South Asian Dance & Music

Mapping Study - APPENDICES

Commissioned by: Arts Council England

April 2020

December 2020 Arts Council England South Asian Dance and Music Mapping Appendices to Report

Contents

Appendices Appendix 1 Consultation List 3 Appendix 2 Market Analysis 17 Appendix 3 Desk Research Literature Review 77 Appendix 4 Excel Mapping Docs with Macros (attached separately) Appendix 4a Excel Mapping Docs without Macros (attached separately) Appendix 5 Sector Survey Findings 121

December 2020 Arts Council England South Asian Dance and Music Mapping Appendix 1: Consultation List

Appendix 1 – Consultation List In total 103 South Asian musicians and/or dancers and stakeholders were consulted through one to one consultations and/or a series of round table sector discussions. South Asian Dance & Music: Consultation List – One to One Depth Interviews

Name Organisation / Title

1. Seetal Kaur ACE Relationship Manager (Dance), Midlands & SA Dancer https://www.curveonline.co.uk/news/meet-the-artist-seetal-kaur/

2. Mithila Sarma ACE Relationship Manager (Music) & SA Musician https://prsfoundation.com/grantees/women-make-music-mithila-sarma/ https://www.bbc.co.uk/programmes/b061c3t4

3. Jan De Schynkel ACE Relationship Manager, Dance & Project Lead

4. Joe Shaw ACE Senior Officer, Policy & Research & Project Team

5. Victoria Merriman ACE Relationship Manager; Children Young People and Learning / Music Education

6. Laura Evans Relationship Manager, Dance

7. Raúl S-V Calderón Relationship Manager

8. Gabby Chelmicka ACE Relationship Manager, Music

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Name Organisation / Title

9. Amelia Henderson ACE Relationship Manager, Combined Arts

10. Thomas Wildish ACE Relationship Manager, Theatre

11. Anneliese Slader ACE Relationship Manager Dance, South West

12. Kristian Pellissier ACE North Area Dance Relationship Manager

13. Abid Hussain ACE Director, Diversity

14. Angela Chappell Relationship Manager – Combined Arts

15. Andrew Hurst Chief Executive – One Dance UK https://www.onedanceuk.org/about-us/staff/

16. Debbie Jardine Interim CEO – Dance Exchange - CAT https://www.dancexchange.org.uk/people/debbie-jardine/

17. Bridget Fiske Choreographer / Director/ Performer/ Facilitator / Producer and runs ALFA – an artists led network that is part of Dance Consortia North West (DCNW) http://www.cheshiredance.org/dcnw/Mentoring/index.html www.bridgetfiske.com / www.theygatherproject.com

18. Dahlia Jamil Chair – Arts Asia https://artasia.org.uk/the-team/

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Name Organisation / Title

19. Vikas Kumar MBE Director – GEM Arts https://gemarts.org/about

20. Shane Shambhu Director / Choreographer / Actor https://www.shaneshambhu.com/

21. Seeta Patel Artist – Dance & Film https://www.seetapatel.co.uk/about

22. Urja Desai Thakore Artistic Director – Pagrav Dance Company https://www.pagravdance.com/about-us/#the-team Also committee member @ ISTD

23. Anusha Subramanyam Dancer, choreographer, teacher and dance movement therapist – Beeja http://beeja.com/

24. Sujata Banerjee MBE Artistic Director - Sujata Banerjee Dance Company (SBDC) https://www.sbdc-kathak.com/about Also Chair of South Asian Faculty @ ISTD https://www.istd.org/classical-indian-dance/

25. Jay Visvadeva CEO & AD – Sama Arts http://sama.co.uk/

26. Giuliano Modarelli Solo artist https://www.onepointfm.com/en/giulianomodarelli/blog/biography/49485

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Name Organisation / Title

27. Soumik Datta Musician, composer, television presenter https://soumikdatta.com/

28. Pirashanna Thevarajah Artist – Percussionist http://www.tpirashanna.com/about/

29. Jasdeep Singh Degun Composer – Artist - Sitarist www.jasdeepsinghdegun.com

30. Abi Sampanthan Singer / Songwriter https://www.nature.com/articles/sj.bdj.2018.458

31. Ajay Chhabra Co-Artistic Director – Nutkhut https://www.nutkhut.co.uk/about/

32. Praveen Prathapan Musician – Player https://www.praveenthefluteguy.com/about

33. Anand Bhatt Co Founder - Aakash Odedra Company (Leicester Dance Theatre) https://aakashodedra.com/about-us/ and board member of https://www.communitydance.org.uk/about-people-dancing/staff-and-board

34. Subathra (Suba) Subramaniam AD/ Choreographer/Dancer/Educator https://www.sadhanadance.com/subathra-subramaniam https://www.bellsquarelondon.com/sadhana-dance-unkindest-cut

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Name Organisation / Title

35. Jyotsna Srikanth Musician – Violinist and Community Arts Educator and Founder of London International Arts Festival http://indianviolin.eu/ http://www.dhruvarts.org/ http://liaf.co.uk/

36. Jaswinder (Jas) Singh Director – Asian Arts Agency https://asianartsagency.co.uk/team/jaswinder-singh/

37. Sanjeevini Dutta Director & Dancer http://www.pulseconnects.com/ http://kadamdance.org.uk/

38. Supriya Nagarajan Founder & AD of Manasamitra & singer http://www.manasamitra.com/about-us/

39. Smita Vadnerkar AD - Nupur Arts Dance Academy https://nupurarts.org.uk/about/

40. Akram Khan Akram Khan Company https://www.akramkhancompany.net https://www.akramkhancompany.net/get-involved/classical-intensive-2019/

41. Farooq Chaudhry Executive Producer – Akram Khan Company https://www.akramkhancompany.net/company-profiles/farooqchaudhry/

42. Jesse Bannister Indo Jazz Musician – Saxophonist https://www.darbar.org/artist/jesse-bannister/17#

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Name Organisation / Title

43. Kaviraj Dhadyalla Musician and Singer http://kavirajsingh.co.uk/about/

44. Hardial Rai Artistic Director/Producer/Writer at zeroculture http://zeroculture.co.uk/about/

45. Patrick Holden Business & Development Manager - The Bhavan https://bhavan.net/staff/

46. Alok Nayak Artistic Director & Director of Development – Milapfest https://www.milapfest.com/home/what-we-do/education-outreach-2/

47. Magdalen Gorringe Bharata Natyam Dancer and community engagement freelancer https://magdalengorringe.wordpress.com/about/ and author of SADAA report and: http://www.pulseconnects.com/index.php/does-guru-shishya-model-dance-teaching-hold-out- best-prospect-creating-performer

48. Stella Subbiah Dancer, choreographer and teacher http://www.cheshiredance.org/inquiringbodies/StellaSubbiah.html

49. Alex Croft Creative Director – Kala Sangam http://www.kalasangam.org/meet-us/team/

50. Chris Fogg Creative producer and dramaturg – previously led the Associate Artist programme for South East Dance https://chrisfoggprojects.wordpress.com/

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Name Organisation / Title

51. Sriram Emani Founder and CEO - IndianRaga.com http://indianraga.com/fellowship/ https://indianraga.com/team/

52. Pi ali Ray OBE Director of Sampad http://sampad.org.uk/about-us/the-sampad-team/

53. Jaivant Patel Dancer and Choreographer exploring LGBTQ themes within his practice https://www.jaivantpateldance.com/

54. Ar ani Siva Musician – https://www.aranisiva.com/new-page-2

55. Pushkala Gopal Dancer and Teacher http://sanskritiuk.net/index.php/team/pushkala-gopal/ Also committee member @ ISTD / https://www.istd.org/classical-indian-dance/

56. Hannah Kirkpatrick General Manager, National Youth Dance Company https://nydc.org.uk/

57. Elaine Foley Learning and Engagement Projects Manager – Sadlers Wells Led on South Asian Dancer development projects for Sadlers Wells

58. Shammi Pithia Composer / Musician /Producer https://www.shammipithia.com/

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Name Organisation / Title

59. Rekesh Chauhan Chair of Global Indian Creatives organisation www.globalindiancreatives.com www.rekeshchauhan.com

60. Sonia Sabri Sonia Sabri Company AD – Kathak specialist https://www.ssco.org.uk/company/whoweare/whoweare.html

61. Shantha Rao Artistic Director - Annapurna Indian Dance http://www.annapurnadance.com/

62. Amina Khayyam Kathak dancer, choreographer and dance teacher https://www.aminakhayyamdance.co.uk/ https://en.wikipedia.org/wiki/Amina_Khayyam

63. Sanju Sahai Musician https://www.sanjusahai.com/profile

64. Keranjeet Kaur Virdee Artistic Director & Chief Executive www.saa-uk.org

65. Mira Kaushik OBE Former Director – Akademi

66. Shruti Sriram CEO/AD - http://sanskritiuk.net/index.php/team/shruti-sriram/

67. Vinod Gadher Music Manager and Consultant

68. Atreyee Bhattacharyya Kathak dancer and teacher

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Name Organisation / Title

69. Geetha Upadhyaya Co-founded Kala Sangam (www.kalasangam.org) and worked as the Artistic Director and CEO until retiring in 2017.

70. Harpreet Kaur Bhangra Dancer https://www.youtube.com/watch?v=PqdtMeaKLAY

71. Hiten Mistry Bharatanatyam Dancer https://bharatanatyamleicester.com/hiten-mistry/ https://akademi.co.uk/meet-the-artist-hiten-mistry

72. Shivaangee Agrawal Bharatanatyam Dancer https://www.shivaangee.com/

73. Gopa Nath Director https://www.surtalarts.co.uk/

74. Pallavi Anand Bharatanatyam Dancer and Teacher at Upahaar Dance School http://www.upahaar.co.uk/?LMCL=acYY9v https://pallavianand.com/about/

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Round Table Discussion Groups Attendees London Round Table Discussion – 20th February 2020

1. Stella Subbiah Dancer, choreographer and teacher http://www.cheshiredance.org/inquiringbodies/StellaSubbiah.html

2. Ar ani Siva Musician – Veena https://www.aranisiva.com/new-page-2

3. Suba Subramaniam Artistic Director Sadhana Dance Freelance choreographer, dancer and educator https://www.sadhanadance.com/subathra-subramaniam

4. Shane Shambhu Director / Choreographer / Actor https://www.shaneshambhu.com/

5. Rekesh Chauhan Chair of Global Indian Creatives organisation www.globalindiancreatives.com www.rekeshchauhan.com

6. Hardial Rai Artistic Director/Producer/Writer at zeroculture http://zeroculture.co.uk/about/

7. Jay Visvadeva CEO & AD – Sama Arts http://sama.co.uk/

8. Sanju Sahai Tabla Musician https://www.sanjusahai.com/profile

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9. Shruti Sriram CEO/AD - http://sanskritiuk.net/index.php/team/shruti-sriram/

10. Shammi Pithia Musician, composer and producer https://www.shammipithia.com/

11. Sanjeevini Dutta Director & Dancer http://www.pulseconnects.com/ http://kadamdance.org.uk/

12. Patrick Holden Business & Development Manager - The Bhavan https://bhavan.net/staff/

13. Meera Vinay Strategic Regional Head for IndianRaga, UK and Europe https://indianraga.com/teammember/meera-vinay/

14. Prathap Singh Nirwan Coach at Swaraag/Musicpreneur https://www.swaraagmusic.com/pratap-singh-nirwan

Manchester Round Table Discussion – 25th February 2020

15. Alex Croft Creative Director – Kala Sangam http://www.kalasangam.org/meet-us/team/

16. Shantha Rao Artistic Director - Annapurna Indian Dance http://www.annapurnadance.com/

17. Keran Kaur Virdee CEO of South Asian Arts UK https://www.saa-uk.org/about-us/team-and-board/keranjeet-kaur- virdee/

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18. Charu Asthana Chief Executive of Sunrit Culture and Kathak Dancer https://sunritculture.wixsite.com/sunrit?fbclid=IwAR3c_QH69RqWV8fio79bA220J66hAheTItDwo W2Vshd_qwcAvAhhfqzQLa4 19. Parimala Hansoge Artistic Director Kalavahini Trust Freelance Dancer/Choreographer http://kalavaahini.com/

20. Vijay Venkat South Asian Musician (, viola, flute, keyboard, ) https://www.saa-uk.org/artists/vijay-venkat/

21. Payal Ramchandani Kuchipudi Dancer http://www.payalramchandani.com/

22. Jayanthi Sivakumar Bharatanatyam Teacher and Dancer https://www.tejasarts.org.uk/

23. Punam Ramchurn Communications Manager/New Writing Coordinator Manchester Contact Theatre/ Board of Manchester Literature Festival. https://www.manchesterliteraturefestival.co.uk/blog-posts/meet-the-mlf-team-punam-ramchurn- 1119 24. Bisakha Sarker Chaturangan Indian Dancer/Choregrapher/Writer/Video maker http://www.chezfred.org.uk/chat/Bisakha.htm

25. Nrithya Rammohan Bharatanatyam dancer https://indiadancewales.com/?fbclid=IwAR1LOLkM17QoEpH68zhfuE6ZqJD9W3PcSYLK5zsrsZPUF jKHgt0souAR2HQ

26. Pravinder Singh Head of Programming & Planning at Milapfest Liverpool https://www.milapfest.com/

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27. Swati Raut Artistic Director Swati Dance Company Bharatanatyam dance artist, choreographer, teacher and educator https://www.linkedin.com/in/swati-raut-b4589a2a/

Birmingham Round Table Discussion – 26th February 2020

28. Urja Desai Thakore Kathak Dancer https://www.pagravdance.com/

29. Pi ali Ray OBE Director of Sampad http://sampad.org.uk/about-us/the-sampad-team/

30. Linda Saunders Dance fundraising and strategy consultant https://macbirmingham.co.uk/about/who-we-are/board-of-trustees/linda-saunders

31. Subhash Viman Gorania Choreographer and dancer https://www.morphdc.com/about

32. Kesha Raithatha Kathak and contemporary dancer https://www.linkedin.com/in/keshä-raithatha-49182940/?originalSubdomain=uk

33. Gurdeep Sian South Asian Dancer and independent creative producer https://www2.le.ac.uk/offices/press/press-releases/2016/october/leicester-arts-centre-secures- diverse-leadership-funding 34. Samir Bhamra Creative Director of London Asian Film Festival playwright, costume designer, producer and musical theatre director and 2021 Senior Producer at Belgrade Theatre, Coventry City of Culture 2021 http://www.phizzical.com/?fbclid=IwAR3_jhTrEY_tIeDe6BvivjXbd3j8z3eWnaOVenMYcgQ- 9a7cQ4up16nVjmo

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35. Smita Vadnerkar AD - Nupur Arts Dance Academy https://nupurarts.org.uk/about/

36. Shreya Vadnerkar Indian and contemporary breakdancer https://www.bbc.co.uk/programmes/p07c9y5j/p07c9q55

37. Atreyee Bhattacharya Indian Classical (Kathak and Odissi) and Contemporary dancer and teacher https://www.facebook.com/pg/AtreyeeDanceGroup/about/?ref=page_internal

38. Vina Ladwa Artistic Director Manushi Dance Company Kathak /Indian classic and folk dancer http://www.manushidance.co.uk/vinaladwa.html

39. Mohinder Singh Tabla Musician http://www.youcanlevitate.com/mendi-mohinder-singh/

40. Pritam Singh Musician, composer and educator http://pritamsingh.org.uk/

41. Priya Sundar Bharatanatyam dancer http://www.v2you.co.uk/

42. Clare Lewis Executive Director DanceXchange & Birmingham International Dance Festival https://www.dancexchange.org.uk/people/clare-lewis-2/

December 2020 16 Arts Council England South Asian Dance and Music Mapping Appendix 2: Market Analysis

Appendix 2 – Market Analysis

2.1. Introduction

This chapter seeks to present an overview of the potential talent pool, in relation to the South Asian music and dance sector in the UK (and specifically England), by analysing a number of data sets. This includes:

▪ UK population data, such as mid-year population estimates, UK Census 2011 and online bulletins published by the Office for National Statistics. This data has been utilised to provide a better understanding of the distribution of South Asian communities across the UK. It is recognised, however, that practitioners of South Asian music or dance do not always self-identify as being from a South Asian ethnic group, however, as the majority do these groups are the focus within this chapter. ▪ Data and online bulletins linked to the Taking Part Survey, published by the Department for Culture, Media and Sport (DCMS). ▪ Other online sources that provide additional data and insight into South Asian communities in the UK. ▪ A database of South Asian musicians, dancers, music schools and academies, dance schools and academies, dance companies and other South Asian arts organisations and practitioners linked to the sector created specifically for this study (Appendix 3). ▪ Arts Council England (ACE) grant application data for 2018/19, for projects classified as South Asian music or dance projects. Key findings from the data analysis are identified, which are then utilised to provide a series of insights about what this means for the South Asian music and dance sector.

2.2. UK population

The 2011 UK Census asked people ‘What is your ethnic group?’, with the results showing that:

▪ The total population of England and Wales was 56.1 million: ▪ 85.9% of the population was White; ▪ People from Asian ethnic groups made up the second largest percentage of the population (7.5%), followed by Black ethnic groups (3.4%), Mixed/Multiple ethnic groups (2.2%) and Other ethnic groups (1.0%).

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Arts Council England South Asian Dance and Music Mapping Appendix 2: Market Analysis

▪ Among specific ethnic groups, people from the White British ethnic group made up the largest percentage of the population (80.5%), followed by Other White (4.4%) and Indian (2.5%).

When looking at residents of South Asian background:

▪ 1,412,958 (2.5%) identified as residents of Indian ethnicity; ▪ 1,124,511 (2.0%) identified as residents of Pakistani ethnicity; and ▪ 447,201 (0.8%) identified as residents of Bangladeshi ethnicity. This equates to a total South Asian population in England and Wales, in 2011, of 2,984,670 (5.3%), if other Asian groups and people of mixed ethnicity are not included. It is likely that some individuals whose ethnic group falls into other territories in South Asia, or who have mixed /multiple ethnicity, including that of South Asia, would fall into these groups.

When comparing ethnicity in England and Wales over time, there is a slight upwards trend in the proportion of residents from South Asian ethnic groups. From 2001 to 2011:

▪ Those identifying as Indian grew from 2.0% to 2.5% (+0.5%) ▪ Those identifying as Pakistani grew from 1.4% to 2.0% (+0.6%) ▪ Those identifying as Bangladeshi grew from 0.5% to 0.8% (+0.3%). Tables 1 and 2 show a full breakdown of the UK population by ethnic group.

2.2.1 Country of Birth

The Annual Population Survey, conducted by the Office for National Statistics (ONS), is a continuous household survey, covering the UK and covering topics such as employment and unemployment, housing, ethnicity, religion, health and education.

For the year July 2018 to June 2019, this survey estimates that:

▪ 1,835,000 (2.8%) of the UK population were born in South Asia ▪ 1,751,000 (3.2%) of the population of England were born in South Asia.

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Arts Council England South Asian Dance and Music Mapping Appendix 2: Market Analysis

Table 1: UK population by ethnic group and region - numbers All persons White Other Mixed / Asian / Black / Other British White Multiple Asian British Black British England & Wales 56,075,912 45,134,686 3,074,709 1,224,400 4,213,531 1,864,890 563,696 England 53,012,456 42,279,236 3,001,906 1,192,879 4,143,403 1,846,614 548,418 North East 2,596,886 2,431,423 44,144 22,449 74,599 13,220 11,051 North West 7,052,177 6,141,069 220,647 110,891 437,485 97,869 44,216 Yorkshire & Humber 5,283,733 4,531,137 160,819 84,558 385,964 80,345 40,910 East Midlands 4,533,222 3,871,146 175,210 86,224 293,423 81,484 25,735 West Midlands 5,601,847 4,434,333 199,336 131,714 604,435 182,125 49,904 East 5,846,965 4,986,170 324,024 112,116 278,372 117,442 28,841 London 8,173,941 3,669,284 1,218,151 405,279 1,511,546 1,088,640 281,041 South East 8,634,750 7,358,998 468,822 167,764 452,042 136,013 51,111 South West 5,288,935 4,855,676 190,753 71,884 105,537 49,476 15,609 Wales 3,063,456 2,855,450 72,803 31,521 70,128 18,276 15,278

Table 2: UK population by ethnic group and region - % All persons White Other Mixed / Asian / Black / Other British White Multiple Asian British Black British England & Wales 56,075,912 80.5 5.4 2.2 7.5 3.4 1.0 England 53,012,456 79.8 5.7 2.2 7.7 3.4 1.0 North East 2,596,886 93.6 1.7 0.8 2.9 0.4 0.4 North West 7,052,177 87.1 3.1 1.6 6.3 1.3 0.6 Yorkshire & Humber 5,283,733 85.8 3.1 1.6 7.3 1.5 0.8 East Midlands 4,533,222 85.4 3.9 1.9 6.4 1.7 0.6 West Midlands 5,601,847 79.2 3.6 2.4 10.8 3.2 0.9 East 5,846,965 85.3 5.6 2.0 4.8 2.0 0.5 London 8,173,941 44.9 14.9 5.0 18.4 13.3 3.4 South East 8,634,750 85.2 5.5 2.0 5.2 1.6 0.6 South West 5,288,935 91.8 3.6 1.4 1.9 1.0 0.3 Wales 3,063,456 93.2 2.4 1.0 2.2 0.6 0.5

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Arts Council England South Asian Dance and Music Mapping Appendix 2: Market Analysis

Of all countries listed by the survey, six South Asian countries are in the top 60 countries of birth. Data indicates that within the UK population:

▪ 837,000 (1.3%) were born in ▪ 533,000 (0.8%) were born in Pakistan ▪ 259,000 (0.4%) were born in Bangladesh ▪ 134,000 (0.2%) were born in Sri Lanka ▪ 76,000 (0.1%) were born in Afghanistan ▪ 71,000 (0.1%) were born in Nepal.

In all cases, the proportion of males to females was biased in favour of males:

▪ 50.8% of those born in India were male vs. 49.2% female ▪ 50.7% of those born in Pakistan were male vs. 49.3% female ▪ 52.1% of those born in Bangladesh were male vs. 47.9% female ▪ 57.9% of those born in Sri Lanka were male vs. 42.1% female ▪ 56.3% of those born in Afghanistan were male vs. 43.7% female.

2.2.1 Additional Demography

Wikipedia’s page, entitled ‘British Asian’1 states:

‘South Asian ethnic groups mostly originate from a few select places in South Asia, known as place of origins. British Indians tend to originate mainly from the two Indian States, Punjab and Gujarat2. Evidence from Bradford and Birmingham have shown, Pakistanis originate largely from the Mirpur District in Azad Kashmir. The second largest ethnic group of British Pakistanis are the Punjabi people, largely from Attock District of Punjab followed by Pashtuns and other ethnic groups from the districts of Nowshera, Peshwar and Ghazi in province of Khyber-Pakhtunkhwa. In the London Borough of Waltham Forest there are substantial numbers of Pakistani people originating from Jhelum, Punjab3. Studies have shown 95% of Bangladeshis originate from the Sylhet Division, located in the North-eastern part of Bangladesh. Districts include Sylhet, Habiganj, Moulvibazar, and Sunamganj45. In Tower Hamlets, people have origins mainly from Jagannathpur, Beanibazar and Bishwanath and Sylhet Sadar.’6

1 https://en.wikipedia.org/wiki/British_Asian 2 Ballard, Roger, ed. (2007). Desh Pardesh: The South Asian presence in Britain. London: C. Hurst & Co. p. 19. ISBN 978-1-85065-091-1 3 Alison Shaw (2000). Kinship and continuity: Pakistani families in Britain Studies. Routledge. page. 16. ISBN 978-90-5823-075-1 4 Gardner, Katy (July 1992). "International migration and the rural context in Sylhet". New Community. 18 (4): 579–590.

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Arts Council England South Asian Dance and Music Mapping Appendix 2: Market Analysis

2.3. Ethnicity by region

When looking at the 2011 Census data by each region of England & Wales, the number who identify as Asian compared with other ethnic groups is greatest in London (542,857 people; 18.4% of region’s population) and the West Midlands at (604,435 people; 10.8% of the region’s population). The South East, North West, Yorkshire & The Humber and the East Midlands also have a population of around 300,000 upwards who identify as South Asian:

▪ South East: 452,042 people; 5.2% of the region’s population ▪ North West: 437,435 people; 6.3% of the region’s population ▪ Yorkshire & The Humber: 385,964 people; 7.3% of the region’s population ▪ East Midlands: 293,423 people; 6.4% of the region’s population.

In regard to more specific ethnic groups (Tables 3 and 4):

▪ Regions with the largest Indian populations are London (542,857 people; 6.6% of the region’s population), the West Midlands (218,439 people; 3.9% of the region’s population), the East Midlands (168,928 people; 3.7% of the region’s population), and the South East (152,132 people; 1.8% of the region’s population). ▪ Regions with the largest Pakistani populations are the West Midlands (227,248 people; 4.1% of the region’s population), Yorkshire & The Humber (225,892 people; 4.3% of the region’s population), London (223,797 people; 2.7% of the region’s population), and the North West (189,436 people; 2.7% of the region’s population). ▪ Regions with the largest Bangladeshi populations are London (222,127 people; 2.7% of the region’s population), the West Midlands (52,477 people; 0.9% of the region’s population), and the North West (45,897 people; 0.7% of the region’s population).

5 Kershen, Anne J. (2005). Strangers, Aliens and Asians: Huguenots, Jews and Bangladeshis in Spitalfields, 1660–2000. Routledge. p. 247. ISBN 978-0-7146-5525-3. 6 Smith, Michael; John Eade (2008). Transnational Ties: Cities, Migrations, and Identities. Transaction Publishers. p. 149. ISBN 978-1-4128-0806-4.

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Table 3: UK Asian population by ethnic group and region - numbers Asian / Asian Indian Pakistani Bangladeshi Chinese Other Asian British ENGLAND & WALES 4,213,531 1,412,958 1,124,511 447,201 393,141 835,720 England 4,143,403 1,395,702 1,112,282 436,514 379,503 819,402 North East 74,599 15,817 19,831 10,972 14,284 13,695 North West 437,485 107,353 189,436 45,897 48,049 46,750 Yorkshire & Humber 385,964 69,252 225,892 22,424 28,435 39,961 East Midlands 293,423 168,928 48,940 13,258 24,404 37,893 West Midlands 604,435 218,439 227,248 52,477 31,274 74,997 East 278,372 86,736 66,270 32,992 33,503 58,871 London 1,511,546 542,857 223,797 222,127 124,250 398,515 South East 452,042 152,132 99,246 27,951 53,061 119,652 South West 105,537 34,188 11,622 8,416 22,243 29,068 Wales 70,128 17,256 12,229 10,687 13,638 16,318

Table 4: UK Asian population by ethnic group and region - % Asian / Asian Indian Pakistani Bangladeshi Chinese Other Asian British ENGLAND & WALES 7.5 2.5 2.0 0.8 0.7 1.5 England 7.7 2.6 2.1 0.8 0.7 1.5 North East 2.9 0.6 0.8 0.4 0.6 0.5 North West 6.3 1.5 2.7 0.7 0.7 0.7 Yorkshire & Humber 7.3 1.3 4.3 0.4 0.5 0.8 East Midlands 6.4 3.7 1.1 0.3 0.5 0.8 West Midlands 10.8 3.9 4.1 0.9 0.6 1.3 East 4.8 1.5 1.1 0.6 0.6 1.0 London 18.4 6.6 2.7 2.7 1.5 4.9 South East 5.2 1.8 1.1 0.3 0.6 1.4 South West 1.9 0.6 0.2 0.2 0.4 0.5 Wales 2.2 0.6 0.4 0.3 0.4 0.5

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2.3.1 Country of Birth by Region

Data from the Annual Population Survey covering the year July 2018 to June 2019 shows a breakdown by region of country of birth for the UK population, as well as listing the top five countries of birth by region.

When looking at the UK population born in South Asia by region (Table 5):

▪ London has the greatest number and proportion of people born in South Asia of all the regions: 651,000 (7.3% of the region’s population). ▪ Approximately 200,000 people or more who were born in South Asian live in the West Midlands, South East or North West: – West Midlands (235,000 people; 4.0% of the region’s population) – South East (207,000 people; 2.3% of the region’s population) – North West (193,000 people; 2.7% of the region’s population). ▪ India is one of the five most common countries of birth in all twelve UK regions (see Table 6); and is ranked number 1 in a third of the regions – North East, West Midlands, South East and London. ▪ Pakistan is one of the five most common countries of birth in seven of the twelve UK regions; and is ranked number 1 in two of the regions – North West and Yorkshire & The Humber. ▪ Bangladesh is one of the five most common countries of birth in two of the twelve UK regions – West Midlands and London. Table 5: UK Population Born in South Asia All South Asian N % North East 2,618,000 27,000 1.0% North West 7,207,000 193,000 2.7% Yorkshire & The Humber 5,415,000 136,000 2.5% East Midlands 4,738,000 127,000 2.7% West Midlands 5,828,000 235,000 4.0% East 6,167,000 124,000 2.0% South East 9,035,000 207,000 2.3% London 8,941,000 651,000 7.3% South West 5,515,000 51,000 0.9% Wales 3,109,000 24,000 0.8% Scotland 5,374,000 53,000 1.0% Northern Ireland 1,860,000 7,000 0.4%

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Table 6: Five Most Common Countries of Birth by Region India Pakistan Bangladesh N Rank N Rank N Rank North East 13,000 1 8,000 4 North West 56,000 3 106,000 1 Yorkshire & The Humber 44,000 3 82,000 1 East Midlands 80,000 2 31,000 4 West Midlands 105,000 1 85,000 2 35,000 5 East 55,000 2 South East 107,000 1 51,000 5 London 307,000 1 150,000 3 South West 34,000 3 Wales 9,000 4 Scotland 21,000 4 24,000 2 Northern Ireland 6,000 4

2.4. Ethnicity by local authority

When looking at the 2011 Census data by local authority it is possible to see the overall number of people by ethnic group, percentage by ethnic group and rank based on percentages.

The top fifty local authorities (and regions within which they sit), based on the absolute number of the population who identify as Indian, Pakistani and Bangladeshi is presented in Table 7.

The top fifty local authority areas (and regions within which they sit), based on the percentage of the applicable population (i.e. the percentage of the local authority population) who identify as Indian, Pakistani and Bangladeshi is presented in Table 8.

In reviewing Table 7, based on the absolute number of people in a local authority population who identify as South Asian:

▪ Of those which fell in the top ten local authorities for number of individuals identifying as Indian, seven were in London, two in the West Midlands and one in East Midlands: – London: Harrow, Brent, Ealing, Hounslow, Redbridge, Newham and Hillingdon; – West Midlands: Birmingham and Wolverhampton; – East Midlands: Leicester. ▪ Of those which fell in the top ten local authorities for number of individuals identifying as Pakistani, four were in Yorkshire & The Humber, three were in London, two in the North West and one in the West Midlands:

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– Yorkshire & The Humber: Bradford, Kirklees, Leeds and Rochdale; – London: Redbridge, Newham and Waltham Forest; – North West: Manchester and Rochdale; and – West Midlands: Birmingham. ▪ Of those which fell in the top ten local authorities for the number of individuals identifying as Bangladeshi, seven were in London, one in the North West, one in the East and one in the West Midlands: – London: Tower Hamlets, Newham, Redbridge, Camden, Barking & Dagenham, City of London and Westminster; – North West: Oldham; – East: Luton EA; and – West Midlands: Birmingham. ▪ Twenty-one local authorities appear in the top fifty in the Indian, Pakistani and Bangladeshi columns (i.e. in all columns): – Eleven are in the London region: Brent, Ealing, Hounslow, Redbridge, Newham, Hillingdon, Barnet, Croydon, Waltham Forest, Merton and Barking & Dagenham; – Four are in the West Midlands region: Birmingham, Sandwell, Coventry and Walsall; – Two are in Yorkshire & The Humber region: Leeds and Bradford; – One is in the North West region: Manchester; – One is in Wales: Cardiff; – One is in the South West region: Bristol, City of; and – One is in the East Midlands region: Leicester. ▪ Twenty-two local authorities appear in two of the top fifty in the Indian, Pakistani and Bangladeshi columns (i.e. in Indian and Pakistani, Indian and Bangladeshi, Pakistani and Bangladeshi): – Seven are in the London region: Harrow, Enfield, Wandsworth, Greenwich, Hackney, Westminster and Tower Hamlets; – Five are in the North West region: Bolton, Blackburn with Derwen, Oldham, Rochdale and Burnley; – Three are in the East Midlands region: Derby, Charnwood and Nottingham; – Two are in Yorkshire & The Humber region: Kirklees and Sheffield; – Two are in the East region: Luton UA and Bedford; – Two are in the South East region: Milton Keynes and Reading; and – One is in the North East region: Newcastle upon Tyne.

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Table 7: Top 25 Local Authorities – Absolute Number of Population Identifying as South Asian Asian/Asian British: Indian Asian/Asian British: Pakistani Asian/Asian British: Bangladeshi Local Authority & Region Local Authority & Region Local Authority & Region Number of People Number of People Number of People 1 Leicester UA East Midlands Birmingham West Midlands Tower Hamlets London 93,335 144,227 81,377 2 Birmingham West Midlands Bradford Yorkshire & The Newham London 64,621 106,614 Humber 37,262 3 Harrow London Manchester North West Birmingham West Midlands 63,051 42,904 32,532 4 Brent London Kirklees Yorkshire & The Oldham North West 58,017 41,802 Humber 16,310 5 Ealing London Redbridge London Redbridge London 48,240 31,051 16,011 6 Hounslow London Newham London Luton UA East 48,161 30,307 13,606 7 Redbridge London Waltham Forest London Camden London 45,660 26,347 12,503 8 Newham London Oldham North West Bradford Yorkshire & The 42,484 22,686 9,863 Humber 9 Hillingdon London Leeds Yorkshire & The Barking & London 36,795 22,492 Humber Dagenham 7,701 10 Wolverhampton West Midlands Rochdale North West Sandwell West Midlands 32,162 22,265 6,588 11 Sandwell West Midlands Sheffield Yorkshire & The Manchester North West 31,400 21,990 Humber 6,437 12 Barnet London Blackburn with North West Westminster London 27,920 Darwen 17,801 6,299 13 Coventry West Midlands Nottingham UA East Midlands Hackney London 27,751 16,771 6,180

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Asian/Asian British: Indian Asian/Asian British: Pakistani Asian/Asian British: Bangladeshi Local Authority & Region Local Authority & Region Local Authority & Region Number of People Number of People Number of People 14 Croydon London Pendle North West Enfield London 24,660 15,320 5,599 15 Slough UA South East Ealing London Walsall West Midlands 21,922 14,771 5,194 16 Bolton North West Derby UA East Midlands Cardiff Wales 21,665 14,620 4,838 17 Kirklees Yorkshire & The Brent London Newcastle upon North East 20,797 Humber 14,381 Tyne 4,692 18 Blackburn with North West Walsall West Midlands Islington London Darwen 19,791 14,289 4,662 19 Walsall West Midlands Sandwell West Midlands Waltham Forest London 16,502 13,952 4,632 20 Leeds Yorkshire & The Calderdale Yorkshire & The Leeds Yorkshire & The 16,130 Humber 13,904 Humber 4,432 Humber 21 Preston North West Hounslow London Haringey London 14,421 13,676 4,417 22 Bradford Yorkshire & The Wycombe South East Rochdale North West 13,555 Humber 13,091 4,342 23 Enfield London Peterborough UA East Tameside North West 11,648 12,078 4,296 24 Manchester North West Bolton North West Southwark London 11,417 12,026 3,912 25 Derby UA East Midlands Croydon London Portsmouth UA South East 10,907 10,865 3,649 26 Luton UA East Stoke-on-Trent UA West Midlands Leicester UA East Midlands 10,625 10,429 3,642 27 Charnwood East Midlands Dudley West Midlands Northampton East Midlands 10,225 10,339 3,367

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Asian/Asian British: Indian Asian/Asian British: Pakistani Asian/Asian British: Bangladeshi Local Authority & Region Local Authority & Region Local Authority & Region Number of People Number of People Number of People 28 Oadby & Wigston East Midlands Wandsworth London Sheffield Yorkshire & The 9,938 9,718 3,326 Humber

29 Nottingham UA East Midlands Coventry West Midlands Bedford UA East 9,901 9,510 3,225 30 Waltham Forest London Hillingdon London Coventry West Midlands 9,134 9,200 2,951 31 Wandsworth London Bury North West Hillingdon London 8,642 9,002 2,639 32 Bedford UA East Leicester UA East Midlands St Albans East 8,122 8,067 2,633 33 Merton London Barking & London Croydon London 8,106 Dagenham 8,007 2,570 34 Milton Keynes UA South East Harrow London Burnley North West 8,106 7,797 2,425 35 Cardiff Wales Rotherham Yorkshire & The Lambeth London 7,886 7,609 Humber 2,221 36 Greenwich London Hyndburn North West Merton London 7,836 7,548 2,216 37 Hackney London Merton London Barnet London 7,599 7,337 2,215 38 Gravesham South East Trafford North West Hounslow London 7,538 7,027 2,189 39 Barking & London Reading UA South East Bristol, City of UA South West Dagenham 7,436 6,967 2,104 40 Westminster London Bristol, City of UA South West Sunderland North East 7,213 6,863 2,075

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Asian/Asian British: Indian Asian/Asian British: Pakistani Asian/Asian British: Bangladeshi Local Authority & Region Local Authority & Region Local Authority & Region Number of People Number of People Number of People 41 Medway UA South East Middlesbrough UA North East Charnwood East Midlands 7,132 6,811 2,022 42 Solihull West Midlands Stockport North West Milton Keynes UA South East 7,098 6,673 1,989

43 Bexley London Newcastle upon North East Swansea Wales 7,047 Tyne 6,364 1,944 44 Swindon UA South West Cardiff Wales Cambridge East 6,901 6,354 1,849 45 Tower Hamlets London Watford London Oxford South East 6,787 6,802 1,791 46 Warwick West Midlands Burnley North West Ealing London 6,745 5,924 1,786 47 Southampton UA South East Woking South East Brent London 6,742 5,682 1,749 48 Bristol, City of UA South West East Staffordshire West Midlands Newport Wales 6,547 5, 598 1,749 49 Reading UA South East Aylesbury Vale South East Ipswich East 6,514 5,408 1,687 50 Sutton London Barnet London Greenwich London 6,454 5,344 1,645

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In reviewing Table 8, based on the percentage of the applicable population:

▪ Of the top ten local authorities, for the percentage of the applicable population who self-identified as Indian, seven were in London, two in the East Midlands and one in the South East: – London: Harrow, Hounslow, Brent, Redbridge, Ealing, Newham and Hillingdon; – East Midlands: Leicester, Oadby and Wigston; – South East: Slough UA. ▪ Of the top ten local authorities, for the percentage of the applicable population who self-identified as Pakistani, four were in the North West, two in London and one in Yorkshire & The Humber, the South East, East and West Midlands: – North West: Pendle, Blackburn with Darwen, Rochdale and Oldham; – London: Redbridge and Waltham Forest; – Yorkshire & The Humber: Bradford – South East: Slough UA; – East: Luton UA; – West Midlands: Birmingham. ▪ Of the top ten local authorities, for the percentage of the applicable population who self-identified as Bangladeshi, seven were in London and one in the North West, East and West Midlands: – London: Tower Hamlets, Newham, Redbridge, Camden, Barking & Dagenham, City of London and Westminster; – North West: Oldham – East: Luton UA; – West Midlands: Birmingham. – Fourteen local authorities appear in the top fifty in the Indian, Pakistani and Bangladeshi columns (i.e. in all columns): – Ten are in the London region: Hounslow, Redbridge, Newham, Hillingdon, Croydon, Walsall, Luton, Merton, Barking & Dagenham and Waltham Forest. – Three are in the West Midlands region: Sandwell, Coventry, Birmingham. – One is in the North West region: Blackburn & Darwen.

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▪ Fifteen local authorities appear in two of the top fifty in the Indian, Pakistani and Bangladeshi columns (i.e. in Indian and Pakistani, Indian and Bangladeshi, Pakistani and Bangladeshi): – Four are in the East Midlands region: Charnwood, Derby, Wellingborough and Nottingham. – Three are in the London region: Ealing, Enfield and Westminster. – Three are in the South East region: Crawley, Reading and Milton Keynes. – Two are in the North West region: Preston and Bolton. – Two are in the East: Watford and Bedford. – One is in Yorkshire & The Humber: Kirklees.

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Table 8: South Asian UK population – top 50 ranking local authorities Asian/Asian British: Indian Asian/Asian British: Pakistani Asian/Asian British: Bangladeshi Local Authority Region Local Authority Region Local Authority Region 1 Leicester UA East Midlands Bradford Yorkshire & The Tower Hamlets London Humber 2 Harrow London Slough UA South East Newham London 3 Hounslow London Pendle North West Oldham North West 4 Brent London Luton UA East Luton UA East 5 Oadby and Wigston East Midlands Birmingham West Midlands Redbridge London 6 Redbridge London Blackburn with North West Camden London Darwen UA 7 Slough UA South East Redbridge London Barking and London Dagenham 8 Ealing London Rochdale North West City of London London 9 Newham London Waltham Forest London Birmingham West Midlands 10 Hillingdon London Oldham North West Westminster London 11 Blackburn with North West Kirklees Yorkshire & The Burnley North West Darwen UA Humber 12 Wolverhampton West Midlands Newham London Hackney London 13 Preston North West Hyndburn North West Rossendale North West 14 Sandwell West Midlands Manchester North West Islington London 15 Coventry West Midlands Wycombe South East Sandwell West Midlands 16 Barnet London Calderdale Yorkshire and The Rochdale North West Humber 17 Bolton North West Burnley North West Bedford UA East 18 Gravesham South East Watford East Tameside North West 19 South Bucks South East Peterborough UA East Walsall West Midlands 20 Croydon London Derby UA East Midlands Bradford Yorkshire and The Humber 21 Charnwood East Midlands Woking South East St Albans East 22 Walsall West Midlands Nottingham UA East Midlands Waltham Forest London 23 Birmingham West Midlands Hounslow London Enfield London December 2020 32

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Asian/Asian British: Indian Asian/Asian British: Pakistani Asian/Asian British: Bangladeshi Local Authority Region Local Authority Region Local Authority Region 24 Three Rivers East Walsall West Midlands Portsmouth UA South East 25 Watford East East Staffordshire West Midlands Haringey London 26 Luton UA East Middlesbrough UA North East Newcastle upon North East Tyne 27 Crawley South East Bury North West Northampton East Midlands 28 Bedford UA East Brent London Cambridge East 29 Kirklees Yorkshire and The Sandwell West Midlands Cardiff Wales Humber 30 Warwick West Midlands Reading UA South East Southwark London 31 Blaby East Midlands Ealing London Manchester North West 32 Nuneaton and West Midlands Bolton North West Ipswich East Bedworth 33 Derby UA East Midlands Barking and London Charnwood East Midlands Dagenham 34 Spelthorne South East Crawley South East Newport Wales 35 Reading UA South East Stoke-on-Trent UA West Midlands Oxford South East 36 Wellingborough East Midlands Sheffield Yorkshire and The Merton London Humber 37 Merton London Merton London Leicester UA East Midlands 38 Windsor and South East Hillingdon London South Tyneside North East Maidenhead UA 39 Barking and London Dudley West Midlands Blackburn with North West Dagenham Darwen UA 40 Kingston upon London Harrow London Hillingdon London Thames 41 Enfield London Oxford South East Coventry West Midlands 42 Hertsmere East Wandsworth London Hounslow London 43 Waltham Forest London Preston North West North Lincolnshire Yorkshire and The UA Humber 44 Wokingham UA South East Aylesbury Vale South East Swansea Wales

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Asian/Asian British: Indian Asian/Asian British: Pakistani Asian/Asian British: Bangladeshi Local Authority Region Local Authority Region Local Authority Region 45 Solihull West Midlands Trafford North West Milton Keynes UA South East 46 Sutton London Redditch West Midlands Sunderland North East 47 Swindon UA South West Coventry West Midlands Lambeth London 48 Westminster London Leeds Yorkshire & The Wellingborough East Midlands Humber 49 Milton Keynes UA South East Croydon London Croydon London 50 Nottingham UA East Midlands Rotherham Yorkshire & The Greenwich London Humber

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2.5. Profile of population who identify as Asian in the UK

Various articles on the GOV.UK website provide an insight into the demographics of the UK population by ethnicity. Key findings from these articles about the UK’s Asian population are listed below:

▪ In the 2011 Census, there was a roughly even split of males and females in the population identifying as South Asian: those selecting Indian was split 51% male to 49% female; Pakistani, 51% male and 49% female; and Bangladeshi, 52% male to 48% female7. ▪ The median age for people who identify as Asian is lower than the average seen for the UK at the time of the 2011 Census, with a median age for the UK of 39 years and for the UK Asian population of 29 – similar to Black and Other ethnic groups whose median ages were 308. ▪ The median age for people who identify as South Asian is lowest amongst Bangladeshi (24 years) and Pakistani (25 years) ethnic groups and highest amongst the Indian ethnic group (32 years)9. ▪ 43.2% of people from Asian ethnic groups and 44.7% of people from the Other ethnic group were aged 20 to 39 years – these were the highest percentages in this age range out of all ethnic groups10. ▪ 27.4% of the population of England and Wales identifying as Asian were aged under 18 years, 43.2% were aged 18 to 39 years, 20.9% were aged 40 to 59 years, and 8.4% were aged 60 years and over11. ▪ The Bangladeshi ethnic group had the highest percentage of people under 18 years (38.3%), followed by Pakistani (36.2%); the Indian ethnic group had one of the lowest (15.6%)12. ▪ The Indian ethnic group had the highest percentage of people aged 65 years and over (8.2%), and the Bangladeshi group the lowest (3.7%)13.

A full breakdown by age group and ethnic group is provided in Table 9.

7 https://www.ethnicity-facts-figures.service.gov.uk/uk-population-by-ethnicity/demographics/male- and-female-populations/latest#by-ethnicity 8 https://www.ethnicity-facts-figures.service.gov.uk/uk-population-by-ethnicity/demographics/age- groups/latest#asian-ethnic-groups-age-profile 9 https://www.ethnicity-facts-figures.service.gov.uk/uk-population-by-ethnicity/demographics/age- groups/latest#asian-ethnic-groups-age-profile 10 https://www.ethnicity-facts-figures.service.gov.uk/uk-population-by-ethnicity/demographics/age- groups/latest#asian-ethnic-groups-age-profile 11 https://www.ethnicity-facts-figures.service.gov.uk/uk-population-by-ethnicity/demographics/age- groups/latest#asian-ethnic-groups-age-profile 12 https://www.ethnicity-facts-figures.service.gov.uk/uk-population-by-ethnicity/demographics/age- groups/latest#asian-ethnic-groups-age-profile 13 https://www.ethnicity-facts-figures.service.gov.uk/uk-population-by-ethnicity/demographics/age- groups/latest#asian-ethnic-groups-age-profile

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Table 9: South Asian UK population by Age Group Age Group All Persons Asian / Asian Asian / Asian Asian / Asian Asian / Asian British British: Indian British: British: Pakistani Bangladeshi N % N % N % N % N % 0-4 3,496,750 6.2 365,207 8.7 99,220 7.0 129,562 11.5 51,013 11.4 5-9 3,135,711 5.6 323,251 7.7 51,180 5.3 73,866 9.0 30,919 10.1 10-14 3,258,677 5.8 290,690 6.9 30,249 3.3 46,325 5.0 19,871 5.4 15-17 2,079,229 3.7 176,135 4.2 75,243 11 101,631 12.0 45,014 13.1 18-24 5,267,401 9.4 543,338 12.9 15,549 11.2 18,909 10.3 8,679 10.5 25-29 3,836,609 6.8 450,383 10.7 31,171 11.2 37,192 10.2 15,624 10.1 30-34 3,683,915 6.6 449,113 10.7 36,303 8.9 36,718 7.8 15,153 8.6 35-39 3,732,161 6.7 378,009 9.0 119,177 7.2 98,676 6.4 43,230 5.8 40-44 4,099,089 7.3 297,699 7.1 157,943 6.1 116,169 3.9 46,879 3.6 45-49 4,100,526 7.3 220,332 5.2 158,352 5.8 114,520 10.7 45,354 11.4 50-54 3,601,694 6.4 197,126 4.7 125,122 5.9 88,123 3.7 38,372 2.9 55-59 3,183,915 5.7 166,627 4.0 102,153 5.2 71,994 3.1 26,035 2.3 60-64 3,377,162 6.0 116,348 2.8 85,505 3.8 44,089 1.8 15,964 1.2 65-69 2,674,161 4.8 77,482 1.8 82,757 2.6 41,569 1.3 13,002 1.0 70-74 2,178,672 3.9 71,627 1.7 73,687 2.4 35,284 1.4 10,098 1.4 75-79 1,777,547 3.2 49,198 1.2 54,262 1.7 20,355 1.0 5,405 0.8 80-84 1,338,005 2.4 26,010 0.6 37,262 0.9 14,327 0.5 4,635 0.4 85 and over 1,254,688 2.2 14,956 0.4 33,373 0.6 15,763 0.2 6,217 0.1 Median Age 39 30 32 25 24

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2.6. Participation in the Arts by ethnicity

In December 2019, the website GOV.UK published facts and figures about arts participation by ethnicity, using data from the Taking Part Survey. Key findings from this show that: ▪ In 2018/2019, 77.4% of people aged 16 and over took part in the arts (like going to an exhibition or performing in a play) at least once in the past year - this figure has generally been stable since 2012 to 201314. ▪ 88.7% of people with Mixed ethnicity took part in the arts, the highest percentage out of all ethnic groups15. ▪ 59.7% of people with Asian ethnicity took part in the arts, the lowest percentage out of all ethnic groups16. ▪ Between 20012/13 and 2018/19, the percentage of people with Asian ethnicity has fluctuated between a low of 59.3% in 2015/16 to 66.8% in 2016/1717.

2.7. Other information of interest

The website Minority Rights (https://minorityrights.org) provides additional insight into South Asian communities in the UK, stating that: ▪ The main religions are Islam, Hinduism and Sikhism. The Indian community is Hindu, Sikh and Muslim. The Pakistani and Bangladeshi communities are each predominantly Muslim. There are also Jains and Buddhists18. ▪ Most of the community comes from three areas of the subcontinent: the Punjab (Pakistan and India), Gujarat (India) and north-east (Bangladesh). Some Gujaratis and Punjabis came to Britain from East Africa, especially Kenya and Uganda. The main languages are Punjabi, Gujarati, Bengali (or Bangla), Hindi, Urdu and English19. ▪ The South Asian communities make a major contribution to British life in business, medicine, science, the arts, academia, politics and sports. There are thriving British Asian film and music industries, and many British Asian writers and actors reach the highest levels20.

14 https://www.ethnicity-facts-figures.service.gov.uk/culture-and-community/culture-and- heritage/adults-taking-part-in-the-arts/latest 15 https://www.ethnicity-facts-figures.service.gov.uk/culture-and-community/culture-and- heritage/adults-taking-part-in-the-arts/latest 16 https://www.ethnicity-facts-figures.service.gov.uk/culture-and-community/culture-and- heritage/adults-taking-part-in-the-arts/latest 17 https://www.ethnicity-facts-figures.service.gov.uk/culture-and-community/culture-and- heritage/adults-taking-part-in-the-arts/latest 18 https://minorityrights.org/minorities/south-asians/ 19 https://minorityrights.org/minorities/south-asians/ 20 https://minorityrights.org/minorities/south-asians/

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▪ The South Asian communities have their own faith schools. Some state schools within South Asian areas have made provision for minority religions and other cultural issues.

2.8. Mapping of South Asian music and dance

As part of the desk research for this mapping study a database of South Asian Music and Dance has been created (see Appendix 3). Several sources were utilised in constructing this database: ▪ A list of consultees provided by ACE; ▪ Other consultees added to the consult list over the research period; ▪ Individuals and organisations listed within desk research documents; ▪ Online research of websites relevant to the sector; ▪ Online research using the Google search engine; ▪ Survey respondents not captured through the above.

Please note that this database should not be taken as a complete picture of the South Asian music and dance sector in the UK. It is based purely on the information provided by these data sources, so is reliant on individuals and organisations being known to ACE and others consulted; having engaged with previous research or conference activity; having an online presence; and being reached by the survey.

A significant amount of time and resource was invested in creating this database, beyond that which was planned and budgeted for. As such a cut-off point had to be reached. Despite these limitations, it provides a fairly detailed overview of the sector and a useful starting point from which to build: 616 entries have been made into the database.

The following sections present an analysis of this database, to provide a flavour of the talent pool and broader infrastructure that exists in relation to the sector. A visual map has also been created utilising post code and town/city data from this database (where available). This can be accessed clicking this link.

2.8.1 Individual or Organisation Type

The database was primarily developed to capture South Asian music and dance practitioners based in England. A natural extension of this was the inclusion of South Asian dance companies, dance schools and academies, and music schools and academies. These categories therefore formed the main focus of research in terms of time and resource.

However, as data was gathered through desk research and online, and the consultation list and survey respondent pool grew, a number of other individual/organisation types were identified. These fall into two categories

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– those within the South Asian music and dance sector and those who do/have offered opportunities to South Asian musicians and dancers.

To gain as comprehensive a picture of the South Asian Music and Dance Sector as possible, a recommendation of this report would be to continue growing this database, focusing on: ▪ South Asian Arts Festivals ▪ South Asian Arts Producers and Production Companies ▪ South Asian Arts Promoters and Agents ▪ South Asian Arts Collectives.

Table 10 shows a breakdown of the individuals and organisations in the database by organisation type. NB: some entries have more than one category aligned to them, e.g. individuals could be dancers and musicians, or dance schools and academies also being music schools and academies. Table 10: Mapping by Organisation Type Individual / Organisation Type Count % South Asian Music or Dance Sector Specific SA Musician 214 34.7% SA Dancer 163 26.5% SA Dance School or Academy 56 9.1% SA Dance Company 44 7.1% SA Arts Development Organisation 12 1.9% SA Arts Festival 10 1.6% SA Arts Producer or Production Company 7 1.1% SA Band 6 1.0% SA Music School or Academy 6 1.0% SA Music Promoter or Agent 3 0.5% SA Arts Collective 1 0.2% Non-South Asian Music or Dance Sector Specific Cultural Centre or Society 70 11.4% Venue – Arts Venue 13 2.1% Dance Development Agency 7 1.1% Arts Festival (non-SA specific) 5 0.8% Venue – Community Venue 2 0.3% Dance Producer or Production Company 2 0.3% (non-SA specific) Dance Examination Board 1 0.2% Base 616 SA = South Asian

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This data shows:

▪ A high number of individual practitioners compared to organisations across both South Asian music and dance. ▪ A greater number of South Asian musicians than South Asian dancers with an online presence – this could suggest there are a greater number of South Asian musicians than dancers in the UK and/or that musicians are more pro-active, generally, in promoting themselves online. ▪ A greater number of South Asian Dance Schools or Academies than Music Schools or Academies with an online presence – this could suggest there are a greater number of South Asian dance schools or academies in England than music schools or academies, or just that they are more pro-active, generally, in promoting themselves online. ▪ Overall, the number of South Asian Producers or Production Companies and Promoters or Agents is low (though a search was not specifically done to identify these individuals and organisations).

2.8.2 Town/City and Region

The database identified which region and which town/city the individual or organisation was based in, to give an overview of the spread across the country. Post code data was also collected to allow visual mapping. Given the constraints on the project, the majority of the research focused on regions within England, however, a few were also captured from the other three UK nations.

Table 11 shows a breakdown of the individuals and organisations in the database by region, whilst Table 12 shows towns/cities that appear five or more times. NB: some entries are based across more than one region and/or city/town, whilst 28 entries could not be aligned with a region and 34 entries could not be aligned with a city/town.

This data shows:

▪ The highest concentration of individuals/organisations within the South Asian music and dance sector appears to be in Greater London – not all provided information on the specific borough in which they are based, but Harrow appears to stand out as being a particular area of activity. ▪ After London, there is a fairly even spread of individuals/organisations within the South Asian music and dance sector across the West Midlands and South East of England, most closely followed by the Yorkshire & The Humber and East Midlands regions.

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▪ There are very few individuals/organisations within the South Asian music and dance sector in the North East. ▪ In the Midlands, Birmingham and Leicester are the cities that appear to have the highest level of activity, most closely followed by Coventry. ▪ In the North of England, Manchester and Leeds are the cities that appear to have the highest level of activity. ▪ Where specified, the boroughs within Greater London with the highest level of activity are Harrow, Ilford and Uxbridge.

It should be noted that these findings are based solely on the information sources utilised in building the database, so should not be taken as absolute. It is likely many more individuals/organisations exist who do not have an online presence and/or did not appear through the search terms utilised in Google.

Also, as previously mentioned, the focus of time and resource on beginning to build this database focused predominantly on South Asian music and dance practitioners based in England, and by extension South Asian dance companies, dance schools and academies, and music schools and academies.

Table 11: Mapping by UK Region Region Count % English Regions Greater London 258 41.9% West Midlands 66 10.7% South East England 61 9.9% Yorkshire & The Humber 54 8.8% East Midlands 48 7.8% North West 36 5.8% East of England 20 3.2% South West England 21 3.4% North East 3 0.5% Other UK Regions Scotland 13 2.1% Wales 6 1.0% Not Given Blank 28 4.5% Base 616

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Table 12: Mapping by Town/City Region Count % English Towns/Cities London 152 24.7% Birmingham 48 7.8% Leeds 32 5.2% Leicester 27 4.4% Harrow 26 4.2% Manchester 15 2.4% Bristol 15 2.4% Coventry 14 2.3% Ilford 10 1.6% Uxbridge 10 1.6% Oxford 9 1.5% Croydon 7 1.1% Bradford 6 1.0% Cambridge 6 1.0% Nottingham 6 1.0% Slough 6 1.0% Liverpool 5 0.8% Milton Keynes 5 0.8% Newcastle 5 0.8% Preston 5 0.8% Reading 5 0.8% Wembley 5 0.8% Wolverhampton 5 0.8% Base 616

2.8.3 Individual/Organisational Type by Region

To determine whether individual/organisation types within the South Asian music and dance sector differed by region a filter by individual/ organisation type was applied to the data, and a count done of the number within each English region, given England was the focus of the research. The results of this analysis can be seen in Table 13.

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Table 13: SA Organisation Type by Regions English South Asian Individual or Organisation Type Region A B C D E F G H I J K Greater 95 76 25 16 4 3 3 4 3 1 1 London West 26 13 6 5 0 1 2 0 3 0 0 Midlands South East 15 17 9 5 1 1 0 1 0 2 0 England Yorkshire & 20 13 2 6 3 3 0 0 0 0 0 Humber East 10 10 4 5 0 2 2 0 0 0 0 Midlands

North West 14 12 5 2 2 0 0 0 0 0 0

East of 6 4 3 2 0 0 0 0 0 0 0 England South West 8 8 1 1 1 0 0 0 0 0 0 England

North East 1 0 0 0 1 0 0 0 0 0 0

Unknown 19 7 0 0 0 0 0 1 0 0 0

TOTAL 214 160 54 42 12 10 7 6 6 3 1

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Key to Table Columns A. South Asian Musician B. South Asian Dancer C. South Asian Dance School or Academy D. South Asian Dance Company E. South Asian Arts Development Organisation F. South Asian Arts Festival G. South Asian Arts Producer or Production Company H. South Asian Band I. South Asian Music School or Academy J. South Asian Music Promoter or Agent K. South Asian Arts Collective.

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This data shows that:

▪ London has the highest concentration of all individual/organisation types within the South Asian Music and Dance Sector by far (with the possible exception of South Asian Promoters or Agents). ▪ Outside of London, the West Midlands has the highest concentration of South Asian musicians relative to the other regions. ▪ The South East of England, East Midlands and North West have a similar number of South Asian musicians and dancers to one another. ▪ Yorkshire & The Humber has a slightly higher concentration of South Asian dancers, compared to musicians. ▪ Given that there is a relatively high number of South Asian Arts Development Organisations in Yorkshire & The Humber, the numbers across other individual/organisation types seems low. ▪ Outside of London and the West Midlands the lack of South Asian Music Schools and Academies particularly stands out.

2.8.4 South Asian Dance

Focusing on South Asian dancers, dance companies, dance schools and academies and South Asian Arts Development Organisations, an analysis has been done by form practiced. It should be noted that numerous individuals and organisations practiced more than one dance form. The results of the analysis are presented in Table 14.

This data shows that:

▪ Bharatanatyam appears to be by far the most practiced of the South Asian dance forms by individual practitioners and is also the dance form that appears to most frequently be offered by South Asian dance schools and academies. ▪ Kathak appears to be second to Bharatanatyam in terms of individual practice and seems to enjoy a relatively high level of representation amongst South Asian dance companies. ▪ Bollywood appears to be a popular dance form also, and within the database outnumbers Odissi. ▪ Other South Asian dance forms are practiced, performed and taught, but currently seem to lag behind the more well-known dance forms of Bharatanatyam, Kathak, Bollywood and Odissi.

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Table 14: Mapping by Dance Form Dance Style by Organisation Type Count % South Asian Dancers (Base: 163) Bharatanatyam 87 53.4% Kathak 44 27.0% Bollywood 28 17.2% Odissi 21 12.9% Kuchipudi 12 7.4% Bhangra 7 4.3% Folk 3 1.8% Mohiniyattam 3 1.8% Giddha 1 0.6% Indian Creative Dance 1 0.6% South Asian Dance Companies (Base: 44) Kathak 16 36.4% Bharatanatyam 15 34.1% Bollywood 10 22.7% Odissi 5 11.4% Bhangra 4 9.1% Kathakali 2 4.5% Giddha 1 2.3% Mohiniyattam 1 2.3% Yakshagana 1 2.3% South Asian Dance School or Academy (Base: 56) Bharatanatyam 36 64.3% Bollywood 13 23.2% Kathak 12 21.4% Kuchipudi 8 14.3% Odissi 7 12.5% Bhangra 6 10.7% Mohiniyattam 2 3.6% Garba 1 1.8% Kathakali 1 1.8% Manipuri 1 1.8%

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Dance Style by Organisation Type Count % South Asian Arts Development Organisations (Base: 12) Bharatanatyam 5 41.7% Kathak 4 33.3% Bollywood 2 16.7% Bahngra 1 8.3% Folk 1 8.3% Indian Creative Dance 1 8.3%

The one South Asian Arts Collective in the database focuses on Odissi and is based in Greater London.

To determine whether the dance form practiced differed by region a filter by individual/organisation type and form was applied to the data, and a count done of the number within each English region. The results of this analysis can be seen in Tables 15 to 17.

This data shows that:

▪ Greater London, in general, has the highest representation of all South Asian dance forms with the exception of Mohiniyattam and Indian Creative Dance amongst practitioners; Yakshagana amongst South Asian dance companies; and Kuchipudi amongst dance schools and academies. ▪ Bharatanatyam has higher representation amongst South Asian dance practitioners in the South East and South West of England than in other regions (not including London); and in Yorkshire & The Humber and the East Midlands for dance companies. ▪ Kathak has higher representation amongst South Asian dance practitioners in the East Midlands than in other regions (not including London); and in the East Midlands, South East and West Midlands for dance companies. ▪ Bollywood appears to be equally popular amongst South Asian dance practitioners in most other regions outside London; and has higher representation amongst South Asian dance companies in the South East of England, Yorkshire & The Humber, the East Midlands and North West.

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Table 15: SA Dancers by English Region and Form South Asian Individual/Organisation Type English Bharat- Bolly- Mohini- Indian Kathak Odissi Kuchipudi Bhangra Folk Giddha Region anatyam wood yattam Creative Greater 42 21 11 12 6 3 0 1 0 0 London West 5 4 3 0 1 2 0 0 1 0 Midlands South East 12 3 2 3 1 0 0 0 0 0 England Yorkshire & 6 4 2 0 1 0 1 0 0 0 Humber East 3 6 2 0 0 0 0 0 0 0 Midlands

North West 5 2 1 1 3 1 0 0 0 1

East of 2 1 2 1 0 0 0 1 0 0 England South West 7 0 4 0 0 1 1 0 0 0 England

North East 0 0 0 0 0 0 0 0 0 0

Unknown 5 3 1 1 0 0 1 1 0 0 TOTAL 87 44 28 18 12 9 3 3 1 1

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Table 16: SA Dance Companies by English Region and Form South Asian Dance Styles English Bharat- Kathak Bollywood Odissi Bhangra Kathakali Giddha Yakshagana Region anatyam Greater 4 4 4 2 2 1 0 0 London West 1 3 0 1 1 0 1 0 Midlands South East 0 3 2 1 0 1 0 0 England Yorkshire & 3 1 2 0 1 0 0 1 Humber East 2 4 1 0 0 0 0 0 Midlands

North West 1 0 1 0 0 0 0 0

East of 1 1 0 1 0 0 0 0 England South West 1 0 0 0 0 0 0 0 England

North East 0 0 0 0 0 0 0 0

TOTAL 13 16 10 5 4 2 1 1

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Table 17: SA Dance School or Academy by English Region and Form South Asian Dance Styles English Bharat- Bolly- Mohini- Kathak Kuchipudi Odissi Bhangra Garba Kathakali Manipuri Region anatyam wood yattam Greater 18 5 7 3 4 5 1 1 0 0 London West 5 2 0 0 0 0 0 0 0 0 Midlands South East 4 2 1 1 0 0 0 0 0 0 England Yorkshire & 0 1 1 0 0 0 0 0 0 0 Humber East 2 1 1 2 0 0 1 0 1 1 Midlands

North West 2 0 0 2 1 0 0 0 0 0

East of 2 0 1 0 1 0 0 0 0 0 England South West 0 0 1 0 0 0 0 0 0 0 England

North East 0 0 0 0 0 0 0 0 0 0

TOTAL 33 11 12 8 6 5 2 1 1 1

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Arts Council England South Asian Dance and Music Mapping Appendix 2: Market Analysis ▪ Odissi has high representation amongst South Asian dance practitioners in the South East (not including London); the West Midlands, South East and East of England for dance companies; and the East Midlands and East of England for dance schools and academies. ▪ Bhangra has high representation amongst South Asian dance practitioners in the West Midlands (not including London); and in the West Midlands and Yorkshire & The Humber for dance companies. ▪ Kuchipudi has high representation amongst South Asian dance practitioners in the North West (not including London); and the East Midlands and North West for dance schools and academies. ▪ In most other regions (not including London) the representation of Bharatanatyam, Kathak and Bollywood is fairly evenly spread. ▪ The South West of England and the North East appear to lack dance schools or academies for all forms of South Asian dance.

2.8.5 South Asian Music

Focusing on South Asian musicians, music schools and academies and South Asian Arts Development Organisations, an analysis of the database has been done by music form practiced. Musicians were frequently multi- instrumentalists, as well as instrumentalists and vocalists. In addition to musical instruments, musicians also described themselves by the genre of music they were involved with, or the style of vocal they practiced. The results of the analysis are presented in Table 18.

Key to table: I = Instrument G = Genre VS = Vocal Style

This data shows that:

▪ Vocal is by far the most frequent South Asian music form practiced amongst musicians. ▪ Tabla appears to be second to vocal in terms of individual practice. ▪ and Harmonium appear to also be popular instruments amongst South Asian musicians. ▪ The sheer number of musical instruments, vocal styles and genres of music indicate how complex the South Asian music sector is. ▪ The number of South Asian music schools/academies seems extremely low but may be indicative of how many musicians learn through one-to- one private tuition (with a guru), or via classes run in faith temples.

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Table 18: Mapping by Music Form Instrument, Genre or Vocal Style Count % South Asian Musicians (Base: 214) Vocalist (I) 98 45.8% Tabla (I) 65 30.4% Sitar (I) 20 9.3% Harmonium (I) 19 8.9% Bhagan (VS) 12 5.6% Guitar (I) 11 5.1% Veena (I) 11 5.1% Violin (I) 10 4.7% (I) 7 3.3% Dilruba (I) 7 3.3% Paino (I) 6 2.8% Bollywood (G) 5 2.3% Flute (I) 5 2.3% (4) 4 1.9% (I) 4 1.9% Bhangra (G) 3 1.4% Keyboard (I) 3 1.4% Sanrangi (I) 3 1.4% (I) 3 1.4% Ghazal (VS) 3 1.4% (I) 3 1.4% Thurnri (VS) 3 1.4% (I) 2 0.9% Santoor (I) 2 0.9% (I) 2 0.9% Konnakkole (VS) 2 0.9% (I) 2 0.9% Geet (VS) 2 0.9% Qawwali (VS) 1 0.5% (I) 1 0.5% Tar Shennai (I) 1 0.5% Drums (I) 1 0.5%

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Arts Council England South Asian Dance and Music Mapping Appendix 2: Market Analysis Instrument, Genre or Vocal Style Count % Sarinda (I) 1 0.5% Saxophone (I) 1 0.5% Dholki (I) 1 0.5% Shabad (VS) 1 0.5% (I) 1 0.5% (I) 1 0.5% (I) 1 0.5% Tanti Saaj (I) 1 0.5% Tarana (VS) 1 0.5% Rabab (I) 1 0.5% Khayal (VS) 1 0.5% South Asian Music School / Academy (Base: 6) Tabla 3 50.0% Dilruba 2 33.3% Mridangam 2 33.3% Taus 2 33.3% Veena 2 33.3% Violin 2 33.3% Dhol (I) 1 16.7% Flute 1 16.7% Rabab 1 16.7% Saranda 1 16.7% 1 16.7% Sitar 1 16.7% Vocal 1 16.7% South Asian Arts Development Organisation (Base: 12) Vocal 4 33.3% Dhol 3 25.0% Sitar 1 8.3% Harmonium 1 8.3% Veena 1 8.3% Violin 1 8.3%

To determine whether the music form practiced differed by region a filter by individual/organisation type and music form was applied to the data,

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and a count done of the number within each English region. The results of this analysis can be seen in Table 19.

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Table 19: SA Musicians by English Region and Form21 South Asian , Music Genre or Vocal Style English Vocalist Tabla Sitar Harmonium Bhagan Guitar Veena Violin Dhol Dilruba Piano Region (I) (I) (I) (I) (VS) (I) (I) (I) (I) (i) (I) Greater 54 32 7 12 6 5 3 3 1 4 5 London West 7 12 1 2 2 1 3 1 1 1 0 Midlands South East 6 4 3 0 1 0 3 3 0 0 0 England Yorkshire & 7 5 3 0 0 1 1 2 2 1 0 Humber East 7 0 2 1 1 0 1 0 0 0 0 Midlands North West 4 4 2 2 2 1 0 1 1 0 0 East of 2 3 1 0 0 1 0 0 0 0 1 England South West 2 3 1 1 0 0 0 0 1 0 0 England North East 1 0 0 0 0 0 0 0 0 0 0

Unknown 8 2 0 1 0 2 0 0 1 1 0 TOTAL 98 65 20 19 12 11 11 10 7 7 6

21 Given the sheer number of instruments, vocal styles and music genres only those practiced by more than five musicians have been included in the table.

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South Asian Music Schools or Academies

In relation to the South Asian Music Schools or Academies by region: ▪ Greater London: training in Dhol, Taus, Dilruba, Rabab, Violin, Tabla, Sitar, Flute, Veena, Saranda, Sarangi and Mridangam is provided; ▪ West Midlands: training in Tabla, Taus, Dilruba, Veena, Violin, Mridangam and Vocal is provided.

South Asian Arts Development Organisations

In relation to the South Asian Arts Development Organisations by region: ▪ Greater London: training in Violin, Vocal and Dhol is provided; ▪ North West: training in Veena and Vocal is provided; ▪ South East: training in Harmonium, Sitar, Dhol and Vocal is provided; ▪ Yorkshire & The Humber: training in Dhol is provided.

This data shows that:

▪ Greater London, in general, has the highest representation of all South Asian music forms amongst practitioners and South Asian music schools and academies. ▪ Vocalists have higher representation amongst South Asian musicians in the West Midlands, Yorkshire & The Humber, East Midlands and South East regions (not including London). ▪ Tabla has higher representation amongst South Asian musicians in the West Midlands (not including London). ▪ Sitar, Harmonium, Bhagan, Guitar, Violin, Dhol and Dilruba have low but fairly even representation amongst South Asian musicians across the regions (not including London), though in some cases there are regions that appear to have no representation in each of these forms. ▪ Veena has higher representation amongst South Asian musicians in the West Midlands and South East of England (not including London). ▪ The East of England is the only other region in England (not including London) with a South Asian musician who states they practice the Piano. ▪ As was the case with dance, representation of South Asian music in the North East is very low.

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2.9 Arts Council England: grant application data 2.9.1 Dance Applications

Arts Council England provided 3 years of data (2016-2019) for dance applications to Grants for the Arts (GFTA), National Project Grants (PG) and Developing Your Creative Practice (DYCP) from South Asian applicants22.

Applications by Individuals

Data on the applications made by individual South Asian applicants shows that over the three-year period:

▪ The number of applications made in each category has remained relatively consistent, though there appears to have been a small jump in 2018/19 for the under £15,000 and National Activity categories: – The highest number of applications in the under £15,000 category was 16 (2018/19) and the lowest 11 (2016/17), with an average of 13 applications a year over the three years. – The highest number of applications in the over £15,000 category was 2 (2017/18) and the lowest 0 (2018/19), with an average of 1 application a year over the three years. – The highest number of applications in the National Activity category was 3 (2018/19) and the lowest 1 (2016/17), with an average of 2 applications a year over the three years. – When all applications made in the year are added together, the highest number of applications was 24 (2018/19) and the lowest 13 (2016/17), with an average of 18 applications a year over the three years. ▪ The number of offers made in each category has remained relatively consistent over the years, with the exception of the under £15,000 category: – The highest number of awards made in the under £15,000 category was 11 (2018/19) and the lowest 7 (2016/17), with an average of 9 awards a year over the three years. – The highest number of awards made in the over £15,000 category was 1 (2016/17 and 2017/18) and the lowest 0 (2018/19), with an average of 1 award a year over the three years. – The highest number of awards made in the National Activity category was 3 (2018/19) and the lowest 1 (all other years), with an average of 2 awards a year over the three years.

22 South Asian applicants are defined as individuals who identify as being Indian, Pakistani or Bangladeshi, or organisations who have > 50% representation.

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– When all awards made in the year are added together, the highest number of awards was 16 (2018/19) and the lowest 9 (2016/17), with an average of 12 awards per year over the three years. ▪ The success rate of applications made in each category (once ineligible applications are removed from the calculation) has seen fluctuations across the three-year period, though this is predominantly due to the very small number of applications in the higher categories: – The highest success rate for applicants in the under £15,000 category was 83% (2017/18), followed by 79% (2018/19) and 78% (2016/17), with an average of 80% across the three years. – The success rate for the over £15,000 in both 2016/17 and 2017/18 was 100% (discounting one ineligible application), with no applications made in 2018/19. – The highest success rate for applicants in the National Activity category was 100% (2016/17 and 2018/19).

Applications by Organisations

Data on the applications made by South Asian organisation applicants shows that over the three-year period:

▪ The number of applications made in each category has remained relatively consistent: – The number of applications in the under £15,000 category made across all three years was 14. – The highest number of applications in the over £15,000 category was 2 (2016/17 and 2018/19) and the lowest 1 (2017/18). – The highest number of applications in the National Activity category was 2 (2016/17) and the lowest 0 (2018/19). – When all applications made in the year are added together, the highest number of applications was 18 (2018/19) and the lowest 16 (2016/17 and 2017/18).

The number of offers made in each category has remained relatively consistent over the years, with the exception of the under £15,000 category: – The highest number of awards made in the under £15,000 category was 10 (2018/19) and the lowest 4 (2017/18). – The highest number of awards made in the over £15,000 category was 2 (2016/17 and 2018/19) and the lowest 1 (2017/18).

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– The highest number of awards made in the National Activity category was 1 (2016/17 and 2017/18). – When all awards made in the year are added together, the highest number of awards was 12 (2018/19) and the lowest 6 (2017/18), with an average of 9 awards per year over the three years.

Sub-classifiers in Applications by South Asian Applicants

Data on the popularity of sub-classifiers amongst South Asian applicants shows that:

▪ 64% of eligible applications from South Asian applicants were sub- classified as World, compared to 10% of eligible applications from all applicants. ▪ Contemporary was the next most popular sub-classifiers amongst South Asian applicants, accounting for 29% of all eligible applications from these applicants, compared to 75% for all applicants. ▪ 55% of awards made to South Asian applicants included the sub-classifier World, compared to 9% amongst all applicants. ▪ 38% of awards made to South Asian applicants included the sub-classifier Contemporary, compared to 76% amongst all applicants. ▪ The number of eligible applications from South Asian applicants that included the sub-classifier World has grown over the last three years, from 15 to 23. ▪ The number of eligible applications from South Asian applicants that included the sub-classifier Contemporary has remained relatively consistent over the last three years with a high of 10 (2016/17) and low of 8 the other years.

2.9.2 Music Applications

Arts Council England has provided data for financial years 2015 through to 2019 showing music applications to Grants for the Arts (GFTA), National Project Grants (PG) and Developing Your Creative Practice (DYCP) from South Asian applicants23.

Applications by Individuals

Data on the applications made by individual South Asian applicants shows that over the five-year period:

23 South Asian applicants are defined as individuals who identify as being Indian, Pakistani or Bangladeshi, or organisations who have > 50% representation.

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▪ The number of applications made in each category has remained relatively consistent: – The highest number of applications in the under £15,000 category was 15 (2017/18) and the lowest 10 (2015/16), with an average of 12 applications a year over the five years. – The highest number of applications in the over £15,000 category was 2 (2017/18) and the lowest 0 (2014/15 to 2016/17), with an average of 1 application a year over the five years. – The highest number of applications in the National Activity category was 2 (2014/15 and 2017/18) and the lowest 0 (all other years). – When all applications made in the year are added together, the highest number of applications was 19 (2107/18) and the lowest 10 (2015/16), with an average of 14 applications a year over the five years. ▪ Offers have only been made to applicants in the under £15,000 category with a high of 7 and a low of 5, averaging 6 per year; and the National activity category with a high of 1 and a low of 0, averaging 0 per year – this represents an average success rate of 63% and 10% respectively.

Applications by Organisations

Data on the applications made by South Asian organisation applicants shows that over the five-year period:

▪ The number of applications made in each category has remained relatively consistent: – The highest number of applications in the under £15,000 category was 23 (2018/19) and the lowest 12 (2016/17), with an average of 17 applications a year over the five years. – The highest number of applications in the over £15,000 category was 3 (three of the five years) and the lowest 2 (two of the five years), with an average of 3 applications a year over the five years. – The highest number of applications in the National Activity category was 2 (2015/16) and the lowest 0 (2016/17 to 2018/19), with an average of 1 application a year over the five years. – When all applications made in the year are added together, the highest number of applications was 25 (2018/19) and the lowest 15 (2016/17), with an average of 20 applications a year over the five years. ▪ The number of offers made in each category has remained relatively consistent:

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– The highest number of awards made in the under £15,000 category was 9 (2017/18) and the lowest 5 (2016/17), with an average of 7 awards a year over the five years. – The highest number of awards made in the over £15,000 category was 3 (2017/18) and the lowest 2 (all other years), with an average of 2 awards a year over the five years. – The highest number of awards made in the National Activity category was 2 (2015/16) and the lowest 0 (all other years). – When all awards made in the year are added together, the highest number of awards was 12 (2015/16) and the lowest 7 (2016/17), with an average of 10 awards per year over the five years. ▪ The success rate of applications made in each category has seen fluctuations across the five-year period: – The highest success rate for the under £15,000 category was 75% (2017/18) and the lowest 41% (2015/16), with an average of 55% over the five years. – The highest success rate for the over £15,000 category was 100% (three of the five years) and the lowest 67% (two of the five years), with an average of 87% over the five years. – The highest success rate for the under National Activity category was 100% (2015/16) and the lowest 0%, (all other years). – When all awards made in the year are added together, the highest success rate was 53% (2017/18) and the lowest 40% (2014/15).

Sub-classifiers in Applications by South Asian Applicants

Data on the popularity of sub-classifiers amongst South Asian applicants shows that:

▪ 61% of eligible applications from South Asian applicants were sub- classified as World, compared to 10% of eligible applications from all applicants. ▪ Classical and Popular were the next most popular sub-classifiers amongst South Asian applicants, both accounting for 8% of all eligible applications from these applicants, compared to 20% and 18% for all applicants, respectively. ▪ 57% of awards made to South Asian applicants included sub-classifiers World, 12% Popular and 8% Classical; compared to 11% World, 16% Popular and 21% Classical amongst all applicants. ▪ The number of eligible applications from South Asian applicants that included the sub-classifier World has remained relatively consistent over

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the last five years with an average of 22 applications per year – the only outliers are 9 applications in 2016/17 and 31 applications in 2018/19. ▪ The number of eligible applications from South Asian applicants that included the sub-classifier Classical has remained relatively consistent over the last five years with an average of 2 applications per year –with the exception of 9 eligible applications in 2014/15. ▪ The value of awards to South Asian applicants as a % of overall that included the sub-classifier World has varied over the last five years, from a low of 8% in 2016/17 to a high of 23% in 2017/18. The average over the five years is 16%. ▪ The value of awards to South Asian applicants as a % of overall that included the sub-classifier Classical has ranged from a low of 0% in 2016/17 and 2017/18 to a high of 3% in 2014/15. The average over the five years is 1%. ▪ When sub-classifiers and success rate of applicants across all five financial years is ranked from 1 to 13, with 1 being the highest success rate (100%) and 13 the lowest (0%), South Asian projects including the sub-classifier World were the 7th most successful (60 out of 108, 55.6%). ▪ Over all five financial years, South Asian applicants accounted for 15% of all applications, 17% of all awards, and 16% of the value of awards made to projects containing the sub-classifier World. Table 20: Sub-classifiers by South Asian and All Applicants Success Rate – Rank Success Rate – Rank Sub-classifier SA Applicants - All All Applicants - SA N % N % Brass Bands 1 4 of 4 100% 12 49 of 128 38.3% Jazz 2 7 of 8 87.5% 1 443 of 750 59.1% Popular 3 13 of 15 86.7% 9 543 of 1,290 42.1% Folk 4 3 of 4 75.0% 6 202 of 416 48.6% Other music 5 4 of 6 66.7% 2 100 of 184 54.3% Experimental 6 3 of 5 60.0% 5 272 of 557 48.8% World 7 60 of 108 55.6% 3 351 of 705 49.8% Classical 8 8 of 15 53.3% 4 687 of 1,394 49.3% Opera 9 1 of 2 50.0% 10 243 of 602 40.4% Choral 10 2 of 6 33.3% 8 204 of 481 42.4% Community music 11 1 of 4 25.0% 7 167 of 386 43.3% Early music 12 0 of 0 0% 11 15 of 39 38.5% Media Arts 13 0 of 0 0% 13 18 of 48 37.5%

2.8.3 Ineligibility & Rejection Reasons

In addition to data on the eligible applications and awards made by ACE to South Asian Dance and music projects, data is also available on the reasons

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why some applications received were deemed ineligible and why those that were eligible were rejected.

South Asian Dance

A review of the data shows two principal reason categories for South Asian Dance applications being deemed ineligible (see Figure 1 for full breakdown):

▪ Underdeveloped (41%, n=7) ▪ Underdeveloped against one or more of the four criteria (29%, n=5).

When looking at the reason text, one principal reason was given to 71% (n=12) of applicants - Your application does not contain enough information or is not sufficiently developed in some areas for us to be able to process it (see Table 21 for full breakdown).

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Figure 1: Reason Categories for Ineligible SA Dance Applications

Table 21: Reason Categories for Ineligible Dance Applications % of all Reason Count reasons Your application does not contain enough information or is not sufficiently developed in some areas for us to be 12 71% able to process it. Your budget does not balance. If you apply again, please make sure you read the budget section of the guidance 1 6% notes. If you have difficulty balancing your budget contact us on 0845 300 6200. You have previously been awarded a grant for this programme. Successful applicants cannot make another 1 6% application until three years after the application deadline for the round you were successful in. We decided that your project as described in your application doesn’t clearly focus on the artforms and 1 6% disciplines we are able to support. The project you applied for appears to include some income that is not clearly assigned to spending related to 1 6% your project. You did not provide enough evidence that special circumstances prevented you from finding the minimum 1 6% of 10 per cent of the total cost of your project from other sources.

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When looking at reasons for why applications were rejected, again there are two principal reason categories (see Figure 1 for full breakdown):

▪ Comparatively weaker (41%, n=14) ▪ Other applications preferred (24%, n=8).

This is reflected in the reason text sent to applicants, which also shows two principal reasons were given (see Table 4 for full breakdown):

▪ We decided that the artistic and/or public engagement outcomes of your activity were less strong than other applications we received (25%, n=11). ▪ We decided that your application was less strong in relation to quality and/or public engagement than other applications we received (19%, n=8).

Figure 2: Reason Categories for Rejected SA Dance Applications

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Table 22: Reason Categories for Rejected Dance Applications % of all Reason Count reasons We decided that the artistic and/or public engagement outcomes of your activity were less strong than other 11 26% applications we received. We decided that your application was less strong in relation to quality and/or public engagement than other applications 8 19% we received. On balance we preferred other applications on this occasion. Careful thought about lots of different factors goes into making our decisions. We consider the strength of your application alongside other applications we receive, and we 6 14% think about the range and balance of different projects we’re supporting. We want the projects we fund to cover a broad range of artforms and disciplines, geographical areas and activity types. It showed weaknesses in relation to the activity’s public 4 10% engagement outcomes. It showed weaknesses in relation to the activity’s artistic 2 5% outcomes. We decided that the public engagement outcomes of your activity were less strong than other applications we 2 5% received. When we considered the range of factors that make up 'public engagement', we decided that we were unable to 2 5% support this application. On balance we preferred other applications on this occasion. Our decision making takes many factors into account. We consider your activity alongside other applications and look 2 5% at the range of projects we support. We want the projects we fund to cover a broad range of activity types, artforms and geographical areas. We decided that the finances for your activity were less 2 5% strong than other applications we received. We decided that your application was less strong on 1 2% management than other applications we received. We decided that the plans to manage your activity were less 1 2% strong than other applications we received. We decided that your application was less strong on public 1 2% engagement than other applications we received.

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South Asian Music

A review of the data shows two principal reason categories for South Asian Music applications being deemed ineligible (see Figure 2 for full breakdown):

▪ Underdeveloped against one or more of the four criteria (25%, n=9) ▪ Underdeveloped (22%, n=8).

When looking at the reason text, one principal reason was given to 49% (n=17) of applicants - Your application does not contain enough information or is not sufficiently developed in some areas for us to be able to process it (see Table 23 for full breakdown).

Figure 3: Reason Categories for Ineligible SA Music Applications

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Table 23: Reason Categories for Ineligible Music Applications % of all Reason Count reasons Your application does not contain enough information or is not sufficiently developed in some areas for us to 17 49% be able to process it. We have reviewed your mandatory attachments and 3 9% they do not meet our minimum requirements. You applied for money to buy equipment or assets that are not in line with the eligibility criteria for this 3 9% programme. The project you applied for appears to include some income that is not clearly assigned to spending related 2 6% to your project. We decided that the project you applied for will not sufficiently benefit the public, either in the short or long 1 3% term. We decided your application has not sufficiently addressed the reason that an earlier submission of this 1 3% application was not successful. We decided your application was too similar or the same as an application you have previously submitted, 1 3% and which was unsuccessful. You applied for money to buy equipment and we decided that this will not benefit the public, either in the 1 3% short or long term. Your application does not contain enough information, or is not sufficiently developed in some areas for us to 1 3% be able to process it. Your application does not contain enough information, or is not sufficiently developed in some areas for us to be able to process it. If your application does not contain enough information we need in the format we ask for it to be in, it will not be eligible. There was not enough information in the quality section of your application. We would expect to see more information about your artistic activity and what you 1 3% propose to do for this project. Broadly speaking, we need to know what you want to do and why you want to do it, if other people or organisations are involved we would expect you to tell us about them and their role in the activity. Providing more information in the project plan would have given us a clearer understanding of the different stages of your project and what you intend to do. Your application does not focus on the development of 1 3% your own creative practice.

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% of all Reason Count reasons Your budget does not balance. If you apply again, please make sure you read the budget section of the 1 3% guidance notes. If you have difficulty balancing your budget contact us on 0845 300 6200. You applied for the total cost of your activity and you did not provide evidence that special circumstances 1 3% prevented you from finding 10 per cent of the total cost of your activity from other sources. You have not sought our permission to apply for a specific project type, or have not provided a document 1 3% which shows that we have given you permission to apply.

When looking at reasons for why music applications were rejected, again there are two principal reason categories (see Figure 4 for full breakdown):

▪ Other applications preferred (45%, n=27) ▪ Comparatively weaker (38%, n=23).

This is reflected in the reason text sent to applicants, which also shows two principal reasons were given (see Table 6 for full breakdown):

▪ On balance we preferred other applications on this occasion. Careful thought about lots of different factors goes into making our decisions. We consider the strength of your application alongside other applications we receive, and we think about the range and balance of different projects we’re supporting. We want the projects we fund to cover a broad range of artforms and disciplines, geographical areas and activity types (36%, n=24). ▪ We decided that your application was less strong in relation to quality and/or public engagement than other applications we received (24%, n=16).

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Figure 4: Reason Categories for Rejected SA Music Applications

Table 24: Reason Categories for Rejected SA Music Applications % of all Reason Count reasons On balance we preferred other applications on this occasion. Careful thought about lots of different factors goes into making our decisions. We consider the strength of your application alongside other applications we receive, and we 24 36% think about the range and balance of different projects we’re supporting. We want the projects we fund to cover a broad range of artforms and disciplines, geographical areas and activity types. We decided that your application was less strong in relation to quality and/or public engagement than other applications 16 24% we received. We decided that the artistic and/or public engagement outcomes of your activity were less strong than other 9 13% applications we received. On balance we preferred other applications on this occasion. Our decision making takes many factors into account. We consider your activity alongside other applications and look at 6 9% the range of projects we support. We want the projects we fund to cover a broad range of activity types, artforms and geographical areas.

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% of all Reason Count reasons Your application did not fully meet the criteria in one or more of the areas we consider when appraising (Quality, Public engagement, Management and Finance). Please refer to the 3 4% full appraisal report attached to this letter for more detail on where we identified weaknesses. We decided that the public engagement outcomes of your 2 3% activity were less strong than other applications we received. We decided that the plans to manage your activity were less 2 3% strong than other applications we received. We decided that the finances for your activity were less 1 1% strong than other applications we received. The extent to which this activity contributes to strengthening 1 1% relationships and collaborative working in touring Your application did not fully meet the criteria in one or more of the areas we consider when assessing (Artistic quality, Audience development, Finance and Managing the activity). 1 1% Please refer to the full assessment report attached to this letter for more detail on where we identified weaknesses. We decided that your application was less strong on finance 1 1% than other applications we received. We decided that your application was less strong on public 1 1% engagement than other applications we received.

2.9 Data implications for South Asian dance and music

The data in this report illustrates that the community who self-identify as South Asian within the UK, and predominantly in England, is significant. It makes up at least 5.3% of the population, when just considering those who self-identify as Indian (2.5%), Pakistani (2%) and Bangladeshi (0.8%). This does not include those who self-identify as Asian Sri Lankan, Afghani, Nepalese, Bhutanese or Maldivian. Equally, it does not account for anyone with mixed or multiple ethnic groups, which include those linked to South Asia.

The proportion of the population who self-identify with one of these ethnic groups in both England and the UK as whole is also growing over time. Relative to the general population those of Asian ethnicity tend to be younger, with a significant proportion being aged under 18 years. There is therefore a need for any activity and development of the South Asian dance and music sector to be mindful of the great diversity that exists within England’s South Asian communities, with particular focus on those of Indian, Pakistani, Bangladeshi, Sri Lankan and Afghani ethnicity (who represent the most significant populations). It will be important to ensure that those from all

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ethnic groups/countries of births are targeted with opportunities. The research undertaken during this study has highlighted a strong perception that, in its current state, the sector is strongly biased towards artforms and practitioners linked to India and, as such, the term “South Asian” is disingenuous.

Certainly, the profile of respondents to the online survey delivered as part of this study suggests a great deal needs to be done to better engage with those who self-identify as Pakistani, Bangladeshi, Sri Lankan, Afghani, or Nepalese, with little to no representation from these communities.

This population data also suggests there is a great opportunity for developing and sustaining the South Asian dance and music sector in England. With a growing population that is young, the potential talent pool from which practitioners and arts professionals can be drawn for training, progression and leadership is strong and exciting.

The distribution of South Asian communities across England also shows the opportunity for developing the sector extends across the country as a whole, with the majority of the nine English regions having more than 5% of their resident population self-identify as South Asian. This highlights the need for the South Asian dance and music sector to reach beyond the capital, ensuring that its activity takes place in and impacts on the West Midlands, Yorkshire & The Humber, East Midlands, North West and South East regions in particular.

The population data shows that in terms of reaching those with Pakistani ethnicity, the West Midlands, Yorkshire & The Humber and the North West should be where most energies are focused; whilst London, the West Midlands and the North West are key regions for those with Bangladeshi ethnicity. In addition to these regions the South East and East Midlands are also key regions for those of Indian ethnicity.

When looking at the more granular level of cities, towns and London boroughs, again the reach needs to be broad within each region. When reviewing the analysis of the database of the South Asian dance and music sector created as part of this study, it appears that the current spread of activity appears is particularly dominant in the region of Greater London, most closely followed by the West Midlands, South East and East Midlands.

This is seen in the higher number of entries assigned to London, Harrow, Birmingham, Leicester and Leeds at a city, town and London borough level. If this database is reflective of the current reach of the South Asian dance and music sector, it suggests that much more needs to be done in targeting other cities, towns and London boroughs with any developments in the sector’s infrastructure or other opportunities offered, especially:

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▪ London boroughs: Ealing, Hounslow, Redbridge, Newham and Hillingdon for Indian communities; Redbridge, Newham and Waltham Forest for Pakistani communities; and Tower Hamlets, Newham, Redbridge, Camden, Barking & Dagenham, City of London and Westminster for Bangladeshi Communities. ▪ Cities & Towns beyond London: Wolverhampton for Indian communities; Bradford, Kirklees, Rochdale and Manchester for Pakistani communities; and Oldham and Luton for Bangladeshi communities.

It should be noted that the above conclusions are not implying that only individuals from South Asian ethnic groups will potentially engage with and wish to develop a career in the South Asian dance and music sector. However, they are certainly the dominant target audience for any training, progression and leadership opportunities offered, as per the focus of this report.

The relatively low levels of participation in the arts, as demonstrated by the Taking Part data presented in this chapter, highlight a potential challenge to engaging Asian communities with arts activity. Unfortunately, it is not possible to know if this differs when looking at South Asian communities as a sub- population of this group. However, it may signal that those who self-identify as Asian or Asian British face a greater number of barriers to engagement than the UK population in general and that as such these need to be mitigated against in any development of the South Asian dance and music sector.

2.9.1 Implications for South Asian Dance

As the analysis of the database created for this mapping study shows, Bharatanatyam, Kathak and Odissi appear to be the most practiced classical dance forms in England, whilst Bollywood is the most practiced of the popular forms; and Bhangra the most practiced of the folk dances (though relative to classical dance forms and Bollywood, numbers for Bhangra are low).

This supports the perception that Indian classical dance forms dominate the publicly funded sector, with popular and folk dances overlooked and undervalued. Equally, only a small number of the classical dance forms are represented. At a regional level the lack of diversity of dance forms becomes even more marked, particularly outside of London and the West Midlands:

▪ Across all regions, with the possible exception of the East Midlands, Bharatnatyam dominates. ▪ Five of the nine regions have a Kathak and Bollywood presence. ▪ Odissi only seems to have a presence in London and the South East.

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▪ Kuchipudi only seems to have a presence in London, the East Midlands and North West. ▪ Bhangra only seems to have a presence in London and the West Midlands.

It is important to remember that these observations have been based on the information that was available to map from the desk research and a nationwide callout could help to identify UK-based dancers who practice wider forms of Indian classical dance, classical dance from other South Asian countries and folk dances from across the whole of South Asia. It may also signal a need to bring practitioners of these dance forms to England from overseas to train and develop local dancers. The BBC Asian Network and other media platforms are significant promoters and Bhangra/Bollywood/Urban music is a booming industry with a long history in the UK. However, Bhangra and Bollywood need greater support and investment from the public sector, particularly considering their increased relevance to a younger second and third generation South Asian population.

Part of the conversation should include discussion of the term “South Asian” dance, and whether this in itself presents barriers. Certainly, either the sector has to develop to ensure that dances of all South Asian countries are recognised and represented, or more radical solutions should be considered such as a reclassification by country: Indian Dance, Pakistani Dance, Bangladeshi Dance, Sri Lankan Dance, etc.

2.9.2 Implications for South Asian Music

In terms of South Asian music, Vocal, Tabla, Sitar and Harmonium appear to be the most practiced musical instruments in England. The sheer number of musical instruments listed in the database highlights the diversity of practice that could exist. Equally, musicians and organisations spoke of themselves in relation to the systems of music they practiced, e.g. Canartic and Hindustani; and the musical forms they practiced, e.g. Bhagan, Qawwali and Ghazal, which adds another layer of complexity.

Vocals, Tabla, Sitar and Harmonium are not solely linked to India, being popular in Pakistan, Bangladesh, Sri Lanka and in some cases other South Asian countries. As such, it is less clear if the bias towards India that appears to exist in relation to South Asian dance forms is as prevalent within the music sector.

At a regional level the lack of diversity of music forms becomes more marked, particularly outside of London:

▪ Across all regions, with the possible exception of the West Midlands, Vocal practice dominates. ▪ Five of the nine regions have a Tabla presence.

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▪ Sitar seems to have the most presence in London, the South East and Yorkshire and The Humber. ▪ Harmonium seems to have the most presence in London, the West Midlands and North West. ▪ Veena and Violin seem to have the most presence in London and the South East.

It would be helpful to understand why these musical instruments so heavily dominate the South Asian music sector. Certainly, there appears to be a lack of South Asian music schools or academies in England and arts development organisations offering classes, especially at a regional level, which may limit the options available to budding musicians in their locality. Equally, if one-to- one tuition, temples or other community-based offers are limited in the instruments practiced by teachers this may also have a knock-on effect.

In relation to music, it is less clear than the dance sector if there is a need for greater promotion of non-classical music systems, genres and forms, though anecdotally the classical forms do seem to enjoy greater support.

2.9.3 Implications from South Asian Applicant ACE Grant Applications

The grant application data provided by ACE shows applications from South Asian applicants for both dance and music projects has remained mostly consistent over the years. However, given that the number of individuals and organisations within the current database who practice in the South Asian dance and music sector totals 617, and in comparison with the wider applications overall for grants, the overall number of applications still appears low for both dance and music.

This suggests that more needs to be done to raise awareness of ACE’s grants amongst the South Asian dance and music sector, as well as a better understanding and response to the barriers that exist to those who are aware of the grants but are not making an application. As the results of the artist consultation for this study show, these include:

▪ A lack of awareness it existed or understanding of the process involved ▪ A perception that it is a daunting process ▪ Confusion over what is eligible for funding ▪ Belief that they are not eligible for funding (due to immigration status) ▪ A belief that ACE do not support the type of work they do.

It appears that targeted outreach and engagement activity to encourage applications to the ACE funding schemes is needed. Equally, with the majority of applications being for under £15,000, this may signal an issue with the scale and ambition of projects being developed by South Asian practitioners

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and organisations. This may be indicative of issues linked to training, progression and leadership within the sector which are discussed in the coming chapters. ACE should therefore be working more proactively with the sector to increase both the number and scope of ambition for South Asian applications. Encouragingly, applications made by South Asian dance and music practitioners and organisations achieve a relatively high level of award success from ACE, compared to all applicants. This may signal that, in general, the applications submitted are of a high quality and interest and/ or that there is a strong appetite within ACE to support more projects and activity in the sector. Data from ACE shows that in 2018/19 the number of applications from South Asian dance practitioners and organisations with the sub-classifier ‘World’ increased, as did the number of awards for these projects. This may signal a shift and growth in confidence to both put forward and support projects with a more classical or traditional focus. For both dance and music applications from South Asian individuals and organisations, the main reasons for ineligible applications were the same – underdeveloped generally or underdeveloped against one or more of ACE’s four specific criteria. Rejection was mainly because of competition, with applications being seen as comparatively weaker to other applications or other applications being preferred. A lack of information and the proposed project not having been thought through enough were the principal reasons for applications being underdeveloped; whilst lesser quality, less clear artistic and public outcomes, and less public outcomes overall were principal reasons that other applications performed better. This suggests that individuals and organisations in the South Asian dance and music sector would benefit from training in how to write successful funding applications, and greater support throughout the journey of developing and submitting an application. This could include face-to-face and virtual training and support programmes, surgeries with specialists and resources (including examples of successful applications made). Such an offer could be provided by ACE and/or organisations within the sector whose role it is to support South Asian artists. Equally, peer-to-peer support networks of South Asian dancers and musicians who have successfully applied to ACE and/or are confident in writing funding applications could be created to support those who are struggling in this area.

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Appendix 3 – Desk Research Literature Review Summary South Asian dance & music: literature review and summary insights

Sources Summary:

1. South Asian Dance Feasibility Study 2018, Research and Report by Magdalen Gorringe, Delia Jarrett-Macauley & Anita Srivastava 2. South Asian Dance in Britain (2003) by Chris Bannerman 3. South Asian Classical Dance in the UK (26 March 2012) Pranav Yajnik 4. South Asian Dance National Network: A Report by Rachel Gibson and Anita Srivastava (2018) 5. South Asian Arts UK Annual Report (2016-17), South Asian Arts 6. Dance in the British South Asian Diaspora: Redefining Classicism (2004) by Alessandra Lopez y Royo, School of Oriental and African Studies (SOAS), University of London 7. Navadisha – International Dance Conference: Conference Report (2016) by Rachel Gibson 8. Higher Education Academy Dance map – the employability journey: A toolkit and resource for mapping employability journeys. Dance Department, University of Chichester, prepared for the HEA strategic enhancement programme 2015 By Cathy Childs and Dr Andy Clegg 9. Guru or Teacher? Shishya or Student? Pedagogic Shifts in South Asian Dance Training in India And Britain (2007). by Stacey Prickett Roehampton University, London, South Asia Research 10. Choreographing postcolonial identities in Britain: Cultural policies and the politics of performance, 1983-2008 (July 2015) by Jade Yeow, De Montfort University 11. Research/mapping of South Asian dance and music sector by Jan de Schynkel, BAME South Asian Dance Networking 12. The future of the South Asian Dance Alliance as a National Network for South Asian Dance Development: Report and Recommendations (November 2012) by Rachel Gibson, South Asian Dance Alliance (SADAA) 13. Pathways Proposal: South Asian Dance Progression (December 2019) Prepared by Magdalen Gorringe 14. The Natya Project Evaluation Report (October 2018) by Mark Robinson, Thinking Practice 15. NYDC Project Report: Da*nce Dialogues (2019), Sadlers Wells

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16. Creativity Roundtable – 26th June 2019, De Vere Latima 17. Where are the South Asian women in UK music? (2 August 2019), Malvika Padin, gal-dem (https://gal-dem.com/where-are-the-south-asian-women-in-uk- music) 18. Cultural Value: The Cultural Value of South Asian Arts (2015), Dr Jasjit Singh, University of Leeds, Arts & Humanities Research Council.

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Source Summary Key Insights related to Leadership, Training and Progression 1. South Asian Dance Commissioned by Dance ▪ As of 2018, there is no structured course offering students who wish to take Feasibility Study 2018 Hub Birmingham in up South Asian dance forms professionally the opportunity for intensive partnership with high-quality training. Research and Report by Sampad Arts and Magdalen Gorringe, ▪ The situation remains largely that students make ad hoc arrangements with DanceXchange, to their teachers to advance their training. Delia Jarrett-Macauley & understand the Anita Srivastava ▪ Yuva Gati offers a valuable complement to training with individual teachers feasibility of whether at a pre-vocational level. the time is right to https://bit.ly/2MdlgAC ▪ The Imperial Society of Teachers of Dancing (ISTD) offers a level of launch a UK-based certification to students, including 3 ‘vocational grade’ examinations and an degree - undergraduate arrangement with Middlesex University to convert credits into an MA in or postgraduate course, Dance Teaching. in South Asian Dance. ▪ There is no course able to offer dancers the kind of ‘immersive’ training that dance teachers highlight as critical in the development of a dancer - of 26 young dancers working professionally in the UK for example, 15 have had no opportunity to train full time. ▪ Of those who have trained full time, all but three received this training in India, and only two had full time training for a period of more than three months. ▪ Despite these limitations, most dancers feel well trained in terms of their primary dance form, but ill equipped for professional life. ▪ The numbers likely to undertake a full-time 3-year BA degree in South Asian Dance remain too low. ▪ An important difference Yuva Gati has made is that it allows dancers to consider the option of continuing dance as a career alongside another career if they wish.

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▪ Yuvi Gati has not yet created a groundswell of young dancers aiming to make dance their primary career. Split careers with medicine, architecture or law are frequently preferred. ▪ Dance is highly prized for expression, professional work and identity, and both pre-university dancers hoping to combine dance with another career and post-university dancers who have chosen dance as their primary career, show an appetite for continued training. ▪ Most dancers favour a practice based, modular programme, run over one or two years, which would give them formal accreditation, which could be pursued in tandem with other work or study. ▪ A small but significant number, particularly of post-university students show interest in a practice based one-year full time course. ▪ Key subjects of interest are advanced training in core dance styles, preferably with live musical accompaniment; Carnatic/ Hindustani music; fundraising and marketing (The Business of Dance); choreography and composition; use of dance in theatrical settings; and anatomy, body conditioning and injury prevention, specific to South Asian dancers. ▪ Any course would ideally provide scope for a tailored and monitored training experience in India and should offer the opportunity for an apprenticeship as part of the course, as it would help to address the need for full time training and the ability of students to make industry links. The course would ideally be aimed at students with at least 4/5 years training, who have completed a repertoire. ▪ The University of Roehampton and Coventry University have shown an interest in exploring the possibility of hosting a course, subject to conditions.

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▪ Given the lack of clear onward career trajectories combined with the reality of financial pressures, a higher educational course is not felt to be necessarily the best way of addressing the gap. ▪ A degree should be seen as one step in a range of initiatives needed to make a robust sector. ▪ There is enough support for the idea of a course from parents and teachers, as well as sufficient appetite for continued training shown by students to merit piloting a carefully structured Certificate course. ▪ Evidence suggests that, subject to appropriate provisions to mitigate the risk, there is sufficient interest to merit piloting a practice based higher education course in South Asian dance following either a modular format (run over 2 years), or a 1-year full time model. ▪ A strong advisory board should be established to ensure the development of a robust, deliverable and attractive syllabus. ▪ Numbers must be expected to be small, which will impact on the number of Universities prepared to take this step. ▪ A course run full–time over 2- years (or part time over 3) could result in a HND (or Higher National Diploma), which could be extended by means of a dissertation to lead to an MA. However, it is recommended given the risks and limitations to start with a Certificate. ▪ The sector should consider formalising an apprenticeship model, combining ‘on the job’ experience in a company with University study. It should be pitched as a ‘Higher apprenticeship (Level 4 or 5), considered equivalent to a Foundation degree level. If successful this model could be extended to Level 6 and 7, or ‘Degree apprenticeships’ equivalent to a Bachelor’s or a Master’s Degree (https://www.gov.uk/apprenticeships-guide).

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▪ A dance career road show, ideally developed in partnership with One Dance UK and Dancers Career Development (DCD) should be launched targeting community specific cultural centres, aiming to highlight and signpost the variety of pathways available through dance. ▪ The sector should work together to make the development of repertory companies / a repertory company for South Asian dance forms a priority to provide clear sightlines to dancers and provide a clear answer to the question ‘what are we training for?’. ▪ The sector should champion and model best practice in paying dancers for their time and work. ▪ A business case should be developed for the viability of a Centre for Excellence in South Asian Arts. ▪ In 2018 approximately 350 teachers of classical Indian dance forms were working across the country, independently or attached to an institution. ▪ Student numbers for classical Indian dance forms in 2018 ranged from a handful to over a hundred. ▪ Most teachers continue to be first generation immigrants who received their own training in India, though there are a growing number of classes and schools led by teachers who have trained in the UK. ▪ Teaching, both by private individuals and in institutions, still follows the guru shishya model. While the guru shishya tradition can be nurturing and have the positive result of sustaining distinctive gharanas or banis (or schools) of dance, it can encourage over dependence of a student upon a teacher, and in certain instances prevent dancers from exploring opportunities with teachers of other styles in a way that could enhance their practice.

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▪ The Classical Indian Dance Faculty (CIDF, formerly the South Asian Dance faculty) of the ISTD has provided an important framework for establishing standards and benchmarks in training in dance particularly for students at a pre-vocational level. It has also introduced a range of vocational qualifications, including training for teaching dance. ▪ Yuva Gati, the South Asian Dance strand of the Department of Education’s funded programme through their Music & Dance scheme CAT (Centre for Advanced Training), based in Birmingham, managed by DanceXchange in partnership with Sampad Arts has been a significant development in complementing training dancers receive with their own teachers, particularly in terms of situating this training in the context of the wider British dance industry. ▪ A few institutions, such as the Bhavan and Tamil schools offer their own examinations, sometimes affiliated to examining boards in India. ▪ Previous attempts to offer vocational training in South Asian Dance and Music have been offered by De Montfort University (1992), Aakdemi and London School of Contemporary Dance (2004-09), Trinity Laban in association with Bhavan, and the University of Roehampton. ▪ Courses such as those based at the University of Surrey, at Goldsmith’s or at E15 where students study classical Indian dance or aspects of classical Indian dance forms as one part of broader course have been successful and continue to flourish. ▪ The kind of career ambitions aspired to (in regard dual careers) included doctor, dentist, lawyer, architect. A professional dancer would therefore need to fit around another demanding career and would fit more easily into life as dance teacher, or as a soloist, as opposed to a company dancer.

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▪ Teachers feel that having a course could help to ‘establish the credibility of South Asian forms in Britain’; ‘bring dance to a status level with other subjects’ and ‘provide recognition across the globe’. There is recognition that ‘the currency of a degree is valuable’ and that the steppingstone of a degree could be crucial to help dancers enter the profession. Teachers feel that the presence of a degree will increase the likelihood of students choosing to take up dance professionally. ▪ Teachers feel that dance students undertaking further study should include the supplementary study of music. ▪ Difficulties of getting work, especially paid work, for dancers. ▪ Parents – even those of the most talented student - encourage their children to pursue an academic education and pursue dance as a serious hobby. ▪ The lack of a peer group for higher level training is also felt. ▪ Apart from the wish for a greater level of intensity in training, dancers want to understand how to approach dance as work. They need careers advice, guidance on planning a tour, fundraising and project management, tax returns, and advice on how to network or get projects off the ground. ▪ Other training interests amongst dancers include yoga, Western contemporary dance; ‘dance languages’ such as Tamil and Sanskrit, ballet, dance ‘theory’, dance history, martial arts and ensemble work and physical theatre. ▪ Dancers often need ballet or contemporary training too in order to be considered for a company audition. ▪ South Asiana dancers do not feel that the British dance ecology is genuinely interested in their dance forms and their dance training.

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▪ Significant obstacles to dancers taking up a career in dance are a lack of job opportunities for classically trained dancers, a lack of job security and low pay, not feeling they are good enough and not knowing how to go about it. ▪ There is perceived lack of connection between training and the dance profession. Any course would therefore need to address the practicalities of lighting, stage design, costume design, and the administrative aspects of writing funding applications, filling in tax returns and managing a business. ▪ Both teachers and students cite instances where South Asian dance organisations themselves, which should be championing the requirement of dancers for fair pay have asked dancers to choreograph and perform at substantially below Equity minimum. ▪ To claim to have a genuinely diverse dance ecology, the UK needs to provide robust career options for diverse dance, which do not depend on these forms shoehorning themselves into the contemporary dance sector. For classical Indian dance forms to make a genuine stake in the cultural life of this country there need to be repertory companies established that set a standard of excellence for the practice and performance of these dance forms, that are focused on the development and exploration of these forms rather than on the vision of any one choreographer and that provide a clear progression route for classically trained dancers. ▪ There is a need for ‘success stories’ and clear role models. ▪ Threats to the establishment of any degree course in South Asian dance include a proven unsustainability over a 25-year period, of both undergraduate and postgraduate programmes; and the political and economic climate affecting arts education programmes, which has seen course closures, rising student fees and on-going uncertainty in funding.

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2 South Asian dance in Essay exploring the ▪ Akademi, Bhavan Institute, Sampad, Kadam and Kala Sangam are identified Britain (2003) history and development as leaders in the promotion and development of South Asian dance, using of South Asian Dance in theatre performance and community, education and recreational forms of By Chris Bannerman the UK from the 1960s dance practice to engage audiences - Sampad, Kadam and Kala Sangam are South Asian Diaspora to 2000s. It explores the key organisations outside of London. Arts Archives growth and ▪ Dialogue between the UK and India is central to ensuring the heritage diversification of the perspective of South Asian Dance is considered within the UK’s South Asian https://bit.ly/2Kk4oI2 South Asian Dance Dance ecology. Equally, a focus on mutual exchange is promoted, whereby sector, providing insight South Asian Dance in the UK has much to offer India. into the opportunities ▪ Divisions exist between the traditional and more contemporary forms of and threats it faces in South Asian Dance, in part fuelled by Arts Council policy in the 1980s, to the future. prioritise innovation in its funding schemes. ▪ The number of students in schools and community centres, and syllabi for both Bharata Naryam and Kathak as part of the ISTD (Imperial Society of Teachers Dancing) system of examinations is seen to be demonstrable of the growth in popularity that South Asian Dance is experiencing. ▪ In 2003, South Asian dance had a presence in educational provision from dance in schools to Higher Education in the form of undergraduate programmes as well as major research initiatives. ▪ International exchanges involving diasporic communities from, for example, South Africa, USA and the UK were established during the time of the article being written, which represents the establishment a globalised arena for South Asian dance activities. ▪ Conferences at the time of writing served to develop both the artistic and intellectual underpinning for South Asian dance, as well as effective networks for promoting it.

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▪ Publications focused on South Asian dance that have made their mark are referenced – ExTRADITION, initiated by AdiTi, now called Pulse and under the umbrella of Kadam, is highlighted as the latest of these. ▪ There is a lack of a school for professional training and, as a result of this, the lack of a clear pathway of professional opportunity. 3 South Asian Classical Editorial piece published ▪ Of the eight classical South Asian Dance styles, Bharatanatyam, Kathak and Dance in the UK (26 on the ISTD website, Odissi have the widest proliferation throughout the UK. March 2012) exploring opportunities ▪ Kuchipudi also has a presence but a smaller footprint. across the UK to engage Pranav Yajnik ▪ Although practitioners of Mohiniattam, Manipuri, Kathakali and Sattriya do with the three most dwell in the UK, opportunities to view or to learn these styles are rare. popular South Asian ISTD dance forms of Kathak, https://bit.ly/2XaL1qd Bharatanatyam, and ▪ The larger cities in the UK (i.e. London, Manchester, Birmingham and Odissi, with a specific Leicester) offer the widest opportunities to take regular training in focus on summer Bharatanatyam, Kathak or Odissi. schools in 2012. ▪ At the time of writing the ISTD’s South Asian Dance Faculty did not yet cover Odissi but hoped to in the future (NB: In 2019, the ISTD website lists Classical Indian Dance - Primary (Bharatanatyam, Kathak, Odissi) as one of its courses. ▪ Training opportunities include: o Regular training via attendance at weekly classes. o Ad hoc one-off workshops through the year (from a couple of hours to a few days) often with visiting practitioners from the Indian sub-continent, which offer an especially valuable component in a student’s learning process, exposing them to perhaps a different bãni, rare compositions and new pointers for improving technique. ▪ In 2012 there was no central listing resource for ad hoc workshops, with awareness often down to transmission by word-of-mouth.

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▪ By virtue of being so few in number, South Asian classical dancers in the UK are gregarious and especially committed to keeping each other well- informed. ▪ Annual summer schools that took place on an annual basis in 2012 included the well-established summer school of the Bharatiya Vidya Bhavan in London, where teachers of high calibre, renowned in their field are invited to teach over a period of three weeks at the end of July (consisting of evening and weekend classes); Dance-India, hosted by Milapfest – an intensive one-week residential summer school at the end of August in Liverpool; and a regular summer workshop run by Kadam which offers training in choreography with a specific focus on South Asian classical dance styles. ▪ Summer schools generally offer training at a variety of levels, including for those with comparatively little training, as well as professional dancers. ▪ Attendance at a summer school, allowing close and intensive interaction with a teacher or guru, can trigger the start of a new long-term relationship. ▪ For dancers who are at an advanced level of training and thinking about furthering their experience in India, summer schools are an opportunity to build a rapport and test the ground with a prospective future teacher/guru. ▪ The most fundamental, and perhaps often hardest decision to make, is that of choosing a teacher for regular training. ▪ Leaving aside practical concerns such as location, times of classes etc, only a prospective student’s experience of the teacher in a classroom environment can guide such a choice. ▪ At the beginning of any South Asian classical dance journey it is advisable to attend every event possible in order to acquire a frame of reference against which future choices can be made.

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4 South Asian Dance A report detailing the ▪ There are no large-scale South Asian companies and no NPO that provides a National Network: A key themes discussed in voice for traditional / classical South Asian dance. Report by Rachel Gibson a series of meetings ▪ There are very few professional destinations for South Asian Dancers. and Anita Srivastava hosted by SADAA in ▪ There is a need for establishing a repertory company for South Asian dance 2017 and 2018, which and a youth dance company, which would provide a unique opportunity to (2018) involved artists and work with professional choreographers and composers. others working in South https://bit.ly/2KkyLhB ▪ A youth dance company would need to work in a way that recognises the Asian Dance. Guru-Shishya model. The themes discussed ▪ No touring network for South Asian dance exists. were those that ▪ Many venues perceive dance generally and South Asian Dance in particular emerged from the as expensive and difficult to sell. Navadisha 2016 ▪ Opportunities to present work in other spaces should be explored. conference. The report ▪ Local influencers need to be identified. focuses on the need and ▪ The South Asian dance sector needs to work in a more bespoke way to solutions for: respond to local needs and interests. ▪ Establishing a ▪ Artists could advocate themselves to promoters as choreographers making repertory company unique work rather than emphasising it is South Asian Dance. ▪ Establishing a youth ▪ Greater resources are needed to support touring and marketing costs. dance company ▪ Attracting audiences for South Asian Dance can be challenging. Developing South ▪ ▪ The South Asian Dance sector needs a better understanding of who the Asian Dance Touring audience, as a better guarantee of audiences would help to address some of ▪ Developing the fears held by venue programmers. audiences for South ▪ There are very few producers with specialist knowledge of South Asian Asian Dance dance, leading to a lack of understanding for the work and a perception that ▪ Developing it is exotic. producers to work with South Asian artists/ companies

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▪ Support for mid- ▪ There are lots of programmes aimed at young artists but very few for more career and senior mature artists – professional development interventions are needed at every artists stage of an artist’s career. ▪ Professional training ▪ Bursaries to enable people to develop their own personal training for South Asian programmes would be helpful. artists ▪ The public engagement requirements of Grants for the Arts make it difficult ▪ Future sector leaders for Arts Council to support R&D-related activity, though Developing Your – who they are and Creative Practice has addressed this. how to support their ▪ Artists need to create a “piggy-bank” to support personal training. development. ▪ There is no professional training for South Asian Dance artists in the UK. ▪ Some UK teachers do not have any professional training, which may send the wrong message to their students. ▪ Professional training should be about artists working in the British Asian context and so different to what takes place in India. ▪ Vocational training has to go hand in hand with the creation of job opportunities, otherwise there will be a lack of demand. ▪ Networks and dialogue are needed to address the isolation felt by dancers. ▪ Current leadership in many South Asian arts organisations has been in place for a long time, creating few leadership opportunities and a lack of training. ▪ The lack of succession planning for South Asian dance makes the future of these national organisations and the sector unclear. ▪ Artistic ideas and thinking get left behind if leadership is not dynamic. ▪ The SADAA members have developed a shadowing programme which will offer the opportunity for individuals with an interest in leadership to shadow the senior leader of each SADAA organisation. The programme was launched in the summer of 2018, but to date take-up has been poor. It is believed this is because it is unpaid.

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▪ The Clore Leadership Programme is open to artists. ▪ There is a need to look outside the South Asian Arts sector as many of the issues faced by South Asian dance artists are dance-wide issues. ▪ Collaborative models are needed to combine creation of work with learning of leadership qualities and thinking about work in a different way. ▪ The South Asian dance sector can be insular and there is a sense that this leads to not enough ideas and expertise coming into the sector and a lack of understanding of external perspectives. ▪ The South Asian dance sector itself needs to drive problem-solving / gaps and not look solely to external solutions.

5 South Asian Arts UK Annual report published ▪ The decision to give up a secure full-time job and pursue a career in the arts Annual Report (2016- by South Asian Arts UK is not easy. It is even more challenging for an individual from South Asian 17) detailing their activities, background where parents, extending families and peers see careers in achievements, finance, legal and medical to be more secure and respectable. South Asian Arts challenges and financial ▪ In 2017-2018, both Keertan Rehal and Kirpal Singh Panesar took bold https://bit.ly/374uicw position for the financial decisions to become full-time freelance musicians. SAA-uk has been able to year 2016-17. actively support this decision through engaging both musicians in two special projects as well as solo opportunities and regular employment as tutors at SAA-uk Hindustani Indian Music Academy in which both artists both musicians performed these two artists in making this transition.

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6 Dance in the British ▪ One barrier for South Asian dancers in Britain is funders’ implicit South Asian Diaspora: expectations that they ought to engage with hybridity in order to produce Redefining Classicism innovative, challenging work. (2004) ▪ Many South Asian Dance forms are often overlooked in the UK, often only being found within specific communities, e.g. the dance activities in temples by Alessandra Lopez y and at community functions, much of which is of a “folk” or “social” variety Royo but may include “traditional” bharatanatyam. School of Oriental and ▪ British South Asian dancers are said to have to negotiate their artistic African Studies (SOAS), freedom and their identity – primarily as dancers, but also as South Asians, University of London because of a contrived socio-political and cultural “South Asianness” superimposed all people from the region. https://bit.ly/351SPxo

7 Navadisha – Report presenting the ▪ There was recognition of the value of the classical idiom, the value of its International Dance proceedings of the 3- values, its training demands, its potential to inform and provide a solid Conference: Conference day Navadisha – footing for development in contemporary practice. Report (2016) International Dance ▪ There is a lack of opportunity to train in the classical South Asian dance Conference 2016, which forms at a conservatoire or professional level. by Rachel Gibson engaged 224 national ▪ There is a lack of opportunities to perform classical repertoire. https://bit.ly/2NKrdHe and international attendees as speakers, ▪ Artists need to be able to practise their art every day in order to ‘be a presenters and performing artist’, whether or not they are ‘in work’. delegates, including: ▪ There are exacting dance examinations, young talent support schemes, and ▪ South Asian Dance & varied pedagogies available including some opportunities for postgraduate Arts Organisations study of South Asian Dance. ▪ Representation from ▪ Technical training remains firmly in non-institutionalised, tertiary the wider dance extracurricular or ‘cultural education’ settings, e.g. independent ‘dance sector schools’ run by an individual teacher and The Bhavan.

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▪ Dance artists and ▪ There are still big gaps in South Asian dance teaching for professional companies progression that mentoring, and performance opportunities cannot fill. ▪ International artists ▪ Artists need access to high-quality professional training, which includes and companies rigorous guidance in choreography. ▪ Academies. ▪ The ISTD accreditation goes a long way to establish standards in the It includes key absence of a conservatoire. messages and ▪ Promoters and programmers’ doors are “open”. recommendations linked ▪ South Asian dance needs to be programmed consistently with long-term to artists and the residencies as well as performance opportunities. artform; training; ▪ Programmers need to take more risks, encourage artists to engage in touring and promotion; audience development and give audiences time to develop comfort and professional familiarity with forms and artists, and venues through regular programming. development; sectoral ▪ Outdoor arts have been one of the most significant new developments in development and providing opportunities to present South Asian Dance. leadership; and language and discourse. ▪ Investment in the professional development of independent producers and producing organisations is needed to support the wider touring of South Asian dance work. ▪ The impact of festival platforming versus the benefits of regular programming of South Asian dance need to be examined closely. ▪ A network of venues/producers should be established who would co- commission work that tours to each venue with a full production infrastructure from research and development to production and tour, marketing, PR and audience development support – this could be a three- year project with a focus on emerging and new companies providing opportunities and exposure for younger artists who are trailblazing their technique and performative achievements.

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▪ Criteria for programming need to be transparent to encourage participation but also to equal and exceed the quality of world class emerging talent and companies. ▪ Artists who work with a producer find it easier to negotiate with venues and secure touring dates than those who self-produce – more South Asian Dance producers are needed. ▪ Mentors can play an important role in supporting artists’ professional development. A mentor should be able to make a commitment of time, offer honest feedback and be prepared to use their own contacts to develop a wider network of support for their mentees. ▪ More resources should be available to support individuals’ career and professional development and to support the development of mentoring, and mentors themselves, within the sector. ▪ Emerging leaders may be artists, producers or others working in the South Asian sector. They should be nurtured and supported to take on leadership roles. ▪ A social media site for South Asian dance / arts should be established, providing a virtual space to share, learn, mentor, promote, on-line teaching and conferences, etc. This will be a more economical, international space for immediate communication which could hold up to six on-line Conferences a year. ▪ Identity and culture continue to be a part of the discourse. Some individuals expressed the need to be rooted in their culture to develop confidence, whilst leading dancers refuse to be exoticised and patronised by this culture. ▪ Others spoke of a sense of hybridity and how this is a strength in exploring artistic ideas and new ways of working.

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▪ Programming and producing organisations must examine if there is any unconscious bias stemming from population composition at decision-making levels and seek to address this holistically through inviting South Asian artists to curate, seeking advice from South Asian dance specialists, encouraging artists and others with South Asian dance specialisms to move into high-level decision making positions. ▪ The current generation of artists are confidently offering their unique creative and performance skills into collaborations with other artforms and areas of practice and feel that their ability to develop and thrive is restricted by promoters who are reluctant to programme their work as they see it as high-risk in audience terms. ▪ The growth and success of the ISTD Classical Indian Dance Faculty was welcomed. Since 1999, when the faculty was set up, syllabi for Kathak and Bharatanatyam are well-established and a syllabus for Odissi is in development. The ISTD syllabi provide a clear structure and parameters and formal recognition of students, progress. ▪ A number of teachers spoke of the benefits of ISTD syllabi and graded exams as benchmarks which helped students’ parents understand their progress. ▪ Where ISTD syllabi are yet to be develop – e.g. for Kuchipudi and Mohiniattam – the ISTD’s Medal Awards could be used to acknowledge achievement. ▪ The CADT / Yuva Gati as the only source of institutionalised or programmatic supplementary specialist training and talent development is viewed as important and its flexibility and ability to be tailored to the specific needs of individual students is key to its successes.

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▪ Many students give their Arangetram and then go on to pursue higher education / careers in other fields. ▪ Most South Asian dance teachers have come through a performance route, so there is a need for more development and training in teaching skills. ▪ A lack of male role models deters boys from dancing. ▪ Artist development work is best when it is bespoke. ▪ In contemporary dance professional training includes technique, composition and choreographer – there is no equivalent in South Asian dance. ▪ The BBC Young Dancer competition significantly raised the profile of South Asian dance with millions. ▪ Classical dancers should not be forced to “become” contemporary, rather there should be platforms and development opportunities for both. ▪ There is a lack of producers for South Asian dance. ▪ Artists stand the best chance of thriving when working with a well-matched producer e.g. Farooq Chaudhry and Akram Khan, Anand Bhatt and Aakash Odedra. Before Farooq and Akram began working together Akram was hampered not just by a lack of resources but a lack of ambition from those around him. ▪ Asian culture and the guru system make it more difficult for artists to rebel. ▪ The importance of research and development was stressed. ▪ Risks can be taken more easily within small scale spaces, so venues should make these spaces more available. ▪ Artists need more development labs as initiatives like these are important in terms of opportunities and growth.

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▪ Artists need to develop networking skills so that they are confident to engage with a diverse range of people (producers, funders, etc.) to create their own opportunities. ▪ The Clore Fellowship programme provides possible leadership development route. ▪ Investments are required in programmatic early development of producers, both organisations and individuals, with special attention paid to their organisational and individual career development. ▪ South Asian dance needs to be programmed consistently with long-term residencies as well as performance opportunities. Programmers need to take more risks, and allow artists to engage in audience development, and give audiences time to develop comfort and familiarity with forms and the artists, and venues through regular programming. ▪ A transition gap exists between current South Asian dance training provision and progression to professional opportunities and careers in the UK and internationally. ▪ The presence of gatekeepers who insist on seeing the work before booking it present barriers, especially when they fail to respond to requests or turn up to see it. ▪ 8 Higher Education A report detailing the ▪ In 2015 tuition fees for an undergraduate dance degree were £9,000 per Academy research findings year, so the debt they will carry with them provides added pressure. Dance map – the resulting from a ▪ Arts organisations, including the Arts Councils of England, Wales and employability journey: A mapping exercise into Northern Ireland, have had cuts to both their administrative budgets and toolkit and resource for where and how grant funds in recent years; which in turn have put a pressure on the mapping employability employability is numbers of individual artists, companies and theatre venues being journeys. embedded into the supported to develop new work. Dance Department

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Dance Department, curriculum at the ▪ Professional touring has become more challenging with limited funds to fully University of Chichester, University of Chichester, cover the project costs. prepared for the HEA based on consultation ▪ Audience attendance is a concern in relation to seeing new and existing strategic enhancement with early career work as somewhat unreliable. programme 2015 graduates, practitioners, ▪ There are increasing expectations that students need to be demonstrating a By Cathy Childs and Dr employers, faculty level of experience in order to step into whatever role is required and this is Andy Clegg members and current true for all aspect of employment today. Students often therefore turn to https://bit.ly/2XahPjb students. gaining additional training to make themselves more employable through It examines where MA and postgraduate training programmes such as mapdance, employability is the ▪ Transitions8, EDge9 and Verve10 in order to give them that necessary focus within modules interaction and rehearsal time with a variety of choreographers. and where employability ▪ Masters and PhD Research studies in Dance, as well as specialisms in Dance is embedded within the Science, Choreography and Screen Dance are all developing dance expertise overall programmes and enhancing career potential. learning and teaching. ▪ Subject specific skills developed via a dance degree include making, creating and performing; critical response/analysis; and application and participation.

▪ Generic and graduate skills developed via a dance degree include self- management, critical engagement, group/teamworking and social skills, and skills in communication and presentation. ▪ Dance graduates are often not aware of their transferable skills, that can support behind-the-scenes work, e.g. social media, writing about dance, analysis, and self-reflection. ▪ Dance students often do not think of the other off-stage opportunities offered by a dance company. ▪ Dance is currently viewed as a saturated marketplace.

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▪ Specialising at Level 5 with two selected strands enables students to spend time studying areas of greater interest. This specialisation and honing of specific skills alongside generic skills helps prepare them for graduation. Three out of the six strands involve a work experience/placement element and all strands have a career destination: 1. Performer, administrator, technician; 2. Critic, dance writer; 3. Dance movement psychotherapist; 4. Choreographer/dancer; 5. Teacher/freelance dance artist/community artist; 6. Placement – takes you into a selected area of interest. ▪ Skills acquired include team working, problem solving, communication, self- management, critical thinking, analysis, research, business & commercial awareness, and application of it and numeracy. ▪ Developing students’ abilities to become reflective practitioners through an experiential process enables them to maximise the embedded learning opportunities, which in turn enhances their employment outcomes through the embodied knowledge. ▪ Higher level study in Dance (i.e. MA and PCGE level) enables greater specialisation. ▪ Employability is a key consideration for students, parent and guardians in selecting courses and universities – therefore, a university needs to consider evidence and messages linked to the employability of its dance graduates and communicate this via open days, social media, marketing and prospectus content; and departmental-driven events, such as widening participation through school/college visits and partnerships, performances, specific dance taster days and employer engagement opportunities. Prospective students need to be able to see the direction and future for their careers.

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▪ Work opportunities for dancers are felt to be scarce and unsecure, where you get paid well for short term contract but then have long periods with no employment ▪ Many dancers pursue alternative careers that come with a higher and more secure salary. ▪ Many dancers sate they are often expected to perform for free. ▪ The majority of dance graduates have gone on to teach. ▪ Dance employment destinations include self-employed/freelance dance artist, choreographer, dancer/performer, community dance, FE/University lecturer, primary/secondary teacher, dance & digital media, technical theatre/stage manager, dance movement psychotherapy, health & wellbeing/fitness instructor arts administration, employment outside dance. ▪ Embedding effective employability into the Dance curriculum works when: o There is a learner-centred pedagogical approach that prepares the Dance student for a variety of potential career destinations. o Making module content that links to employability more explicit through the student experience. o Empowering and equipping students as ‘thinking dancers’ who can take control of their own growth and development within a supportive environment. o Academic staff are actively engaged in professional practice and research, be this research-informed teaching and/or research-informed and professionally inspired teaching. o There are clear links with professional organisations and companies at institutional and module level through performances, workshops and lectures. o The department works collaboratively with the Careers and Employer Engagement team to draw upon their expertise.

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o Students are encouraged to be pro-active beyond their studies in gaining summer internships/placements/work experience/paid work with the support of academic advisors, year tutors. These experiences feed back into the effectiveness of the whole curriculum experience. o All students are given the opportunity to be able to engage with a work placement or through public engagements or performance/ organisational opportunities.

9 Guru or Teacher? An academic research ▪ The ISTD codified syllabi and examinations for Bharatanatyam and Kathak Shishya or Student? paper looking at the represent validation of the classical Indian dance forms within a western Pedagogic Shifts in guru-shishya parampara examination system. The ISTD system is increasingly utilised by South Asian South Asian Dance (teacher-disciple dance teachers in countries from Canada to India. Training in India And tradition) that has ▪ The dance culture in Britain, where students attend workshops and summer Britain (2007). underpinned South schools apart from their regular training, enables exposure to numerous by Stacey Prickett Asian dance practice for teachers over the years. Roehampton University, generations. It ▪ The close personal bonds of the parampara (guru and disciple) are absent London examines aspects of the unless the training occurs on a one-to-one basis over a long period, and this South Asia Research tradition in India, which is very difficult to achieve in Britain. Sage Publications make it problematic in ▪ Connections are evolving between traditional and contemporary teaching https://bit.ly/2XiT6ZV today’s society and approaches which aim to achieve a holistic dance education within today’s global diasporic context, social and economic constraints. paying particular ▪ An individualised training provides a unique and intensive interaction with reference to the the guru not seen at state-supported institutions in India. influence of western ▪ A two-way process of international exchange contributes to pedagogic dance pedagogies, developments in both India and the UK. shaped by local, ▪ In India, a gradual integration of dance science is occurring, a re-cognition national and of the value of body conditioning methods and the modification of creative transnational movement exercises. multicultural

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environments, and ▪ The institutionalisation of South Asian dance in Britain, through the ISTD spread through UK- and classes has been put into place by practitioners either from the based dance journal subcontinent or with strong links to South Asia. Pulse and international ▪ Britain’s South Asian dancers have made inroads into creating a vibrant exchanges. dance environment, by working within existing institutional government, academic and artistic frameworks and, in the process, changing them. ▪ Organisational memberships cross stylistic boundaries, without some of the constraints dancers face in India that stem from the hegemony of tradition. 10 Choreographing A thesis examining the ▪ Akademi is referenced as having embarked upon a series of innovations in postcolonial identities in way in which dance South Asian activity: introducing theme-based projects linked to the National Britain: Cultural policies work produced by Curriculum, confronting contemporary issues through practice which and the politics of postcolonial dance encourages self-empowerment, opening up dialogue between South Asian performance, 1983- artists is often misread dance professionals and their western contemporary counterparts, and 2008 (July 2015) and exoticized by critics, pioneering research into dance training needs. funders and audiences; by Jade Yeow ▪ Bhavan is perceived primarily as a community centre and venue, as an and which discusses the ambassador of Indian culture in the UK reflecting a view of Indianness and De Montfort University problematic umbrella South Asianness entangled with the politics of the subcontinent. There is terms of ‘Black’ and thus an underlying tension in Bhavan’s relationship with British art funding https://bit.ly/376SMCf ‘South Asian’. bodies and with other British South Asian dance organisations. The main The thesis focuses of a aim in its programming, which continues to promote and to preserve the number of case studies, classical forms. including Mavin Khoo, ▪ Shobana Jeyasingh’s frustrations stem from the stereotypical view of her Shobana Jeyasingh and culture, ethnicity and heritage from critics, funders, audiences and other Akram Khan. people and how she is thus prescribed particular ways of working, areas of concern and issues, and the fact that she is seen as an ambassador for a ‘fictional’ India, an unchanging place ‘entrenched in deep spiritual and cultural certainties’. ▪ Shobana Jeyasingh was acutely aware of the ‘politics of the conventional theatre space’ and felt that as a ‘diasporic person’, a ‘marginal person’, she

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wanted to challenge the hierarchical acceptance of the powerful centre stage and was more attracted to using the space near the wings – the ‘marginal space’ (Watts 2005). Taking her work out of the theatre space enabled her to challenge the perspective of the spectators whilst pushing the dancers, as well as her own choreographic abilities to the limits (Coldman 2005). ▪ Whilst in the UK, Mavin Khoo’s career saw lucrative commissions including working for the Royal Opera House, the National Youth Dance Company, the South Bank Centre and others. But it also meant that Khoo increasingly got placed into a ‘pigeonhole’, as his culturally varied background often conveniently aligned with a political scenario that would be keen to pander to a ‘multicultural’ outlook. ▪ Akram Khan does not like his work to be labelled and continually tries to dodge categorisation in the attempt to create something that can be included in the British mainstream dance discourse. ▪ The collaborative process is of utmost importance to Akram Khan and he has worked with artists where he has had opportunities to develop new ways of working outside the constraints of the funding system and to ‘enable the threshold of the fields of dance studies, critical theory and performance studies’ (Lepecki 2004: 25). ▪ British South Asian dancers who delve thoughtfully into the process of creative work and engage cerebrally with classical Indian dance forms, are able to show the differing identities of being postcolonial agents and how best they feel to represent these through their dance investigations. ▪ Second generation dancers in Britain, like Akram Khan, share an interest and lived experience of hybridity. Their willingness to discuss the arts in postmodern globalisation enables progression, creativity, artistic ownership to surface in the art. ▪ Neither Shobana Jeyasingh nor Akram Khan claim to represent the classical

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styles. Yet, the reference in the marketing material to these starting points is picked up by writers and critics, who redefine the established styles as ‘traditional’ and the other work as contemporary. ▪ Audiences assume that because they have become quite familiar with Bharatanatyam and Kathak dance, that this is what they see in the work of Shobana Jeyasingh, Akram Khan and Mavin Khoo, when actually the choreography has a complex relationship with modernism and postmodernism, amongst others. ▪ Classification and categorisation are rarely neutral and always reveal something about the ideology of the people who create them, so artists are very much concerned that any label attached to their artistic practice conflates the artists that they are with the genre they work in. ▪ Each diasporic artist/company shows concern about authority and power, with some demonstrating further the need to ‘fight’, struggle and unveil something that is missing; there is a strong desire to belong with others on an equal standing. ▪ While artists may try to embody a sense of agency and individual identity not bound by cultural conventions, audiences may receive their work in ways that can limit this because of their knowledge and understanding of the labels placed on their work and their previous experiences of dance and/or the artist. A performance can become the artistic representation of ethnic or racial identity, rather than a serious artistic product that contributes to a larger framework of theatre dance within a culturally diverse society; it has been demonstrated that the classification of an artist as ‘Black’ or ‘South Asian’ usually leads to exoticisation and to an engagement with their work at a superficial level, forgetting the multiplicity of layers found in both cultural and artistic understanding.

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11 Research/mapping of Internal document for ▪ Most leaders have been in place for a very long time. Leadership styles do South Asian dance and Arts Council England not always chime with what is currently expected from leaders: i.e. working music sector reporting on the findings collaboratively in a collegiate way; working strategically for the sector and and recommendations not just for the organisation or a small geographical area; being plugged by Jan de Schynkel of a working group into wider sector networks. Many leaders might be the founding directors within the national and the boards serve the leaders rather than the organisation or the sector. dance team, led by Jan ▪ A generation of mid-career potential leaders has never been encouraged de Schynkel, to look at and does not currently have the necessary skills to take over. some of the challenges ▪ There is an urgent need to look into South Asian leadership development faced by the South and find ways to transform current leadership. This could include a national Asian dance sector in bid for South Asian leadership development across dance and music. order for ACE to start a ▪ The organisations identified as working collaboratively, more strategically process of having a and working with the wider sectors are Kala Sangam, SAA UK and Gem Arts. better understanding Organisations they might work with are: Tamasha, Art Asia Trust and One and picture of South Dance UK. Asian dance in England. ▪ Training in classical Indian dance and music is through gurus and private schools. There are no vocational or degree courses for classical South Asian dance and music in the UK. Some academies or courses are accredited in India. Some dance courses are accredited by ISTD. But there is no equivalent to contemporary or ballet training. ▪ There is a South Asian Centre for Advanced Training (CAT) - 11-18 years, in Birmingham but gurus are reluctant to send their students. There is no progression after this. ▪ There is a need to look into degree courses for South Asian dance. The report commissioned by Birmingham Dance Hub and referenced at the beginning of this appendix sets out the wider context of this, giving varied viewpoints from parents, young children, post-uni students, artists and universities.

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▪ There are no progression routes for students coming from CAT or private schools if they practice classical South Asian dance or music. There is no classical youth dance company; no repertoire company, no touring company. ▪ The only way for classical South Asian artists to make a professional career is to contemporise their work. This issue is compounded with a culture of parents and students to prioritise a career in law or medicine and continue their arts practice on an amateur level. ▪ There is a need to look at setting up progression opportunities for South Asian classical dance and music artists; i.e. a youth dance company and repertory company. Further work is needed to look into where there would be a market for this. It is unlikely to be on the existing touring circuit. 12 BAME South Asian Report detailing ▪ SADAA has had a proven impact on South Asian dance artists since being Dance Networking consultation findings formed in 2000. and recommendations ▪ Over the 12 years of SADAA’s existence up to the point of the report, other The future of the South linked to the Asian Dance Alliance as providers had emerged. and it was felt at the time that SADAA would be in development needs of a stronger position to continue its support of South Asian dance if it widened a National Network for the South Asian dance South Asian Dance its reach. Further impetus for bringing more organisations under the SADAA sector, with a particular umbrella at this time also included the financial context and growing focus Development: Report focus on the and Recommendations on partnership and collaboration within the sector in 2000 (which continue development of the to be factors in 2020). (November 2012) South Asian Dance ▪ SADAA’s informality, flexibility, light-touch and the strong and trusting by Rachel Gibson Alliance (SADAA), as a relationship between the key players were felt to be major strengths of the network / umbrella. network – however, widening the network was expected to mean a greater South Asian Dance need for formality. Alliance (SADAA) ▪ The report recommended that in 2012 SADAA should:

o continue to focus on the development of the South Asian Dance profession with a stated aim of improving the context in which work is

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The consultation developed and increasing and diversifying employment opportunities for provided SADAA the South Asian Dance artists. opportunity to formally o implement a programme of activity to build on the existing activity of assess its work to date, individual members and position SADAA to achieve its overarching aim. review its membership o widen its network as other organisations become involved in SADAA and operational model projects. and plan for the future. o adopt the operational parameters set out in the report o review and develop its online presence in the longer-term, as appropriate. ▪ SADAA’s public profile is most clearly identifiable in two key initiatives: o Pulse Magazine (in print and online) – led by Kadam and providing a forum for critical debate and review o The SADAA website – hosted by Akademi and providing information on professional development opportunities, performances and events. ▪ Alongside these services sit a range of specific professional development initiatives (spearheaded by individual SADAA members but made to be complementary through regular network discussions). These provide a rich resource for both classical and contemporary South Asian artists: o Summer School, initiated by Kadam in 1998; run in partnership between Kadam and Milapfest from 2005-2007, and by Milapfest from 2008. It offers intensive training in classical dance techniques over eight days. o Unlocking Creativity, a four-day training programme initiated by Kadam in 2007, focusing on choreographic practice. o DanceIntense, initiated by sampad in 2006, which provides experienced choreographers with opportunities to focus on choreographic processes. It has links to artists in India, Canada and the USA. o Akademi’s artist development programmes: Daredevas which offers classical dancers’ opportunities to perform their work and Choreogata

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which supports promising emerging choreographers to develop and platform their work. o Akademi’s creation and performance opportunities, providing a platform for new work and audience development, including outdoor/site specific events – Coming of Age, Escapade, Bells, Sufi Zen, song of the city. o Chaturangan’s series of international conferences focusing on South Asian dance in a variety of contexts. ▪ Networking through SADAA has enabled a forum for information exchange and peer learning between the members; enabled collective strategic planning to ensure that initiatives spearheaded by individual members dovetail together to create a coherent offer for the sector; provided a voice for South Asian dance and for members to ensure that they are speaking on behalf of the sector rather than from an individual perspective; developed individual members’ confidence to be ambitious and to develop extensive international links, which in turn have opened up performance, professional development and employment opportunities for UK-based artists and created new co-commissioning opportunities; and enabled individual members to pass on projects and ideas when it is clear that these may fare better within another organisation. ▪ SADAA has also benefitted from being able to develop organically and in response to sector needs, free from preordained expectations from funders or the sector. ▪ SADAA members are based all over the country giving them a national reach. ▪ South Asian dance development in the UK is held up as a model internationally with artists in the diaspora, in particular Canada, USA, Australia and South Africa.

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▪ Establishing South Asian dance within ISTD was highlighted as a key development for artists here and increasingly a development attracting international interest ▪ Strong partnership working and the support that individual SADAA members have given to artists has helped to create a strong professional and a new generation of creators and leaders. ▪ The informality of the SADAA network has meant there have been relatively few joint meetings and that contact between the members has sometimes been sporadic. ▪ There have been few opportunities for SADAA members to collaborate and deliver joint initiatives. ▪ The organisational and financial circumstances of each member could present potential barriers to collaboration in future. ▪ Public funding cuts, particularly from local authorities have impacted on SADAA members putting pressure on core operations and having a wider sectorial impact, including in a reduction in freelance opportunities to teach and lead workshops. ▪ SADAA provides a forum for joint planning with consequent potential to use existing resources more effectively and to collaborate on the seeking of additional funding for joint activity. 13 Pathways Proposal: Proposal document for a ▪ Targets five high quality kathak dancers aged between 18 and 30 years. South Asian Dance Natya: Dancer Training ▪ Proposes they work full time for three weeks with two recognised Progression (Dec 2019) Scheme to build on the choreographers to create two distinct ensemble pieces and will also work Prepared by Magdalen project delivered in with the six Bharatanatyam dancers from the 2018 project. Gorringe 2018. ▪ 4 works (2 kathak and 2 Bharatanatyam), together with selected solos/duets will be showcased in the West Midlands and tour to Leeds and London.

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▪ At each location, taster teaser snippets of the pieces will be performed in a public space for a walk-up audience, performed together with short workshops on each dance style. ▪ Mornings will involve intensive training, with daily yoga and kathak technique classes, increasing skill levels and providing experience of the rigour of life in a professional company ▪ Afternoons will be devoted to choreographic material and the development of the new performance works. ▪ The aim is that by the end of the programme the dancers will be better equipped for a professional career in dance. ▪ In essence the project is piloting the idea of a trainee repertory company. ▪ Based on the identified need to provide more clear progression routes for dancers whose principal practice is in South Asian forms transitioning from pre-vocational training to professional life, e.g. there is no institution providing full-time vocational training, there are no apprentice schemes or post-graduate companies for newly trained dancers, and there are insufficient companies offering employment for trained dancers to build a sustainable career. ▪ A lack of professional demand for South Asian classically trained dancers means talented young dancers are reluctant to risk committing to dance as a profession, including the risk of undertaking vocational training. ▪ Natya seeks to create the demand for inspiring and engaging South Asian dance work, in turn creating the demand for more dancers and consequently the need for further training and greater levels of excellence. ▪ Needed to retain the diverse dance ecology that exists within the UK. ▪ The majority of young South Asian dancers are engaged in other training, education and employment as well as pursuing dance. ▪ Young dancers do not know how to build networks within the sector or understand how to relate their dance training to work within the industry.

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▪ There is also a need to grow the audience for dance works rooted in classical Indian dance forms, which the project seeks to address.

14 The Natya Project Evaluation of the 2018 ▪ The choreographers were motivated to take part in the project for the Evaluation Report Natya Project, a three- opportunity to create ensemble work, with an eye to the potential for a (October 2018) week development company in the future. programme for six by Mark Robinson, ▪ The young dancers were motivated to take part in the project to gain skills, Bharatanatyam dancers, experience and confidence. Thinking Practice who worked with ▪ The young dancers felt they benefitted greatly from the project, particularly choreographers Seeta in regard to the opportunity to work with choreographers to make new Patel and Shane work; the opportunity to work as part of a company/ensemble as well as Shambhu to create two solo; the opportunity to try new techniques; feedback from industry ensemble pieces that professionals; new contacts and networks; and increased confidence in their were performed in creative abilities. Birmingham. ▪ Most significant changes were: o The impact of being full-time, even if only for a short time – described in terms of confidence, networks, and ability to master challenging techniques and choreography; o Connectivity with other dancers – several comments illustrate the relative isolation of Bharatanatyam dancers which the project aimed to combat; o Changes were described as being mainly about the dancers / choreographers and their practice or skills. ▪ All participants in the project agreed that they would like to see the project happen again and recommend it to a friend. ▪ Overall, the project had little impact on how able participants felt to be able to make a living as a South Asian dancer.

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15 National Youth Dance A short report ▪ Ensemble/company work at a professional level is rare in the South Asian Compnay (NYDC) summarising the activity sector. Project Report: Dance and outcomes of a pilot ▪ Despite NYDC’s aim to actively ensure their company represents the breadth Dialogues (2019) project delivered by and diversity of talented young people who live and dance in England, in its NYDC, Seeta Patel and Sadlers Wells seven years of activity NYDC has only had one young dancer from a South Kadam Dance. Asian background benefitting the creative process with their unique skillset. It involved 3 ▪ Dance Dialogues helped to connect more people interested in South Asian bharatanatyam and 3 dance with the idea that NYDC welcomes and encourages working with contemporary dancers dancers of all styles and backgrounds: in a 6-day creative o Freesheets at performances provided information on NYDC; residency, 1 rehearsal and 4 tour dates to o The opportunity to audition for NYDC was discussed during a post-show create a curtain raiser talk in Birmingham; and for Seeta’s Rite of o Pulse magazine interviewed dancers to allow national dissemination of Spring production. interesting insights from the project with dance teachers, students and The project sought to parents, whilst raising awareness in the South Asian dance community explore how South about further possibilities within the sector. Asian and contemporary ▪ Both the NYDC Alumni and the Bharatanatyam dancers were older and more dance could co-exist, experienced in their dance careers than anticipated (aged 21-35). inform and inspire each ▪ The short timescale of the project limited the depth of understanding that other without needing dancers could gain of Seeta’s artistic practice, especially amongst NYDC to form a fusion. dancers not involved directly in the piece – projects such as this need more Through dialogue and time and opportunities for dialogue, knowledge sharing and participation. exploration, the dancers ▪ Having future NYDC Artistic Directors with a background/training/expertise would better understand in South Asian dance may help to raise awareness of NYDC within the South one another’s styles and Asian dance sector. have their perceptions ▪ Progression projects with organisations such as NYDCs require young challenged. dancers training in South Asian styles to also have an interest in training in contemporary dance.

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▪ Training and performing South Asian dance is often seen as a type of rite of passage/family journey, rather than being about that young person wishing to pursue a career as a professional dancer. ▪ An “open call” approach does not necessarily work in attracting South Asian dancers – there is a need for a more targeted, specific approach and invitation to those who express an interest. ▪ There is an appetite amongst both South Asian and contemporary dancers to explore cross-disciplinary creative devising and performance work. ▪ Dialogue, collaboration and participatory opportunities between South Asian choreographers and dancers, and contemporary dancers need to be offered on a regular basis to build a full understanding of virtuosity and rigour across dance styles. 16 Bridging UK – India, Notes from a roundtable ▪ Collaboration between industries is vital, but there is a sense that that most The Creative Way: discussion that set out tend to work in silos. This limits the visibility of exceptional work, especially Creativity Roundtable to explore ways in which that which is at the creation phase. (26 June 2019) the interface between ▪ Awareness of one another’s work amongst attendees (business leaders in liberal arts, academia Session moderated by the creative world, artists, dancers, musicians, presenters, social media and policy between the influencers, film directors and those responsible for pushing out content) presenter and producer, UK and India can be Anila Chowdhry. was high and brought about through media, but none had met or connected strengthened, drawing with one another, signalling a need for more proactive networking. on attendees’ own ▪ There is a lack of individuals flying the flag for India-UK in the creative expertise. space – more needs to be done to create a steady stream of exceptional work within this arena. ▪ Different working cultures exist between India and the UK and each could learn from one another. ▪ There are commission opportunities for artists to work with organisations beyond the arts and cultural sector.

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▪ Artists and creative professionals have mass audience appeal and therefore have the potential to be key ambassadors and influencer for organisations. ▪ There is potential to build cultural and social bridges between the UK and India through joined up approaches and utilising people’s existing skills. ▪ British-Indian identity should be celebrated to attract, engage, develop and nurture talent, which in turn will benefit businesses globally. 17 Where are the South Article from online ▪ “I’ve been doing music for 18 years and I’m usually the only brown woman Asian women in UK magazine gal-dem, in the room.” (Bishi Bhattacharya) music? (2 August 2019) featuring South Asian ▪ Women in the UK are still the exception and not the rule in terms of musician Bishi breakthrough artists in the music industry – with women of South Asian By Malvika Padin Bhattacharya. The origin being a rarity. gal-dem article discusses the ▪ The music of women of South Asian origin tend to be classified as niche. inequality of women in ▪ In collaboration with the Musicians Union, Bishi has created The Mahadevi music, especially those Sessions – a series of panels aimed specifically at South Asian people in UK of South Asian origin, music. “I’m very involved in this movement to promote women in music and and provides a equality in terms of representation… I find myself getting invited to all these description of the different events and I’m usually the only South Asian woman there.” (Bishi) discussions that took ▪ The annual UK Diversity in Music survey in 2018 revealed that BAME women place at the Mahadevi made up 17.8% of the music industry – those of South Asian origin likely Session in July 2019. make up a small proportion of this overall figure. ▪ In 2018, of the 600 most streamed songs only 12 were produced by women, while on the UK charts, out of 91 song writing credits for the Top 40, only 31 were women. ▪ South Asian creatives are often told by the gatekeepers to the music industry (and other fields) that their ideas need to appeal to white people. ▪ However, the reality is that this is just not true: “I have friends [in the music industry] from all different countries and cultures and that’s not how they think at all, so there’s something about these gatekeepers who refuse to get behind us.” (Bishi)

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▪ Bishi believes her South Asian heritage has given her a spiritual connection to music: “Indian music to me is where spirituality, science and magic come together.” ▪ South Asian women are often held back from experimenting in their art: “We’re allowed to do certain genres. We can do Asian music, or fusion music but somehow there’s no room for diversity [in the mainstream].” (Dana Mohammed) ▪ There is a lack of role models in the UK music industry for South Asian artists, so individuals have to carve out their own paths. ▪ There needs to be a more nuanced media portrayal of South Asians. ▪ Music also has to be normalised as a viable career option, beyond those more traditional career options accepted in South Asian communities: “For that, you need to have more examples so that the path to be taken can be understood.” (Dana Mohammed) ▪ The current situation can be improved by people from similar backgrounds working hard, being focused and helping each other. ▪ “It’s time for us to start getting behind each other and recognising one another coming together more because no one else is going to do it.” (Bishi) ▪ Pioneering events in the UK Music scene are also cited: o London’s No ID: a night that switches between venues, but exclusively platforms South Asian DJs o Haramacy Festival in Deptford prescribed a space for South Asian and Middle Eastern artists to connect and collaborate o Queer brown parties like Hungama, Club Kali, Desi Boyz, Misery Party aim to bring about the same sense of community. ▪ “People are a lot more powerful than they realise even if they feel small. So, listen to the ideas in your head, honour them and act on them!” (Bishi)

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18 Cultural Value: The A report examining the ▪ On 6th June 2014, in his very first speech as Culture Secretary, Sajid Javid Cultural Value of South cultural value of South reflected on his cultural experiences growing up as a British Pakistani and Asian Arts (2015) Asian Arts. observations that: o Dr Jasjit Singh, It includes a literature Adults from black and minority ethnic backgrounds are less engaged in University of Leeds review, detailing the the arts than their white counterparts and are much less likely to attend a performance or visit a gallery. current state of South Arts & Humanities Asian arts in the UK and o BME applicants were only awarded 5.5% of Grants for the Arts awards in Research Council the strategic context in 2013 despite making up 14% of the UK’s population. which it operates, and ▪ Sajid Javid questioned if there were sufficient numbers of visible role uses the ACE framework models, if talent is being developed in the right way, and if cultural for cultural value, to institutions make enough effort to reach out to ethnic minority communities. examine the cultural ▪ A study commissioned by ACE found policy options to help young people to value of South Asian enter the creative industries had “serious under-representation of ethnic arts. minorities in the creative industries”. This was explained as a consequence of the fact that entry into the creative professions is often confined to those who have access to those in a position to get them into work in the arts (Gunnel and Bright 2010). ▪ There is a lack of representation from people with BME backgrounds in the arts, which is important as BME populations in Britain are increasing – the South Asian population in England in the 2011 Census constitutes 5% of the total population. ▪ The way in which the state has valued minority ethnic arts has changed over the years – from promoting minority ethnic arts as community based art forms which allow members of minority communities to learn positive aspects of their culture to the current position where the value of minority arts is presented as part of a wider spectrum of diverse arts which contribute to understanding diversity of all types in mainstream society.

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▪ The term ‘South Asian arts’ has been shown to refer primarily to art forms of Indian origin. ▪ A number of distinctions can be made between the different types of art forms originating in the Indian subcontinent: o Marghi and Desai traditions o Classical (shastriya sangit) and folk (lok sangit) music o Within classical forms - Hindustani and Carnatic traditions ▪ South Asian music in Britain is a music of homes, schools, community centres, temples, cinemas, recording studios, clubs, stadia, websites. ▪ In the scene in the UK, the Hindustani (North Indian) style is dominant reflecting the high number of members of British South Asian communities with North Indian origins, whereas Carnatic (South Indian) music and dance are concentrated in Greater London amongst Tamil-speaking South Indians and Sri Lankans. ▪ In terms of desi traditions which have evolved in Britain, by far the most studied South Asian music scene is that of Bhangra – this has developed a number of ‘regional’ identities in association with different music scenes and local South Asian communities in British cities, e.g. Southall (London), Birmingham and Newcastle. ▪ The emergence of South Asian Dance in Britain has grown from having very few outlets for performance pre-1970s to having numerous dance organisations, to ACE RFOs and NPOs. ▪ From primarily being celebrations of 'South Asian' culture, melas are now recognised as multi-arts festivals drawing in huge crowds from diverse communities. ▪ Melas also attract sponsorship from both mainstream and South Asian companies looking to appeal to minority ethnic audiences.

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▪ The influence of well-established South Asian arts organisations filters across into communities with smaller South Asian populations: o The Asian Art Agency based in Bristol helps South Asian communities in Swindon and Plymouth develop their own o Shisha's ArtSouthAsia project, the first international programme of visual culture from Bangladesh, India, Pakistan and Sri Lanka in July 2002 led to “the North West cities of Oldham, Preston, Liverpool and Manchester ... [seeing] significant events and exhibitions curated by individuals from each of the contributing countries”. ▪ Events organised by 'community facing' organisations are relatively hidden events often advertised within community networks and usually taking place in venues owned or run by members of minority ethnic communities including religious institutions and cultural centres. ▪ Participants are attracted to and demonstrate higher levels of commitment to activities that are culturally relevant to them. ▪ Some South Asian women are prevented from participating in social dances due to their religious beliefs. ▪ Participation in South Asian arts plays an important role in building individuals’ self-esteem and self-confidence, and helps them to make sense of their place in the world. ▪ South Asian Arts organisations play a role in presenting young South Asians with positive examples of South Asian culture. ▪ Engagement in South Asian arts may also encourage members of BME communities to pursue careers in the arts/creative industries, an area in which they are severely underrepresented. ▪ The arts/creative industries sector is perceived to not be well paid and difficult to get into.

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▪ Some dancers and musicians may see their artform as an escape from professional life rather than a career. ▪ The inclusion of South Asian dance forms in the ISTD's (the Imperial Society of Teachers of Dancing) dance qualifications “enhances their accessibility for those without a South Asian heritage.” (Prickett, 2004). ▪ South Asian arts events and organisations also appeal to audiences who may not otherwise attend arts events – members of minority ethnic groups often regard mainstream arts as elitist and focused towards those who are over the age of 35 and white. ▪ South Asian arts organisations play a role in exposing those who have not encountered South Asian arts before, including via schools. ▪ Formal structures have not yet been developed for the teaching of Indian classical music in Britain – among second and third-generation South Asian musicians in Britain knowledge of, or training in, classical music is not the norm and therefore “musical learning takes place at the interface of a number of formal and informal learning situations: within the community, at religious worship, in schools, colleges and adult education centres, in clubs and recording studios.” (Farrell et al. 2005). ▪ An important role which South Asian arts organisations can play is to equip South Asian artists with the skills they need to break in to the mainstream, or at least to become role models and teachers for younger artists, so helping to address some of the concerns about there being a lack of South Asian role models. ▪ ‘Public facing’ South Asian arts organisations help develop new talent, provide opportunities for South Asian students to learn about art forms linked to their heritage and open up South Asian arts to new audiences.

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▪ ‘Community facing’ South Asian arts organisations play an important role in organising events, which may not be labelled as arts events, but which play an important role for those South Asians who may not feel comfortable in engaging in more mainstream events. ▪ Some South Asian artists may not wish to be pigeonholed as purely ‘South Asian’. ▪ Community artforms should be supported as important aspects of the mainstream arts environment in Britain.

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Arts Council England South Asian Dance and Music Mapping Appendix 5: Sector Survey Findings

Appendix 5 – Sector Survey Findings

1. Introduction and methodology

This appendix contains the findings from a survey undertaken with practitioners and arts professionals within the South Asian music and dance sectors. It forms part of the consultation process for the South Asian Music and Dance Mapping Report and was designed by Courtney Consulting Ltd. with fieldwork undertaken between 16 December 2019 and 24 February 2020.

A link to the online survey24 was emailed to all individuals on the qualitative consultation list, put together in collaboration with the project team at Arts Council England (ACE), and a snowball sampling technique employed whereby recipients were asked to forward a link to the online survey to their networks. In addition:

▪ South Asian musicians and dancers who had been identified through desk research as part of the mapping activity, were emailed the link and asked if they could forward this link on to their networks. ▪ South Asian music and dance networks were identified on social media platforms, including Facebook and Meet Up, and administrators contacted, asking if they could share a link to the survey in a post to their followers. ▪ South Asian arts, music and dance organisations were asked to share a link to the survey via their social media channels and mailing lists.

The overall aim of the survey was to provide information and insight into:

▪ The current profile of the South Asian music and dance sector in England, including the demographic and artistic profile of practicing artists; ▪ The factors that were important to enabling individuals to practice South Asian music and dance as a profession; ▪ Barriers and influences towards career progression in South Asian music and dance; ▪ The current skill set of practicing South Asian musicians and dancers; ▪ The support, initiatives and activities required to develop and progress South Asian musicians and dancers and outstanding leaders for the sector;

24 A blank template of the survey is provided in Appendix 4a.

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▪ The experience of South Asian musicians and dancers in applying to ACE for funding.

Following data cleaning and removal of incomplete responses where no usable data was provided, a total of 215 respondents participated in the survey:

▪ 168 respondents completed the survey in full (78% completion rate); and ▪ A further 48 partially completed the survey providing usable data.

It should be noted that respondents were able to choose not to answer some questions, whilst routing was also applied to some questions, and so the base size for some of the questions is smaller than the total achieved sample size.

In addition to analysing the overall data set, a filtered comparison was undertaken between:

▪ Dancers and musicians; ▪ Early-career, mid-career and established artists; and ▪ Self-defined leadership status.

In response to ‘Please choose which of the below best describes you’, dancers answered:

▪ I am primarily an independent, full time South Asian dancer; ▪ I am a South Asian dancer, but I have another job/career; or ▪ I am a South Asian dancer and also work for/run an organisation within the South Asian music and dance sector.

In response to the same question, musicians answered:

▪ I am primarily an independent, full time South Asian musician; ▪ I am a South Asian musician, but I have another job/career; or ▪ I am a South Asian musician and also work for/run an organisation within the South Asian music and dance sector.

Career stages are based on the scores respondents gave to the question ‘On a scale of 1 to 10, (where 1 is someone in the early stages of their career and 10 is someone who is an established professional and/or leader in South Asian music/dance) please place yourself on the scale by moving the slider below’:

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▪ Early career: defined with a score of 1 to 4 ▪ Mid-stage career: defined with a score of 5 or 6 ▪ Established career: defined with a score of 7 to 10.

Leadership status is broken down by the answer to the question ‘Do you consider yourself to be a leader in the South Asian Dance and/or Music sector?’:

▪ Yes ▪ No ▪ I don't consider myself to be a leader now, but I feel I will be in the future ▪ I'm not sure if I'm a leader or not.

Sample sizes for each category are provided in the table below. It should be noted that the individual sample size for each category is limited. Consequently, all analysis and findings linked to comparisons between these categories should be treated with caution and only taken as indicative within the wider context of the full research programme that accompanied the survey.

Table 1: Sample Size by Comparison Categories Category Sample Size Dancers 110 Musicians 72 Early career 50 Mid-career 57 Established career 102 Leader – Yes 57 Leader – No 36 Leader – Not now but will be in future 58 Not sure I’m a leader 20

1. Respondent profile

A number of questions were included in the survey to establish the profile of those responding, to identify how representative the sample is of South Asian communities in England and of different South Asian artforms and disciplines.

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2.1 Demographic Profile of South Asian Artists

Charts 1 to 3 and Table 2 show a full breakdown of responses provided to the questions linked to respondents’ demographic profile. Key findings are:

A small proportion of respondents were still of school age (1%), with 11% classified as ‘young people’ between the ages of 16 and 24 years. ▪ The majority of respondents were aged between 25 and 34 years (30%) or 35 and 44 years (27%), accounting for more than half of respondents. ▪ 30% were aged 45 years or above. ▪ Almost two-thirds of respondents were female (64%), compared to just over a third who were male (35%). ▪ 71% of respondents stated that their ethnic origin was either Indian (36%) or Asian British: Indian (35%), with 13% stating they were either Sri Lankan or Asian British: Sri Lankan. ▪ Other ethnic groups specified by respondents also implied that artists and arts professionals in the South Asian music and dance sector do not always have a direct ethnic connection to the South Asian region.

▪ There was little to no representation from individuals who felt their ethnic origin was linked to the other South Asian countries of Pakistan, Bangladesh, Afghanistan, Bhutan, Nepal or the Maldives. Chart 1: Age Breakdown of Respondents

Base: 211

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Chart 2: Gender Breakdown of Respondents

Base: 210

Chart 3: Ethnic Origin of Respondents

Base: 206

Those who chose other to the question about ethnic origin, specified a range of answers, including some that linked to nationality or regions of the world.

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Table 2: Other Ethnic Groups No. of respondents Mixed/multiple ethnic groups 6 White other (non-British) 3 British Asian: Chinese 1 British Asian: Sikh 1 British: Irish 1 British: Tamil 1 European 1 Global 1 Indian American 1 Iranian 1 Latin 1 Panjabi 1

Mixed and multiple ethnic groups specified were:

▪ Indian and English ▪ British African Indian ▪ Indian and Pakistani ▪ Lebanese, Afghan and British ▪ German and Indian ▪ Canadian, French, Irish, English and Dutch.

Differences by Category

When looking at the different categories of respondents:

Age

▪ Musicians were more likely to fall into the younger age range of <16 years to 24 years (15%) than dancers (10%). ▪ Dancers were more likely to fall into the age range 25 to 44 years (65%) than musicians (57%). ▪ Those who considered themselves to be in the early stages of their career, were unsurprisingly more prominent in the younger age ranges, up to the age of 24 years (32%), compared to mid-career (12%) artists and established artists (4%).

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▪ Those who considered themselves to be a mid-career artist were more prominent in the age range of 25 to 44 years (74%), compared to early career artists (49%) and established artists (55%). ▪ Those who considered themselves to be an established artist were more prominent in the age range of 45 to 75+ years (44%), compared to early career artists (18%) and mid-career artists (16%). ▪ Those who said they were a leader were more likely to be aged over 35 years (91%) than those who said they were not a leader (46%) or did not consider themselves a leader now but felt they would be in future (33%). ▪ Those who did not consider themselves a leader now but felt they would be in future were more likely to be 25-34 years (47%), followed by those who said they were not a leader (31%) or were not sure if they were a leader (20%) – only 9% considered themselves a leader.

Gender

▪ Male respondents were more likely to be practicing musicians (55%) than dancers (24%), and conversely females were more likely to be practicing dancers (68%) than musicians (23%). ▪ Those who considered themselves to be in the early stages of their career, were more likely to be female (65%) than male (35%). ▪ Those who considered themselves to be a mid-career artist were more likely to be female (73%) than male (23%). ▪ Males were more likely to say they considered themselves a leader in the South Asian music or dance sector (42%, compared to 29% of females), whilst females were more likely than males to say they did not consider themselves a leader (25%, compared to 13% of males).

Ethnic Origin

▪ Dancers were more likely than musicians to self-identify as Indian (48%, compared to 31%, respectively) or British Asian: Indian (32%, compared to 29%, respectively). ▪ Musicians were more likely than dancers to self-identify as Sri Lankan (11%, compared to 1%, respectively) or British Asian: Sri Lankan (17%, compared to 6%, respectively).

▪ A greater proportion of established and mid-career artists (38% and 46%, respectively) self-identified as Indian than did early career artists (20%).

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▪ A greater proportion of early career and mid-career artists (39% and 28%, respectively) self-identified as Sri Lankan than did established artists (4%). ▪ A greater proportion of artists who did not consider themselves a leader already but felt they would be in future self-identified as Indian, compared with those saying they were a leader (35%), were not a leader (21%) or were not sure if they were a leader (20%). ▪ A greater proportion of artists who considered themselves a leader (39%) or did not consider themselves a leader now but felt they would be in future (36%) self-identified as British Asian: Indian, compared with those saying they were not a leader (29%). ▪ A greater proportion of artists who considered themselves a leader (11%) self-identified as British Asian: Indian, than those saying they were not a leader (3%). ▪ A greater proportion of artists who did not consider themselves a leader (17%) self-identified as British Asian: Sri Lankan, than those saying they were a leader (2%) or did not consider themselves a leader already but would be in future (9%). ▪ A greater proportion of artists who did not consider themselves a leader (6%) self-identified as British Asian: Pakistani, than considered themselves a leader (2%) or did not consider themselves a leader already but would be in future (0%).

2.2 Geographical Spread of South Asian Artists

In terms of the geographical spread of respondents the survey had a good reach across the whole of England, with a few individuals stating they were primarily based in Scotland, Wales, Northern Ireland or overseas countries.

Maps 1 to 4 show where all those who provided a post code were primarily based. The majority of respondents were in the English cities of:

▪ London; ▪ Leicester; ▪ Birmingham; and ▪ Leeds.

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Map 1: Post Code Mapping of Survey Respondents (All)

Base: 191 The full interactive map can be accessed via the link: https://drive.google.com/open?id=1uTrCFWa6qMg- OEefmJh1MRin_qFeRyT8&usp=sharing

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Map 2: Post Code Mapping of Survey Respondents (North England)

Map 3: Post Code Mapping of Survey Respondents (Midlands)

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Map 4: Post Code Mapping of Survey Respondents (South England)

When comparing the geographic spread of survey respondents to the data presented in Chapter 2 it highlights that at least some of the English cities with significant South Asian populations have been reached. However, there appears to have been a lack of reach in other local authorities, chiefly Bradford, Kirklees, Rochdale, Manchester, Oldham, Luton, Sandwell, Coventry, Walsall, Bristol, Bolton, Blackburn and Derwen, Burnley, Derby, Charnwood, Sheffield, Bedford, Milton Keynes, Reading and Newcastle.

2.3 Career Profile of South Asian Artists

Charts 4 to 5 and Tables 3 to 10 show a full breakdown of responses provided to questions linked to respondents’ career profile. Key findings are:

▪ 31% were practicing their artform full time as an independent artist – the proportion for dance was higher at 18% than for music at 13%. ▪ 40% were practicing as a South Asian dancer or musician alongside another job/career – the proportion for dance was higher at 24% than for music at 16%.

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▪ 16% of those responding to the survey work for/run an organisation in the South Asian music and dance sector as well as practicing dance and music – the proportion for dance was higher at 10% than for music at 5%. ▪ The top five job titles within the arts and culture sector cited by respondents were Artistic Director, choreographer, dance teacher, composer and producer. ▪ Where respondents had a career outside of the arts and culture sector, the top five statuses/sectors cited were Student, Medicine, Education, Marketing & PR and Finance & Accounting.

Chart 4: Current Status as a South Asian Music or Dance Artist

Base: 212

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Table 3: Job Titles within Arts and Culture Sector Job Title Count Job Title Count Artistic Director 21 CEO 2 Choreographer 15 Creative Director 2 Dance Teacher 14 Dance Psychotherapist 2 Composer 8 Music Manager 2 Producer 6 Programmer 2 Music Teacher 4 Songwriter 2 Artist 3 Arts Coordinator 1 Arts Development Officer 3 Interior Designer 1 Consultant 3 Music Director 1 Actor 2 Musicologist 1 Arts Manager 2

Table 4: Status or Sector out with the Arts and Culture Sector Sector Count Sector Count Student 17 Physiotherapist 2 Medicine 13 Project Management 2 Education 9 Scientist 2 Marketing & PR 6 Biologist 1 Finance & Accounting 5 Community 1 Events Management 4 Copywriter 1 IT and Software 4 Director 1 Writer 3 Engineering 1 Architecture 2 HR 1 Customer Service 2 Interpreter 1 Economist 2 Social Work 1 Law 2 Transport 1 Management Consultant 2

The most common primary specialisms represented by South Asian dancers responding to the survey were Bharatanatyam, Kathak and Odissi; whilst South Asian musicians were primarily vocalists and Tabla players.

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Chart 5: Primary Specialism in South Asian Music or Dance

Base: 207

Within the other primary specialisms not listed, numerous respondents listed multiple dance and/or music forms, rather than just one. Also, primary specialisms not listed, including folk dances such as Bollywood and Bhangra, were cited by a number of respondents; whilst a range of musical instruments were also mentioned.

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Table 5: Other Dance Forms and Musical Instrument Specialisms Dance Forms Count Musical Instruments Count Bollywood 10 Piano 3 Folk 10 Dhol 2 Contemporary 5 Dholak 2 Bhangra 3 Guitar 2 Creative Movement 2 Pakhawaj 2 Ballet 1 Percussion instruments 2 Garba 1 Bass guitar 1 Gaudiya Nritya 1 Brass instruments 1 Indian Martial Arts 1 Diruba 1 Urban 1 Drums 1 Jori 1 Kanjira 1 Keyboard 1 Lap Steel guitar 1

Other roles within music, aside from being a musician, were also cited as a primary specialism, such as composition and production, alongside musical genres that artists focused on.

Table 6: Music Styles and Disciplines Listed as Specialisms Music Styles Count Musical Disciplines Count Carnatic 5 Composition 4 Electronica 2 Music Direction 1 World Music 2 Music Production 1 Dhrupad 1 Jazz 1 Neo classical 1

More than half of respondents had begun learning their primary artform as a young child – with 11% giving an age of 0-4 years and 48% an age of 5- 9 years. Only 8% of respondents began after the age of 25 years.

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Table 7: Age Learning Began Age Range Percentage (Base: 192) 0-4 years 11% 5-9 years 48% 10-14 years 19% 15-19 years 10% 20-24 years 5% 25-29 years 5% 30-39 years 2% 40-49 years 1%

The majority of respondents had been practicing their primary artform from for 20-29 years (35%), with a further 21% practicing between 30-49 years and 31% for 10-19 years.

Table 8: Number of Years Practicing Age Range Percentage (Base: 198) 0-4 years 3% 5-9 years 8% 10-14 years 16% 15-19 years 15% 20-29 years 35% 30-39 years 11% 40-49 years 10% 50-59 years 2% 60+ years 1%

When asked to rate their artistic style/approach on a scale of 1 (purely classical and/or traditional) to 10 (completely contemporary and non- traditional) the average score across all respondents was 4.2 and the most frequent score 5.

When looking at the same data by score given, 50% gave between 1 and 4 (traditional), whilst 18% gave between 6 and 10 (contemporary).

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Table 9: Classical to Contemporary Scale Base: 204 Score out of 10 Mean (average score) 4.2 Mode 5 Median 5 Percentage Very traditional (1-2) 20% Traditional (3-4) 30% Between styles (5-6) 33% Contemporary (7-8) 12% Very contemporary (9-10) 6%

When asked to rate what stage of their career they felt they were currently at on a scale of 1 (early stages) to 10 (established professional and/or leader) the average score across all respondents was 6.4 and the most frequent score 10.

When looking at the same data by score given, 24% gave between 1 and 4 (early stage), whilst 50% gave between 6 and 10 (established).

Table 10: Career Stage Scale Base: 209 Score out of 10 Mean (average score) 6.4 Mode 10 Median 6 Percentage Very early career (1-2) 9% Early career (3-4) 15% Mid-career (5-6) 27% Established career (7-8) 27% Very established career (9-10) 23%

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When respondents were asked, ‘What do you think would help you to move forward on that sliding scale over time towards being an established professional and/or leader in South Asian dance or music?’. Many different answers were provided25. Those which came up multiple times were:

▪ Marketing, publicity and promotion ▪ A better understanding of South Asian arts amongst the wider sector and more specifically with funders, including an openness to fund more diverse South Asian music and dance styles and roles in the sector ▪ Better support from local authorities ▪ Ensuring opportunities are open to all, including a need to combat nepotism ▪ Increased opportunities for networking ▪ Mainstream performance opportunities, including venues and festivals ▪ Opportunities for collaboration, apprenticeships and mentoring ▪ Having the skills and/or resources to establish a dance or music school ▪ Affordable venues for performance ▪ Affordable spaces for practice, rehearsal and teaching ▪ Audience development for the South Asian arts ▪ Ability to focus full-time on their artistic practice, as opposed to having another career alongside it to support them ▪ Better integration of South Asian artforms into the education system ▪ The support and opportunities to do intensive study in South Asia.

“Booking Agents and Concert Promoters recognising this art form and investing in it; more and more people learning this art which will directly increase the audience for it; and mid-size venues with reasonable rental costs.”

“More opportunities to work with both musicians and dancers in both traditional artform as well as contemporary works; proper intense training with gurus to deepen my knowledge; ability to dedicate consistent time for personal practice alongside university studies; and to have a mentor showing the endless possibilities and realities of being a full time south Asian musician in Europe.”

25 All verbatim responses are provided at the end of this Appendix.

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“More concert possibilities, workshops in schools throughout UK to reach out to wider public and create greater interest and awareness of this art form. This has declined seriously over the past decade for me personally. As organisations are funded directly and they chose to work with certain group of musicians often friends and families rather than abilities and what is best suited.”

“Promotion, sponsoring would definitely help to speed up the process of producing the musical project, events and shows will help to gain recognition.”

“South Asian classical arts must be presented to the public for what they are - a great art form shorn of esoteric religious/spiritual baggage; this music must be presented at small to medium sized venues across the country to a wider demographic and not ghettoised by restricting it to predominantly South Asian forums.”

“A support network of more established artists to aid and give advice to artists who are just starting up.”

“Funding recording projects; funding for live concerts; funding for band rehearsal room; and knowledge of government schemes for artists travelling abroad for concerts.”

“Social Media promotion and marketing; having a venue base to run our arts organisation; making contact with promoters across the UK; and working in collaboration with other arts organisations across the UK.” “Time and money, essentially. It is difficult to progress beyond a certain level in Kathak without devoting significant amounts of time to practice and honing one's skills. That is difficult to combine with a (more than) full- time primary career. Studio space hire in London is very costly (particularly weekends and evenings); if there are cheaper studios, they involve a long commute.”

“Performance opportunities in a wide variety of venues as well as group projects with other artists that improves my knowledge of different styles and allows me to network.”

“More opportunities for funded support in terms of advancement for training/intensives; better awareness of events/performances/lectures/ demonstrations etc. in the South Asian sector; opportunities to work with contemporary artists and gain an deeper understanding of body conditioning and mechanics which can in turn be passed on to students in the classroom; less cliquey attitude among the establishment South Asian organisations; and more opportunities for and guidance on funding for the

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development of performances/productions based on classical work vs. contemporary. That is not to say classical and traditional are the same - it simply seems contemporary dancers/work are favoured over classical South Asian dancers/work which doesn’t leave much room for those who don’t want to be ‘contemporary dancers’ or aren’t trained in ‘contemporary dance’.”

“Renowned venues such as Sadlers Wells need to widen their programming remit and not just support the already greatest exposed artists. Similarly, festivals like Darbar should do more to have a balance of British Asian artists with international artists. There is still a notion that artists from India are the best when now that is not necessarily true. Both can learn from each other. Appreciation of the universality of the art form - not restricted to a particular ethnic group. Art must be present at all levels of education especially early years, primary and secondary.”

“As an artist that works beyond the dance sector there is a tendency for some artists and venues not to approach me for advice and guidance because my artistic practise has shifted away from the dance sector towards theatre. There would be positive shift forward on this scale for me if venues and organisations would approach me to be involved more with developmental strategies and recognise that although my personal artistic trajectory and works may not contribute directly towards dance that my training, understanding and lived-experience over the past two-decades could offer a clearer insight and in-depth knowledge of the complications within South Asian Dance and help to strategize for increasing younger talent and careers from within South-Asian dance.”

“Local authorities need to provide support.”

When looking at the different categories of respondents:

▪ A greater proportion of dancers were at a mid-career or established career stage than musicians: 51% of dancers compared to 37% of musicians at mid-career stage, and 56% of dancers compared to 30% of musicians at established career stage. ▪ A greater proportion of musicians considered themselves to be a leader (42%) than was the case with dancers (27%). ▪ A greater proportion of dancers did not consider themselves a leader now but felt they would be in the future (43%) than was the case with musicians (27%).

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▪ Musicians, on average, were slightly more towards the contemporary end of the scale, with an average score out of 4.6 out of 10 compared to 3.8 for dancers. ▪ The most frequent score in terms of artistic style/approach was 5 out of 10 for musicians, 1 for dancers. ▪ Artists at the early stages of their career, on average, were likely to be slightly more towards the traditional/classical end of the scale (3.7 out of 10) than those who were established (4.5 out of 10), with mid- career artists falling between the two (4 out of 10). ▪ Those who considered themselves leaders, on average, were likely to be slightly more towards the contemporary end of the scale (4.4. out of 10) than those who did not consider themselves leaders (3.7 out of 10), with those who did not consider themselves leaders but felt they would be in future falling between the two (3.9 out of 10). ▪ The most frequent score out of 10 in terms of artistic approach/style, for those who considered themselves leaders was 1; 5 for those who did not consider themselves leaders now but felt they would be in future; and 1 for those who did not consider themselves leaders. ▪ Those who considered themselves leaders, on average, gave a higher score for their career stage putting them nearer the established career end of the scale (7.9 out of 10), compared to those who did not consider themselves leaders now but felt they would be in future (5.3 out of 10) and those who did not consider themselves leaders (4.9 out of 10). ▪ The most frequent score out of 10 in terms of career stage for those who considered themselves leaders was 10; 5 for those who did not consider themselves leaders now but felt they would be in future; and 3 for those who did not consider themselves leaders.

2. Factors influencing South Asian music and dance practice

In order to understand what had enabled individuals to be a practicing South Asian musician and/or dancer they were asked how important a range of factors had been. The most important factors in descending order were:

1. Individual time spent training and honing my practice: 97% rated this very important (81%) or important (16%); 2. Training under a guru: 91% rated this very important (80%) or important (11%);

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3. Support of parents/family: 81% rated this very important (64%) or important (16%); 4. Weekly dance/music lessons at a local dance/music school: 80% rated this very important (62%) or important (18%).

Around two-thirds of respondents also rated the following factors as important:

▪ Time spent in India/Bangladesh/Pakistan/Sri Lanka immersed in the artform: 69% rated this very important (41%) or important (28%). ▪ Training in different styles outside of my core dance tradition/instrument: 66% rated this very important (28%) or important (38%). ▪ Training with multiple teachers: 65% rated this very important (25%) or important (40%).

Respondents were also provided with an opportunity to state if there is anything else that has been important or very important to helping them develop a career as a professional dancer or musician26. Answers that came up repeatedly included:

▪ Performing ▪ Dedication and hard work ▪ Peer support and networks ▪ Funding ▪ Networking ▪ Accessing/experiencing the work of other artists ▪ Collaborating with other artists ▪ Mentors ▪ Love/passion of their chose artform ▪ Expansion of their knowledge and understanding of the artforms.

Other things of note were access to affordable space (studio, rehearsal, performance) and having the necessary business skills required.

“Actively performing at various types of events and venues to gain more confidence and enable a strong presentation skill.”

“Initiative, dedication, hard work, an attitude of not being owed a living through dance but years of hard work without funding.”

26 All verbatim responses are provided at the end of this Appendix.

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“Having a close relationship with a producer, venue and various mentors not from the dance sector is an enriching experience to know that careers can take different paths and there are many more possibilities.”

“Opportunities to work with practising/established choreographers, to get an understanding of choreographic process and production process.”

“I am recognised the world over as one of today's leading sarod players purely due to my hard work, openness, willingness to learn from any stream within the Hindustani and Carnatic traditions and other great traditions of world music, and from my peers.”

“Networking in the area of music, social media, courses and involvement in research and collaboration.”

“The support of your peers in the industry and having mentors is crucial to success in this industry.”

“A teacher/guru who gives you freedom and encourages you to take on other work by other choreographers, dance styles and presentations; and a teacher/guru who is there for you, for your personal and professional development – he or she is not there to make you into a version of themselves, they are there to develop you as an individual.”

“It is so important to practice and perform with live music, it makes all difference.”

“Watching performances by different artists; attending seminars on dance; and gaining in depth theoretical knowledge of dance or whichever art form one pursues.”

“Finding good mentors who can guide you, as gurus and mentors can often be different. Mentors challenge you and help you to set up being a professional musician/creative. They can also connect you to networks and also help you to find solutions when you have career setbacks.”

“The true passion and love for the art form.”

When looking at the different categories of respondents there appears to be some differences in terms of the importance of these factors, as presented in Tables 11 to 13. These tables show that:

▪ Being part of an advanced youth development group such as SAMYO or The Centre for Advanced Training for South Asian and Contemporary Dance (CAT) appeared more important overall for musicians than dancers. ▪ Weekly dance/music lessons at a local dance/music school, training with multiple teachers and training in different styles outside of their

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core dance tradition/instrument appeared more important to dancers than musicians. ▪ Religion, weekly dance/music lessons at a local dance/music school and training under a guru were least important to established artists than those at early and mid-career stages. ▪ Being part of an advanced youth development group such as SAMYO or The Centre for Advanced Training for South Asian and Contemporary Dance (CAT) and training with multiple teachers was most important to mid-career artists than those in early or established careers. ▪ Training in different styles outside of their core dance tradition/instrument was most important to mid-career artists, followed by established artists and then early career artists. ▪ Time spent in India/Bangladesh/Pakistan/Sri Lanka immersed in the artform was most important to established artists, followed by mid- career artists and then early career artists. ▪ Religion appeared to be least important to those who considered themselves leaders or did not consider themselves leaders now but felt they would be in future. ▪ Weekly dance/music lessons at a local dance/music school and being part of an advanced youth development group were most important to those who did not consider themselves a leader now but felt they would be in the future. ▪ Those who are not sure if they are a leader rate training under a Guru and support of parents/family as less important than other groups, and training with multiple teachers as more important than other groups. ▪ Those who consider themselves leaders rate time spent in India/ Bangladesh/Pakistan/Sri Lanka immersed in the artform and training in different styles outside of their core dance tradition/instrument as more important than other groups.

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Chart 6: Factors Enabling Individuals to Become a Practicing Dancer or Musician

Base: 194 to 196

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Table 11: Factors Contributing to Development and Progression by Artform % rated Very Important or Important Dancer Musician

Support of parents/family 82% 84% My religion 38% 40% Weekly dance/music lessons at a local 87% 78% dance/music school Being part of an advanced youth development group such as SAMYO or The Centre for 26% 38% Advanced Training for South Asian and Contemporary Dance (CAT) Training under a Guru 94% 91% Training with multiple teachers 68% 59% Training in different styles outside of my core 70% 63% dance tradition / instrument Time spent in India/Bangladesh/Pakistan/Sri 70% 74% Lanka immersed in the artform Individual time spent training and honing my 98% 100% practice

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Table 12: Factors Contributing to Development and Progression by Career Stage % rated Very Important or Important Early Career Mid-Career Established Career Support of parents/family 81% 80% 81% My religion 40% 42% 34% Weekly dance/music lessons at a local 85% 86% 75% dance/music school Being part of an advanced youth development group such as SAMYO or The Centre for 25% 42% 29% Advanced Training for South Asian and Contemporary Dance (CAT) Training under a Guru 96% 96% 86% Training with multiple teachers 64% 73% 61% Training in different styles outside of my core 56% 74% 66% dance tradition / instrument Time spent in India/Bangladesh/Pakistan/Sri 60% 65% 76% Lanka immersed in the artform Individual time spent training and honing my 98% 98% 96% practice

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Table 13: Factors Contributing to Development and Progression by Leadership Status % rated Very Important or Important Leader - Yes Leader – Not Leader – No Leader – Not now but in sure future Support of parents/family 80% 81% 83% 70% My religion 38% 32% 46% 45% Weekly dance/music lessons at a local 72% 88% 82% 85% dance/music school Being part of an advanced youth development group such as SAMYO or The Centre for 24% 39% 26% 30% Advanced Training for South Asian and Contemporary Dance (CAT) Training under a Guru 91% 93% 91% 80% Training with multiple teachers 63% 64% 69% 80% Training in different styles outside of my core 75% 62% 63% 58% dance tradition / instrument Time spent in India/Bangladesh/Pakistan/Sri 76% 72% 63% 60% Lanka immersed in the artform Individual time spent training and honing my 96% 100% 94% 95% practice

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3.1 Barriers and Challenges to Progressing Career

Respondents were asked ‘What has been the biggest barrier or challenge to progressing your career as a practicing dancer or musician so far?’. Many different answers were provided27, with the most common being:

▪ Funding ▪ Lack of/level of pay and consistency of pay ▪ Lack of high-quality gurus and teachers ▪ Lack of support ▪ Lack of opportunities ▪ Lack of time to dedicate to practice and/or activity to support practice ▪ Family, other work and/or study commitments ▪ Perception of favouritism existing in some South Asian arts organisations ▪ Lack of affordable space (studio space, rehearsal space, etc.) ▪ Lack of interest in or awareness of South Asian artforms by others ▪ Cultural barriers, including language or ethnicity ▪ Lack of other skills required by artists to make a successful career.

“Being brown. I seem to be too brown for some and not brown enough for others. What would be helpful is for the work to just speak for itself… I find parts of the South Asian industry segregated and, in some part, either purely popular or elitist.”

“The biggest challenge has always been time, funding and resources. One has always had to work which in turn dilutes time for practice and taking up opportunities to showcase the art form beyond the weekend and late evenings.”

“By far the biggest barriers are lack of opportunities in mainstream; lack of teaching opportunities in education, especially academies; lack of funding and how to apply; a small group of organisations monopoly on calling the same musicians and dancers over and over again; funding to support low income musicians; and cost of public transport for musicians.”

“Lack of interest in Odissi locally, hence people choose to go to Bollywood, Bharatanatyam and Kathak - in that order. Not having an established syllabus until now, which we are actively working on within the teaching community.”

27 All verbatim responses are provided at the end of this Appendix.

December 2020 150 Arts Council England South Asian Dance and Music Mapping Appendix 5: Sector Survey Findings

“I am a practicing producer of events… The barrier is far less opportunities to fulfil roles that can enable that function. Those that are available aren’t financially viable - low paid or freelance. Without people in the position of being able to make informed programming decisions the opportunities for the artists are limited. Also, those that do make it as a producer / programmer are faced with a challenge of men dominating the sector.”

“Lack of infrastructure and industry support; lack of resources and having to self-fund and release independently; and lack of support from parents due to traditional attitude to enter a profession.”

“Support from people in general - teachers, parents, institutes. Having just yourself to rely on especially after deciding to go full time with this career. Lack of knowledge in what grants are available to further your career and personal development. Lack of organisations willing to take on British Born musicians and dancers who are not famous and already established or within the friend circle. People and organisations hiring you for peanuts or worse - exposure which doesn't pay any bills. Not being able to afford to go and further my veena skills in India.”

“Not being able to learn things like complex choreography, how to implement contemporary themes into a traditional repertoire, not knowing what kind of reading material could inspire. How to work with professional musicians.”

“From my experience in the education sector of music from Primary to Secondary, there is a lot of "unknowns" about the music, culture and tradition of Indian music whether its North or South, which causes obstacles when coming to being accepted on the same par with Western musicians/teachers.”

“Lack of sympathetic funding; lack of good quality teachers; insufficient opportunities for group practice and interaction. Sympathetic funding means to support the pure artform. Often, funders only grant if we go contemporary or do fusion!”

“Music organisations in the UK are pretty much based on nepotism or mainly interested in promoting students of a certain musician or international artists. I have had more opportunities outside of the UK than I’ve had in my own town where I am a very active practitioner of my art, through private performances and teaching privately and in other local institutions.”

“Not being able to speak Tamil or any other Indian language.”

“There is a dearth of good teachers here especially in Kalakshetra style. It breaks my heart to note that I haven’t been able to learn dance since 2012.”

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“Venues and organisations not understanding the creative exploration of a South Asian art form. There is an expectation of what South Asian artists should be creating for current markets.”

“The completely and utter lack of knowing how to progress. A lot of my career has been reactionary, without a role model to aspire to. Putting together the pieces of the jigsaw on your own has been the most terrifying act, since the risks are so great.”

3.2 Influential Factors and Opportunities to Progressing Career

Respondents were asked ‘What has been the most influential factor/biggest opportunity in progressing your career as a practicing dancer or musician so far?’. Many different answers were provided28, with the most common being:

▪ Belief and support from gurus, mentors and teachers ▪ Support from family and friends ▪ Performance and touring opportunities ▪ Private practice, training, hard work and dedication ▪ Engaging with and working in other genres or styles of music and dance ▪ Training in and connections with India ▪ Role models, including working with specific artists ▪ Peer support, networking and collaboration ▪ Passion for their artform ▪ Networking and having good contacts ▪ Support from ACE and South Asian arts organisations ▪ Working in collaboration.

It is of note that within answers to the above two questions, there seemed to be different experiences amongst respondents in terms of their interactions with South Asian arts organisations – some having positive experiences with these organisations and others not.

“Creating music I want to hear and being as self-sufficient as possible. The majority of my work and its reach has been done without the support of institutions or funders. Don't get me wrong, I have been involved with some great projects that have had support or funding from great organisations, but on the whole, I’ve been supporting myself.”

28 All verbatim responses are provided at the end of this Appendix.

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“The biggest influential factor in my career has been family support, including financial; painstaking hours of practise to be on top of my craft; supporting fellow musicians and being supported by them; and meeting influential people in the industry.”

“Getting tamed under amazing choreographers like Akram Khan, performing with stalwarts like Sylvie Guillen, working in collaborations with big companies like Sadlers Wells.”

“Working with different gurus. Different styles as that enhanced my learning and helped develop me and my unique styles which audiences adore! Performing is a must and a great opportunity, as it teaches you many skills.”

“The acceptance of UK audiences and the respect from my peers. Support from the ACE and Croydon Council have helped a lot in establishing myself as a composer and mentor.”

“Support of a few mentors and their encouragement. These mentors have believed in my talents and also given me opportunities to create as I wish resulting in many great pieces of works recognised globally. As a young enthusiastic artist, this support system can either make or break you.”

“A very warm and accepting and supportive community of South Asian dancers and musicians, who do support by turning up to events and workshops. Also, Akademi supported me and two other male kathak dancers by commissioning and promoting a performance for us as part of their Navodit series.”

“My family, friends and obviously the support of my Gurus.”

“Being a part of SAMYO and then Tarang.”

“Working with individuals outside of the South Asian dance sector, as that has shown me professional and industry practices, which has helped me to figure out how to move forward within my own art form.”

“Funding from Arts Council which enabled me to further work on my art form which then led to me recording and filming new content with the help of PRS.”

“Knowing other musicians who can inspire, challenge and be a support network.”

“My association with the senior national orchestra (TARANG) and the commissioned project my friend and I worked on in 2017/2018 under zerOclassikal, commissioned by the Arts Council.”

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“I was lucky enough to train in India and Europe with the best exponents of my art form. I have had consistent financial and artistic support (including awards) from key organisations that have made me believe in the quality of my work and given me the confidence I could not get from my closer relationships (my family does not know much or understand dance or see it as a profession). Another influential factor is my own determination in continuing the journey and investing relentless in my progress.”

“Institutional support from Akademi, Chaturangan, Cicd, Kadam dance.”

“The biggest influential factor of me progressing my music was firstly my teacher encouraging me to widen my perspective by studying under other gurus and subsequently having the opportunity to perform internationally.”

“Training in India really helped me a lot.”

“My guru(s) and the support and teaching they have provided. My parents' support. Also, the numerous competitions I've won in music and dance helped in boosting my confidence as an artist.”

4. Current satisfaction with time spent on artistic practice

Only 22% of respondents were satisfied with the current balance of time they spent between their artistic practice, compared with time they needed to spend on other activities supporting their practice. 43% were dissatisfied.

Those who answered ‘very dissatisfied’ or ‘dissatisfied’ were asked to explain why and what would help them to achieve a more satisfactory balance. Time, money and space were the three main causes of dissatisfaction:

▪ Time: this included people having to work another job to support their artistic career, with this job being either a primary or secondary career; commitments to family or studies; and the need to spend significant amounts of time teaching. ▪ Money: many did not have the necessary funding to be able to focus on their artistic practice, which links back to the time issue and having to work other jobs and dedicate more hours than desired to teaching. ▪ Space: many spoke of how there was a lack of space for them to undertake their artistic practice, be this for private or collaborative practice, rehearsals or teaching. ▪ Several also spoke of how they would like help with the administration, marketing and fundraising activity they needed to undertake as an artist.

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Chart 7: Satisfaction with Time Spent on Artistic Practice

Base: 177

When looking at the different categories of respondents there appears to be some differences in terms of how satisfied they are with the current balance between the time spent on their artistic practice versus other activities that support them being able to practice their art form:

▪ Musicians were more likely to be satisfied with the balance (30%) than dancers (20%), with a similar proportion of each being dissatisfied. ▪ Established artists were more likely to be satisfied with the balance (33%) than mid-career artists (14%) and those at early career stage (13%); with mid-career artists most likely to be dissatisfied with the balance (54%, compared to 36% of early career and 41% of established artists). ▪ Those who consider themselves leaders or do not consider themselves leaders were more likely to be satisfied with the balance (both 29%) than those who do not consider themselves leaders now but felt they would be in the future (21%) and those who were not sure if they were a leader (11%). ▪ Those who are not sure if they consider themselves a leader were more likely to be dissatisfied with the balance (53%) than those who consider themselves leaders (44%), those who do not consider themselves leaders now but felt they would be in the future (45%), and those who do not consider themselves a leader (37%).

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5. Current skills and attributes

When asked to rate their current level for a range of skills and attributes that might be considered important for artists, there were six areas that approximately two-thirds or more of artists rated as ‘Excellent’ or ‘Good’: ▪ Teaching skills (81%): rated excellent by 39%, good by 42% ▪ Creativity in practice (77%): rated excellent by 35%, good by 42% ▪ Technical skill in artform (74%): rated excellent by 29%, good by 44% ▪ Leadership skills (73%): rated excellent by 34%, good by 39% ▪ Innovation in your practice (65%): rated excellent by 27%, good by 39% ▪ Self-belief/confidence (64%): rated excellent by 32%, good by 32%.

The skills that, overall, artists felt they were most lacking in were: ▪ Fundraising (60%): rated poor by 44%, satisfactory by 16% ▪ Brand and marketing (58%): rated poor by 34%, satisfactory by 24% ▪ Digital skills (49%): rated poor by 28%, satisfactory by 21% ▪ Networking (42%): rated poor by 18% and satisfactory by 24% ▪ Partnership/collaboration (37%): rated poor by 22%, satisfactory by 15% ▪ Producing/entrepreneurial skills (36%): rated poor by 14%, satisfactory by 22%.

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Chart 8: Current Level of Range of Key Skills for Musicians and Dancers

Base: 178 to 186

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Table 14: Current Level of Range of Key Skills and Attributes by Artform Skills and Attributes – Dancer Musician % rated Excellent or Good Technical skills in artform 80% 72% Creativity in your practice 80% 78% Innovation in your practice 66% 69% Teaching 88% 83% Choreography 76% 15% Composition 54% 69% Leadership skills 77% 73% Networking 47% 40% Producing/entrepreneurial skills 44% 40% Brand and marketing 38% 37% Partnership/collaboration 14% 11% Self-belief/confidence 25% 20% Digital skills 48% 51% Fundraising 63% 66%

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Table 15: Current Level of Range of Key Skills and Attributes by Career Stage Skills and Attributes – Early Career Mid-Career Established % rated Excellent or Good Career Technical skills in artform 62% 78% 80% Creativity in your practice 62% 71% 87% Innovation in your practice 40% 55% 85% Teaching 69% 78% 91% Choreography 38% 41% 65% Composition 38% 46% 75% Leadership skills 62% 69% 81% Networking 36% 47% 52% Producing/entrepreneurial skills 36% 40% 53% Brand and marketing 47% 37% 41% Partnership/collaboration 9% 27% 16% Self-belief/confidence 25% 14% 30% Digital skills 38% 51% 55% Fundraising 47% 57% 76%

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Table 16: Current Level of Range of Key Skills and Attributes by Leadership Status Skills and Attributes – Leader - Yes Leader – Not Leader – No Leader – Not % rated Excellent or Good now but in sure future Technical skills in artform 82% 72% 67% 60% Creativity in your practice 91% 76% 58% 75% Innovation in your practice 89% 64% 33% 65% Teaching 89% 83% 75% 70% Choreography 55% 54% 42% 50% Composition 78% 52% 36% 50% Leadership skills 91% 69% 61% 60% Networking 56% 40% 39% 55% Producing/entrepreneurial skills 64% 41% 17% 55% Brand and marketing 39% 21% 14% 20% Partnership/collaboration 66% 47% 42% 40% Self-belief/confidence 82% 57% 58% 50% Digital skills 43% 43% 34% 35% Fundraising 18% 16% 3% 30%

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When looking at the different categories of respondents there are differences in the rating each would give themselves across a range of skills and abilities, as presented in Tables 14 to 16. These tables show that:

▪ A greater proportion of dancers rated the majority of skills and attributes listed as excellent or good than musicians. ▪ A greater proportion of established artists rated the majority of skills and attributes listed as excellent or good, followed by mid-career artists and then early career artists. ▪ Early career artists were more likely to rate digital skills (e.g. promoting work on social media, web presence etc.) as excellent or good. ▪ Mid-career artists were more likely to rate fundraising abilities and least likely to rate brand and marketing skills as excellent or good. ▪ A greater proportion of those who considered themselves a leader rated the majority of skills and attributes listed as excellent or good, most closely followed by those who did not consider themselves a leader yet but felt they would be in future. ▪ Those who are not sure if they are a leader gave more mixed responses.

6. Developing and progressing South Asian artists

A range of ideas were tested with respondents, informed by desk research and initial stakeholder consultation, to determine how valuable they would be to the progression of South Asian musicians and dancers. All were considered valuable, with a minimum of 70% of respondents stating each was incredibly valuable or valuable. The top 10 most valuable in descending order, i.e. those ideas with the highest proportion of ‘Incredibly valuable’ ratings were:

1. Dedicated performance platforms and opportunities to showcase work to venues and promoters (71% rated this incredibly valuable); 2. Dedicated low cost space and facilities to rehearse in and meet peers to collaborate and explore creative practice (66% rated this incredibly valuable); 3. Developing more producers for South Asian music and dance (61% rated this incredibly valuable); 4. Mentoring from an established and credible artist in their discipline (59% rated this incredibly valuable); 5. Investment in understanding and growing the audiences for South Asian music and dance and ensuring its relevance to today's audiences

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from within and beyond the South Asian community (58% rated this incredibly valuable); 6. Increased awareness and advocacy of South Asian music and dance as sustainable career options within South Asian families and social networks such as temples, schools and grassroots music and dance classes (56% rated this incredibly valuable); 7. Increasing opportunities to see and engage with successful role models/ leaders in the chosen artform (56% rated this incredibly valuable); 8. A centralised digital space where all professional opportunities for South Asian dancers and musicians are listed and regularly emailed out to subscribers (55% rated this incredibly valuable); 9. A paid apprentice style programme within a South Asian dance and/or music organisation/company (54% rated this incredibly valuable); 10. Greater partnership working and collaboration within and outside of the South Asian music and dance sector (54% rated this incredibly valuable).

When looking at the combined totals for those who rated ideas incredibly valuable or valuable, increasing opportunities for British South Asian artists to travel and spend time in the countries where their art originates from, such as India; offering training in business skills such as fundraising and marketing to South Asian musicians and dancers; and intensive summer school style masterclasses and short courses with Gurus tied to formal accreditation/grades also came in the top 10.

When looking at the different categories of respondents there are differences in how valuable they felt a range of options would be towards developing and progressing South Asian dancers and musicians, as presented in Tables 17 to 19. These tables show that:

▪ A much greater proportion of dancers than musicians rated a South Asian Adult Dance Repertory Company; a South Asian Dance Youth Company; a recognised Higher Education degree course in South Asian Music or Dance via a University; a paid apprentice style programme within a South Asian dance and/or music organisation/company; and an awards system/event specifically for South Asian music and dance which is globally respected as a mark of quality as incredibly valuable or valuable. ▪ A greater proportion of musicians than dancers rated increased awareness and advocacy of South Asian music and dance as sustainable career options within South Asian families and social networks such as temples, schools and grassroots music and dance classes as incredibly valuable or valuable.

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▪ Mid-career and established artists, on average, felt that developing more producers for South Asian music and dance; an awards system/event specifically for South Asian music and dance which is globally respected as a mark of quality; training in business skills; and increasing opportunities to see and engage with successful role models/leaders were more valuable than early career artists.

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Chart 9a: Factors Contributing to the Development and Progression of South Asian Dancers and Musicians

Base: 174 to 180

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Chart 9b: Factors Contributing to the Development and Progression of South Asian Dancers and Musicians

Base: 178 to 180

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Table 17: Factors Contributing to Development and Progression by Artform % rated Incredibly valuable or Valuable Dancer Musician

A South Asian Adult Dance Repertory Company 79% 53% A South Asian Dance Youth Company 70% 55% (18-23yrs) A South Asian specific Music & Dance 79% 78% Conservatoire A recognised Higher Education degree course in 84% 67% South Asian Music or Dance via a University A South Asian music/dance module within a wider 80% 77% music or dance degree Dedicated performance platforms and opportunities to showcase work to venues and 98% 97% promoters Intensive summer school style masterclasses and short courses with Gurus tied to formal 83% 89% accreditation/grades A paid apprentice style programme within a South 91% 77% Asian dance and/or music organisation /company Developing more producers for South Asian music 97% 92% and dance Mentoring from an established and credible artist 96% 90% in their discipline An awards system/event specifically for South Asian music and dance which is globally 83% 76% respected as a mark of quality

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% rated Incredibly valuable or Valuable Dancer Musician

Increased awareness and advocacy of South Asian music and dance as sustainable career options within South Asian families and social 87% 95% networks such as temples, schools and grassroots music and dance classes Developing digital literacy across the sector 78% 82% Offering training in business skills such as fundraising and marketing to South Asian 88% 84% musicians and dancers Increasing opportunities to see and engage with successful role models/leaders in the chosen 91% 95% artform Increasing opportunities for British South Asian artists to travel and spend time in the places their 89% 90% art originates from such as India Changing the funding model from written applications to a digitally based submission where 77% 77% the work can speak for itself and be judged by experts in the art form Investment in understanding and growing the audiences for South Asian music and dance and 89% 87% ensuring its relevance to today's audiences from within and beyond the South Asian community

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% rated Incredibly valuable or Valuable Dancer Musician

Greater partnership working and collaboration within and outside of the South Asian music and 89% 92% dance sector Dedicated low cost space and facilities to rehearse in and meet peers to collaborate and 98% 92% explore creative practice. A centralised digital space where all professional opportunities for South Asian dancers & 91% 87% musicians are listed and regularly emailed out to subscribers

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Table 18: Factors Contributing to Development and Progression by Career Stage % rated Incredibly valuable or Valuable Early Career Mid-career Established career A South Asian Adult Dance Repertory Company 69% 72% 69% A South Asian Dance Youth Company 60% 76% 64% (18-23yrs) A South Asian specific Music & Dance 81% 80% 79% Conservatoire A recognised Higher Education degree course in 79% 79% 78% South Asian Music or Dance via a University A South Asian music/dance module within a wider 79% 79% 79% music or dance degree Dedicated performance platforms and opportunities to showcase work to venues and 98% 94% 98% promoters Intensive summer school style masterclasses and short courses with Gurus tied to formal 91% 81% 83% accreditation/grades A paid apprentice style programme within a South 81% 91% 83% Asian dance and/or music organisation /company Developing more producers for South Asian music 88% 96% 96% and dance Mentoring from an established and credible artist 88% 96% 94% in their discipline An awards system/event specifically for South Asian music and dance which is globally 67% 81% 82% respected as a mark of quality

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% rated Incredibly valuable or Valuable Early Career Mid-career Established career Increased awareness and advocacy of South Asian music and dance as sustainable career options within South Asian families and social 86% 94% 87% networks such as temples, schools and grassroots music and dance classes Developing digital literacy across the sector 72% 77% 83% Offering training in business skills such as fundraising and marketing to South Asian 74% 87% 90% musicians and dancers Increasing opportunities to see and engage with successful role models/leaders in the chosen 88% 96% 93% artform Increasing opportunities for British South Asian artists to travel and spend time in the places their 95% 87% 88% art originates from such as India Changing the funding model from written applications to a digitally based submission where 72% 72% 78% the work can speak for itself and be judged by experts in the art form Investment in understanding and growing the audiences for South Asian music and dance and 86% 87% 91% ensuring its relevance to today's audiences from within and beyond the South Asian community Greater partnership working and collaboration within and outside of the South Asian music and 86% 85% 94% dance sector

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% rated Incredibly valuable or Valuable Early Career Mid-career Established career Dedicated low cost space and facilities to rehearse in and meet peers to collaborate and 95% 91% 98% explore creative practice. A centralised digital space where all professional opportunities for South Asian dancers & 79% 87% 94% musicians are listed and regularly emailed out to subscribers

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Table 19: Factors Contributing to Development and Progression by Leader Status % rated Incredibly valuable or Valuable Leader - Leader – Leader – Leader – Yes Not now but in No Not sure future A South Asian Adult Dance Repertory Company 70% 76% 63% 65% A South Asian Dance Youth Company 63% 69% 60% 74% (18-23yrs) A South Asian specific Music & Dance 70% 84% 80% 79% Conservatoire A recognised Higher Education degree course in 82% 74% 83% 65% South Asian Music or Dance via a University A South Asian music/dance module within a wider 82% 76% 81% 60% music or dance degree Dedicated performance platforms and opportunities to showcase work to venues and 98% 98% 92% 90% promoters Intensive summer school style masterclasses and short courses with Gurus tied to formal 82% 84% 92% 70% accreditation/grades A paid apprentice style programme within a South 82% 86% 83% 85% Asian dance and/or music organisation /company Developing more producers for South Asian music 96% 97% 86% 95% and dance Mentoring from an established and credible artist 91% 95% 92% 90% in their discipline An awards system/event specifically for South Asian music and dance which is globally 84% 83% 67% 70% respected as a mark of quality

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% rated Incredibly valuable or Valuable Leader - Leader – Leader – Leader – Yes Not now but in No Not sure future Increased awareness and advocacy of South Asian music and dance as sustainable career options within South Asian families and social 89% 93% 86% 80% networks such as temples, schools and grassroots music and dance classes Developing digital literacy across the sector 89% 78% 67% 75% Offering training in business skills such as fundraising and marketing to South Asian 93% 90% 72% 75% musicians and dancers Increasing opportunities to see and engage with successful role models/leaders in the chosen 96% 95% 86% 85% artform Increasing opportunities for British South Asian artists to travel and spend time in the places their 89% 88% 94% 85% art originates from such as India Changing the funding model from written applications to a digitally based submission where 79% 71% 69% 75% the work can speak for itself and be judged by experts in the art form Investment in understanding and growing the audiences for South Asian music and dance and 95% 83% 83% 85% ensuring its relevance to today's audiences from within and beyond the South Asian community Greater partnership working and collaboration within and outside of the South Asian music and 95% 95% 81% 75% dance sector

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% rated Incredibly valuable or Valuable Leader - Leader – Leader – Leader – Yes Not now but in No Not sure future Dedicated low cost space and facilities to rehearse in and meet peers to collaborate and 98% 95% 89% 95% explore creative practice. A centralised digital space where all professional opportunities for South Asian dancers & 93% 91% 81% 80% musicians are listed and regularly emailed out to subscribers

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▪ Early career artists, on average, felt that intensive summer school style masterclasses and short courses with Gurus tied to formal accreditation/ grades; and increasing opportunities for British South Asian artists to travel and spend time in the places their art originates from such as India were more valuable than mid-career and established artists. ▪ Mid-career artists, on average, felt that a South Asian Dance Youth Company; and a paid apprentice style programme within a South Asian dance and/or music organisation/company were more valuable than early-career and established artists. ▪ Established artists, on average, felt that developing digital literacy across the sector, and a centralised digital space where all professional opportunities for South Asian dancers and musicians are listed and regularly emailed out to subscribers were more valuable than mid- career and established artists.

Respondents were also provided with an opportunity to state if there was anything not listed that they felt would be valuable or incredibly valuable towards developing and progressing South Asian musicians and dancers29. Several answers were provided, though very few by multiple respondents.

Suggestions included:

▪ Provision for older/more mature artists ▪ Syllabus development of South Asian dance styles not covered by ISTD ▪ Support for a greater variety of music and dance styles, and approaches ▪ More links into mainstream (i.e. non-South Asian specific opportunities) ▪ More local opportunities outside of the major cities ▪ Increasing the quality of teaching and performance within the sector ▪ Ensuring greater investment in UK-based artists, over those based in India.

“Adult learners and passionate dance teachers also should get these facilities. There must be another set of groups with the age group of 30-50 years who are experienced but does need these above skills to improvise their teaching and identity in the field of dance career.”

“Help syllabus development actively for all Indian classical dance forms - Odissi for sure and also Kuchipudi, Mohiniattam, Kathakali and Sattariya.”

29 All verbatim responses are provided at the end of this Appendix.

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“I value strong positive platforms across the music and dance fields. I also feel that some of the NPOs are not helpful and many opportunities are lost as these bodies are NOT INCLUSIVE… I also find that some NPOs only, for example, promote Punjabi centric tours and events, whilst some are only interested in calling artists from South Asia, in particular India. Pakistan and Bangladesh artistic areas have been neglected for many years.”

“I feel the standard of some mentors/teachers should be vetted very carefully because in the UK there are very few genuinely talented mentors.”

“Increasing the number of venues that programme South Asian dance, not contemporary dance (Akram/Shobana). Though the practitioner and teaching base is strong this growth isn't reflected in an increase of programming.”

“Most of these questions are assuming a western paradigm e.g. conservatoires, when South Asian music and dance is traditionally taught and developed via the guru-shishya parampara. We need Gurukuls in UK - residential places where serious students can live with their teachers 24/7. Funders do not seem to want to fund tradition, or at best do not understand it. Mind you the sector is also full of mediocre teachers.”

“I think the existing organisations promoting dance and Indian classical music should be giving special considerations/opportunities to perform, teach, give workshops etc. to full-time UK based artists. Also, organisations should only be allowed to promote each artist once, that way this would provide wider spread of music through organisations, geographical locations and wide spread of exposure for each artist.”

“Mainstream venues need to take South Asian arts more seriously; their marketing needs to improve and so in order to improve the sector they also have to be involved!”

7. Developing leaders in South Asian dance and music

A range of ideas were tested with respondents, informed by desk research and some initial stakeholder consultation, to determine how valuable they would be in developing outstanding leaders within the South Asian music and dance sector. All were considered to be valuable, with a minimum of 67% of respondents stating each was incredibly valuable or valuable. The top 5 most valuable in descending order, i.e. those ideas with the highest proportion of incredibly valuable ratings were:

1. National exposure and engagement and International exposure and engagement (59% rated these incredibly valuable);

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2. Greater partnership working and collaboration within and outside of the South Asian music and dance sector (49% rated this incredibly valuable); 3. Funding conditions/programmes to enable, empower and inspire true risk taking/innovation in creative practice (47% rated this incredibly valuable); 4. A greater understanding of and engagement with the wider UK cultural sector beyond the South Asian sector (46% rated this incredibly valuable); 5. Higher visibility of successful role models/credible leaders in the sector and wider society (44% rated this incredibly valuable).

When looking at the combined totals for those who rated ideas incredibly valuable or valuable, formal mentoring from an established and credible leader from the wider cultural sector; formal mentoring from an established leader within the South Asian arts sector; and a bespoke leadership development programme targeting South Asian artists in leadership and entrepreneurial skills also came in the top 5.

When looking at the different categories of respondents there are differences in how valuable they feel a range of options would be towards developing outstanding leaders within the South Asian music and dance sector, as presented in Tables 20 to 22. These tables show that:

▪ A much greater proportion of dancers than musicians rated a bespoke leadership development programme targeting South Asian artists in leadership and entrepreneurial skills; formal mentoring from an established leader within the South Asian arts sector; and a greater understanding of and engagement with the wider UK cultural sector beyond the South Asian sector incredibly valuable or valuable. ▪ A much greater proportion of mid-career and established artists rated nearly all the ideas listed as incredibly valuable or valuable, relative to early career artists. ▪ A much greater proportion of early career and established artists rated national exposure and engagement; international exposure and engagement; and current leaders of South Asian music and dance organisations who have been in place for a long time relinquishing power as incredibly valuable or valuable. ▪ A much greater proportion of those who considered themselves a leader or did not consider themselves a leader now but felt they would be in future rated nearly all the ideas listed as incredibly valuable or valuable, relative to those who did not consider themselves a leader.

December 2020 177 Arts Council England South Asian Dance and Music Mapping Appendix 5: Sector Survey Findings

Chart 10: Factors Contributing of Outstanding Leaders in the South Asian Dancers and Musicians

Base: 170 to 172

December 2020 178 Arts Council England South Asian Dance and Music Mapping Appendix 5: Sector Survey Findings

Table 20: Factors Contributing to Outstanding Leaders by Artform % rated Incredibly valuable or Valuable Dancer Musician A bespoke leadership development programme targeting South Asian artists in leadership and 85% 75% entrepreneurial skills Formal mentoring from an established leader within 84% 75% the South Asian arts sector Formal mentoring from an established and credible 87% 87% leader from the wider cultural sector Developing digital literacy and skills towards content, 77% 78% advocacy and brand building Higher visibility of successful role models / credible 78% 83% leaders in the sector and wider society National exposure and engagement 93% 95% International exposure and engagement 91% 95% Greater partnership working and collaboration within 91% 93% and outside of the South Asian music and dance sector An action learning set (peer learning programme) for 77% 73% aspiring leaders in the sector Funding conditions/programmes to enable, empower and inspire true risk taking/innovation in creative 89% 90% practice Current leaders of South Asian music and dance organisations who have been in place for a long time 69% 65% relinquishing power A greater understanding of and engagement with the 92% 85% wider UK cultural sector beyond the South Asian sector

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Table 21: Factors Contributing to Outstanding Leaders by Career Stage % rated Incredibly valuable or Valuable Early Career Mid-career Established Career A bespoke leadership development programme targeting South 64% 89% 85% Asian artists in leadership and entrepreneurial skills Formal mentoring from an established leader within the South 71% 84% 82% Asian arts sector Formal mentoring from an established and credible leader from 79% 86% 91% the wider cultural sector Developing digital literacy and skills towards content, advocacy 67% 80% 83% and brand building Higher visibility of successful role models / credible leaders in 81% 80% 82% the sector and wider society National exposure and engagement 95% 86% 93% International exposure and engagement 98% 89% 93% Greater partnership working and collaboration within and 90% 93% 94% outside of the South Asian music and dance sector An action learning set (peer learning programme) for aspiring 67% 82% 77% leaders in the sector Funding conditions/programmes to enable, empower and 86% 89% 92% inspire true risk taking/innovation in creative practice Current leaders of South Asian music and dance organisations 69% 57% 71% who have been in place for a long time relinquishing power A greater understanding of and engagement with the wider UK 86% 86% 94% cultural sector beyond the South Asian sector

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Table 22: Factors Contributing to Outstanding Leaders by Leadership Status % rated Incredibly valuable or Valuable Leader - Leader – Leader – Leader – Yes Not now but No Not sure in future A bespoke leadership development programme targeting South Asian artists in leadership and 86% 81% 67% 85% entrepreneurial skills Formal mentoring from an established leader within 88% 81% 78% 60% the South Asian arts sector Formal mentoring from an established and credible 95% 84% 78% 85% leader from the wider cultural sector Developing digital literacy and skills towards content, 95% 72% 58% 80% advocacy and brand building Higher visibility of successful role models / credible 91% 75% 72% 75% leaders in the sector and wider society National exposure and engagement 93% 95% 86% 75% International exposure and engagement 95% 93% 86% 85% Greater partnership working and collaboration within and outside of the South Asian music and dance 98% 90% 83% 90% sector An action learning set (peer learning programme) for 84% 76% 75% 70% aspiring leaders in the sector Funding conditions/programmes to enable, empower and inspire true risk taking/innovation in creative 93% 90% 81% 90% practice

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% rated Incredibly valuable or Valuable Leader - Leader – Leader – Leader – Yes Not now but No Not sure in future Current leaders of South Asian music and dance organisations who have been in place for a long time 66% 79% 53% 60% relinquishing power A greater understanding of and engagement with the wider UK cultural sector beyond the South Asian 100% 86% 83% 70% sector

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▪ A much greater proportion of those who considered themselves a leader rated formal mentoring from an established leader within the South Asian arts sector; formal mentoring from an established and credible leader from the wider cultural sector; higher visibility of successful role models/credible leaders in the sector and wider society; an action learning set (peer learning programme) for aspiring leaders in the sector; and a greater understanding of and engagement with the wider UK cultural sector beyond the South Asian sector as incredibly valuable or valuable.

Respondents were also provided with an opportunity to state if there was anything not listed that they felt would be valuable or incredibly valuable towards developing outstanding leaders in the South Asian music and dance sector30. Several answers were provided, though very few by multiple respondents. Suggestions included: ▪ Fellowships ▪ Placing a greater emphasis on enabling emerging artists and leaders ▪ Advocating increased support from public bodies, especially local authorities ▪ Advocating increased support from the mainstream/wider cultural sector ▪ Ensuring a focus on British-based artists over those from overseas.

“Over the four decades, I have yet to see a proper support toward developing strong leadership in the South Asian Music and Dance Programme. I believe some strong emphasis must be laid down in order to develop leaders for tomorrow. There needs to be a fellowship created for senior leaders.”

“Want to emphasise that South Asian artists must be proactively supported in developing partnerships outside the South Asian sector - which itself is small and limited.”

“Need to break down the existing 'power' structures of South Asian dance – who decides worthiness. The Arts Council needs to go beyond working with the 'usual suspects' and that also applies to local councils.”

“Greater brokering by ACE that local authorities and trusts and foundations must do more to support minority/diverse arts, because the mainstream arts organisations don't… Arts Council cannot do this alone, it must bring to the table other contributors to arts funding and arts education and spear this change together.”

“A small number of long-established Kathak teachers hold sway over training ideologies and teaching, and the way in which performances are produced. Although they are of immense value in having shaped the

30 All verbatim responses are provided at the end of this Appendix.

December 2020 183 Arts Council England South Asian Dance and Music Mapping Appendix 5: Sector Survey Findings

dance form as it is in the UK, a new generation of younger dancers and teachers needs to be given space to take root and become established.”

“Current leaders of South Asian music or dance have little to no interest in promoting young up-and-coming musicians, UK based artists. They are more interested in making profits or media exposure from international artist as opposed to nurturing or developing UK artists. This therefore restricts the majority of young musicians from being able to achieve a national or international opportunity or even recognition. Without a regular opportunity to perform amongst an audience of learned or appreciating musicians or keen listeners providing feedback it is very difficult to self- develop as a musician.”

“Current South Asian dance and music organisations require a thorough assessment of how they engage, program and work with British born artists instead of constantly recruiting dancers from India to perform in productions or program Indian dancers from India. More of these opportunities need to be given to South Asian dancers based in Britain for a fairer reflection of the British Asian voice of arts.”

8. Training, progression and leadership – the current context

Respondents were asked to state their level of agreement with a range of statements linked to the current context of training, progression and leadership in the South Asian music and dance sector. These statements were informed by desk research and some initial stakeholder consultation.

There was a high level of agreement with all statements, but three in particular:

▪ The current leaders running South Asian dance and music organisations in the UK have a responsibility to collaborate within and outside of the sector to create a greater number of training and performance opportunities for a more diverse range of South Asian musicians and dancers: 86% agreed with this statement, with 51% stating strongly agree and 35% agree. ▪ Communicating the relevance and meaning of South Asian dance and music is mission critical to making it accessible, developing and sustaining audiences: 82% agreed with this statement, with 45% stating strongly agree and 37% agree. ▪ The current training and progression routes for most South Asian dancers and musicians in the UK does not adequately prepare them for the professional rigour and standards required to work, develop and achieve at a world class level: 74% agreed with this statement, with 39% stating strongly agree and 35% agree.

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Chart 11: Training, Progression and Leadership – The Current Context

Base: 171

December 2020 185 Arts Council England South Asian Dance and Music Mapping Appendix 5: Sector Survey Findings

Table 23: Training, Progression and Leadership – The Current Context by Artform The current context – Dancers Musicians % who Strongly agreed or Agreed

The current leaders running South Asian dance and music organisations in the UK have a responsibility to collaborate within and outside of the sector to create a greater number of training 91% 85% and performance opportunities for a more diverse range of South Asian musicians and dancers. South Asian dance and music is perceived as a risk by the majority of mainstream programmers/venues and the general 53% 52% touring circuit across the UK. Communicating the relevance and meaning of South Asian dance and music is mission critical to making it accessible, developing 82% 83% and sustaining audiences. The current training and progression routes for most South Asian dancers and musicians in the UK does not adequately prepare 75% 77% them for the professional rigour and standards required to work, develop and achieve at a world class level.

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Table 24: Training, Progression and Leadership – The Current Context by Career Stage The current context – Early Career Mid-career Established % who Strongly agreed or Agreed Career The current leaders running South Asian dance and music organisations in the UK have a responsibility to collaborate within and outside of the sector to create a greater number of training 88% 82% 87% and performance opportunities for a more diverse range of South Asian musicians and dancers. South Asian dance and music is perceived as a risk by the majority of mainstream programmers/venues and the general 57% 39% 60% touring circuit across the UK. Communicating the relevance and meaning of South Asian dance and music is mission critical to making it accessible, developing 83% 84% 81% and sustaining audiences. The current training and progression routes for most South Asian dancers and musicians in the UK does not adequately prepare 69% 77% 73% them for the professional rigour and standards required to work, develop and achieve at a world class level.

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Table 25: Training, Progression and Leadership – The Current Context by Leadership Status The current context – Leader - Leader – Leader – No Leader – % who Strongly agreed or Agreed Yes Not now Not sure but in future The current leaders running South Asian dance and music organisations in the UK have a responsibility to collaborate within and outside of the sector to create a greater number of training 93% 88% 78% 75% and performance opportunities for a more diverse range of South Asian musicians and dancers. South Asian dance and music is perceived as a risk by the majority of mainstream programmers/venues and the general 59% 53% 42% 55% touring circuit across the UK. Communicating the relevance and meaning of South Asian dance and music is mission critical to making it accessible, developing 88% 76% 86% 75% and sustaining audiences. The current training and progression routes for most South Asian dancers and musicians in the UK does not adequately prepare 80% 71% 67% 75% them for the professional rigour and standards required to work, develop and achieve at a world class level.

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When looking at the different categories of respondents there are differences in their level of agreement with the statements given about the current state of the sector, as presented in Tables 23 to 25. These tables show that: ▪ Dancers and mid-career artists were more likely to agree that ‘The current leaders running South Asian dance and music organisations in the UK have a responsibility to collaborate within and outside of the sector to create a greater number of training and performance opportunities for a more diverse range of South Asian musicians and dancers’ than musicians. ▪ Mid-career artists were less likely to agree that ‘South Asian dance and music is perceived as a risk by the majority of mainstream programmers/ venues and the general touring circuit across the UK’ than established and early career stage artists. ▪ Those who considered themselves leaders were more likely to agree with all four statements. ▪ Those who did not consider themselves leaders were less likely to agree with all statements, with the exception of ‘Communicating the relevance and meaning of South Asian dance and music is mission critical to making it accessible, developing and sustaining audiences.’

9. Leadership

Respondents were asked in the survey if they considered themselves a ‘leader’ in the South Asian music and dance sector (Chart 12):

▪ 33% replied ‘Yes’, with a further 33% replying ‘I don't consider myself to be a leader now, but I feel I will be in the future. ▪ The rest said ‘No’ (21%) or ‘I’m not sure if I’m a leader or not’ (12%).

When asked to provide an explanation for their answer, a number of common answers came up.

Those who consider themselves a leader in the sector ▪ Long-term career in the sector (as programmer, performer, producer, etc.). ▪ Pass their knowledge on to younger generations through teaching practice. ▪ Pioneers of their artform within their area/region. ▪ Job role that they hold (e.g. Artistic Director or CEO). ▪ Completed significant levels of training and have qualifications. ▪ Collaboration is a core part of their work.

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▪ Set up their own school, company or organisation. ▪ Recognised nationally and internationally in their field. ▪ Creative and innovative in the approaches they take. ▪ Proactively promote the sector. ▪ Deep understanding of their own artform. ▪ Have made a successful career on their own (self-sufficient).

“I have been at the forefront of South Asian artistic programming for Music and Dance for over four decades and have harnessed much in the field including the development of form, content and presentation levels in various genres of art. I have so much to offer, but do not have a right platform to offer my services.”

“I have been working in the UK for the last 28 years. I have mentored, produced, curated and supported dance artists at all stages of the career. I have taught dance from the community level to the CAT program. I have a portfolio career, I produced and curate contemporary dance festival. Engaged in dance from the community to an organisational level. I do this not because it is my job, but because I think it is needed.”

“I have been a veteran arts producer of many years standing and have seen a lot in the 50 years of my association. I have garnered a wealth of information, practices and understanding of the arts from practical to aesthetic level. Therefore, have aggregated knowledge in order to impart mentorship to the many in the arts field.”

“I am recognised both in the UK and internationally as a leading South Asian artist, who is also genre bending and collaborative in my approach.”

“Over the past few years after recognising many issues with organisations of music and dance, I took it on myself to provide opportunities for young up and coming musicians to showcase their skills at the prestigious SOAS University. As a result, all of these young artists in return received a professional video output on YouTube to use as promotional material and one of the videos received over 48,000 views.”

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Chart 12: Leadership Status

Base: 171

Those who do not consider themselves a leader in the sector now but feel they will be in future

▪ Personal vision, goals and ambitions should lead to this being the case. ▪ Their passion for and commitment to their chosen artform. ▪ Desire to share the knowledge they gain through their experiences. ▪ Currently have leadership qualities but limited opportunities to use them. ▪ Trained in India but have now relocated to the UK and starting again. ▪ Currently too young and too early in their career.

“I have the qualities of the leader but less opportunities to prove it.” “If I fulfil certain ambitions, I feel that I could reach that level and feel excited by the prospect of being able to share experience and knowledge.”

“Currently, given my age, I feel that I want to focus more on my personal growth and make myself capable enough to be an inspiration to others who wish to pursue South Asian art forms. But I am confident that I could lead the Dance sector in the coming future.”

“I am eager to create change, and network frequently. I pay attention to the trends taking place in the western contemporary platforms and also the Indian classical ones. Although I am currently slower in considering my choices at present as a mid-career artist, I do strongly believe that I have put the time and effort in to be a significant player in how Asian artists should be perceived and our wide capabilities.”

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“I have a lot I would like to pursue when it comes to classical work and in terms of ensuring it’s relevancy. It doesn’t need to be thought of as stagnant and outdated - classical work can be of great relevance and value to contemporary society, but a shift in perception, development of the audience, as well as boundaries of the art form is required. This is what I am extremely passionate about and something to which I would love to contribute in the future.”

▪ Too young and too early in their career. ▪ No interest in having a leadership role or being considered a leader. ▪ Focus is on independent artistic practice. ▪ Artistic practice is/was a secondary career, so no time to be a leader. ▪ Unlikely to develop the necessary skills and knowledge required. ▪ Work beyond the South Asian music and dance sector so not a specialist.

“I left my mainstream job and research scientist and programmer, to take care of family and to support my passion, Indian dance and music. The dedication, training and the qualification that require to be a leader is not something that I am honing. I wish to be in the best support role in this field.” “As I am just a performing artist and help teach in my dance school, I have done nothing to prove myself as a leader.”

“There are many others like myself, stuck in the stage between having completed our formal training but not quite being given enough opportunities/feeling confident enough to take our skills to another level.”

Those who are not sure if they are a leader in the sector

▪ Within their locale or specialism, they are a leader, but not at a sector level. ▪ Not sure how to define a leader or whether the work they do qualifies. ▪ As an independent artist the opportunity to lead is limited. ▪ Too young and too early in their career. ▪ Feel it is for others to determine to if you are a leader.

“I believe I am quite well known in many areas for my unique interactive Bollywood dance entertainment which I have been doing for the past 18 years. I consider myself as a pioneer in this form as nowadays more and more dance teams offer workshops as part of their package.”

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“I was previously an Artist Development and Productions Producer for a South Asian Dance NPO and was heading towards a leadership position often covering the role of Artistic Director. However - there was very little provision for development or training opportunity in this role, also a lack of credit/uplift. At this level there was no room for me to move up in my career, staying within the South Asian Dance sector, so I left to become independent. Since then I feel like my learning/career progression has plateaued.”

“My leadership is largely in a sphere (outdoor arts and music for weddings) not generally considered as part of the South Asian music sector, which is very classically oriented.”

“For majority of the time I create my own work and usually fund it myself too. I am a performer who has honed skills over the years by grafting. Though I believe I am successful at what I do, I stand alone in a way, therefore I have never really lead anyone so I’m not sure if this makes me a leader or not.”

“A leader as perceived from the outside. It's up to others to consider whether I am a leader or not. Not for me to say.”

10. Arts Council England

Respondents were asked how many times they had applied for funding from ACE (Chart 13). Just under half (43%) had applied at least once, with the most frequent range made being 1 to 3 applications (26%). In the majority of cases, where applications had been made, this had occurred less than ten times.

December 2020 193 Arts Council England South Asian Dance and Music Mapping Appendix 5: Sector Survey Findings

Chart 13: Experience Applying to ACE for Funding

Base: 171

When comparing responses by categories, the main differences highlighted were:

▪ A greater proportion of dancers than musicians had applied for ACE funding more than 16 times (6% vs. 0%). ▪ Early career artists were most likely to have never made an application to ACE, whilst established artists were least likely to have never made an application (74% of early career artists, 61% of mid-career artists and 46% of established artists). ▪ Overall, established artists were more likely to have made more applications to ACE than mid-career artists with only 4% having made more than 3 applications, compared with 32% of established artists.

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▪ Those who considered themselves leaders or who are not sure if they are a leader were least likely to have never made an application (39% and 45%, respectively), whilst those who did not consider themselves leaders or who did not consider themselves leaders now but felt they would be in future were more likely to have never made an application (72% and 71%, respectively). ▪ Overall, those who considered themselves leaders or who are not sure if they are leaders were more likely to have made more than three applications to ACE (36% and 30%, respectively) than those who did not consider themselves leaders and those who did not now but felt they would be in future (6% and 0%, respectively).

Those who had never applied for ACE funding were asked why this was the case. The most frequently given reasons were:

▪ A lack of awareness it existed or understanding of the process involved ▪ A perception that it is a daunting process ▪ Lack of certainty about who and what is eligible for funding ▪ Belief that they are not eligible for funding (due to immigration status) ▪ A belief that ACE do not support the type of work they do ▪ Have never needed funding from ACE.

“Web information is too vast. Application process seems daunting. Pressure to write the application correctly or might fail. Not knowing whom to approach for help with application.”

“Not being aware of when and how to apply; the process felt far from reach as most funding seemed to be for big projects or for famous well- established artists or dance companies.”

“I’m still trying to work hard on my craft in the traditional form. I associate funding with bigger established projects.”

“It's just always too complicated. Too many areas. Too much paperwork. Online is a hassle. Would rather make an appointment and meet someone. Deal with one person.”

“Was never aware about the existence of such a thing. Also, I am not a British citizen and I am on a tier 2 visa with no access to public funds. So, I am unsure If I can apply for such a funding.”

“I have not applied for funding for my own work because I do not trust that the UK-based experts have sufficient knowledge of the classical forms to assess my work.”

“I’ve never found grants or schemes relevant to me and my work.”

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“ACE's funding criteria often do not meet my needs. We often need small pots of money 2-3 times a year to organise mini-gurukuls through residential hot-housing with artists/teachers from abroad, for small groups of students. ACE gives the impression it wants more 'bums on seats' rather than artistic excellence. ACE also believes that 'creativity' means you have to ditch tradition and do fusion.”

“I did not find any need to it. I have been collaborating with other people nothing done individually.”

“I don’t know anything about the process, assume it is time consuming and complicated; don’t know when and when not it is worth applying for; don’t know which stage funding can be applied for; and don’t know how much you can reasonably apply for etc.”

Those who had been through the ACE funding application process were asked about the experience. Again, multiple responses were given, with the most common feedback being:

▪ Assessors seem have a lack of understanding about South Asian music and dance, which inhibits their ability to fairly assess applications (applications are assessed through a ‘white lens’). ▪ For many it was a positive experience, with a good level of support provided by advisors at ACE and a need to push one’s thinking in making the application. ▪ For others the process of applying was seen as long, tedious and involving too much paperwork. ▪ Several respondents stated it was a straightforward process. ▪ Some had difficulty putting into words projects that were at heart visual and/or auditory in nature and doing this within the specified word counts, with some having the added challenge that English is their second language. ▪ There was a perceived imbalance between the quality of the art versus the quality of the application (i.e. projects were successful because someone was a good bid writer as opposed to having a high-quality idea).

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▪ There was a perception that classical/traditional work is overlooked and accorded less value than work which has a more contemporary focus, whilst certain South Asian dance styles were felt to be more ‘fundable’ than others. ▪ Several people struggled with putting together a budget and the value- in-kind element was singled out as a particular challenge. ▪ Some did not find the online portal user-friendly.

“I have had a very good experience by applying for project funding. I have been successful in getting grant from Arts Council England which has given a new dimension to my career and has boosted my skills both as a musician as well as project leader. The whole application process is very thorough and gives you great opportunity to describe yourself and filling the form itself has been a great learning curve.”

“Too much paperwork to fill in and lack helping and support to teach how to apply, where to apply etc. Fundamentally we are musicians, so it is hard to understand how the system works for majority of us to apply.”

“Right now, the ACE process is supportive and especially for me as a South Asian dance artist. I think more dancers, artists need to know that ACE is a supportive opportunity and people need to apply. Only then they will understand a process and start on a developmental and learning path for themselves and the art form they want to pursue.”

“The application process is tight and really makes one think very carefully about what the intended project and its outcomes are. I have been satisfied, even if frustrated sometimes, with the lack of space to explain my project - but I think this in itself has a value.”

“Giving advice without understanding cultural implications/issues in the sector to suit ACE's agenda isn't helpful. If barriers/issues were better understood, then there may be better support available.”

“It is always a difficult process putting the correct 'buzz' words into an application when in fact what is most important is to understand the creative development of the individual artist and the impact of the creative idea will have on the wider contribution and development.

“It is not so easy for an artist to put their ideas on to paper let alone all budgeting and additional information required.”

“I feel there needs to be more of the BME community in the ACE organisation with the right skill level and experience, this would help towards many areas in the organisation going forward.”

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“More of ACE officers need to know about South Asian dance and music as an art form, as some of them do not know and they assess the application.”

“Firstly, the process of registering and writing the application is extremely complex and needs to be simplified. It also needs to be less time- consuming. While word/character counts are needed, often submissions aren't able to express the merits of a concept from an artistic perspective and therefore many projects are not considered properly. There is a lot of repetition in the application and this needs to be rectified.”

“ACE should support Indian classical dancers, without us having to justify our work as 'contemporary'. All work done here and now is contemporary. ACE supports creativity, which is very crucial, but sometimes the focus on always creating new work takes the emphasis off from the 'going deeper' into the work we are presenting, which is crucial to these art forms.”

“ACE needs to work harder to dispel the view that work has to be 'contemporary' or 'innovative' to receive funding. South Asian dance work often relies on the contemporary interpretation of classic texts. From this perspective South Asian dance is closer to theatre (e.g. interpretations of Shakespeare) than to Western contemporary dance.”

“At present the Arts council isn't giving funding to produce albums, which is very crucial for a musician.”

Ways that respondents felt ACE might improve the funding application process in order to support the South Asian dance and music sector more:

▪ Allowing applications to include video and audio submissions in order that the work can speak for itself. ▪ Better explanation as to why an application has been unsuccessful. ▪ Providing examples of successful applications (case studies) for South Asian music and dance projects would help understanding of what is expected. ▪ Offering opportunities to meet with advisors via surgeries or other means.

“Ways that could help artist: seminars, awareness programs, conversations with artists; data base of artists; access to reach advisers to discuss ideas; and small video links to the successful funding projects.” “Clearer guidelines/examples of South Asian projects that have been funded in the past.”

“Can you please be more elaborate when you explain the reason of failure to secure funding. I have applied two times for a touring application and has not been successful which has demotivated me to apply again.”

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“Recognition that, English as a second language is a barrier and how the application is written isn't a reflection of the quality of the artistic project/project management skills.”

“When an application is rejected, it would be great that a re-submission application could be repopulated automatically at the start - to allow the applicant to then make changes to the existing form. Creating and inputting this data is lethargic - especially when an application is rejected five times with the reason "we preferred other applications". After a certain number of re-submissions of a project, ACE should automatically invite the applicant for a meeting or telephone conversation.”

“Video and audio material to support a written submission should be allowed - this help quality control.”

“Either ACE or the NPOs funded by ACE should provide surgeries where artists can spend a morning or an afternoon working on their application with someone who understands the application process.”

11. And finally …

At the close of the survey, respondents were also provided with the opportunity to share anything else they felt should be considered/addressed in terms of training, progression and leadership for South Asian dancers and musicians at every stage of their careers. Overall, there was a positive response to being consulted and being given a voice through this mapping study. In addition, other key messages were:

▪ A need for greater collaboration, risk taking and initiative within the sector itself, and in terms of what ACE is willing to support. ▪ The importance of advocacy for the sector, which targets local authorities, trust and foundations, the British Council and the wider UK arts sector. ▪ The need for South Asian music and dance to be included in and supported by mainstream programming and media to avoid it being pigeon-holed. ▪ The importance of giving equal value to classical South Asian music and dance, to avoid those artists who have a classical practice being forced to take a more contemporary approach to their work. ▪ The need for opportunities to be offered locally and not just be concentrated in a few key cities. ▪ The need for more performance and showcasing opportunities. ▪ The need for more arts professionals with a good knowledge of South Asian music and dance working as producers, managers and agents. ▪ The need for a higher quality of teaching.

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“There should be more opportunities for UK based dance groups to be able to showcase their work.”

“There is an expectation for diverse led NPOs to deliver diverse led programming but not for the bigger NPOs or festivals…We produce new shows for example which we are keen to get out to festivals beyond Mela's, Dilwai and Eid events but have struggled.”

“There is enough movement, richness, versatility and modernity in classical Indian Dance, in its traditional form. There should not be an imperative to contemporarise as this is confusing, unsupported and compromises its nascent potential to be impressive. The imperative should be to build a rigorous and investigative practice.”

“There was mainstream media representation for Asians in 1970s and 80s. It has been taken away to disempower the community. Also, there is no representation of other cultures in the media. Funding from Arts Council means nothing if there is no mainstream media exposure.”

“As well as providing funds for contemporary dance/music in which most projects get grants, pure south Asian dance/music should also be funded as we should not lose the authentic and traditional touch, especially to a wider audience.”

“I am disappointed with the way a few South Asian funded NPOs (Akademi etc.), which have relied on appeasement (and if not followed retribution) as a tool to further a handful of dancers, have controlled the sector leading to its demise today. They control the opportunity set and therefore have not let high standards develop.”

“The standard of dancing is very much low compared to what we see in India. There is no exposure or inspiration for majority of dancers in UK and there are not many good artists with whom we can compare our standard.”

“Give opportunities to individual artists as well at all areas across the UK.”

“I see a lot of resistance from the western classical sector to collaborate with new artists, they always go with the same artists with whom they have been collaborating many years and aren't open to collaboration with new talented artists.”

“Early career musicians and musicians in training need platforms and opportunities to perform in small and intermediate venues in order to grow as performing artists, gain experience and develop confidence. The UK south Asian music organisation scene is monopolised by a few players who don't necessarily have the right motives, don't promote local artists, tend to be biased in their selection of artists, and are driven by commercial logic rather than the interests of South Asian music itself.”

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12. Implications

The above analysis of the survey data collected from South Asian musicians and dancers, highlights a number of implications for the sector, which should be considered alongside the other research findings within this report. These implications are discussed below.

12.1 Demographic Profile of South Asian Music and Dance Sector

Age

The age profile of respondents implies that the respondents reached via the survey were likely to be at very different stages of their career – from those who have not yet completed their Arangetram, through to those who have been practicing their artform for decades. This is supported by the responses provided to other questions in the survey linked to artists’ career stage and whether or not they feel they are a leader in the sector. There also appears to be a strong correlation between age and career stage, and also (but to a lesser degree) whether individuals consider themselves to be a leader in the South Asian music and dance sector. It is interesting, for example, that the largest proportion of individuals who stated they considered themselves a leader were aged 35-44 years. As such, this implies that age and career stage are not necessarily seen as prerequisites to being an effective leader.

Gender

Gender data suggests that there are a greater proportion of females practicing South Asian music and/or dance in England than males, though more detailed analysis indicates that this due to a significant gender imbalance between music and dance. This may indicate a need for further research into the barriers preventing different genders practicing specific artforms, and from this initiatives and greater support to bring more females to South Asian music and more men to South Asian dance. Career stage data by gender suggests that a greater proportion of females are currently entering the South Asian music and dance sector than males, which may highlight the need for more outreach and engagement with young male South Asian musicians and dancers.

Whilst, data linked to whether artists feel they are leaders in the sector implies that practicing South Asian musicians and dancers who are female may face greater barriers to training, progression and leadership and/or have less confidence in their training and progression and leadership abilities than their male counterparts. In addition to the above, the fact that more females than males completed the survey may also be indicative of:

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▪ Female artists and arts professionals being more inclined to complete surveys, compared with their male peers; and/or ▪ The survey distribution method naturally reaching a greater female audience than male audience.

Ethnic Origin

The ethnic origin of respondents highlights a key issue for the sector – that there appears to be a significant bias towards those with a connection to India, whether first generation or later generations. This echoes sentiment brought out in other areas of the research that the classification South Asian is often misleading. The majority of people, when talking about South Asian dance and music, are often said to in fact be talking about Indian dance and music, rather than that of other countries in the South Asian region.

As with the gender data, it may also be indicative of a greater inclination or ease in completing the survey amongst artists from these ethnic groups; the survey distribution method naturally reaching more individuals from these ethnic groups; and/or a need for more targeted outreach and engagement activity by ACE and South Asian arts organisations to reach practising musicians and dancers, based in England, whose ethnic origin is linked to South Asian countries other than India.

This is particularly true of individuals with connections to Pakistan and Bangladesh (who represent an equally significant proportion of the UK population – see Chapter 2), as they are significantly underrepresented by survey respondents, and perhaps by extension the South Asian music and dance sector.

12.2 Career Profile

The majority of practicing South Asian musicians and dancers choose to, or have to, manage another career alongside their artistic practice, whether within or out with the sector.

Roles within the sector are largely creative in nature or a position of leadership, whilst those out with the sector are frequently in professions (or studying for professions) that require a high level of commitment and long working hours.

This would suggest that the time individuals have to put into their music and/ or dance practice is limited by the requirements of their other roles.

The primary specialisms of dancers and musicians are again reflective of the dominant voice of Indian and British Asian: Indian respondents within

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the survey sample, with a bias towards dance styles and instruments originating from India. Again, by extension, this may also be the case within the sector.

South Asian music and dance are something that individuals tend to begin as a child, with many committing to these artforms long into adulthood. This highlights the important role that families, schools and community venues have in initiating the journey of potential artists and how they can also potentially enable and empower individuals to consider a career in the sector. Creating buy-in amongst these groups for the validity of such a career is therefore key.

The differences amongst different respondent groups suggests that training opportunities and progression routes are more established and/or easier to identify for South Asian dancers than they are for musicians. Identifying where the gaps are for musicians will be important in helping to bridge this gap.

On the flip side of this, it seems there may be something about the training and progression of South Asian musicians that is more effective in building leadership skills and/or confidence to lead than that of dancers. However, the findings that musicians are more likely to consider themselves a leader in the sector might also be reflective of the greater proportion of males practicing this artform and the greater tendency for males, overall, to see themselves as a leader in the sector. Understanding the specific barriers faced by female South Asian musicians and dancers in accessing opportunities to lead or feeling able to lead is therefore a priority, in order that these barriers can be overcome.

The data also suggests that South Asian musicians and dancers start learning their chosen artform through a more traditional/classical approach but shift towards a more contemporary practice as they progress in their career. This may be through choice, or because they feel forced to do so. There is as strong a cohort of South Asian musicians and dancers who consider themselves to be very traditional/classical in their approach as there are those who take a more contemporary approach to their artistic practice. As such, the opportunities and support for training, progression and leadership need to be reflective of this diversity of practice if they are to be fully inclusive.

There also appears to be a correlation between career stage and whether individuals feel they are a leader within the South Asian music and dance sector, indicating that with progression and experience the confidence to lead also develops.

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12.3 Factors Influencing South Asian Music and Dance Practice

The guru-shishya relationship, in relation to the training and progression of South Asian musicians and dancers, is highly valued. Although many artists are open to and value the influence of other teachers and styles within their chosen artform, this traditional relationship appears to provide an important foundation to South Asian artistic practice. It is therefore integral to future developments within the South Asian music and dance sector in England that this tradition is both respected and supported. The role that parents and family play in supporting and developing South Asian musicians and dancers is also clear. They are often the catalyst for starting their children’s exploration of these artforms and as such are likely to also play an important role in whether children progress to have a career in the sector.

Advocating for South Asian music and dance as a viable career option with parents, will therefore be important in helping to develop the sector in future.

Equally, the need to support local dance schools and community centres who offer grassroots training in South Asian Music and Dance to children will be key to developing new generations of musicians and dancers. It appears that, although important overall, some of the more traditional training structures for South Asian music and dance become less important as an artist’s career progresses. Targeted activity to provide opportunities to perform, learn and develop as artists grow in importance, whilst training time in South Asia immersed in the artform and expanding one’s practice through experiencing other teachers and styles of the artform is considered key to developing an established career.

The ability for artists to network, connect with and collaborate with peers, and develop additional skills to support their practice is also of great importance as they progress through their careers. Equally important is having the facilities, infrastructure and financial support available to support them in their practice.

Supporting the progression of South Asian musicians and dancers from the very start of their engagement with their chosen artform, through to being a professional musician or dancer, will therefore require different types of support and intervention at different stages of the journey.

12.4 Current Satisfaction with Time Spent on Artistic Practice

The high levels of dissatisfaction many South Asian musicians and dancers have with the time they can commit to their artistic practice appears to be linked to the findings that many need to supplement their income through another career or activities. Also, that there is currently a lack of the

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necessary facilities, infrastructure and financial support required to support their artistic practice.

It seems that these pressures lessen as artist progress in their careers, implying that as they become more established, they are able to dedicate more time to their artistic practice. Alternatively, it could also mean that those who have been able to spend more time on their artistic practice have been able to progress in their career more than those who have not. In addition, these findings also highlight the additional business skills needed by musicians and dancers to support their practice and how many do not feel sufficiently equipped in this area.

12.5 Current Skills and Attributes

The findings linked to the current skill levels and attributes of South Asia musicians and artists suggest that the existing training and progression opportunities offered to dancers may be more fit-for-purpose in terms of preparing individuals with the broad skillset they need as an artist, compared with those offered to musicians.

They also suggest that the skills and attributes that are useful to supporting artistic practice are often acquired as musicians and dancers progress in their careers – be this through on-the-job experience and/or need, rather than being a part of their initial training and development. Digital skills may be the exception, due to early career artists tending to be younger and being of a generation who utilise such technology more frequently in their personal lives.

As these skills and attributes develop over an individual’s career, it appears that they also contribute to how competent and confident artists feel as leaders.

12.6 Training, Progression and Leadership of South Asian Artists

The exploration of a range of ideas linked to the development and progression of South Asian musician and artists; and the development of leaders within the South Asian music and dance sector highlighted that there is no single solution. Strategic development and investment are needed across the board - infrastructure; human resource development; qualifications, training and CPD (Continued Professional Development); commissions and other creative opportunities; networking opportunities; and mechanisms to celebrate high quality practice.

Additional progression routes beyond the youth development opportunities currently offered seem to be one part of this, though it is still unclear what

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the best approach to this is. A degree course appears to be broadly supported through this survey. However, previous research has shown the challenges linked to such an offer, especially in terms of there being sufficient demand.

The need to better advocate for the sector within the wider arts sector, to audiences and with mainstream media is also seen as key to the sector’s future sustainability and success.

Identifying role models from across the spectrum of South Asian music and dance, including a variety of practitioners – from the very traditional and classical through to the more contemporary – is necessary to demonstrate to emerging artists and their families that all approaches are valuable and that there are sustainable career opportunities in the sector. To support this argument, it needs to become standard within the sector that the creative and development opportunities offered to artists are paid (to Equity Performer standards at a minimum).

As individual artists’ careers progress the type of support and opportunities available to them needs to change. At the early stage of their career immersive training opportunities in their artform and advancing their technique and broader artistic skills appear to be the greatest priority. Following on from this, the development of other skills that will support their practice, increased exposure to professional best practice, collaboration, and paid performance and other creative opportunities become increasingly important. Once established, mechanisms that help individuals to take risks and build recognition, exposure and support for the sector, and connectivity and partnerships within it become the focus. Providing means through which individuals can connect with the wider arts sector, rather than being pigeon-holed as a South Asian artist or arts professional is also important.

In turn it seems that such development and progression opportunities will all play a complementary role in developing leaders for the South Asian music and dance sector. The phrase, ‘With experience comes wisdom’, certainly seems to ring true here, with those who are leaders, or who believe they are destined for leadership, being significantly more open to a range of experiences and variety of ideas than those who are not. They are also on board with the idea that partnership and collaboration is key to future sustainability and that there is a need to be outward looking, rather than insular. In short, it is about bringing South Asian music and dance into the mainstream arts ecology, rather than it being considered a niche. To ensure that those who wish to be leaders can become leaders, there is a need to identify, establish and promote opportunities where they are able to lead, both within the South Asian music and dance sector and the wider arts sector. This may require a review of how leadership roles at

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South Asian arts organisations (specifically NPOs) are designated and how frequently the individuals in these roles change.

In addition to this there is an education piece that needs to take place to raise awareness, knowledge and understanding of what South Asian music and dance is and why it is of relevance to contemporary British society. Only through this work will funders, venues, programmers, audiences, etc. be able to make judgements from an informed viewpoint. This is not just about the training and development of South Asian music and dance sector but also the wider arts ecology. Part of this will be about the proactive engagement and inclusion of individuals with a background in South Asian music and dance as decision-makers in this wider arts ecology. It is also clear that there is a collective responsibility to ensuring the future of the South Asian music and dance sector, which includes those within the sector itself, the wider arts sector, and funders and policy makers.

12.7 Final Observation

The overwhelmingly positive response from respondents to being consulted via the survey and wider study indicates a need to ensure that the findings of this research are fed back to all who have contributed, and the importance of ensuring the dialogue that has been established with the sector through the study becomes an ongoing one.

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