House of Commons - Culture, Media and Sport

Select Committee on Culture, Media and Sport Sixth Report

4 Current issues in dance

Dance: art form and/or physical activity

42. In the evidence we received to this inquiry, it became apparent that there is tension, within the sector, over the definition of dance. Most people agree that dance is an art form - in terms of composition and appreciation as well as performance. However, the dance world seems to be undecided as to whether dance should, in any way, be defined as a physical activity (bracketed with movement, aerobics and PE) and/or as a participatory social activity. The Ballet Association told us that "Dance is a physical activity".[66] Many people agree that dance is a physical activity, but stress that it is not a sporting activity because of its non-competitive nature and status as an art form.[67] Dance is recognised as a social activity and the English National Ballet School fully encourages people to participate in dance as such, as it helps to ensure the health of the sector.[68] The CCPR believes that dance has much to offer the community as a participatory activity because:

"Movement and dance encourages good posture, balance, co-ordination, flexibility and increased mobility. These tools help the young to develop basic skills and the elderly live more independently, as well as encouraging a whole raft of other health benefits."[69]

43. This tension has huge implications for the public funding of dance in the future. Recently, the Government has given clear priority to reducing obesity and promoting healthy lifestyles, and made available significant funds to promote these objectives.[70] CCPR highlights, in evidence, that currently many organisations that offer the opportunity for people to participate in dance mostly fall between government funding streams for sport and art. This means that many organisations do not receive any funding support for this important activity.[71] CCPR also expresses general frustration that the dance community, more generally, has not yet managed to gain recognition within sports policy.[72] Some of the dance sector, including Ken Bartlett, Director, Foundation for Community Dance, stated that dance is both an art form and a physical activity:

"it is very clear that dance is a physical activity and has a lot to offer in terms of being seen as a physical activity. A lot of the value of dance in the physical activity agenda is actually about the fact that it is an art form and it is derived from an art form. Dance looks at the person holistically - it combines the intellectual, physical and emotional; it is creative and encourages collaboration and communication. We think these bring added value to its expression as a physical activity."[73]

44. Mr Bartlett believed, like many in the sector, that dance sector can, does and should more often work with sport (and thus gain access to some of the available funding and be incorporated into policy), to meet some of the Government's key concerns, especially regarding health issues:

"many of us are engaging with people from the sports world, like the British Sports Trust, the Central Council for Physical Recreation and the Youth Sports Trust, who are themselves concerned about the level of physical activity in health, particularly for young women; and dance being a really important opportunity for them to participate in a health activity. As long as we recognise that dance is not just a health regime, or a keep fit regime, and that it is about expression, communication and an art form, I think we can work very positively together…One project I think is exemplifying that at the moment is PESSCL, which is the Physical Education, School Sports and Club Links scheme, whereby the National Dance Teachers' Association, alongside Youth Dance England, is working with the DCMS to try to encourage more opportunities for PE staff to learn from dance specialists, and vice-versa, to increase participation in dance for young people."[74]

45. The Minister for the Arts believes that dance is able to help the Government to meet targets for healthy-living and particularly with groups that may not be attracted by more traditional physical activity associated with keeping fit and healthy:

"I am hugely persuaded by the impact of dance, particularly in the field of health across all ages but I think it is probably the physical activity that has got the highest participation rates for the elderly members of our community."[75]

46. We agree that dance is an art form, but it is also a physical activity. In this way, it may constitute part of the solution to this country's obesity and healthy lifestyle problems. It has the potential to involve many members of the community who do not engage in other physical activities. Dance is, therefore, uniquely positioned to assist the Government to meet its challenging health objectives. We recommend that the Government should investigate further how it can increase the number of people gaining health benefits through participation in dance.

Young people and dance

47. Evidence to this inquiry has highlighted the importance for the Government to balance the need to encourage increased participation (especially for those young people who do not enjoy competitive sport or are excluded due to disability) with the need to ensure that excellence is taught and fostered.[76] It must also ensure that suitable pathways for development are available to youngsters involved in dance, throughout the country. The Minister for the Arts, as highlighted earlier, regards it as the Government's responsibility to ensure that:

"every child at some point during their school years or their early years experiences dance, and making sure that for those who want to there is a pathway through. Whether that pathway leads to the excellence end of the scale or whether it just leads to adulthood where they continue to do dance is up to them."

48. The dance sector seemed to agree, as do the Committee, that this is the responsibility of the Government. But, it would dispute that the Government is carrying out its duty effectively. The pathways for advancement, currently available to young dancers, were outlined for us by the Council for Dance Education and Training. Children may:

"- follow dance as a school-based subject (currently taught within the Physical Education syllabus) and take it as a GCSE and A level examination subject;

- follow the examination syllabuses of one (or more) of the Dance Teaching Societies;

- follow it as a leisure pursuit at a class led by one of the National or Regional Dance Agencies;

- encounter the influence of the National Youth Dance Agency; or

- follow it as a course of professional training at a vocational dance or musical-theatre institution."[77]

49. The dance community's views on the provision of dance in schools have been outlined above. The sector also argues that there is not adequate funding to ensure that there is are sufficient opportunities for progression for young dancers, that are equal throughout the country.[78] Provision is generally through local education authorities (LEAs) and also "there is a network of national dance agencies which actively promote dance for young people."[79] We were told by the English National Ballet School that support for inclusion and progression in dance is inconsistent, varying between one LEA and another, dependent on individual priorities.[80]

50. The establishment of Youth Dance England (YDE), in February 2004, is the first step taken, by ACE and DfES (through the Dance and Music scheme), to start to tackle the difficulties within the publicly funded youth dance sector. The function of YDE is to support and promote opportunities for young people in dance. YDE has begun to identify the full range of dance activities available to young people and will try to create new partnerships between those providing and supporting these activities. It will work across the arts, dance, education, health, private dance, sports/leisure sectors, youth and youth offending sectors.

51. Linda Jasper, Director, Youth Dance England, told us that the patchy provision may be due to the fact that:

"the funding issue is enormous…, it is better than it was but still I think it is a barrier to a lot of young people entering into vocational training, and this is something which hopefully government departments might be able to address"[81].

52. We also realise that there are many private, organisations - such as the National Youth Ballet of Great Britain - working within youth dance with little or no access to public funds. These comprise a large part of the dance industry in the UK. Each week, 100,000 young girls participate in dance classes.[82] This statistic does not account for boys or older people participating in dance classes and is, therefore, only an indication of the total number of lessons taught by private teachers of dance, practising in the UK in 2004. This section of the industry has a huge impact on the development of young dancers and many more dancers go on to vocational training and further education through this route. The Ballet Association is an advocate of reviewing dance within the National Curriculum, but, importantly, conceded that this would not alone be enough to promote the inclusion and progression of young people in dance.[83] We appreciate that the future of professional dance is largely dependent on the continued hard work of private dance teachers and charities, such as the National Youth Ballet, who do a lot of hard work to nurture and showcase talented young dancers.[84]

53. Many of these organisations and teachers are employed periodically to carry out workshops within schools.[85] We believe that this is a good way to inspire children to participate in dance. We hope that this practice grows, in tandem with improving children's experiences of dance within the National Curriculum, to improve participation levels in dance from a young age.

54. We agree with the view of the Ballet Association and others, that "much more needs to be done to promote inclusion and progression at all levels."[86] The Government has a role to play in this in a number of ways but, specifically, by providing improved access to private lessons for those talented individuals who cannot afford to pay.

Working dance population

Working conditions

55. We have been told that working conditions for dancers have, historically, been very poor.[87] These appear to be improving slowly but, at present, evidence suggests that working conditions can vary hugely from venue to venue.[88] As we have highlighted above, there are many more dance-specific spaces throughout the country than there were 10 years ago before the Lottery began. Differences in a number of factors can be critical to the artist (keeping the body in dancing condition) and can affect the performance. These include: heat; ventilation; light; and flooring (sprung or not, as well as general quality and condition).[89] It is also important that the building complies with health and safety regulations. We received evidence from British Harlequin plc that described the lack of properly sprung floors within performance venues and why floor quality is important to the health of dancers.[90]

56. Siobhan Davies, Artistic Director, Siobhan Davies Dance Company, told us of dancers having to endure awful conditions. She related to us an instance when she was at a rehearsal where the dancers were so cold that they had to retain their outdoor clothing and the negative effect these conditions had on the dance piece.[91] She emphasised the benefits of having a dance-specific space in which to rehearse and perform:

"I cannot tell you the difference between not wearing a woolly hat when you are rehearsing and being able to move properly. It betters your art form."[92]

57. The benefits of properly constructed and tailor-made venues for dance are being experienced by more dancers as more venues are converted or constructed. Currently, there is a 'big push' from the sector to improve rehearsal and performance conditions, in venues throughout the country.

Pay and prospects

58. Evidence we have received suggested that dance is one of those vocational industries, in which very talented people are prepared to work for very little money. Historically, dancers have not demanded large salaries because of the lack of funding, from all sources, received by the sector. This situation has become a characteristic of the industry. Many dancers would identify with the statement by Gill Clarke MBE:

"I have been sustained again and again by the life-affirming and transformative power of the medium of dance, and that has won out over the financial security it does not provide."[93]

59. The Arts Council told us that there is a problem concerning the "culture of low pay" and that many grant applications it receives ask only for small salaries for the staff involved.[94] The Equity (or industry standard) pay for 52 weeks of work a year is approximately £15,000.[95] However, Siobhan Davies told us that it can be much lower than that:

"I think a lot of dancers who are working are in abject poverty and I think that is something I would really like us all to address. The earning capacity of somebody in my company is sometimes as low as £12,000…that is something that our whole art form needs to address."[96]

60. We agree that the problem with pay is something that the industry must tackle, as a whole. Jeanette Siddall believes that things have to change:

"We have got to change the culture, we have got to get the message across that it is not acceptable to the Arts Council as much as to our colleagues within the sector to continue that pay level."[97]

61. The dance industry has also informed us that, at present, the sector does not receive enough funding for the on-going professional development of dancers. Gill Clarke MBE, in written evidence, told us that some companies are able to help pay for their dancers' training but mostly:

"Low income, independent artists subsidise their own ongoing development without which the art form would not have blossomed artistically and technically in the way that it has."[98]

62. We believe that it is imperative that dancers are paid sufficient amounts to cover any training costs, or that support should be given to them to enable participation in development courses so that their future careers are not hindered.

Dancers' retirement age

63. We have been informed that there has been, until recently, a long-standing practice that dancers retire once they get into their mid-thirties.[99] Historically, after their mid-thirties, dancers were thought to be 'past it' and unable to perform professionally. This situation appears to be beginning to change. In the past, dancers have gone on to other dance-related careers, helped by organisations such as Dancers Career Development. The types of careers vary and can be outside the dance sector altogether. However, many ex-dancers are employed within the dance industry. Some of the options were outlined below by Piali Ray, Director, SAMPAD, South Asian Dance Alliance:

"There are career options and we need to look further into it, with teaching as an option; working in schools; taking the whole area of training and training younger dancers; choreography; and other related jobs around dance performance, from marketing to writing about dance; all of this can be done better by somebody who has been in the profession."[100]

64. Evidence we have received suggests that the industry is starting to recognise that older dancers have more to offer to the sector and the retirement age is beginning to rise. Ian Bramley, explained to the Committee that the improving working conditions and better health and well-being of the dancers are lengthening the careers of many dancers and bringing more experience and expertise to the sector:

"There are lots of people looking at trying to extend those careers. Dance UK works through its Healthier Dance Programme to try and ensure people can practise as long as they like. I think attitudes are changing and people are valuing the experience that older bodies have much more."[101]

66 Ev 67 Back

67 Ev 57, 69, 78, 98. Back

68 Ev 94 Back

69 Ev 80 Back

70 Ev 47; Q 75 Back

71 Ev 80 Back

72 Ev 80 Back

73 Q 7 [Mr Bartlett] Back

74 Q 7 [Mr Bartlett] Back

75 Q 80 Back

76 Ev 128, 143. Back

77 Ev 87 Back