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| Dance Consortium | |
|---|---|
| Name | Dance Consortium |
| Formation | 1990s |
| Type | Arts consortium |
| Headquarters | London |
| Region served | United Kingdom |
| Leader title | Director |
Dance Consortium The Dance Consortium is a United Kingdom–based network of producing theatres and dance organisations formed to support the creation, presentation, touring, and development of contemporary dance. It operates as a programming and commissioning hub connecting regional theatres, national institutions, international festivals, and independent companies to broaden access to choreography, production, and dance research. The Consortium is recognised for strategic partnerships with venues, presenting houses, funding bodies, and contemporary choreographers across the UK and beyond.
The Consortium traces its origins to late-20th-century initiatives in cultural programming that sought to decentralise arts presentation, aligning with developments at venues such as the Southbank Centre, Barbican Centre, Sadler's Wells Theatre, and regional houses like The Lowry and Tyneside Cinema. Early collaborative models reflected practices emerging from networks including Arts Council England partnerships, cross-venue alliances tied to the National Lottery (United Kingdom), and European co-productions linked to entities like the European Union cultural programmes. Over subsequent decades the Consortium built relationships with contemporary companies associated with choreographers such as Akram Khan, Matthew Bourne, and Wayne McGregor, while engaging festivals including Edinburgh Festival Fringe, Manchester International Festival, and Dublin Dance Festival. Institutional shifts at the Royal Opera House and programming changes at regional venues influenced the Consortium's strategy, prompting formalisation of commission frameworks and touring models in the early 21st century.
Membership typically comprises producing theatres, mid-scale presenting organisations, and specialist dance venues across the UK and Ireland, with partners often including Sadler's Wells Theatre, York Theatre Royal, Bristol Old Vic, Trinity Laban Conservatoire of Music and Dance, and city-based organisations like Belfast Waterfront Hall and Cardiff Millennium Centre. The Consortium’s governance models mirror consortiums in the cultural sector, involving boards drawn from partner institutions, executive directors, programming managers, and advisory panels including representatives from Arts Council England, local authority cultural departments such as Greater London Authority, and academic stakeholders from institutions like University of the Arts London. Membership agreements set commissioning contributions, presenter responsibilities, and rights for co-productions with companies such as Rambert, Scottish Dance Theatre, and New Movement Collective-style independent groups. The structure supports rotating leadership roles and project-specific production teams that liaise with agents, producers, and festival directors from events like Latitude Festival.
The Consortium’s artistic remit focuses on commissioning new choreography, supporting research and development, and producing dance works for touring. Commissions have ranged from small-scale solo works to full evening-length productions, co-produced with choreographers connected to institutions such as Pina Bausch Foundation-affiliated artists, alumni of Juilliard School and Laban Centre, and international collaborators linked to companies like Batsheva Dance Company and Cunningham Dance Foundation. Programme curation frequently emphasises cross-disciplinary practice, integrating collaborators from the worlds of theatre—such as directors who have worked at Old Vic—and visual artists who have exhibited at institutions like the Tate Modern and Serpentine Galleries. The Consortium also facilitates residencies and commissions engaging composers from organisations like BBC Radio 3 and designers working with the Royal College of Art.
Touring operations coordinate schedules between presenting partners and national venues, enabling work to be seen at locations including Sadler's Wells Theatre, Southbank Centre, The Lowry, and international festivals such as Avignon Festival and Venice Biennale. Logistics are managed alongside producers, technical directors, and venue programmers, ensuring compliance with touring standards used by companies collaborating with international houses like Lincoln Center and Opéra National de Paris. The Consortium has developed models for rural touring that engage networks used by organisations such as Arts Touring Alliance and regional festivals including Cheltenham Music Festival, expanding reach to community halls and university theatres managed by venues like Royal Holloway, University of London.
Education initiatives link partner venues to conservatoires and community organisations, working with institutions such as Trinity Laban Conservatoire of Music and Dance, Royal Birmingham Conservatoire, and local education authorities. Programmes include participatory workshops, school matinees, and workforce development for stage managers and technicians in collaboration with vocational providers like Guildhall School of Music and Drama and apprenticeship schemes promoted by organisations including Creative & Cultural Skills. Community engagement has involved cross-sector projects with health partners and charities similar to work undertaken by Dementia Choirs initiatives and socially engaged companies such as Motionhouse.
Funding derives from a mix of public grants, earned income, philanthropic support, and co-production contributions from partner institutions. Core grant relationships have historically involved Arts Council England and occasionally cross-border funding bodies like Creative Scotland and Arts Council of Northern Ireland. Philanthropic support has come via trusts and foundations comparable to Jerwood Charitable Foundation and corporate sponsors with interests in cultural patronage similar to partnerships seen at the Barbican Centre. Governance adheres to charitable company best practice, with boards overseeing strategic priorities, risk management, and compliance with funding agreements issued by organisations like National Lottery Community Fund.
Critical reception of works presented through the Consortium has appeared in national outlets including The Guardian, The Telegraph, and specialist periodicals such as Dance Europe and The Stage, with productions receiving nominations and awards from institutions like the Laurence Olivier Awards and recognition at festivals including Edinburgh Festival Fringe. The Consortium’s impact is measured by expanded touring routes, increased audience diversity at partner venues, and strengthened career pathways for choreographers who later collaborate with companies such as English National Ballet and BalletBoyz. Its model has influenced regional programming strategies at city venues and contributed to policy discussions involving funders and cultural bodies.
Category:Arts organisations based in the United Kingdom