DANZ QUARTERLY No 1 September 2005

Tuanui Whakamaru - DANCE CANOPY 05

Tough Stats but Much to Celebrate

Newly appointed DANZ Chairperson Robyn Cockburn speaks at the Tuanui Whakamaru Opening

Recently published research by the Ministry for Culture and Heritage and Statistics NZ was presented by DANZ chairperson Robyn Cockburn at the national dance conference last month. It revealed that dancers were mostly
employed part-time, had low average incomes and worked in multiple roles such teacher and choreographer.

Robyn was speaking at the opening of Tuanui Whakamaru – Dance Canopy 05, held at the Te Wananga o Aotearoa Mangere campus. The proceedings had begun with a Powhiri with inspired korero and waiata in the beautiful campus marae, followed by a speech and formal opening by the Prime Minister, the Honourable Helen Clark, Minister for Arts, Culture and Heritage. Special guests included Hon Judith Tizard, Associate Minister for Arts, Culture and Heritage and Hon Georgina Te Heu Heu National Party’s spokesperson on Arts, Culture and Heritage.

Robyn said that results of the recent research, using 2001 data, showed that while dance was burgeoning, the profession still had major problems. The three key problems were lack of infrastructural support, clear career pathways and security for dance practitioners.

She said that the overall median income for people in dance was $14,300 and there was a high level of part time work in the sector, more than three times that of all employed people.

For dancers in fulltime employment the median income was $28,300, $4,000 less than other cultural workers. Dancers who worked part time had one of the lowest median incomes of all cultural occupations.

While there had been an increase in the number of dance teachers, up by 83% from 1991 to 2001, their full time income was only $23,400. This amounted to $9,000 less than the median income of all full-time workers generally and less than full-time dancers. There had also been an 83% increase in choreographers over the same period.

“While there’s no hard data about what contributed to this rise, we can safely say that there have been some significant changes to the dance landscape in this period. These include dance having a defined curriculum
in schools as well as featuring as an option within physical education”, she said.

“Many tertiary institutions developed programmes focusing on dance, and the young and hungry graduates chased their own dreams and shared them with the wider community through a range of innovative and entrepreneurial choreographic vehicles.”

“Also the government has supported the arts through a number of mechanisms – including recognising the often unpaid research and development work that choreographers and others undertake prior to projects being funded.”

The statistics, she said, had revealed that 31% of dancers worked in the theatre and productions industry and 7% worked in the education sector though classified themselves as dancers first and teachers second.

Robyn questioned whether this was how we as a country valued those working in a sector that was integral to our identity both here and internationally. Was this how we recognised the work that dance contributed to the health and wellbeing of our communities? Was this how we chose to treat those that create the celebrations we relish?

“The Dance Industry is a fragile industry, but an industry I believe is poised for future development, with a ground swell of young dance graduates and enthusiasts ready to step into and contribute to our cultural economy,”
she said.

Robyn had begun her speech by saying there was much to celebrate in dance. “Dance is now a subject in the school curriculum, it is taught in a number of tertiary institutions across the country, and we have internationally acclaimed dance companies.”

NZ dancers were currently working in a wide number of highly renowned, overseas dance companies and there were huge followings for Maori and Pacific Island and other cultural dance forms in New Zealand. Dance styles as diverse as hip hop, ballroom, line dancing and salsa attracted huge numbers of participants and audiences and Dancing with the Stars had stimulated an enormous response.

“Our challenge is to translate this into action – where people participate in dance or continue their involvement in dance as dance audiences,” she said. “Dance is an integral part of our indigenous culture and part
of the social fabric of society. It contributes to our wellbeing as a nation in many ways”

Research Perspectives at the Conference

By Dawn Sanders QSM

Tuanui Whakamaru – Dance Canopy 05 was held in five tertiary institute venues. Groups attended strands of the National Dance Conference from Auckland’s North Shore to Mangere. There were pluses and minuses with this – the disparate locations made it difficult for the ‘cross pollination’ to occur.

A series of speakers presented up-to-date research and theories on a variety of issues at the Dance Health and Safety Session. Jeni Pearce, a leading nutritionist, dispelled myths and gave food for thought on the right way for performers to eat for optimum physical ability. Physiotherapist Susie Simpson, discussed preventative measures and care of the body, as well as presenting her developments on screening of dancers.

Dance research papers were given by Maree Kelly, the University of Otago, on Adolescent Ballet Students’ Experience of Injury, and by Alice Knappstein on the effect of stretching on muscle at a cellular level. Dawn Sanders introduced her proposed longitudinal studies on the long-term effects of dance on joint dysfunction in former dancers and whether dancers have earlier onset of osteoporosis and menopause than non-dancers.

At the DANZ workshops excellent advice was offered by Francesca Horsley on media skills; by Fenn Gordon on dance production; - by an IRD consultant - on claiming your maximum entitlements from Community Dance and Auckland City Council grants, and by Dawn Sanders on getting sponsorship to pay.

The New Zealand Council of Dance Teaching Organisations launched its Competitions Guidelines. Patrice O’Brien, Helen Langford and Alice Knappstein spoke about teaching dance in schools. With many teachers feeling ill-equipped to teach the dance curriculum, it is timely that discussions are progressing between the New Zealand Council of Dance Teaching Organisations and AUT to offer its Bachelor in Dance through distance learning.

Well done to Tania Kopytko and her team for pulling this conference together in such a short time after her appointment as Executive Director of DANZ.

JUMPING IN WITH BOTH FEET - a student's take on the Conference

By Willa Barker-Pocock

As Auckland produces yet another grey and windy day, dancers from all over the country congregate for the opening of “Tuanui Whakamaru” - Dance Canopy 05. Outside, four generations of dance students, practitioners, choreographers and enthusiasts greet each other like old friends, waiting in anticipation for the next seven days of dancing, workshops, showings and forums.

For the first time, three conferences have been combined to create a unique canopy for dance in New Zealand: Tuhono - Tertiary Dance Festival, for dance students, choreographers and teachers; Kokirikiri - Dance Educators
conference for teachers in Schools, and DANZ Industry workshops. With practical classes run by some of New Zealand’s top choreographers and tutors, forums and workshops held by top level industry gurus, it is a dancer’s haven. It’s a place to connect with others from the industry, where creativity spreads like wildfire, contacts are made, inspiration gained and friendships forged.

With only 18 months of dance training under my leotard, the tertiary dance festival was an exciting yet daunting prospect. The Festival provided a chance to work with some of New Zealand’s best choreographers and
practitioners, a chance to interact with other students with similar aspirations, and a chance to share information, tricks of the trade and inspirations. I jumped in with both feet, determined just to be involved, and I wasn’t
disappointed. With open arms I am welcomed into New Zealand’s dance community.

Eager to make a good impression, I arrive early for the first session. Slowly the room fills with flexible dancers’ bodies, stretching and warming up. Already it is amazing to see the variance of level and experience in the individual dancers, and I am aware that I’m not the only one here with a large passion and not much training. I begin to realise that it doesn’t matter how good you are, that you are here and participating is enough.

At the front of the room stands Kilda Northcott, known as the “Diva” of New Zealand dance. I’m awe struck as she moves and explains, using her body as a visual tool. Then she messes up the counts - she is, I realise, a normal person. Suddenly there doesn’t seem to be so much distance between us the students, and them, the teachers. They are here in force, New Zealand’ greats like Michael Parmenter, and up and coming choreographers - Malia Johnston, Kristian Larsen and more. They interact with us, divulging movement phrases and processes, and like sponges we absorb the information, follow the sequences and dance.

“I came because of the choreographers and tutors they offered,” says Danah Matthews, 19, of the New Zealand School of Dance. Over coffee and sandwiches after the class they laze about available for questions and comments. It’s amazing, how often at a major conference would the guest speakers be that available? Their willingness to participate in an event like this and the generous way they give to students makes this industry what it is, a growing,
moving, ever evolving work of art. With students from all over New Zealand, and at different stages of learning, classes are at varying levels: open, level 1 and level 2. Choreographers work smart, using similar phrases for each of their classes, developing the work required for the higher levels, allowing for progression from one level to another and most importantly letting everybody at least attempt classes - there is no real segregation.

Students work to a level they feel comfortable with and inevitably progression and development within the dancers occurs. As Sunday night draws closer, the first rehearsals begin for the showings from institutes. My classmates and I prepare to perform, nerves build and a sense of excitement and event fill the room, make-up and costumes are hurled from bags. Last minute checks on appearance and music, and I’m onstage, introducing my first ever
choreography. It is a chance for all those who wish to share their work, often their hearts and souls, to a sometimes critical, yet informed audience who understand the process and work required to get a dance to performance
level. The variety of works shown is amazing; cultural, solo, inspirational, and hard-hitting dances are viewed, critiqued and commented on. Dancers perform their hearts out, giving it their all. The audience, mostly other dancers,
tutors and choreographers, is captured and involved, supportive and encouraging.

Tuanui Whakamaru is all about making the most of the opportunities that present themselves. Helen Langford, Lecturer at the University of Auckland says after watching a Michael Parmenter performance, “turn off that judgement, take hold of your muse, and have a play this week”. If I learnt anything this week it is that, with dedication, determination and passion, anything is possible. It is only ourselves that hold us back, brilliant work comes out of
freeing ourselves from the judgement we place on what we do, and allowing ourselves to have fun in the process. Who would have thought that attending a writing workshop at Tertiary Dance would result in the success of a dream
of mine, the opportunity to write about dance, for dancers, from a dancer’s perspective. New Zealand dance is thriving, it is evident by the enthusiasm people have for the industry and the developments in it. With dedication and
guidance from our seasoned professionals the possibilities in dance are endless. All we need to do is believe in ourselves and follow our dreams right through to fruition. So with friendships made and a tired body, I load myself
into my car, truly inspired, muse in hand, ready to take on term 3 and all that it requires, and the dancing world by storm.

Developing our ideas and meeting other dancing selves - youth on a dance roll

By Sue Cheesman

Dancing, composing, experimenting, socializing, expressing, performing all had their place in the sun over the two day youth project entitled Dancing Self. Nine young people from Auckland with mixed dance backgrounds came together hungry for new dance knowledge, open minded, prepared to risk and experiment. They gave generously of their ideas, challenged themselves with new ways of moving particularly floor work, respecting one another in the process.

What a magical journey those two days in July were as part of the Tuanui Whakamaru -Dance Canopy 05 supported by the ASB and Creative Communities as well as Auckland University with the stunning studio space. The funding made it possible for me as initiator and choreographic teacher to build a team consisting of Maaka Pepene, technique teacher and two students, Thomas and Carla from the Te Wananga o Aotoearoa who were mentored through the process. Together we experienced floor work, salsa rhythms and body percussion, contemporary duet work, sharing our dance skills, meeting new people and gaining a great deal from this intensive two day focus.
Friends, family and conference participants/organisers shared our informal showing of snippets and fragments at UNITEC from our two days of dancing. The emphasis was on the creative process – unveiling the nuts
and bolts of dance making. At the end of the sharing there was a sense of pride from the group in their achievements and from the audience a sense of appreciation of the quality and variety of work shared. A mark of the success of this project was that parents/guardians wanted to know where they could continue with this kind of experience. The social aspect of meeting and working with new young people was a buzz for these youths and yes, of course, a flurry of cell phone number swapping commenced.

A rich and fulfilling two days of dancing was had by all involved. Ka Pai.

Thanks from Mary Jane O’Reilly

What a week:
I want to remember and acknowledge:
• The Tertiary Dance Festival (Tuhono) teachers that were all focussed and willing to share their knowledge.
• The school (TRCC) dance teachers who were inspired by their courses and inspiring in their responses.
• The students who danced their hearts out in every which way and had their eyes and minds opened.
• The evening performances that were enthusiastic and passionate.
• The conference dinner which was a chance to chat, with great food and an excellent talk from Pita Sharples about his particular dance art - Kapa Haka.
• The timetable with its many streams including dance and technology, dance research, dance techniques, performance improvisation, dance repertoire and world dance which were all enthusiastically attended.
• The Danz DANZ workshops on hugely varied subjects from tax, to writing to health.
• The lunchtime forums with the many special guest experts.

All in all a great week.
And what do we have to remember it all by? T-shirts, photos and some great memories!
Special thanks to the TDF committee and DANZ, and we can all definitely
rejoice in the strength of the dance community in NZ in 2005! Until next time – ka kite!

MJ O’Reilly – Conference Co-ordinator.

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