Dance from Flanders: an international perspective

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Joris Janssens, Vilnius — 07/05/2015

The organisation of the dance field in Flanders

What we do -

Field analysis / research

-

Field development

-

International relations development

Disciplines -

Visual arts

-

Performing arts

-

Music

www.flandersartsinstitute.be

Today

Dance policy and organisation of the dance field since the 1980’s -

The myth of origin — 1980’s

-

Policy developments — 1993-2006

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Facts & figures — 1993-2015

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Issues & instruments — 2015-…

The myth of origin

1980’s

Rosas, Fase. Four Movements to the Music of Steve Reich, 1982

– Jan Fabre, Het is theater zoals te verwachten en te voorzien, 1982

– Ultima Vez, What the Body Does not Remember, 1987

Flemish support for dance in 1985

1% 2%

98% Royal Ballet

Rosas

Klapstuk

+ project funding from the International department

Flemish support for dance in 1985

Bottom-up organisation of the dance field

Collective management, creation, production (Schaamte, les Ballets c de la b) Coproduction and presentation: arts centres and festivals (Vooruit, STUK, Kaaitheater,…) Collective international promotion and networking (VTC > VTi), advocacy (VDP) Support of international networks (IETM, ONDA) and coproducers (Hebbel Theater, Théâtre de la Ville,…)

Structures based around individual artists

Anne Teresa de Keersmaeker / Rosas Wim Vandekeybus / Ultima Vez Jan Fabre / Troubleyn Jan Lauwers / Needcompany Alain Platel / Les Ballets C de la B Marc Vanrunxt / Hyena

‘A situation was reached in which it became possible to give professionalism not only a social but finally also an artistic interpretation. One of the main levers for this was the awareness that the work structure also determines the work, and that the way one wishes to work is not only an expression of the artistic credo, but at the same time also presupposes a position in society, a “way of being in world”.’ – Marianne van Kerkhoven, 2007

“Artistic freedom means allowing the options taken in the creative work to penetrate to all parts of the structure in which one creates. Which means, among others: determining how, where and when you want to work and with whom, determining how you want to interact with your audience, determining how you want to talk with your (co)producer, determining how, where and why you want to play somewhere, determining what the accents will be in promoting your work, etc. This perspective views and treats the theatre company as a whole. The organisation, as an expression of the creative work, must therefore have the same flexibility as the creative work.” — Marianne van Kerkhoven, 2007

Policy developments

1985-2006

40.000.000

Dance projects 1985-1992

30.000.000

Platel 20.000.000

Vandekeybus 10.000.000

Rosas

0 1985

1986

1987

1988

1989

1990

1991

1992

1993 Performing Arts Decree -

New disciplines: dance and music theatre companies

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New types of structures: arts centres

-

Multiannual envelopes and projects

1995 P.A.R.T.S. -

initiative in education

-

international auditions

-

“sticky� alumni > brain gain also via companies

2001

Amended Performing Arts Decree includes festivals and the VTi (Flemish Performing Arts Institute)

2006 First Arts Decree New disciplines: visual arts, music, architecture New structures: workspaces and management bureaus Grants for individual artists

Policy developments since 1993 Genesis of a liberal and open arts policy framework -

Bottom-up approach based on peer assessment

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Productive relationship between field & policy

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Cultural leadership & collective action

Policy following trends in the field -

Open attitude / mutual confidence

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Lack of tradition & anti-institutionalism > freedom

Nation-building project of a young Flemish Community

Cf. nation building project of Flemish Community 1. Cultural competence since 1970 2. Start of Flemish Community since 1980 -

Start of Flemish nation state

-

No instrumentalisation for identity politics

-

Liberal policy supporting innovative initiatives and (artistic) entrepreneurship

3. International competence for Flanders -

1990’s: ‘cultural ambassadors’ programme

Some figures

1993-2015

N° of dance structures in (performing) arts decrees 1993-1996 1997-2000

5 6 9

2001-2005 2006- 2007 2008-2009 2010-2012 2013-2014 2015-2016

6 10 13 13 18

Budgets for dance structures since 2001 8.000.000,00 €

6.000.000,00 €

Sidi Larbi Cherkaoui Meg Stuart

4.000.000,00 €

Ultima Vez 2.000.000,00 €

Les Ballets c de la b Rosas

0,00 €

2001

2006

2008

2010

2013

2015

Subsidies for dance 2013

1% 1% 2% 2% 2% 2%

3%

4% 0%

2% 3%

44%

5% 5% 6% 7%

11%

Royal Ballet Rosas Ultima Vez Les Ballets C. de la B. Eastman Damaged Goods A two dogs company / Stilllab Workspace Brussels Peeping Tom Action ScĂŠnique Soit Kobalt Works Kunst/Werk Deep Blue/Field Works Projects > organisations Projects > artists Grants > artists

Flemish support for dance in 2015‌?

Field analysis by Flanders Arts Institute

Major trends in production -

Growth

-

More interdisciplinary work

-

Collaboration and networking

-

Internationalisation

-

Shifting position of individual artists

With how many producers does an artist work? 4000

1 organisation

2

3-5

6-10

10+

3000

2000

1000

0 93-97

97-01

01-05

05-09

‘I have performed a lot, created a lot, travelled a lot and learned a lot - and it was damn fun. But after a good fifteen years this freelance “grasshopper” has become tired of his own “availability”. Just try and build something up while skipping back and forth from project to project. Instead of reinventing myself all over again, today I have the desire to sink my teeth into my work. I desire a better balance between this damned flexibility which is demanded from me all the time, and a minimum of continuity and stability.’ – Diederik Peeters, 2011

Issues & instruments

2015-‌

The issues today Flourishing dance field - International recognition - Horizontal architecture & mobility - Mobility - international coproduction network - Brain gain: Brussels as a global hotspot - Policy: intrinsic value of arts & bottom-up - Dance for children & young audiences

The issues today Issues - Pressure on the budgets (international/state/local) - Focus on production - Local presentation outside cities in Flanders - Hybridity >< audience expectations - Pressure on international coproduction and presentation - Social situation of artists / sustainable careers - The role of institutions: Royal Ballet and La Monnaie

– Diederik Peeters/SPIN, Hulk

“Type a quote here.”

–Johnny Appleseed

– State of the Arts, We Are Calling, 2014

– Kabinet K, Raw, 2012

– Seppe Baeyens/Ultima Vez/BRONKS, Tornar, 2015

Policy Perspectives

A new Arts Decree -

Strategic vision development: the start of topdown arts policy?

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5 years envelope and multi-annual projects

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‘Artistic DNA’ on the basis of functions and disciplines

Matrix of functions and disciplines

performing visual arts arts development production presentation participation reflection

music

applied arts

transdiscip linary

Strategic vision development

Dance in strategic vision note Renewed focus on Institutions of the Flemish Community -

Kunsthuis / Royal Ballet of Flanders > Sidi Larbi Cherkaoui

Focus on individual artists -

Cuts in structural funding?

Increased support for international activities Impulses for distribution and visibility in Flanders -

Dance “literacy� and responsibility of venues

joris@kunsten.be hilde@kunsten.be

www.flandersartsinstitute.be

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