28 mars 2019 - 31 mars 2019
28 mars 2019 - 31 mars 2019

Rien sur nous sans nous


Dans un monde aussi empreint de diversité que le nôtre, l’identité constitue un sujet sensible. Lorsque nous programmons des œuvres qui touchent un groupe d’identité spécifique, tenons-nous à donner du pouvoir aux membres de ce groupe et à leur céder le contrôle ? Prenons-nous des libertés au moment de présenter les œuvres ? Qui établit les règles ? Que voulons-nous accomplir ?

Pour approfondir la discussion sur la façon de faire de la démocratie culturelle une réalité, reportez-vous à la session de travail « Démocratie culturelle en pratique ».

Surtitrage en direct en anglais.

Veuillez consulter l'accessibilité de ce lieu ici.

Hull New Theatre - Restaurant
Kingston Square
United Kingdom
30 mars, 2019 - 11:30 - 13:00

Share your ideas


image of David TOVEY

Evening everyone, 

Thought i'd post this BBC Radio4 documentary I presented last year about Outsiders. I think its very revelant to our session.



Posté il y a 11 mois 3 semaines
image of Marie-Adeline TAVARES

Morning everyone,

Thanks David Tovey for sharing !

I would like to share the Ariane Mnouchkine editorial of 22nd October concerning Kanata and the relevant definition of what an actor is by Hélène Cixous (in french).



Posté il y a 11 mois 3 semaines
image of Marie-Adeline TAVARES

Morning everyone,

I would like to share two ressources :

a book : Felwine Sarr, Habiter le monde (in french) and

our article/review about Kanata http://www.culturesendialogue.fr/kanata-un-theatre-monde/


Posté il y a 11 mois 1 semaine
image of Tarik Elmoutawakil

Hello! I will be moderating this talk. In advance of this session here are some links that to articles and videos that may inform the discussion. 

*First up, a transcription of a talk I created for IETM in 2017:HOW TO AVOID TOKENISM IN PROGRAMMING

  • * The subject of 'intersectionality' is likely to come up, if you haven't heard of the term, here is a short video explaining it.  
  • *This article highlights how structural inequlaity problems are still faced by the UK arts sector and questions the industry's more recent reliance on treating diversity as a business argument rather than a social justice one.

    *Nothing About Us Without Us is a phrase made popular by the disability social justice movement, and it has been used to highlight structural power injustices throughout social justice. Here is a TEDx talk relating to the impact of this movement when applied to the food industry. How can this be applied to your area of the arts industry? 

Posté il y a 11 mois 1 semaine
image of Tim Wheeler

I’m interested in 'following the money' in relation to this topic - when working with different groups - who gains financial benefit? 

My own background is in working with learning disabled people and the payment situations here are complicated. Currently, many learning disability arts charities employ full-time non-disabled people and only offer part-time, temporary work for learning disabled people. As a result, most of the money that funders provide does not go to disabled colleagues but to non-disabled colleagues. Often learning disabled people receive £20 a week 'top-up' on their benefits, yet they turn up on time, do a full days rehearsal, or admin work, and work unsocial hours like their non-disabled peers, who are gaining full payment. 

In some situations, learning disabled people are even paying for the opportunity to take part - they have become participants or trainees rather than artists. In the UK this is happening through a process called direct payments where a disabled person has between £35 and £50 per day from the state available to attend activities. This makes sense when someone is in training or accessing the arts as a recreational activity, but if companies use this as a way to subsidise activities, does it mean that learning disabled people can never become professional paid workers? There are non-arts organisations that successfully pay learning disabled people a living wage for the work they do. I’m not sure why it’s not possible in the arts.

Is this common in other areas other than learning disability? How do those based in different countries support learning disabled artists?

Posté il y a 11 mois 4 jours