Commitment to Dance

In an uncertain economic climate, how can large-scale tour producers maintain their high standards and continue to develop their offer?

ONE magazine Editor Cameron Ball gets insight from Joe Bates, Executive Director of Dance Consortium, who most recently has successfully overseen the return of Les Ballets Trockadero de Monte Carlo and looks ahead to 2023 with a mix of caution and optimism.

Joe Bates

Photo: Brian Slater

Tell us about the recent production of the Les Ballets Trockadero de Monte Carlo – were there any challenges, and what advice do you have for fellow producers and programmers?

This is the 6th tour that Dance Consortium has produced with the Les Ballets Trockadero de Monte Carlo (aka The Trocks) and they continue to be a strong crowd-pleaser with their fantastically entertaining and comedic takes on the classic ballets.

Touring is really tricky at the moment and the touring sector has faced huge challenges over the past few years. However, I genuinely feel that dance is having a moment. As an art form, it requires technical skills, is universal and audiences are not confined by language barriers, making it incredibly accessible and inspiring.

We have had a number of challenges with this tour, particularly with the fluctuating exchange rate of sterling against the dollar and the rising costs of everything associated with touring; from freight and fuel charges to hotel costs and freelancers’ fees. There is very little we can do beyond being open to collaboration, constantly replanning, sharing costs between partners as much as possible and discussing the challenges with colleagues across the sector. Exchange and partnerships are key. It all takes energy, strong negotiating skills and an ability to hold one’s nerve, particularly when the geopolitical environment is in such a state of flux.

To survive and thrive, touring organisations and companies need to remain constantly flexible and incredibly tenacious to deal with the ever-changing landscape.

The Trocks in 'Swan Lake', presented by Dance Consortium

Photo: Sascha Vaughan

How do you decide on what work to present, and with pressures on venues and producers, why is choice of programming so critical now?

Dance Consortium members have made a commitment to present a diverse programme that includes voices, aesthetics and styles from across the world including Africa, South America and Asia, as companies and choreographers from these parts of the world have historically not toured the UK and Ireland. It is important for us to support the venues to grow their audiences and do this in a cost-effective way.

Dance Consortium members review production packs received from companies all around the world and we support representatives from our membership to look at work and submit reports and recommendations. For environmental purposes, we tend to now only see work when it is in Europe (often at larger festivals so we can see other companies whilst we are there) and this enables members to use train travel rather than air travel.

The diversity of the programme is very important and we support members to reach new people who might be inspired by dance, both through the programming and our strategic projects and engagement work.

What has Dance Consortium got coming up for UK audiences in 2023?

2023 looks to be an exciting year! Firstly, in the spring we have the return of South African choreographer Dada Masilo. Her latest work, 'The Sacrifice', is inspired by Pina Bausch’s 'The Rite of Spring' and Igor Stravinsky’s monumental score.

Dada Masilo is known for her reinvention of classic stories so they speak to Black identity and feminism, mining her cultural background to create her own distinctive choreographic style.

Tell us about Dance Consortium’s learning and participation work and other strategic initiatives which support the dance ecology.

Dance Consortium’s wide-reaching Learning and Participation programme accompanies each tour and includes workshops, masterclasses, open rehearsals, post show Q&As and ‘meet the artist’ events devised in consultation with the member theatres and designed to build on existing engagement priorities and partnerships.

The activity is a mix of live and online to build on the theatre’s relationships in the local community including partnerships with in-house groups, with schools, colleges and community groups. Twice-yearly networking meetings with venue learning teams also act as a valuable knowledge-sharing network. Many venues offer reduced price tickets for Dance Consortium performances for workshop participants.

Dance Consortium’s talent development programme includes two main strands:

Firstly, Ailey Project UK, which is a collaboration with Alvin Ailey American Dance Theater and The Ailey School in the USA. Dance Consortium partners with member venues and local dance groups around the country to offer summer intensive programmes, masterclasses and online workshops. These are aimed at young dancers aged 14+ who want to go on to professional training and although open to everyone, Dance Consortium works with Black-led young dance companies/organisations to specifically target young Black dancers and provide unique opportunities to work with this world-renowned company.

Secondly, Dance Consortium runs a Future Leaders Programme, which supports young people’s journeys into a career in the arts and cultural sector. show choices, there is still good demand for international work.

I am really pleased to have had 'The Trocks' as my first Dance Consortium tour as they offer audiences a thoroughly fun, entertaining show with incredible dancers. I think this is what audiences want and need at the moment.

How do you and the partner venues best manage competing pressures between presenting high quality dance, ensuring fair wages are paid, and keeping tickets affordable?

Dance Consortium is a member of UK Theatre and therefore adheres to best practice in terms of working conditions, contracts and wages. Venues are under a huge amount of pressure to balance budgets, particularly with rising energy costs and the cost of living crisis.

The subsidy that Dance Consortium receives helps venues to present high-quality international work in an affordable way and thus keep ticket prices accessible for their audiences. The average ticket price for Dance Consortium tours in 2012 was approximately £20. 10 years later in 2022 the average ticket price has risen to around £26, which enables the work to remain accessible.

Sales across the country are growing with each tour and although audiences may be more selective with their show choices, there is still good demand for international work. I am really pleased to have had 'The Trocks' as my first Dance Consortium tour as they offer audiences a thoroughly fun, entertaining show with incredible dancers. I think this is what audiences want and need at the moment.

Further information

www.danceconsortium.com

Cover image: Dada Masilo's 'The Sacrifice', presented by Dance Consortium in spring 2023. Photo: John Hogg