as economics or politics build.

Culture ensures coherence, meaning and

A LAYERED AND DIVERSE ARCHITECTURE
shared horizons. And art is the space where the critical examination of
these shared stories can take place and where discussions can be raised
Spatial­ planning­ is­ the­ basis­ of­ each­ city:­ the­ specific­ landscape­ in­
about them. In its search for alternatives, it searches for and involves a
which all functions have taken shape. This context, the result of dec-
diverse public as critical citizens. This public function is fundamentally
ades of large and small interventions, forms the foundation of the
non-instrumental,­ but­ rather­ finds­ its­ legitimacy­ precisely­ in­ its­own­
lively character of a city. What does this context look like for the per-
logic and its own rules. But this autonomy of the arts only becomes pro-
forming arts in Flanders? Which structural and economic shifts pre-
ductive and meaningful through its interaction with the rest of society.
sent themselves? And which issues require extra attention?
If this claim is to be more than just rhetoric, the question is how
will­art­and­culture­–­in­this­case­the­performing­arts­–­will­respond­
to all social, cultural, economic and political challenges. In Resetting CURRENT SITUATION
the Stage: Public Theatre between the Market and Democracy (2011),­
Fundamental to the Flemish performing arts is their extremely solid
theatre scholar Dragan Klaic discussed this response in a broad
reputation abroad. This is much broader than the generation of the
European­ perspective,­ for­ different­ countries.4 According to him,
so-called ‘Flemish Wave’ of the 1980s, from Jan Fabre to Anne Teresa
the­ answer­ lies­ not­ in­ imitating­ (sometimes-successful)­ commer-
De Keersmaeker, which is still very successful. Also Tg Stan and lod,
cial­initiatives.­By­engaging­in­profit­maximisation­through­predict-
Peeping Tom and Sidi Larbi Cherkaoui, or the young and exciting
able forms and content, at the expense of sustainable support for
artists supported by campo and kopergietery also operate in broad
artistic development, theatre would precisely renounces its public
cross-border networks. Abroad there is sometimes talk of a ‘Flemish
role. Instead, according to Klaic, theatre must continue to cherish
miracle’. This points not only to a high density of artistic quality,
its intrinsic artistic values. At the same time, it must also continue
but­ also­ to­ the­ specific­ architecture­ of­ the­ landscape­ in­ which­ it­
to­make­its­benefits­clear­to­society:­by­developing­new­stories­and­
originates. Flanders is especially envied for the great diversity of its
a relevant repertoire, sustainable support for artistic careers, calling
houses and institutions: companies and production houses with or
into question traditional ways of producing and presenting, develop-
without their own infrastructure, art centres, art labs, management
ing new types of relationships with a changing public.
agencies, festivals, cultural centres, etc. Within this highly strati-
In an uncertain economic climate, it comes down to using such
fied­landscape,­there­is­also­constant­exchange­between­the­differ-
qualities as assets in tackling future challenges. Arts organisations are
ent players. Its horizontal, non-hierarchical architecture provides a
already working to shape that future today. In addition to and develop-
strong incentive for initiative, exchange, involvement and responsi-
ing from their artistic work, they engage in the production of meaning,
bility on the part of each player. This is what distinguishes the small
public mediation, educational and/or socio-artistic functions, interna-
city­ of­ the­ Flemish­ performing­ arts:­ its­ finely­ grained­ and­ flexible­
tionalisation­...­With­versatility­and­flexibility,­they­respond­to­diverse­
mobility plan. This city is constantly in motion.
expectations:­ artistic­ but­ also­ economic,­ political­ or­ social.­ How­ to­
Thus, its three city theatres are no longer the classic institutions
make this dynamic sustainable? And how best to harvest its fruits?
that still dominate larger countries. The city theatres in Antwerp
(Toneelhuis),­Brussels­(kvs)­and­Ghent­(ntgent) have transformed
4. D. Klaic, Resetting the Stage: Public Theatre between the Market and Democracy. themselves into open structures with room for many forms of art,
Bristol: Intellect, 2011.

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 26 27 >> TO CONTENT PAGE
JDX a public enemy – Tg STAN ©Tim Wouters
diverse functions and evolving relationships with a changing society. still draw deeply on diverse surrounding theatre, dance, visual arts
In addition to these larger institutions, midscale companies such as and music traditions. Another strength is Flemish cultural policy
t,arsenaal, Antigone or Malpertuis became open production centres itself, as a creative co-architect of this landscape. Politicians always
that establish semi-permanent relationships with a range of makers picked up quickly on new developments, but largely left the initiative
of all generations. They originated as chamber theatres in the 1950s to­the­field.­The­Performing­Arts­Decree­of­1993,­the­Arts­Decree­of­
and 1960s, today they are producing and presenting structures that 2006 and the new Arts Decree of 2013 successively placed the initiative
originate a thriving exchange between artistic evolutions and social of­the­professional­field­at­the­centre.­Organisations­in­Flanders­are­
shifts in the cities where they reside. And youth theatre is no excep- given­great­freedom­to­develop­their­activities­as­they­see­fit.­There­
tion.­ Unlike­ many­ other­ countries,­ flagships­ such­ as­ hetpaleis, is room for diversity, experimentation and development. The focus
kopergietery or bronks do not occupy a separate corner. Many is on substance, not on norms and rules governing output. This evi-
houses that focus on children and youth have an active policy of dences a mature relationship between policy and practice, an impor-
addressing­makers­from­throughout­the­field­and­encouraging­them­ tant­ precondition­ for­ the­ major,­ specific­ and­ dynamic­ architecture­
to also create for a young audience. That says much about the men- of­the­performing­arts­landscape.­Creativity­can­continually­flourish.
tality. The Flemish performing arts do not operate in separate com- At the same time, VTi’s research teaches us that a number of nota-
partments. The big need the small, and vice versa. ble metamorphoses have occurred in the performing arts since the
Since the 1980s, each generation of artists has added its own early 1990s.5­First,­the­range­of­what­is­on­offer­has­become­‘hybridised’:­
models to this architecture. There were art centres and festivals, much more diverse, with less pure theatre, with music and dance from
breeding places for international innovation. In the 1980s, interna- 1993, and less precise alignments between these disciplines. More and
tional­networks­and­umbrella­structures­such­as­VTi­(the­Institute­ more­external­contributions­–­music,­film,­visual­arts,­design,­science,­
for the Performing Arts in Flanders) also emerged. In the 1990s, col- technology­...­–­marked­the­emergence­of­what­we­call­‘performance’.­
lectives such as Tg Stan and De Roovers anchored the emancipation Even­subtle­flirting­with­circus­and­comedy­is­no­longer­taboo.­Walls­
of the Flemish actor in independent working structures. And in the fell in favour of greater interdisciplinary exchange.
last ten years, arts labs augmented the autonomous initiatives for The number of international partnerships and networks also
other functions such as presentation, distribution, public relations, increased. Today, 35% of the productions in Flanders are in part-
management­ and­ participation.­ The­ performing­ arts­ field­ gradu- nership with at least one international organisation. 46% of Flemish
ally expanded, especially dance. It is no coincidence that Flanders performances tour abroad.6 International cooperation is on the rise.
and Brussels today are referred to as the ‘Mecca of dance’. Dance This is partly due to the emergence of a European cultural policy, but
companies as well as the unique training provided by dance school also­ to­ the­ magnetising­ influence­ of­ Flanders­ and­ Brussels.­ Where­
P.A.R.T.S. attract individual talent from all over the world. Flanders in­the­beginning­co-productions­were­mainly­one-way­traffic,­with­
offers­the­kind­of­versatile­architecture­they­like­to­live­in.­There­is­
room­for­imagination,­humus­for­flowering.­
5. See J. Janssens and D. Moreels, Metamorphoses: Performing Arts in Flanders
Flanders simply does not have a Great Cultural Tradition like, say, since 1993. Brussels: Vlaams Theater Instituut, 2007 and J. Janssens (ed.) Ins &
France and Germany. Which appears to be a strength. The artistic Outs: A Field Analysis of the Performing Arts in Flanders. Brussels: Vlaams Theater
Instituut, 2011.
innovation and do-it-yourself attitude that was possible here was not
6. See also the research article by J. Janssens, S. Joye and B. Magnus below in this
burdened by the unnecessary weight of history, while makers could publication.

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foreign houses supporting the productions of Flemish makers, coop- management, or how to keep the engine of the organisation running:
eration presently also goes the other way, thanks to the increased the artistic ambitions of the artist. Together with the artist, success-
production capacity of our art centres and festivals. The world sup- ful organisations succeed in obtaining recognition and income from
ports Flanders; Flanders supports the world. Together they form one international­activities­–­according­to­the­research­a­final­important­
cosmopolitan spider web. factor that explains the success of the Flemish arts and arts policy
What­are­these­success­factors­that­have­been­so­critical­to­(inter- since the 1980s.
national) growth? This was recently analysed by economists Bart van
Looy­ and­ Ward­ van­ de­ Velde­ (KU­ Leuven)­ based­ on­ twenty­ cases­ Figure 1: Steps in the development of performing arts
from Flanders and the Netherlands in theatre, dance and music.7 producing organisations
They investigated the role of artistic vision, entrepreneurship and
policy support in the development of performing arts producers. The
Artistic vision/
starting point for a successful practice, artistic vision: the passionate passion &
story­of­an­artist­(or­a­collective)­as­motor.­Whether­that­story­can­ entrepreneurship

be­implemented­is­determined­in­the­first­place­by­selection­mech-
anisms­ in­ the­ artistic­ field­ itself­ (critics,­ curators,­ programmers),­
and the entrepreneurship of the artist. ‘Entrepreneurship must be Convince and mobilise
more broadly understood here than merely the pursuit of revenue First production(s) opinion makers
(local/international)
and­ profits’,­ say­ Van­ Looy­ and­ Van­ de­ Velde.­ ‘It­ involves­ the­ abil-
ity­to­mobilise­resources­–­with­respect­to­the­artistic­vision­–­that­ Visibility and
allow a production to come about.’ Of course, direct government sup- (international)
reputation
port through subsidies is also crucial, especially in the next phase of a
career:­‘This­role­of­(direct)­government­support­is­important­to­the­ Professionalisation
Convince
government/
continuation and growth of projects/organisations.’ Cases that no of operations
obtain subsidies
longer received government support had to stop or cut back severely.
Another success factor contributing to growth is a solid profes-
sional framework. ‘In addition to broadening and deepening net- Expand recurring
works and partners, a business framework in support of the artis- operations
(local/international)
tic activity can provide opportunities for the correct handling of the
administration.’ The Flemish performing arts certainly have not fallen
short here. Thanks to strong professionalisation, organisations are From a study of twenty cases in music, theatre and dance, Leuven economists distilled the
now run by business leaders who have mastered the art of culture following factors as determinative for the development of an organisation within the per-
forming arts.

Source: W. van de Velde and B. van Looy, Kritische succesfactoren van de Vlaamse kunsten.
7. W. van de Velde and B. van Looy, Kritische succesfactoren van de Vlaamse kunsten. Cases uit de muziek-, dans- en theatersector. [Critical success factors of the Flemish arts:
Cases uit de muziek-, dans- en theatersector. [Critical success factors of Flemish Cases from the music, dance and theatre sector]. Leuven: KU Leuven, 2013.
art: Cases from the music, dance and theatre sector]. Leuven: KU Leuven, 2013.

30 31 >> TO CONTENT PAGE

 32 33 >> TO CONTENT PAGE
Vortex Temporum – Rosas & Ictus © Herman Sorgeloos
Summarising, Van Looy and Van de Velde state that structural sub- Culture,­which­examines­the­effects­of­the­new­Dutch­cultural­policy­
sidies and the associated development of a professional framework after subsidy cuts of 200 million euro to the arts budget. ‘The public
are essential to the continuity of artistic initiatives. The artist-driven resources available for the arts and cultural heritage have declined.
approach to Flemish arts policy was also found to be crucial. By valu- The­hope­was­that­this­would­be­offset­by­greater­private­resources.­
ing the artist’s own initiative more than strict performance require- But­despite­great­efforts,­this­has­not­happened.­The­trend­(also­inter-
ments, Flanders is even able to allow its arts to perform more and nationally) is that sponsorship of art and culture is declining, and
better­than­in­countries­that­chiefly­measure­output.­Not­only­artisti- that cooperation between business and art institutions is becoming
cally, but also economically. Recent studies teach us that the income more complex. Private donations are decreasing, but patronage and
earned by multinational organisations typically is much higher crowdfunding seem to be growing somewhat. In general, however,
than the legally required standards.8 The internationally acclaimed the picture of private funding is anything but positive. [...] Incentives
‘Flemish model’ builds on the changed role of subsidies. The previ- such as the Gift and Inheritance Tax Act have not been able to com-
ous­‘compensation­for­a­deficit’­has­evolved­into­a­lever:­core­fund- pensate for this.’9
ing that makes it possible for an organisation to develop the neces-
sary continuity and go in search of additional resources via partners
NOTABLE TRENDS
at home and abroad.
‘Continuity and growth appear to be possible only by combining The mentioned success factors of the Flemish arts are today under
artistic­vision­(uniqueness)­and­entrepreneurship­(including­its­pro- increasing­ –­especially­economic­ –­pressure.­This­can­ be­seen­espe-
fessional support) with structural subsidies ‘conclude Van Looy and cially in the production curve. After increasing growth in the 1990s, the
Van de Velde. ‘Evolving in the direction of operations that are fully curve slowed and consolidated after the millennium change, with eco-
supported­by­the­“market”­(ticketing,­buy-out­fees,­patronage,­spon- nomic­fluctuations­(cf.­p.­102).­The­purchasing­power­of­many­organi-
sorship) seems only possible if one resolutely leaves behind artistic sations also decreased at precisely the same time. Overall subsidy sup-
niches and opts for a broad, accessible repertoire. But even if this port for the performing arts remained more or less guaranteed, but
path­is­taken,­a­profitable­operation­(combined­with­certain­econ- recent­policy­decisions­resulted­in­the­financial­strength­of­perform-
omies­of­scale)­is­not­easy­(see­in­this­regard­the­findings­from­the­ ing arts organisations falling sharply. Thus in 2015, the government
market cases). Note in this regard that when this happens, artistic supports more performing arts organisations than ever via the Arts
organisations also give up their creative, “meaning creating” role, Decree­(45%­more­than­in­2001).­At­the­same­time,­the­average­subsidy­
which can be seen as an impoverishment with respect to innova- amount­has­dropped­significantly.­At­the­end­of­September­2014,­the­
tion.’ In short: banning the performing arts to the market means a Flemish Government announced a linear reduction of 7.5% for most
substantial impoverishment for society. organisations covered in the Arts Decree. This means that the average
We­read­a­confirmation­of­this­conclusion­in­the­recent­‘Cultuur- subsidy­amount­(median)­in­absolute­figures­is­now­32%­smaller­than­
verkenning­ [Culture­ Exploration]’­ (2014)­ by­ the­ Dutch­ Council­ for­ in­2001­(and­even­48%­smaller­if­we­include­the­rising­cost­of­living­via­

8. Janssens, (ed.) Ins & Outs: A Field Analysis of the Performing Arts in Flanders.
Brussels: Vlaams Theater Instituut, 2011 and D. Hester (ed.), Kunstzaken. 9. Raad voor Cultuur, De Cultuurverkenning. Ontwikkelingen en trends in het
Financiële en zakelijke modellen voor de kunsten in Vlaanderen [Art business: culturele leven in Nederland. [Culture exploration: Developments and trends in
financial and business models for the arts in Flanders] Brussels: KWARTS, 2013. cultural life in the Netherlands]. The Hague: Raad voor Cultuur, 2014: 19.

34 35 >> TO CONTENT PAGE

600 1993-1997 1997-2001 2001-2005 2005-2009 2009-2013

400
>7 creations 4-7 unique creations 2-3 unique creations
200
0
1993-1997 1997-2001 2001-2005 2005-2009 2009-2013
the national Consumer Price Index). Fragmentation threatens, espe- Especially­internationally,­the­financial­and­economic­crisis­is­result-
cially at the bottom4-7
>7 creations ofunique
the pyramid:
creations the purchasing power of the small-
2-3 unique creations ing in shrinking production
studiostudio 2 and programming budgets, so that more
est subsidy amount fell by 63% between 2001 and 2015. and­more­partners­are­needed­to­finance­productions.­At­the­same­
tekst in Word te maken in Indd OK
Project­subsidies­are­also­no­longer­sufficient­to­make­production­ time, the contribution in the case of a ‘co-production’ has become
possible, as they were in the 1990s. They must be supplemented by much less. This is not strictly a Flemish phenomenon, but also inter-
studiostudio
(increasingly­ 2
smaller)­co-production­ funds­ from­ever­ more­ players­ national. Co-production contributions increasingly consist merely
tekstthese­
while,­ in Word tethemselves­
players­ maken in are­Indd OK
have­ increasing­ difficulty.­ The­ of ‘higher buy-out payments’ or compensation in kind, in exchange
market is becoming very competitive. for credits in the communications. Growth in the number of for-
studiostudio
eign presentations3of Flemish productions halted a few years ago, as
can­be­seen­in­the­analysis­of­the­figures­based­on­the­VTi­database­
later in this publication. After a sharp drop in 2009-2010, the num-
Figure 2 and table: The declining purchasing power of 150%

studiostudio 3 2001-2015 bers are again increasing, but are still below the level of 2008-2009.
structural subsidies
132%
125%

150% This table and graph illustrate the evolution of the multi-year subsidies for performing arts
100%
organisations since 2001. The number of performing arts organisations is increasing faster
99%
131%
132% than the total budget; furthermore, cuts were made in 2010 and 2011, and a linear reduc-
120%
120% 117% 75%
tion of 7.5% is planned for 2015. The graph applies a correction based on the Consumer
114%
Price Index (CPI) to the absolute figures from the table. This shows that the average73%pur-
105%
111% 112% chasing power of a performing arts organisation (at least via the Flemish subsidy) has
100%
91%
97% 50% dropped significantly since 2001. After the increase in 2013, the lowest subsidy amount
90%
88% drops after the recent decisions in 2015 to a record low. 41%
69%
80%
65%
70% Source: Vlaams Theater Instituut and Agentschap Kunsten en Erfgoed.
2001 2006 2008 2010 2011 2013 2015
66% 66%
60%
59%
52% median (correction CPI)
highest amount (correction CPI)
37% lowest amount (correction CPI)
30%
2001 2006 2008 2010 2013 2015 evolution in CPI compared to 2001

median (correction CPI)

highest amount (correction CPI)
lowest amount (correction CPI) 2001 2006 2008 2010 2013 2015
evolution in CPI compared to 2001
number of organisations 73 84 studiostudio
87 4a 100 94 107

total subsidy € 41,051,762.62 € 48,245,000.00 € 50,732,178.32 € 57,775,000.00 € 54,687,000.00 € 52,071,025.00

median subsidy amount € 446,208.34 € 395,000.00 € 341,690.48 € 350,000.00 € 382,500.00 € 305,250.00

studiostudio 4a
lowest subsidy amount € 99,157.41 € 100,000.00 € 80,463.31 € 70,000.00 € 90,000.00 € 48,100.00
Publieksvoorstellingen podiumstructuren 2010-2012
highest subsidy amount € 2,376,059.43 € 3,000,000.00 € 3,098,364.81 € 3,000,000.00 € 3,000,000.00 € 2,775,000.00

Value CPI (2013: 100) 76.14 84.54 88.92 91.54 99.37 100.72

170
Publieksvoorstellingen podiumstructuren 2010-2012 1%
3,265
13%
36 37 >> TO CONTENT PAGE

170 7,493.5
3265 1% 31%
13%
The diversity in venues and the number of countries where Flemish was­limited­to­rather­technical­and­administrative­suggestions.­How­
companies present are also decreasing. In the 2008-2009 season, does the government view the international reputation of the per-
Flemish­productions­played­on­595­different­stages,­in­354­cities­in­50­ forming arts in its full policy?
different­countries.­One­season­later,­they­played­on­only­545­stages,­ An equally acute concern for producing organisations is tour-
in­340­cities­in­40­different­countries. ing in Flanders. Especially the link to the network of cultural cen-
Certainly the developments in neighbouring Netherlands deserve tres­–­a­unique­characteristic­of­Flemish­performing­arts­architecture­
attention. The Netherlands had always been the most important –­ is­ starting­ to­ weaken.­ Performing­ arts­ presentations­ in­ Flanders­
sister country for Flemish performing arts. At that time, exchange take­ place­ in­ two­ circuits,­ each­ of­ which­ is­ supported­ in­ a­ differ-
with­the­Netherlands­was­a­significant­inspiration­and­driving­force­ ent way. Theatres, art centres and festivals are supported by the
behind the ‘Flemish Wave’ of the 1980s.­ Our­ figures,­ which­ unfor- Arts Decree, and these in turn both produce and present. Most Arts
tunately do not go back to that mythical period, show an alarming Decree­organisations­are­located­in­the­larger­cities­(Brussels,­Ghent,­
trend in the export of Flemish work to the Netherlands. Between 2001 Antwerp). The cultural centres on the other hand can be found in
and 2012, the number of Flemish performances in the Netherlands thirteen other cities and many smaller cities and towns. Their activ-
decreased­by­one­fifth,­the­number­of­venues­by­one­fourth,­and­the­ ity­is­largely­financed­by­cities­and­municipalities,­and­in­part­by­the­
number of cities and municipalities by more than a third. This is Flemish government through the Local Cultural Policy Decree. Their
clearly an impoverishment. At the same time, there are more co-pro- mission is more than the mere presentation of art. It also encom-
ductions­with­Dutch­organisations­than­ever.­Heavy­cost­cutting­in­ passes participation and community building.
the Netherlands has much to do with this. The current pressure on Although conclusive data on the global distribution of the per-
production and programming budgets in the Netherlands makes co- forming arts is not yet available, we know that companies with multi-
production not only more attractive for Dutch companies, but also year support in the period 2010-2012 presented almost one third of
necessary. Moreover, such Flemish-Dutch partnerships occur very their performances abroad, a third of their domestic performances
often in ‘multinational’ ventures, sometimes with the support of at­ Arts­ Decree­ organisations­ (theatres,­ arts­ centres,­ festivals),­ and­
European cultural programmes. slightly­more­than­one­fifth­in­a­cultural­centre.­However,­the­distri-
In short, we see a downward trend in the international touring bution­of­dance­is­quite­different­from­that­of­theatre­and­music­the-
of Flemish productions. Contributing to this is not only foreign cost atre. Dance structures present 72% of their work outside of Flanders,
cutting; domestic cost cutting in the project-based international and­only­3%­in­the­cultural­centres­(see­Figures­3a­and­3b).­Thus,­ini-
resources­of­the­Arts­Decree­(from­2010)­probably­also­had­an­impact.­ tiatives that promote the presentation of dance in the cultural cen-
More than 1.3 million was distributed in 2007; in 2010, this budget tres are highly recommended.
shrank­to­below­700,000­euro­(in­2012­it­rose­again­to­966,530­euro).10
Yet there is a need for a more focused substantive vision of the inter-
national dimension of art and culture. In 2012, a policy letter on inter-
national cultural policy was issued by the Minister of Culture, but it

10. The sources for these figures are the annual reports of the Agency for Arts and
Heritage, which can be found at [Link].

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studiostudio 4a

studiostudio 4b
Figure 3a: The distribution of presentations
Publieksvoorstellingen of multi-annually
podiumstructuren 2010-2012 Figure 3b: The distribution of presentations of multi-annually
funded performing arts organisations 2010-2012 (for theatre, Publieksvoorstellingen
funded dance dansstructuren 2010-2012
organisations 2010-2012
dance, and music theatre)
170 73 28
1% 84 3% 1%
3,265 3%
13%

7,493.5
31% 576
21%

5,656
23%

1,996
72%

7,888.5
Abroad Abroad
32%
Arts Decree venues Arts Decree venues
Cultural centres Cultural centres
Other (Flanders) Other (Flanders)
Unknown Unknown

Where did the multi-year subsidised performing arts organisations (dance, music, theatre)
present their performances in 2010-2012? This graph shows the proportion of the Arts
Decree venues, the cultural and community centres, other Flemish locations, and those
abroad. The distribution of dance productions differs significantly from the distribution of
the whole of the performing arts, where the sub-sectors and music theatre count heavily.
Dance structures present 72% of their performances outside Flanders. They are seen to a
studiostudio 6
lesser extent in the cultural centres (3%), where music theatre and theatre are very active.
While there are more and more interdisciplinary productions, differences between the
traditional sub-disciplines remain.
studiostudio 4b Source: Agentschap Kunsten en Erfgoed. These figures cover the public performances of
100%
multi-year supported theatre, dance and music theatre for the period 2010-2012. They are
90% based on data collected by the Ministry for Culture (Agency for Arts and Heritage) and
Publieksvoorstellingen dansstructuren 2010-2012
80% were provided by the multi-annually subsidised companies in the context of their legally
required reporting via the annual operating reports.
70%

73 28 60%
84 3% 1%
3%
50%
40 41 >> TO CONTENT PAGE
40%

30%
576
21% 20%
But also many theatre organisations are seeing their performance But these solutions do not immediately increase their visibility among
series­in­the­cultural­centres­shrink­so­significantly­for­2014-2015­that­ the mainstream public at the cultural centres. It is expected that a few
some fear for the end of the distribution model that has developed in companies will face problems in the coming years.
Flanders over forty years. An even stronger decline is predicted for the
2015-2016 season. Diverse factors play a role. Cultural centre program-
CHALLENGES, ALSO FOR POLICY
mers are faced with an abundance of choices and not enough time
to follow multiple sub-disciplines. Often their programming budgets 1) A diverse and layered performing arts landscape
are dwindling while performance fees are on the rise. This increases
One­of­the­main­issues­is­safeguarding­the­internal­dynamics,­flexibil-
the pressure to break even with each performance, at the expense
ity­and­versatility­of­the­performing­arts,­while­past­financial­growth­
of the risks associated with young and lesser-known work, or more
scenarios are no longer possible to the same degree. In fact, precisely
hybrid works that do not meet the once dominant format of the full-
these economic pressures threaten to weaken the strengths of the
length performance. On-location projects are often found to be inter-
Flemish­ performing­ arts­ architecture.­ How­ to­ maintain­ a­ balance­
esting­–­in­part­because­they­can­excite­different­audiences­–­but­their­
between­the­big­names,­the­influx­of­new­talent,­and­that­which­lies­
performance fees are high and the production requirements heavy. In
between? Between management of proven quality and stimulating
all­areas,­TV­personalities­offer­greater­certainty.­Even­more­certainty­
new developments and models? Choosing more carefully between
than the traditionally trusted companies in the cultural centre circuit
the ‘good’ and ‘bad’ seems a logical answer, but that luxury is scarcely
such as t,arsenaal or Zuidpool.
possible in Flanders. It is no exaggeration to say that today, making
A paradox threatens with respect to government policy. New devel-
choices comes down to choosing between ‘strong work’ and ‘strong
opments precisely promoted by the Arts Decree and the arts centres
work’.­ (Earlier­ assessment­ procedures­ showed­ that­ there­ was­ not­
(Flemish­government­level)­are­less­often­chosen­by­the­network­of­
enough budget to support all of the positively valued initiatives. This
cultural­and­community­centres­(local­policy­level).­This­makes­it­dif-
is more than ever the case after the recent cost cuts.)
ficult­to­reach­audiences­outside­the­larger­cities­to­the­same­degree.­
What is clear is the goal: sustainability over continued growth
Artists and companies are looking hard for solutions to the dwin-
and the pressure to perform. As in society at large, in the arts there
dling­ opportunities­ to­ present,­ especially­ if­ they­ are­ financially­
is a call for moving slowly, as a prerequisite to investigating new cre-
dependent­ on­ sufficient­ venues.­ A­ limited­ number­ of­ larger­ com-
ation, production and presentation models, and to test other rela-
panies­are­still­able­to­offer­a­diverse­range­of­productions­for­small,­
tionships to society. Transformation begins with time and space,
medium­and­larger­venues.­The­distribution­difficulties­are­felt­less­
with oxygen. The future is uncertain, the path unknown. In other
in this segment. Others are investing more in international activity.
words,­transformation­demands­uncertainty,­risk,­inefficiency,­ser-
Still others are themselves creating opportunities to present. Thus
endipity.­It’s­up­to­players­in­the­sector­to­engage­in­sufficient­self-
in recent years, more and more theatre companies are making their
questioning and criticism at both the artistic and organisational
infrastructure available for presenting the work of colleagues. And
level. But it is government that must help provide the space and
younger artists are organising presentations themselves and creating
conditions for this.
informal presentation platforms, sometimes even in people’s homes.

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