Inclusive collaborations in contemporary performance
The concept of collaborating should be a textbook example of uniting performers, creators, thinkers, curators and audience. In reality women, non-cis identifying people (M/F/X), people of colour and people with disabilities are still being underrepresented on stage and neglected in the audience, unless specifically targeted (and therefore labeling) events are being organized. Why do inclusive performances still demand such an effort in the contemporary performative scene?
What are possible methodologies and challenges to change the aesthetic of contemporary performances into an aesthetic of access?
How can concert houses, theatre and dance halls contribute to a more diverse, inclusive and therefore representative, programming?
What is the responsibility of the artists themselves to promote and further the accessibility of their art to underrepresented target groups?
11u Welcome by Max Greyson, researcher of CREATIE
11.15u Performance-lecture 7: Tanja Erhart (AT)
Lived experience and living the experience in inclusive dance collaborations
12u10 Performance-lecture 8: Saïd Gharbi (BEL)
Sense in the dark
13u Lunch break in Witte Foyer
13u30 Lunch concert: Sascha Bornkamp (NL) and Leonore Spee (NL)
14u45 Collaborative brainstorming on inclusive performance
How to make a contemporary performance more accessible?
Empty Mind I for flutes, live electronics and live video (2019) by Wim Henderickx
15u30 Panel with Max Greyson (BE), Patricia Alessandrini (FR), Tanja Erhart (AT) and Marcelo F. Lazcano (CL)
17u15 Keynote Max Greyson (BE)
From excellence to relevance – a contemporary approach to redefining artistic practices as a motor for a more inclusive society
18u Closing words by Ine Vanoeveren, Chair of CREATIE and Linda Jankowska, doctoral researcher of Mixed Currents