What (artistic) perspectives do dance artists in parenthood develop during the pandemic? How can central structures (funding, theaters, venues for training and residencies) in the dance scene be made more accessible to them and new networks be established? In several LABs, the Berlin-based Ag Tanz und Elternschaft exchanges ideas with other (inter)national initiatives and artists from June to August 2022. The results will be presented at the B.A.L.L. of the Daku Fund on October 14 and 15.
- More open-format and open-results funding and less product-oriented
- Counteract culturally embedded discrimination due to pregnancy or motherhood/parenthood in the arts and cultural sector!
- Increase public visibility and information offerings for the topic of dance/art and parenthood online and offline, sustainably support/promote networking and initiatives, increase focus on female artists. Quote from Lab:
Why are mothers predominantly (almost exclusively) found in the initiatives? Because discrimination happens to mothers.
- Family-friendly work/rehearsal schedules: Take kindergarden and school schedules into account in rehearsal schedules, adapt roles and choreographies to the physical needs of pregnant women and mothers, share responsibility in projects for family-friendly conditions.
- Child/family friendly venues: Thinking about and planning for children in all (dance) venues, institutions, training, theater, rehearsal, residency venues
- Higher fees (to prevent poverty in later years, to meet the increased cost of living), review and reform of social security systems, especially for solo self-employed dancers/artists, due to predominantly non-permanent periods of employment and “gaps in income” due to parenthood/care work.
- Ban on childcare costs in artistic projects is a financial hurdle for artist mothers!
- No discrimination in funding applications in the arts and culture sector with regard to parenthood (e.g. gaps in CV due to interruption because of pregnancy and parenthood must not be a disadvantage!)
- Initiatives and networking strongly dependent on (non-) existing cultural support structures (e.g. Canada vs. India) > learning from each other!Different strategies: where state support structures hardly/not at all exist, very direct networks between women/artists are created. Direct, thus precisely fitting personal support is a plus, in countries where structures are strongly developed. There are more initiatives and already more inventory and needs analyses, thus broader visibility and information/consultation offers.