The conversation will be held in English.
Guests: Tjaša Pureber, Acting Director‑General, Cultural Policy Development Directorate, Ministry of Culture • Pia Krämer,a selector at the 11th Gibanica, Independent curator, former president of EDN, residence program director of Espaço do Tempo, Portugal, and coordinator of the Portuguese Platform of Performing Arts • Roberto Cassaroto, member of the Expert Committee of the 11th Gibanica and Aerowaves co-director • Jan Rozman, author of THINGING, which received the Expert Committee Best Performance Award at the 10th Gibanica, and one of the most prominent artists in the field of contemporary dance in the last few years, who is also making a name for himself abroad • Matej Kejžar,dancer, dancemaker, pedagogue, and artistic director of the Spider Festival
Moderated by: dr. Bara Kolenc, philosopher and artist
Informed, evidence‑based and inclusive cultural development policies are of key importance for the professional creation and presentation of cultural goods in the field of performing arts. The purpose of these policies is to establish a systematic and planned development so that the cultural and creative sector in Slovenia can achieve top standards comparable to European countries.
The aim of the public debate is to question the strategies of development policies in the field of contemporary dance. Are they transparent enough? What changes are there in the field of contemporary dance art funding and the renewal of tendering mechanisms? What are the strategies to support the development of contemporary dance in other countries? How do these strategies affect artistic practice?
An important milestone for the institutionalization of this field was the Center of Contemporary Dance Arts, a public institute founded in 2011 that was closed down before it began operations due to a change in government. What are the benefits of institutionalization and what are the best practices abroad?
A reform of the status of the self-employed in the cultural sector is in preparation. How can the working conditions of dance artists be improved and precarity reduced?
When will dance art be given equal status to other artistic practices?