An invitation to an open dialogue

Anne Teresa De Keersmaeker (Rosas) reacts herself to Esther Severi's open letter about the future of Kaaitheater. ‘It was my sense of concern that underlay some of the exploratory talks with the Kaaitheater’s board of directors. The question arose as to whether it would be desirable for the means acquired by Rosas to be secured for new generations of choreographers and dancers.'

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In January, Kaaitheater’s board of directors invited me for a meeting. They had asked me about ideas concerning Kaai’s possible future and what place the relationship between Kaaitheater and Rosas, which started in 1983, would take in it.

I suggested there should be an open candidacy to make sure a new management team could develop a vision for the coming decades. How should an institution subsidised by the Flemish government, which primarily wants to be a House of Living Art, profile itself within the complexity of the metropolis of Brussels?

Considering the point at which I find myself in my artistic trajectory, the priorities become more clear-cut.

At the same time, previous discussions were underway within Rosas about the dance company’s future. Considering the point at which I find myself in my artistic trajectory, the priorities become more clear-cut. The combination of creation and repertoire continues to be my first choice. But one does think about what comes afterwards: “What will remain when you are no longer here.”

There was concern about a possible repetition of the scenario that played out when Maurice Béjart left De Munt in 1987: with each successive management in the decades after, financial means for dance systematically declined, to the point that they almost vanished.

The question arose as to whether it would be desirable for the means acquired by Rosas to be secured for new generations of choreographers and dancers. In the same way Rosas made a concerted effort in 1995 to establish P.A.R.T.S., we asked ourselves the question of how Rosas and I could contribute to the consolidation of the prosperity that contemporary dance has been enjoying over these past few decades in Belgium, Flanders and Brussels.

There was no concrete plan. That was something to be arrived at together, if deemed desirable.

P.A.R.T.S. also finds itself at a crossroads. The departure of Theo Van Rompay and the transfer to Charlotte Vandevyver is a confirmation of what P.A.R.T.S. has always aspired to be: a place for new generations. The extension to the infrastructure at the Van Volxemlaan happens for their sake: for STUDIOS, the new second-cycle programme at P.A.R.T.S. working exclusively on new choreographic practices of young makers. This extension is financed by the Department of Education.

Furthermore, there will be new rehearsal studios and offices for the Ictus music ensemble. Only a small part is destined for additional Rosas facilities. Even today, Rosas opens up its infrastructure to other choreographers as much as possible through WorkspaceBrussels, Summer Studios and Dancingkids.

Within the Rosas dance company, finally, concrete plans are being made to give space to different young choreographers to create new independent work.

It was my sense of concern that underlay some of the exploratory talks with the Kaaitheater’s board of directors on the value of and opportunity for these ideas. Was there a way for these three organisations to enhance each other? Enhance from the idea that everybody keeps their autonomy, looking for common fields of activity where we can join forces.

There are opportunities aplenty. The question of how best to articulate these alliances, based on equal partnership, was completely open. There was no concrete plan. That was something to be arrived at together, if deemed desirable.

It pains me to see this debate on the future degenerate in this way, driving a wedge in a community of artists in these times of political upheaval.

When the first signs appeared that the internal situation at Kaaitheater was getting strained, Rosas and P.A.R.T.S. jointly decided to discontinue all talks to allow for a serene debate. We decided to await the arrival of a new management at Kaaitheater. On Friday 24 May, five days before the publication of the open letter in Rekto:Verso, we informed the board of directors of Kaaitheater of this decision.

Esther Severi published her open letter a few hours before the première of Somnia, an intense creative project presented by Kaaitheater itself. This was a particularly unsettling experience, for the PARTS students as well as for the team and myself.

Transparency is in the interest of all, from larger to smaller players. Preferably, however, this would be done without hearsay, rumour and speculation. This can be avoided by requesting information rather than guessing intentions or attributing blame. From within Rosas and P.A.R.T.S., we are and will always remain happy to talk.

It pains me to see this debate on the future degenerate in this way, driving a wedge in a community of artists in these times of political upheaval. To assure that Kaaitheater and the sector as a whole weather the coming storm, Rosas and P.A.R.T.S. will refrain from any further comments on this matter. The procedure will run its course. In the meantime, we are always open for discussion.

Anne Teresa De Keersmaeker

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