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Kamarck, Edward (ed.) / Arts in society: growth of dance in America
(Summer-Fall, 1976)

Hering, Doris
Regionalization of dance: ["where the action is"],   pp. [296]-[300 and 301] PDF (6.6 MB)


Page [300 and 301]


the costs currently underwritten by a grant
from the Andrew W. Mellon Foundation and
the Southern Federation of State Arts
Agencies.
During the past eight years the economic
pressure on New York based companies with
little or no performing outlet has been
resourcefully met by the National Endow-
ment's Dance Touring Program (the Program
includes companies from other areas, but the
majority emanate from New York). The sound
regional company and the sound touring com-
pany are mutually complementary. The tour-
ing group offers a welcome temporary source
of stimulation. The resident company pro-
vides a ready made audience for the touring
group, and it assures a performing continuity
during the arid times between visits from
out-of-towners.
Some communities, despite the growth of the
Dance Touring Program, still depend entirely
on their resident companies. It is a big
responsibility. And it is being met with
increasing skill as younger and younger
couples leave the large professional touring
companies and settle down to raise families.
They are making dance a stable and mean-
ingful part of community life.
To a great degree they depend upon their
National Association for stimulation and per-
spective; they depend upon their state and
local arts agencies for financial help. As more
and more of them become economically
viable (In 1974, seven NARB companies had
reached budgets of $100,000 and over), they
will take their rightful place beside the
theatre groups, symphonies and opera com-
panies in physical facilities designed for the
comfort of all. All have much to learn from
each other.
During the past decade the dance audience is
reputed to have shifted from seventy percent
in New York City to seventy percent outside
of New York. Regionalism has had much
to do with this. It's out there chipping away
at prejudice and building its own structure-
one of increasing strength and individuality.
The next twenty years should be years of
amazing fruition for those companies with the
humility and insight to keep on growing.
Their audiences will inevitably grow with
them. [
Billy the Kid, Eugene Loring, choreographer.
Dayton Civic Ballet.
300


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