DanceManifesto

Cen

tral

Sch

ool o

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let,

Dan

cers

: Aya

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(Nor

ther

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atre

) and

The

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(Pho

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Pho

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ADAD

Akademi

al'Ka-mie

Arts Council England

Ballet Independents' Group

Bournemouth Borough Council

Candoco

Central Council of PhysicalRecreation

Central School of Ballet

Chinese Cultural Centre

Chisenhale Dance Space

Council for Dance Educationand Training

Dance 4

DanceEast

Dance South West

Dance Umbrella

Dancers' Career Development

DanceXchange

Diversions, the Dance Companyof Wales

DV8 Physical Theatre

Elmhurst School for Dance

English Folk Dance and SongSociety

English National Ballet

English National Ballet School

FolkArts England

Green Candle Dance Company

Greenwich Dance Agency

h2dance

Independent Dance

Independent Dance Managers

Network

Jasmin Vardimon DanceCompany

Kadam, Asian Dance and Music Ltd

Laban

Ludus Dance

Magpie Dance

National Dance TeachersAssociation

National Resource Centre for Dance

Powys Dance

Rambert Dance Company

Royal Academy of Dance

Royal Ballet

Royal Ballet School

Royal Opera House

Sadler's Wells

SAMPAD

Scottish Ballet

Shobana Jeyasingh DanceCompany

Society for Dance Research

South Bank Centre

Tabula Rasa Dance Company

The Association of Dance of theAfrican Diaspora

The Lowry

The Place

Touchdown Dance

Youth Music

Youth Dance England

The following organisations have fed into the Dance Manifesto:

2006 version_3 28/6/06 16:36 Page 1

“Dance is vital, an activityboth exhilarating andliberating to watch or do. The instinct to danceis fundamentally joyousand no matter how hardyou try you can’t get awayfrom that for long. It canalso be a huge force forgood, effectively drawingpeople together andlevelling everyonethrough sheer hard work.It can speed up yourheart rate, it can enlivenyour being, it can change your life.”

Richard Alston CBE

Artistic Director,

The Place and Richard Alston Dance CompanyHen

ri O

guik

e D

ance

Com

pany

, Sec

ond

Sign

al, C

hore

ogra

pher

: Hen

ri O

guik

e, D

ance

rs: N

uno

Cam

pos

and

Nun

o Si

lva,

P

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grap

her:

Chr

is N

ash

2006 version_3 28/6/06 16:36 Page 3

Never before has the public’sengagement with movement, in allits forms, been so strong. There isa great appetite for the kind ofenrichment that dance provides –watching dance we feel aconnection with the bodies onstage that goes beyond anythingthat can be expressed in words.Participating in dance provides uswith all the benefits of physicalexercise whilst at the same timeexperiencing the expressivequalities that the art form canprovide. Dance is trulymulticultural, can unifycommunities and is open to all ages and abilities.

Dance is the fastest growing artform, with over 13 percent of thepopulation now attending danceperformances and over 4.8 millionpeople participating in communitydance each year in England. Tenmillion people regularly watchedthe BBC’s Strictly Come Dancing,and a recent survey of over 50,00014 year olds showed dance wasthe second most popular physical

activity after football. These areimpressive figures. We’ve come sofar already and the public clearlywant more. The challenge beforeus is to meet the demand and tomaximise the benefits dance canbring society at every level. To dothis we need political support.

In the preparation of thisdocument we have broughttogether the whole dance industryto speak in a united voice anddefine the absolute priorities forthe sector now. We stress thatdance is a success story but that,with the right resources, so much more can be achieved and delivered.

This Dance Manifesto, written inconsultation with the dance sector,has identified four achievableambitions that politicians shouldsign up to. At national and locallevels, they can work with eachother, with the sector and withbodies such as Arts Councils tosupport 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 youngperson's education

• Available for everyone to watchand participate in

• A sustainable and healthyprofession

We are at a very special moment fordance in the UK

Politicians can helpdance prosper

We want to celebrate and invigorate dance in this country.Alistair Spalding

Chair of Dance UKChief Executive and Artistic DirectorSadler’s Wells

Yout

h D

ance

Eng

land

: NYD

P D

ress

Reh

ears

al 1

st A

ct 2

29: 2

Fac

ed D

ance

Com

pany

P

hoto

grap

er: B

rian

Sla

ter

2006 version_3 28/6/06 16:37 Page 5

Bir

min

gham

Roy

al B

alle

t: C

arri

e Jo

hnso

n an

d Jo

seph

Cal

ey

Pho

togr

aph:

Ste

ve H

anso

n

World class dance is the most powerful tool toinspire more people to participate in dance andenjoy the health, educational and social benefitsit brings. A strong professional dance sector istherefore vital.

We want supportfor an art formthat inspires…

The UK's top danceprofessionals createinspirational art thatencourages millions toengage with the wider dancesector. Professional dancers,choreographers andcompanies need support and facilities to developtalent and new work.

PROGRESS SO FAR

Improvements to the dancesector’s facilities havebegun to give more peopleaccess to excellent art.Through increasedinvestment, purpose builtdance houses have enrichedthe sector, drawing majorinternational dancers to theUK, encouraging ambitiousartistic projects by our owncompanies, and increasingaudiences and access. Inturn, the current strength of dance as an art form has inspired other creativeindustries to use it inadvertising, films and on television, furtherfuelling the popularity and demand for dance.

WHAT NEEDS TO CHANGE

Politicians need to recognisethat the social and healthbenefits of dance cannot beseparated from its artisticenergy. If Governmentinvests in strengtheningdance as an art form, thesector will provide widersociety with access to thehighest quality experience.

RECOMMENDATIONS:

Artists and creativity need to be supportedGovernment should workwith the sector to devise along-term strategy that willprovide adequate funding fordance companies as well asindependent choreographersand dancers – those who arenot employed by a companyyear-round – throughouttheir careers

Buildings need to be fundedand maintainedHigh quality, safe andsuitable dance studios andtheatres are investments in the dance sector. Theseinvestments provide a

considerable return,allowing artists to createinspirational new work and raising the profile ofdance within communities.Government should develop policies with the Department forCommunities and LocalGovernment (DCLG) andlocal authorities that make it a priority to provide andmaintain a safe affordabledance space in everycommunity

Infrastructures muststrengthen dance as an art form• Ensure all dance fundingopportunities cateradequately for touringcompanies, to provide allregions with access to highquality dance• Support a network ofproducers with funding toinvest in new choreography

2006 version_3 28/6/06 16:37 Page 7

Zena

ida

Yano

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Ode

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with

dan

cers

of T

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an L

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Pho

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ohan

Per

sson

In 2005, Akademi andSAMPAD, two organisationswhich promote South Asiandance, engaged with over97,760 as audiences,artists, participants andother members of the general public.Source: Akademi and SAMPAD

The Place Prize, created in2004 and based in Britain,is the largest choreographycompetition in Europe andthe dance world’sequivalent of the TurnerPrize, attracting majorsponsorship and Channel 4television coverage. Source: The Place

The Hip Hop festival,Breakin Convention 06attracted a 55 percentbrand new audience toSadler’s Wells. It involvedeight internationalcompanies, 364 artists and14 youth companies. 2,571people bought tickets and900 people called the boxoffice after the event hadsold out.Source: Sadler's Wells

Participation at DanceBase, Scotland’s nationalcentre for dance, has morethan quadrupled from19,210 people in 2000-1 to 86,002 people in 2004-5.Source: Scottish Arts Council

“English National Ballet puts

accessibility to dance at the

heart of its vision - last year

the Company travelled some

3,900 miles around the UK.

The Company gives an average

of 140 performances per year

and more than 300,000 people

have now seen English

National Ballet's production

of Swan Lake.”

Craig Hassall

Managing DirectorEnglish National Ballet

“Dance is one of the most

powerful art forms and we

should value our great

companies, dancers and

choreographers as artists first

and foremost. Dance excites,

challenges and inspires

audiences and we must

recognise the value of investing

in dance for its artistic

potential.”

Susan Wyatt

Executive DirectorRambert Dance Company

“I sat with tears

streaming down my

face. I have never

been so moved by

a theatrical

production.”

Audience member on seeingNorthern Ballet Theatre's Madam Butterfly

“In 1978, 5,000 people

attended the first

Dance Umbrella

festivcal at Riverside

and the ICA. In 2005,

40,000 people came

to the 27th festival at

London venues as

varied as Sadler’s

Wells, Greenwich

Borough Hall and

Tate Modern”

Val Bourne

DirectorDance Umbrella

2006 version_3 28/6/06 16:37 Page 9

Roy

al A

cade

my

of D

ance

: Dan

cer:

GC

SE s

tude

nt a

t Dun

rave

n Sc

hool

, Str

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am (R

AD

Par

tner

ship

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or th

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T pr

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in We want dance to be an integral part of every youngperson’s educationalexperience…

Oog

ly B

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Even very young childrenunderstand the power of dance to express what we think and howwe feel. Studies have shown thatdance can make a huge differenceto a child’s overall performance inschool, as well as developing skillsto help them communicate better,analyse further and imagine more.

Dance gets more youngpeople active, particularlythose unwilling to take partin competitive sports,helping to meet theGovernment target to haltthe rise in obesity in under11s by 2010. Investing indance for young people hasenormous benefits forindividuals. It also securesthe future of dance itself byuncovering the talentedprofessionals of tomorrow.We need to ensure that allour young people have apositive experience of dancewithin statutory education.

2006 version_3 28/6/06 16:37 Page 11

PROGRESS SO FAR

There are schools wheredance teaching is excellentand pupils benefitenormously, as well asprivate dance schoolsteaching thousands of youngpeople. There are also manydance organisations workingproductively with schools,and schemes such asCreative Partnerships,Dance Links (part of thePhysical Education andSchool Sport Club Linksscheme, PESSCL) andScotland’s Dance in SchoolsInitiative are helping moreyoung people enjoy dance.

WHAT NEEDS TO CHANGE

Access to dance in schoolsis a lottery. There are notenough specialist teachersto deal with increaseddemands and the time givento dance varies greatly:some boys’ schools ignore itcompletely. This means thatnot all young people aregetting the opportunitiesthey deserve.

RECOMMENDATIONS

Dance opportunities for allyoung peopleAll young people deserveaccess to quality danceeducation that emphasisescreativity. Dance is taughtwithin Physical Education(PE), but it is uniquebecause it develops bothartistic and physical skills.

This dual role needsacknowledging. TheGovernment should:• Give young people moreopportunities to work withinspiring professionals by:– supporting schemes run

by dance organisationsthat get dance professionalsinto schools, workinglong-term with youngpeople

– supporting initiatives totrain and accredit danceartists to work in schoolsalongside specialist danceteachers, in addition toensuring that databases of appropriately qualifieddance practitioners are set up regionally

• Ensure young people have the opportunity to seedance performed byincorporating it into theDepartment for Educationand Skills (DfES) EducationOutside the ClassroomManifesto• Invest similar amounts in youth dance as have so successfully beeninvested in youth music.Youth Music receives around£10 million a year comparedto Youth Dance Englandwhich receives around£100,000

Teacher training andcontinuing professionaldevelopmentOnly six institutionscurrently offer a

Postgraduate Certificate in Education (PGCE) withdance as a specialism.Schools need access tospecialist teachers andGovernment needs to workwith higher educationinstitutions to ensure this. It should:• Ensure the supply of danceteachers meets demand, byincreasing the number ofPGCE places for teachingdance as a specialism • Ensure that PE teachersare fully trained in all sixactivity areas, includingdance, and that there is anincrease in continuingprofessional developmentopportunities for specialistdance teachers and PEteachers who wish todevelop their skills

Aka

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“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

and feelings, particularly for

those people to whom words,

for whatever reason, are not

available.”

Deborah Bull

Creative DirectorROH2, Royal Opera House

2006 version_3 28/6/06 16:37 Page 13

Ram

bert

Dan

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ny, C

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ant S

peed

, Cho

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ark

Bal

dwin

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Ram

She

rgill

Div

ersi

ons:

To

Cha

se th

e G

low

ing

Hou

rs w

ith F

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et, C

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Bla

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Dan

cer:

Lyn

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Tho

mas

P

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her:

Roy

Cam

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l-M

oore

“Mia’s had a wonderful week

and we would like to thank

IRIE! for providing such an

enriching experience for her.

What a blessing to see my

beautiful daughter have so

much fun and growing in

confidence – Thank you all!”

Parent feedback on IRIE! Dance Theatre’s half-term project for 8-12 year olds. IRIE!promotes African and Caribbean dance fusion

“The children were even

performing some of the

dance moves on the yard

at playtimes. I've got to

be honest, I think you've

converted a lot of children

from my rugby team into

contemporary ballet dancers”

Teacher and participant in Diversions dance workshops

40 percent of girls havedropped out of all sportsactivity by the time theyreach 18. However, asurvey of over 50,000 year 9 pupils in over 700 schoolsin the North West ofEngland showed that dancewas the top activity for girlsoutside school. Source: Central Council of

Physical Recreation and

Target Group Index 2002/2003

and 2003/2004

In 2005 15,730 studentstook GCSE dance comparedto 7,003 students in 2001-an increase of 125 percent.*In a recent PESSCL survey,dance was shown to be onlysecond to football as themost popular activity.Source: PE and School Sport

Club Links scheme (PESSCL)

*Source: The Assessement

and Qualifications Alliance.

In Wales nearly 58 percentof teachers have shown aninterest in further trainingand professionaldevelopment in dance. This is the highest level of demand across all PE activities.Source: Physical Education

and School Sports (PESS)

subject survey

2006 version_3 28/6/06 16:37 Page 15

We want dance to be at the heart of our communities,available foreveryone to watchand participate in…

Car

l Cam

pbel

l Dan

ce C

ompa

ny 7

’s R

ecyc

led

Teen

ager

s

Everyone canunlock theircreativity, connectwith others andenhance theirsense of wellbeingthrough dance.

Community dance givespeople the opportunity tofulfil their ambitions -whether this is a wish to befitter or taking them alongthe route to a career indance. It builds healthycommunities by bringingtogether people of differentethnic backgrounds, ages,religions and mental andphysical abilities. Thisfacilitates interculturaldialogue, regeneration and social integration.

PROGRESS SO FAR

Those leading communitydance have a wealth ofexpertise and a trackrecord of success. Pastprojects demonstrate thatdance really can involvepeople of all ages, disabledand non-disabled, and of any culture or race.There are many schemesoperating across thecountry that enable ahugely diverse range ofpeople to enjoy dance, aswell as helping to developdance as an art form.

WHAT NEEDS TO CHANGE

Demand currently exceedssupply. Further support isneeded to help communitydance to reach its fullpotential and allow it toinvolve all those who wantto participate and reap therewards. Access needs tobe widened and progression

paths developed for boththose who wish to workprofessionally in dance|and those who want theopportunity to enjoy dancethroughout life.

RECOMMENDATIONS

Supporting communitydance projectsIn order to promote accessand the opportunity toexperience good qualitydance it is vital thatcommunity danceprogrammes are supportedand promoted. Governmentdepartments, along withlocal authorities and ArtsCouncils, need to worktogether to achieve this.Government should:• Support organisationsthat are increasing accessand widening participationin community dance, aswell as those identifyingand developing progressionpathways for dancers,whatever their ambitions• Make dance an integralpart of the 2012 Olympicsby ensuring that theGovernment scheme toprovide funding for localcommunity sports projectsis available for danceinitiatives• Ensure funding for danceprojects is sustained formaximum benefit and notjust small scale projectfunding

“At the age of 76

dancing has become

an ever more joyful

and essential part of

my life, enabling me

to recover from more

than one illness.”

Sybil Fox, member of Sadler’s Wells Company of Elders

4.8 million people participate in community dance each yearin England and 10.5 millionpeople are watchingcommunity dance each year.

Source: Mapping Community

Dance 2000, Foundation for

Community Dance

2006 version_3 28/6/06 16:37 Page 17

We want dance to be a sustainable andhealthy profession…

Can

doC

o D

ance

Com

pany

: Sha

dow

Cho

reog

raph

er: F

in W

alke

r, D

ance

rs: E

lean

or O

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en a

nd J

urg

Koc

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Pho

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may

At the heart of the dance sector's successes arededicated, talented, highly trained, experienced and world class professionals. Supporting them tocontinue working within dance is key to supportingthe development of the sector as a whole.

A life in dance entailsexceptional physical strain,financial pressures andinsecurity about how careerswill progress. All these arepowerful incentives to leavethe sector sooner ratherthan later: and yet if danceis to progress at its currentrate, experiencedprofessionals must beretained. Trainingopportunities that reflectdancers' portfolio careers,and healthcare and financialprovision that demonstraterespect for the strenuouswork that dancersundertake, will help keepskill, talent and expertisewithin the sector.

PROGRESS SO FAR

Programmes such as theDance and Drama Awardsand the Music and DanceScheme have begun to openup a career in dance to adiverse range of people.Organisations such as Dancers’ CareerDevelopment exist tosupport dancers as they

prepare long-term careerplans, both within andoutside the sector. Andinitiatives such as theHealthier DancerProgramme have led toenormous improvements to dancers' wellbeing, as have specialist dancehealth treatment centressuch as Laban and theJerwood Centre.

WHAT NEEDS TO CHANGE

Government is in a uniqueposition to develop a unifiedpolicy on vocationaleducation and training that will join up all currentopportunities, making themclearer and more accessible.Financial support forstudents must realisticallyreflect all the costs oftraining for a career indance. And in a sector wheremany individuals will spendtime outside the supportstructures of a largecompany, government can help ensure that vitaltraining and healthcareprovision are universal.

“Regular dancing

will reduce the risk

of cardiovascular

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

2006 version_3 28/6/06 16:37 Page 19

VOCATIONAL TRAINING

Vocational training must be accessible to talentedpeople from all backgrounds.The training people receivemust prepare them for theportfolio nature of a danceartist's career. Government should:• Develop a clear danceeducation policy that joins upinitiatives such as the Danceand Drama Awards and theMusic and Dance Scheme,ensuring that participantscan progress to specialisttraining including disabledand diverse dance practices• Work with devolvedadministrations to ensure

that training opportunitiesare available in schools andinstitutes across the UK• Work with accreditingbodies to ensure that skillsincluding teaching,community dance,healthcare and businessmanagement are elementsof all dance qualifications• Ensure that Dance andDrama Awards accuratelyreflect the full cost of trainingas a professional dancer,including equipment andaccommodation expenses• Support the developmentof and access to highereducation and research in dance

CONTINUING PROFESSIONAL

DEVELOPMENT

Talented dance artists whofeel prepared for the nextsteps in their careers willstay in the sector for longer,giving younger artists thevaluable chance to work withexperienced professionals.Government should:• Provide additional corefunding for organisationsdedicated to careerdevelopment so thatopportunities can be offeredto all dancers, not just thoseworking in large companies• Support and developleaders in the dance sector,whatever their background,

by continuing to invest in schemes such as ArtsCouncil England's CulturalLeadership Programme, and encourage devolvedadministrations to dolikewise• Develop funding schemes,possibly through theDepartment for Work andPensions (DWP), that ensuredancers outside companiescan afford the regularclasses that they need inorder to remain employable

PAY

Dance artists are highlytrained professionals withtalents that benefit

individuals and communitiesacross the UK: their statusand pay should reflect this.Government should:• Work with funders, thedance sector and otherparties to raise the minimumrate of pay for dancers• Ensure that competitionlegislation does not preventdancers from seekingreasonable pay for their work• Consult widely with danceartists to ensure the currentpensions debates incorporatean understanding of theirunique needs• Recognise the position ofdance artists when planningaffordable housing initiatives

HEALTHCARE

Everyone who dances for acareer should have access to state of the art healthcarethat can keep them working.Government should:• Establish a combinedcentre for dance and sportshealth research and care aspart of the 2012 Olympics,and increase investment inexisting and new dancescience centres• Make additional money forhealthcare a mandatory partof any funding or grant, nomatter how short-term• Enable GPs to refer danceartists to specialist dancehealthcare practitioners

Art

s Ed

P

hoto

grap

her:

Em

ma

Sam

s

Bla

ckpo

ol G

rand

Fin

als

2005

- a

n IS

TD D

ance

Spo

rt E

vent

Pho

togr

aphe

r: R

on S

elf

2006 version_3 28/6/06 16:37 Page 21

Roy

al A

cade

my

of D

ance

: Dan

cer:

Oliv

ia L

eigh

-Ste

vens

on fr

om B

A(H

ons)

Art

and

Tea

chin

g of

Bal

let p

rogr

amm

e

Pho

togr

aphe

r: P

atri

ck B

aldw

in

Dance artists’ employmentpatterns are highly sporadic.Relatively few are on 52week contracts and manyare in guaranteed paid workfor only half the year or less.If they were to work 52weeks on the IndependentTheatre Council/Equityminimum they would earn an annual income of £15,704.Source: Research into

Payscales in Dance (2003)

80 percent of dancersexperience at least oneinjury that affects theirability to perform each year.The cost to the subsidiseddance sector in lost time dueto injury is approximately£1million. The cost oftreatment for these injuriesis on average a further£900,000 per year.Source: Fit to Dance 2 (2005)

“The importance of the continuing researchand understanding of the health of dancerscannot be underestimated. Placing the healthof dancers at the centre of our plans for thefuture will create a more inspiring, moreresponsible and ultimately more rewardingenvironment for dance as a whole.”

Roanne Dods

DirectorJerwood Charity

“Dance training provides a myriad of tangible benefits; enabling students to learn discipline and teamwork within an environment that allows them toinvestigate their individual creativity,discover self-awareness, build confidenceand self-motivation'.

Bruce Sansom

DirectorCentral School of Ballet

“England is a world leader for the creativityand diversity of our dance artists, oureducation and training provision, our supportfor artistic development and for embracingthe power of dance to transform lives. We have much of which we can be proud.”

Jeanette Siddall

Director of DanceArts Council England

“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 MasonDirectorRoyal Ballet

2006 version_3 28/6/06 16:37 Page 23

DanceManifesto

Cen

tral

Sch

ool o

f Bal

let,

Dan

cers

: Aya

na K

anda

(Nor

ther

n B

alle

t The

atre

) and

The

o N

dind

wa

(Pho

enix

Dan

ce T

heat

re)

Pho

togr

aphe

r: B

ill C

oope

r

ADAD

Akademi

al'Ka-mie

Arts Council England

Ballet Independents' Group

Bournemouth Borough Council

Candoco

Central Council of PhysicalRecreation

Central School of Ballet

Chinese Cultural Centre

Chisenhale Dance Space

Council for Dance Educationand Training

Dance 4

DanceEast

Dance South West

Dance Umbrella

Dancers' Career Development

DanceXchange

Diversions, the Dance Companyof Wales

DV8 Physical Theatre

Elmhurst School for Dance

English Folk Dance and SongSociety

English National Ballet

English National Ballet School

FolkArts England

Green Candle Dance Company

Greenwich Dance Agency

h2dance

Independent Dance

Independent Dance Managers

Network

Jasmin Vardimon DanceCompany

Kadam, Asian Dance and Music Ltd

Laban

Ludus Dance

Magpie Dance

National Dance TeachersAssociation

National Resource Centre for Dance

Powys Dance

Rambert Dance Company

Royal Academy of Dance

Royal Ballet

Royal Ballet School

Royal Opera House

Sadler's Wells

SAMPAD

Scottish Ballet

Shobana Jeyasingh DanceCompany

Society for Dance Research

South Bank Centre

Tabula Rasa Dance Company

The Association of Dance of theAfrican Diaspora

The Lowry

The Place

Touchdown Dance

Youth Music

Youth Dance England

The following organisations have fed into the Dance Manifesto:

2006 version_3 28/6/06 16:36 Page 1