A look back at Plat(e)form(e) 2026

Putting Walloon and Brussels creativity on the international stage

Offering international professionals the chance to discover Walloon and Brussels projects currently in production helps to support the local scene and raise its profile abroad. The programme of pitches and showcases is complemented by discussions on key themes for the sector, as well as opportunities for more informal networking. The event aims to be a space for exchange, mutual engagement and reflection on what contemporary creation represents and how to present it internationally.
 

For the Wallonie-Bruxelles Théâtre Danse (WBTD) agency, this type of event is essential as it helps meet the needs of artists and production and distribution managers in Wallonia-Brussels by raising their profile amongst international programmers. The aim is to forge links between cultural operators in the Wallonia-Brussels Federation (FWB) and the performing arts sector abroad, with a view to securing creative residencies, co-productions or pre-purchase agreements for performances.

Collaboration with Kunstenpunt is essential

Given the well-known complexity of the Belgian public sector, it is essential to be able to offer international programme makers a better understanding of how our institutions and public authorities operate. Collaboration with Kunstenpunt – Flanders Arts Institute is therefore essential, particularly in the context of the Kunstenfestivaldesarts (KFDA), an internationally renowned performing arts festival, which is unique in that it is a bi-community event, supported by the Flemish Government and the FWB Ministry of Culture. This enables the two organisations to join forces by pooling the professional networks of WBTD and Kunstenpunt, thereby attracting a greater number of international professionals.

Artists who recognise the opportunity

For artists and companies, taking part in Plat(e)form(e) is a unique opportunity.

Héloïse Ravet is an actress and director. She was presenting a showcase of her upcoming show. For her, taking part in Plat(e)form(e), « It’s important because it offers the chance, in a very short space of time and in the same venue, to meet international professionals and other artists whom we wouldn’t otherwise have the opportunity to meet. It’s a great opportunity to meet all these people at the same time and in the same place. It allows us to engage in dialogue with programme curators and potentially forge our first partnerships ».

The same applies to Nicolas Mouzet Tagawa. A director, set designer and lecturer at La Cambre and INSAS, he gave a pitch for his next project. He explains : « For us, as we are at the very start of this project, taking part in Plat(e)form(e) offers an opportunity to raise awareness of the project and its challenges at a time when we don’t yet have any real material to show. It helps us to build a network and seek out co-productions. Connecting with an international network is very important, as these are people who aren’t easy to reach through events in Brussels ». He hopes to meet partners with whom he can build a long-term artistic relationship: « That’s always sort of how we try to operate: finding partners who can invest in us and support us. And also people who might be interested in the project, who might host us in residence, or who might buy or pre-buy the project ». 

Alphonse Eklou Uwantege, He is an emerging artist, choreographer and performer on the Brussels scene. He also gave a pitch for his project. As for him, « Taking part in Plat(e)form(e) offers me the chance to raise the profile of my work beyond Brussels and Belgium. My work deals precisely with issues of territory, displacement and immigration. It is therefore interesting to see how, through this platform, I can connect with other stories, other spaces and other festivals that might be linked to the communities I am addressing.» He is aware that « the benefits won’t necessarily be immediate. What’s more, a 10-minute pitch doesn’t really allow me to delve deeply into my work. Things will develop over time. You have to wait, be patient…» However, he knows that the networking opportunities are significant. Even though, for him, it feels a bit like having to sell his family’s story, he admits that « my aim in being here is to move beyond this somewhat binary framework of programmer versus project leader and to connect with one another as human beings. To see what might interest each other and ensure that these exchanges continue in the long term.»

Wallonia-Brussels Theatre and Dance, a partner of choice for artists

Receiving support from Wallonie-Bruxelles Théâtre Danse in their international development is a huge opportunity for artists from the FWB.

For Héloïse Ravet, the support provided by WBTD is essential to an artist’s development : « I work with the production agency Bloom Project, which handles a lot of that side of things: finding calls for funding and applying for them. We wouldn’t be able to work in the same way if we didn’t benefit from grants such as filming grants or support for travel abroad offered by WBTD. And being able to take part in events like Plat(e)form(e) is vital. They open up important doors to international opportunities ». Thanks to WBTD and the Wallonia-Brussels Centre in Paris, Héloïse will also be taking part in Major Tom, in July in Avignon, a similar initiative that enables artists to showcase their work in France.

Nicolas Mouzet Tagawa, for his part, also believes that « WBTD’s support is particularly crucial and helps to professionalise the process, as it enables us to cover a whole host of small expenses – which we call ‘small’ but which actually place a huge strain on production budgets. These are, however, essential expenses, as they enable the development of the production, as well as all the communication and promotion surrounding it. Whether it’s for recording performances, surtitling or the opportunity to travel abroad. And the further projects progress and develop, the more we need organisations like WBTD to cover these costs. Precisely because they are almost invisible expenses, but if they aren’t there, the work cannot move forward. Without this support, either these costs would be cut, or the creative budgets themselves would be severely affected. This funding really acts as a safety net for creative budgets ».

Plat(e)form(e) 2026 was yet another resounding success. Three inspiring days of meetings, discoveries and discussions centred on contemporary creative work from the Wallonia-Brussels Federation. Artists and industry professionals from abroad left with their heads full of hope (the former) and their notebooks full of notes (the latter)!

Article: Wallonie-Bruxelles International

Photo: © Fédération Wallonie-Bruxelles | Jean POUCET