Dance Mapping - Arts Council England

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2007/08 £s 2008/09 £s 2009/10 £s 2010/11 £S Change £s Change % Combined Arts 32,737,483 34,548,852 35,920,559 36,963,355 4,225,872 12.9 Dance 44,421,315 46,245,930 47,672,918 49,025,188 4,603,873 10.4 Literature 5,454,867 5,668,550 5,869,323 6,028,016 573,149 10.5 Music 84,975,936 87,846,175 90,743,298 93,195,378 8,219,442 9.7 Not arts Specific Theatre Visual Arts 44,528,608 Total 12,906,263 10,733,442 11,012,901 11,162,088 -1,744,175 -13.5 100,776,358 102,863,777 105,705,860 108,786,206 8,009,848 7.9 £325,800,831 Table 5: Arts Council England planned expenditure for all arts from 2008/9- 2010/11 Source – Arts Council England analysis Table 5 shows an uplift to match the priority accorded to the visual arts in the Arts Council corporate plan for this period. There is also a significant increase to combined arts as well as dance and literature. In this funding round there were a number of regularly funded organisations who lost their grant and others who were brought onto the list. Many of these had been funded through Grants for the arts. Dance still has some way to go to reach the levels of funding of music and theatre. 47,741,499 49,912,015 51,565,285 7,036,677 15.8 £335,648,225 £346,836,873 In 2008 funding for regularly funded dance organisations was confirmed for three years for 72 dance organisations. This figure excludes the Royal Ballet, as it forms part of the Royal Opera House grant, but is a significant part of the dance portfolio. The list breaks down to 37 organisations funded as agencies, festivals or venues and 35 producing and touring companies. The analysis in the section looks at investment and impact in these two groups of organisations. The table below shows how this portfolio of organisations is spread regionally. The notes to the table are explanatory of the figures. £356,725,517 £30,924,686 68 9.5%
Region No of regularly funded organisations –Agencies, venues or festivals No of regularly funded organisations Producing and Touring companies Total number of dance regularly funded organisations Total investment 08/09 Total investment 09/10 (% increase) East 2 1 3 £783,408 £805,560 East Mids 4 1 5 £832,020 (2.8%) £864,970 (1) (4%) London (2) 8 15 23 £18,279,788 £18,822,998 (3%) North East 2 1 3 £572,759 £635,489 (11%) North 4 1 5 £662,416 £677,449 West (3) (2.3%) South East 3 4 7 £1,069,217 £1,101,321 (4) (3%) South West 5 2 7 £995,533 £1,028,384 (3.3%) West Mids 4 4 8 £9,449,786 £9,707,930 (5) (2.7%) Yorkshire (6) 5 6 11 £3,850853 £3,979,290 (3.4%) Total 37 35 72 £34,928,964 £37,623,391 (7.7%) Total investment 10/11 (% increase) £826,284 (2.6%) £899,930 (4%) £19,380,765 (3%) £663,414 (4.4%) £692,890 (2.3%) £1,671,119 (52%) £1,048,964 (2.%) £9,966,959 (2.7%) £4,082,681 (2.6%) £39,233,006 (4.3%) Total investment over 3 years £2,414,252 £2,596,920 £56,483,551 £1,871,702 £2,032,755 £3,841,657 £3,071,881 £29,121,672 £11,912,824 £111,785,361 Table 6: Regularly funded organisations investment data 2008/09–2010/11 by region Source: Arts Council England dance department’s analysis Notes to the figures above (1) Figures include Foundation for Community Dance, a national strategic organisation (2) Figures exclude Royal Ballet, which is included in the grant to the Royal Opera House Includes English National Ballet Figures exclude Youth Dance England Dance Umbrella as a festival is included under agencies Includes Dance UK, a Strategic Agency Figures for Richard Alston Dance Company included in Contemporary Dance Trust (The Place) under agencies (3) Ludus includes Ludus Dance in Education Company under agencies (4) Includes Woking Dance Festival, under agencies (5) Includes Birmingham Royal Ballet Excludes Sampad, now classed as a combined arts regularly funded organisations Includes the Dance Consortium made up of 19 large-scale dance-friendly venues (6) Includes Mimika Theatre Company disinvested in 2009/10 and new regularly funded organisations; Diversity Dance (agency) and Qdos (touring company) from 2009/10 Figures include Northern Ballet. 69
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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
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 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 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,
Page 108 and 109: In terms of looking at the asset cl
Page 110 and 111: £516,859,357 to 18 dance projects.
Page 112 and 113: attributable to fewer dance artists
Page 114 and 115: Region/ Sub dance form Total contem
Page 116 and 117: • 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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Dance Mapping - Arts Council England

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