Over the past 20 years, the dance industry in New Zealand has grown steadily, with the number of professional dancers doubling each decade. National conferences focused on developing infrastructure and support for the industry, leading to the establishment of Dance Aotearoa New Zealand in 1993. While Auckland now produces over half of all new dance works and has become the dance capital, numbers are increasing across the country thanks to growing tertiary dance programs, funding for companies and artists, and new festivals and performance spaces. The variety of dance genres and formats being produced has also expanded significantly over this period.
"Josh Dance Crew" was officially founded in 2007 to foster quality performance amongst clients engaged in competitive entertainment industry. Since the inception of the organization, "Josh Dance Crew" has grown to include not only dancers, but all performance artists from multiple genres of World performance arts (including Belly, Samba, Contemporary, Hip-Hop, Street Dance etc.).
Currently, Josh Dance Crew is working to Tie-Up and partnership with clients across the India.
Please find attached;
PPT Profile For Your Kind Future Reference.
Josh Dance Crew is a dance troupe established in 2007 that provides complete stage performance solutions ranging from conceptualization to execution. They offer a variety of dance styles and performers for events like weddings, concerts, and parties. Their team of professionals has experience across India and aims to create customized experiences for clients within their budgets.
Jashtinn Dance Troupe was established in 2003 and is known for energetic and expressive dance performances. Led by choreographer Keshu Chauhan, the troupe has performed internationally in China and Canada as well as across India. They specialize in corporate events, concerts, marriages, and more. Some of their high-profile clients include Samsung, Vodafone, Airtel, and Toyota.
The Warehouse Phenomenon - A Study Of Temporary Unconventional Venues For Un...Bibi Todaro
This document provides a study of temporary underground dance music events held in unconventional warehouse venues in Shoreditch, London. It includes a literature review on relevant event, leisure, and cultural theories. It discusses the historical background of dance culture and rave culture from the late 1980s. The methodology section outlines the mixed methods research approach, including surveys of ravers and interviews with promoters. Key findings are that ravers value music quality and atmosphere over venue characteristics. Promoters have diverging views on warehouses versus clubs but agree warehouses allow more freedom. The warehouse phenomenon is defined as part of an ongoing movement from the origins of dance culture in the 1980s.
Growth in Moves: Dance Studio Industry and Ballroom Dancingcassyb367
The dance studio industry, according to market research report by IBISWorld, has experienced desirable growth over the past few years. This is mainly attributed to the popularization of dance-inspired TV shows, as well as the growing interest in dance as an alternative form of exercise. This increase is likely to continue in the coming years, with the industry generating more revenue from tuition payments and consumer spending on ballroom dance classes.
Sydnie Elizabeth Bertrand is a dance instructor, stylist, visual merchandiser, seamstress, and creative guru seeking opportunities in the fashion and retail industries. She has experience teaching dance, visual merchandising and styling at boutiques, trend forecasting and buying for retailers, and interning with a fashion designer. Bertrand earned a Bachelor of Science degree in Apparel Merchandising from South Dakota State University with minors in Dance and Business. She held leadership roles in campus organizations related to apparel merchandising and dance.
The document analyzes the creative industries in the Philippines. It identifies six major fields of creative industries including heritage and fine arts, design and architecture, audiovisuals, printing and publishing, and creative services. The objectives are to identify opportunities for growth, determine economic contribution, analyze sectors, and recommend strategies. A methodology uses a creative economy value chain framework involving chaining, capacitating, communitizing, clustering and converging sectors.
Cazzette produces various merchandise like t-shirts, posters, vinyl covers, phone cases, and snapback hats to benefit from sales and maintain revenue from fans. T-shirts and posters allow fans to show support and create a sense of community. Vinyl covers and phone cases featuring the band's logo and style appeal to today's youth and are popular merchandise items. Hats also fit the stereotypical purchaser and genre of Cazzette's electro dance music. Merchandising is important for artists today as most music is illegally downloaded, so merchandise sales provide consistent income.
"Josh Dance Crew" was officially founded in 2007 to foster quality performance amongst clients engaged in competitive entertainment industry. Since the inception of the organization, "Josh Dance Crew" has grown to include not only dancers, but all performance artists from multiple genres of World performance arts (including Belly, Samba, Contemporary, Hip-Hop, Street Dance etc.).
Currently, Josh Dance Crew is working to Tie-Up and partnership with clients across the India.
Please find attached;
PPT Profile For Your Kind Future Reference.
Josh Dance Crew is a dance troupe established in 2007 that provides complete stage performance solutions ranging from conceptualization to execution. They offer a variety of dance styles and performers for events like weddings, concerts, and parties. Their team of professionals has experience across India and aims to create customized experiences for clients within their budgets.
Jashtinn Dance Troupe was established in 2003 and is known for energetic and expressive dance performances. Led by choreographer Keshu Chauhan, the troupe has performed internationally in China and Canada as well as across India. They specialize in corporate events, concerts, marriages, and more. Some of their high-profile clients include Samsung, Vodafone, Airtel, and Toyota.
The Warehouse Phenomenon - A Study Of Temporary Unconventional Venues For Un...Bibi Todaro
This document provides a study of temporary underground dance music events held in unconventional warehouse venues in Shoreditch, London. It includes a literature review on relevant event, leisure, and cultural theories. It discusses the historical background of dance culture and rave culture from the late 1980s. The methodology section outlines the mixed methods research approach, including surveys of ravers and interviews with promoters. Key findings are that ravers value music quality and atmosphere over venue characteristics. Promoters have diverging views on warehouses versus clubs but agree warehouses allow more freedom. The warehouse phenomenon is defined as part of an ongoing movement from the origins of dance culture in the 1980s.
Growth in Moves: Dance Studio Industry and Ballroom Dancingcassyb367
The dance studio industry, according to market research report by IBISWorld, has experienced desirable growth over the past few years. This is mainly attributed to the popularization of dance-inspired TV shows, as well as the growing interest in dance as an alternative form of exercise. This increase is likely to continue in the coming years, with the industry generating more revenue from tuition payments and consumer spending on ballroom dance classes.
Sydnie Elizabeth Bertrand is a dance instructor, stylist, visual merchandiser, seamstress, and creative guru seeking opportunities in the fashion and retail industries. She has experience teaching dance, visual merchandising and styling at boutiques, trend forecasting and buying for retailers, and interning with a fashion designer. Bertrand earned a Bachelor of Science degree in Apparel Merchandising from South Dakota State University with minors in Dance and Business. She held leadership roles in campus organizations related to apparel merchandising and dance.
The document analyzes the creative industries in the Philippines. It identifies six major fields of creative industries including heritage and fine arts, design and architecture, audiovisuals, printing and publishing, and creative services. The objectives are to identify opportunities for growth, determine economic contribution, analyze sectors, and recommend strategies. A methodology uses a creative economy value chain framework involving chaining, capacitating, communitizing, clustering and converging sectors.
Cazzette produces various merchandise like t-shirts, posters, vinyl covers, phone cases, and snapback hats to benefit from sales and maintain revenue from fans. T-shirts and posters allow fans to show support and create a sense of community. Vinyl covers and phone cases featuring the band's logo and style appeal to today's youth and are popular merchandise items. Hats also fit the stereotypical purchaser and genre of Cazzette's electro dance music. Merchandising is important for artists today as most music is illegally downloaded, so merchandise sales provide consistent income.
This document is a sponsorship proposal for a collaborative dance and film project called "PATHS" between Kenyan and Danish artists. It provides:
1) An overview of the "PATHS" project, which involves Kenyan and Danish dancers and filmmakers creating choreographic and cinematographic pieces exploring connections between the two cultures.
2) Details on the project partners, dates, and locations for performances in Nairobi and Europe.
3) Background on the project directors and participating artists.
4) Information on sponsorship benefits and contacts
Ce C 2012 Pre Final Shankar Total August15Shankar Barua
The document describes the Carnival of e-Creativity (CeC), an annual global event that brings together leading practitioners from various fields of creative arts, sciences, music, video, and technologies. Over its 6 years, CeC has connected over 2,500 creative professionals globally and built one of the largest archives of electronic art. The upcoming CeC 2012 event will take place in Sattal Estate, India, featuring presentations, performances, and screenings across 3 days to promote experimental creativity, collaboration, and innovation.
Ballet Nouveau Colorado's company, school and community programs are dedicated to enriching lives through innovation in dance.
Help make dance happen. Become a sponsor today.
The Canada Dance Festival presents and celebrates excellence in Canadian dance. It serves as a national presenter of Canadian dance, supporting emerging and established artists. The Festival reflects Canada's diverse cultural landscape and fosters networking in the dance community. It strives to ignite passion for dance, inspire creativity, and unify the community through showcasing Canada's stories in dance performances.
The document provides a strategic overview and budget estimates for the Department of Arts and Culture for 2014/15. It outlines the department's strategic goals which include job creation, human capital development, access to information, linguistic diversity, and development of arts and culture. The department aims to contribute to national outcomes related to education, social cohesion and economic development. The budget estimates and programmes are aligned with the department's strategic goals and objectives, and indicators are identified to measure progress in national expenditure estimates and outcome 14 of the Medium Term Strategic Framework.
CENTRAL YOUTH THEATRE
Over the years thousands of young people have passed through our youth theatre and taken part in productions,
specialist workshops, summer schools and international projects. The skills they have learned have taken our members
into many different careers, including working professionally in acting, technical theatre, film and television.
The document provides a summary of a project proposal for creating a dance village called Nrityanchal in Savar, Bangladesh. It discusses the background and objectives of the project, which are to create a residential community space dedicated to dance where artists can live, study, practice, and perform. The proposed program includes administrative areas, dance studios, workshops, residential blocks, and public gathering spaces. The document also provides an analysis of the site in Savar, including its climate, location, and surrounding context.
The development of new voluntary National Visual Arts Standards is underway led by the National Coalition for Core Arts Standards (NCCAS) and the National Art Education Association (NAEA) visual arts writing team. The new standards are being developed following reviews of draft PreK-8 and high school standards, and are planned for release in Spring 2014. Key differences from the 1994 standards include more specific grade-level standards, uniformity across all arts disciplines, inclusion of media arts, and organization around the processes of creating, presenting, and responding.
The document outlines Arts Council England's role in supporting arts education and cultural opportunities for children and young people. It discusses Arts Council England's investments in various programs over the past decade like Arts Award, Artsmark, and Creative Partnerships. It also highlights additional investments from other government departments. Looking ahead, it emphasizes the need to better match cultural supply and demand, engage more children and young people, and clarify local delivery models through partnerships.
SD-1712_UK_Theatre_Business_Plan_v31_final_A4 for single page printing.pdfrebkamesfin1
This document provides a business plan for UK Theatre from 2017-2021. The plan outlines UK Theatre's vision to have a well-connected, well-supported theatre sector that is recognized as being at the heart of UK life. Over the next 5 years, UK Theatre aims to make the theatre sector more relevant, resilient, and innovative by supporting the workforce, improving diversity, and developing their services to members. Key goals include researching the future needs of the theatre workforce, improving access and representation in the industry, and modernizing employment relations and legal services.
The Community Arts Education Program at the Arts Council of Mongolia implemented 9 projects in 2021 focused on arts education. The projects involved over 80 children, provided scholarships to 8 students, collaborated with 40 parents, 25 artists, and 22 teachers, reaching 116 participants directly. Due to COVID restrictions, some projects moved online, providing arts education content to over 15,000 people virtually. The program aims to promote national values and develop citizens and society through arts education.
Research into Clients B2 Sunderland CultureChloeMeadows1
Sunderland Culture is an organization that manages several cultural venues in Sunderland, including the National Glass Centre, Northern Gallery for Contemporary Art, Sunderland Museum and Winter Gardens, Arts Centre Washington, and The Fire Station. It aims to improve life in Sunderland through culture and the arts. It brings together investment from Sunderland City Council, University of Sunderland, and Music, Arts & Culture Trust. It focuses on engaging both young people and the whole community in the arts.
Research into Clients B2.pptx Sunderland CultureChloeMeadows1
Sunderland Culture is an organization that manages several cultural venues in Sunderland, including the National Glass Centre, Northern Gallery for Contemporary Art, Sunderland Museum and Winter Gardens, Arts Centre Washington, and The Fire Station. It aims to improve life in Sunderland through culture and the arts. It brings together investment from Sunderland City Council, University of Sunderland, and Music, Arts & Culture Trust. It focuses on engaging both young people and the whole community in the arts.
Ms Ntombi Mzamane
Ntombi Mzamane is a visual artist and curator based in Johannesburg. She holds
a Masters degree in Fine Art from the University of the Witwatersrand. Mzamane
has exhibited extensively both locally and internationally and her work explores
issues of identity, memory and the body. She has curated numerous exhibitions
and is currently a lecturer at the Market Photo Workshop.
Chairperson: Mr Thami Dish
Thami Dish is a visual artist and sculptor based in Johannesburg. He holds a
Masters degree in Fine Art from the University of the Witwatersrand. Dish works
primarily in wood and his sculptures explore themes of identity,
Sagiya Foundation Company Profile 2016Philani Duma
Sagiya Foundation is an emerging South African performing arts and theatre production company focused on delivering Afrocentric productions. Their productions aim to educate and motivate communities through themes of environmental conservation, HIV/AIDS awareness, and cultural appreciation. Recent successes include the musical Izintombi and the theatre production Dim-Dep. Sagiya Foundation partners with government departments, universities, and other organizations to develop and present productions that achieve strategic community development goals. They provide services such as creative writing, theatre direction, and artist management, and have received endorsements and funding from partners like Ethekwini Municipality and the Department of Arts and Culture.
The Ultimate Performing Arts Career Guide: Discover your skills and interests...Rob Kingyens
The Ultimate Performing Arts Career Guide
Discover your skills and interests to help you determine your performing arts career goals with this career guide and career prep exercises.
During the 2018-19 season, more than 30 million people attended Broadway shows and touring productions, generating over $1.8 billion dollars. That growth led to an increase in jobs on stage and behind the curtain with arts and cultural employment in the U.S. growing by 1.2% in 2019. What are those jobs and how do you get started in the performing arts industry?
To help you determine and achieve your career goals, we have created this comprehensive guide. Yellowbrick’s Ultimate Performing Arts Career Guide is your source to discover opportunities and learn entry points into the performing arts industry. In this guide, you can begin to explore the performing arts jobs that drive the performing arts market, then search for your perfect career by area of interest, skills, companies, or industry experts.
Learn about your skills and interests, and articulate them confidently to identify options within the performing arts industry that you might pursue. Then, implement a successful strategy to attain your desired professional outcomes.
In this guide you’ll find the following information:
• Overview of The Performing Arts Industry
• Future of The Performing Arts Market
• Performing Arts Career Library
• Career Planning Strategy to get into The Performing Arts Industry
You’ll also find simple exercises that help you:
• form a career planning strategy to get into the performing arts industry
• find your passion in performing arts and identify an area of interest to pursue
• learn the performing arts industry through top brands and its key players
• identify your skills and match them to a performing arts area of interest
This guide will helo you to start planning your performing arts career. Whether you’re a novice, a student, or a professional, you can further your career path by better understanding the opportunities available, as well as the skills and qualifications you need to succeed.
Writing effective award nominations March 2011ABScotland
The document provides guidance for nominating partnerships for arts and business awards. It emphasizes reading the nomination guidelines closely, involving both partner organizations, and addressing what the judges are looking for through clear, compelling, convincing and concise writing. The four 'C's of an effective nomination are identified as being clear, compelling, convincing and concise. Examples of effective and edited nominations are provided.
The document discusses the development of dance networks in Brazil and their role in influencing cultural policies and education. Some key points:
1. Dance networks in Brazil started forming in 1999 due to dissatisfaction with federal cultural policies and debates around classifying dance as a physical activity versus an art form.
2. These networks mobilized nationally and helped structure the National Dance Forum in 2001 to advocate for dance.
3. The networks contributed to the creation of the National System of Culture and the Sectorial Chamber of Dance to give the dance community representation and influence cultural policies.
4. The National Plan for Dance is being finalized to improve dance education, support the dance economy, and ensure access to dance
The document discusses the development of dance networks in Brazil and their role in influencing cultural policies and education. Some key points:
1. Dance networks in Brazil started forming in 1999 due to dissatisfaction with federal cultural policies and debates around classifying dance as a physical activity versus an art form.
2. These networks mobilized nationally and helped structure the National Dance Forum in 2001 to advocate for dance.
3. The networks contributed to the creation of the National System of Culture and a Sectoral Chamber of Dance to advise the Ministry of Culture and develop a National Plan for Dance.
What role cultural institutions play in society and how this have come about ?Victoria Durrer
Tseng Sun Man presents two case studies from Hong Kong Arts Festival and Oriental Art Centre, Shanghai as part of a presentation exploring the role cultural institutions play in society. This presentation was part of an AHRC funded research network, Brokering Intercultural Exchange: Interrogating the Role of Arts and Cultural Management based at Queen's University Belfast (PI Victoria Durrer) in partnership with Heilbronn University (Co-I Raphaela Henze). www.managingculture.net
This document is a sponsorship proposal for a collaborative dance and film project called "PATHS" between Kenyan and Danish artists. It provides:
1) An overview of the "PATHS" project, which involves Kenyan and Danish dancers and filmmakers creating choreographic and cinematographic pieces exploring connections between the two cultures.
2) Details on the project partners, dates, and locations for performances in Nairobi and Europe.
3) Background on the project directors and participating artists.
4) Information on sponsorship benefits and contacts
Ce C 2012 Pre Final Shankar Total August15Shankar Barua
The document describes the Carnival of e-Creativity (CeC), an annual global event that brings together leading practitioners from various fields of creative arts, sciences, music, video, and technologies. Over its 6 years, CeC has connected over 2,500 creative professionals globally and built one of the largest archives of electronic art. The upcoming CeC 2012 event will take place in Sattal Estate, India, featuring presentations, performances, and screenings across 3 days to promote experimental creativity, collaboration, and innovation.
Ballet Nouveau Colorado's company, school and community programs are dedicated to enriching lives through innovation in dance.
Help make dance happen. Become a sponsor today.
The Canada Dance Festival presents and celebrates excellence in Canadian dance. It serves as a national presenter of Canadian dance, supporting emerging and established artists. The Festival reflects Canada's diverse cultural landscape and fosters networking in the dance community. It strives to ignite passion for dance, inspire creativity, and unify the community through showcasing Canada's stories in dance performances.
The document provides a strategic overview and budget estimates for the Department of Arts and Culture for 2014/15. It outlines the department's strategic goals which include job creation, human capital development, access to information, linguistic diversity, and development of arts and culture. The department aims to contribute to national outcomes related to education, social cohesion and economic development. The budget estimates and programmes are aligned with the department's strategic goals and objectives, and indicators are identified to measure progress in national expenditure estimates and outcome 14 of the Medium Term Strategic Framework.
CENTRAL YOUTH THEATRE
Over the years thousands of young people have passed through our youth theatre and taken part in productions,
specialist workshops, summer schools and international projects. The skills they have learned have taken our members
into many different careers, including working professionally in acting, technical theatre, film and television.
The document provides a summary of a project proposal for creating a dance village called Nrityanchal in Savar, Bangladesh. It discusses the background and objectives of the project, which are to create a residential community space dedicated to dance where artists can live, study, practice, and perform. The proposed program includes administrative areas, dance studios, workshops, residential blocks, and public gathering spaces. The document also provides an analysis of the site in Savar, including its climate, location, and surrounding context.
The development of new voluntary National Visual Arts Standards is underway led by the National Coalition for Core Arts Standards (NCCAS) and the National Art Education Association (NAEA) visual arts writing team. The new standards are being developed following reviews of draft PreK-8 and high school standards, and are planned for release in Spring 2014. Key differences from the 1994 standards include more specific grade-level standards, uniformity across all arts disciplines, inclusion of media arts, and organization around the processes of creating, presenting, and responding.
The document outlines Arts Council England's role in supporting arts education and cultural opportunities for children and young people. It discusses Arts Council England's investments in various programs over the past decade like Arts Award, Artsmark, and Creative Partnerships. It also highlights additional investments from other government departments. Looking ahead, it emphasizes the need to better match cultural supply and demand, engage more children and young people, and clarify local delivery models through partnerships.
SD-1712_UK_Theatre_Business_Plan_v31_final_A4 for single page printing.pdfrebkamesfin1
This document provides a business plan for UK Theatre from 2017-2021. The plan outlines UK Theatre's vision to have a well-connected, well-supported theatre sector that is recognized as being at the heart of UK life. Over the next 5 years, UK Theatre aims to make the theatre sector more relevant, resilient, and innovative by supporting the workforce, improving diversity, and developing their services to members. Key goals include researching the future needs of the theatre workforce, improving access and representation in the industry, and modernizing employment relations and legal services.
The Community Arts Education Program at the Arts Council of Mongolia implemented 9 projects in 2021 focused on arts education. The projects involved over 80 children, provided scholarships to 8 students, collaborated with 40 parents, 25 artists, and 22 teachers, reaching 116 participants directly. Due to COVID restrictions, some projects moved online, providing arts education content to over 15,000 people virtually. The program aims to promote national values and develop citizens and society through arts education.
Research into Clients B2 Sunderland CultureChloeMeadows1
Sunderland Culture is an organization that manages several cultural venues in Sunderland, including the National Glass Centre, Northern Gallery for Contemporary Art, Sunderland Museum and Winter Gardens, Arts Centre Washington, and The Fire Station. It aims to improve life in Sunderland through culture and the arts. It brings together investment from Sunderland City Council, University of Sunderland, and Music, Arts & Culture Trust. It focuses on engaging both young people and the whole community in the arts.
Research into Clients B2.pptx Sunderland CultureChloeMeadows1
Sunderland Culture is an organization that manages several cultural venues in Sunderland, including the National Glass Centre, Northern Gallery for Contemporary Art, Sunderland Museum and Winter Gardens, Arts Centre Washington, and The Fire Station. It aims to improve life in Sunderland through culture and the arts. It brings together investment from Sunderland City Council, University of Sunderland, and Music, Arts & Culture Trust. It focuses on engaging both young people and the whole community in the arts.
Ms Ntombi Mzamane
Ntombi Mzamane is a visual artist and curator based in Johannesburg. She holds
a Masters degree in Fine Art from the University of the Witwatersrand. Mzamane
has exhibited extensively both locally and internationally and her work explores
issues of identity, memory and the body. She has curated numerous exhibitions
and is currently a lecturer at the Market Photo Workshop.
Chairperson: Mr Thami Dish
Thami Dish is a visual artist and sculptor based in Johannesburg. He holds a
Masters degree in Fine Art from the University of the Witwatersrand. Dish works
primarily in wood and his sculptures explore themes of identity,
Sagiya Foundation Company Profile 2016Philani Duma
Sagiya Foundation is an emerging South African performing arts and theatre production company focused on delivering Afrocentric productions. Their productions aim to educate and motivate communities through themes of environmental conservation, HIV/AIDS awareness, and cultural appreciation. Recent successes include the musical Izintombi and the theatre production Dim-Dep. Sagiya Foundation partners with government departments, universities, and other organizations to develop and present productions that achieve strategic community development goals. They provide services such as creative writing, theatre direction, and artist management, and have received endorsements and funding from partners like Ethekwini Municipality and the Department of Arts and Culture.
The Ultimate Performing Arts Career Guide: Discover your skills and interests...Rob Kingyens
The Ultimate Performing Arts Career Guide
Discover your skills and interests to help you determine your performing arts career goals with this career guide and career prep exercises.
During the 2018-19 season, more than 30 million people attended Broadway shows and touring productions, generating over $1.8 billion dollars. That growth led to an increase in jobs on stage and behind the curtain with arts and cultural employment in the U.S. growing by 1.2% in 2019. What are those jobs and how do you get started in the performing arts industry?
To help you determine and achieve your career goals, we have created this comprehensive guide. Yellowbrick’s Ultimate Performing Arts Career Guide is your source to discover opportunities and learn entry points into the performing arts industry. In this guide, you can begin to explore the performing arts jobs that drive the performing arts market, then search for your perfect career by area of interest, skills, companies, or industry experts.
Learn about your skills and interests, and articulate them confidently to identify options within the performing arts industry that you might pursue. Then, implement a successful strategy to attain your desired professional outcomes.
In this guide you’ll find the following information:
• Overview of The Performing Arts Industry
• Future of The Performing Arts Market
• Performing Arts Career Library
• Career Planning Strategy to get into The Performing Arts Industry
You’ll also find simple exercises that help you:
• form a career planning strategy to get into the performing arts industry
• find your passion in performing arts and identify an area of interest to pursue
• learn the performing arts industry through top brands and its key players
• identify your skills and match them to a performing arts area of interest
This guide will helo you to start planning your performing arts career. Whether you’re a novice, a student, or a professional, you can further your career path by better understanding the opportunities available, as well as the skills and qualifications you need to succeed.
Writing effective award nominations March 2011ABScotland
The document provides guidance for nominating partnerships for arts and business awards. It emphasizes reading the nomination guidelines closely, involving both partner organizations, and addressing what the judges are looking for through clear, compelling, convincing and concise writing. The four 'C's of an effective nomination are identified as being clear, compelling, convincing and concise. Examples of effective and edited nominations are provided.
The document discusses the development of dance networks in Brazil and their role in influencing cultural policies and education. Some key points:
1. Dance networks in Brazil started forming in 1999 due to dissatisfaction with federal cultural policies and debates around classifying dance as a physical activity versus an art form.
2. These networks mobilized nationally and helped structure the National Dance Forum in 2001 to advocate for dance.
3. The networks contributed to the creation of the National System of Culture and the Sectorial Chamber of Dance to give the dance community representation and influence cultural policies.
4. The National Plan for Dance is being finalized to improve dance education, support the dance economy, and ensure access to dance
The document discusses the development of dance networks in Brazil and their role in influencing cultural policies and education. Some key points:
1. Dance networks in Brazil started forming in 1999 due to dissatisfaction with federal cultural policies and debates around classifying dance as a physical activity versus an art form.
2. These networks mobilized nationally and helped structure the National Dance Forum in 2001 to advocate for dance.
3. The networks contributed to the creation of the National System of Culture and a Sectoral Chamber of Dance to advise the Ministry of Culture and develop a National Plan for Dance.
What role cultural institutions play in society and how this have come about ?Victoria Durrer
Tseng Sun Man presents two case studies from Hong Kong Arts Festival and Oriental Art Centre, Shanghai as part of a presentation exploring the role cultural institutions play in society. This presentation was part of an AHRC funded research network, Brokering Intercultural Exchange: Interrogating the Role of Arts and Cultural Management based at Queen's University Belfast (PI Victoria Durrer) in partnership with Heilbronn University (Co-I Raphaela Henze). www.managingculture.net
Similar to Creating the New Zealand dance industry 1992-2012 (20)
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PART B. UNIT 1 REPORT.pptx The Artist Mindset in the Elementary Grades
Creating the New Zealand dance industry 1992-2012
1. 20 years of New Zealand dance development – creating a dance industry
By Raewyn Whyte
In the period since 1992, there has been steady growth and development for dance in Aoteaora New
Zealand. Numbers have slowly but steadily increased to achieve a critical mass of professional
practitioners now working in all areas of the dance industry, and with New Zealand-made dance
works being seen around the world.
Over the years, a series of national industry conferences have focused on dance industry needs . In
1992 at Flock House, the industry identified twelve areas of concern, primary amongst them being
the need to establish a service organisation to provide infrastructural support for dance throughout
New Zealand. Subsequently, Dance Aotearoa New Zealand (DANZ) was established in 1993 in
Wellington, with other regional offices to be established over time.
At Future Moves 2001, increased visibility, viability and sustainability was identified as the key to a
healthy future for dance in New Zealand. Independent dance practitioners were unanimous that
their viability depended on establishing a UK-type “dance house” to support the independent sector
with access to shared management, production and promotion resources, rather than continuing to
duplicate such services group by group. Planning towards establishment of a “dance house” in
Auckland began in 2003 but has not yet succeeded.
At Tuanui Whakamaru/Dance Canopy 2005, increased infrastructure continued to be the most
urgent need, along with establishment of more full time, funded companies to provide progressive
career pathways for dancers, plus funding for emerging artists and mid-career independent artists,
and increased security of employment. Since the review of CNZ’s recurrent funding in 2010, four
new dance have companies joined Black Grace and Footnote as full time, CNZ investment clients –
Touch Compass, Atamira, Okareka , and the NZ Dance Company.
An action plan for industry progress on all other fronts is outlined in the New Zealand Dance Industry
Strategy formulated by DANZ in 2008 following industry consultation.
We lack formal statistics by which to quantify this industry growth - the numbers, demographic
breakdown, distribution patterns, and growth of employment across the spectrum of professional
activities which dancers pursue. Similarly, there are no studies which identify the changing patterns
and conditions of professional dance employment over time. Such employment, outside of the
established companies, tends to be dependent on the availability of funding or payment of fees by
students and clients, so is fragmentary, often pursued part-time (on an hourly or daily basis), or on
an individual contract for a few weeks or months in any given year, and this seems unlikely to
change.
Creative activity is at the core of the industry, and it is it is possible to illustrate the growth and
increasing diversity in professional dance production over this twenty year period by considering
annual performance listings at the start (1992), end (2012), and midpoint (2002), of that twenty year
period, as shown in the tables below. Theses tables identify common programme structures,
percentages of works touring, genres of works presented, and the location in which these
productions were developed. [NB: Each production is counted once only, regardless of the number
of performances.]
2. Productions by programme type 1992 2002 2012
Main bill - full length, single works 12 20 29
Min bill - short works programme 14 23 33
Main bill - Shared programme 3 14 41
Improvisational structure 1 8 6
Total number of productions 30 65 118
% Touring works 43% 38% 28%
Productions by genre 1992 2002 2012
Contemporary/interdisciplinary 3 16 34
Multimedia /performance installation 3 13 14
Site-specific/site-sympathetic/out of doors 4 5
Cabaret/cirque/burlesque 4 4 16
Showcase 2 9
Youth ensembles 3 8 8
Student showcases (eg graduation shows, student works) 3 4 5
Informal series 4 4 4
Maori contemporary dance 4 1 4
Pacific contemporary dance 2 8
Dance film showcase/festival showing 1 2 2
Other (eg ballet, Indian classical, integrated) 5 10 10
30 62 118
There has been a marked increase in the number of annual dance productions over the past 20 years
– almost doubling over the course of each decade. This increase reflects the steady growth of the
dance sector with the annual addition of graduates from tertiary dance programmes determined to
find a niche in the industry, the continuing commitment by successive generations to the making of
their own works, and most recently the impact of CNZ investment funding which has increased the
choreographic output of the funded companies.
Rising costs have greatly reduced the percentage of works which tour following their initial season,
down from 43% in 1992 to 28% in 2012. Venues and directors can source productions from pitches
made at the annual PANNZ art market, as well as those seen live, and digital technologies
increasingly make it possible to assess the quality of unseen work. But despite the development of a
regional festivals circuit over the past decade, , and deliberate links made between the two major
dance festivals - The Body festival in Christchurch and Tempo festival in Auckland - relatively few
productions manage to appear at more than two festivals in the same year.
The contemporary dance mainstream continues to be largely interdisciplinary in nature, with works
presented in an array of small to medium-sized mainstream venues, and a diverse array of other
genres being regularly presented, often in lower-cost/non-theatrical spaces.
While evening length works comprise only 25% in 2012, down from 40% previously, these now tend
to be on a smaller scale than those of 1992 (such as The Race by Michael Parmenter) and 2002 (such
as Inland by Douglas Wright and The Lighthouse by Catherine Chappell for Touch Compass). In 2012,
such works tend to have smaller casts, carefully targeted use of recent technologies, and to be
presented in non-opera house venues. A recent example of such smaller scale full length work is
3. Lazy Suzy Boy by Ann Dewey for Spinning Sun (2012), which tours to community halls with set,
sound, lighting and 4 cast members fitting into one van.
There has been a significant increase in mixed bill shows such as shared programmes, curated
showcases, cabaret, burlesque and cirque productions in the past decade. This format allows for
significant resource, cost and profit sharing, and with shows with a populist appeal encourage
greater ticket sales. In these shows, a central curator or producer constructs the production around
particular works or performers with special skills. Cirque, burlesque and cabaret in particular are also
presented in an intimate cabaret setting which is popular with audiences as it keeps them close to
the action.
Pacific contemporary dance is growing rapidly in Auckland, thanks to development programmes
offered by the industry-based initiative Pacific Dance New Zealand which provide opportunities and
mentoring for Pacific choreographers and performers emerging from the tertiary sector. Youth
dance is also growing rapidly in Auckland, with secondary school choreography dance curriculum
enrichment offered by Bounce/Northern Dance Network, in association with the annual YouDance
Festival, and the steady increase in youth dance companies from the private studio sector.
City where production was created 1992 2002 2012
Auckland 6 (20%) 32 (52%) 67 (57%)
Hamilton/Tauranga 3 (5%) 2 (1.7%)
Wellington 18 (60%) 21 (34%) 28 (24%)
Christchurch 3 (10%) 4 (6.5%) 15 (13%)
Dunedin 3 (10%) 2 (3%) 6 (5%)
Totals 30 62 118
NB percentages have been rounded up
The inexorable northward drift in dance production has made Auckland the current “dance capital”.
The Auckland region holds more than 33% (2006 Census) of the national population, all but two of
our full time dance companies, half our tertiary dance education programmes, the annual Tempo
dance festival plus a number of other festivals which commission and/or programme New Zealand
dance. The Auckland region also has arts funding which supports both professional and community-
based activities, a good supply of recently built, dance-friendly medium-sized venues and rehearsal
spaces, media which regularly cover dance performance, infrastructural support organisations,
specialist dance talent agencies, and an array of creative businesses which employ dancers on
commercial projects.
In the near future, levels of dance activity are bound to increase in response to local initiatives. From
2013, there are two new annual dance festivals in Wellington during November -- Kowhiti and Dance
Wellington; whilst in Christchurch, dance professionals returning home from dance education and
performance experience gained in other places are adding industry initiatives such as Re-MAP (a
professional classes and workshops network) and dancers seem poised to take full advantage of the
development of a new “dance house” type space which will be a component of the post-
earthquakes re-build. A new residency space in Auckland, Wellesley Studios, will open early in 2014.
Published in DANZ Quarterly Issue 34, Summer 2014, pages 10-11, in a slightly edited form