analysing the analysis

The questions I have been surrounding myself with are concerning the issues of career transition and retirement of dancers in Germany.

The two most important aspects I am looking at are the historical background of transition and the present situation as it stands today.

The historical background goes back as far as August Bournonville in the 18^th century- as he has gone down in dance history as the first employer of dancers, who also took care of the social standing of dancers, especially at the end of their careers and if the education of a young dancer failed. I then leap forward a couple of years to give a short insight into the transition centres in the USA, Canada, the UK, the Netherlands and finally the IOTPD (International Organisation for the Transition of Professional Dancers), before closing with how it came to the founding and funding of a similar foundation in Germany. To have such a foundation in Germany sprung from a political inquiry and the work of many dedicated people in the dance scene- former dancers, choreographers and company directors alike. Basing all of the above knowledge on literature and web researches, this is where the first interviews come in- one with a long term manager of dance companies and another with the lady, who is now in charge of the transition centre in Germany, thus adding to the personal and human aspect.

In the second part I will focus on the present day situation- what does transition look like in Germany today? What is being done in dance education to evtl. facilitate a simpler retirement? Are dancers being helped in the theatre? What do dancers themselves think about the topic? And how well is the audience aware of the nature of the subject? Another question I have confronted myself with is the nature of funding and the justification of aid for dancers in a world, where dance tends to be the first thing to be cut.

In this part, my survey of dancers will play a role, but I would also like to illuminate the chances and dangers that lie within the end of a dancers´ career by looking at social factors and potential loss of human capital. Again most of my research is based on literature and web-content, but also on my own careful observations.

I hope this assignment will be beneficial not only to interested dancers and the transition centre in Germany itself, but also to the dance audience, theatres and the ministry of culture in Germany.

I am of course the one, who benefits most from this little excursion- I hope I can present my ideas without adding too much personal value and give justified advice based on my own experience as well as my researched findings.