TOWARDS A STRATEGY OF SUPPORT FOR PROFESSIONAL BALLET SUMMARY REPORT - BASED ON IN IRELAND RESEARCH BY DEREK PURNELL (2006) 1 2 TABLE OF CONTENTS PREFACE 5 1. INTRODUCTION AND TERMS OF REFERENCE 7 1.1 INTRODUCTION 7 1.2 BACKGROUND 7 1.3 AIM OF REVIEW 7 1.4 DEFINITION AND SCOPE 7 1.5 RESEARCH METHODOLOGY 7 2. KEY FINDINGS FROM THE REVIEW 8 2.1 INTRODUCTION 8 2.2 THE BALLET SECTOR IN IRELAND 8 2.3 THE POSITION AND STATUS OF BALLET 8 2.4 DEVELOPMENT NEEDS OF BALLET COMPANIES 8 2.5 CHOREOGRAPHIC AND CREATIVE INITIATIVES 9 2.6 AUDIENCES 9 2.7 INTERNATIONAL DANCE FESTIVAL 9 2.8 SUPPORT ORGANISATIONS 9 2.9 ARTS COUNCIL FUNDING AND SUPPORT 10 2.10 DANCE TRAINING 10 3. CONCLUSIONS AND RECOMMENDATIONS 11 3.1 THE DEVELOPMENT OF BALLET IN IRELAND 11 3.2 FUNDING APPROACH AND OPTIONS 12 3.3 RECOMMENDATIONS 13 APPENDICES 10 1. ORGANISATIONS AND INDIVIDUALS CONSULTED FOR THE REVIEW 15 2. ARTS COUNCIL FUNDING TO DANCE COMPANIES AND 18 ORGANISATIONS 2000-2006 3. BIBLIOGRAPHY 18 ACKNOWLEDGEMENTS 18 3 4 PREFACE Dance in Ireland has developed exponentially in recent years, with new confidence in evidence throughout all areas of the sector. This has been in most part due to the collective efforts of the Arts Council, individual dance artists, dance organisations and other stakeholders in dance in Ireland, working together to develop and instigate policies which have raised standards generally and created an environment out of which talent can emerge and be supported. The climate of policy making and funding over recent years has, in the main, fostered diversity in dance and therefore has perhaps been more complementary to contemporary dance making; this is apparent in the variety of approaches to movement presented by Irish contemporary dance companies and dance practitioners. In Partnership For The Arts the Arts Council identified a need to create policies for the unique requirements of ballet, which can differ fundamentally to those of contemporary dance. The commissioning of this report from dance consultant Derek Purnell arose out of the Arts Council’s desire to turn its attention to these developmental needs at this time. Ballet is an integral part of the cultural life of many countries worldwide and continues to be enjoyed and practiced by many Irish citizens from amateur to professional level. Ballet is still central to many forms of professional dance training and indeed, many dancers begin their first steps towards a professional career through the study of ballet. Ballet activity in Ireland has grown in recent years, despite a chequered history that saw the withdrawal of Arts Council funding from the national ballet company in 1989. Despite this growth, there has been a general sense within the Arts Council and the ballet sector that dance policy has not addressed the specific development of ballet. Therefore, the purpose of this report is twofold: to review the status of ballet in Ireland through consultations with key stakeholders and to create a clear direction forward for ballet’s advancement and development. The Arts Council views the commissioning of this report as a significant phase in its strategy for the development of ballet in Ireland. The Arts Council hopes that the report’s articulation of a reasonable roadmap that can be followed both by the Arts Council and the ballet sector will create the confidence and trust necessary for success. We gratefully acknowledge the major contribution of Derek Purnell towards preparing these important steps forward for ballet in Ireland and the input of all those whose comments and contributions to this report enhanced the depth and range of its findings. We now look forward to working with key partners within the sector in progressing and enhancing the development of Irish ballet. Mary Cloake, Director 5 6 SECTION ONE: INTRODUCTION AND TERMS OF REFERENCE 1.1 INTRODUCTION This document summarises key findings, conclusions and recommendations arising from a review of professional ballet in Ireland. The review was commissioned by the Arts Council in May 2006. Derek Purnell, dance consultant and former chief executive of the Birmingham Royal Ballet, undertook the review. 1.2 BACKGROUND The Arts Council currently provides revenue funding to ballet companies and supports individual dance artists working in ballet. Dance artists may also be funded by the Arts Council through its allocation to local authorities. The decision to commission a study was set in the context of the Arts Council’s strategy document ‘Partnership for the Arts 2006-2008’. In developing a strategy for advancement of ballet in Ireland, the Arts Council wished to review the current position and status of ballet and options for change. 1.3 AIM OF REVIEW The aim of the project was to undertake an independent review of current professional ballet provision in Ireland and propose a range of options in order to sustain and advance the art form, within the context of the Arts Council’s Partnership for the Arts in Practice 2006-08. The specific terms of reference were as follows: • Report on current practice and production in professional ballet in Ireland including reference to the provision of access to the art form; • Review current support for, and provision of, professional ballet in Ireland; • Through consultation with key informants establish needs and priorities in relation to supporting professional arts practice; • Report on audiences with reference to capacity, potential for growth and venues; • Propose a range of options for the development of a strategy to sustain and advance professional ballet in Ireland. 1.4 DEFINITION AND SCOPE In the review, ballet is considered within the wider dance context. Ballet is defined as a form of dance whose training and basic movement vocabulary is drawn from a specific technique (with historical conventions) developed initially in Italy in the late 16th century. (Ballet comes from the Italian verb ‘ballare’ which means ‘to dance’.) Current thinking amongst the majority of the dance sector worldwide is that the classification of types of ‘ballet’ (as being of a particular style or school) is unnecessary, limiting and sometimes confusing. 1.5 RESEARCH METHODOLOGY The review was undertaken between June and September 2006. The review process included consideration of previous reports on aspects of dance in Ireland, analysis of relevant Arts Council documents and records, consultation with key stakeholders, and viewing of work (live and on video). Consultation was based on face-to-face meetings, telephone interviews and email correspondence. The organisations and individuals consulted are listed in Appendix 1. 7 SECTION 2: KEY FINDINGS FROM THE REVIEW 2.1 INTRODUCTION The findings presented here are based primarily on the views of practitioners and other stakeholders in the sector, and the considered opinion of the consultant. 2.2 THE BALLET SECTOR IN IRELAND Key elements of the ballet sector in Ireland include ballet companies, resource organisations, and festivals. Those included within the review process are shown in Figure 1. Figure 1: Elements of the professional ballet sector in Ireland included in the review Components Constituents Ballet companies Ballet Ireland Cork City Ballet Irish National Youth Ballet Chrysalis Dance Resource organisations Association of Professional Dancers in Ireland Theatre Forum Shawbrook Festivals International Dance Festival Ireland 2.3 THE POSITION AND STATUS OF BALLET There has been a lack of clarity on the position and status of ballet in Ireland. Various documents and reports have contributed to, and commented and advised upon, the state of ballet in Ireland, but over the last 25 years its status and future has been uncertain. Historically, questions have been raised as to whether ballet companies are needed in Ireland, and if so, how and to what level they should be funded. The Arts Council funded a ‘national ballet company’ annually from the early 1980’s until funding was withdrawn in 1989. 2.4 DEVELOPMENT NEEDS OF BALLET COMPANIES The review identified issues for ballet companies in respect of repertory choices, quality of choreography, types of productions, production values and standards of performance, and availability and standard of rehearsal studios and facilities. Companies experience difficulties in attracting good dancers because of short-term contracts and low pay rates. There has in some cases been an over-reliance on traditional programming and productions due to the high dependence on box-office earnings; this provides limited opportunity for widening the appeal of ballet. While companies have aspirations for future growth and development, their strategic direction and medium/long term sustainability is uncertain. The review found that while there is some touring of Irish ballet in the UK, Irish ballet companies do not have a significant international profile. The prospect of the ballet companies competing for bookings and receiving invitations from abroad is limited by the quality of their repertory and dancers, and the limited funding available. 8 2.5 CHOREOGRAPHIC AND CREATIVE INITIATIVES In consultations for the review, there was widespread support for the commissioning of new work to keep the art form alive. However, opportunities for developing choreographic talent are limited in time, resources and experience. There is a need to create and support environments in which choreographic talent might be identified and nurtured. The Shawbrook resource centre in Longford, as a centre for creativity in dance, is one example of good practice. It fosters choreographic invention across a range of styles and disciplines; central to its philosophy is the important role that ballet plays in dance technique of any genre. 2.6 AUDIENCES Knowledge of dance audiences is very limited. Companies report an appetite for ballet amongst their audiences together with ease in securing dates and touring venues. However, there is a marked absence of any statistical evidence to support this claim as the companies and most venues do not maintain an accurate record of box office returns either in terms of financial results or attendances.