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Perspectives on theatre dance and cultural identity. The Netherlands …

- - - - 1945 marks the starting point of the Dutch theatre dance tradition. Also coming out of war, there was nothing, starting from scratch. Now, only 50 years or so later, dance is a respected an highly vital art form in The Netherlands with an enormous diversity. The audience for dance has grown. Dance productions have increased both in quantity and in diversity.
      - Beginning of 1900 changing of the tide, morality was still suspect, dance regained a little of its status as an accepted art form. Isadora Dunchan's first visit to the Netherlands introduced in 1095 to early modern dance. Dutch critics were extremely enthusiastic about her natural and poetic dance, regarded as real art.
        
        Main influence came from European expressionism and modern dance. Mary Wigman's Ausdruckstanz had lasting influence on the development of Dutch dance.
- - - - The Dutch developed tolerance towards other races, religions and cultures. The Netherlands have been at the crossroads of Lation, Anglo-Saxon and German influences.This general attitude together with the lack of a long dance tradition in the Netherlands may be at the root of the absence of overt nationalism in dance. Without a strong Dutch national drive for dance, dance in The Netherlands can be characterized as non-nationalist.
        
        The absence of national pride can be seen as negative, but there is also a positive productive side: it frees the dancers and choreographers from the obligation either to fit into or to reject a specific tradition, giving room to create their own styles. Creates an atmosphere of artistic openness. Also it creates an international orientation: Dutch dancers and choreographers look across their borders for inspiration and ideas.
    - - In 1959 she found Nederlands Dans Theater (NDT)
    - - In addition to going abroad themselves, they welcomed dance, dancers and choreographers from abroad. Dutch dance companies often were, and for the most part still are, led by non-Dutch artistic leaders.
- - - - HNB & NDT
      - Field of dance always aged behind the other arts. Became structurally financier by the government quite late compared with other art forms.
    - - It took until 1954 for dsance to gain a separate vote on the stage on budget for the arts: budget for the dance was only 2%, much smaller than that was available for the other performing arts.
  - - - The Hague and Amsterdam concentrate on classical ballet, the other departments in Amsterdam, and the academies in Rotterdam, Tilburg and Arnhem offer all kinds of modern and postmodern dance.
- - - - The missing link between educational and professional worlds is a problem not only for ballet-dancer. Who study modern and new dance often do no manage to get a job with a company either. They form a so called open field of freelancers, creating their own work and staging their own small productions. For some a deliberate choice, for others a sheer necessity.
        
        Often graduates do not have enough stage experience to join a company right away, and when foreigners try to set up a career in The Netherlands, there are to many available for jbs. In 1997 500 professional dancers in The Netherlands, only half where employed by a dance company.
    - - The several Dutch governments did not take responsibly, no government has dared to close down schools.