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Start project

Promotor: Annouk Van Moorsel

The cultural offerings for the very young are limited but no less qualitative: in recent years they have experienced a true increase in scale. However, this positive news brings with it a question: how do we view this young audience as cultural participants? Are the theater codes relevant at this age? Are we questioning these codes enough? What factors do creators take into account when creating for the very young? Can the young spectator participate in the performance, not in its conventional form, as a passive spectator, but as an active participant or co-owner?


This initial research is a preliminary study of the concept of co-ownership focused on the young child (2,5- to 4-year-olds). It will primarily focus on the question: when do we speak of co-ownership within the (performing) arts and how can we stimulate this with young children. Which views on co-ownership of the young child within the arts already exist in the academic/scientific, artistic and art educational field? What tools have already been developed to stimulate it and how does it differ from participation or interaction?

Manon Avermaete


Manon Avermaete.png

Manon Avermaete took her first steps as a young performer with fABULEUS. After studying modern theater dance at the Amsterdam School of the Arts, she worked as a performer with a wide variety of companies in the Netherlands and abroad.


Her passion lay in choreography, more specifically site-specific dance theater. In 2012 she founded her own company Cie.Woest. Working on location and in public spaces organically created a new relationship with "the spectator". The conventional separation between performers and audience fell away. Exploring this separation became a constant in Manon's work. Not only did she seek more rapprochement with her audience, the spectator was invited to participate in the performance. In her last performance "Balancing Bodies" Manon explored the possibilities in co-making. The performance could only play when her audience actively participated. The spectator became co-maker, co-owner of the choreography.


In her start project ‘The co-ownership of the young child in artistic performance’, Manon wants to explore the experiences she had with the young child. She believes that every child has the right to qualitative artistic experiences.

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