Electronic Dance Music (EDM) is a music style as well as a global creative industry. Performing live and releasing music are the main practices in this field. This dataset tracks the careers of about 4000 artists in EDM from 2001 to 2015. It is based on a collection of artist gigographies (who performed where and when) and discographies (who released what and when) taken and combined from three online platforms (Resident Advisor, Discogs, and Juno Download). Each career point is represented by year, career stage, cohort, the number of gigs, number of performances, and 16 scores quantifying four types of positions (global closure, local closure, global openness, local openness) in four analytical networks (artist co-gig, artist co-venue, artist co-style, and artist co-label). In addition, the artist’s success at each career point based on travel distances is given. Details on the variables and its construction can be found in the publication referenced below. Total Universe / Complete enumeration Computer-based observationObservation.ComputerBased Computer-basierte BeobachtungObservation.ComputerBased

Study of experiences of professional dancers who had to stop dancing because of their age and look for other work. Mail survey: vocational dance training / general schooling and other vocational training / age starting amateur dancing and professional dancing / engagement by dance company / age giving up dancing / reason stop with dancing / occupation after dancing. Interviews: how and why started professional dancing/ expectations / success and disappointments in dance career / working hours, different locations, travelling / had a say in casting and choice of repertoire / changing companies / relations with other dancers and management / knowledge of condition in labour- contract / physical and other problems during career / preferred ( sector of ) occupation after dance career / occupational sector of best friends during and after career / reason for stopping / problems with quitting / reactions of colleagues and management / need for advice / knowledge and use of quitting arrangements and possibilities for re-training / occupation after dancing / problems with ( getting a ) job, how r got job, satisfaction, differences with dance profession. Background variables: basic characteristics/ residence/ occupation/employment/ income/capital assets/ education

Data Collection Dance practitioners are a group in urgent need of attention. Reviewing the literature, there are problems in the professional status of dance practitioners. These include low and unstable financial income, limited professional development, multiple pressures and role conflicts faced by practitioners, social class and social acceptance, and the wider impact on the discipline of dance. As the core group that promotes the development of the professional field of dance, the contribution and return of dance practitioners do not match, which will largely frustrate the career expectations and sense of achievement of dance practitioners, leading to job burnout. This will not only lead to the loss of talent within the industry, but also affect the current and future development of the professional field of dance. Through induction, this study conducted semi-structured interviews with 10 qualified dance practitioners in Chinese universities, compared the cultural capital accumulat..., Data Collection The teacher interviews were focused on June to July 2024. A semi-structured interview was conducted with each participant in a library discussion room at the University of Edinburgh, UK. Due to geographic and temporal differences, all interviews were conducted online through Teams, and the timing of the interviews was random, referencing the time of the participants. Each interview lasts 45 to 60 minutes. In order to make the interview more smooth, each participant has access to interview questions in advance. Before each participant was interviewed, during the interview, there were videotaped video recordings and audio interview scripts, and the key points emphasized by the interviewer to the participant were marked and recorded. The semi-structured interviews in this study include four themes: (1) cultural capital accumulation; (2) The transformation of cultural capital into economic and social capital; (3) Challenges faced and coping strategies; (4) Reasons and prospe..., , # Voices from the field cultural capital transformation issues for dance practitioners

https://doi.org/10.5061/dryad.8cz8w9h21

Semi-structured interview analysis data：Open Source data

I have submitted the Thematic Analysis encodes level 3-4 analysis data（Thematic_analysis-_Code3-4.zip）.

Description：

File name: Thematic_analysis-_Code3-4.zip dataÂ

1.Overview of data set

This dataset mainly focuses on the investment status of dance practitioners in the early stage of cultural capital accumulation, the transformation status from cultural capital to economic capital and social capital, as well as the current obstacles and challenges. The dataset was presented as an Excel table containing multiple study questions and corresponding participant responses.

2. Data structure and content

2.1 Research Questions:

• How well do dance practitioners invest in the early stages of cultural capital accumulation?

• How can dance pra...

Study of the relationship between supply in the performing arts sector ( theatre, concert, opera, ballet, dance etc. ) and it's consumers, the audience. The short telephone interview (P1159B) contained the following themes: evaluation of the performance / company during performance / information / advise / subscriber's ticket ( season ticket ) / use of reduced fare card / transport / transportation time / frequency of theatre visits and in whose company / suggestions for theatre management / willingness to participate in extended interview. The long oral interview (P1159A) contained the following themes: frequency of theatre visiting / last visit / concert going frequency / detailed data on last three concerts: performers, type of music, place of performance, type of theatre, reasons for going: subscription - reduced fare - friends advice - related to performer(s) / frequency of visiting musical theatre ( opera, operetta, musical show ), last three performances same questions as for concerts / same data for theatre performances ( drama, cabaret, pantomime, puppet theatre, children's theatre ) / same data for ballet and dance performances / usual company for going to the theatre and some background data regarding this person: age, education, job / theatre going in the past: at school, with parents / playing musical instruments: past and present, lessons, orchestra or other company, type of music, kind of instrument, ever performing, family members playing instrument/ singing / acting / dancing / theatre visiting of partner / partner's activities in making music, singing, acting etc. / oldest child's activities in making music etc. / does respondent take child to theatre / radio and television used for information on arts and culture or for hearing - seeing performances / viewing foreign television stations / video tape recorder: ownership, types of tapes rented, type of programs recorded, frequency of watching tapes / number of records, compact discs and tape cassettes owned with music, type of music, frequency of music listening / leisure time activities / book reading / reading of 'cultural' parts in newspapers like reviews, agenda's etc / respondent rates him/herself well informed regarding performing arts / knowledge scale / preference scale 10 items and willingness to pay entrance fee's / attitudes regarding: prices for tickets, participation in arts and culture, it's social status, quality of supply, live performance versus audio-visual performance, arts and culture in education, preferred size of theatre, arts and culture elite activity, clothing and ( classical ) art performances / changes in visiting frequency and reasons for them / relevant data on the two closest friends - relations: some background data and data concerning arts and culture / sources of family income / housing situation / interview situation. Background variables: basic characteristics / residence / housing situation / household characteristics / characteristics of parental family / household / occupation/employment / income / capital assets / education / consumption of durables / readership, mass media, and 'cultural' exposure

Abstract copyright UK Data Service and data collection copyright owner. This is a mixed methods data collection. This project set out to investigate the rise of lap dancing in the UK and the experiences of women who work in the industry in relation to working conditions and their feelings about work. The project also aimed to explore the role of regulation and governance of the industry and the night time economy in relation to women's experiences as dancers. To do this, the largest English survey so far of dancers/strippers was undertaken (196 responses), and interviews were conducted with 35 dancers across the country and 20 people who worked in clubs as managers, owners, door security, and 'housemums'. A further 15 interviews were conducted with those officials who regulate the industry such as licensing officers and health and safety and police personnel. While 20 clubs across the country were visited during the study, fieldwork was largely concentrated in one city in the North of England and one in the South. Users should note that the UK Data Archive study contains a subset of these data, comprising only the dancers' quantitative survey and seven of the interviews conducted with licensing/health and safety personnel. The project found that many younger women are entering dancing as it offers the benefits of flexible, cash-in-hand work that requires minimal commitment or responsibility. Women generally enjoyed their work and its advantages, although there were regular reports of harassment from customers. Women were using dancing strategically to either further their education or career or position themselves better in the labour market in the future. There were issues raised regarding some clubs' lack of consideration for the welfare of their workers. Most notably, there was evidence of financial exploitation from managers as women would pay high 'house fees' and commission, often earning very little money after a shift. The project found no evidence connecting lap dancing to organised prostitution or trafficking. The project found that lap dancing is a precarious form of work which was ironically enabling women to avoid insecure employment and personal circumstances in the future. Further information about the project and links to publications may be found on the ESRC The Regulatory Dance: Investigating the Structural Integration of Sexual Consumption into the Night Time Economy award webpage and the University of Leeds Social Sciences Institute Regulatory Dance webpage. Main Topics: The interviews with local authority/police personnel covered: health and safety legislation applied to clubs, relations with club owners, licencing, inspections and dancers' working conditions. The dancers' survey covered: demographic details, children, marital status, income, educational background and qualifications, employment history in dancing and other occupations, working conditions in clubs, and attitudes to dancing. Convenience sample Face-to-face interview

Planning applications decided by district level planning authority and type of development District level planning is undertaken by metropolitan and non-metropolitan districts, unitary authorities, national park authorities and urban development corporations. These authorities deal with all other planning applications that are not classified as county matters and mainly include applications for planning permissions on residential, offices, industrial, retail and householder developments. Largescale Major Developments For dwellings, a largescale major development is one where the number of residential units to be constructed is 200 or more. Where the number of residential units to be constructed is not given in the application a site area of 4 hectares or more should be used as the definition of a largescale major development. For all other uses a largescale major development is one where the floor space to be built is 10,000 square metres or more, or where the site area is 2 hectares or more. Smallscale Major Developments For dwellings, a smallscale major development is one where the number of residential units to be constructed is between 10 and 199 (inclusive). Where the number of dwellings to be constructed is not given in the application a site area of 0.5 hectare and less than 4 hectares should be used as the definition of a smallscale major development. For all other uses a smallscale major development is one where the floor space to be built is 1,000 square metres and up to 9,999 square metres or where the site area is 1 hectare and less than 2 hectares. Minor Developments For dwellings, minor development is one where the number of dwellings to be constructed is between 1 and 9 inclusive. Where the number of dwellings to be constructed is not given in the application, a site area of less than 0.5 hectares should be used as the definition of a minor development. For all other uses, a minor development is one where the floor space to be built is less than 1,000 square metres or where the site area is less than 1 hectare. Decisions are classified as relating to a Major/Minor Development on the basis of the development covered by the application which was decided. Use categories Decisions relating to largescale major, smallscale major or minor developments are classified by reference to the principal use within the development (i.e. the use on which other uses are considered to depend). Normally this is the one which accounts for the greater proportion of the new floorspace (although in certain cases the principal use will be one that does not account for any floorspace as such). If there is any doubt as to the principal use in a multi-storey block the ground floor use is taken as the principal one. (This rule would apply where, for example, the amounts of floorspace taken up by two different uses were approximately equal). Proposed developments are classified on the basis of the principal use and not that of the complex of which they are part. Thus a development involving the construction of offices within the curtilage of a general industrial site would be classified as ‘Offices/Research and Development/Light Industry’. Similarly, a dance-floor extension to a restaurant would be classified as ‘All other minor developments’ and not to ‘Retail, distribution and servicing’. Change of Use

Per. Art, a Novi Sad (Serbia) based independent organization established in 1999, has been working with artists,with and without learning disabilities along with people from cultural domain with its Art and Inclusion programme ever since. The programme's main idea is the production of artistic projects, providing artists with learning disabilities the space as authors, co-authors, and performers to promote their work at an equal footing within the local and international contemporary performing arts scene. Therefore, the programme was designed for creative work and the inclusion of persons with learning difficulties, uner the aegis of the Contemporary Dance programme, using artistic research projects to develop the contemporary performing arts scene in Serbia. The organization is also involved in international networking. Per. Art was founded by a group of actors and artists, dating back to the Ballet of the Serbian National Theatre, and was registered as an NGO in 2005. The organisation was coneived with recognition of and to promote the creative potential of disabled people with an intention of instigating artists, cultural workers, and activists to inspire their work and rethink existing social relations. In order not to imitate life in theatre and to provide the audience with a central role, the Art and Inclusion programme was set-up, creating an artistic group, and producing high-quality theatre performances and expositions that have been performed in Serbia and abroad. According to the organization, Per. Art is “a conjunction of words that can stand either as full words or as abbreviations – for art, or performative arts” (http://portaloinvalidnosti.net). Per.Art's efforts encompass the advancement of inclusion within the arts and culture sector, leading to the establishment of an extensive network. This network consists of artists, alongside individuals facing learning challenges, and experts in theater, dance, visual and contemporary arts, special education, and rehabilitation. It also includes representatives from cultural and educational institutions. This reflects a significant aspect of the project: the endeavor was initiated independently of individuals who have a professional or personal connection to disabilities. The cohort of artists with learning disabilities currently comprises sixteen members. Among these artists, Dalibor Šandor and Natalija Vladisavljević are two contributors whose ideas form the basis for the plays created by Per.Art. Subsequently, the performances are crafted in collaboration with global artists, choreographers, and dramaturgs, consistently drawing from the artists' passions and concerns, which are further conveyed through dialogue. Central to the evolution of artistic endeavors is the profound regard and acknowledgment for each individual artist's viewpoints, talents, and desires. Convincing the audience that people with disabilities are capable of much more than many assume they are, has always been an aim of the NGO with their performances. This manner of producing art makes the NGO one of the few inclusive theaters in Europe where artists with disabilities appear as authors. However, the productions always derive from collective ideas. Similarly, their Art and Inclusion initiative significantly contributes to fostering inclusivity by means of performances, workshops, exhibitions, published books, and cinematic creations. This initiative also takes charge of arranging panel discussions, conferences, and symposia. Moreover, the group has established a network of institutions dedicated to advancing inclusion, with the ultimate goal of enhancing institutional accessibility, amplifying the presence of individuals with disabilities, and elevating their artistic contributions within society. The audience and the dynamic interaction between viewers and artists hold pivotal significance in Per.Art's productions. Within the group's perspective, the audience serves as a means to seamlessly integrate the imperative for inclusion within society while concurrently advocating for the programs and endeavors of both disabled and non-disabled artists. Through this approach, the audience serves as the primary vehicle for eradicating biases and reshaping perspectives, according to the NGO's viewpoint. Per. Art is part of the Europe Beyond Access initiative.