Practices of organising performing arts evolve from the doings of artists and institutions that actively and radically re-invent how they work. Understood as practice, organising becomes an activity that matters who is doing it and how. This is not informed by pre-existing organisation models, but rather by the values and beliefs the people doing the organising wish to prioritise, and the attitudes and choices that result from that.
Through this research I intend to articulate and stimulate ‘new’ practices of organising performing arts, and I do this from within. Being part of the local performing arts scene that I look at, I decided to shape my research through the continuation of my artistic practice, and made my collaborations (Veem House, MOHA, Platform-Scenography) the subject of my study. By co-developing and mapping inspiring ways of organizing performing arts, I intend to make the knowledge they produce, performable and liveable for a larger field of people that are trying to change their ways.
Using the practice of dramaturgy, I am interested in finding modes of organising artistic work that move from the condition of precariousness into more sustainable ways that are based on interdependency. As ‘we are the weavers, and we are the woven’ (I. Stengers), we are also responsible for what we today realise to be ‘weaving-flaws’ in the systems underlying our ways of being. We depend on each other for unravelling and repairing these, or weaving new patterns all together.