Prior to 1999, inconsistent funding decisions were made by local authorities as a result of applications from would-be students living in their regions. Some authorities mader funds available, others offered no financial assistance at all, and the prospect of a professional career could depend entirely on where one lived. Many talented performers were lost to the industry during a time when funding was uncoordinated.
The alternative to the limited amount of local authority funding available was for students to meet the cost of training, accommodation and subsistence themselves. Over a three year period this could amount to anything between £50,000 - £70,000 by today's standards. The consequence was that only those who lived in the 'right county' or who were in a position to pay privately were able to train, and the British performing arts scene suffered correspondingly.
Many performing arts students were expected to fund themselves, despite the enormous contribution they would make to the cultural and financial wealth of the country on graduation.
Since their introduction in 1999, DaDAs have enabled thousands of the country's most talented young actors, dancers, musical theatre artists and theatre technicians to access the highest standards of professional vocational training and education in the performing arts.
From a wide-range of cultural, socio-economic and different ability backgrounds, DaDA students have undertaken a programme of rigorous, intensive and highly specialised study in learning environments where the sole focus is on the excellence of professional achievement.
Image: Northern Ballet School