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Artistic Development Between Necessity and Pressure Building Capacities of Artists in the Periphery of Performing Arts : Building Capacities of Artists in the Periphery of Performing Arts
Marković Božović, Ksenija
Conclusion Today, performing artists need to articulate both specific and eneric skills and knowledge roportionally. Moreover, as the degree of their peripherality on the EU common stage increases, so does the need to shape an “ideal mix” of meta-competencies and competencies closely related to the artistic field. With an “unfavourable” geographical position, being outside larger organizational structures and engaging in alternative and experimental artistic forms, there is a growing need for constant capacity building and strengthening. :is is because the choice of protean careers, i.e. orientation towards mobility, flexible understanding of roles, di'erent working contexts, self-assessment and continuous learning and skill improvement, is motivated by an internal need for achievement but is also a means of achieving resilience for these artists. Based on the findings of research— mapping a wide range of capacity-building needs for artists in Southern Europe, and considering that the current performing arts production and distribution system in Europe is geographically and sectorally (as well as genre, ethnicity, gender) imbalanced, we come to the conclusion that it is important to advocate for the creation of a fairer and more accessible “framework for people to obtain a wide set of skills, including hard skills, social, interpersonal and creative skills in order to be able to work in a multidisciplinary and diverse environment” ()*1+/*, n.d.). :erefore, the objective should be the creation of a support system that could help to address the spectrum of issues within the continuous professional development in the European PA field characterized by positions of centre and periphery, which imply the acknowledgement of the thesis that “thinking from a subaltern epistemic location” (Dragicevic Šešic, 2024, p.2) is a possible guideline for future alternative and innovative ways to develop. In this regard there is no need to strive for the creation of the singular development matrix through which the “weak become strong” by adopting globally advocated knowledge, but rather to devise various original ways to develop specific competencies that will be contextually implemented based on previously identified needs and the capacities of the artistic community. Considering that this is closely related to the needs of the (local) community, i.e. that the development of creators and the development of the audience should be complementary processes, capacity-building programmes for artists need to be planned and implemented top down and bottom up, which implies interplay between cultural policies, international recommendations and funds, local municipalities, the civil sector, professional associations, cultural mediation organizations, academic communities and artists and artistic organizations.
engleski
2024
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