"Four American women, Marcia Siegel, Deborah Jowitt, Arlene Croce and Nancy Goldner, are writers who became dance critics partly by accident and partly by design and who came of age as dance critics during the ‘heyday of formalism’ in New York.(1) The ‘heyday’, from 1965 to 1985, gathered momentum as a ‘golden age’ of choreography (as Croce coined it). In responding to the age, these critics were informed by a mission to publish ‘serious’ writing about dance and to consciously generate and promote a distinct development in the discipline of dance criticism through the profile of their work and teachings. Although they have rarely shared dialogue, exchanged views in public forums, or aligned themselves in any formal way (2), I nevertheless proceed cautiously but confidently with the notion that this pas de quatre of women writers form the core of a New York School of dance criticism..."
Article by Diana Theodores, first published in: Dance Theatre Journal, December 1995
Read more...
27 December 2006
18 December 2006
'Remarkable return' shows in social, artistic and economic impact
edmontonjournal.com
Published: Thursday, December 07, 2006
The economic impact of the arts and culture sector has grown considerably in the last six years, according to a study commissioned by the Edmonton Arts Council and Edmonton Economic Development Corp.
Between 1999 and 2005, the economic impact grew from $82.5 million to $123.7 million.
“This remarkable return on the City of
In the same six-year period, the number of active arts and festival organizations grew to 126 from 101. Patrons attending arts events grew from 2.7 million to 3.9 million.
“The study shows not only the very positive return on investment realized in this sector but also an impressive growth in that return,” says John Mahon, executive director of the Edmonton Arts Council.
To see the original, click here.
13 December 2006
Talking about "home"
Dr Alessandra Lopez y Royo of Roehampton University presents a discussion at IKJ (23 February) and Yogyakarta (7 March) on Dance and Cultural Diversity in the UK.
... The discussion of ethnicity and cultural identity has grown in terms of the number of interventions over the past two decades, embracing several political shifts and positionalities. It is worth reiterating here that definitions of “ethnicity,” “race” and “culture” do not reflect absolutes, are not universal and unchanging conceptual realities, “on the contrary, they represent specific, historically contingent ways of looking at the world, which intersect with broader social and political relations” ( Jones, 40). Typically, historical, sociological and anthropological discourses have defined and redefined “culture” accordingly and continue to do so. Dance and the performative are inscribed in this political discourse, playing a role in articulating perceptions, including self-perceptions, of cultural identity. Changing definitions of “home” affect the content and even the form of dance and influence the organisation of dance and its points of reference, with changes determined by new challenges in a new and constantly self redefining social context and new audience’s expectations. Those changes are engendered through a process of negotiation.
The debate on classicism and contemporaneity is central to British dance discourses but significations of these terms are contextually derived so that the terms resonate in different ways when used by policy makers and funders and by the artists engaging reflexively with their practice. As a result, in the British context, the issue of contemporaneity in non-European dance praxes becomes indistinguishable from that of attitudes to modernity and postmodernity in dance and the search for a dance language which can articulate the specificity of being a migrant in today’s Britain.
Being a migrant is a condition characterized by changing definitions of home and origin. There are several “places of origin,” many “homes” and “homes-in-between” resulting in multiple and fluid identities and ethnicities, intersecting with racial, gender and class realities. The concept of diaspora, which is increasingly being used to describe the migration of large groups and communities, such as the South Asian and the Chinese, is in itself problematic; it is important to be aware that diasporic is not simply another word for “being away from home” but, as Brah suggests, “the concept of diaspora signals processes of multi-locationality across geographical, cultural and psychic boundaries” (Brah 194) and can be better understood in terms of “diaspora space,” which goes beyond the idea of “borders,” presupposed by the idea of diaspora (Brah 208).
Read more...
... The discussion of ethnicity and cultural identity has grown in terms of the number of interventions over the past two decades, embracing several political shifts and positionalities. It is worth reiterating here that definitions of “ethnicity,” “race” and “culture” do not reflect absolutes, are not universal and unchanging conceptual realities, “on the contrary, they represent specific, historically contingent ways of looking at the world, which intersect with broader social and political relations” ( Jones, 40). Typically, historical, sociological and anthropological discourses have defined and redefined “culture” accordingly and continue to do so. Dance and the performative are inscribed in this political discourse, playing a role in articulating perceptions, including self-perceptions, of cultural identity. Changing definitions of “home” affect the content and even the form of dance and influence the organisation of dance and its points of reference, with changes determined by new challenges in a new and constantly self redefining social context and new audience’s expectations. Those changes are engendered through a process of negotiation.
The debate on classicism and contemporaneity is central to British dance discourses but significations of these terms are contextually derived so that the terms resonate in different ways when used by policy makers and funders and by the artists engaging reflexively with their practice. As a result, in the British context, the issue of contemporaneity in non-European dance praxes becomes indistinguishable from that of attitudes to modernity and postmodernity in dance and the search for a dance language which can articulate the specificity of being a migrant in today’s Britain.
Being a migrant is a condition characterized by changing definitions of home and origin. There are several “places of origin,” many “homes” and “homes-in-between” resulting in multiple and fluid identities and ethnicities, intersecting with racial, gender and class realities. The concept of diaspora, which is increasingly being used to describe the migration of large groups and communities, such as the South Asian and the Chinese, is in itself problematic; it is important to be aware that diasporic is not simply another word for “being away from home” but, as Brah suggests, “the concept of diaspora signals processes of multi-locationality across geographical, cultural and psychic boundaries” (Brah 194) and can be better understood in terms of “diaspora space,” which goes beyond the idea of “borders,” presupposed by the idea of diaspora (Brah 208).
Read more...
07 December 2006
New structure at the Arts Council of England
The Arts Council England national office now has two new departments. Arts Strategy provides national leadership in the arts, combining art form specialism with expertise in areas such as broadcasting, education, diversity and research. Arts Planning and Investment leads in terms of Arts Council’s relationship with central government as well as heading up their corporate planning and strategies for investment.
There have been a number of permanent appointments in these departments and where this is not the case an interim has been made. These are listed below.
Arts Council England national office also hopes to appoint Executive Directors – in Arts Strategy and Arts Planning and Investment – in early December 2006. Announcements will be made as new people are appointed over the next couple of months.
Arts Strategy
Interim Executive Director- Michael Eakin (Executive Director Arts Council
Arts Planning and Investment
Interim Executive Director- Pauline Tambling
06 December 2006
Dance Touring consultancy results, Australia (2003)
The federal Department of Information Technology, Communications and the Arts (DCITA) wrote to the dance community in June 2003:
I am writing to bring you up to date on the results of the initial research conducted as part of the Dance Touring Facilitator Coordinator Consultancy.
In September 2001, following the cessation of Made to Move and on the advice of the Playing Australia committee, the then Minister for the Arts and the Centenary of Federation, the Hon Peter McGauran MP, approved an allocation of $65,000 (from Playing Australia grant funds), for a consultancy to survey issues relating to contemporary dance touring.
The aim of this consultancy was to refocus support for contemporary dance by providing an advisory service to encourage and advocate for dance touring to performing arts presenters and producers. This included:
I am writing to bring you up to date on the results of the initial research conducted as part of the Dance Touring Facilitator Coordinator Consultancy.
In September 2001, following the cessation of Made to Move and on the advice of the Playing Australia committee, the then Minister for the Arts and the Centenary of Federation, the Hon Peter McGauran MP, approved an allocation of $65,000 (from Playing Australia grant funds), for a consultancy to survey issues relating to contemporary dance touring.
The aim of this consultancy was to refocus support for contemporary dance by providing an advisory service to encourage and advocate for dance touring to performing arts presenters and producers. This included:
- examining audience demand;
- exploring ways to encourage more applications from the sector;
- gathering information from contemporary dance producers and presenters, and encouraging greater communication between the two;
- providing assistance in the development of applications submitted to
Playing Australia; and - exploring alternative funding sources.
The consultancy was awarded to the Canberra Theatre Centre (Cultural Facilities Corporation of the Australian Capital Territory). Ausdance National and the Australian Choreographic Centre were partners (nominated sub-contractors). Formally titled the ‘Dance Touring Facilitator and Coordinator’, this consultancy was given the working title of ‘Greater Exposure’ by the consultancy partners, and commenced in June 2002.
The consultants produced an excellent first progress report, which was delivered to the Department of Communications, Information Technology and the Arts in late 2002. This report contained the results of extensive consultation and discussion with those involved in the contemporary dance sector, including producers, presenters and representative bodies. As an adjunct to the report, the consultants also developed two information kits. The Information Kit for Presenters contains information and contact details for all contemporary dance companies who participated in the consultations, as well as contacts in the State and Territory touring agencies and in other dance-related organisations. The Information Kit for Producers includes a comprehensive list of touring and funding organisations, and provides ‘step-by-step’ advice on developing a tour.
The Greater Exposure consultants found in their initial survey of venues and presenters around the country, that there was a very low level of demand for contemporary dance productions. In particular, regional venues were less able to take the box-office risk.
The consultants considered that in view of this finding and given the key objective of Playing Australia to respond to audience demand, it might not be possible to achieve the objectives of the project. It appeared unlikely that continuation of the consultancy would change the outcomes already found or affect the broader issues confronting the sector.
The report was discussed by Playing Australia committee members at their grant round meeting in April 2003. In considering the advice contained in the consultants’ report the Committee noted that marketing of productions and audience development are significant impediments in arranging viable tours. While Playing Australia support may indirectly assist in building audiences, the program’s capacity to do this is limited. Viewing this in a broader context, the Committee decided to await the outcome of the review of the dance sector before looking at options for further specific support for contemporary dance. The Dance Board of the Australia Council is currently considering this review.
The Committee remains strongly committed to supporting the contemporary dance sector. While the decision not to proceed further with this consultancy will cause some disappointment, the ‘Greater Exposure Report’ brings together a great deal of information from producers and presenters, and as such will provide a useful reference point for considering ways in which Playing Australia can best assist contemporary dance...
Rhonda Thorpe, Manager
Regional Policy and Programs
Greater exposure for dance touring in Australia (2002)
Greater exposure for dance touring
www.dcita.gov.au/Article/0,,0_4-2_4008-4_110346,00.html
www.dcita.gov.au/Article/0,,0_4-2_4008-4_110346,00.html
The Federal Minister for Communications, Information Technology and the Arts, Senator Richard Alston, today announced the appointment of a consultant to facilitate the touring of dance across Australia.
The Cultural Facilities Corporation of the ACT, in partnership with Ausdance National and the Australian Choreographic Centre, has been awarded the consultancy.
This partnership, with extensive experience in performing arts touring and the dance sector, will facilitate greater opportunity for both presenters and producers of dance in the way they participate in the Playing Australia program.
As part of the consultancy, Ms Carla Hartog, Programming Manager at the Canberra Theatre Centre and former national touring coordinator for the Australian Presenters Group, will manage the Dance Touring Facilitator Consultancy. She will act as an advocate for dance touring to presenters and producers of the performing arts and provide assistance in preparing and developing proposals for Playing Australia grants, particularly exploring new and innovative touring models.
This position has the potential to create stronger links between presenters and producers, more efficient touring circuits and improved audience development initiatives.
It also signifies the Commonwealth Government's continuing commitment to the touring of dance through Playing Australia.
It is hoped that the dance touring industry will work closely with the consultancy partners to improve national opportunities for the touring of dance.
The partnership will be funded $65,000 for one year initially though Playing Australia-the Commonwealth Government's national performing arts touring program.
The Playing Australia program provides grants to companies, producers and tour organisers to tour performing arts across Australia.
Media contact: Richard Wise, 02 6277 7350 or 0438 204 554
186/02
1 August 2002
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