The three conversations of the talk serie “Partners in or off the ship? Creating space for dialogue on international partnership.” emphasize the importance of dialogue in international partnerships, particularly in the context of performing arts organizations. They highlight the role of principled negotiation, Track II diplomacy, and complex interdependence in fostering trust, resolving conflicts, and advancing common interests. Performing arts organizations can enhance their mutual interdependence and promote sustainable development by creating spaces for dialogue on matters of the creative sector.

Ethical considerations in international partnerships are crucial for trust building, reputation management, legal compliance, sustainable relationships, cultural sensitivity, risk management, corporate social responsibility (CSR), and partners' and artists' morale. Examples of ethical considerations in international partnerships include fair labor practices, transparency, respect for local laws and customs, anti-corruption measures, and environmental responsibility.
By prioritizing ethical behavior and contributing positively to the global creative sector landscape, performing arts organizations can achieve long-term success and contribute positively to the global creative sector landscape.

With: Charles Etubiebi, Gerald Odil Ronnie & Nora Tormann

Safe and brave spaces are essential for providing secure and empowering environments, rec-ognizing that complete risk elimination is not possible. They encourage courageous conversa-tions and actions, promoting personal and collective growth. Establishing these spaces in educa-tional settings fosters social justice and inclusive learning, utilizing transformational leadership. They also play a significant role in performing arts, the creative sector, and community devel-opment. Initiatives like the Creating Brave Spaces workshop address microaggressions, while urban planning strategies aim to enhance security and livability. By embracing these concepts, performing arts organizations and communities can work towards creating environments that prioritize safety, equity, and courage, leading to positive social change and collective well-being.

 

Establishing A Safe (and Brave) Space in Performing Arts

A safe space is essential for meaningful partnerships, allowing expression, collaboration, and mutual understanding. Originating in the 1930s in gay bars the United States, it refers to a physical environment free from harassment and threats, where like-minded individuals can gather. A safe space ensures equal human treatment and promotes authenticity, which enhances vulnerability. In a safe space, open and honest dialogue from various perspectives is encouraged, fostering learning and mutual understanding. Nonetheless the original bars occasionally were railed by the police with intense violence. A certain, often self-organized community is crucial in creating a safe space, as it involves shared values, purpose, and communal culture. Understanding the power of community and the reason for coming together is vital to creating a safe space. The community is a resource, considering the partners involved and their varied contributions. Embedded in the community is communal care, a shared responsibility that connects all and gives a larger sense of purpose. Vulnerability is essential in creating a safe and brave space, as it allows people to contribute meaningfully and be vulnerable. Modeling vulnerability in a creative process shows that others can learn from one another about other cultures and relate better. In international cooperation and partnerships, modeling vulnerability shows that others could learn from one another about other people's cultures and relate better. Shared Values play a significant role in international partnerships, including vulnerability, care, accountability, and responsibility. These values are modeled as guiding principles for social engagement, respecting people's expertise and experiences, and demonstrating transparency in project implementation and monitoring processes. Transparency guarantees understanding and good working relationships. The need to create safe and brave spaces is urgent and essential, as institutions may claim to provide conditions for a safe space but the risk is there that they fail to acknowledge power dynamics not implemented in the setup.

During the talk the speakers gave examples of how they work on creating and holding a safe space within their respective communities and working environments. 

The artist and curator Gerald Odil Ronnie described this praxis as followed: 

“It was about having space for people to collaborate and have conflicts on what these values mean to them. That meant there was no singular role, but we were all accountable. There were collaborators, and each party had an equal say and stakes in the project. We hosted a quarterly series of art exhibitions, performances, visual exhibitions, and other collaborations. It became clear to us that conflict brought richness to the partnership. We were queer people hosting a queer event in the middle of Kampala city. We had the people and police to worry about, but working with people, who understood the vulnerability of space, and the potential of conflict helped. It was about communicating with people, who may not realize what queer lens performance would look like, or experiments, the artists have been working on.” 

Safe and brave spaces consider as well the limitations imposed on oppressed artists or in war zones, like Gaza, where no artist in that zone is secure. In this context, the question arises how (cultural) institutions outside of war and crisis regions can contribute to maintaining the bravest possible spaces for open exchange and conversation. How do institutions deal with cultural policies within their respective governments? And how do artists inside and outside of institutions deal with the practices? The government's requirements drive most organizations funded by the government. Institutions are very often in the role of becoming the mediators between funders and beneficiaries. Through such dialogue, the organizations could deliver a platform that demands safe and brave places. Artists must be willing to experience the discomfort of addressing these issues of differences and concerns to ultimately work towards the change that translates into safe and brave spaces.

 

With: Aganza Kisaka, Alex D. Loo & Jeff Fagundes

Care in artistic practices involves creating a conducive environment, mutual sharing, and attending fellow artists' shows to affirm their work and show that it matters. Artists must learn to appreciate the beauty of their work beyond their functions and receive constructive feedback on their work. Caring for the audience involves creating works that address specific needs and treating people right. This process educates the audience and empowers them to take responsibility for societal issues. Artists must understand that care is necessary and a privilege, and they should be cautious about the people they surround themselves with. Frustrating feelings of care can arise when the culture is all about care, especially when society's culture is all about care. Balancing care practice with “KPIs” and deliverables is essential, as it helps artists recognize that fear is a normal part of the process and validates these experiences. This approach helps transform fear and emotion into action, such as using fear and rage as powerful tools for protest. Caring for the caregiver is crucial, as not all work is important, but all work is meaningful. Artists must prioritize rest in the creative process, as it is vital for the creative mind to work efficiently. Frequent check-ins with themselves and the team can help address frustration and ensure a safe space with a personal atmosphere of care.

Practicing care in international cooperation is essential, as it involves navigating language and cultural barriers, communicating needs, and making room for flexibility. It is important to ask partners about their preferences and schedules and to consider whether they want to work at a more relaxed or acclimatized time.

Working with people from other countries requires understanding their communication styles and understanding their cultural place. Artists should be self-aware of their contributions to the world's cultural production and be gracious in asking questions that make them comfortable. Their unique perspectives on international cooperation in the Performing Arts are crucial for drafting guidelines and funding applications. Artists must recognize that their bodies are being exploited quite often, and they must sustain the struggle by employing care aspects like resting and voicing frustrations. Constant communication is essential, and creating safe spaces for voiced concerns is crucial. A contingency plan for aggression, harassment, or violence is essential, and clear roles and responsibilities. Creating an atmosphere of joy and pleasure, managing conflicts, learning from mistakes, and avoiding unhealthy competition will boost motivation and inspiration in the performing arts industry.

 

With: CJ Ochoco, Samba Yonga & Lloyd Nyikadzino

International cooperation requires various practices to resolve disputes and promote collaboration. Working through conflict in international cooperation involves mediation, regional cooperation, promoting cooperation resolution strategies, fostering empathy, leveraging regional approaches and civil society peacebuilding, and effective conflict management by leaders. These practices aim to enhance collaboration, resolve disputes, and contribute to a more peaceful and harmonious global order.

 

Patterns of Conflict

Conflict is a clash of opposing ideas and can arise from various factors. Cultural conflict is a significant issue in international and internal collaborations, as it requires understanding and respecting diverse cultures. Technical conflict affects issues like funding, infrastructure, and skill set constraints during project implementation. In the Global South, conflicts can arise due to assumptions about decision-making, funding, and distribution. Communication conflicts can arise from conflicts between leadership, management practices, and team building. Funding/compensation conflict arises from the idea of a recommended remuneration list for different countries and actors in different geopolitical locations. In the Global South, particularly in Africa, remuneration could be lower, leading to difficult conversations about fairness. Unjustly denied funding can also create conflicts, as territories like Guam, an example CJ Ochoco brings in, are often overlooked for financial support. To address these conflicts, it is essential to create structures of integration and collaboration that allow partners to reach their desired goals. By addressing these patterns, organizations can foster better understanding and collaboration among diverse communities.

Identifying issues such as ethics, partnerships, engagement, remuneration, decision-making, mobility, delivering results, and positioning can cause conflict in cultural exchange projects. African artists often face mobility issues due to visa issues or rigorous procedures. Finding solutions involves addressing these conflicts and providing recommendations to various bodies. Dialogue is crucial in resolving conflicts, including funding allocation, expectations, and decision-making criteria. Limited knowledge of rights is essential for institutions in the Global South, and empowering actors, stage managers, and designers to participate in the art-making process is essential. Collaborative efforts are essential, as theater is rooted in storytelling and can be a powerful tool for addressing these conflicts.

 

International cooperation in the performing arts is crucial for promoting cultural exchange, fostering understanding, and building relationships between nations.

The conversations opened up the myriad issues confronting performing artists and organizations that have influenced their practices over the years. While international cooperation may be challenging, especially when there are many assumptions before and during projects, it is vital to incorporate ethical care into the process. This is to ensure that the goals of such projects are achieved with minimum hitches.

The series of talks suggests a practical approach to conflict resolution in cultural practices, focusing on pre-funding dialogue, information provision, and cultural exchange. It indicates that receiving partners provide valuable expertise and knowledge, which can be crucial for informed decision-making. It also emphasizes the importance of specific conversations about the context of organizations, or countries of partnership, focusing on what works for them and how to strengthen their infrastructure.

Another outcome is the importance of solving inter-generational conflicts, highlighting the need for self-awareness of injustices and addressing them with possible solutions. It also emphasizes the importance of demonstrating empathy and reminiscing about indigenous practices of caring for the community in conflicts within the performing arts.

Through cultural exchanges and artistic collaborations, countries can leverage the unique power of the arts to bridge cultural divides, celebrate diversity, and strengthen international partnerships in the realm of performing arts. This underscores the significant role of the audience in this field, making them feel valued and integral.

 

Literature

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Skoryk, T., Dorohan, I., Demchyk, K., Sidorova, I., & Strebkova, D. (2023). International exchanges

Wang, Q., & Phanlukthao, P. (2024). Golden Sunbird: Semiotics and Cultural Identity in the Context of Modern China. The International Journal of Interdisciplinary Cultural Studies, 19(1), 81.

Yang, F., & Zhao, T. (2023). Conflict and Adaptation: The History and Future of China-Pakistan Cultural Exchange. Pacific International Journal, 6(1), 142-148.