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The book "Managing Dance" focuses on four themes - dance artists, products, participation and the political context - each of which is explored from different perspectives by contributors currently working dance management.
Dance is a very dynamic part of Australian performing arts culture. It can provide a rich performance experience, merging the imagination and skill of choreographers, dancers, designers, composers and musicians.
Finnish Contemporary Dance has started to make significant international successes around the world in the late 1990s and in the beginning of the 2000. To verify that, we can take a number from the statistics collected by the Finnish Dance Information Centre. In 2003, 26 dance companies performed abroad in approximately 30 different countries.
The history of dance has always been a history of loss. Most of dance produced is lost to us for good -- the result of the lack of funding for preservation, the ephemeral characteristic of dance performance, and the lack of a widely-applied documentation system. Documentation systems do exist, and the prominent one is called Labanotation. Labanotation scores, which are the most precise means of documenting a dance, function for dance the same way music scores function for music. But Labanotation has not yet widely applied, because, unlike music scores, it is not essential for dance creation/performance, and there is a general lack of education about it.
This brief article, which is written by Ms Katherine Giles, gives readers definitions of who owns the copyright and what rights the copyright owner have in dance field, especially in Australia.

IDEA 2007 - The Sixth World Congress of International Drama/ Theatre & Education Association

If we take the usual symbol of A as marking an excellent performance (we know it's exam-driven, but very local!) and sharp creativity, and the O as the peaceful circle in ancient human rituals, the theme in this sixth IDEA Congress is literally and symbolically expressed through its titles: We need to cultivate the human mind, heart and soul in everyone of us, not only be infused with professional knowledge and innovative artistry in different specialized contexts, but also woven by visionary, communicative and culturally empathetic eyes, ears and skin.
The 15th World Congress of the International Federation for Theatre Research (IFTR) was held between August 7 and 12, in Helsinki, Finland. Under the heading Global vs Local, the contributions for the conference ranged from issues of strict local concern to explorations of all that pertains to globalization.

Photo by Mirjami Heikkinen
Kazimierz Micha? Ujazdowski, the Minister of Culture and National Heritage, is responsible for the national cultural policy. He spoke with WBJ about the Ministry's vision of financing institutional and independent theaters in Poland.
hosted by the Danny Grossman Dance Company
Thursday 19 January-Friday 20 January 2006
Metro Hall 55 John St. Toronto

Endangered Dance: A National Dance Heritage Forum is a call for action, bringing attention to the critical and urgent need to protect Canadas diminishing dance heritage. This is a national forum on dance preservation and legacy issues in Canada.
JOINT ADVENTURES is dedicated to contemporary dance an example of support for an ambitious art form
Katy Raines, Director of DixonRaines, explains how keeping a few more customers each year could dramatically increase ticket and fundrasing income.
FUNDACI GRAN TEATRE DEL LICEU BARCELONA is seeking a Production Director
Nationwide, a seismic shift in ticket buying trends is underway. The subscriber, the member, and the seasonticket holder are not renewing."
In this report, author Amy Kaissar explores the issues surrounding the decline in theatre subscription renewals. Each week we will highlight a new section of this important and engaging work
The Board of Opera Australia has appointed Anson Austin as the new Director to fill the position of Mrs Margaret Fisher, who retired on 31 December 2004 after ten years on the Board. This is the Board position that is traditionally nominated by staff and artists through a committee composed of representatives from all groups of the Companys staff.
Representatives of theatres and festivals from Macedonia, Albania, Bosnia/Herzegovina, Bulgaria, Russia, Slovenia, Serbia/Montenegro, Turkey and Croatia adopted Thursday a declaration of the New European Theatre Action (NETA), which is a professional theatre network. NETA will promote cultural cooperation in European countries, develop theatre and cultural space, and is open to new members.
The Piccolo Teatro of Milan, Italy, is one of the most prestigious theatre companies in the world. Founded in 1947, it offers a diversified and multidisciplinary program that includes over 650 performances a year in the Piccolo's three theatres. In addition to running an acting school, the Piccolo tours in over 40 countries.
Much Ado About Management

This paper analyses the transformation of Italian opera houses from public institutions to private foundations. This reform was imposed by legislation calling for a more managerial approach, including the introduction of private capital.
A Report on Practices and Performance in the American Nonprofit Theatre

The Southern African Theatre Initiative is a regional organisation formed by theatre practitioners who realised the need to come together and work as a unit for the development of theatre in Southern Africa. S.A.T.I. is a network that works as a central co-ordinating body for Theatre in SADC countries.
Philadelphia's Walnut Street Theatre is a true success story. The Walnut has found continued success at building the world's largest subscription base and generating repeat income, all while staying on message. Producing Artistic Director Bernard Havard (formerly of Canada's Citadel Theatre and Atlanta's Alliance Theatre) and Managing Director Mark Sylvester have recognized the need to reward frequent ticket-buyers first and not erode earning potential by giving better benefits to occasional theatre patrons...