Passport to Practice

National College for Community Dance

PASSPORT TO PRACTICE An induction to professional practice in community dance

By Diane Amans

Handbook published by Foundation for Community Dance for people leading dance in community settings and contexts.

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In 2009 the Foundation for Com m unity

The handbook is set out to offer you the key

Dance com m issioned Diane Am ans,

skill and knowledge areas you will need,

dance artist, teacher and editor of the

together with some key questions to ask

book An Introduction to Com m unity

yourselves as you work through the handbook

Dance Practice, to deliver the course,

to help clarify your own approach to your

‘Induction to Professional Practice’ as

practice.

part of the sum m er school we held at De M ontfort University.

The Foundation for Community Dance would like to thank Diane and all those who

Diane worked closely with staff of the

contributed to the course and handbook and in

Foundation to identify the course content and

developing our ‘passport’ into Community

the cohort of highly skilled faculty who were to

Dance.

teach/lead it.

We hope that you find this a useful and This handbook is the essence of the Induction course made available in print to support and guide new entrants to the community dance profession as they begin their journey into professional practice.

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inspiring way-in to what will hopefully be many years of successful work in community dance.

Ken Bartlett Creative Director Foundation for Community Dance

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The FCD website will give you detailed

performance, and is centrally concerned with

inform ation about com m unity dance

the experience of dancing and the process of

practice. Here are som e extracts from

making dance, and includes many ways of

the FCD docum ent Definitions, Values

‘participating’ – learning, making, performing,

and Code of Conduct:

watching and talking about dance.” (FCD, 2009)

“Community dance creates opportunities for people to access quality experiences in dance

Community dance professionals share a set of

irrespective of where they live, their age,

values which are at the heart of the work they

gender, sexuality, race, disability, educational

are involved in. They are artists who connect

attainment or economic circumstance.

people to dance experiences which enrich their

…Community dance is not confined to any

lives. The methods they use ensure that

specific type of dance and is concerned with

participants are actively involved; are enabled

engaging people creatively and safely in a

to make creative choices over which they have

dance style, or exploring ideas and forms of

ownership and enjoy ‘high quality dance

their own. It can involve creating dance for

experiences.’

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!"#$%&'"()#*+&#,-+*+.-*/#0*+*'"0"+(### Com m unity dance artists often set up and run projects, either independently or through an organisation. W here this is the case a budget for the project will be needed. A budget can be described as one of the first planning tools you’ll use for a project: it will test the financial viability of your ideas, and help reveal the com plexity, and therefore the rough tim escale, of the fundraising job in hand, as well as providing an essential tool for m anaging the m oney once the project has started.

"12#34"*(-+'#*#5%&'"(# Most budgets will be based on estimates and

of the budget, it’s time to think about the

represent your ‘best guess’ though there are

income side. This will, of course, be influenced

ways to help make sure this guess is realistic

by the research stage of the fundraising project,

and accurate: comparisons with previous

but to begin with, what do you already know –

projects, and research into the cost of the

or can make a reasonable guess at: ticket

things you intend to buy or spend money on will

sales? Attendance fees for a conference or

all help you to work this out. For example, if you

training course? Have you been offered some

know you need to hire a minibus, ‘phoning

money already? A template is provided in

around and getting a few quotes is a good idea.

Appendix 1 that you can adapt to your own

If you plan to sell tickets to a performance, what

needs.

is the generally accepted price in the venue you plan to use or area you’re performing in – and

At the end of this process, you’ll have the

how many tickets have been sold for similar

beginning of a ‘working budget’ that shows how

events in the past?

much more you need to raise to meet your expenses. Known as the ‘shortfall’, this will help

A good starting point is to write down the things

guide your fundraising efforts. As your research

that you know you need spend money on. Once

develops, and you identify potential sources of

you have this list, ask yourself, is anything

income, you can add detail to and refine the

missing? Can the items in your budget be

budget – and show the different amounts you

grouped together in an easily understandable

hope to raise from these different sources.

way? For projects that include a training course,

Following this process, you will end up with a

a youth group performance and a residency in a

budget that shows where you plan to raise your

school it’s sensible to separate out the costs

funds from and a budget that balances.

associated with each with sub-headings and

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sub-totals. Once you have the expenditure side

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!"#$%&!'!()*(+$,$-./+!)$)0$10)!()*,2$ 3.(/!&'4'.110&)!&'$ It’s usually best to submit variations of your budget to different funders, because funds are likely to be available to support a specific part of your programme rather than the programme in its entirety. You may find a Trust that might be interested in your training project with community dance artists, and a business sponsor who is keen to support your youth dance group on tour. This will involve dividing your activity into a number of ‘projects’ and budgeting each one separately – these can be included in, and drawn from, the working budget as described above. If you are working in partnership with another individual or organisation to develop a project, it is rather obviously important that all parties share the full working budget!

The amount requested from each funder should always be shown clearly and separately. In

!"5$6$(0)!$,-0.)$7*(89*(/:$*(;0<!$ This is support offered to your project but not as actual cash: for example studio hire, or a mailout. It’s good to think about this and good to show it in your budget as it can demonstrate to a funder that you have committed partners and are maximising potential resources.

The important thing to remember with in-kind income is that it must be matched by corresponding ‘in-kind expenditure’ – otherwise, you may find yourself short of the cash needed to make your project work. For example, if you are offered studio hire worth £200 as an in-kind contribution to your project, you can show ‘in-kind’ income of £200 in your budget. But remember this isn’t actual ‘cash in the bank’, it’s the notional value of something being given to you, and so it needs to be matched with £200 of corresponding ‘notional’ expenditure for studio hire in your budget.

some applications you will need to show the request to that funder as a line within your budget, in others as the ‘shortfall’ in the budget

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(this is the difference between the expenditure and the income sides of the budget you

The expenditure we have looked at so far takes

present). The amount will be the same, only the

account of the ‘direct costs’ associated with a

expression of it will be different.

specific project – and will usually be simple to identify, such as artist fees and publicity costs.

Some funders provide standard budget layouts

However there may well be other costs

– with specific headings, such as ‘production

associated with your project that are less easily

costs’, ‘personnel’ and ‘administrative costs’.

identifiable and that are associated with the

Where these are provided it is sensible to follow

running costs of the organisation that is leading

them – in fact some funders insist that you do –

the project. These are often called ‘indirect

so it’s important to check what they’re asking

costs’ and can include things like personnel,

for first.

building overheads and general administrative

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costs.

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A Foundation for Community Dance Publication

The Foundation for Community Dance is the professional organisation for anyone involved in creating opportunities for people to experience and participate in dance.

The National College for Community Dance is FCDâ&#x20AC;&#x2122;s home for professional development pathways for people delivering dance in community settings and contexts. It delivers courses, seminars, flexible online learning opportunities and advocates for professional development opportunities UK wide and internationally for dance leadership in the community.

Foundation for Community Dance LCB Depot, 31, Rutland Street, Leicester, LE1 1RE Tel: +44 (0)116 253 3453 E-mail: info@communitydance.org.uk Web: www.communitydance.org.uk Company limited by guarantee, registered in England and Wales no. 2415458 Registered Charity no. 328392