Abstract

Unlike ballet, contemporary dance neither knows distinct aesthetical or technical conventions nor strongly directive work relationships. Based on 18 in-depth interviews with dancers and/or choreographers who are predominantly associated with the Brussels dance scene, we examine the most important factors ensuring a minimal order in the semi-directive mode of artistic collaboration that dominates within contemporary dance. We successively discuss (i) the motives to initiate or break off a collaborative relation, (ii) the importance of mutual artistic trust and a particular personal fascination in the one whom one cooperates with, and (iii) the expectation of a considerable creative contribution and a sufficient degree of personal recognition. In the conclusion, we first briefly signal the relatively scant interest for processes of co-creation within the sociology of the arts. We then conceptualize the analysed semi-directive work relation in light of the model of symbolic exchange (the dynamic of gift and counter-gift) developed by Marcel Mauss and point out the relevance of both this interpretation and the presented empirical findings for the study of work relationships in other artistic fields and the so-called creative economy.

How to Cite:

Laermans, R., (2013) “Samen kunst maken': de semi-directieve werkrelatie binnen de hedendaagse dans”, Tijdschrift voor Sociologie 34(3-4), 340–363. doi: https://doi.org/10.21825/sociologos.86834