by Gregor Lee

For centuries dance has been ephemeral, passed down only through a tradition that was both oral and physical, with no language of its own. This is due to the fact that experiencing dance, witnessing the excitement and possibility of movement, relies on the observance of live performances. No matter how beautiful, language conveys dance only as a secondary source. In reality, reading about Alvin Ailey's Revelations, compares to the experience of glancing at a black and white photograph of Van Gogh's Starry Night, or looking at a score for the musical "Chicago." Each art form must possess a means of communicating itself to the outside world in order to survive and thrive. Therefore, the formation of a dance company represents an essential step in the development and continuation of the art form itself.

One essential role the company fulfills is to offer the art form a base for support. Upon the foundations of a company, the dance world can strengthen its financial and communicative mechanisms to further benefit all those involved. This holds true for small contemporary companies, sustained mainly by the vision of a single person, for national companies with a complete board of directors and for all those that fall in between. For example, when the independent choreographer forms her own company, she now has a basis on which to apply for grants and form a Board of Directors to help her communicate her creative vision. This gives the community a concrete entity to depend on for furthering dance in their area. It also provides opportunities to get involved with marketing, education, costuming, technical work and other aspects, and expands the variety of art presented.

The existence of companies also serves to raise the standards within the art form. As companies expose more people to dance, interest in the art form increases. With more people involved in a given area, the activity will become more competitive and the expectations and performance levels will increase. Another benefit of many companies is the establishment of schools for training future generations. For example, the art of ballet developed out the court dances of 16th century Europe. When royal government founded national companies, the prestige of the practice increased. Russia's Kirov Ballet and Imperial Ballet School, Great Britain's Royal Ballet and Royal Academy and Denmark's Royal Danish Ballet and School illustrate this development. With the continuance of these troupes and their schools, the possibilities for ballet and its role in our culture continued to expand.

The net effect of the Company is expanded prospects for all constituencies involved. This includes the choreographers, dancers, audiences, teachers and studio owners that contribute to the existence of dance in today's society. Dance companies offer increased opportunities for mutually beneficial relationships between individuals and the community.

For the choreographer, a dance company offers a way to create her vision, convey her message to others, and attain occupational gratification. This holds true for independent artists as well as those who also serve in other capacities as artistic directors, teachers and/or studio owners. A dance company functions as a living canvas on which the choreographer paints her vision. It offers her an assembled group of fellow artists, willing and able to transform her creative vision into reality. Lacking this organized entity, the choreographer must convene and sustain a fragmented group, and depend upon this unreliable body for the translation of her vision to society. This presents a risky alternative.

The existence of an actual company benefits those choreographers who regularly direct it and those who work independently. An artistic director can choreograph works for her own group as well as for others. Similarly, independent artists have the opportunity to act as guest choreographers for companies in their community and around the world. This allows for additional occupational gratification by increasing the choreographer's reputation, financial situation, and ability to create and communicate her vision. Hence, it permits the individual to more effectively impact the dance world and society at large.

The organization of the art form also presents dancers with a wide array of advantages. A dance company gives the dancer the benefit of being part of a team, increases their job opportunities and knowledge of the field, and raises the standards of the profession. Without the foundations of a company, dance, an already difficult career to pursue, becomes nearly impossible for the individual.

Like many other arts, dance requires that the artist spend a great deal of her time concentrating on herself and her own performance. Mastering the myriad intricacies of this art form requires substantial self-awareness and contemplation. As part of a company, dancers gain the experience of being part of a team that they miss otherwise. Teamwork encourages camaraderie and unites individuals in pursuit of a common goal. Members of companies often form strong bonds, similar to those within sports teams. The familial feeling becomes an important support mechanism.

In connecting with those who share their passion, dancers form relationships that contribute to their understanding and pursuit of dance. In working with others in the close setting provided by the company, dancers learn about their art. Understudying a role, watching a rehearsal, and observing the technique of others offer immeasurable opportunities to increase the individual's understanding of her own work. Discussions with other company members represent important networking opportunities regarding training, education and career choices. Additionally, dancers gain a broader perspective of their place in the dance world. Individuals find increased motivation to improve in comparing themselves with the effort and performance of others. This stimulation augments the work of the dancer and the company as a whole.

The community also benefits from the formation of organized companies. Society receives exposure to a wider variety of dance forms that it may then chose to view and support. Dance becomes a known element even to those who may not directly seek it, or actively participate in it. As an active force in the community, the art form expands the size and scope of its audience, thereby widening its potential base of financial support.

For the dance teacher and/or studio owner, the benefits of a dance company are quite similar to those for other segments. However, either by choice or necessity, the former retains a more business-oriented perspective. Like the choreographer, the teacher or studio owner gains a mode of creative expression. A dedicated group of dancers allows a teacher to achieve things impossible to accomplish with regular students who study dance on a limited basis and with a less serious sense of purpose.

As with the dancers themselves, this cooperative endeavor provides stimulation to the studio owner or teacher as well. Companies contribute to the teacher's goal of promoting support for and understanding of her art, as they enrich community appreciation for dance. The studio owner benefits financially from establishing these foundations, as the number of potential and actual clients grows within a community. The creation of a company, within her own studio, augments the marketing opportunities and subsequent financial benefits to her business.

Clearly, the establishment of a dance company contains powerful benefits for all those involved. A company operates most effectively when founded upon sound principles of arts management. Strong leadership and a clearly defined mission represent the most essential elements needed for effective organization.

As in most types of companies, financial or artistic, leadership provides the sustaining vision behind a dance company. Depending upon the size of the organization, this direction comes in the form of an individual, or group of individuals, dedicated to insuring the company's success. Most important to this vision is the Artistic Director, who often performs the duties of an entire Board of Directors in a very small company.

The existence of a dedicated Board of Directors invariably contributes to the success of an organization. They contribute to the establishment and sustenance of the company, and act as a base for fostering healthy monetary and community relations. These individuals provide guidance to the Artistic Director and Company by offering their expertise in various areas including finance, marketing, production and costuming. Additional volunteers can also perform these essential support functions.

In the larger companies that perform and tour at the regional and national level, supplementary staff may include many others. Assistant artistic staff, such as the rehearsal director and associate teachers, help guide the creative functions alongside the Artistic Director. An Executive Director handles all business aspects and may have additional administrative support as well. As the size and subsequent budget of the company increases, so does the number of paid staff in every area.

Along with its leadership, a successful company must possess a definite mission. It needs a clearly defined purpose, accompanied by goals and objectives that reflect the organization's history, and a distinct method of evaluation. Those immediately responsible for its creation and support must continually engage in the planning process, so that they may provide the company with a distinct destination and a map to follow.

Given the artistic nature of the dance world, some may argue that the precepts of organization are unnecessary and superfluous. In dealing with instances of creative genius, they may assert that such a structure hinders, rather than assists, the dance world's ability to communicate. Yet upon examination, it remains that organization in the form of a company undeniably helps the art form thrive and survive.

Certain individuals, endowed with tremendous talent and inspiration, have created entire languages of movement. In developing their own technical innovations and personal style, companies represented an important tool. For artists such as Martha Graham and Alvin Ailey, the company played a large role in the realization of their creativity. Today, companies continue to present their work, while established schools preserve the unique style.

Organized on sound principles of arts management and artistic vision, a dance company provides the art form with an essential method of communication that benefits every constituency. During this past summer and fall, I had the opportunity to observe the existence of these relationships in the four dance companies with which I studied. Although similar in size, each functioned in distinctly different ways from one another. One company in particular had achieved a high degree of organization, and was amazingly successful in its community and artistic endeavors.

Columbia City Jazz Company (CCJC) in Columbia, SC, operates as an exemplar of the principles of arts management. Led by a dynamic Artistic Director, Board of Directors and Committees, it relies on the strength of volunteers, rather than paid administrative staff. Specific duties of planning and implementation are clearly defined in a "Red Book" and communication is maintained through monthly meetings and frequent Internet correspondence. The entire staff works openly together with company members to facilitate the goals of the organization. CCJC takes clear direction from a mission statement that asserts the following:

It is the mission of the Columbia City Jazz Company to become an integrated, award winning team of highly skilled pre-professional jazz dancers who, through their technical skills and choreography, will demonstrate the varying art forms of jazz dance to the under-served dance audiences of South Carolina through a series of free, live, public performances.

In addition, through CCJC's nationally known guest artist series, Columbia City Jazz seeks to become a center for jazz excellence in the tri-state region of South Carolina, North Carolina and Georgia.

Information regarding the organizational and community profile, goals and objectives, planning and history accompany the statement. Each company goal is followed by a clearly defined objective and strategy for achieving it. A combination of Board members, company parents and persons in the community not associated with CCJC evaluate each facet based on the established criteria.

Incorporated as a 501(c)3 non profit organization, CCJC provides funds for the Artistic Director’s salary and offers its dancers costumes, training, master classes, rehearsals and performance opportunities. "The budget is developed by the Treasurer [of the BOD] and a budget committee based on input from the Wardrobe Mistress, the Artistic Director, the Fund Raising Chair, and the Board." Financial support comes from fundraising projects (dancer and parent participation required), corporate donations, and grants. Dancers must pay for their technique classes at Columbia Conservatory of Dance and receive no compensation for performances. This system aims to make dance affordable for children of lower socioeconomic status.

CCJC members range in age from seven to twenty-three years old. "There is a cohesion and sense of family among the dancers that spans race, socioeconomic group, age, and sex." Social events, such as summer and holiday parties, strengthen the groups camaraderie. This year, dancers will participate in five master classes with guest artists, five competitions (including one national), and an international tour with other renowned companies, including the New York City Ballet. In addition, eight appearances at festivals throughout the state will broaden audiences by bringing dance to the streets through free, live performances. The structure of CCJC allows the company to enrich the experience of dance for its members, volunteers, community and beyond. As the only company in my study with a presence on the web, the CCJC website has proven to be a valuable tool by increasing communication inside the organization and with the outside world.

Currently in its fifth year of existence, the Center Stage Performing Company was founded to provide young dancers with increased opportunities to learn and perform. Michele Lee, owner and director of Center Stage, is well-known in the community for her magic with children, and the variety and quality of instruction her students receive. She and a dedicated parent volunteer, Beth Kuhns, who acts as the Company Manager, handle the administrative duties. Without a formal support structure, in the form of a Board of Directors or committee system, they are responsible for establishing policies and schedules, and oversee everything from costuming to attendance. Interested students and their parents receive detailed information concerning company membership, requirements and expenses.

Financially, company members pay for classes, costumes, and competition and travel fees, but not rehearsals. CSPC does not undertake fundraising projects, solicit donations or seek grants to meet its expenses. Although this may prohibit some students from participating if their families cannot make the financial commitment, most do not have a problem meeting these expenses. Lee, and the other instructors who direct the artistic aspects of various companies, receive payment for the classes they teach, but earn no compensation for rehearsals or extensive travel to competitions. In the past year, participation of studio parents in soliciting funds for similar organizations raised several thousand dollars. This enthusiastic response indicates that support exists for the formation of a Board of Directors, willing to assist with the financial and administrative tasks of the company.

A group of twenty-five elementary through high school age children are divided into three age groups, and again by type of dance, so that a ballet, tap and jazz company exists at the mini, junior and senior levels. Activities like sleepovers, parties, and secret pals foster friendship, cohesion and support within the group as a whole. Dancers participate in six regional competitions and two nationals held during the summer months and perform at the annual Center Stage Spring Recital. This year, for the first time, CSPC hosted a guest artist series featuring three renowned teachers, and publicized the event in other area studios and local papers. Newsletters and memos serve as tools of communication within the company, and CSPC relies on word-of-mouth and attendance at conventions and competitions, to inform the community. Potential exists to increase audience size and community impact through advertising efforts in schools and newspapers.

Another area company, the Asheville Civic Ballet, operates based on a different purpose and set of principles. ACB aims to train middle and high school age students, in its rigorous pre-professional program, for professional careers as ballet or modern dancers. Its director, Ann Dunn, studied on a Ford Foundation scholarship at School of American Ballet, and under Martha Graham, Merce Cunningham, Ted Shawn and Margaret Craske. She has received over $60,000 in grants and has served as an artist in the schools, consultant and panelist for area arts organizations. Dunn oversees the artistic and administrative functions of ACB, assisted by the office manager of her studio and other instructors.

Each year, ACB puts on two full-length performances: an adaptation of the ballet classic, The Nutcracker and an original ballet/modern production, both choreographed by Dunn. These performances are open to children from other dance studios by audition, thereby increasing community participation. ACB does perform at some community events, but does not participate in competitions. Members must attend a number of classes each week including ballet, modern, jazz, Pilates, acting and anatomy, and are encouraged to attend summer dance intensives. Cast parties are held at the studio following the Saturday night performances.

Company members must pay a fee for classes, and to participate in the productions (this covers rehearsals, costumes, and theater rentals). Funds are solicited from parents and organizations through the company’s brochure. Performance programs include patron lists and advertisements from area businesses. Daytime performances allow schoolchildren exposure to dance and supply additional performance revenues for the Company. Publicizing through posters and radio announcements increases ACB recognition and audience.

Another company I studied with is the movin company. Its mission aims "To create an environment through the magic of movement, dance and theater that energizes, inspires, and entertains audiences of all ages." Artistic Director Margie Canipe started the company after thirty years as a dance teacher and studio owner with a friend Shawn Harmon, who possessed the necessary technical and theatrical knowledge.

The original goal was to present three original ninety-minute performances (two ballet, one tap) with a cast of paid professionals and children auditioned from local dance studios. Funding from ticket revenues would cover expenses like dancers’ salaries, props, costuming and publicity. They marketed their venture to area theaters in a colorful brochure, yet without a video sample securing bookings proved difficult and only two theaters contracted with them for a total of three performances. In December 1999, the movin company performed Snow for Christmas with four paid professional dancers and twenty area children. Professional photographs and video from the performance are intended to better market the project in the future. Co-directors Canipe and Harmon carry out all administrative, artistic and practical duties for the company.

In each of the companies I studied with, organization played a role in determining the group’s success. The clarity of mission and artistic vision of Columbia City Jazz Company, has given it a focus and structure to accomplish and surpass its goals. Definite methods of evaluation contribute to ease in determining success and pinpointing areas for improvement. Center Stage Performing Company and the Asheville Civic Ballet both have a similar purpose. Adopting a more definite structure, such as that of CCJC, would offer these organizations a path to discovering a renewed sense of purpose, increasing their support organizations, improving efficiency, communication, and creativity and generally allow them to accomplish more.

However, the most important balancing act in infusing the art of dance with effective organization concerns the artistic integrity of the resulting company. Care should be taken that structure not overpower the work of the choreographer and the dancers. Rather the collaboration should progress out of a mutual bond of understanding and respect for the essential energy that both sides contribute to the venture. With this in mind, organization along the principles of arts management expands the collective possibilities of this unique artform. A company gives dance the power to improve the world by improving itself.

Bibliography

Anderson, Jack. Ballet and Modern Dance: A Concise History. Princeton Book Company Publishing: Princeton, 1992.

Asheville Area Chamber of Commerce. www.ashevillechamber.org

Asheville Civic Ballet. Brochure.

Black, Sara. The Supple Body. Macmillian, New York: 1995.

Center Stage Performing Company. 1999-2000 Policies Letter.

Charlotte Chamber of Commerce. www.charlottechamber.org

City of Asheville, NC. www.asheville.com

Columbia City Jazz. www.city-jazz.com

"Dance Magazine." www.dancemagazine.com

"Dance Spirit." www.dancespirit.com/lvds

"Dance Teacher." www.dance-teacher.com/lvdt

"Dancer."www.danceronline.com

Gallagher, Sean. And Romana Kryzanowska. The Pilates Method of Body Conditioning.

Bainbridge Books, Philadelphia: 1999.

Hamilton, Linda. Advice for Dancers: Emotional Council and Practical Strategies. Jossey- Bass Publishers, San Francisco: 1998.

Humphrey, Doris. Barbara Pollack, ed. The Art of Making Dances. Rinehart, New York: 1959.

Kent, Allegra. A Dancer’s Body Book. Quill, New York: 1984.

Martins, Peter. With Howard Kaplan. The New York City Ballet Workout. William

Morrow and Co, Inc., New York: 1997.

Stevens, Franklin. Dance As Life: A Season with American Ballet Theater. Harper and Row, New York: 1976.

Warren Gretchen Ward. Classical Ballet Technique. University Press of Florida, Gainesville: 1990.

the movin company. Brochure.

The Yellow Pages. www.yellowpages.com

 
return to table of contents

This page updated Decmber 20, 2001