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The following organisations have fed into the Dance Manifesto: ADAD
Elmhurst School for Dance
Powys Dance
Akademi
English Folk Dance and Song Society
Rambert Dance Company
Ballet Independents' Group Bournemouth Borough Council Candoco Central Council of Physical Recreation
English National Ballet School FolkArts England Green Candle Dance Company Greenwich Dance Agency h2dance
Royal Academy of Dance Royal Ballet Royal Ballet School Royal Opera House Sadler's Wells SAMPAD Scottish Ballet
Central School of Ballet
Independent Dance
Chinese Cultural Centre
Independent Dance Managers
Shobana Jeyasingh Dance Company
Chisenhale Dance Space
Network
Society for Dance Research
Council for Dance Education and Training
Jasmin Vardimon Dance Company
South Bank Centre
Dance 4
Kadam, Asian Dance and Music Ltd
DanceEast Dance South West Dance Umbrella Dancers' Career Development DanceXchange Diversions, the Dance Company of Wales DV8 Physical Theatre
Laban Ludus Dance Magpie Dance National Dance Teachers Association National Resource Centre for Dance
Tabula Rasa Dance Company The Association of Dance of the African Diaspora The Lowry The Place Touchdown Dance Youth Music Youth Dance England
Photographer: Bill Cooper
Arts Council England
English National Ballet
Central School of Ballet, Dancers: Ayana Kanda (Northern Ballet Theatre) and Theo Ndindwa (Phoenix Dance Theatre)
al'Ka-mie
Dance Manifesto
Henri Oguike Dance Company, Second Signal, Choreographer: Henri Oguike, Dancers: Nuno Campos and Nuno Silva,
Photographer: Chris Nash
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“Dance is vital, an activity both exhilarating and liberating to watch or do. The instinct to dance is fundamentally joyous and no matter how hard you try you can’t get away from that for long. It can also be a huge force for good, effectively drawing people together and levelling everyone through sheer hard work. It can speed up your heart rate, it can enliven your being, it can change your life.”
Richard Alston CBE Artistic Director, The Place and Richard Alston Dance Company
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Dance is the fastest growing art form, with over 13 percent of the population now attending dance performances and over 4.8 million people participating in community dance each year in England. Ten million people regularly watched the BBC’s Strictly Come Dancing, and a recent survey of over 50,000 14 year olds showed dance was the second most popular physical
activity after football. These are impressive figures. We’ve come so far already and the public clearly want more. The challenge before us is to meet the demand and to maximise the benefits dance can bring society at every level. To do this we need political support. In the preparation of this document we have brought together the whole dance industry to speak in a united voice and define the absolute priorities for the sector now. We stress that dance is a success story but that, with the right resources, so much more can be achieved and delivered.
We want to celebrate and invigorate dance in this country. Alistair Spalding Chair of Dance UK Chief Executive and Artistic Director Sadler’s Wells
Youth Dance England: NYDP Dress Rehearsal 1st Act 229: 2 Faced Dance Company
Never before has the public’s engagement with movement, in all its forms, been so strong. There is a great appetite for the kind of enrichment that dance provides – watching dance we feel a connection with the bodies on stage that goes beyond anything that can be expressed in words. Participating in dance provides us with all the benefits of physical exercise whilst at the same time experiencing the expressive qualities that the art form can provide. Dance is truly multicultural, can unify communities and is open to all ages and abilities.
Politicians can help dance prosper
Photograper: Brian Slater
We are at a very special moment for dance in the UK
This Dance Manifesto, written in consultation with the dance sector, has identified four achievable ambitions that politicians should sign up to. At national and local levels, they can work with each other, with the sector and with bodies such as Arts Councils to support change and growth. Together, we can give everyone the chance to enjoy dance.
FOUR AMBITIONS FOR DANCE We want dance to be: • Supported and developed as an art form • An integral part of every young person's education • Available for everyone to watch and participate in • A sustainable and healthy profession
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Birmingham Royal Ballet: Carrie Johnson and Joseph Caley
Photograph: Steve Hanson
We want support for an art form that inspires…
World class dance is the most powerful tool to inspire more people to participate in dance and enjoy the health, educational and social benefits it brings. A strong professional dance sector is therefore vital. The UK's top dance professionals create inspirational art that encourages millions to engage with the wider dance sector. Professional dancers, choreographers and companies need support and facilities to develop talent and new work. PROGRESS SO FAR Improvements to the dance sector’s facilities have begun to give more people access to excellent art. Through increased investment, purpose built dance houses have enriched the sector, drawing major international dancers to the UK, encouraging ambitious artistic projects by our own companies, and increasing audiences and access. In turn, the current strength of dance as an art form has inspired other creative industries to use it in advertising, films and on television, further fuelling the popularity and demand for dance.
WHAT NEEDS TO CHANGE Politicians need to recognise that the social and health benefits of dance cannot be separated from its artistic energy. If Government invests in strengthening dance as an art form, the sector will provide wider society with access to the highest quality experience. RECOMMENDATIONS: Artists and creativity need to be supported Government should work with the sector to devise a long-term strategy that will provide adequate funding for dance companies as well as independent choreographers and dancers – those who are not employed by a company year-round – throughout their careers
Buildings need to be funded and maintained High quality, safe and suitable dance studios and theatres are investments in the dance sector. These investments provide a
considerable return, allowing artists to create inspirational new work and raising the profile of dance within communities. Government should develop policies with the Department for Communities and Local Government (DCLG) and local authorities that make it a priority to provide and maintain a safe affordable dance space in every community
Infrastructures must strengthen dance as an art form • Ensure all dance funding opportunities cater adequately for touring companies, to provide all regions with access to high quality dance • Support a network of producers with funding to invest in new choreography
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Photographer: Johan Persson
“English National Ballet puts
“In 1978, 5,000 people
accessibility to dance at the
powerful art forms and we
attended the first
heart of its vision - last year
should value our great
Dance Umbrella
the Company travelled some
companies, dancers and
festivcal at Riverside
3,900 miles around the UK.
choreographers as artists first
and the ICA. In 2005,
The Company gives an average
and foremost. Dance excites,
40,000 people came
of 140 performances per year
challenges and inspires
to the 27th festival at
and more than 300,000 people
audiences and we must
London venues as
have now seen English
recognise the value of investing
varied as Sadler’s
National Ballet's production
in dance for its artistic
Wells, Greenwich
of Swan Lake.”
potential.”
Borough Hall and
Craig Hassall Managing Director English National Ballet
Susan Wyatt Executive Director Rambert Dance Company
“I sat with tears streaming down my
Zenaida Yanowsky as Odette with dancers of The Royal Ballet in Swan Lake
“Dance is one of the most
face. I have never been so moved by a theatrical production.” Audience member on seeing Northern Ballet Theatre's Madam Butterfly
Tate Modern” Val Bourne Director Dance Umbrella
In 2005, Akademi and SAMPAD, two organisations which promote South Asian dance, engaged with over 97,760 as audiences, artists, participants and other members of the general public. Source: Akademi and SAMPAD
The Place Prize, created in 2004 and based in Britain, is the largest choreography competition in Europe and the dance world’s equivalent of the Turner Prize, attracting major sponsorship and Channel 4 television coverage. Source: The Place
The Hip Hop festival, Breakin Convention 06 attracted a 55 percent brand new audience to Sadler’s Wells. It involved eight international companies, 364 artists and 14 youth companies. 2,571 people bought tickets and 900 people called the box office after the event had sold out. Source: Sadler's Wells
Participation at Dance Base, Scotland’s national centre for dance, has more than quadrupled from 19,210 people in 2000-1 to 86,002 people in 2004-5. Source: Scottish Arts Council
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We want dance to be an integral part of every young person’s educational experience…
Photographer: Carla Cottgens
Even very young children understand the power of dance to express what we think and how we feel. Studies have shown that dance can make a huge difference to a child’s overall performance in school, as well as developing skills to help them communicate better, analyse further and imagine more.
Oogly Boogly, Performer: Martin Gent
Royal Academy of Dance: Dancer: GCSE student at Dunraven School, Streatham (RAD Partnership School for the PGCE: DT programme)
Photographer: Patrick Baldwin
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Dance gets more young people active, particularly those unwilling to take part in competitive sports, helping to meet the Government target to halt the rise in obesity in under 11s by 2010. Investing in dance for young people has enormous benefits for individuals. It also secures the future of dance itself by uncovering the talented professionals of tomorrow. We need to ensure that all our young people have a positive experience of dance within statutory education.
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PROGRESS SO FAR There are schools where dance teaching is excellent and pupils benefit enormously, as well as private dance schools teaching thousands of young people. There are also many dance organisations working productively with schools, and schemes such as Creative Partnerships, Dance Links (part of the Physical Education and School Sport Club Links scheme, PESSCL) and Scotland’s Dance in Schools Initiative are helping more young people enjoy dance. WHAT NEEDS TO CHANGE Access to dance in schools is a lottery. There are not enough specialist teachers to deal with increased demands and the time given to dance varies greatly: some boys’ schools ignore it completely. This means that not all young people are getting the opportunities they deserve. RECOMMENDATIONS Dance opportunities for all young people All young people deserve access to quality dance education that emphasises creativity. Dance is taught within Physical Education (PE), but it is unique because it develops both artistic and physical skills.
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This dual role needs acknowledging. The Government should: • Give young people more opportunities to work with inspiring professionals by: – supporting schemes run by dance organisations that get dance professionals into schools, working long-term with young people – supporting initiatives to train and accredit dance artists to work in schools alongside specialist dance teachers, in addition to ensuring that databases of appropriately qualified dance practitioners are set up regionally • Ensure young people have the opportunity to see dance performed by incorporating it into the Department for Education and Skills (DfES) Education Outside the Classroom Manifesto • Invest similar amounts in youth dance as have so successfully been invested in youth music. Youth Music receives around £10 million a year compared to Youth Dance England which receives around £100,000
Teacher training and continuing professional development Only six institutions currently offer a
Postgraduate Certificate in Education (PGCE) with dance as a specialism. Schools need access to specialist teachers and Government needs to work with higher education institutions to ensure this. It should: • Ensure the supply of dance teachers meets demand, by increasing the number of PGCE places for teaching dance as a specialism • Ensure that PE teachers are fully trained in all six activity areas, including dance, and that there is an increase in continuing professional development opportunities for specialist dance teachers and PE teachers who wish to develop their skills
“Dance offers young people a wonderful way to explore their own values and beliefs, as well as the values and beliefs of those around them. And it is an invaluable tool for communicating thoughts Photographer: Dan Burn-Forti
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Akademi's Escapade Live & Outdoors on the South Bank 1-2 August 2003, Dancer: Payal Patel
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and feelings, particularly for those people to whom words, for whatever reason, are not available.” Deborah Bull Creative Director ROH2, Royal Opera House
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“Mia’s had a wonderful week
“The children were even
and we would like to thank
performing some of the
IRIE! for providing such an
dance moves on the yard
enriching experience for her.
at playtimes. I've got to
What a blessing to see my
be honest, I think you've
beautiful daughter have so
converted a lot of children
much fun and growing in
from my rugby team into
confidence – Thank you all!”
contemporary ballet dancers”
Parent feedback on IRIE! Dance Theatre’s half-term project for 8-12 year olds. IRIE! promotes African and Caribbean dance fusion
Teacher and participant in Diversions dance workshops
Diversions: To Chase the Glowing Hours with Flying Feet, Choreographer: Hélène Blackburn , Dancer: Lyndsey Thomas
Rambert Dance Company, Constant Speed, Choreographer: Mark Baldwin
Photographer: Ram Shergill
Photographer: Roy Campbell-Moore
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40 percent of girls have dropped out of all sports activity by the time they reach 18. However, a survey of over 50,000 year 9 pupils in over 700 schools in the North West of England showed that dance was the top activity for girls outside school. Source: Central Council of Physical Recreation and Target Group Index 2002/2003 and 2003/2004
In 2005 15,730 students took GCSE dance compared to 7,003 students in 2001an increase of 125 percent.* In a recent PESSCL survey, dance was shown to be only second to football as the most popular activity.
In Wales nearly 58 percent of teachers have shown an interest in further training and professional development in dance. This is the highest level of demand across all PE activities.
Source: PE and School Sport Club Links scheme (PESSCL) *Source: The Assessement and Qualifications Alliance.
Source: Physical Education and School Sports (PESS) subject survey
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We want dance to be at the heart of our communities, available for everyone to watch and participate in…
Everyone can unlock their creativity, connect with others and enhance their sense of wellbeing through dance.
“At the age of 76 dancing has become an ever more joyful and essential part of my life, enabling me to recover from more
Carl Campbell Dance Company 7’s Recycled Teenagers
than one illness.” Sybil Fox, member of Sadler’s Wells Company of Elders
4.8 million people participate in community dance each year in England and 10.5 million people are watching community dance each year. Source: Mapping Community Dance 2000, Foundation for Community Dance
Community dance gives people the opportunity to fulfil their ambitions whether this is a wish to be fitter or taking them along the route to a career in dance. It builds healthy communities by bringing together people of different ethnic backgrounds, ages, religions and mental and physical abilities. This facilitates intercultural dialogue, regeneration and social integration. PROGRESS SO FAR Those leading community dance have a wealth of expertise and a track record of success. Past projects demonstrate that dance really can involve people of all ages, disabled and non-disabled, and of any culture or race. There are many schemes operating across the country that enable a hugely diverse range of people to enjoy dance, as well as helping to develop dance as an art form. WHAT NEEDS TO CHANGE Demand currently exceeds supply. Further support is needed to help community dance to reach its full potential and allow it to involve all those who want to participate and reap the rewards. Access needs to be widened and progression
paths developed for both those who wish to work professionally in dance |and those who want the opportunity to enjoy dance throughout life. RECOMMENDATIONS Supporting community dance projects In order to promote access and the opportunity to experience good quality dance it is vital that community dance programmes are supported and promoted. Government departments, along with local authorities and Arts Councils, need to work together to achieve this. Government should: • Support organisations that are increasing access and widening participation in community dance, as well as those identifying and developing progression pathways for dancers, whatever their ambitions • Make dance an integral part of the 2012 Olympics by ensuring that the Government scheme to provide funding for local community sports projects is available for dance initiatives • Ensure funding for dance projects is sustained for maximum benefit and not just small scale project funding
Photographer: Anthony Crickmay
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We want dance to be a sustainable and healthy profession…
At the heart of the dance sector's successes are dedicated, talented, highly trained, experienced and world class professionals. Supporting them to continue working within dance is key to supporting the development of the sector as a whole. “Regular dancing will reduce the risk of cardiovascular
CandoCo Dance Company: Shadow Choreographer: Fin Walker, Dancers: Eleanor O'Brien and Jurg Koch
disease, high blood pressure, type 2 diabetes and cancer. Dancing also helps to reduce the risk of osteoporosis. The dips, turns and side-to-side movements in dance routines make good use of your muscles and joints, helping to delay the progression or ostreoarthritis.” Source: BUPA website
A life in dance entails exceptional physical strain, financial pressures and insecurity about how careers will progress. All these are powerful incentives to leave the sector sooner rather than later: and yet if dance is to progress at its current rate, experienced professionals must be retained. Training opportunities that reflect dancers' portfolio careers, and healthcare and financial provision that demonstrate respect for the strenuous work that dancers undertake, will help keep skill, talent and expertise within the sector. PROGRESS SO FAR Programmes such as the Dance and Drama Awards and the Music and Dance Scheme have begun to open up a career in dance to a diverse range of people. Organisations such as Dancers’ Career Development exist to support dancers as they
prepare long-term career plans, both within and outside the sector. And initiatives such as the Healthier Dancer Programme have led to enormous improvements to dancers' wellbeing, as have specialist dance health treatment centres such as Laban and the Jerwood Centre. WHAT NEEDS TO CHANGE Government is in a unique position to develop a unified policy on vocational education and training that will join up all current opportunities, making them clearer and more accessible. Financial support for students must realistically reflect all the costs of training for a career in dance. And in a sector where many individuals will spend time outside the support structures of a large company, government can help ensure that vital training and healthcare provision are universal.
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Arts Ed
Photographer: Emma Sams
VOCATIONAL TRAINING Vocational training must be accessible to talented people from all backgrounds. The training people receive must prepare them for the portfolio nature of a dance artist's career. Government should: • Develop a clear dance education policy that joins up initiatives such as the Dance and Drama Awards and the Music and Dance Scheme, ensuring that participants can progress to specialist training including disabled and diverse dance practices • Work with devolved administrations to ensure
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that training opportunities are available in schools and institutes across the UK • Work with accrediting bodies to ensure that skills including teaching, community dance, healthcare and business management are elements of all dance qualifications • Ensure that Dance and Drama Awards accurately reflect the full cost of training as a professional dancer, including equipment and accommodation expenses • Support the development of and access to higher education and research in dance
CONTINUING PROFESSIONAL DEVELOPMENT Talented dance artists who feel prepared for the next steps in their careers will stay in the sector for longer, giving younger artists the valuable chance to work with experienced professionals. Government should: • Provide additional core funding for organisations dedicated to career development so that opportunities can be offered to all dancers, not just those working in large companies • Support and develop leaders in the dance sector, whatever their background,
by continuing to invest in schemes such as Arts Council England's Cultural Leadership Programme, and encourage devolved administrations to do likewise • Develop funding schemes, possibly through the Department for Work and Pensions (DWP), that ensure dancers outside companies can afford the regular classes that they need in order to remain employable PAY Dance artists are highly trained professionals with talents that benefit
Blackpool Grand Finals 2005 - an ISTD Dance Sport Event Photographer: Ron Self
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individuals and communities across the UK: their status and pay should reflect this. Government should: • Work with funders, the dance sector and other parties to raise the minimum rate of pay for dancers • Ensure that competition legislation does not prevent dancers from seeking reasonable pay for their work • Consult widely with dance artists to ensure the current pensions debates incorporate an understanding of their unique needs • Recognise the position of dance artists when planning affordable housing initiatives
HEALTHCARE Everyone who dances for a career should have access to state of the art healthcare that can keep them working. Government should: • Establish a combined centre for dance and sports health research and care as part of the 2012 Olympics, and increase investment in existing and new dance science centres • Make additional money for healthcare a mandatory part of any funding or grant, no matter how short-term • Enable GPs to refer dance artists to specialist dance healthcare practitioners
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Dance artists’ employment patterns are highly sporadic. Relatively few are on 52 week contracts and many are in guaranteed paid work for only half the year or less. If they were to work 52 weeks on the Independent Theatre Council/Equity minimum they would earn an annual income of £15,704. Source: Research into Payscales in Dance (2003)
80 percent of dancers experience at least one injury that affects their ability to perform each year. The cost to the subsidised dance sector in lost time due to injury is approximately £1million. The cost of treatment for these injuries is on average a further £900,000 per year. Source: Fit to Dance 2 (2005)
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“The importance of the continuing research and understanding of the health of dancers cannot be underestimated. Placing the health of dancers at the centre of our plans for the future will create a more inspiring, more responsible and ultimately more rewarding environment for dance as a whole.” Roanne Dods Director Jerwood Charity
“Dance training provides a myriad of tangible benefits; enabling students to learn discipline and teamwork within an environment that allows them to investigate their individual creativity, discover self-awareness, build confidence and self-motivation'. Bruce Sansom Director Central School of Ballet
“England is a world leader for the creativity and diversity of our dance artists, our education and training provision, our support for artistic development and for embracing the power of dance to transform lives. We have much of which we can be proud.” Jeanette Siddall Director of Dance Arts Council England
Photographer: Patrick Baldwin
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Royal Academy of Dance: Dancer: Olivia Leigh-Stevenson from BA(Hons) Art and Teaching of Ballet programme
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“The new Royal Opera House has done so much for the morale of the company - when you have large studios with good floors, you dance better! The youngsters have amazing facilities here. Let's hope enough of them find the full flowering of their talent in the future.” Monica Mason Director Royal Ballet
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The following organisations have fed into the Dance Manifesto: ADAD
Elmhurst School for Dance
Powys Dance
Akademi
English Folk Dance and Song Society
Rambert Dance Company
Ballet Independents' Group Bournemouth Borough Council Candoco Central Council of Physical Recreation
English National Ballet School FolkArts England Green Candle Dance Company Greenwich Dance Agency h2dance
Royal Academy of Dance Royal Ballet Royal Ballet School Royal Opera House Sadler's Wells SAMPAD Scottish Ballet
Central School of Ballet
Independent Dance
Chinese Cultural Centre
Independent Dance Managers
Shobana Jeyasingh Dance Company
Chisenhale Dance Space
Network
Society for Dance Research
Council for Dance Education and Training
Jasmin Vardimon Dance Company
South Bank Centre
Dance 4
Kadam, Asian Dance and Music Ltd
DanceEast Dance South West Dance Umbrella Dancers' Career Development DanceXchange Diversions, the Dance Company of Wales DV8 Physical Theatre
Laban Ludus Dance Magpie Dance National Dance Teachers Association National Resource Centre for Dance
Tabula Rasa Dance Company The Association of Dance of the African Diaspora The Lowry The Place Touchdown Dance Youth Music Youth Dance England
Photographer: Bill Cooper
Arts Council England
English National Ballet
Central School of Ballet, Dancers: Ayana Kanda (Northern Ballet Theatre) and Theo Ndindwa (Phoenix Dance Theatre)
al'Ka-mie
Dance Manifesto