Time to Talk [about] Circus in Cologne: Matchmaking and cold feet

At the festival for contemporary circus in Cologne, Zeit für Zirkus, representatives from politics and the independent performing arts discuss the lack of space and dependencies. It makes me think that you can tell the working conditions by the footwear. Steel-toe caps are required in workplaces where heavy objects are dragged towards the floor. Well-maintained leather shoes are used in places where it is about hierarchies. Black trainers are where people walk a lot, and for others. Colourful trainers walk where every employee is allowed to express their individuality. 

In this discussion round, it is Suse Beschorner's wool-lined winter boots that give at least a hint of the climatic working conditions at the CCCC. ‘Winter is coming, and we don't have any heating indoors, but we do have holes in the windows. [...] That's why we recommend thick trousers and jumpers over warm ski underwear [...] topped off with thick socks in lined winter shoes with thick soles, ’ reads a note to visitors attending this year's programme of the festival for contemporary circus in the old factory hall. 

This is one of the realities of working life that will be presented at the start of the nationwide festival weekend in the accompanying format Zeit zum Reden [Time to Talk]. Representatives from politics and Cologne's independent performing arts scene gathered to discuss the topic ‘No spaces, no art – the future of independent performing arts at its limits’ and gave the audience insights into what it means to find, fight for, finance and maintain spaces for the independent scene. Of course, the discussion also touched on funding, budget cuts and the question of what it means for Cologne's cultural landscape when the new mayor likes to mention culture and sport in the same breath. However, those present have been living and working for too long in a political climate that regards art and culture as the aesthetic finishing touch of a society, something that can be dispensed with if necessary, so they have not yet begun to work on other financing concepts.

When someone mentioned terms such as cross-financing, leasing, or even matchmaking between independent scenes and private investors, others nodded, recalling their own experiences. According to Lena tom Dieck, project manager for the reorientation of the Depot, the city administration's financing concept for the Depot in Cologne [The Depot is one of the performance spaces at Schauspiel Köln, Cologne's local theatre] - Mühlheim depends on the partial rent of the event installations to a musical organiser, who has still not signed the contract. 

Beschorner stated that after some bad experiences with renting, the CCCC decided once again against rental income and in favour of the impoverished luxury of complete creative freedom. Benjamin Thele, head of the Cultural Space Management Department of the City of Cologne, introduced the romantic concept of matchmaking into the discussion and defined the role of the City of Cologne in the struggle for usable space for art and culture as that of a matchmaker between a beautiful but unfortunately poor girl and an unpleasant but unfortunately rich millionaire.

There was general agreement that creative financing ideas will continue to be needed in the future to ensure the survival of the independent scene. However, no one asked why the independent performing arts in Germany are still considered a decorative accessory when it comes to the allocation of financial resources, rather than being recognised for what they offer, namely a forum for discussing the issues that concern us as a society. Artists and cultural workers will continue to have to wrap up warm when searching for premises in cities whose appeal lies in their artistic and cultural offerings.

This article is part of the German project ZirkusBlog, which took place during the Zeit für Zirkus 2025 edition in Cologne. The coverage of Zeit für Zirkus - Zeit zum Reden, organised by the BUZZ - Federal Association of Contemporary Circus, is sponsored by the Performing Arts Fund and the Cultural Office of the City of Cologne. The original German texts were published on ZirkusPlus and on the festival website.

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