April 5, 2006

A New Business Model for Dance Companies

Since starting my blog in September of last year, I've come across many depressing stories about the economic perils faced by dance companies. Some dance companies simply can't survive or their economic health remains tenuous.

In an article in today's New York Times [via Downtown Dancer], choreographer Bill T. Jones is quoted:

"You don't make a damn cent in dance."

That succinctly sums up the problem.

The question for dance-makers is the following: Given the constant financial challenges, what new approaches can be taken to improve the economic conditions of dancers and dance companies? Or, better yet, how can more dance companies ensure that they have a healthy and secure financial future?

I have a two-part answer:

1) Dance companies should broaden the sources from which they seek financial support, and

2) Dance companies should seek commissions for dance works that have both a live and online component.

Science and Dance - A New Partnership

Before providing an explanation of my two-part solution, I need to highlight a trend that has potentially wonderful ramifications for dance.

Over the past half year, I've noticed that a number of dance companies have been exploring scientific and technological themes in their works.

Here are just a few examples:

- Rambert Dance Company: "Constant Speed" (Physics)

- Australian Dance Theatre: "Devolution" (Robotics)

- Liz Lerman Dance Exchange: "Ferocious Beauty: Genome" (Genetics/DNA)

- San Francisco Ballet: "Ballet Mori" (Earth Science)

These dance works are very intriguing because they offer examples of how human movement can serve to give audiences a different and enhanced way of reflecting on science and technological developments.

There is also an economic component to the fusion of dance and science. Focusing on scientific themes makes good business sense for dancers. There happen to be thousands upon thousands of scientific, technological, medical and related companies that need to market and promote their products and services. And the art form of dance is already showing itself to be a compelling means of explaining, exploring and grappling with scientific and technological developments and changes.

So what better partnership could there be than for dance companies to seek commissions or other forms of financial support from private companies in the scientific and technological arena?

Plus, there is one more element that I want to point out about companies in the technology/scientific realm: They appreciate the importance of leveraging the Internet to reach their customers - I'll elaborate on this point in just a moment.

Back to My Two-Part Solution

As I just explained, dance is a wonderful way to explore and make vivid a huge range of scientific topics. So the first component of my plan is straightforward: Seek commissions/funding/sponsorship from companies in the scientific, technological, medical and related fields - or funding from associations, foundations and related entities that represent these companies.

The second component of my plan is a little trickier because it has not been done yet - but it represents a huge growth area for dance.

The economics of dance companies, which, as Bill T. Jones explained, is miserable, is not going to significantly change until dancers find financially profitable ways to exploit the Internet. The logic is simple. Even in the best of circumstances, you can have only so many people who are going to buy a ticket to watch a performance. The Internet, on the other hand, allows you to reach an audience of potentially unlimited size.

So in addition to seeking commissions from scientific and technological companies, you'll want to propose dance works to these corporations that are designed for the theater as well as the online world.

This dual-track approach to performance will be much more compelling to potential sponsors. Not only will they receive the traditional benefits of sponsoring a dance performance, but they will receive the many benefits that come with helping to underwrite the Internet-based version of your dance piece as well.

From your perspective, you'll be able to raise more money, there will be good synergies between your live performances and their online component, and you will be able to generate additional revenue from online sales.

But I'm leaving out one critical component: What is the structure and nature of the online component of your dance performance and how specifically will you make money from it?

To be continued...

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