coming times focuses on three distinct curatorial axes that appear as complementary, cover the central curatorial question in various ways and offer space towards a multifaceted understanding of it. At the same time, they remain open as to what aspects and ideas they might bring out, while covering the different facets and dimensions of our field.
(1) Decolonial thinking in the field of dance:
Decolonial thinking in dance is about questioning and transforming the colonial legacy that has decisively shaped the field of dance. It involves challenging dominant narratives and practices that have marginalized non-Western dance forms, as well as the very experiences of individuals who do not come from a formal dance education. In coming times we seek a decolonial approach which can create spaces where diverse histories, traditions and bodies are acknowledged and valued. In the case of the Greek context, it is important to take into account the particular geopolitical position of the country. Its ancient Greek past is often idealized in Western thought, but conversely, Western paradigms are idealized in contemporary Greek reality. How could we dismantle the dominant narratives in dance and the wider performing arts field and move away from Eurocentrism? How could we shake up hierarchical structures, and what models and practices should we cultivate and/or adopt, in order to foster a more inclusive and equitable working environment in the dance community? In coming times, by focusing on a decolonial view of dance, we aim for a deeper understanding of the field, desiring to give visibility to its cultural diversity.
(2) Feminist models of governance:
Feminist governance is perceived as a political act. It reconsiders dominant ways of exercising and distributing power, considers accountability to the community as a fundamental principle, promotes the dynamics of pluralism for decision-making through democratic forms of organization and work, focuses on the ethics of care and egalitarianism, evaluating in each context the particular characteristics of the individuals involved and their embodied experiences. Such a form of governance contrasts with entrenched cultural models based on hierarchical structures that unilaterally determine an organisation’s strategies. Hence, in the second axis we ask: how could cultural institutions and organisations transcend established paradigms and be driven towards structural changes in the way they are organised, putting the good of the community at the centre, but also in the long term shifting cultural policies? How might a feminist model of governance embrace more marginalized artistic proposals or voices without appropriating their minority characteristics? How could we move towards a shift, through simple and meaningful gestures and decisions ‘from the bottom up’? We envision feminist models of governance that bring clear curatorial intentions into focus, recognize the dynamics of relationships between workers, community and other actors, are safe, caring and accessible. We imagine feminist models of governance that are informed by meaningful interdependence, encourange values and principles that highlight understanding, discussion, inclusion, transparency and active participation, generating a pluralistic blend of coexistence that does not favour only the few.
(3) Intersectional feminist models of (co-)labour:
In this axis we focus on and listen to the necessity for intersectional awareness in our working relations and the methodologies and tools which are needed to approach the issues and topics that fall within the overall spectrum. From which position are we speaking each time? What is the complexity of one’s experienced identity in everyday life and in the working context, especially in collaborations with others? How might we shape healthier and safer working contexts through feminist caring practices? How can labour and contribution of all working subjectivities involved within an artistic process, be given visibility, taking into account the notion of interdependence? This prism enables us to think and understand how unequal distributions of power are not due to singular categorizations of class, gender, race, geography and so on, rather it is about the relational conditions of a person’s existence. Acknowledging the experience of identity as a set of forces of oppression and/or privilege makes it easier to read the dynamics of a group as something contextual, and the urgency to shift the structures that surround us, which enforce inequitable power relations. In a collaborative setting, it allows us to reflect on the invisible hierarchy of positions, tasks and access to information and knowledge, as well as the invisible processes of work configuration. We imagine transparent feminist work models, with an emphasis on the importance of micro-political action, that are not only fair and equitable but also sustainable, collaborative and responsive to the needs of all individuals.