisational Review. London: Arts Council England Burns S (2008) Evaluation of BDE 2008. Merseyside Dance Initiative Dance UK (2006) Dance Manifesto. London: Dance UK Davey, A (2009) The Courage of Funders London: RSA/Arts Council England. http://www.thersa.org/__data/assets/pdf_file/0014/140234/Alan-Davey---The-Courage-of- Funders.pdf (accessed 16 March 2009) 58
Department for Children, Schools and Families (2007) The Dance Review: A Report to Government on Dance Education and Youth Dance in England by Tony Hall. London: DCSF Department for Children, Schools and Families and Department for Culture, Media and Sport (2008) Government Response to Tony Hall’s Dance Review. London: DCSF http://www.culture.gov.uk/images/publications/FinalGovtResponse.pdf Department for Culture, Media and Sport (2004) Government Response to the Culture, Media and Sport Committee, London: DCMS Devlin G (2008) Arts Content in Future British Council Programmes British Council: London Leadbeater, C (2004) Personalisation Through Participation. London: Demos Higgins C (2009) ‘Arts world braced for “hurricane” as recession hits’ The Guardian 14th March McIntosh G, (2008) A review of Arts Council England’s regularly funded organisations investment strategy 2007/08. London: Arts Council England 59
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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
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 34 and 35: This categorisation has been adopte
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 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
Page 84 and 85: DTP Core members are: Brighton Dome
Page 86 and 87: Producing and Touring Companies Eas
Page 88 and 89: There is more touring data availabl
Page 90 and 91: When asked if they had a dedicated
Page 92 and 93: Figure 3: Marketing the dance progr
Page 94 and 95: • ‘To find ways to engage audie
Page 96 and 97: Table 28 shows the average expendit
Page 98 and 99: Figure 4: Local authorities’ danc
Page 100 and 101: • ‘Due to budget restrictions t
Page 102 and 103: Cultural organisations and business
Page 104 and 105: Region Total private investment Lon
Page 106 and 107: 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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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
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I want to add my thanks to Alan’s
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