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DEDICATED TO DANCE:

The New Jersey Dance Needs Assessment Project

By Joan Jeffri

With special assistance from Susan H. Fulks

© Trustees of Teachers College Columbia University in the City of New

York/Research Center for Arts and Culture, 2006

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This project graciously supported with funds from:

The Geraldine R. Dodge Foundation and

The New Jersey State Council on the Arts/Department of State, a Partner Agency of the National Endowment for the Arts

In addition, we wish to thank the following individuals for their valuable contributions to the development of this project:

Laura Aden, Program Director, Arts, Geraldine R. Dodge Foundation Wendy Liscow, Program Assistant, Geraldine R. Dodge Foundation

Don Ehman, Program Associate, Artists Services, NJ State Council on the Arts Kim Nguyen, Program Associate, Folk Arts, NJ State Council on the Arts

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New Jersey Dance Needs Assessment Project

Dancing is everywhere. We ought to celebrate and find ways to knit it all together. �Mindy Levine, Developing the Whole Dancer

It is well known that dance is one of the most poorly paid professions in the arts

in the United States. Although people may be somewhat familiar with the salaries of

dancers, few realize the deep and profound system that supports the world of dance. This

network is comprised of dancers, arts managers, instructors, costumers, designers,

advocates, and technical staff, among others. Both dancers and dance workers, often

working at several jobs, sometimes working without pay, have long supported a vibrant

and diverse dance scene in the United States. Yet, there is little formal research on this

subject and little primary data that illuminate the needs of these workers. The New Jersey

Dance Needs Assessment Project is the first state-wide exploration into these needs in the

state of New Jersey where, for many years, dance has had a vibrant presence.

Marketing guru Richard Florida claims that more than 30% of the nation�s

workforce, 38 million people, belong to what he terms �the creative class.�1 While no one

would claim that these 38 million are all involved in some aspect of the arts and culture,

it is becoming more and more clear to politicians, policy makers, urban planners,

economists, corporations, cities, regions and states that there are certain qualities that act

as magnets for innovation, progress and success. Characterized as problem solvers, the

creative class is transforming the way we look at work, lifestyles and communities.

Economic Context

In addition to enhancing these arenas, creative people and activities are being

factored into the equation for a healthy economy. In 1994, the Port Authority of NY/NJ

Study The Arts as an Industry cited the economic impact of the arts on the New York-

New Jersey region as $9.8 billion,2 with an estimated 43 million visitor-trips in 1992 to

1 Florida, Richard. 2002. The Rise of the Creative Class. New York: Basic Books, ix. 2 Alliance for the Arts, The Arts as an Industry: Their Economic Importance to the New York-New Jersey Metropolitan Region. Alliance for the Arts, New York City Partnership, Partnership for New Jersey:

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the New York-New Jersey region, 84.6% of domestic origin and 15.4 % international.3

Data from 2000 indicate that the arts in New Jersey are a billion dollar business; the

impact is represented in over 11,000 jobs and almost $27 million in tax revenue.4 By

2003, Americans for the Arts listed the following total economic impact figure for just

three locations in New Jersey totaling over $100 million:

County Jobs Supported Household Income Revenue Generated Revenue

(FTEs) Paid to Residents to Local Govt Generated

to State Govt

Monmouth 374 $8,034,000 $563,000 $797,000 County TOTAL $9,394,000 TOTAL ECONOMIC ACTIVITY (nonprofit organization + audience spending): $13.3 million Newark 2,018 $58,458,000 $2,878,000 $3,994,000 TOTAL $65,330,000 TOTAL ECONOMIC ACTIVITY $74.2 million Union County 530 $14,731,000 $765,000 $832,000 TOTAL $16,328,000 TOTAL ECONOMIC ACTIVITY $21.8 million5

In 2002, the total economic impact of nonprofit arts institutions and programs in

New Jersey was $546.5 million, broken down as follows:

Operating and program expenditures $490,468,241

Capital projects 55,192,422

Individual artists 818,315

October 1993, 2. 3 Alliance for the Arts: Destination New York-New Jersey. December 1994. Tourism and Travel to the Metropolitan Region, Part II. New York: Alliance for the Arts, New York City Partnership,, Partnership for New Jersey, 9. 4 ArtPride New Jersey and New Jersey State Council on the Arts, New Jersey�s Arts Mean Business: A Study of Economic Activity 2000-2001, Executive Summary, p. 2. 5 Americans for the Arts, Arts & Economic Prosperity, 2003.

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It is important to note that the numbers presented in the above chart were obtained

using an economic impact tool. For example, the $818,315 figure represents the total

dollar amount generated by money given to individual artists in the form of fellowships.

This does not represent the amount of money disbursed to individual artists in 2002.6

New Jersey is home to 17,779 arts-related businesses that employ 82,283 people.

Since these figures represent only those businesses that have registered with Dun &

Bradstreet, it can be assumed this figure misses most dance organizations (only 2 are

listed here) and their employees in New Jersey. 7

National Context for Dance

According to the US economic census in 1997, of the 363 dance companies8 in

the US, the Northeast hosted the highest percentage -34% (124 companies).9 The growth

in dance companies even outpaced US population growth. A slightly different figure

estimates the number of US dance companies in toto at 650 with an increase of 97%

between 1987 and 1997. 10Even these figures do not do justice to the dance community,

as they do not capture small, unorganized and ad hoc groups. Nor do they represent the

wide ethnic and racial diversity of groups throughout the country. And in FY 2002,

DANCE USA�s annual survey reported a record number of companies with operating

losses, a decrease in touring weeks, erosion of corporate support with a projection of

continued challenges in future years. 11 According to DANCE USA�s 2003 Dance in the

DC Metropolitan Area, �less than half the dance companies in America are 501(c)(3)

corporations; The vast majority of dance companies cannot afford to pay dancers on a

salaried basis, �cannot afford paid staff� and cannot �mount extended productions or

long-running seasons.�12

6 ArtPride New Jersey, p.3. 7 www.AmericansForTheArts.org 8 Baumol, W.; Jeffri, J. and Throsby, D. 2004. Making Changes: Facilitating the Transition of Dancers to Post-Performance Careers. New York: Research Center for Arts and Culture,l, 198. 9 Smith, Thomas. 2003. Raising the Barre. Washington DC: National Endowment for the Arts Research Report #44, 20. 10 Munger, John. 2002. Field at a Glance: Dance, working paper. 11 Munger, John. Fall 2003. �Special Report: Facing the Crunch� in DANCE/USA Journal, vol. 19, no 2, 32-34. 12 Munger, J. and Smigel, L. 2003. Dance in the DC Metropolitan Area. Washington DC: DANCE/USA, 18.

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According to Thomas Smith, the number of new companies being founded each

year in the US is decreasing substantially from a high of 11% in 1989 to a low of .6% in

1998. Terminations of companies during the same period increased from less than 1% to

4.2%.13

In 1997, there were 2.4 dance companies for every one million residents in the

Northeastern United States. In 2000, the 75 most visible US dance companies paid

$217.9 million in salaries and benefits. Dancers and choreographers represented 28,000

of the 2.1 million artists in the 2000 census, 1.3% of all US artists, with a 1999 median

annual wage of $22,470,14 with another 1,000-2,000 whose secondary job was

dancer/choreographer.15 Average 1999 dancer earnings ranged from $427-816 a week

(for dancers in medium-large size companies).16 The 2004 estimated median household

income was $61,359 (the mean $80,360).17 The median estimated individual income for

full-time year-round male workers was $51,855; for females, $40,154.18 From 1970-1990

the percentage of self-employed dancers grew from 4% to 20%. 19 The NEA projected an

annual wage increase of 10-20% from 2000-2010. 20

On the supply side, Dance Magazine�s annual college guide lists more than 500

college-level dance programs, up from 131 in 1966,21 and the Journal of Dance

Education reports that the number of colleges and universities offering dance major and

minor programs in the US increased from 250 in 1986 to 717 in 2001.22

Context: New Jersey

The 2004 population of New Jersey was 8,503,294. This includes 70.6% are non-

Hispanic white, 13.1% black or African-American, 5.7% Asian, 15% of Hispanic or

13 Smith .,24. 14 Baumol et al, 207. 15 NEA Research Division note #84. 16 Baumol, et al, 197-198. 17 http://factfinder.census.gov/servlet/ADPTable?_bm=y&-geo_id=4... 18 Ibid. 19 Kay and Butcher, NEA Research Report #37, 92. 20 NEA Research Division Note #84. 21 New York Times, �Practice, Practice, Practice. Go to College? Maybe�, December 21, 2005, E1. 22 Baumol et al, 200.

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Latino origin. As of 2004, 86.21% are high school graduates and 33.3 % have a

Bachelor�s degree or higher. 23

In 2005, the New Jersey State Arts Council�s budget was $30,810,000, a

$2,130,000 increase over the previous year. In addition, in 2005 the NEA contributed

$750,000 to the council. 24 Organizations like the South Jersey Cultural Alliance offer

technical assistance, regional initiatives, cultural awards and a cultural transportation

fund to help transport students to cultural events, as well as publications and programs for

schools.25 The Arts Council of the Morris Area offers arts in education programs, local

arts grants, arts newsletters, scholarships, student/artist high school mentoring programs,

and a range of services for individual artists. Working in collaboration with other

organizations, ACMA strives to expand exhibition, performance and employment

opportunities for individual artist members and, through workshops and seminars, offer

skills and expertise � artistic and business, as well as networking opportunities. 26

Similar in its offerings and funded by the NJSCA, Middlesex County Cultural and

Heritage Commission provides grants, arts services, local arts development, technical

assistance, and a cultural directory.27

In 2004, The New Jersey State Council on the Arts gave 228 grants to the arts in

New Jersey for a total of $16,089,592. Of this amount, $524,283 went to a range of New

Jersey dance companies, with the smallest grant $2,400 to an East Orange individual

artist, and the largest $209,985 to the American Repertory Ballet Company in New

Brunswick.28

New Jersey Non-Arts Efforts with Potential

In New Jersey, as part of Arts Plan New Jersey, a collaborative statewide strategic

planning process, the arts are being recognized as drivers of the economy. There are a

number of projects and programs in the state on which the arts could capitalize.

23 http://factfinder.census.gov/servlet/ACSSAFFacts?_events=Search...CSS 24 http://americansforthearts.org/get_involved/advocacy/saan/state_legislation/001.asp 25 http://www.sjca.net/services.html 26 http://morrisarts.org/ 27 http://co.middlesex.nj.us/culturalheritage/artssvcs.asp 28 National Assembly of State Art Agencies (NASAA), Final Descriptive Report data as submitted annually by state arts agencies to NASAA and the National Endowment for the Arts.

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Revitalization Efforts: Main Street New Jersey, established in 1989, is a

revitalization program promoting historic and economic redevelopment of traditional

New Jersey business districts. In addition to new businesses, Main Street New Jersey has

resulted in façade improvements and building rehabilitation projects.29 In 1988

Downtown New Jersey formed to support, guide and lead efforts for New Jersey

downtown revitalization including tracking legislative issues, fostering communication,

and providing informational and educational opportunities.30 Other initiatives like the

New York-New Jersey-Connecticut Regional Plan Association�s Smart Growth help

enhance downtowns including property tax reform and land use. Advocacy organizations

like the Partnership for New Jersey and its affiliates, work at the community level to

bring together corporations, small businesses, nonprofit organizations and government.

And non-arts developments like Einstein�s Alley, part of a non-arts job creation and

economic innovation initiative, can be harnessed by arts and cultural groups especially in

areas like entrepreneurship. New Jersey arts groups can position themselves in the

community of small businesses, where the major roadblock seems to be a lack of

coordination/cooperation, to publicize new startups, promote university partnerships,

mentorships and networking.31

Live/Work Space: In Jersey City, the Work and Live District Ordinance (WALDO) is

a plan �to establish an artists� settlement in the warehouse district in Downtown, where

artists may work and live in the same space, and where the arts can flourish and serve to

unite the new neighborhoods of the waterfront with the established, historic

neighborhoods surrounding the WALDO district. This district will also serve to provide a

cultural center for the City of Jersey City, and will contain a mix of uses to provide a

lively street presence of shops, art galleries, performance spaces and restaurants.�32

Battling being overtaken by commercial interests, Jersey City�s Pro Arts is leading the

fight to make WALDO a reality and preserve the historic district at the same time.

Focus on Artists: The New Jersey Dance Needs Assessment is the first needs

assessment of dancers and dance workers in the state, a possible model for other kinds of

29 http://www.state.nj.us/dca/dcr/msnj/index.shtml 30 http://www.downtownnj.com/greetings%20from%20president2.htm 31 http://www,publicforuminstitute.org/activities/2003/nj/index.htm 32 http://www.jcedc.org/new/waldonew.html

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artists and arts and cultural workers helping to reach Arts Plan New Jersey�s goal �to

build recognition and a strong network of support for New Jersey artists and their work�

through five specific objectives, including:

! attracting and retaining artists by building a statewide infrastructure including health insurance, retirement and unemployment benefits

! sustaining artists and artist service organizations by providing appropriate resources, such as available work presentation and living spaces, low-cost materials and access to technology

! creating a climate of professionalism by increasing self-development opportunities for artists, including expanded fellowships, locally sponsored artist residencies, increased public and private commissions

! incorporating artists into all facets of community life by championing their role as citizens

! recognizing artists as an asset to the state through programs that provide recognition for artists and not just their work33

In the context provided above---economic and other arguments for the arts and

culture, growing numbers of dance training programs, a renewed commitment by the

state of New Jersey to its arts and artists, the information gathered from dancers and

dance workers in New Jersey provides some hard data that can have an impact on these

five objectives.

The New Jersey dance worker is likely to be a white, 40-year-old married female with a college degree who received her dance-related training in New Jersey and has lived in the county of her current residence for more than 10 years. She earns her main income as a dance instructor or outside the dance field, spends over 30 hours a week at that occupation, and works at more than one job. Her workspace is adequate for dance-related work in New Jersey and she does have health insurance. She is likely to earn some money through dance-related work but is not likely to be a member of a union. She has voted in federal, state and local elections in the last 2 years and is a registered Democrat who performs community service and volunteers. She feels valued as a dance worker but her biggest constraints are not enough money or time and the need to strengthen the community of New Jersey dance workers.

33 http://www.artsplannj.com/sources_intro.php

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Project Brief

In 2004, Dance New Jersey contacted the Research Center for Arts and Culture

(RCAC) at Teachers College, Columbia University to design and administer a needs

assessment study of dance workers in New Jersey. As the premier dance service

organization in the state, Dance New Jersey, a charitable non-profit organization located

in Morristown, and founded in 1998, is a statewide service organization dedicated to

�reaching new audiences and promoting the energy, excitement and excellence of dance

and dance education in New Jersey�34. Dance New Jersey collaborates with state and

national partners to advocate for and represent the interests of New Jersey dance and

dance education through its membership in ArtPRIDE/NJ and Dance/USA, and as the

statewide affiliate for the National Dance Education Organization. The organization also

aims to foster the artistic, administrative and educational growth of its members through

resource sharing, dialogue and collaboration. Dance New Jersey advocates for high

quality performance and works to strengthen the funding base for dance within the state.

With these organizational goals in mind, Dance New Jersey initiated The New

Jersey Dance Artist Inventory and Needs Assessment Project, designed to �identify the

population of individual choreographers, performers, folk and traditional artists and

educators throughout the state�. Dance New Jersey�s stated purpose in undertaking such

a study was to �develop a comprehensive profile of New Jersey�s dance workforce and to

better understand the most critical needs confronting this essential community�. This

project marks the first time in the state�s history that a comprehensive mapping project of

this type has been conducted. By establishing baseline data, Dance New Jersey, the entire

funding community (public and private) and dance supporters may use this information to

begin to accurately address the most salient needs and issues of dance artists in New

Jersey.

A random sample of 992 New Jersey dancers and dance workers was created

from lists representing individual choreographers, performers, folk and traditional artists

as well as administrators and educators (public and private schools, colleges/universities

34 http://www.dancenj.org

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and private studios), managers, dancers, costumers, and designers. The paper

questionnaire was sent out with a response of 17% (170).

Background

While the body of data regarding living and working conditions of dancers is

relatively small, there are organizations working to make progress in these areas of

research. The national dance service organization, Dance/USA, collects annual data from

its member companies and for the past ten years, has issued an annual report on the �state

of the dance field.� In addition, it has conducted assessment studies in the San

Francisco Bay Area and Washington DC focusing on the needs of dance artists and

companies. These studies were concerned with issues such as infrastructure,

performance opportunities, space, services, funding, print media, genre-related concerns,

teaching and arts education as related to the San Francisco Bay Area.

In 1996, the National Endowment for the Arts commissioned Artists in the Work

Force: Employment and Earnings 1970-1990, an analysis of census data that analyzed

where artists lived, worked and what they earned. While the report does provide a

statistical breakdown of dancer salaries and increases in earnings, this study is based on

the years 1970-1990 and did not intend to focus specifically on dancers. This study has

resonance, however, in particular areas like geographic concentration, stating that 38% of

dancers, musicians and composers live on either coast.35

In a 1993 publication called Dancemakers, the National Endowment for the Arts

studied choreographers from New York, Chicago, San Francisco and Washington D.C.

by means of mail questionnaires and telephone interviews. This research focused on

general working conditions, financial status, performance opportunities, funding and

work practices of choreographers. Dancemakers generated important statistics on a

sample of the national population of choreographers and documented the trying

circumstances under which these artists work. This study produced findings important

not only to the dance field itself, but also to the philanthropic community and to policy

makers. For example, it found that �the physical and financial strains of pursuing a

choreographic career are severe and impede the creative process.� This situation has

35 Artists in the Workforce, p. 109.

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resulted in choreographers �creating and performing solo rather than group works� and

�down-sizing present dance companies,� both solutions that affect dancers.36

Research Center for Arts and Culture

The Research Center for Arts and Culture at Columbia University�s Teachers

College (RCAC) has spent the last twenty years gathering information and data on living

artists. Its INFORMATION ON ARTISTS series, conducted in ten and then four cities in

1988 and 1997, and in a single city in 2003, includes data on dancers, as does its 2004

study of the career transition of dancers in eleven countries.

Other studies include Making Changes: Facilitating the Transition of Dancers to

Post-Performance Careers, a study of career transition of dancers in eleven countries; the

NEA-commissioned Research Report #34, Changing the Beat: A Study of the Worklife of

Jazz Musicians; The Artists Training and Career Project�a series of oral history

interviews published by Greenwood Press as The Actor Speaks, The Painter Speaks and

The Craftsperson Speaks, as well as a survey of 12,000 artists nationwide in these 3

categories and other one-off studies including The Playwright�s the Thing, a study of

New York playwrights for the Theatre Development Fund and Commuters on Broadway

for Exploring the Metropolis. Its work has also been a prototype for an international

study of artists in Portugal, and cross-cultural comparisons with artists� studies in

Australia.

RCAC data are made available through the Center for Policy and the Arts

National Data Archive at Princeton University. (Please see our website at

www.tc.columbia.edu/centers/rcac)

Definitions

Dance New Jersey has found it essential to clearly define what it means by �dance

community�. For the purposes of this study, �dance community� involves not only

institutionalized groups that produce and/or promote dance, but also grass roots level

performing groups, teachers and creators. In order to adhere to this definition of the

dance community, Dance New Jersey made a concerted effort to probe into the local

36 Netzer, Dick and Ellen Parker, page 75.

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ethnic dance communities as much as possible within the confines of the project�s

timetable. It is important to note that Dance New Jersey, in embarking upon this project,

stressed the importance of reaching as many dancers and dance workers as possible,

regardless of whether or not these people were organized as a professionally recognized

group.

When Dance New Jersey approached the RCAC about conducting the Needs

Assessment Project, it was presented as a needs assessment study of dancers and �dance

workers� within the state of New Jersey. The term �dancer� did not present much of a

problem in terms of clarifying the sample population and/or communicating its meaning.

The term �dance worker�, on the other hand, presented challenges at different points

during the study both within Dance New Jersey itself and within the New Jersey dance

community at large.

Dance New Jersey chose the term �dance worker� to denote any person actively

working in the field of dance in a professional capacity. This category was meant to

include all non-dancers who were actively involved in making dance happen within the

state. The catchall term includes costume, makeup and set designers that design for

dance, administrators, teachers, choreographers, managers, technical and production

workers and any other individuals who work within the framework of dance.

While both Dance New Jersey and the RCAC intended for this term to be all-

inclusive and potentially self-explanatory to the sample population, some practitioners

saw the term in a negative light. The questionnaire was designed to capture both dancers

of all kinds and a wide variety of those who work in dance. The lack of consensus in the

field regarding these categories made it difficult to accurately denote the study

population.

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Career Characteristics

In the 2001 RAND survey of the performing arts, five major characteristics were

attributed to those with careers in the performing arts:

1. Artists� earnings peak early and decline faster than in other professions. 2. Artists� employment is sporadic and fragmented and artists often work for

many different employers during any given year. 3. Career mobility decreases and many artists leave their profession early.

(In The aDvANCE Project, current US dancers overestimated the length of their careers by a decade; they expected to leave their careers in their mid-forties, when the data from former dancers show that they left their careers in their early-mid thirties.)37

4. Some performers (dancers certainly) are vulnerable to injuries that cut their careers short.

(In aDvANCE, 42.9% of current US dancers expected to stop dancing due to health/effects of injuries; 35% of former dancers did stop dancing because of this.)38

5. The geographic concentration of jobs and casting agencies may place constraints on artists seeking employment.39

These characteristics may apply to many of the respondents to this survey. The

combination of these characteristics, the growing number of artists according to the US

census, and what the RAND report identifies as the serious financial pressures of mid-

sized nonprofit performing organizations may limit both the training ground and the

marketplace of jobs for these performers.40

Survey Method

Dance New Jersey initiated its own outreach procedures to the communities all

over New Jersey so that the names and contact information of dancers and dance workers

who are unaffiliated could be gathered alongside information obtained from state and

county arts councils, schools and colleges, companies and organizations.

The RCAC obtained additional lists from as many of the institutionalized dance

organizations in the state as possible. These included 80 organizations in the Dance New

Jersey database as well as additional resources from board members, educators and

practitioners. Lists of dancers and dance workers were gathered from institutions that

37 Baumol et al, page 8. 38 Ibid. 39 McCarthy, Kevin et al. 2001. The Performing Arts in a New Era. Santa Monica, CA: RAND Corporation, 43-44. 40 Ibid., 49.

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serve and/or represent them including arts and artists� service organizations, artists�

unions, membership organizations, art schools and academies, funding agencies, industry

bodies, government cultural agencies and artists� collectives.

The usable lists of individuals that were collected for the purposes of the mail

questionnaire came from 23 New Jersey dance organizations. Dance New Jersey

provided its own database of individuals plus five other lists obtained through grassroots

research efforts. The following groups donated lists for this project: Dance New Jersey,

Alborada Spanish Dance Theatre, American Repertory Ballet, Argen-Tango Dancers, Art

of Motion, Dancing Lotus, Carolyn Dorfman Dance Company, Center for Modern Dance

Education, Dance Arts League of Atlantic City, Encore Performing Arts Center,

Freespace Dance, Julia Ritter Performance Group, Kennedy Dancers, LKB Dance, Nai-

Ni Chen Dance Company, New Jersey Ballet, New Jersey Tap Ensemble, NJAHPERD,

Princeton Dance and Theatre Studio, Randy James Dance Works, Raritan Valley

Community College, Rutgers University, and Vineland Regional Dance Theatre.

After the lists were merged and purged, a total of 992 dance individuals remained,

broken down into the following categories: dance workers (363), dancers (126) and

unknown (503). The unknown category represents those people who could not or did not

identify as strictly dancer or dance worker as defined in this study. In most

circumstances, this ambiguity is due to the fact that one individual plays multiple roles

within the dance community at large, alternating between dancing, teaching, managing

and producing dance, and therefore had difficulty classifying him/herself.

The response rate was 17% (170 responses), comparable to DANCE USA�s San

Francisco Bay Area Needs Assessment (18%) and The aDvANCE Project�s US survey

(17%).

While much of the dance activity in New Jersey takes place in the Northern part

of the state - possibly due to its proximity to New York City, the list compiled for this

study has a good mix of north and central New Jersey. Only three groups represent what

is considered the South - but this is an accurate representation of the distribution of dance

activity across the state of New Jersey. Twenty-three percent of our respondents were

from south Jersey. The New Jersey State Arts Council has given substantial financial

assistance to South Jersey cultural groups to stimulate activity in those regions.

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Respondents replied from Sussex in the north to Cumberland in the south. Thus, we

believe the list is a fair representation of New Jersey dance workers� realities.

The following map shows locations (and density) of residences of 143 survey

respondents. This map does not include the 27 survey respondents who live outside the

state of New Jersey.

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Challenges

The inclusion of grass roots level organizations and individuals presented

challenges on many levels. The first challenge was the time required to probe into such

communities, as it does not seem cost- or time-effective to spend a few days traveling to

people�s homes in order to collect three or four names. However, Dance New Jersey was

firmly committed to reaching as many of these individuals as possible within the given

deadlines. Furthermore, there is a large and diverse ethnic dance population in the state

of New Jersey. This reality presented the possible complication of sending a mail survey

in English to recipients who were not fluent in the language. Therefore, the cover letter

accompanying the questionnaire included phone contact information for assistance filling

out the questionnaire in Spanish, Chinese and Italian.

The list collection process also presented some unique challenges on other levels.

Very few institutions contacted by the RCAC possessed a mailing list of any sort.

Communication and list collection within this constituency was time-consuming, tedious

and in the many cases, fruitless. This presents a potential hurdle in doing any type of

research that would ultimately benefit this constituency. Without the cooperation of

people in the dance community to help gather information about this group, it is difficult

to conduct any research that will yield meaningful data. In addition, those organizations

with lists often had outdated information (98 surveys were returned for bad addresses).

This situation has been mirrored by DANCE USA�s studies of the San Francisco

Bay Area and Washington DC. In fact, the first written survey in Washington DC

received such a poor response, that phone calls were instituted to follow up. The RCAC

ran a second random sample of the original list with the thought to conduct telephone

interviews, but telephone information for over half of the listed names was either

unavailable or invalid.

The dancer/dance worker split also presented interesting dynamics in the

development of the mail questionnaire. Because these groups are separate and distinct,

yet all work in some capacity within the same genre, it was difficult to formulate a set of

survey questions to record the needs of these groups while asking the questions in a way

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that made sense to both. Wording, focus of individual questions, and focus of the survey

overall were issues.

SURVEY ANALYSIS

Earnings and Hours

Almost all the respondents earned their primary income in the last 12 months

from dance: as dancers, dance instructors (44%), dance or arts managers or

administrators, choreographers, or in other dance or art-related occupations. Sixty percent

of these worked over 30 hours a week at the above occupation and 66% worked at more

than one job. For over 90% of these, one of these jobs was in dance.

Among the dance-related occupations listed were: accompanist, adjunct

professor, administrator, teacher, choreographer, business manager, dance historian,

development professional, writer, composer, fashion designer, consultant, photographer,

set designer, and director. It is clear from other studies that dancers fulfill multiple roles.

In the San Francisco Bay Area needs assessment study, 77.5% of respondents filled

multiple roles.41 Eighty percent of the choreographers in the National Endowment for the

Arts study, Dancemakers, had jobs in addition to their work as choreographers.42

The 2001 RAND report, The Performing Arts in a New Era, supports this

observation:

�Most artistic careers are composites, consisting of paid arts work, unpaid arts work and non-arts work�As a result, the artistic labor force is notably fluid, with a large number of part-time employees who move between arts-related and non-arts related employment.43 Over half the New Jersey dance workers (58%) earned below $20,000 from their

dance work in 2004. The mean for total income as a dance worker is $24,000; the median

$16,000. This compares to our dancers from four cities (New York, Los Angeles,

Minneapolis and San Francisco) in 1997 in our Information on Artists II study as follows:

41 Munger, John and Smigel, Libby. 2002a. Dance in the San Francisco Bay Area: A Needs Assessment. Washington D.C.: Dance USA, 13. 42 Netzer, Dick and Parker, Ellen. 1993. Dancemakers. Washington D.C.: National Endowment for the Arts, 17. This study surveyed dancers in 4 cities: New York, Chicago, San Francisco, and Washington DC. 43 McCarthy, 38.

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80% of these dancers earned under $20,000 from their dance work in 1996. The

mean for total income as a dance worker was $12,757; the median $5,000. For 23% this

amount was 10% or less of their total individual income and for 36% it was 10% or less

of their household income. Family support (37%) and money �off the books� (23%)

supplemented this income; for 88% of those making money off the books, it was less than

$6,000. The mean for money earned off the books is $5,600; the median $2,500.

Exactly half earned $30,000 or less from their total individual income in 2004. In

1996 three-quarters (75%) earned $30,000 or less from their total individual income. In

2004, almost half (49%) earned over $60,000 in gross household income. The mean for

total individual income is $36,000; the median, $25,000. In 1996, the mean total

individual income was $24,572; the median, $25,000.

Household Income

The 2004 estimated median household income in New Jersey was $61,359; the

mean $80,350.44 The median family income was $73,973.45

The mean for gross household income in this study is $79,000; the median,

$55,000. This would indicate that dance workers are being subsidized by others in their

households. Indeed, they may actually be subsidizing the field itself. In the San Francisco

Bay Area Needs Assessment 66% of respondents said they paid some of their companies�

bills out of their own pockets. 46

Dancer/Dance Worker Total Individual Income

Ten respondents (2%) reported incomes of over $150,000.

44 http://factfinder.census.gov/serlet/ADPTable?_bm=y&-geo_id=04... 45 http://factfinder.census.gov/servlet/ACSSAFFFacts?_event=Search... 46 Ibid., 32.

Year Population Surveyed Mean Median

1996 Dancers from four U.S. cities $12,757 $5,000

2004 Dance workers from New Jersey $36,000 $25,000

22

Union Affiliations

Only 28% of New Jersey dance workers belong to a union, mostly either in the

arts or education. The arts unions listed include: Actors� Equity Association (AEA),

American Federation of Television and Radio Artists (AFTRA), American Guild of

Musical Artists (AGMA), American Guild of Variety Artists (AGVA), Society of Stage

Directors and Choreographers (SSDC), and Screen Actors Guild (SAG). For educational

unions, respondents listed the broad category �teachers unions�.

According to the major union for dancers and choreographers, the American

Guild of Musical Artists (AGMA), of the total membership of 7,000, 1,450 are current

dancers.47 Of these, there are 90 dancers and no choreographers in northern New Jersey

in AGMA�s database, including 32 active and 58 inactive members. In southern New

Jersey, AGMA lists 8 active dancers (4 who work at the Pennsylvania Ballet) and no

choreographers.48 These numbers would not indicate active involvement in or assistance

from AGMA.

In addition, respondents listed other kinds of organizations whose services they

use that are not official unions. These include American Association of University

Professors, American Alliance for Health, Physical Education, Recreation and Dance,

Billings Education Association, Dance Masters of America, International Association of

Dance Medicine and Science, Laban-Barteneiff Institute of Movement Studies, National

Dance Education Organization, New Jersey Education Association, New Jersey Music

Educators Association, and Pennsylvania Occupational Therapy Association.

Age, Gender and Race

The mean age is 40.4 years old, the median 40. The 2004 median age of New

Jersey residents is 37.8.49 Eighty-six percent of the respondents are female and 14% are

male. Eighty-three percent are non-Hispanic white, 5% Hispanic or Latino, 7% Black or

African-American and 2% Asian. According to the New Jersey census, for those who

47 Baumol et al, 200. 48 Itow, Candace. "New Jersey AGMA Membership." Email to the author. 30 Nov. 2005. 49 http://factfinder.census.gov/serlet/ADPTable?_bm=y&geo_id=04...

23

selected a single race, 69.1% New Jersey residents are non-Hispanic white, 14.9 % are

Hispanic or Latino, 13.1% are Black or African American, and 7% are Asian.50

This compares to national figures as follows:

Non-Hispanic

White

Hispanic/Latino Blk/AfAm Asian

US(2000)51 69.1% 12.5% 12.3% 3.6%

NJ(2004) 70.6% 14.9% 13.1% 7%

NJ DANCE

WORKERS

83% 5% 7% 2%

Education and Dance Training

As with all studies of artists, the respondents to this survey are highly educated.

2004 education statistics for New Jersey residents show that 86.21% have graduated high

school and 33.3 have a Bachelor�s degree or higher52. In this study, 9% have graduated

high school, 51% have college degrees and another 24% have graduate degrees. In The

aDvANCE Project, 24.5% of US current dancers had a Bachelor�s degree, and 8.2% a

graduate degree; 32.3% of US former dancers had Bachelor�s degrees and 7.6% graduate

degrees. In Information on Artists II in 1997, 8.9% graduated high school, 45.5% had

college degrees and another 26.7% had graduate degrees. In the 1993 National

Endowment for the Arts study Dancemakers, 77% of the choreographers were college

graduates or had advanced professional degrees.53 It seems New Jersey dance workers

have a very high educational level by comparison.

Some explanations for the high incidence of advanced degrees in New Jersey

dancers and dance workers may be 1) the educational opportunities in the state (44%

claim they earned their primary income last year as dance instructors); 2) the

50 Ibid. 51 http://quickfacts.census.gov/qfd/states/34000.html 52 http://factfinder.census.gov/servlet/ACSSAFFacts?_events=Search/...CSS 53 Netzer and Parker, 15.

24

requirements to obtain such educational opportunities and 3) the high incidence of

modern and indigenous dance companies, many of which run on a less rigorous schedule

than major ballet companies.

Over half (54%) of the respondents received dance-related training in New Jersey,

a statistic that is somewhat less than other studies the RCAC has conducted on a variety

of kinds of artists. Figures from four cities of dance workers in Information on Artists II

in 1997 indicate that 82% of dancer workers received dance or art-related training in that

city or region. While 58% of New Jersey respondents received a formal degree in the

arts, 36% were trained at conservatories or professional schools, 40% had experience as a

mentor or Master Artist, and 47% listed apprentice or community-based arts experience

as part of their education.

Experience as a mentor or Master Artist 40%

Experience as an apprentice 47%

Community-based arts experience 44%

It is common knowledge that formal education impacts negatively on income for

artists. While, in many other professions�medicine and law, for example�there is a

positive correlation between years of education/advanced degrees and income, in arts the

rule is the reverse. In this study, this trend is borne out: 62% of those with graduate

degrees earned under $40,000 total income for work as a dance worker in 2004; 48% of

those with graduate degrees earned under $40,000 total individual income in 2004.

However, only 11% of those with graduate degrees earned under $40,000 in gross

household income in 2004, suggesting that other members of the household or other

assets provided a higher total income.

Professionalism

Sixty-eight percent of respondents consider themselves professional dancers, with

39% of those stating that making a living as a dancer is the most important definer of

their professionalism. Forty percent of respondents selected the same most important

reason when applying a definition of professionalism to someone else.

25

However, when we cross-tabulated those dancers who consider themselves

professionals with those who make the majority of their income as dancers�25% (43

dancers) who consider themselves professionals make their living as dancers.

Twenty-eight percent of all respondents are union members. (In 1997 in

Information on Artists II, 33% were union members.) Some people count membership in

a union as a badge of professionalism.

For others, earning a living as a dancer (the economist�s definition), spending a

certain amount of time at dance and/or receiving education or training are the appropriate

validators of professionalism.

This sensitive subject was described by one very frustrated 32-year-old female

dance instructor who resides in New Jersey:

Like many other dancers�and I�m sure artists of other mediums�I consider myself a dancer, first and foremost, by vocation, though not by �profession� because when people ask you if you are a �professional dancer� what they�re driving at is whether or not you are paid to perform as a dancer. For those of us who have received �professional� training, but find ourselves without current employment actually dancing, this is an insulting, often embarrassing question. For the many dancers who take work in small companies, frequently on a short-term basis, there are often spells of time when you aren�t dancing for anyone. How disheartening it is to be sorted out by this often misleading title of �professional�, which implies that your alternative status is �amateur� or �recreational dancer.�

Services

Almost half the respondents needed no legal advice or expertise regarding their

work during the last three years (49%), but 35% could have used such advice between

one and three times, particularly regarding contracts (22%) and advice about setting up a

nonprofit corporation (18%). Only 16% hold copyright in some work of their own artistic

creation.

Forty percent of respondents needed financial advice or expertise regarding their

dance-related work between one and three times during the same period, particularly in

budgeting and obtaining health insurance (15%), followed by financial planning and

taxation (11%), while 36% needed no financial advice.

26

Respondents stated a plethora of services that are currently offered them in their

dance-related work by organizations to which they belong and/or whose services they

use. The most frequent services are opportunities to meet with peers (58%), opportunities

to meet with or show work to an audience (50%), access to equipment (43%), discounted

purchases of dance-related supplies or services (38%) and career information (31%).

Additional write-in comments indicated that these organizations provided space and time

as well as retirement plans.

Seventy-nine percent of NJ dance workers have lived in the county of their current

residence over 5 years; 66% have worked in the same county for the same period.

Over half (54%) have received dance-related training in the region.

A Stable Population

Dance workers in New Jersey seem to be a stable population, 60% having lived in

the county of their current residence for more than 10 years, with another 19% having

done so for 5-10 years. This stability may be true for New Jersey residents in general: the

2000 census reports 59.8% of New Jersey residents and 54.1% of US residents living in

the same house in 1995 and 2000.54 The most important reasons NJ dance workers have

for staying are affordable living space (23%), personal ties (22%) followed by cultural

activity (14%). In the write-in comments, close proximity to New York City was

mentioned as well. A substantial number have also remained in the county of their

current workspace, 43% for more than 10 years and another 23% for 5-10 years and 67%

say their workspace is adequate.

Workspace Uses and Needs

About half of respondents use their workspace for teaching, as a studio space and

as a rehearsal space. Almost a third also use it as an office space. Over 60% neither own

nor rent this space and for almost half, the space is at an educational institution where

59% share the space with others and 71% do not bear the workspace cost. The high

proportion of dance instructors in this survey is consistent with these findings. 54 http://quickfacts.census.gov/qfd/states/34000.html

27

For those who do bear the cost of their current New Jersey workspace, the

approximate monthly operational cost, including utilities, rent or mortgage and taxes is

$1,800 (both the mean and the median).

Specific requirements for this workspace for over 60% of respondents are: heat

and air conditioning, running water, and special floors.

Health and Welfare

Completely consistent with all other RCAC studies over the last 20 years is the

figure of 89% of respondents with health or medical coverage. Thirty-seven percent have

HMOs or PPOs; 33% have Horizon Blue Cross/Blue Shield of New Jersey; 22% have a

group insurance policy and 10% have a personal policy through a private insurance

company (some respondents may have more than 1 of these).

They obtained this insurance through their employers (39%), their mates (23%),

themselves (23%) and through private companies (18%). The Urban Institute�s Investing

in Creativity, reports that 75% of people in the US who have health coverage obtain it

through the workplace.55 This coverage is paid for by themselves (40%), their employers

(34%), their mates (26%) and their mate�s union or employer (10%)(again, respondents

may have chosen more than one of these). Close to 51% of artists pay for their own

health insurance compared with 8% of US workers.56 A variety of group insurance plans

were indicated in the write-in comments including Aetna, Amerihealth, Cigna, Guardian

Health Net, Horizons/NJ Plus, Liberty, United Health Care and Oxford as well as the

ones listed in the question (Horizon/Blue Cross, etc).

About a quarter have been exposed to occupational hazards in their dance-related

work and for 40% of them this is an ongoing condition even though almost half engage in

preventive medical care in relation to their dance-related work (nutritional counseling,

injury prevention, etc.).

It should be noted that many of these dance workers may not have obtained health

insurance through their dance work, unless they were affiliated with educational

institutions or unions. In the NEA�s Dancemakers study in 1993, 64% of the

55 Rosario-Jackson, Maria et al. 2003. Investing in Creativity: A Study of the Support Structure for U.S. Artists. Washington DC: Urban Institute, 29. 56 Ibid. referencing Jeffri, 34.

28

choreographers did not have the ability to obtain health coverage through their work in

dance.57 According to Dance New Jersey, due to the structure of New Jersey laws, health

insurance while accessible, remains unaffordable for most dance workers, and also is not

comparable to the kinds of plans one can obtain through group affiliation.58 Over 20%

indicated health care/disability/insurance and benefits should be provided by service

organizations used by dance workers. And one 25-year-old, male dancer commented,

�Virtually NONE of the dancers I know have health insurance. That is unacceptable!�

Other basic needs were expressed by one 34-year-old, male respondent works

professionally as an accompanist: �I don�t have a pension. I cannot afford to get

married. I can�t afford a car.�

Marital Status

While 53% of New Jersey dance worker respondents are married, and another

31% are single, almost ¾ have 1-2 dependents (including themselves as 1); 59% have no

dependents under the age of 18. This compares favorably to the 2004 census, which

reported average household size in New Jersey as 2.71 people; the average family size as

3.27 people.59

The New Jersey dance worker is actively engaged in the community,

politically, professionally, and as a volunteer.

Political and Community Involvement

New Jersey dance workers are politically active, with over 72% registered

Democrats and over 60% having voted in local, state and federal elections in the last two

years. Additionally, 78% have volunteered, 61% have performed community service and

30% have given public testimonies. 57 Ibid. 53. 58 Interview with Marete Wester, Executive Director, Dance NJ, March 3, 2006. 59 http://factfinder.census.gov/servlet/ACSSAFFacts?_events=Search/...CSS

29

Dance workers work in dance schools (69%), community performance or

exhibition venues (63%), dance companies (44%) and public and private schools (42%).

Value

Eighty-one percent of New Jersey dance workers feel valued in their dance work,

as evidenced by employment as dance workers (65%), attendance at dance performances

(63%) and, for half, being regarded as a contributing member of the community.

Seventy-one percent believe they have contributed most to the New Jersey dance

community as dance instructors; 44% as choreographers; 42% as dancers.

Nevertheless, one female dancer-teacher expressed quite eloquently what she sees

as the dilemma:

The main problem with dance in New Jersey is the same for the nation, with few exceptions. Lack of respect by the public, the government and the arts community for dance as an art. Culturally, dance is viewed as mere entertainment. This attitude permeates the dance community, with dancers accepting their lot and settling for meager pay, inadequate working conditions, and often downright scorn, even from other performing artists. We are the �unskilled physical laborers� of the artistic community. For me, the problem of being female, a teacher, and a dancer has been financially lethal. I have often been asked why I haven�t applied my abilities in a field that was �useful� so that I can �have more respect�. The day that dancers as a group literally �put their feet down� and demand equal working conditions, pay, etc. is the day that we will begin to receive recognition from the community.

Constraints and Challenges

Lack of money is the primary constraint for 66% of New Jersey dance workers,

followed by a lack of time (45%). The lack of money is first on the list in many artist

studies, including DANCE USA�s Washington DC survey.60 The lack of time is partly

due, no doubt, to those multiple jobs dance workers hold.

Most needed areas for professional development are: how to apply for grants and

funds (42%); marketing expertise (35%) and financial expertise (32%). Close behind is

�strengthening my community of dance workers� at 28%.

60 Munger and Smigel, 2003, 49.

30

In the write-in comments, some respondents focused on body issues�health,

aging, chronic body problems, injuries, lack of health or medical insurance,

as well as time and family demands. �I need another me,� wrote one respondent.

CONCLUSIONS AND RECOMMENDATIONS

New Jersey dance workers seem to be a stable population who often hold multiple

jobs, one of which is in dance. They are close to the median age of New Jersey residents

but are more highly educated, a fact consistent with other artist studies. They earn under

$20,000 from their dance work, are politically involved, and have health insurance.

Although the respondents in this study have a higher percentage of white respondents

than are represented in the state, they seem to represent the different geographic sections

of New Jersey.

Identifying Dancers and Dance Workers

In the RCAC and Dance New Jersey�s efforts to compile lists of people working

in the dance industry, it became markedly clear that many organizations, including

professional companies, do not have current and complete contact information for their

dancers and dance workers. A statewide effort to systematize this information, which

normally must be gathered for tax and other kinds of reporting, and a central protected

databank would help service and other organizations to reach out directly to workers in

the field. People so identified could choose to �opt out� of any surveys or

communications, but the state would have a much better idea of a) how many workers, b)

in what kinds of jobs they work, c) whether they work primarily in New Jersey and d)

how their needs change over time.

In addition to identifying dance workers, further information needs to be gathered

about their career patterns. While multiple surveys shown dance workers in multiple jobs,

some researchers like Pierre-Michel Menger in France, contend that many performing

artists engaged in intermittent work is increasingly fragmented�shorter periods of work

and fiercer competition for that work, even though the number of hirings may have

increased.61 In Mindy Levine�s Developing the Whole Dancer, she identifies changing

61 Menger, Pierre-Michel. "Artists as Workers: Theoretical and Methodological Challenges." POETICS 4th

31

career patterns that have resulted from the market expansion in dance and calls for new

skills for dancers to be able to market themselves �potentially several times over a

career.�62

Empowerment of Audiences

One recurring theme in the dance literature is the �image problem� of dance,

especially for audiences and audience outreach. In Mindy Levine�s 1997 Invitation to

the Dance she reported:

Arguably the most universal of the arts in its ability to communicate across cultures and languages, dance often suffers neglect vis-à-vis other artforms. Left out of history books, largely absent from public schools and frequently ignored by institutions of higher learning, dance as a theatrical artform has often been relegated to the margins of American life. � Again and again, � arts presenters drew attention to the high level of discomfort audiences often feel with dance. They have little experience with it, little context for understanding what they see, and are quick to dismiss the artform in its entirety if they have a single negative experience.63

In the same report, a Task Force member stated:

Dancing is everywhere�We ought to celebrate and find ways to knit it all together. The kids who aren�t getting dance in school are still dancing. They are on the streets. Dancing is everywhere on television and in movies�we�re just not recognizing what is in front of our faces.64

The insularity of some dance audiences may contribute to this isolation. In a

recent Master�s Thesis for the Program in Arts Administration at Teachers College

Columbia University, a student found through a survey that ¾ of the audiences for two

major modern dance presenters in New York City are made up of dancers.

The Urban Institute�s study saw this as a priority in terms of artists in general and

recommended as their first priority for action �Encourage better public understanding of

who artists are, what they do, and how they contribute to society.� 65

ser. 28 (2001): 241-254. 62 Levine, Mindy. 2002. Developing the Whole Dancer: Issues and Challenges for Ballet Training Institutions. Washington DC: DANCE/USA, 8. 63 Levine, 1997, 7. 64 Ibid., 24. 65 Rosario-Jackson et al, 84. 65 New Jersey State Council on the Arts (NJSCA), ArtsPlan New Jersey, Artist Services Survey.

32

It is this combination of insular audiences and an uninformed or

uncomfortable general public that needs to be addressed. One 52-year-old male who

works at a media center and operates an educational access cable channel respondent,

acknowledging costs, distance, time, especially for bringing children to dance, summed

up his solution as. �Keep the arts in K-12 � hire more teachers.�

A visual artist commenting on Arts Plan New Jersey, spoke in terms of New

Jersey�s important role:

The arts in New Jersey must be associated with pride of place and an acknowledgment in New Jersey�s role in the development of America�s cultural identity. This State, after all, is the birthplace of Minimalism and a variety of early Performance Art known as �Happenings.� Do most people know the contribution that Rutgers University professors Tony Smith, George Segal and Allen Kaprow played in the development of post-war avant-garde art? Does anyone realize how many artists exhibiting in New York and Philadelphia galleries actually live and work in New Jersey? The history of the �Jersey School� still needs to be written before New Jerseyans take pride in their artists� past and present accomplishments.66

No doubt, this eloquent summary could be extended to many other art forms,

including dance, in New Jersey.

Empowerment of Dancers

In both this New Jersey Dance Needs Assessment and The aDvANCE Project,

dancers received a high proportion of their financial and emotional support from family

(37% of New Jersey dance workers indicated family support as an additional source of

income; 61% of US current dancers in aDvANCE found support from family and friends

very important). For New Jersey dancers, money earned �off the books� was another way

to supplement income, usually for under $5,000.

In addition to the reality that certain subjects like injury and career transition are

difficult subjects for dancers to face, the low salaries (The American Guild of Musical

Artists, the main dancers� union, is known to have a very low minimum wage agreement

for dancers compared to other kinds of performers.), the hierarchical system, the

preponderance of females and the substantial supply of dancers related to a relatively

small demand, have all influenced coalition building, empowerment and a collective

33

voice. These areas could be addressed by a strong service organization, but would require

significant outreach to individuals across the community and from a variety of kinds of

dance.

Finally, dancers, dance makers and dance workers may resent or mistrust

investigations which consult the field (them) to identify needs since they often feel they

know what the field needs already. Indeed, opinions like this came from a dancer in

DANCE USA�s Washington DC study as well as a panel at the NEA. However, one

dance worker�s opinion of �the needs of the field� has often proven to be quite different

from another�s. In DANCE USA�s Washington DC study, there was a recommendation

for trying to achieve a balance between the views of professionals within the field and an

objective outside assessment:

The passions of dance-makers informed by a lifetime in the field can be given weight, substance and credibility by the quantitative objectivity of a disinterested inquiry.67

Dancers, Dance Workers and Teaching

Given the high percentage of dance teachers in this study (44%), the relationship

between teaching and creating should be examined further. The San Francisco Bay Area

needs assessment authors feel that

Although teaching may sustain and support dance activity, sometimes the need for the income from teaching jeopardizes dance-making.68

Dance USA�s Washington DC study found 88% of their respondents self-

identified as dance teachers. 69 In The aDvANCE Project, much to the surprise of the

investigators, only 2.6% of current and 6.3% of former US dancers preferred dance

teaching or coaching as work they would like to do after their career transition;

nevertheless 38.8% of current dancers felt this was the work they would most likely do,

and 53.2% of former dancers reported that they were teaching.

One respondent asked for a network of teachers like herself:

67 Munger and Smigel, 2003, 30. 68 Munger and Smigel, 2002a,59. 69 Munger and Smigel, 2003, 53.

34

Being the only dance educator in a public school district can be very isolating. Few administrators or teachers understand the goals and needs of dance, and I seldom have the advice I need to arbitrate salary and compensation for projects. Much of what I do falls under �extra-curricular�(field trips, after-school programs, grant writing) and it is difficult to get appropriate compensation. (I am not a certified teacher, but an �artist-in-residence.�) A network of teachers like myself would be helpful.

Compromises

What is not evident in the data from this survey is what kinds of compromises

dance workers are making in their dance work, due to fiscal and other constraints. In the

NEA�s 1993 Dancemakers, choreographers responded to a difficult financial reality in

the following ways:

! creating and performing solo rather than group works; ! down-sizing present dance companies; ! contemplating relocation overseas, where the arts are thought to be a part of the

fabric of life, not a loose thread, or to another region of the US; ! terminating choreographic efforts in favor of (seemingly) more secure positions

such as teaching dance in academe or working in a field outside the arts; ! taking a sabbatical or leaving the field altogether.70

These kinds of issues should be explored with the myriad of dance workers in New

Jersey�dance managers and administrators, dance costumers, technical and production

people, makeup and set designers, and dancers and choreographers.

Hidden Subsidies It is common knowledge in the performing arts, and particularly in dance, that the

unemployment insurance system is a subsidy. Often, small and medium-sized companies

hire their performers for the required minimum number of work weeks, and then fire

them so that they can collect unemployment the rest of the year. It is unknown whether

this kind of subsidy is being used by New Jersey dance workers, but it worth further

investigation to better understand exactly how dance workers are supporting themselves.

70 Netzer and Parker, 75.

35

Company Survival

The difficulty in surviving, particularly for small and medium-sized

Dance companies, is serious as Thomas Smith�s data above report on the increasing

number of companies going under. In DANCE/USA�s study of dance in Washington DC,

the authors speculate:

Dance, in general, is so profoundly starved for resources, respect and general public acceptance that its practitioners are forced to develop ingenious and creative structures, processes and methodologies just to survive and keep putting work in front of audiences. Dance is a field with more guerillas than institutions.71

Workspace

Although a majority of the respondents to this survey seemed to obtain their

workspace at educational institutions, this bears further investigation. In a preliminary

survey of 30 artists conducted during the development process of Arts Plan New Jersey

by the New Jersey State Council on the Arts, 54% (14) selected affordable workspace as

their priority number 1 choice.72 Although the number is quite small and represents a

variety of kinds of artist, it does indicate that perhaps a different sample of dance workers

might yield those for whom an educational institution is not their primary workspace.

In an online survey where artists commented on a draft of the Arts Plan, this concern

was voiced again:

There is a need to provide support�to small and mid-sized arts groups�for affordable meeting space and performance space in NJ. This is our #1 need and concern. For the past 10 years, the cost of decent professional performance spaces in NJ has been prohibitive to small organizations. Colleges and professional theatre companies in Northern and Central NBJ charge upwards of $1,500 a day to use their performance spaces. This has led [some] groups�to produce largely in NYC�. How about creating a building which would allow 8-12 small organizations to rent office space for a subsidized price and share performance space in the building for a subsidized price? This would�also help build and develop a sense of community among the small and mid-sized arts groups that are spreading across the state. 73

71 Munger and Smigel, 2003, 19. 72 New Jersey State Council on the Arts (NJSCA), ArtsPlan New Jersey, Artist Services Survey. 73 Ibid.

36

In the same online survey, an artist suggested a New Jersey Materials for the Arts �where

registered companies can find donated furniture, supplies, fabrics, papers, and art-making

materials for free.74

Isolation

A problem for a state like New Jersey where many regions house a vibrant variety of

dance activities, genres, and companies, is the isolation of these groups and activities

from each other. This isolation also makes identifying constituents difficult for an

organization that wants to tackle this challenge.

Indeed, the choice by New Jersey survey respondents of opportunities to meet with

peers and show work as two services offered by arts/dance service organizations they

now use, indicates the importance of these. This isolation was a major finding of DANCE

USA�s Washington DC study.75

An online survey respondent for the Arts Plan New Jersey suggested that dealing with

this isolation might provide an environment for future artists and suggested that the focus

on the leveraging a strong network of artists is important since �artists are all stretched

trying to be successful. If there are ways to make their lives easier so they can focus on

their passion, you may inspire others to enter the field.�76

Services for Dancers and Dance Workers

In Dance USA�s needs assessment of dance in the San Francisco Bay Area, the

need for a service provider was voiced, an organization that could provide information on

�funding, space, contact lists, calendars of events and classes, and the like�.a case was

made that a hub for dance would encourage more networking and connections among the

dance community.�77 According to the write-in responses of New Jersey dance workers

additional desired services included assistance with health care/disability/insurance/

benefits, performance and rehearsal space and resources such as discounted rates for

space, and advertising and marketing, some of which might be handled by a central

provider. 74 Ibid. 75 Ibid., 36-37. 76 New Jersey State Council on the Arts (NJSCA), ArtsPlan New Jersey, Artist Services Survey. 77 Munger and Smigel, 2002a, 3.

37

The plea of one artistic director of a Bay Area modern dance company might

stand for New Jersey�s dance workers:

The dance community has gone on too long without a centralized provider�. It is not a very �sexy� thing to fund, but with a strong executive director who can make it reasonably financially feasible to run [it] would make a world of difference to all the young choreographers out there trying to make it happen.78

And a more sobering look from the same study might also be added here:

To the degree that a centralized service provider might be forecast, it is imperative to consider the ability of the�community to support it. Whether a new service organization is created or an existing service provider is tapped to take on the responsibility of providing centralized services it seems clear that there should be a safeguard against the organization�s overextending itself. Taking a lesson from the nationwide pattern of closures among dance service organizations, a centralized provider should focus on the most severe needs for information and support, as documented in the survey.79

Artists who responded to an online survey about Arts Plan New Jersey expressed

the same need:

I really like the idea of having one umbrella organization for the arts. I�ve participated in multiple art groups over the years and they all seem to go their own separate way, don�t share information and wind up stepping on each other�s toes. It would be nice if there was a group that had access to mailing lists, resources, training, marketing, publicity, and advocacy for the arts.80

Some respondents to the Arts Plan New Jersey online survey went further,

suggesting a system of county arts councils, a free database of artists and the creation of a

�State Chair for the Arts, with each of NJ�s 21 counties to coordinate events and promote

the arts at all government levels.�81

Further Areas of Investigation

The above discussion identifies a number of areas for further investigation and

development, some of which have made progress for artists (although not necessarily

dance workers) a priority and others that have not yet been pursued. The arts have been

found to be an integral part of the development and progress of many New Jersey cities. 78 Ibid., 44. 79 Ibid., 49 80 New Jersey State Council on the Arts (NJSCA), ArtsPlan New Jersey, Artist Services Survey. 81 Ibid.

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These include non-arts efforts like local revitalization, gentrification, tax incentives and

exemptions for artists living in specific districts, which serve as models in other cities

from Chicago to Providence, Rhode Island. In many cities the arts are an integral part of

entrepreneurial efforts, small business development, start-up companies, creative thinking

and urban regeneration. And finally, the arts can serve a role in economic initiatives that

act as magnets for progress.

Unique from workers in many other fields, those dedicated to dance in New

Jersey, as evidenced by our research, offer communities a stable population, who train in

the region and choose to stay there to live and work and who are actively engaged

professionally and personally. For cities, states and regions looking to create places that

are attractive, thriving and looking to the future, New Jersey�s dance workers are a

population that should be integral to the process.

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NEW JERSEY DANCE NEEDS ASSESSMENT - FREQUENCIES 1 Have you received and completed any other copy of this questionnaire? 1 Yes Valid % 0 Freq. 0 2 No Valid % 100 Freq. 170 99 Missing 1 Total number of respondents who answered the question 170

IMPORTANT BACKGROUND INFORMATION 2 How have you earned your primary income in the last 12 months?

(Check all that apply.) 1 Dancer Valid % 13 Freq. 21 2 Dance instructor Valid % 44 Freq. 73 3 Dance or arts manager or administrator Valid % 14 Freq. 23 4 Choreographer Valid % 7 Freq. 11 5 Other dance-related occupation (please specify) Valid % 13 Freq. 21 6 Non dance-related occupation (please specify) Valid % 19 Freq. 31 7 Art-related occupation (please specify) Valid % 7 Freq. 11 8 Other (please specify) Valid % 12 Freq. 20 99 Missing 4 Total number of respondents who answered the question 167

3 Approximately how many hours per week do you spend on the occupation from which

you earn your major income (including looking for work, marketing/promoting your work, etc.)?

1 1-10 Valid % 8 Freq. 14 2 10-20 Valid % 14 Freq. 23 3 20-30 Valid % 17 Freq. 29 4 30-40 Valid % 30 Freq. 50 5 Over 40 Valid % 30 Freq. 50

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99 Missing 5 Total number of respondents who answered the question 166

4 Do you currently work at more than one job? (If no, skip to question 10.) 1 Yes Valid % 66 Freq. 106 2 No Valid % 34 Freq. 54 99 Missing 11 Total number of respondents who answered the question 160 5 Is at least one of those jobs in dance? (If no, skip to question 11.) 1 Yes Valid % 92 Freq. 103 2 No Valid % 8 Freq. 9 99 Missing 59 Total number of respondents who answered the question 112 6 Approximately how many hours per week do you spend on your

other/supplementary employment? 1 1-10 Valid % 53 Freq. 49 2 11-20 Valid % 24 Freq. 22 3 21-30 Valid % 12 Freq. 11 4 31-40 Valid % 7 Freq. 6 5 Over 40 Valid % 4 Freq. 4 99 Missing 79 Total number of respondents who answered the question 92 7 Do you earn any money through your dance-related work? (If no, skip to question 9.) 1 Yes Valid % 87 Freq. 102 2 No Valid % 13 Freq. 15 99 Missing 54 Total number of respondents who answered the question 117 8 If yes, does this money cover your dance-related costs? 1 Yes Valid % 63 Freq. 65

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2 No Valid % 37 Freq. 38 99 Missing 68 Total number of respondents who answered the question 103 9 If you are working in one or more dance-related occupations, but you are not a

dancer, please list those occupations below: Write-in responses not listed.

10 Do you have a manager/agent/representative for your work? 1 Yes Valid % 9 Freq. 15 2 No Valid % 91 Freq. 146 99 Missing 10 Total number of respondents who answered the question 161

11 Please state your age as of January 1, 2005. Mean 40.4 Median 40 St. Dev. 13.3 Mode 47 Valid cases 162 Missing 9

12 Please list the city, county and zip code of your primary residence as of January 1, 2005.

Write-in responses not listed.

13 Please list the cities where you do the majority of your dance-related work: Write-in responses not listed.

14 If living and working spaces are in different locations, what is the distance in miles between your residence and your primary work space?

1 Less than 1 mile Valid % 3 Freq. 5 2 1-2 miles Valid % 7 Freq. 10 3 3-5 miles Valid % 14 Freq. 21 4 6-10 miles Valid % 17 Freq. 26 5 11-20 miles Valid % 25 Freq. 37 6 21-30 miles Valid % 11 Freq. 17

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7 31-40 miles Valid % 7 Freq. 10 8 More than 40 miles (please specify) Valid % 17 Freq. 25 99 Missing 20 Total number of respondents who answered the question 151

15 Are you male or female? 1 Male Valid % 14 Freq. 23 2 Female Valid % 86 Freq. 146 99 Missing 2 Total number of respondents who answered the question 169

16 Please indicate the background that most applies to you. 1 White, non-Hispanic Valid % 83 Freq. 137 2 Hispanic or Latino Valid % 5 Freq. 8 3 Black or African-American Valid % 7 Freq. 11 4 American Indian or Alaskan Native Valid % 0 Freq. 0 5 Native Hawaiian or Other Pacific Islander Valid % 0 Freq. 0 6 Asian American Valid % 2 Freq. 3 7 Other (please specify) Valid % 4 Freq. 6 99 Missing 6 Total number of respondents who answered the question 165

17 Please indicate your highest level of formal education. 1 Elementary school, through grade 8 Valid % 1 Freq. 1 2 Some high school Valid % 1 Freq. 1 3 High school, through grade 12 Valid % 9 Freq. 15 4 Some college Valid % 12 Freq. 21 5 College degree Valid % 51 Freq. 87 6 Graduate degree Valid % 24

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Freq. 40 7 Other (please specify) Valid % 2 Freq. 4 99 Missing 2 Total number of respondents who answered the question 169

17a Did you receive any dance-related training in NJ? 1 Yes Valid % 54 Freq. 90 2 No Valid % 46 Freq. 77 99 Missing 4 Total number of respondents who answered the question 167

18 Please list your highest formal degree. 1 High school diploma Valid % 15 Freq. 24 2 Associate degree Valid % 3 Freq. 4 3 Bachelor degree Valid % 54 Freq. 84 4 Masters degree Valid % 20 Freq. 31 5 Doctorate Valid % 3 Freq. 5 6 Other (please specify) Valid % 5 Freq. 7 99 Missing 16 Total number of respondents who answered the question 155

19 Did you receive technical or professional training in the arts in any of the following areas? If yes, please circle the number of as many as apply.

1 Formal degree in the arts Valid % 58 Freq. 88 2 Certificate degree in the arts Valid % 16 Freq. 25 3 Conservatory or professional school Valid % 36 Freq. 54 4 Private teacher(s) Valid % 58 Freq. 88 99 Missing 19 Total number of respondents who answered the question 152

20 Please indicate which other educational experiences you have had in preparation for your work in the arts. (Circle as many as apply).

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1 Experience as a mentor or Master Artist Valid % 40 Freq. 60 2 Experience as an apprentice Valid % 47 Freq. 71 3 Alternative schooling experience Valid % 27 Freq. 41 4 Community-based arts experience Valid % 44 Freq. 66 5 Self-taught Valid % 32 Freq. 49 6 Other (please specify) Valid % 32 Freq. 48 99 Missing 20 Total number of respondents who answered the question 151

21 Do you consider yourself a professional dancer? 1 Yes Valid % 68 Freq. 112 2 No Valid % 32 Freq. 52 99 Missing 7 Total number of respondents who answered the question 164

22 If yes, of the statements listed below, which do you consider the 3 most important reasons in considering yourself a professional dancer (with choice 1 being most important)?

1 I make my living as a dancer Valid % 39 1st choice (most important) Freq. 44 2 I receive some income from my work as a dancer Valid % 18 1st choice (most important) Freq. 20 3 I intend to make my living as a dancer Valid % 2 1st choice (most important) Freq. 2 4 I belong to an artists� or dancers� association Valid % 1 1st choice (most important) Freq. 1 5 I belong to an artists� / performers� union or guild Valid % 0 1st choice (most important) Freq. 0 6 I have been formally educated in the fine, creative, literary or

performing arts Valid % 10

1st choice (most important) Freq. 11 7 I am recognized by my peers as a dancer Valid % 4 1st choice (most important) Freq. 5 8 I consider myself to be a dancer Valid % 7 1st choice (most important) Freq. 8 9 I spend a substantial amount of time working at dance Valid % 4 1st choice (most important) Freq. 5 10 I have a special talent Valid % 3

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1st choice (most important) Freq. 3 11 I have an inner drive to make dance Valid % 9 1st choice (most important) Freq. 10 12 I receive some public recognition for my dancing Valid % 3 1st choice (most important) Freq. 3 13 Other (please specify) Valid % 1 1st choice (most important) Freq. 1 99 Missing 57 Total number of respondents who answered the question 114

23 Of the statements listed below, which do you consider the 3 most important as they apply to someone else being a professional dancer (with choice 1 being most important)?

1 The person makes his/her living as a dancer Valid % 40 1st choice (most important) Freq. 66 2 The person receives some income from his/her work as a dancer Valid % 12 1st choice (most important) Freq. 20 3 The person intends to make his/her living as a dancer Valid % 2 1st choice (most important) Freq. 3 4 The person belongs to an artists�/performers� association Valid % 1 1st choice (most important) Freq. 1 5 The person belongs to a dancers�/performers� union or guild Valid % 1 1st choice (most important) Freq. 1 6 The person has been formally educated in the fine, creative,

literary or performing arts Valid % 7

1st choice (most important) Freq. 12 7 The person is recognized by his/her peers as a dancer Valid % 8 1st choice (most important) Freq. 13 8 The person considers himself/herself to be a dancer Valid % 4 1st choice (most important) Freq. 7 9 The person spends a considerable amount of time working at

dance Valid % 4

1st choice (most important) Freq. 6 10 The person has a special talent Valid % 7 1st choice (most important) Freq. 11 11 The person has an inner drive to make dance Valid % 8 1st choice (most important) Freq. 13 12 The person receives some public recognition for his/her dancing Valid % 3 1st choice (most important) Freq. 5 13 Other (please specify) Valid % 1 1st choice (most important) Freq. 1 99 Missing 8 Total number of respondents who answered the question 163

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LEGAL AND FINANCIAL SERVICES 24 How often in the last 3 years could you have used legal advice or expertise in matters

related to your dance-related work? (If not at all, skip to question 26.) 1 Not at all Valid % 49 Freq. 76 2 1-3 times Valid % 35 Freq. 54 3 4-6 times Valid % 8 Freq. 12 4 7-10 times Valid % 5 Freq. 8 5 More than 10 times Valid % 3 Freq. 5 99 Missing 16 Total number of respondents who answered the question 155

25 Please indicate the 3 most important areas where such legal advice or expertise would have been helpful to you in your dance-related work (with choice 1 being most important).

1 Advice about setting up a nonprofit organization Valid % 18 1st choice (most important) Freq. 18 2 Arbitration/dispute mediation Valid % 1 1st choice (most important) Freq. 1 3 Bargaining and negotiating Valid % 5 1st choice (most important) Freq. 5 4 Contracts Valid % 22 1st choice (most important) Freq. 22 5 Copyright Valid % 4 1st choice (most important) Freq. 4 6 Health care Valid % 8 1st choice (most important) Freq. 8 7 Immigration issues Valid % 1 1st choice (most important) Freq. 1 8 Injury Valid % 7 1st choice (most important) Freq. 7 9 Investing money Valid % 2 1st choice (most important) Freq. 2 10 Misrepresentation Valid % 0 1st choice (most important) Freq. 0 11 Obtaining commissions Valid % 1 1st choice (most important) Freq. 1 12 Obtaining a mortgage Valid % 1 1st choice (most important) Freq. 1 13 Payment for your work/services Valid % 8 1st choice (most important) Freq. 8

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14 Space/real estate Valid % 3 1st choice (most important) Freq. 3 15 Taxation Valid % 3 1st choice (most important) Freq. 3 16 Unemployment insurance Valid % 1 1st choice (most important) Freq. 1 17 Worker�s compensation Valid % 3 1st choice (most important) Freq. 3 18 Other (please specify) Valid % 3 1st choice (most important) Freq. 3 99 Missing 73 Total number of respondents who answered the question 98

26 What kinds of services are provided to you in your dance-related work by organizations whose services you use? (Circle as many as apply).

1 Access to equipment Valid % 43 Freq. 66 2 Career information Valid % 31 Freq. 47 3 Computer services Valid % 16 Freq. 25 4 Discounted purchases of dance-related supplies or services Valid % 38 Freq. 58 5 Financial support: grants, commissions, loans, emergency funds Valid % 24 Freq. 37 6 Health benefits for my family/dependents Valid % 15 Freq. 23 7 Help in publicizing dance work Valid % 29 Freq. 45 8 Help in securing dance bookings Valid % 14 Freq. 22 9 Individual health benefits Valid % 18 Freq. 28 10 Individual retirement benefits Valid % 12 Freq. 18 11 Job placement services Valid % 5 Freq. 7 12 Living space referrals or resources Valid % 3 Freq. 5 13 Office services Valid % 13 Freq. 20 14 Opportunities to meet with my peers Valid % 58 Freq. 88 15 Opportunities to meet with or show work to an audience Valid % 50 Freq. 77

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16 Work space referrals or resources Valid % 18 Freq. 28 17 Other (please specify) Valid % 7 Freq. 11 99 Missing 18 Total number of respondents who answered the question 153

27 Are there additional services that you think could or should be provided by organizations that would benefit you in your dance-related work?

1 Yes Valid % 58 Freq. 72 2 No Valid % 42 Freq. 52 99 Missing 47 Total number of respondents who answered the question 124

28 If yes, please list. Write-in responses not listed.

29 Do you hold copyright in some artistic work on your own creation? 1 Yes Valid % 16 Freq. 26 2 No Valid % 74 Freq. 118 3 Don�t know Valid % 9 Freq. 15 99 Missing 12 Total number of respondents who answered the question 159

30 Are you a member of one or more artists� or education unions? (If no, skip to question 32.)

1 Yes Valid % 28 Freq. 43 2 No Valid % 72 Freq. 113 99 Missing 15 Total number of respondents who answered the question 156

31 If yes, please list them below (up to 5): Write-in responses not listed.

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32 How often in the last three years could you have used financial advice or expertise in matters related to your dance-related work? (If not at all, please skip to question 34.)

1 Not at all Valid % 36 Freq. 56 2 1-3 times Valid % 40 Freq. 63 3 4-6 times Valid % 12 Freq. 19 4 7-10 times Valid % 4 Freq. 7 5 More than 10 times Valid % 7 Freq. 11 99 Missing 15 Total number of respondents who answered the question 156

33 Please indicate the 3 most important areas where such financial advice or expertise would have been helpful to you in your dance-related work (with choice 1 being most important).

1 Bank transactions Valid % 4 1st choice (most important) Freq. 4 2 Budgeting Valid % 15 1st choice (most important) Freq. 17 3 Buying living space Valid % 2 1st choice (most important) Freq. 2 4 Buying working space for dance-related work Valid % 3 1st choice (most important) Freq. 3 5 Credit union Valid % 2 1st choice (most important) Freq. 2 6 Financial planning Valid % 11 1st choice (most important) Freq. 12 7 Investing money Valid % 3 1st choice (most important) Freq. 3 8 Obtaining dance-related equipment or supplies Valid % 5 1st choice (most important) Freq. 6 9 Obtaining health insurance Valid % 15 1st choice (most important) Freq. 17 10 Obtaining a loan Valid % 2 1st choice (most important) Freq. 2 11 Obtaining management expertise Valid % 1 1st choice (most important) Freq. 1 12 Record keeping Valid % 1 1st choice (most important) Freq. 1 13 Retirement planning Valid % 6 1st choice (most important) Freq. 7 14 Setting up the books Valid % 4

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1st choice (most important) Freq. 4 15 Taxation Valid % 11 1st choice (most important) Freq. 13 16 Other (please specify) Valid % 2 1st choice (most important) Freq. 2 99 Missing 57 Total number of respondents who answered the question 114

LIVING, WORKING AND MAKING DANCE Please answer the following questions in relation to your personal

needs and primary NJ workspace.

34 How many years have you lived in the county of your current residence? 1 Under 1 year Valid % 2 Freq. 3 2 1-4 years Valid % 20 Freq. 33 3 5-10 years Valid % 19 Freq. 31 4 More than 10 years Valid % 60 Freq. 99 99 Missing 5 Total number of respondents who answered the question 166

35 Of the phrases listed below, indicate the three most important reasons for staying in the community of your primary residence. (With Choice 1 being most important).

1 Access to equipment and supplies Valid % 1 1st choice (most important) Freq. 2 2 Access to management expertise Valid % 0 1st choice (most important) Freq. 0 3 Affordable living space Valid % 23 1st choice (most important) Freq. 37 4 Affordable work space Valid % 1 1st choice (most important) Freq. 1 5 Available living space Valid % 2 1st choice (most important) Freq. 4 6 Available work space Valid % 0 1st choice (most important) Freq. 0 7 Cultural activity Valid % 9 1st choice (most important) Freq. 14 8 Educational opportunities Valid % 4 1st choice (most important) Freq. 7 9 Environmental quality Valid % 2 1st choice (most important) Freq. 4 10 Good place to perform Valid % 0 1st choice (most important) Freq. 0

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11 Media responsiveness Valid % 0 1st choice (most important) Freq. 0 12 Network of peers Valid % 3 1st choice (most important) Freq. 5 13 Non dance-related employment Valid % 1 1st choice (most important) Freq. 2 14 Personal ties Valid % 22 1st choice (most important) Freq. 35 15 Support systems Valid % 2 1st choice (most important) Freq. 3 16 Other (please specify) Valid % 14 1st choice (most important) Freq. 22 99 Missing 10 Total number of respondents who answered the question 161

36 How many years have you worked in the county of your primary current work space/workplace?

1 Under 1 year Valid % 7 Freq. 11 2 1-4 years Valid % 28 Freq. 45 3 5-10 years Valid % 23 Freq. 37 4 More than 10 years Valid % 43 Freq. 70 99 Missing 8 Total number of respondents who answered the question 163

37 Is your current workspace adequate for dance-related work in NJ? 1 Yes Valid % 67 Freq. 102 2 No Valid % 33 Freq. 51 99 Missing 18 Total number of respondents who answered the question 153

38 Please indicate the functions of your current primary work space. 1 Exhibition space Valid % 5 Freq. 8 2 Living space Valid % 8 Freq. 13 3 Office space Valid % 31 Freq. 50 4 Performance space Valid % 13 Freq. 20

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5 Rehearsal space Valid % 48 Freq. 77 6 Studio space Valid % 49 Freq. 78 7 Teaching space Valid % 54 Freq. 86 8 Other (please specify) Valid % 6 Freq. 10 99 Missing 12 Total number of respondents who answered the question 159

39 Do you own or rent your current primary work space? 1 Own Valid % 13 Freq. 21 2 Rent Valid % 17 Freq. 27 3 Not applicable Valid % 62 Freq. 101 4 Other (please specify) Valid % 8 Freq. 13 99 Missing 9 Total number of respondents who answered the question 162

40 Do you share your primary work space with others? 1 Yes Valid % 59 Freq. 92 2 No Valid % 21 Freq. 33 3 Not applicable Valid % 20 Freq. 32 99 Missing 14 Total number of respondents who answered the question 157

41 If you rent your current primary work space in NJ, do you rent on a year-round basis or as needed basis?

1 Year-round Valid % 61 Freq. 27 2 As needed Valid % 39 Freq. 17 99 Missing 127 Total number of respondents who answered the question 44

42 Is your primary workspace at an educational institution? 1 Yes Valid % 49 Freq. 71

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2 No Valid % 51 Freq. 74 99 Missing 26 Total number of respondents who answered the question 145

43 How is the building zoned in which your primary NJ work space is located? 1 Residential Valid % 13 Freq. 20 2 Commercial Valid % 34 Freq. 51 3 Industrial Valid % 0 Freq. 0 4 Mixed use Valid % 9 Freq. 13 5 Don�t use Valid % 32 Freq. 48 6 Other (please specify) Valid % 12 Freq. 18 99 Missing 21 Total number of respondents who answered the question 150

44 Do you bear the cost of your primary NJ work space? 1 Yes Valid % 20 Freq. 31 2 No Valid % 71 Freq. 109 3 Bear partial cost Valid % 3 Freq. 4 4 Other (please specify) Valid % 6 Freq. 10 99 Missing 17 Total number of respondents who answered the question 154

45 If you bear the cost of your current primary NJ workspace, what is the approximate monthly operational cost of this space, including utilities, rent or mortgage, and taxes? (If you share the workspace, or if it is combined with your living space, please estimate your portion of the monthly cost for WORK SPACE ONLY).

1 $0-99 Valid % 16 Freq. 7 2 $100-199 Valid % 5 Freq. 2 3 $200-299 Valid % 11 Freq. 5 4 $300-399 Valid % 7 Freq. 3

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5 $400-499 Valid % 0 Freq. 0 6 $500-599 Valid % 2 Freq. 1 7 $600-699 Valid % 0 Freq. 0 8 $700-799 Valid % 5 Freq. 2 9 $800-899 Valid % 0 Freq. 0 10 $900 or more (please specify) Valid % 55 Freq. 24 Mean $1,800 Median $1,800

99 Missing 127 Total number of respondents who answered the question 44

46 Are there specific requirements with regard to your current primary NJ work space?

1 Access to freight elevator Valid % 6 Freq. 5 2 Air conditioning Valid % 64 Freq. 54 3 Disability access Valid % 27 Freq. 23 4 Electrical wiring/amperage Valid % 26 Freq. 22 5 Extra-large ceilings Valid % 27 Freq. 23 6 Extra-large space Valid % 31 Freq. 26 7 Health and/or safety issues Valid % 19 Freq. 16 8 Heat Valid % 69 Freq. 58 9 Large windows Valid % 24 Freq. 20 10 Running water Valid % 60 Freq. 50 11 Sound proofing Valid % 17 Freq. 14 12 Special acoustics Valid % 8 Freq. 7 13 Special floors Valid % 63 Freq. 53 14 Special lights Valid % 10

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Freq. 8 15 Storage space Valid % 37 Freq. 31 16 Zoning Valid % 10 Freq. 8 17 Other (please specify) Valid % 13 Freq. 11 99 Missing 87 Total number of respondents who answered the question 84

HEALTH, PENSION AND WELFARE 47 Do you have any health or medical coverage? If NO, skip to Question 51. 1 Yes Valid % 89 Freq. 147 2 No Valid % 11 Freq. 19 99 Missing 5 Total number of respondents who answered the question 166

48 If yes, which type do you have? 1 Horizon Blue Cross/Blue Shield of New Jersey Valid % 33 Freq. 49 2 HMO or PPO Valid % 37 Freq. 55 3 Disability coverage Valid % 5 Freq. 7 4 Personal policy through private insurance company Valid % 10 Freq. 15 5 Group insurance policy through arts service organization

(please specify) Valid % 5

Freq. 8 6 Group insurance policy (please specify) Valid % 22 Freq. 32 7 Other (please specify) Valid % 8 Freq. 12 99 Missing 24 Total number of respondents who answered the question 147

49 How was this health coverage obtained? 1 Self Valid % 23 Freq. 34 2 Mate, specify Valid % 23 Freq. 35 3 Employer Valid % 39 Freq. 58

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4 Mate�s union or employer (please specify) Valid % 12 Freq. 18 5 Private company Valid % 0 Freq. 0 6 Your union Valid % 3 Freq. 5 7 Arts service organization Valid % 1 Freq. 1 8 Other (please specify) Valid % 7 Freq. 11 99 Missing 21 Total number of respondents who answered the question 150

50 Who pays for this coverage? 1 Self Valid % 40 Freq. 58 2 Mate (please specify) Valid % 26 Freq. 38 3 Employer Valid % 34 Freq. 49 4 Mate�s union or employer Valid % 10 Freq. 14 5 Your union (please specify) Valid % 1 Freq. 1 6 Arts service organization Valid % 0 Freq. 0 7 Other (please specify) Valid % 8 Freq. 11 99 Missing 27 Total number of respondents who answered the question 144

51 Have you ever been exposed to occupational hazards in your NJ dance-related work? If no, skip to Question 53.

1 Yes Valid % 23 Freq. 37 2 No Valid % 77 Freq. 124 99 Missing 10 Total number of respondents who answered the question 161

52 If yes, how frequently has this occurred in the last 5 years? 1 Less than 3 times Valid % 38 Freq. 15 2 3 or more times Valid % 23 Freq. 9

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3 Ongoing condition Valid % 40 Freq. 16 99 Missing 131 Total number of respondents who answered the question 40

53 Do you engage in preventive medical care in relation to your New Jersey dance-related work (nutritional counseling, injury prevention, etc.)?

1 Yes Valid % 48 Freq. 74 2 No Valid % 52 Freq. 79 99 Missing 18 Total number of respondents who answered the question 153

INCOME 54 Please check the category that indicates your total income from work as a dance

worker for 2004. 1 $0 -$ 500 Valid % 9 Freq. 14 2 $501 - $3,000 Valid % 12 Freq. 19 3 $3,001 - $7,000 Valid % 11 Freq. 17 4 $7,001 - $12,000 Valid % 12 Freq. 18 5 $12,001 - $20,000 Valid % 14 Freq. 22 6 $20,001 - $40,000 Valid % 21 Freq. 32 7 $40,001 - $60,000 Valid % 13 Freq. 20 8 $60,001 - $75,000 Valid % 4 Freq. 6 9 $75,000 - $100,000 Valid % 4 Freq. 6 10 More than $100,000 (please specify) Valid % 1 Freq. 1 Mean $24,000 Median $16,000 99 Missing 16 Total number of respondents who answered the question 155

55 What percentage is the total income from work as a dance worker in 2004 of your total individual income?

1 0-10% Valid % 23 Freq. 34

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2 11-20% Valid % 3 Freq. 5 3 21-30% Valid % 3 Freq. 5 4 31-40% Valid % 2 Freq. 3 5 41-50% Valid % 4 Freq. 6 6 51-60% Valid % 1 Freq. 2 7 61-70% Valid % 2 Freq. 3 8 71-80% Valid % 4 Freq. 6 9 81-90% Valid % 6 Freq. 9 10 91-100% Valid % 51 Freq. 76 99 Missing 22 Total number of respondents who answered the question 149

56 Of your total household income? 1 0-10% Valid % 36 Freq. 48 2 11-20% Valid % 9 Freq. 12 3 21-30% Valid % 13 Freq. 17 4 31-40% Valid % 8 Freq. 11 5 41-50% Valid % 10 Freq. 13 6 51-60% Valid % 2 Freq. 2 7 61-70% Valid % 2 Freq. 3 8 71-80% Valid % 2 Freq. 2 9 81-90% Valid % 2 Freq. 3 10 91-100% Valid % 17 Freq. 22 99 Missing 38 Total number of respondents who answered the question 133

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57 Please indicate which of the following were additional sources of income for you in 2004. (Circle as many as apply.)

1 Bartering Valid % 6 Freq. 7 2 Family support Valid % 37 Freq. 43 3 Inheritance Valid % 3 Freq. 4 4 Money �off the books� Valid % 23 Freq. 27 5 Real estate Valid % 5 Freq. 6 6 Unemployment insurance Valid % 16 Freq. 19 7 Welfare Valid % 2 Freq. 2 8 Other (please specify) Valid % 48 Freq. 56 99 Missing 54 Total number of respondents who answered the question 117

58 Approximately how much did you earn �off the books� in 2004? 1 $0-5,000 Valid % 88 Freq. 83 2 $5,001-10,000 Valid % 2 Freq. 2 3 $10,001-20,000 Valid % 5 Freq. 5 4 $20,001-30,000 Valid % 1 Freq. 1 5 $30,001-40,000 Valid % 1 Freq. 1 6 $40,001-50,000 Valid % 0 Freq. 0 7 $50,001-60,000 Valid % 0 Freq. 0 8 $60,001-75,000 Valid % 1 Freq. 1 9 $75,001-100,000 Valid % 0 Freq. 0 10 More than $100,000 (please specify) Valid % 1 Freq. 1 Mean $5,600 Median $2,500 99 Missing 77

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Total number of respondents who answered the question 94 59 Please check the category that indicates your total individual income in 2004. 1 $0-5,000 Valid % 6 Freq. 9 2 $5,001-10,000 Valid % 5 Freq. 8 3 $10,001-20,000 Valid % 17 Freq. 27 4 $20,001-30,000 Valid % 22 Freq. 35 5 $30,001-40,000 Valid % 15 Freq. 23 6 $40,001-50,000 Valid % 13 Freq. 20 7 $50,001-60,000 Valid % 8 Freq. 12 8 $60,001-75,000 Valid % 8 Freq. 12 9 $75,001-100,000 Valid % 5 Freq. 8 10 More than $100,000 (please specify) Valid % 2 Freq. 3 Mean $36,000 Median $25,000 99 Missing 14 Total number of respondents who answered the question 157

60 Please check the category that indicates your gross household income from all sources in 2004.

1 $0-5,000 Valid % 2 Freq. 3 2 $5,001-10,000 Valid % 1 Freq. 2 3 $10,001-20,000 Valid % 8 Freq. 12 4 $20,001-30,000 Valid % 8 Freq. 12 5 $30,001-40,000 Valid % 9 Freq. 13 6 $40,001-50,000 Valid % 11 Freq. 17 7 $50,001-60,000 Valid % 11 Freq. 17 8 $60,001-75,000 Valid % 5 Freq. 8 9 $75,001-100,000 Valid % 21

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Freq. 31 10 More than $100,000 (please specify) Valid % 23 Freq. 34 Mean $79,000 Median $55,000 99 Missing 22 Total number of respondents who answered the question 149

61 Please indicate the number of dependents you and your household are responsible for (including yourself as 1).

1 1 Valid % 40 Freq. 66 2 2 Valid % 33 Freq. 54 3 3-4 Valid % 20 Freq. 33 4 5-7 Valid % 6 Freq. 10 5 8-10 Valid % 1 Freq. 1 6 More than 10 Valid % 0 Freq. 0 99 Missing 7 Total number of respondents who answered the question 164

61a How many of those dependents are under the age of 18? 0 None Valid % 59 Freq. 68 1 1 Valid % 16 Freq. 19 2 2 Valid % 17 Freq. 20 3 3-4 Valid % 6 Freq. 7 4 5-6 Valid % 0 Freq. 0 5 7-8 Valid % 1 Freq. 1 6 More than 8 Valid % 1 Freq. 1 99 Missing 55 Total number of respondents who answered the question 116

62 Please indicate your current marital status. 1 Single Valid % 31 Freq. 51

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2 Married Valid % 53 Freq. 88 3 Separated Valid % 1 Freq. 1 4 Divorced Valid % 7 Freq. 11 5 Significant other Valid % 8 Freq. 13 6 Widowed Valid % 2 Freq. 3 99 Missing 4 Total number of respondents who answered the question 167

COMMUNITY 63 Have you voted in New Jersey in the last two years? a. Federal elections 1 Yes Valid % 78 Freq. 128 2 No Valid % 22 Freq. 36 99 Missing 7 Total number of respondents who answered the question 164 b. State elections 1 Yes Valid % 69 Freq. 103 2 No Valid % 31 Freq. 46 99 Missing 22 Total number of respondents who answered the question 149 c. Local elections 1 Yes Valid % 61 Freq. 90 2 No Valid % 39 Freq. 57 99 Missing 24 Total number of respondents who answered the question 147

64 If you are a registered member of a political party, to which party do you belong? 1 Democratic Valid % 72 Freq. 92 2 Republican Valid % 13 Freq. 16 3 Independent Valid % 14

63

Freq. 18 4 Other (please specify) Valid % 2 Freq. 2 99 Missing 43 Total number of respondents who answered the question 128

65 Which of the following have you engaged in during the last 2 years? 1 Been active in advocacy organizations Valid % 28 Freq. 33 2 Demonstrated for or against an issue Valid % 25 Freq. 30 3 Given public testimonies Valid % 13 Freq. 16 4 Lobbied for or against an issue Valid % 13 Freq. 15 5 Met with legislators or public officials Valid % 15 Freq. 18 6 Performed community service Valid % 61 Freq. 73 7 Sat on a board of trustees or advisory committee Valid % 29 Freq. 35 8 Served on a jury Valid % 17 Freq. 20 9 Volunteered Valid % 65 Freq. 78 10 Written op-ed pieces or other essays Valid % 8 Freq. 10 99 Missing 51 Total number of respondents who answered the question 120

PROFESSIONAL RECOGNITIONS AND STATUS 66 Do you feel valued as a dance worker? 1 Yes Valid % 81 Freq. 129 2 No Valid % 19 Freq. 31 99 Missing 11 Total number of respondents who answered the question 160

67 How does your community indicate that it values you? (Check as many as apply.) 1 Attends dance performance Valid % 63 Freq. 98 2 Commissions work from me Valid % 18 Freq. 28 3 Consults me on community matters Valid % 22

64

Freq. 35 4 Employs me as a dance worker Valid % 65 Freq. 102 5 Regards me as a contributing member of the community Valid % 50 Freq. 78 6 Other (please specify) Valid % 11 Freq. 17 99 Missing 15 Total number of respondents who answered the question 156

68 What are the venues you work in as a dance worker in your community? 1 Community performance or exhibition venues Valid % 63 Freq. 102 2 Dance companies Valid % 44 Freq. 71 3 Dance schools Valid % 69 Freq. 111 4 Dance/arts service organizations Valid % 29 Freq. 47 5 Festivals (please specify) Valid % 37 Freq. 60 6 Government Valid % 4 Freq. 6 7 Hospitals Valid % 8 Freq. 13 8 Public art Valid % 7 Freq. 11 9 Public or private schools Valid % 42 Freq. 68 10 Summer camp Valid % 22 Freq. 36 11 Other (please specify) Valid % 9 Freq. 14 99 Missing 10 Total number of respondents who answered the question 161

69 How have you contributed most to the NJ dance community? (Please circle only one answer).

1 Dancer Valid % 42 Freq. 19 2 Dance instructor Valid % 71 Freq. 30 3 Dance or arts manager or administrator Valid % 13 Freq. 6 4 Choreographer Valid % 44

65

Freq. 20 5 Other dance-related occupation (please specify) Valid % 2 Freq. 1 6 Other (please specify) Valid % 29 Freq. 13 99 Missing 126 Total number of respondents who answered the question 45

70 What are the primary constraints affecting your current ability as a dance worker? 1 Lack of money Valid % 66 Freq. 103 2 Lack of time Valid % 45 Freq. 70 3 Other job(s) too taxing Valid % 19 Freq. 30 4 Lack of equipment, supplies Valid % 4 Freq. 7 5 Lack of studio, work or rehearsal space Valid % 24 Freq. 37 6 Lack of performance or exhibition space Valid % 24 Freq. 37 7 Lack of management/representation Valid % 17 Freq. 27 8 Lack of recognition Valid % 11 Freq. 18 9 Lack of professional colleagues Valid % 7 Freq. 11 10 Lack of stimulating environment Valid % 9 Freq. 14 11 Lack of institutional support Valid % 18 Freq. 29 12 Other (please specify) Valid % 18 Freq. 28 99 Missing 14 Total number of respondents who answered the question 157

71 What are your major professional development needs at this point in your career? 1 Financial expertise Valid % 32 Freq. 44 2 Legal expertise Valid % 13 Freq. 18 3 Marketing expertise Valid % 35 Freq. 49 4 How to apply for grants and other funds Valid % 42 Freq. 58

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5 Finding community of dance workers Valid % 10 Freq. 14 6 Strengthening my community of dance workers Valid % 28 Freq. 39 7 Help with working with the community Valid % 22 Freq. 31 8 Other (please specify) Valid % 15 Freq. 21 99 Missing 32 Total number of respondents who answered the question 139

COMMENTS 72 Comments Write-in responses not listed.

67

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