Towards a strategy of support for Professional Ballet Summary Report - Based on in Ireland research by Derek Purnell (2006)

  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

  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 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

  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 , 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.

 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 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.

 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.

Outside of the subsidised sector, some international ballet companies perform in Ireland, most regularly in The Point in Dublin. It is encouraging that with the ‘right’ company and repertory, commercial producers have confidence that ballet can attract audiences. This supports the view that quality product, if marketed well to a targeted audience, will attract support. The need to support this view with sufficient data to make informed decisions is vital.

2.7 International Dance Festival Ireland

Launched in 2002, the International Dance Festival Ireland has also taken place in Dublin in 2004 and 2006. The festival is considered to be successfully meeting its objectives, to encourage Irish audiences to appreciate the diversity of dance. The festival has a diverse performance programme, which includes some specifically commissioned work. A wide range of dance genres and reputable exponents are scheduled. A key strength of the festival is its ability to attract a more diverse and younger audience for dance, based on its programme content, competitive ticket prices and multi- buy discounts. The festival has created an appetite and audience for experimental, less conventional high quality contemporary dance. However ballet has not featured prominently within the festival’s programming policy to date.

2.8 Support organisations

The Association of Professional Dancers in Ireland (APDI)1 and Theatre Forum are the principal support organisations for dance and ballet in Ireland. APDI supports the professional education, practice and career development of choreographers and dancers. The organisation has recently acquired new premises for dance that it aspires to have regarded as a ‘national centre for dance’ - Dance House. This opportunity for dance is both acknowledged and supported by the Arts Council; it contributed a1.5million to the capital project and significantly increased funding to the APDI in 2006. A key issue is the extent to which the APDI and the ballet sector will engage with each other in the future. Access by the ballet sector to studio space, and participation by it in all aspects of APDI’s endeavours will be fundamental to this relationship and to the advancement of ballet.

Theatre Forum advocates improved funding and conditions for the performing arts sector. It offers a resource of information and expertise to dance companies and strongly supports the maintenance of the current touring circuit, on which the ballet companies rely. It has included dance within its lobbying activities.

1 In the period following the initial work on this Report, APDI renamed itself Dance Ireland. For consistency, however, this organisation is referred to throughout this document as APDI.

 2.9 Arts Council funding and support

The Arts Council provides revenue funding to ballet companies. Capital/equipment funding was provided to two companies over 2004-2006. A total of a367,000 was provided by the Arts Council to three ballet companies in 2006. The Arts Council also funds ballet classes for dancers through the Association of Professional Dancers in Ireland and Shawbrook resource centre. Dance artists may also be funded by the Arts Council through its allocation to local authorities.

Table 1: Arts Council funding for Ballet Companies 2002-2006 (Euro) (Figures in italics represent capital / equipment grants)

Company 200 200 2004 2005 2006

Ballet Ireland 235,000 60,000 130,000 213,000 213,000 5,153 7,500 12,000

Cork City Ballet 32,000 45,000 75,000 85,000 4,870 4,200

Irish National 47,000 50,000 51,000 54,000 57,000 Youth Ballet Co.

Total ,000 0,000 ,0 ,700 7,000

The Arts Council also supports individual dance artists working in ballet through its Supports for Artists (schemes and awards). It administers the Award on a biennial basis, for classical ballet dancers and choreographers.

Analysis of Arts Council funding patterns, however, shows that dance and ballet in particular have not fared as well as other artforms in terms of funding. For example, in 2006, dance received an increase in Arts Council funding of 15% compared to increases for music and theatre of 20% and 21% respectively. There has been variation in levels of Arts Council Support for ballet companies; shifts over the past five years can be seen in Table 1. In 1984, Irish National Ballet received 87% of the Arts Council’s dance budget, whereas currently less than 10% of the total annual revenue spend on dance is allocated to ballet (Appendix 2). By contrast and relative to the funding of ballet, contemporary dance has fared better. There have been very significant increases to a number of dance companies, and these are welcomed within the sector.

Practitioners perceive that there has been a lack of Arts Council continuity with the sector and this has made it difficult to sustain constructive dialogue. The appointment of a dance specialist within the re-structuring of the Arts Council in 2003 was welcomed. Increased Arts Council representation at board meetings and performances would be generally welcomed by the ballet practitioners and companies to enhance understanding and dialogue. In addition some mechanism to draw upon experience, beyond that gained in Ireland, is necessary given the increasingly international nature of ballet.

2.10 Dance training

The review found that there has been little change in opportunities for ballet training in Ireland, despite recommendations made in previous reports. Although some state-funded pre-vocational and transition courses are available, full vocational training invariably requires attendance at courses abroad. However, access for Irish students to vocational training within Europe has significantly improved as a result of EU legislation.

10 Section 3. Conclusions and recommendations

3.1 The development of ballet in Ireland

While individual Irish ballet companies have maintained a good level of activity in recent years limited advancement of ballet in general in Ireland has occurred. Positive developments include improvements in the infrastructure for dance, the provision of new facilities in Dublin and the consideration of new facilities in Cork. Also, changes in European legislation have increased training opportunities for Irish students of dance throughout the EU. So while ballet has been through a somewhat static period there are good reasons for hoping that the situation will improve; this is also indicated by the Arts Council’s commissioning of this review.

Sustained quality improvement in the practice of professional ballet is the key to the strategic development of the ballet sector. Wider repertory choices and productions; improved choreography, production values and standards of performance; and greater availability and standard of rehearsal studios and facilities are required to effect this improvement. Achieving this improvement will result in greater understanding and appreciation of ballet, and more participation. Furthermore raising the professional benchmark will increase aspiration, expectation and endeavour throughout the dance sector, and amongst audiences and funding sources.

In forming conclusions about how to effect these improvements, account must be taken of the small scale of the professional Irish ballet sector. The ballet sector, acting together with the rest of the dance sector, would benefit from developing a collective voice and co-operating more in respect of policy development, sharing facilities and training opportunities. Also, because of its small scale it would be sensible for it to always view itself in an international context in respect of performance and training; this would include the exploration and exploitation of more opportunities for cross-national co-operation and touring.

Strategic development of ballet in Ireland will require:

• A closer working relationship, built on dialogue and trust, between the Arts Council and practitioners in the ballet sector. This may involve entering into collaborative partnerships and improving the levels of dance expertise and knowledge available to the Arts Council across all dance genres.

• Some attitudinal changes within the dance sector so that it develops a collective voice, focuses on common interests rather than differences and emphasises professional respect for fellow artists. The Arts Council may be in a position to encourage this form of collaboration.

• Increased collaboration and dialogue between the ballet sector and its support organisations.

• Improvements in the administration of ballet companies, especially in strategy formulation and even in such detailed but important matters as the collection and collation of audience statistics.

• More international linkages and initiatives, including exploration of the possibility of establishing an arrangement with Arts Council England in respect of cross-national touring.

• Greater engagement by the Department of Education and Science with dance education would advance ballet.

11 3.2 Funding approach and options

The review concludes that Irish ballet companies initially require more targeted, sustained funding in order to progress. Targeted funding would encourage realistic goal selection and facilitate focused collaboration and monitoring. Sustained funding would assist the ballet companies to think more strategically and plan with greater continuity and security. Increased funding would reduce over-reliance on box office receipts and traditional repertoires, and give the companies the freedom to widen their repertoires and innovate.

Three options for future policy support of the professional ballet sector by the Arts Council are presented and discussed in the review. The options are as follows: Option 1 - Build on existing provision, Option 2 - A clean slate, and Option 3 - Maintain the status quo. Option 1 is the option recommended by the review.

Option 1 - Build on existing provision proposes investment of both financial and human resources by the Arts Council to sustain and advance ballet in Ireland. This option would require all parties to embrace change and puts forward a pro-active role for the Arts Council in monitoring such change.

Two models of operation for implementing the option of building on existing provision are proposed:

(a) funding against agreed company development plans, and (b) establishing a specific ‘ballet development fund’ to foster innovation and creativity in ballet.

(a) In the ‘funding against agreed company development plans’ model funding increases to ballet companies in the range of 15%-30% are proposed, predicated on companies signing up to change and committing to targeted and monitored agreed developments with the Arts Council. It is suggested that funding be committed for a three-year period, with break clauses if objectives are not met without good reason.

(b) In the ‘ballet development fund’ model applications could be made from individual dancers, choreographers, companies, organisations or venues based on a proposal to advance the art form of ballet in Ireland. This fund could be used in a variety of ways, ranging from supporting organisational development to providing project funding, or perhaps supporting a venue introducing ballet to its programme for the first time. This development fund would operate in tandem with proposals for funding against agreed company development plans.

Option 2 - A clean slate: This option proposes that the Arts Council discontinue its current funding to ballet organisations. The option is not recommended, as it would be difficult to justify and deter the formation of ballet companies.

Option 3 - Maintain the status quo: This option proposes the continuance of the Arts Council’s funding relationships with ballet companies. This option is not recommended by the review as it would undermine the commitment of key players in Irish ballet and future expectations for the artform, and consequently result in the loss of talent and deterioration of ballet provision.

12 3.3 Recommendations

Key recommendations made in the review towards developing a strategy to sustain and advance professional ballet in Ireland are:

• Future Arts Council funding of ballet companies should be part of a strategy of building on existing provision (Option 1); any increases in funding to ballet companies should initially be based on agreed three-year company development plans.

• A specific ‘ballet development fund’ to foster innovation and creativity in ballet should be established.

• The ballet sector should focus on developing a collective voice in pursuit of common interests with the rest of the dance sector.

• Ballet companies should give more attention to administration issues, in particular to strategy formation and the collection and collation of audience statistics.

• Ballet companies should collaborate more with support bodies and engage more in international guest residencies, workshops and seminars.

• The ballet sector should explore the possibility of establishing an arrangement with Arts Council England in respect of cross-national touring.

• The Department of Education and Science should engage more with dance education.

13 14 Appendix 1: List of organisations and individuals consulted for the review

Organisations Persons

American Repertory Theatre graham Lustig Arts Council finola Cronin Arts Council Seamus Crimmins Arts Council (Board) mary Nunan Arts Council, England Jeanette Sidall Association of Professional Dancers in Ireland paul Johnson Balanchine Trust (Europe) francis Francis Ballet Ireland anne Maher Ballet Ireland gunther Falusy Birmingham Royal Ballet (Director Laureate) Sir Peter Wright Chrysalis Dance Judith Sibley Cork City Ballet donna Daly Blythe Cork City Ballet/Coláiste Stiofain Naofa alan Foley Elmhurst School of Ballet Judith Rowann Graham Devlin Associates graham Devlin Hubbard Street Dance gail Kalver Inchicore cdvec marion Lennon Irish National Youth Ballet ann Campbell Crawford New English Contemporary Ballet niall McMahon Rambert Academy Stuart Beckett Royal Academy of Dance Beverley Dinsmore Royal Academy of Dance lynn Wallis Shawbrook anica Louw Theatre Forum tania Banotti Individual practitioner wolfgang Stollwitzer, International Ballet Teacher Individual practitioner morgan Runacre-Temple, choreographer/Dancer Individual practitioner fearghus O’Conchuir, choreographer/Dancer Individual practitioner Sue Paterson, Ex-

15 Appendix 2: Arts Council funding to dance companies and organisations 2002-2006.

Company 2002 2003 % +/- 2004 % +/- 2005 % +/- 2006 % +/-

Assoc. of Prof. 108,000 100,000 -7.4 130,000 +30.0 150,000 +15.4 350,000 +133.3 Dancers in Ireland 3,000 25,000 / Dance Ireland

Ballet Ireland 235,000 60,000 -74.5 130,000 +116.7 213,000 +63.8 213,000 5,153 7,500 12,000

Coitog* 20,000 4,000

CoisCeim Dance 500,000 450,000 -10.0 430,000 -4.4 440,000 +2.3 450,000 +2.3 1,500 5,995 5,000

Cork City Ballet 45,000 75,000 +66.7 85,000 +13.3 4,870 4,200

Corp Feasa 15,000 Dance** 22,000

Crux Dance Theatre* 40,000 6,400

Daghdha Dance 414,000 280,000 -39.6 300,000 +20.0 360,000 +20.0 410,000 +13.9 39,773 203,500 5,650 21,000

Dance Theatre 327,000 250,000 -23.5 300,000 +20.0 300,000 320,000 +6.7 of Ireland 2,131 24,000 600

Dublin Youth 8,000 10,000 +25.0 14,000 +40.0 20,000 +42.8 Dance Company

Fabulous Beast 82,500 82,500 92,000 +11.5 270,000 +193.5 270,000 Dance Company 5,000 20,300

16 Company 2002 2003 % +/- 2004 % +/- 2005 % +/- 2006 % +/-

Fluxusdance Ltd 32,000 32,000 58,000 +81.3 62,000 +6.9 70,000 +12.9

Institute for 350,000 330,000 -5.7 300,000 - 9.1 317,000 +5.7 -100.0 Choreography 3,500 9,722 20,000

International 400,000 160,000 -61.4 390,000 185,000 -52.6 430,000 +132.4 Dance Festival 15,000 3,000 12,000 13,760

Irish Modern 225,000 100,000 -55.6 204,000 +104.0 230,000 +12.7 250,000 + 8.7 Dance Theatre 7,000 2,000 4,600

Irish National 47,000 50,000 - 6.4 51,000 +2.0 54,000 +5.9 57,000 +5.7 Youth Ballet Co.

Kinetic Reflex 16,500 0 -100.0 8,000

Maya Lila* 20,000

Myriad Dance 32,000 32,000 33,000 +3.1 35,000 +6.1 70,000 +100.0 Company 10,000

Rex Levitates 65,000 70,000 +7.7 120,000 +71.4 140,000 +16.7 Dance Company 3,499 3,175

Shakram Music & 20,000 20,000 Dance Company

Shawbrook 26,000 26,000 35,000 +34.6 40,000 +14.3 68,750 +71.9 5,000 7,827 1,290 5,000

Cork International 1,250 Folk Festival

Dance Research 6,000 Forum Ireland

LD Dance Trust 4,500

Figures in bold and italics represent capital / equipment grants. Figures in bold represent Dance Travel and Training Awards Figures in italics represent Dance New Projects Awards and Traditional Arts New Projects Award Figures in bold, italics and underscored represent Small Festival Grants * refers to funding on a one-off basis for 2006.

17 Appendix 3: Bibliography

Brinson, P., The Dancer and the Dance – Developing Theatre Dance in Ireland, The Arts Council, 1985.

Bryson, J., British and Irish Ballet; Knowledge, Networks and Conventions in the making of a Cultural Industry, University of Birmingham (unpublished) 2000.

Hayes, Ireland 2001, a European nation without a national ballet company, University of Durham, (unpublished dissertation), 2001.

Leatherdale and Todd, Shall we Dance? A Report on Vocational Dance Training in Ireland, The Arts Council, 1998.

Marzin, Y., A professional dance curriculum for Ireland, The Arts Council, 2003.

Partnership for the Arts, Arts Council Goals 2006-2010 – The Arts Council, 2005.

Partnership for the Arts in Practice 2006-2008 – The Arts Council, 2005.

18 Acknowledgements

The Arts Council would like to thank the following for their contribution to the Review of Professional Ballet in Ireland: the many individual practitioners, companies and organisations in the ballet and dance sector that participated in the consultation process; Derek Purnell who undertook the Review of Professional Ballet in Ireland and prepared a draft report; Finola Cronin who guided the review and Jenny Roche who guided the summary report on behalf of the Arts Council; Sue Leigh-Doyle who edited the report.

19 ISBN : 978-1-904291-35-0 The Arts Council/ An Chomhairle Ealaíon

70 Merrion Square, 70 Cearnóg Mhuirfean, t +353 1 618 0200 e [email protected] Dublin 2, Ireland Baile Átha Cliath 2, Éire f +353 1 676 1302 w www.artscouncil.ie 20 Callsave 1850 392 492