DANCE INDUSTRY STRATEGY - VOICES FROM THE FORUMS
This document is a snapshot of the New Zealand Dance Industry in May 2008. It captures the thoughts and desires of the dance practitioners who attended three forums held in Wellington, Auckland and Christchurch, as well those who responded in writing.
The contributions are anonymous as requested. Some are controversial but they show the degree of passion and concern that people have for New Zealand dance.
However, despite diversity, the overwhelming response that came from the industry via the forums and comments is that we want to work together with a unified voice, towards a strong and diverse dance industry.
The facilitator asked questions to provoke discussion and ideas. There was consensus in some major areas, which enabled the strategy focus to be created:
1. Connections
2. Spaces or hubs for dance
3. Viability
4. Visibility
5. Skills
6. Other
In addition, the participants were asked to make strategic choices on what they would like to reduce, eliminate, grow and create in the dance industry. ‘Voices’ gives us food for thought in our wide and diverse dance practice with the ultimate aim of improving and developing our dance environment and industry.
Strategic choices
Reduce
Research & development producing “prototype” approaches with little further development of works
“Jack of all trades” syndrome
Dependency on national funding
Lack of career/industry knowledge of new practitioners
Defensiveness and isolation
Audience’s lack of understanding of dance
Eliminate
Cycle of poverty – individual and organisational
Poor employment practices
Ad hoc projects and approaches
Gap between national and regional policy and practice e.g. school curriculum
Parochialism
Hierarchy of styles / genres and between art forms
The idea that dance/dancers have an expiration date
Silo thinking and fragmentation in society, arts and dance
Lack of understanding of the diversity of dance in Aotearoa /New Zealand
Barriers to boys, adults, or people with disabilities dancing
Blaming, whinging and moaning
Grow
Quality – work, performance, production
Artistic flair, excellence, cutting edge
Infrastructure, specialization and diversity
Integrity at all levels of the industry and in all aspects of dance
Communication with Creative New Zealand (CNZ) and Ministry for Culture and Heritage
New funding models
Understanding of need/costs that are required to make dance
Media education, respect and support
Range of dance genres reviewed
Better spread of shows through the year, dance planning/scheduling systems
Artists/schools interface
Professionals into secondary school dance program
Mentoring and coaching by a diversity of companies and dance genres
Career development into other sectors of dance or arts partnerships e.g. education, health
Artist residencies
Networked community for dance
Acknowledgement and support of dance leaders/role models
Respect and integrity within the industry
Dance festivals and touring capability
Networking forums (national)
Links between education, recreation, industry and the dance profession
Audience and audience feedback mechanisms
Better use of ‘anchor stones’ overseas or groups with an international presence
Create
Dedicated spaces for performing, workshops, class and office space
National guidelines for pay and conditions
Arts advocacy at government level
Mapping the sector – creating our NZ dance identity
Wider range of company models
Touring website and touring circuits, national and cross Tasman/Asian-Pacific touring
New Zealand as an international dance destination
Better business models
Alignment with community funders
Archive history, an awareness of what has gone before
Dance Awards for celebration and recognition
NZ dance month
Cross art form art collectives
Leverage off existing internet sites – business models, community
Wikidance – shared reference website
In the next section forum comments have been placed under the five Strategy points.
1. Connections
Build unity and industry networks
“Networks for people to grow, train, resource, facilitate, accommodate.”
“Create mutually beneficial partnerships at all levels e.g. artist/studio, group/business, team up with other dance styles and share databases.”
“Choreographic platform where dancers, choreographers and other artists (musicians or writers) can come and meet and share ideas.”
“If we cannot work alongside each other we will always be seen as small and insignificant and not worthy of notice or support.”
“A positive expansive dance industry mindset that reflects our shared purpose.”
“Recognise similarities and differences between dance forms and cultures.”
“I would like to see the governing structures of dance collaborate and utilise the support that DANZ is providing to the sector. There are ample resources that could be easily shared and there has to be a way for us to work in community and collaboration with each other.”
- Strong communication structures in place
- Infrastructure that supports the vision
- Resource and information sharing
- Physically meeting other practitioners
- Pathways to build the professional sector
- Thinking about the big picture and long term
- More opportunities for dance teachers to meet and share ideas – less working in isolation
- Recognise that all genres have equal value
- Core organisations that are creating/facilitating local dance, space and practice
- Support for the profession - advocacy, education, somewhere to go and ask questions
- Choreographic associations, guilds, residences
- Annual dance conference
- Dance union
Partnerships
“Generating visionary arts models that intercept with business and education.”
“Local and central government venues and artists working in a collaborative way.”
“The contemporary dance industry will sink away without more active support from CNZ and DANZ in relation to the development of choreography.”
“The professional sector needs to look to its cousins in the arts to create cross art form and interdisciplinary connections.”
- Increased communication and collaboration between art forms - sculptors, musicians, media
- Create strong strategic alliances between dance associations/companies and schools, or DANZ and Ministry of Education
- Potential partnership of health sector with dance sector
- Concrete partnerships between business and dance companies
- Shared administration / marketing infrastructure for companies
- Building philanthropic support and influences around dance
- Maximizing social dance networks as promotional networks
- Stronger connection between dance and live music
International
“Further develop international connections between New Zealand networks and those offshore (World Dance Alliance, Ausdance, syllabus organisations).”
- Interaction with the international dance world
- Dialogue to build pathways, integrate and share existing knowledge
- Better use of visiting companies
- Door open to international, indigenous choreographers
- International export
- Performance opportunities within International festivals
2. Spaces
Dance houses / spaces
“We need to work together and a communal space would be one of the best ways to achieve this.”
“The strengths of dance houses would be the partnership between all forms of dance.”
“Specific needs of dance need to be put first – too many places are cold and small.”
- Collective space for rehearsal, performance and management (office space, marketing)
- Dance centres in city centres, supported by City Councils and CNZ, to include: studio for company in residence; studio for freelance professional class and smaller project work; administration centre with desk, computer and shared resources; community evening classes; small black box theatre; larger theatre; dancehouse manager to programme the theatre; technical manager and publicist/marketing person
- Theatres adequate to the needs of dance
- Local councils recognising needs for dance spaces
- Good venues everywhere - affordable, flexi form, good flooring and lighting
- Successful dance businesses in local authority venues
Virtual hubs
“Digital resource to provide information on dance and discussion, like Wikipedia, a public owned resource.”
“Interventions using digital and telecommunications technologies such as website developments, blogs, video dance, YouTube etc.”
“The dance sector as a connected system, interaction e.g. Wikidance.”
- Resource centre to fill the gaps that exist, it could be done other ways e.g. websites
- Maximize use of technology e.g. YouTube
- Tourist / information bureau have a national dance map (studios, companies etc) for New Zealanders and visitors, this would link to a virtual dance house as well as actual dance facilities.
3. Viability
Funding
“Dance valued by funders as important or valuable as sport.”
“More broadly spread funding, particularly requiring CNZ to input funding into the regions not just the three main centres.”
“Private sponsorship to support larger companies taking the pressure off CNZ and allowing resources to go further”
“Regional longer term project funding for the development of dance, including offering classes, workshops and performances to the regional community. Attached to each regional group could also be a research agenda, developed in connection with the local University or dance program, allowing the growth of local dance.”
“Money coming from different areas not just the creative area, therefore potential for new and different partners e.g. research, science, Ministry of Social Development, health.”
“Funding which is fair, flexible and cross disciplinary.”
“Changing the funding structure so that older dancers are respected for their years of contribution to the dance world and appreciated for what they have to offer even if it is not in tune with the latest innovative ideas and techniques.”
“Diversity is not reflected in CNZ funding.”
“The Government funding overall is pitiful and needs a serious injection to get this initiative rolling.”
- Well supported full time companies and choreographers
- Support for innovative and experimental processes
- Alternative forms of funding i.e. philanthropy, grants, sponsors, corporate
- Diversity in choreography as a result of non-competitive funding
- More variety in funding streams
- CNZ is poorly funded
- Regional longer term project funding
- Reduce disparity between funding grants
- Match facilities/funding for what is going on – Street dance, Hip Hop. Support and acknowledge it
- HEHA (Healthy Eating Healthy Action) funding for school dance projects
- Dance companies with a business approach to funding
Touring/production support
“Align the major arts festivals so that a touring schedule can be designed.”
“Use University networks to create touring opportunities for small independent dance companies and build repertoire studies of New Zealand choreographers work into the programmes.”
Working conditions / pay
“’Do it for the love of it’ is preventing appropriate recompense for professional standard.”
- Paying adequate wages to staff
- Fulltime employment
- Senior / junior associates in companies
- Implementation of pay structure like Australia
- Salary parity/pay rate scale
- Code of conduct
- New Zealand Dancer’s alliance with focus on advocacy
- Strong group agreements and contract templates
- Best practice and conditions of work similar to others in the workforce
Structures and infrastructures to build dance
“Sustained time together is needed. At the moment opportunities are many but in short bursts of time, it is not sustained and doesn’t support development, knowledge of diversity or each other.”
“Developing a focus on prosperity and growth, innovation and individuality, rather than competition and funding based initiatives.”
“I would suggest the benefits to the taxpayer of the reflected glory of a dance company doing well overseas is less than the benefits an individual can provide by moving to a community, setting up community classes and offering dance as a complement to local events.”
“Stable infrastructures that support a diverse range of dance professional.”
“A more personal approach where the career path of a dancer was supported and advised on, rather than emphasis put on what was produced would be more beneficial to everyone.”
“Expand DANZ’s role in developing more long term programmes and policies.”
4. Visibility
Increase profile and understanding of dance
“Intrinsic value of dance not just its results.”
“Learn to acknowledge the differences and celebrate the things we all do so well together – communicating through movement. We also need to be aware that dance is so much more than the individual styles we teach.”
“Dance is a feminized industry and suffers the same stigmatism (second class status) as women’s sport in New Zealand.”
“I am looking forward to the day when dance events are being reported in the news like rugby and cricket”
“A shift in the wider community – the priority of dance in the community, education – understanding and appreciation – everyone is on board.”
“Existing dance festivals are grown, internationally known and linked.”
“We can have both accessible/mainstream and work that takes risks and asks questions.”
- Role of dance recognised and valued in NZ
- Value within daily news
- More contemporary dance on television
- More dance in the media, a wider view of what dance is
- Lobbying for prime time television coverage of dance
- Media education and respect
- Dance section of the paper
- Opportunities for independent film makers and dancers to make TV programs
- Equality with music, visual arts, drama, film, etc
- Dance festivals – Dance Expo; Asian Dance Festival; World Dance Day or a dance month; International Pacific Dance Festival
Critical/informed commentary
“There continues to be a lack of open and constructive critical dialogue and criticism in local and national public dance publications, forums and related formats, particularly in relation to contemporary dance.”
“We need to have a healthy level of criticism in the industry, otherwise no one is inspired to change or strive for success.”
Recognise and celebrate achievements
- National Dance Awards
- DANZ Quarterly
- Media coverage
- Celebrate dance leaders in all areas of the industry
Preserve and document our dance history/heritage
- National repertory company
- Revisiting iconic repertoire
- Maintaining traditions: honoring heritage / whakapapa
- Conserving dance practices: traditional i.e. kapahaka
- More national communication, research and sharing of documentation
- Improved documentation of dance
- Research and archives
- Compulsory funding and pathway for sharing DVD archives of material
- More dance history available e.g. Shona Dunlop MacTavish articles in DANZ Quarterly
5. Skills
Career Pathways – connect education, training and industry
“Motivate changes in the education sector so it is aligned with employment, a career path and excellence beyond participation.”
“We need to redefine what it is to be a professional in dance in this country. There are so many more options than being employed for 6-10 weeks in a company with a ‘recognised’ NZ choreographer. This is totally unsustainable and unrealistic.”
“It would be great to see a careers advisor for tertiary dance students, a website which takes them through a decision-making process to guide their dreams and aspirations to success.”
“I can’t help but feel that it shouldn’t be necessary to move out of dance at a certain age into administration or whatever.”
- Clear career pathways
- Business model part of education
- Equality within research e.g. performer to get a Masters/PhD that has equal standing to academic (written) form
- Post graduate internships and mentorship
- Better information about pathways into teaching and other viable careers
- Different company models
- Strong supported education structure within companies
- Mid career artists recognised and well supported
- Training and development scholarships for mid career artists/choreographers
- Support for career transitions – professional development, fellowships and residencies
Training / development strategy
“The institutions providing dance as a subject need to be key partners in developing the professional industries.”
“Clarity over what each of the tertiary diplomas or degrees offer and leads to.”
“Investment and support for choreographers to develop their work, with residencies and studio space at very low prices.”
“More emphasis placed on assisting choreographers to develop their work artistically/choreographically.”
“Think about how we can nurture new groups, emerging artists.”
“Apprenticeship programmes, four dancers a year maybe, supported by CNZ for dancers heading into companies and project work.”
“Providing resources so that dancers can make the transition from amateur to professional within their own community.”
“Allowing tall poppies to grow”
- Support base were they can develop their skills
- Regular international and national classes/training
- On the job training
- Life long learning
- Rationalised tertiary sector
- Ongoing dance platform
- Cheap studio space
- Strong classical choreographers nurtured
Innovation and quality, new models of thinking
“We must develop a culture of exchange, support and critical thinking. A culture that connects dance not only to entertainment but also to art theory/practice.”
“Choreographic research centre – developed by partnership.”
“Constantly re-evaluating current structures and modes of working. Moving and changing with needs.”
“It would be interesting to see how dance would develop if more money was put into research, experimentation and exploration, and less in trying to impress the international scene that we can compete.”
“High quality dance in a range of styles throughout the country on a regular basis.”
“Leading the way in terms of Pacific (companies) Dance expression.”
“We must find alternative models to ‘having a company’ and ‘being a collective’ if we are to create sustainable and viable ongoing creative structures for dance production and performance/presentation.”
“What is needed is an entirely new vision, a vision for an unrestrained practice that can be freed to the point which will enable the new to emerge.”
- Time, space and support for experimental and innovative processes
- Long-term artistic vision. Having time and mental space to do this
- Work realised to full potential
- More accessible mentoring
- Better pedagogy
- Capacity for dance styles to have dialogue and develop within their styles
- Different dance company models: pick up; repertory; chorography lab; experimental lab
- Dance company attached to Opera Company
- National Contemporary Dance Company: tour nationally, re-produce old work; commission work; season of small works each year
- Be diverse and challenging: always challenging conventions, models and ways of working
Develop the art form - audience, critics, and participants
“Festivals can elevate, can provide a platform for dance to be shown and integrated.”
“Unless the young dancers of the day view and experience live professional companies in various disciplines they will not be fed with the future of dance in their minds … It is hard work to spread the word in small communities. We would like to see more productions come here.”
- Provide opportunities to develop critical dialogue e.g. forums
- Educated audience willing to take risks
- Audience development – diverse, knowledgeable, loyal and brave
- Tap into ‘sympathisers’, people who used to dance
- Connecting with kids in private studios and dance in schools
- Packages to encourage children to come to dance
- Dance medicine support, specifically qualified for dancers: physiotherapy, massage, sports physicians, additional training, Health and Safety
Education sector
“A movement to put dance as a thread throughout the school process, not just as a ‘special time’ at the school.”
“Develop cross-cultural studies e.g. learning maths or reading through physical activities.”
“Most children love the sound of dance as a word but do not have a concept of what it can become to them as an individual. It can open up a life for the future of confidence and health.”
“Current gaps in the dance education system need to be solved e.g. lack of confident dance educators, lack of understanding of how dance can contribute to education.”
“There needs to be a change in the composition of dance practitioners (more diversity) similar to the diversity of students in school.”
“There should be a focused schools touring/teaching company that is supported enough so that its dancers are not doing corporate work and working 50+ hours a week to keep it alive.”
“Dance has a social influence on intelligence, discipline, motivation and positivity.”
- Dance in our education system well resourced and valued
- Cohesion and support for dance in schools
- Part of a liberal arts education
- Dance as a tool for learning needs strengthening
- Board of Trustees in schools make dance a priority
- Professionals paid to go into schools, create an infrastructure educating future audiences – a cohesive approach to gaining appreciation and knowledge of dance.
- Dance is not recognised enough in schools as academic, it is seen as something for fun, done at lunchtime
- Schools need to have dance studios and sound systems on site
- Create arts “Centres of Excellence” at high school level
Youth Dance
- National youth dance company
- Cultural youth dance model
- Fostered by traditions and elders – identifying & valuing traditions
- Parenting model skill based – recognition and expansion of diversity and skills
- Institutional support – sense of community
- Funding – different partnerships
- Community – school becomes the centre of community
- Volunteers, gifting, longevity
- Audience commitment
- Pride, Mana and relevance to community
- Cross cultural engagement
- Competition but not commercial
6. Other
Purpose of dance
“A key method of expressing NZ identity both nationally and internationally.”
“Dance is a cultural cohesive.”
“An expression of the intangible.”
“Social interaction and sense of community, dance is the bridge.”
“A driver for other industries, composers, actors.”
“Kinesthetic learning – creative flexible thinking.”
A visual expression
A medium for celebration
An alternative to sport
An expression of creativity
A form of entertainment
A form of cultural expression
A way of reflecting on life and the world
- Health – physical and mental
- Opportunities and inspiration for community participation
- Sense of camaraderie in class, another ‘family’
- Key leadership
- Sense of identity, understanding of ourselves
- Cultural integrity – role models and vision for young people
- Youth education
- Children gain confidence, connected with the body and develop focus
- Education – messages get across
- International exchange
What is special or unique about New Zealand dance?
“Real parity and diversity and acceptance of divergence is possible in NZ because we are smaller. Bi-cultural constitution sets up a tolerance of difference.”
“We’re brave and versatile and willing.”
“Innovation – isolation gives us the freedom to create independently, not based on other people’s work.”
- Aotearoa, unique / diverse collection of dance voices
- Multicultural with a unique indigenous voice
- Maori influence evident / unique
- Small population – cohesion, communication, collaboration
- Making things with nothing
- Embracing differences
- Cross-fertilization: culturally and artistically
- Diversity and unity
- ‘Can do’ attitude
What might NZ gain if the Professional Dance Sector realised its full potential?
“If dance reached its full potential we would have an exciting vibrant healthy community, dance would be part of everyone’s life again.”
“A diverse and creative industry driven by holistic principles, and strong creative and intelligent individuals. A community that supports and sustains itself.”
“A multi cultural industry with many cultures working in the professional dance sector.”
“A world leader in terms of its creative and artistic potential, because of its cultural mix.”
“People from cultural dance with master status/skills will be kept and recognised for who they are.”
“A broader definition and understanding of dance.”
“A vital and sustainable asset to New Zealand’s arts community that is self-reflective, passionate, intelligent and confident and is engaged with the world beyond itself. It can thrive at every level and in every capacity allowing the strengths of community, cultural, participation based and performance based dance forms to support and feed off each other.”
“An antidote to the individualistic, anti-social, computer based society.”
- Valued, well paid and recognised, professional artists working to their full potential
- A more professional level of technique and artistic work
- Support for emerging talents
- Sustainable careers for dancers
- Sector unity, support and dialogue
- Better connected networks
- New ideas, new bodies, new thinking
- Cross-pollination between companies, sharing of material
- Standards of competence – teaching / business (qualifications)
- Dance more part of our social culture / interaction
- Healthier society in both body and mind
- Address youth problems, a greater sense of self / interact positively
- A more informed and articulate community
- Wider opportunities to see dance in provincial areas
- Broader definition and understanding of dance
- Much more expressive culture
- Greater diversity of voices being heard
- Higher quality of engagement, both doing and watching
- Economic contribution to New Zealand
- Equality with sports in funding, education
- Higher international profile
- A world leader at the cutting edge
|
