Performing Arts Season

Cultural pluralism is not a new phenomenon; it has long existed within peoples, nations and communities. Even in prehistoric times, humans moved in search of food, water and shelter. Their migration patterns were influenced by climate, resource availability and interactions, later driven by imperialism and economic ambitions. The resulting cohabitation and collective behaviours, along with the languages, gestures and cultural heritage shared and exchanged, have continually shaped people’s identities as well as nations and communities, not seldom at a devastating cost. While this multidimensional diversity and plurality of identities has always been a part of human history, contemporary global homogenisation now poses significant challenges to traditions, local languages and cultural heritage. This, in turn, leads many regions and countries to witness the resurgence of rigid, stereotypical and essentialist concepts of identity. Against the backdrop of these developments, the Performing Arts Season 2025/26 will bring together works that interrogate binaries and singular, unrelated identities, reflecting the interconnectedness of the world and the self in its totality – what Édouard Glissant termed the “Whole-World” (Tout-monde).

Paraphrasing these conceptions of identity through the lens of the performing arts as an ephemeral phenomenon rooted in negotiation and relationships, this third Performing Arts Season edition presents a selection of dance, theatre and performance works that discard the idea of a majority-minority-society which often ascribes non-European artists to a certain minority status. The pieces created by Eun-Me Ahn, Gisèle Vienne and Étienne Bideau-Reys, William Kentridge, Akram Khan, Nina Laisné and François Chaignaud, Thorsten Lensing and Ligia Lewis delve into themes such as the precarity of identity, displacement, creolisation and transnationality, highlighting the power of performance to navigate and articulate our shared yet diverse experiences.