Strengthening the impact of dance artists through continuity in funding!

and

Empowerment for more self-determination!

These are headings that we find unmistakable and can be summarized by the results of our joint work at Barcamp 23.

In order to implement these findings, it is necessary to rethink and redesign funding concepts, structures and strategies in order to improve the self-efficacy of artists. The dance scene itself must be strengthened in order to represent its interests more actively to funding bodies.

Some of the 28 working sessions held at Barcamp 23 on October 13 and 14 resulted in concrete demands, others in highlights, perceptions of working conditions and developments from which concrete calls for action can be derived.

 

Concrete demands that we have heard:

 

Cultural promotion is a duty and not an optional extra!

The promotion of art and culture should be enshrined in the Basic Law as a mandatory task at federal, state and municipal level and should no longer be seen as a voluntary service. This also includes the responsibility to ensure that lower limits for fees are reliably implemented and further developed.

 

'Continuity' is included as an important criteria in funding concepts!

Longer-term planning is strategically promoted, enabling audience development and an entrepreneurial approach. Workloads and the dangers of 'burn-outs' can be countered more adequately. To this end, the entire production process is to be recorded and supported: Research, production, presentation, touring, further development and resumption as well as the development of structures.

 

Application procedures follow the working methods of artists and are adapted accordingly!

Access to funding is achieved by removing barriers, e.g. by

  •     designing accessible application procedures
  •     expansion of funding criteria
  •     establishing funding programs that are adapted to the requirements of specific dance disciplines - e.g: Urban Dance, emerging artists, mid-career artists, dance in old age, BIPoC
  •     transparency of criteria/requirements
  •     raising awareness of application procedures among administrations and other funding bodies

Costs for access should generally be structurally integrated, application procedures should be redeveloped accordingly.

 

Society is becoming more diverse and must promote a broad spectrum of different dance cultures!

Funding should be accessible to all dance professionals, including BIPoC artists, artists in exile, artists from different dance cultures and from different age groups.  Examples:

  • Urban dance can be recognized as an independent art form through specifically tailored funding structures. Urban dance reflects the diversity of society, is low-threshold and reaches a new audience. Lean, open structures can support the exchange of urban dance art with established venues for mutual benefit.
  • Equal rights can be established for BIPoC artists by offering them opportunities to curate, e.g. conferences, funding programs, presentation formats.
  • Artists who are in exile in our country should be given the opportunity to continue their work, to find uncomplicated access and to become visible. In order to achieve this, structures must become more recognizable. Processes relating to curation and production must become more transparent. funding structures must be created explicitly for these artists and decision-making positions must be competently filled.
  • Adequate funding will give dance in old age a new perception. Dance in old age has a political dimension because it questions the role we assign to people. It opens up new qualities of expression and encompasses all areas of work: active dance, dance education, further training, ...

 

Permeability between independent dance professionals and permanent ensembles/theaters creates added value!

The promotion of networking/cooperation between permanent venues and their ensembles, INTHEGA venues and independent producers enables permeability. This can only be achieved through additional funding, simplification of procedures, reduction of bureaucratic hurdles, more freedom in the organization of collaborations (examples: Tanzpakt Stadt-Land-Bund, Tanzland).

 

'Dance in area regions' must be developed further!

When art leaves the 'safe spaces' (urban space), networking and knowledge transfer are a prerequisite: costs for advice, support, security (!) etc. must be funded (also by ministries other than only the arts).

 

Modern dance has been recognized by UNESCO as a cultural heritage of humankind.

Funding is required for a specific further education every two years in order to keep the discourse on this important dance cultural form of expression alive.

 

Here are highlights of perceptions and self-perceptions from which demands are derived:

 

Empowerment of artists is urgently needed!

  • The relationship with the 'gatekeepers' should be redesigned so that the interests of artists can be taken into account. More partnership is needed, less hierarchy and bureaucracy
  • More transparency is needed in all processes, more knowledge, more understanding - and less discouragement.
  • The topic of 'training' needs more attention. Here formats for the exchange on the HOW should be further developed.
  • Qualification is a key to empowerment - e.g. through formats for knowledge transfer (on fee issues, entrepreneurial issues, safeguards, ...), workshops, resilience training. Artists should be empowered so that they can stand up for their own interests more actively.

 

Developments must be driven forward because circumstances are evolving!

(Digitalization, diversity, access, social expectations of art and artists, ...). In terms of content, this includes a challenge to the active participants themselves to develop further.

  • The long-established structures at permanent venues can tolerate a 'change'. The integration of the independent scene into the working structures would make this possible.
  • The importance of dance for social processes, its identity-forming potential, is undisputed and must be made more visible. To this end, the exchange between those active in the field and decision-makers must be intensified.  Low-threshold participation can be achieved through professional formats/offers in public spaces.
  • Networking and a closer exchange of active dancers with politics, administration and the business community are necessary.
  • The role of journalism is changing - it is not a service provider, but a media companion. 'Involve media representatives more closely in strategic planning and conceptual work, provide information as early as the planning phase!‘
  • Society is becoming more diverse - institutions must become more open or present their position on diversity more openly.
  • There is an abuse of power in dance. Protected spaces are needed where this can be talked about and the abuse can be exposed. Substantial changes only come about when structures are developed in work situations that make the abuse of power less likely.