RES7 Audit of Artist and Residence and Dance - Final Repor…

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Audit of Dance Artist in Residence and Dance Development Posts Final Report (RES7) Report written by Scotinform Ltd and Clearview Strategy for the Scottish Arts Council. August 2003 Scottish Arts Council 12 Manor Place, Edinburgh EH3 7DD Telephone [phone] Facsimile 0131 225 9833 Typetalk please prefix number with 18001 Help Desk 0845 603 6000 (local rate) E-mail [e-mail] Website www.scottisharts.org.uk CONTENTS Page Executive Summary Section One: Introduction and Objectives 1 Section Two: Research Methodology 2 Section Three: Audit of Current Posts 4 - Management and Funding 4 - Nature and Remit of Current Posts 9 - Current Activities 12 - Delivery 17 - Partnerships 18 - Impacts 20 - Future of Current Posts 25 - Examples of Best Practice 28 Section Four: Development of Posts in Other Areas 33 Section Five: Recommendations and Development Framework 40 Appendix One: List of Interviewees (current posts) Appendix Two: List of Interviewees (other areas) Appendix Three: Description of Role of DAIR/DDO Appendix Four: Suggested Pay Scales (2001) Appendix Five: Details of Financial Requirements of Posts Appendix Six: Proposed Criteria for Evaluation 2 Scottish Arts Council AUDIT OF DANCE ARTIST IN RESIDENCE AND DANCE DEVELOPMENT POSTS ...

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• Publié par: Anjoi
• Nombre de lectures: 18
• Langue: English

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Audit of Dance Artist in Residence and Dance Development Posts Final Report (RES7)                                           Report written by Scotinform Ltd and Clearview Strategy for the Scottish Arts Council.   August 2003       Scottish Arts Council 12 Manor Place, Edinburgh EH3 7DD   Telephone[phone] Facsimile0131 225 9833 Typetalkplease prefix number with 18001 Help Desk0845 603 6000 (local rate) [e-mail] Websitewww.scottisharts.org.uk    

  CONTENTS     Executive Summary   Section One: Introduction and Objectives Section Two: Research Methodology Section Three: Audit of Current Posts - Management and Funding - Nature and Remit of Current Posts - Current Activities - Delivery - Partnerships - Impacts - Future of Current Posts - Examples of Best Practice   Section Four: Development of Posts in Other Areas   Section Five: Recommendations and Development Framework     Appendix One: List of Interviewees (current posts) Appendix Two: List of Interviewees (other areas) Appendix Three: Description of Role of DAIR/DDO Appendix Four: Suggested Pay Scales (2001) Appendix Five: Details of Financial Requirements of Posts Appendix Six: Proposed Criteria for Evaluation            

               Scottish Arts Council                                                             

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AUDIT OF DANCE ARTIST IN RESIDENCE AND DANCE DEVELOPMENT POSTS   EXECUTIVE SUMMARY   Introduction This is a summary of the final report on the audit of dance development posts commissioned by the Scottish Arts Council and conducted by Scotinform Ltd and Clearview Strategy. The 15 posts included in the audit were Dance Artists in Residence (DAIR), Dance Development Officers (DDO) and Education Officers at Scottish Ballet and Scottish Dance Theatre. The role of the DAIR is as a dance artist organising and delivering dance classes and workshops, whilst the DDOs are involved in managing freelance tutors and hiring professional companies as well as delivering workshops and classes. Local authorities perceive the posts as a cost effective way of encouraging participation in dance and facilitating involvement in dance within the local community.   The overall aims of the audit were to review the current posts and identify areas for development.   Methodology The audit was conducted in two phases. The first phase involved in depth interviews with current post holders and the local authorities and other organisations responsible for managing and/or funding the posts. A total of 38 interviews were conducted. Phase Two involved interviews with 17 local authorities who do not currently have a dance development post.   Management and Funding The audit identifies four types of posts in terms of the organisations responsible for management and funding.   •   Local Authority: eight posts were directly funded by their local authority (Aberdeen (Citymoves), Borders, East Lothian, Fife, Highlands (Eden Court), North Lanarkshire, Perth and Kinross, West Lothian).   Four of the current local authority posts have evolved from a Scottish Arts Council funded pilot project for a DAIR leading to the establishment of a DDO or DAIR post, part funded by the local authority and the Scottish Arts Council. In three areas the posts are now established with funding from the local authority. Only in one area (Perth and Kinross) has the pilot not led to the local authority applying for funding for a dance development post.   •   Dance Centre/Venue: three post holders were based in dance centres or other venues (The Space (Dundee), Dance Base (Edinburgh) and MacRobert Centre (Stirling). All three posts are part of the mainstream funding of the organisation.   •   Dance Company: two posts (both Education Officers) were in dance companies (Scottish Dance Theatre and Scottish Ballet). The Scottish Dance Theatre post is funded for two years by the Scottish Arts Council and the Scottish Ballet post is covered by core funding.      

           

Scottish Arts Council                                                             

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• Independent Dance/Arts Trusts: two posts were managed by independent organisations (Scottish Traditions of Dance Trust (Perth and Kinross) and Shetland Arts Trust). The Scottish Traditions of Dance Trust (STDT) post was set up for one year (until February 2003) with Scottish Arts Council funding, while the Shetland Arts Trust DAIR has been funded since 2001 through the Shetland Islands Council Charitable Trust.   Five of the posts were DDO, principally in the local authority based posts. The funding required for a DDO post is around £70,000 per annum. This reflects the much broader role and impact of the DDO and includes salary, expenses, a budget for freelance tutors, the hire of professional companies and venue costs.   Four of the post holders were DAIRs. The role of the DAIR is as a dance artist, mainly organising and delivering dance classes/workshop, training and choreography. This type of post requires funding of around £25,000 to cover salary and expenses, reflecting the lower level of outputs compared with a DDO.   Other posts holders who were in DAIR roles were Traditional Dance Development Officers and a Youth Dance Worker.   Activities All the dance development posts involved four broad areas of activity:   •   Researchschemes and was identified by the study as: this is a key function of pilot critical to the success of the development of the post.   •   Workshops/classes(either by post holder or sessional workers) were provided by all post holders to a range of groups, many based on targeting children and young people.   •   Training: the main area of training involved teacher training (usually at a primary school level), but in four areas the post holders ran accredited training (National Certificate, National Qualifications and/or Dance Leaders in the Community).   •   Programming: venue based post holders were also involved in programming, and the research suggested that their involvement was perceived very positively by the venues involved.   ‘Professional development’ (CPD) was an activity that was included in only a few of the post holders’ job descriptions. It was, however, an area of importance for all post holders and one that they felt was critical both in terms of their own personal development and in relation to developing the post.   DDOs are generally responsible for project management and for sourcing funding. The involvement of DAIRs in management is more varied. In some cases the DAIR has no involvement with project management or administration, whereas in others the DAIR has responsibility for tasks such as doing the administration for workshops/classes and helping with funding applications.      

           

Scottish Arts Council                                                             

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Partnerships Although the local authorities were the principal partners for most post holders, a wide range of other partners were used to provide funding, co-operative working, endorsements and administrative support. The range of partner organisations included schools, colleges, universities, social inclusion partnerships, professional dance organisations, venues, charitable trusts, the Scottish Executive and private sponsors/funders.   Impacts The key quantifiable impacts demonstrated by the posts related to: attendances at workshops/classes; audiences at shows; involvement in festivals and open days; and numbers of trainees. Post holders held data on key aspects of their activities that demonstrated an increase in dance activity and participation in the groups targeted in each  area.   One of the key areas to be addressed by many post holders related to ensuring that ‘marginalised’ groups had the opportunity to participate in dance activities. The research identified a number of examples of the effectiveness of dance activities amongst a range of people:   • workshops for primary school children in the Earlston Deaf Wing (Borders) Dance • in ceilidh dancing for disabled people (Fife) Classes • classes for disabled adults (West Lothian) Dance • Series of taster workshop for people with learning difficulties and behavioral problems (The Space, Dundee) • Classes for disabled boys and young offenders (Dance Base, Edinburgh)   Funders and post holders also highlighted other ‘softer’ areas of the impact of involvement in dance notably improvements to health and well-being, social interaction and self-esteem.   The Future of Current Posts •Eight posts have a relatively secure short-term future as they are either mainstream   or core funded by a local authority or dance centre/venue.   • Five of the local authorities involved in funding posts are committed to the posts continuing and committed to seeking funding for the posts. Apart from internal, local authority funding, New Opportunities Funds (NOF) and Scottish Executive Quality of Life funding were perceived as key sources of financing posts.   • post (Perth and Kinross) has not developed from the pilot phase and one post One was intended only as a year long position which was part of a rolling programme of traditional dance officers.   Development of Posts in Other Areas Half the local authorities who currently do not have a DAIR/DDO expressed an interest in the development of a dance development post in their area. East Dunbartonshire, Moray, Orkney, South Ayrshire, South Lanarkshire, Highland (Sutherland area) and the Western Isles expressed the highest levels of interest.      

           

Scottish Arts Council                                                             

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Key reasons for local authorities not being interested in dance development related to lack of funding, lack of infrastructure to support dance and the geographical spread of the area.   Recommendations The report’s recommendations cover the following issues: • mandatory research based pilot for future posts. A • Funding should be conditional on the local authority providing administrative support to post holders. • Establishing an Evaluation Toolkit as a standard method of measuring the impact of the post.  Ensuring that local authorities are aware of the range of funding sources available, • particularly NOF and Scottish Executive Quality of Life funding. • development of training of potential post holders, either through accredited The courses such as Dance Leaders in the Community or through apprenticeship schemes (particularly suitable for street dance).  

   

           

Scottish Arts Council                                 

                            

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SECTION ONE: INTRODUCTION AND OBJECTIVES

  This report describes the findings of research commissioned by the Scottish Arts Council’s Dance Department and conducted by Scotinform Ltd and Clearview Strategy. The study involved conducting an audit of the network of Dance Artist in Residence (DAIR) and Dance Development posts in Scotland. Dance Development posts include Dance Development Officers (DDO) and Education Officers in Scottish Ballet and Scottish Dance Theatre. The majority of DAIR and Dance Development posts have received start-up funding from the Scottish Arts Council, with the aim of assisting in the development and support of dance in local areas.   The development of the DAIR and Dance Development posts was identified in the Scottish Arts Council Dance Strategy 2002 -2007 under the aim of ‘ensuring that people of all ages and abilities have the opportunity to learn and participate in dance, and that there are routes through to professional involvement’.   The overall aims of the audit were to review the current posts and identify areas for development. Specific objectives were:  To establish the nature and remit of the current posts • •on people attending and participating in dance gather quantitative information  To through the activities of the DAIR/Dance Development posts • To identify areas of best practice • To assess the potential to develop existing or to set up new posts through discussions with local authorities •for a phased development programme, setting outTo make recommendations   priorities for the Scottish Arts Council with the aim of ensuring that dance development activity extends across Scotland In the following sections of the report the research methodology is described, followed by a section on the outcomes of the study in relation to each objective.                  Scottish Arts Council  

   

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  Throughout the report the term ‘post holders’ is used as a generic term to describe the DAIR and Dance Development posts. Job titles, such as DAIR or DDO, are used to describe the results relating to specific posts. Description of the roles of the DAIR and DDO are shown in Appendix Three.   Scotinform and Clearview would like to thank everyone who has helped with the study, including the local authority officers, the current post holders and the organisations responsible for managing the posts, particularly for taking part in the depth interviews and allowing us access to a range of reports and other relevant documents.                                            

           Scottish Arts Council

   

 

                              

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SECTION TWO: RESEARCH METHODOLOGY    The audit involved three phases:   Phase One: Briefing Meeting and Review of Existing Data An initial briefing meeting was held with the Scottish Arts Council’s Dance Department in order to identify the information available on current post holders. The information was reviewed and interviews arranged with post holders and the organisations responsible for managing the posts.   Phase Two: Survey of Post Holders and Management Organisations Interviews with current post holders and the management organisations were mainly conducted face to face, although in a few cases telephone interviews were carried out (either through personal choice or time constraints).   A total of 38 interviews were conducted (see Appendix One for full list of interviewees). The managers of all the post holders and relevant organisations responsible for funding the posts were interviewed in all areas. Eleven of the sixteen post holders (one of whom was acting for the post holder whilst they were on maternity leave) were interviewed.   Six of the permanent post holders were not available for interview for the following reasons: maternity leave (2) - - on sabbatical – Fresh Mess Tour (2) - did not respond to messages/contact (1 – North Lanarkshire) post developed into Renfrewshire Dance Project in 1998 -   The interviews covered the following main areas: - background to development of post in area current remit of post holder - - main activities undertaken - measurement of impact - plans for development of role            Scottish Arts Council          

   

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  Following these interviews an interim report was prepared and discussed with the client (March 2003).   It should be noted that the findings section of this report covers 15 current posts. The DDO post in Renfrewshire developed into the Renfrewshire Dance Project in 1998 and Renfrewshire Council now part-fund (£14,000 a year) the Dance Project as an independent company. It is interesting to note that the success of the original DAIR post in Edinburgh, which was funded by the Scottish Arts Council and the City of Edinburgh Council, led to a similar outcome with the development of the national dance centre, Dance Base.   Phase Three: Survey of Areas Without a Post Holder Interviews were conducted by telephone with relevant officers within 17 local authorities which had no dance development posts (see Appendix Two for list of interviewees). The interviews covered the following topics: - role of dance within arts strategy (if any) - main artforms supported and current arts activities current dance activities - awareness of DAIR/Dance Development posts in other areas - - levels of interest in developing post locally - issues affecting development of post   The results of these interviews are described in Section Four of this report.

           Scottish Arts Council

   

                                

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SECTION THREE: AUDIT OF CURRENT POSTS   MANAGEMENT AND FUNDING   The audit identified four types of posts in terms of the organisations responsible for funding: 1. Local authorities 2. Dance Centres/other venues 3. National Dance Companies 4. Dance/ Arts Trusts   The levels of funding required for DAIR and DDO posts is shown in Appendix Five. The funding reflects the differing roles of the two posts. Around £25,000 funding is required to cover the salary and expenses of a DAIR in their role as a dance artist, organising and delivering dance classes/workshop, training and choreography. The funding required for a DDO post is around £70,000 per annum. This reflects the much broader role of the DDO, including salary, expenses, a budget for freelance tutors, the hire of professional companies and venue costs. Pay scales are illustrated in Appendix Four.   1. Local Authority Local authorities were directly responsible for funding and management arrangements of eight of the post holders.   Six posts were directly managed by their local authority, either through a department with responsibility for education/arts or through the community service department. - Borders - East Lothian - Fife - North Lanarkshire - Perth and Kinross - West Lothian  

   

           Scottish Arts Council  

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