360° - Building Strategies for Communication in Contemporary Dance

What are we talking about? 
Over the three days, we focused on being close to audiences to observe, share, discuss, test ways to inform and engage them about dance.
We asked: Who are the spectators of contemporary dance today? Through a panel discussion dance audience members of varied backgrounds shared what they appreciate and what they feel as a discomfort when they see dance. As they see more dance, they recognised that they have evolved as audience members, and opened their eyes and their minds about what they see, need, and feel towards the art of dance. 

In the end, they recognised that they not only to have more respect for the work of the choreographer and the dancer, but also to defend it from prejudices and ‘distracted’ spectators. They shared how they are learning to give language to their thoughts about dance and to their feedback and also how they can share their passion for dance with others.

Being part of an intensive programme of dance events and performances at B Motion offered the possibility to encounter other dance professionals and artists active in diverse and international contexts, and to test, with some of them, our interactive communication tool, as well as some of the questions that have arisen so far in the journey of this project.

What did we learn?

It is difficult for an artist to sometimes understand the mission and vision of an institution, of a programmer, and their expectations, they seem not to be always communicated, verbalised and clarified.

What do people active in dance need? What is required by the system?

From the experience of many artists nowadays one idea often generates many different outcomes or projects.

The linear time-framed set of the roadmap did not reflect the way many dance artists envision and describe their strategies and practices.  Instead the tool should be interactive, flexible and practical!

Some artists cannot afford to employ staff members and therefore often deal themselves and alone with the needs of applying several competences and duties/roles.  With that in mind, the outline of the map is quite realistic but the question is who does what? And who makes sure that we are on track?

From the perspective of a very early career maker, there is a big difference between the commissioned work, with allocated resources, and the independent scene where some creative processes are being developed without secured resources.

The premiere of a production is not the end of a process, performances need to grow by being performed, being adjusted, and keep growing.

What will we do?
The information gathered in Bassano del Grappa highlighted the necessity to develop the idea of a more flexible, non-linear and interactive tool and prepare it for other testing opportunities.


Hazel Hodgins (Dance Ireland)
Jeanette Keane (Dance Ireland)
Roberto Casarotto (Centro per la Scena Contemporanea, Bassano del Grappa)
Alessia Zanchetta (Centro per la Scena Contemporanea, Bassano del Grappa)
Roberto Cinconze (Centro per la Scena Contemporanea, Bassano del Grappa)
Kerstin Evert (K3 – Zentrum für Choreopraphie | Tanzplan Hamburg)
Jenny Beyer (K3 – Zentrum für Choreopraphie | Tanzplan Hamburg)
Uta Meyer (K3 – Zentrum für Choreopraphie | Tanzplan Hamburg)
Elisabetta Bisaro (La Briqueterie - CDC du Val de Marne)
Daniel Favier (La Briqueterie - CDC du Val de Marne)
Valentina Toth (Hrvatski institut za pokret i ples, Zagreb)
Mirna Žagar (Hrvatski institut za pokret i ples, Zagreb)
Kristin de Groot (Dansateliers, Rotterdam)
Merel Heering (Dansateliers, Rotterdam)
Lody Meijer (Dansateliers, Rotterdam)
Peggy Olislaegers (Dramaturge and Panel Moderator)
Carla Pelusio (Local B&B Owner)
Stefania Cadore (Local Retailer)
Giovanni Fanton (Teacher)
Sabrina Venzo (Lawyer)
Claudio Brunello (Artist)
Federico Faggion (Manager - Center for people with disabilities)
Giovanni Cunico (Counsellor, Bassano del Grappa)

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