Cutaway #1: Amin Srasra and Junior Akwety about participation in the arts

Speakers

• Amin Srasra is a programmer at Schouwburg Kortrijk. He focuses on audience engagement, with a particular emphasis on emerging talent and underrepresented voices, especially people of color and the queer community. He also develops educational and artistic programmes for and with young people.

• Junior Akwety is a multidisciplinary artist and bridge-builder, affiliated with KVS in Brussels. He combines artistic work (music, performance, dramaturgy) with audience engagement, coaching and research. Through his organisation, Maisha vzw, he is strongly committed to creating opportunities for emerging artists.

Summary

Trust and dialogue as the basis for participation

A central theme running through the discussion is the importance of trust and dialogue. Participation does not begin with projects, but with relationships. “People are the space,” emphasises Junior: it is people who give meaning to a place, not the walls of an institution. Based on this vision, ongoing dialogue is central. Engaging in conversation, being present, listening to needs and exploring possibilities together.

Amin agrees and emphasises that this trust must not only exist between the institution and the target groups. That philosophy must also be upheld by the whole team. Without that shared responsibility, participation risks remaining superficial or degenerating into symbolic gestures.

Participation is not a one-man job

Participation is often assigned to a single role or individual, but according to both speakers, this is a pitfall. When participation is not embedded throughout the entire functioning of an organisation, an imbalance arises whereby one person bears the burden of ‘diversity work’. This is not only unsustainable, but also inefficient.

Amin highlights the importance of internal awareness-raising and a shared vision: an organisation must collectively understand why participation is important and how to approach it. Junior adds that knowledge and experiences from the communities must also flow back to the team, so that a mutual learning process is created.

Cultural entrepreneurship as a solution for artists

With structural support in decline, cultural entrepreneurship is becoming increasingly important. Both speakers point out that artists today are forced to think beyond traditional grant models. European projects, international collaborations, private funding and alternative forms of financing are all part of a sustainable funding mix.

At the same time, there is also criticism: this shift places additional pressure on artists and small organisations that are already under considerable strain.

The difference between Brussels, Antwerp and Kortrijk

Junior’s work at Maisha vzw and the Royal Conservatoire of Antwerp ties him to the city, whilst he maintains links with Brussels through the KVS. He outlines clear differences between the two cities, describing Brussels as a hyper-diverse and international city where much emerges organically, despite limited resources. The city is buzzing, and artists often find their way into international networks more quickly there.

Antwerp, on the other hand, is described as a city in search of its identity, with a growing gap between large institutions and smaller organisations. According to Junior, there is a lack of a strong middle tier capable of mentoring talent, which puts development under pressure.

Kortrijk is smaller in scale, but according to Amin, this is precisely why it offers space for experimentation and connection. The city is ambitious and offers opportunities, although these are often influenced by political and financial shifts.

Supporting grassroots initiatives

Both speakers advocate supporting ‘grassroots initiatives’. Sustainable participation arises from the bottom up, not from imposed themes or trends. Institutions must make room, both in their programmes and in their budgets, to support initiatives and help them grow from within the community itself.

This also requires a different way of working: less control, more trust, and allowing for openness and uncertainty in programming.

Culture under pressure

The discussion paints a picture of a sector under increasing pressure. Budget cuts, political decisions and structural uncertainty are taking their toll on artists and cultural workers. At the same time, the need for culture remains great.

Junior emphasises that there is a need for collective action and stronger representation in policy-making. Culture must once again be positioned as an essential part of society, not as a luxury.

From Brussels to Havana and Kinshasa

Junior travelled to the DR Congo and Cuba as a researcher for an upcoming project on rumba music. His experiences in Havana and Kinshasa offer a different perspective. In these contexts, there is little to no financial support, but all the more sense of community. Culture and its transmission thrive there as essential components of identity and experience.

These practices demonstrate that participation depends not only on resources, but on commitment and urgency. At the same time, they hold up a mirror to Europe: here, resources are available, but the direct connection with the community is sometimes lacking.

Conclusion

The discussion makes it clear that participation is not a methodology, but an attitude. It requires time, trust, shared responsibility and structural support. At the same time, these practices are under pressure due to political and economic decisions.

The challenge for the future lies in strengthening the links between people, organisations, policy and practice, so that art and culture can once again become spaces that truly belong to everyone.