Who cares who's watching? - Open Discussion

With artists & producers: Angela Alves, Jenny Beyer, Anna Kempin, Anne Kersting, Godlive Lawani, Sheena McGrandles, Hannah Melder, Antje Pfundtner, Line Rousseau, Rui Silveira, Stephanie Thiersch, Ursina Tossi, Charles Washington
Moderation: Felizitas Stilleke

This event is part of Kreativ-Transfer in cooperation with the Goethe-Institut, Antje Pfundtner in Gesellschaft and the above-mentioned dance professionals producing in Germany. The idea for this discussion came up within an exchange group on the topic of "distribution" around: Antje Pfundtner in Gesellschaft (Anne Kersting, Hannah Melder, Antje Pfundtner), Jenny Beyer, Josep Caballero Garcia, Fabrice Mazliah, Sheena McGrandles, Stephanie Thiersch, Ursina Tossi, Elke Weber and Katharina von Wilcke.

Together with Kreativ-Transfer, the funding programme of the Dachverband Tanz Deutschland, and Goethe-Institut dance professionals are discussing the visibility of their work: What does it need to ensure that productions don`t disappear again immediately after production? More stages, more platforms, shared performances or feature models? And who takes responsibility for ensuring that they remain visible? And can increased (international) visibility only be achieved through (international) guest performances and touring?

The compulsion to produce contradicts the mission of sustainability - this seems to be accepted and consented by now. But how can sustainability function as repetitive and self-determined artistic practice? Are artists able to position themselves on the market with the distribution of their works by not leaving the touring policy exclusively to the inviting institutions? What are future production and dissemination channels for art and how can the sustainable claim of more touring, instead of always producing anew, be reconciled with the fact that there are not enough stages for everyone?
Alongside these urgent questions about touring in Germany, a group of dance professionals invites you to discuss both the respective scope for action of dance professionals themselves and the federalist funding and theatre structures designed for overproduction.