Interview with Yohann Floch, Director of FACE – Fresh Arts Coalition Europe, on Continuous professional development programme
In the iCoDaCo project, you oversee the Continuous Professional Development Programme (CPDP). To begin, could you outline this programme that operates within the iCoDaCo project?
Of course. CPDP is designed to support the 2024–2027 iCoDaCo participants, enabling arts workers to better organise and realise their professional ambitions. The programme assists artists and arts workers by developing strategies to sustain their practices, offering practical advice and operational guidance through various peer-exchange formats.
Selected iCoDaCo arts professionals gain access to Industry Workshops: online workshops that bring together individual artists and their administrative teams (such as producers, managers, tour bookers and agents). The workshops address cross-cutting themes discussed at European and global levels, with a particular focus on sustainability and how these themes impact the daily management of operations. They also explore the tensions, choices and compromises that arise in this context. Following the Industry Workshops, selected iCoDaCo arts professionals also benefit from one-to-one online accompaniment. This individualised support unfolds over time, with each professional receiving tailor-made guidance from external experts, resource persons or members of the partners' teams.
Since CPDP started, what would you say are the most pressing needs of dance artists you observe today?
The needs of dance artists in Europe today are complex and deeply rooted in both systemic and practical challenges. At the core, there is a need for sustainability – not just in terms of environmental responsibility, but also financial and professional stability. Many artists operate in a landscape where funding is often short-term and project-based, which creates uncertainty and limits long-term planning. This precarity is compounded by the pressure to internationalise, which, while offering opportunities for growth and visibility, also presents significant logistical, financial and even psychological challenges.
Mental health and wellbeing cannot be overlooked. The emotional and psychological demands of a career in the arts, especially in a sector as competitive and precarious as dance, require structures that prioritise the holistic wellbeing of artists. This includes everything from financial security to emotional support and peer networks that foster resilience and solidarity.
Another critical need is access to tailored professional development – support that goes beyond generic advice to address strategic planning, networking, communication and the complexities of international collaboration. This is precisely where CPDP comes in, offering artists and their teams a structured yet flexible framework to build these skills over time, grounded in practical strategies for sustainability, internationalisation and long-term career development.
How do you see the role of programmes like the CPDP in addressing these needs?
Such programmes are designed to act as catalysts for empowerment and strategic growth. CPDP, for instance, is structured in three key phases: collective workshops, individual diagnostics and one-to-one mentoring. The collective workshops serve as an introductory platform, where artists can explore the motivations behind working internationally – whether for financial viability, artistic dialogue or cultural exchange. These sessions also highlight the pitfalls of unprepared international ventures.
The individual diagnostic phase allows artists to reflect on their specific needs, whether in strategic development, internal structuring, communication, networking or accessibility. This is followed by tailored one-to-one mentoring, where artists receive personalised guidance from experts or peers within or outside the iCoDaCo consortium. The goal is to ensure that artists are not just reacting to opportunities but proactively shaping their trajectories in a way that aligns with their artistic values and long-term goals.
Many artists struggle with balancing local engagement and international ambition. How can they navigate this tension effectively?
The tension between local engagement and international ambition is a recurring challenge, but it's also an opportunity for artists to deepen both their practice and their impact. The key is to root your work locally while using international opportunities to enrich and expand what you do. Local engagement provides a stable foundation – it's where artists build relationships with audiences, venues and cultural stakeholders. This not only strengthens their practice but also makes their work more resonant when they take it abroad.
When it comes to international work, artists should focus on quality over quantity. It's not about how many countries you tour in or how many international projects you're part of, but about how these engagements align with your vision. We emphasise the importance of preparedness – understanding the ecosystems you're entering, the cultural contexts and the practicalities of touring. Every country, and often every province, has its own cultural policies, contracting rules, funding mechanisms and logistical realities. Cultural professionals often underestimate the administrative and financial burdens of international work, such as visa requirements, tax implications or the costs of shipping equipment.
Another critical aspect is partnership building while navigating the unspoken power dynamics that can exist in international collaborations. International work should be rooted in genuine collaboration, where all parties bring something to the table and share in the risks and rewards. This means moving towards ecosystem thinking, where partnerships are seen as part of a larger, sustainable network rather than isolated opportunities. Artists are also fully aware of the carbon footprint of touring and are seeking ways to reduce their impact while still maintaining international connections.
Looking ahead, what opportunities and challenges do you foresee for dance artists in Europe over the next years?
I see both exciting opportunities and significant challenges for dance artists in Europe. One of the biggest opportunities is the growing recognition of the arts as a driver of social change. There is a robust understanding that dance and performance can play a key role in addressing issues like social inclusion, mental health and environmental sustainability. At the same time, funding instability remains a persistent challenge. Public budgets are under pressure, and cuts are happening everywhere, at all levels of competency, and in the private sector too. The climate crisis will also continue to shape how artists work, requiring a rethink of traditional production methods and a greater emphasis on sustainable touring practices.
Another challenge is the political and social landscape. Rising nationalism, restrictions on artistic freedom and the growing precarity of cultural workers could limit cross-border collaboration and reduce opportunities for mobility. However, these challenges also present an opportunity for artists to come together, advocate for their rights and build stronger, more resilient networks.
I'd like to emphasise that solidarity and collective action are more important than ever. The challenges facing dance artists – whether financial, environmental or political – are too complex for any individual or organisation to tackle alone. By sharing knowledge, supporting one another and advocating for the value of dance, through programmes like iCoDaCo, peer networks and advocacy efforts, we can build a more equitable, resilient and vibrant artistic community – one that continues to inspire and challenge audiences both at home and abroad. Programmes like the CPDP are just one part of this effort, but they represent a genuine commitment to empowering artists to take control of their careers and contribute meaningfully to the cultural landscape.