Interview with Lucia Kašiarová: On the Czech performing arts in European context
Photo by Darja Lukjanenko
The iCoDaCo project brings together 10 collectives from different European countries. This multinational long-term collaboration enriches not only the artists, but also cultural managers. What have you personally learned, gained and achieved so far? Have you encountered any management tools, approaches or practices that have changed your own perspectives?
At Studio ALTA, we’ve been experimenting with non-hierarchical ways of working for a while now. Being part of iCoDaCo has been a great reminder that many of the challenges we’ve faced - like navigating shared decision-making or figuring out roles - aren’t unique to us. Seeing similar dynamics play out in this international collective gives us reassurance that these are just natural steps in the journey of any group learning to work collaboratively.
What we really appreciate about iCoDaCo is the space it gives artists to create without the usual pressure to deliver a final product. That kind of freedom is rare, and we believe it’s essential - not only for artists, but also for the people supporting them behind the scenes. At ALTA, we’re trying to build in more of this time for reflection and care into our own management practices too. Things like time for learning, pausing, or even “residencies” for managers could be really valuable - not just for us, but for the health of the whole cultural ecosystem.
The iCoDaCo project offers a unique opportunity to get to know different social, political and economical environments in which the partners work and create. Can you compare your local background with other countries? What benefits and, on the other hand, disadvantages do you think you have compared to others?
Over the years, Studio ALTA has developed the character of an international institution. We operate in English fluently, have a stable venue, a network of long-term partners, and a professional production team. These structural strengths provide a solid foundation for participating in a project like iCoDaCo and can be considered advantages compared to some of the other collectives.
In contrast, some partners work in shared or temporarily rented spaces, or their artists have to double as project managers - taking on tasks that in our case are handled by a dedicated team. This division of labor allows us to preserve creative energy and maintain a sustainable pace, which in turn enriches the artistic process.
What is the position of performance arts and contemporary dance in your country, in terms of general audience perception and recognition, as well as political support?
In the Czech Republic, the cultural sector currently enjoys a relatively stable position - both socially and financially. Despite growing extremism and political instability in neighboring countries, support for the arts here has remained consistent over recent years. While we cannot compare with the funding levels of Western Europe, it's worth noting that many of those countries are now facing budget cuts. In contrast, the Czech Republic offers a comparatively steady environment. We’re especially concerned about what’s happening in Slovakia, where there’s been a real rollback of cultural support, including censorship and a dismantling of the grant system. One of our collective members, who’s from Slovakia, has actually moved to Prague partly thanks to the opportunity to work with iCoDaCo.
In Prague, the scene for contemporary dance and performance has really grown - it’s part of the cultural landscape here and has a strong, supportive community around it. Projects like iCoDaCo fit in naturally, and we’re grateful to be in a place where there’s space for diverse voices, experimental work, and collaboration across borders.
Photos by Simona Rybová and Anežka Medová.