{"id":2207,"date":"2025-03-10T14:15:19","date_gmt":"2025-03-10T13:15:19","guid":{"rendered":"https:\/\/reboot-transmissions.com\/themes\/feedback-supporting-the-work\/"},"modified":"2026-01-30T21:56:01","modified_gmt":"2026-01-30T20:56:01","slug":"feedback-supporting-the-work","status":"publish","type":"page","link":"https:\/\/reboot-transmissions.com\/en\/themes\/feedback-supporting-the-work\/","title":{"rendered":"Feedback: supporting the work"},"content":{"rendered":"

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Feedback: supporting the work<\/h1>\n

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What does it look like to support existing artistic work, either to take it in new directions or to question and shape what has already been created? Feedback on performances and practices is crucial to artistic and professional development of both artists and students\/learners. Such feedback is not neutral and is often embedded within complex power relations. Considering feedback in relation to the artistic work allows space for reflection on the contexts in which words are spoken and received. A hierarchical relationship, or even one perceived as such, can influence both what is said and how it is received. This applies, for example, to venue directors in relation to artistic companies, pedagogues in relation to students\/learners, school directors and their employed educators. Serene discussions necessitate awareness of both the power dynamics at play (within the group) and regarding the various of situated perspectives. The use of specific tools, and the creation of rules or structure for the feedback, can help improve feedback sessions. The hierarchical nature of some feedback can create stress for those on the receiving end and may put them at physical and\/or psychological risk. Feedback can also reveal or exacerbate preexisting inequalities, i.e. for artists from marginalized groups. Raising awareness of these issues and developing more inclusive, formalized, respectful, and encouraging practices all contribute to the construction of an artistic environment in which each person has the space to fully express themself. <\/p>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/reboot-transmissions.com\/wp-content\/uploads\/LES_RETOURS_Poser_un_cadre.png” alt=”Journal de bord \u2013 Intervention de B\u00e9r\u00e9nice Hamidi-Kim \u2013 Poser un cadre clair sur les attentes de retours” title_text=”LES_RETOURS_Poser_un_cadre” show_in_lightbox=”on” align=”center” _builder_version=”4.27.4″ _module_preset=”default” max_width=”70%” custom_margin=”||||false|false” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_2,1_2″ make_equal=”on” _builder_version=”4.27.4″ _module_preset=”_initial” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/reboot-transmissions.com\/wp-content\/uploads\/LES_RETOURS_sur_les_retours_Croquis.png” alt=”Journal de bord \u2013 Pause et moment informel – retours sur les retours” title_text=”LES_RETOURS_sur_les_retours_Croquis” show_in_lightbox=”on” align=”center” _builder_version=”4.27.4″ _module_preset=”default” max_width=”70%” custom_margin=”||||false|false” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.27.4″ _module_preset=”default” custom_css_main_element=”margin:auto;” global_colors_info=”{}”][dsm_faq dsm_accordion_gap=”-1px” dsm_animate_icon=”on” _builder_version=”4.27.4″ _module_preset=”default” hover_enabled=”0″ border_color_top_dsm_toggle_open_border=”gcid-2f86121c-952a-4725-a283-f2d4f8b59ba8″ border_color_bottom_dsm_toggle_open_border=”gcid-2f86121c-952a-4725-a283-f2d4f8b59ba8″ border_color_top_dsm_toggle_closed_border=”gcid-2f86121c-952a-4725-a283-f2d4f8b59ba8″ border_color_bottom_dsm_toggle_closed_border=”gcid-2f86121c-952a-4725-a283-f2d4f8b59ba8″ locked=”off” global_colors_info=”{%22gcid-2f86121c-952a-4725-a283-f2d4f8b59ba8%22:%91%22header_text_color%22,%22dsm_open_icon_color%22,%22dsm_close_icon_color%22,%22border_color_top_dsm_toggle_open_border%22,%22border_color_bottom_dsm_toggle_open_border%22,%22border_color_top_dsm_toggle_closed_border%22,%22border_color_bottom_dsm_toggle_closed_border%22%93}” sticky_enabled=”0″][dsm_faq_child dsm_title=”Situations and Timing” dsm_content=”<\/p>\n

Finding the right moment and the appropriate space to provide feedback is not always easy, but it does allow for a smoother feedback process. The form and method of giving feedback should be adapted depending on the stage of a creative process (i.e. project inception, table work, presentation of a work-in-progress) or that of learning. When feedback is conceived of as support, a simple formulation may be insufficient and should instead be accompanied by a framework in which to give and receive feedback. The framework itself can have a timeframe that varies according to the recipients, the project, and the associated stakes. It\u2019s therefore necessary to consider questions of place (i.e. where is the feedback given? which roles are the various participants adopting, in the space?), timing (when is the feedback given? is it appropriate to give feedback immediately after a performance?), relationships (who is giving feedback? is the feedback giver familiar with the work? does the feedback giver have a past, present, or future relationship with those receiving the feedback?), and methods (existing protocols or new ones to be developed; formal vs informal settings). <\/p>\n

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The giving of feedback is a place of potential power and violence, requiring careful attention. There is great vulnerability inherent in handing over one\u2019s work to another. It\u2019s both possible and necessary to become aware of all the positions from which feedback is given: that of audience member, outside eye, theater or festival director, funder, educator, co-creator, etc. When there is a real power dynamic that creates an asymmetric relationship, the giving of feedback can be a vector for certain forms of violence or pressure. Examples of this sort of violence includes humiliation, put-downs, bullying, etc.; this is especially pertinent when the power dynamics include an artist who is economically dependent on a festival or theater director, or a student\/learner who is dependent on a certain teacher, considered to be central to the continuation of their studies. Recognizing these asymmetries and fostering more horizontal relationships can help prevent such violence. Similarly, the way feedback is formulated (open-ended questions, giving the person receiving feedback space to speak) and the value placed on peer-to-peer feedback (including among students\/learners) also contribute to preventing violence. <\/p>\n

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The mechanisms of systemic oppression and discrimination observed in society are also present in the arts sector and shape the ways in which we see art. Gender, racial, and class-based discriminations are all present and active in the arts sector, despite the perception of the arts as a space of emancipation. As an audience member, there are many possible perspectives and ways in which to approach art. Each of our stances are shaped by political and socio-economic factors, such as the accessibility of cultural venues, professional recognition based on one\u2019s career or educational trajectory, etc. Concepts such as the female gaze, the male gaze, the queer gaze, and rape culture are all useful lenses for analyzing art and for understanding the importance of diversifying and rethinking casting, staging, and narratives, while highlighting the power dynamics that underpin all works of art. <\/p>\n

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Resources<\/h2>\n

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