Dansstroom: FAQ

DANCE REPERTOIRE AND PARTICIPANTS

What do you mean by 'dance repertoire'?

We see 'dance repertoire' in very broad terms. Dansstroom wants to keep dance alive in all its forms and styles. How you engage with the repertoire or breathe new life into it is entirely up to you. Guided by your group's capacities and motivations, and in collaboration with the coach, you’ll find your own way through the material. This could mean reenacting a well-known choreography, a deep dive into a specific dance style or your own interpretation of a classical piece. For example, you might want to perform a scene from What the Body Does Not Remember by Wim Vandekeybus or experiment with movements from Screws by Alexander Vantournhout, dive into K-pop, rework a dance from West Side Story or explore the history of the Lindy Hop.

Do you need to have experience in the style of the repertoire you want to delve into?

It is not necessary that you already have previous experience in the dance style or techniques associated with the repertoire you wish to delve into.

Why do I need to have a legal entity in order to participate in Dansstroom?

We expect participants to be able to properly manage the financial support from Dansstroom. This means that you must have a legal status - such as a vzw, nv, bv or being self-employed. This allows you to issue, receive, and pay invoices, as well as ensure participants are covered for accidents and liability. Are you motivated to participate in Dansstroom, but do not meet this condition? Contact us and we’ll explore possible solutions together!

DANCE COACH

Who is the professional dance coach?

At Dansstroom, we use the term “dance coach” as a broad, general term. It can be a choreographer, dancer, dance teacher, rehearsal director, dance notator, etc. with expertise in the repertoire you want to dive into. It is important that this person has in-depth knowledge and experience with the repertoire in order to pass it on in a deliberate and thorough way.

How do we find a suitable dance coach and do we have to contact them ourselves?

Yes, the idea is for you to look for a dance coach to work with by yourself!

Exactly how do you go about that?

  • If it is an existing choreography with a clear author: contact the creator or the dance company! They will be happy to talk with you and put you in touch with the relevant people. This project is also an opportunity for them.

  • If it is an older choreography, without an active company or artist still living, you may be able to contact them through the choreographers' foundations or estates. Is this becoming quite a search you can't navigate yourself? Contact us, and we'll figure it out together!

  • Search online for dance schools that teach your repertoire. Ask them for advice.

No idea how to find someone or get no response? Contact us and we'll assist.

Who is an eligible coach? What do we expect from the dance coach?

We see this project as the perfect opportunity to enrich the existing practice within your dance group with outside perspectives. So preferably, choose a dance coach who hasn’t regularly worked with your group before.

We value the match between the coach and the group. The dance coach is conscious of the character of the group and adapts to their level, expectations and motivation. Through Dansstroom, we aim to create a space where professional and non-professional dancers can connect and share experiences. We see the project as a dynamic exchange, where repertoire is not just taught, but also enriched by the group’s perspective. Therefore, the dance coach is mindful of exchange & co-creation.

Finally, we expect from the dance coach to be motivated to share the repertoire and is open to reflecting on the learning process, using the tools offered by Dansstroom (see 'Reflection moments' for more details).

My application must include a letter of intent with a dance coach. What does this entail?

When submitting your application to Dansstroom, we expect that you already know who your dance coach to-be is and how you plan to approach the collaboration, in case your project is selected.

Therefore, make sure you have discussed the following in advance:

  • Willingness to dive into repertoire together in 2025-2026:

    • Discuss together which repertoire is involved.

    • Get acquainted and assess whether the coach is a good fit for your group (see above). Be transparent about your level, needs and expectations.

    • What is the coach's motivation for participating in this project?

  • The framework of financial compensation: see 'Budget & Compensation Dance Coach' for more info on compensation.

  • Planning: how many rehearsal hours do you schedule (guideline: approx. 30-40 hours)? How often and where will the rehearsals take place? In which time frame?

  • Outcome: What do you want to bring on stage? What do you intend to work towards? (This can be a starting idea that will become more concrete as you dive into the studio)

  • Willingness of the coach to participate in reflection moments (see further 'Reflection moments').

Once you have discussed these matters together, you can put the conclusions on paper and have the coach sign it. You then add this letter of intent to your application. If your project is selected for Dansstroom, it immediately provides an excellent basis for further concretizing your agreements with your coach.

PRESENTATION

What is expected at the presentation weekend ?

During this weekend you will have the opportunity, together with other selected groups, to perform a dance piece of about 15 minutes twice on STUK's stage in Leuven, as part of the Body of Work festival.

What does the weekend of the showings look like?

On April 25 and 26, 2026, you are welcomed at STUK in Leuven! On Saturday, we schedule rehearsals during the day and a first showing in the evening, where you and the other groups will present your work in front of an audience. Sunday morning, all groups come together for a joint dance workshop and a session where we exchange experiences and insights. We conclude the weekend with a second presentation on Sunday afternoon.

Dansstroom provides an overnight stay and meals for all participants during the weekend in Leuven.

RESEARCH ACTIVITY

What is meant by the research activity? What can this be?

Through the research activity we invite you to approach the repertoire in a different way outside the dance studio and other than solely through movement. The goal is to get to know the repertoire and its background better or explore it from a new perspective.

Possible activities are:

  • A movie night about a dance of or related to your repertoire.

  • An archive visit to an archive with relevant documentation.

  • A conversation with experts, for example dancers who once performed the piece or a dance scholar.

  • A lecture or workshop brought by a guest teacher to deepen a specific style or historical perspective.

  • Musical exploration: inviting a musician to further explain and analyze the music you use.

  • Attending performance: Attending a dance performance related to your work.

  • ....

Conceiving the activity is up to you. We can help in the elaboration by putting you in touch with people or organizations, if necessary. Your dance coach might also have tips.

BUDGET & REMUNERATION DANCE COACH

What costs can I include in the budget for Dansstroom?

Dansstroom provides compensation (only) for the following costs:

  1. the remuneration of the dance coach (guideline: approx. 30-40 contact hours)

  2. costs related to copyrights (if applicable)

  3. costs for organizing the research activity

  4. transport costs for the presentation weekend in Leuven (25 and 26.04.2026).

Hence, costs that cannot be reimbursed through the support of Dansstroom include costumes, decor and rent of studio space.

Costs related to the stay in Leuven during the weekend of the presentation - accommodation and meals - will be paid directly by Dansstroom and should not be considered in your budget.

Is there a maximum amount I can apply for from Dansstroom?

Each group can request a maximum of 4900 euros. This amount is intended to reimburse the aforementioned costs and cannot be used for other expenses.

How do I create a budget?

You create a budget using this template in Google Sheets, where you specify the costs for the four aforementioned cost categories and provide explanations. In the budget, you estimate the costs you expect to incur for your project. It is not necessary to know the exact or final amounts in your application, but the estimates you provide in your budget should be realistic and well-supported. This means that you base your figures on concrete information, such as standard rates.

How to get started?

1. Estimate the cost for each item.

  • Compensation of the dance coach: see question below for more info under ‘Correct compensation’

  • Copyright: see below for more info under 'Copyright'

  • Research activity: estimate the costs involved in organizing your research activity. For example, for film rentals, ticket prices for a performance you want to attend, access to an archive or a fee for hiring a speaker.

  • Travel costs: check ticket prices for train, tram or bus, or explore other options such as carpooling or renting a van. Aim for a budget-friendly option.


2. Write out your budget clearly in the template.

  • In the template, there are three tabs: one for VAT-regulated organizations, one for VAT-exempt organizations, and one for mixed VAT-regulated organizations. Only fill out the tab that is applicable to your organization.

  • If you are working with a freelancer, also inform which VAT rate (21%, 6% or no VAT) they are working at.

  • Use the ‘comments’ column to show how you arrived at the amounts.

How do I determine correct compensation for the dance coach?

We expect dance coaches to be compensated correctly for their work. To ensure this, use rates that align with fair-pay guidelines. You can find minimum wages and salary scale recommendations on the websites listed below. Review these before discussing terms with your dance coach. Start by asking your dance coach's usual rate and discussing how you would like to collaborate. Be transparent as a group about your available budget and explore what options there are within that budget to avoid misunderstandings. For this collaboration, we estimate between 30 and 40 contact hours.

Discuss with your coach how they prefer to be paid, as this will impact your budget. (1) If you hire the dance coach as an employee in your organization, you need to budget for the full labor cost. (2) If the dance coach wants to invoice through a Social Bureau for Artists (SBK) (such as SMART, Amplo, or Tentoo), keep in mind that SBK deducts a percentage from the agreed gross amount. To ensure the dance coach receives the correct net amount, it is best to include this percentage in your financial agreements with the dance coach. (3) If the dance coach can invoice, it’s best to agree in advance on the correct VAT percentage (6% or 21%).

  • Danspunt provides a useful guide on their website with information on how to approach this, tailored to dance schools and companies. Consult the webpage 'paying and being paid' for guidelines on fair pay (with minimum hourly amounts) and the possible forms of employment. Tip: You can also request access to the Danspunt webinars!

  • More general guidelines that apply within the cultural sector can also be found on the websites of Juist is Juist and Cultuurloket. On these websites you will find useful tools such as calculators and checklists, model contracts and webinars.


Overwhelmed? No worries! Get in touch with us and visit the open office on Friday, May 9, at Danspunt in Ghent & Saturday, May 17, 2025 in STUK Leuven. We're happy to offer advice or refer you to organizations that can help you further. We'll be sharing more details soon about the setup of the open office. Stay tuned via our social media & website!

MOMENTS OF REFLECTION AND DOCUMENTATION

The open call refers to research on dance heritage and self-documentation. What does this involve?

Through Dansstroom, we want to explore together how dance is passed on. That’s why we are interested in how you work in the studio and what you experience throughout the process.

We ask participants to commit to two aspects of this research:

  • Two workshops: We will visit twice for a 2-hour workshop, where we will reflect creatively on the transmission and evolution of repertoire and engage in discussions about your insights and experiences.

  • Self-interviews: Additionally, we ask you to interview each other at least three times during the process, using a set of questions we will send you and to record these interviews on video.

In addition to the required activities (two workshops and at least three self-interviews), you are welcome to document your process further with rehearsal recordings, video diaries, written reflections, or other materials. We would love to follow along!

The self-documentation will be incorporated into a reportage. What will this reportage look like and where will it be distributed?

The visual material we record during the workshops and self-interviews, supplemented with images from the presentation at the Body of Work festival in Leuven, will be processed into a short reportage about Dansstroom. This reportage may be published on the websites and/or social media of our three organizations (Danspunt, CEMPER and STUK).

Will the presentation event also be recorded on video?

Yes, the presentation will be captured by a professional videographer. You will have access to the material so that you can also include the video of your performance in your own archive.

What is required of the dance coach in terms of reflection?

We expect the dance coach to attend at least one of the two workshops mentioned above. In addition, we request the dance coach to commit to a (self) interview in which we probe their experiences and insights. This interview will also be recorded and possibly incorporated into the video report.

COPYRIGHT

Do I need to pay copyright fees for the music I use?

Yes, you need to pay copyright fees for the music you use during dance lessons, rehearsals and the performance at STUK on April 25 and 26, 2026. You can arrange this through Unisono, the organization in Belgium that collects copyright fees on behalf of a.o. Sabam. You can apply for a license via their website. For a more detailed guide on how to handle the copyright of music, you can visit the website of Danspunt.

Do I need to pay copyright fees for the dance repertoire?

Is the dance piece you are working with created by a specific choreographer or group of choreographers? Is there a known author?

  • Yes: In this case, copyright applies. See the next question to learn how to properly manage it.

  • No, there is no clear author(s) for my repertoire: in this case, other considerations apply. See the question ‘My dance was not created by one or a few identifiable creators, are there other factors I should take into account?


How do you transfer copyrights correctly?

Phase 1: when applying for Dansstroom

It is not yet necessary to formally contract everything when you apply. However, it is important to find out (1) if you have the permission of the choreographer/rights holder to work with the repertoire piece and (2) if there is a license fee to be paid for the re-enactment or adaptation of the choreography. (In practice, negotiating the permission and copyright will probably go hand in hand with finding a suitable coach.)

How to go about it?

1. Identify the rights holder, meaning look for whoever controls the rights to the piece.

  • Is your choreographer still alive or is the choreographer's company still active? Contact them and discuss your plans.

  • Additionally, find out if the choreographer is affiliated with a collective management organisation such as SABAM or DeAuteurs. The transfer of rights will then be formally handled through this organization.

  • Is the choreographer no longer alive and is the company no longer active?

  • Check whether the rights are managed by a trust, foundation or other organization such as one of the above collective management companies (SABAM...).

2. Consult with the rights holder

Contact the rights holder and discuss your plans with the repertoire. Discuss issues such as the choice of excerpt, possible adaptations and the limits of permissible changes. Your specific approach will take shape during the creation process itself, but it is already recommended to check your initial ideas against the rightholder's vision for the reprise. If your ideas do not match at all, it might be advisable to choose a different repertoire piece - whether or not by another creator.

3. Inquire about licensing fees

Some creators will charge a fee for the different ways - called 'the modes of exploitation' - you plan to distribute or use the work. In order to estimate how much this cost will be for you to be able to include it in your budget, it is important to check this beforehand.

At Dansstroom the following exploitation methods are important:

  • Public showing:

    • The presentation in STUK on 25 and 26 April 2026.

    • Would you also like to show the work at other occasions, such as in a performance organised by your dance school? Please make this explicit.

  • Use of footage:

  • Images of rehearsals and the presentation will be incorporated into a report that will be distributed on social media and websites of the partners (STUK, CEMPER and Danspunt)

  • Would you like to share images on your own social media? Please mention this as well.


Based on these ‘methods of exploitation’ you will be able to make a first estimate of the costs. Clearly state in your negotiations that your dance project is not a professional project and that you do not derive any income from learning and performing the repertoire. These are important elements to help keep the license fee at a minimum.

Similar in nature to the dance coach's letter of intent, this negotiation helps you get on the same page. This way, when selected for Dansstroom, you can quickly establish and confirm all agreements. Again: questions or uncertainties? Contact us!


Phase 2: selected for Dansstroom?

Leading up to the start of your journey in the 2025-2026 school year, all of the above agreements will be worked out in detail, formalized and confirmed in writing. We are ready to support you in this process. Cultuurloket can also be a valuable partner in this process. On their website you will find an overview of the aspects you need to discuss with the rights holder. In addition, they provide a model contract.

My dance was not created by one or a few identifiable authors. Are there other factors I should consider?

When it is unclear who the author of your repertoire is, but the dance practice has evolved through years of transmission within a community or was made by a group of anonymous creators, copyright does not apply to the work. Therefore, you won’t need to pay copyright fees.

However, outside of this legal framework, it's still important to acknowledge the origins of these dance practices and share them with awareness and respect. Your dance coach, being closely involved in your practice, can help guide you through this process.