pictures © Michiel Devijver

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June / July 2019


At a meeting on 24th of April 2018 at which the Ghent cultural organizations, recognized by the Flemish Community, and the recognized museums were invited, the Brussels Kunstenoverleg was introduced as an example (coordinator Leen De Spiegelaere and chairman Tom Bonte). During four consecutive meetings, the conversation was held with other colleagues continued around following questions: is there a need for an ‘arts consultation’ (Kunstenoverleg) in Ghent? And if so, what is the objective of this consultation? What are the opportunities? What are the pitfalls? What is the composition of such a consultation platform? How do we relate to the city of Ghent and the Ghent Culture Council?



  • 09/05/18: Hans Bruneel (LOD), Vjera Somers (Compagnie Cecilia), David Bauwens (Ontroerend Goed), Bert Schreurs (Collegium Vocale Ghent) and Evi Swinnen (Timelab)

  • 17/05/18: Ellen Stynen (Kabinet K), Steve Piens (4Hoog), Carl Gydé (CAMPO), Wim Wabbes (Handelsbeurs), Johan De Smet (Kopergietery), Katrien De Bruycker (4Hoog)

  • 23/05/18: Lies Leliaert (LOD), Els Veraverbeke (Huis van Alijn), Christine De Weerdt (STAM), Lies Vanborm (Vooruit), Katrien Laporte (Design Museum)

  • 29/05/18: Rik Vandecaveye (Minard), Eveline Neirings (Festival van Vlaanderen), Patrick Allegaert (Museum Dr. Guislain), Steve Maes (Vormingplus, Cultuurraad), Marie-Laure Delaby (Vieze Gasten), Luk Verschueren (Cultuurraad, Victoria Deluxe), Maarten Soete (Oetang).


At a second plenary meeting (05.09.2018 – invitation to all Flemish recognized Ghent art houses and Museums) was given the go-ahead for the start of the art consultation process. A starting group* was set up who met four times. Their starting note was updated at a third plenary meeting** (07.02.2019) in the Centrale.



There is a great willingness on the part of colleagues from the cultural sector in Ghent to work generously together on projects or on specific projects. This can be seen already in numerous projects, in the so-called Diversiteitswerf (about diversity), in Zalenoverleg (infrastructure and calendar opportunities, in the literature meeting and in Greentrack (ecology).


However, there is no structured consultation on policy or strategic themes like: the reconversion of the Winter Circus, the nomination for the Cultural Capital in 2030, the further expansion of the Bijloke site, the ‘filling in’ of the Caermersklooster, the renovation of the Opera, the additional exhibition space for the SMAK, the interpretation of Unesco Creative City of Music, the sector-wide cooperation with economic players or with the education or welfare sector, a larger platform for the performing arts, a ‘catching up’ movement for architecture and design, artistic content for events (cfr. Gentse Feesten), the international programming of theatre, dance and music, the expansion of the Expeditie, digital innovation, conversion of churches, urban tourism policy, urban marketing, cooperation with Northern France, mobility, cooperation technology park Zwijnaarde, threat of ever-increasing house prices, pooling of forces in the name of national media, cooperation with ticket agencies...








In the ‘political agreement’ 2019-2024 by the City of Ghent, titled: Ambition and daring for Ghent, there are a lot of points that have an impact on the arts field, or where the arts field can make a breakthrough. We list a number of points on from areas other than culture:

  • import of district magazines

  • pedestrian signage

  • extension of volunteer point

  • expansion of the range of leisure and after-school activities

  • the development of Ghent as the technological capital of Europe

  • living labs for new economic concepts on societal challenges

  • expansion of the heating network

  • supporting policy on disposable cups

  • focus on child-friendliness and accessibility in the hospitality sector

  • nightlife action plan

  • introduction of the city currency

  • consideration for public transport

  • expansion and redevelopment of the Zuidpark

  • maximum invoice in urban secondary schools




  • Ghent is a city of knowledge and culture and you can see that from many things. Of all the cities, Ghent has the most museums with national recognition. According to the Flemish city monitor, Ghent scores on the level of stage performances, exhibitions, public outreach and satisfaction with the cultural offerings invariably better than the average of the Flemish central cities. 12% of all bachelor’s students at the Ghent higher education institutions are following a culture-oriented direction, according to figures from the Flemish Department of Education and Training. The cultural and creative economy in Ghent accounts for 4% of the total employment – the Flemish average is 3% – or about 6,000 jobs. This landscape calls for an art scene that formulates ambitions together and bundles actions.

  • In the first Cultural and Creative Cities Monitor of the European Directorate-General for Joint Research Center, Ghent is in the top 5 for ‘cultural vibrancy’. This indicator measures the cultural wealth of the city through its infrastructure for the arts, and the city’s capacity to provide local, national and local, attracting international audiences for/through their cultural life. In addition to numerous theater and dance companies, there are two Flemish art institutions active in Ghent: Arts Centre Vooruit and Kunsthuis Opera-Ballet Vlaanderen. Ghent also has a very rich cultural heritage. It includes protected townscapes, landscapes, monuments as well as a great deal of architectural work. All this is part of the image of Ghent, which is also reflected in the attraction on tourists. This effect gains in strength when the arts sector joins forces.


  • After thirty years of uninterrupted revival, there are still economic, ecological, social and cultural challenges ahead. These challenges call for innovative recipes. Ghent expects an annual increase in the population of over 1,000 inhabitants to 282,300 by 2035. This poses challenges to the arts sector in terms of supply, infrastructure, mobility, financing...


  • In recent years, Ghent has seen a strong reduction in family size. For young families, the increase in the number of families in Ghent has led to an increase in the number of housing prices: for these families it’s gradually becoming impossible to settle in Ghent. If you are looking for a house in one of the Flemish provincial capitals, you pay the most in Leuven for a house (with an average of 362,800 euros in 2018) and the most for an apartment in Ghent (average of 256,786 euros). Those who can buy an apartment, pay the least for one in Antwerp (average of 206,890 euros). That is 50,000 euros less than in Ghent, the most expensive city.*** After their studies, young people leave the city and are looking for more affordable housing in surrounding cities. This choice is facilitated by the quality of the increasing cultural offerings of young, dynamic organizations: De Grote Post in Ostend, Netwerk Aalst, KAAP in Bruges, BUDA and Wild West in Kortrijk...


  • In addition to affordable housing and easy commuting, cultural and hospitality facilities determine whether young people stay in Ghent or leave. The more attractive these facilities are, the greater the chance that young people will stay (Marlet:2009). Young people challenge the ageing process of a city; by their presence makes it more reasonable for companies to establish themselves, which means that employment is rising, also for the less educated.


  • In the Concertgebouw Brugge, deSingel and the Elisabethzaal in Antwerp, at BOZAR in Brussels, on the Next festival for the Euro-metropolis Lille, Kortrijk, Tournai and with strong players in Lille (Opera, Lille3000, L'Aéronef), …: there is developing an international arts offer that remains absent in Ghent. Ghent loses also, because of that, a piece of her attraction.


  • Ghent must increasingly share its position as a forerunner in technical entrepreneurship with others. iMinds is tilted into IMEC and less prominent in the city. The Netlog social network site was overtaken in 2011 by Facebook and Antwerp outperformed Ghent in the policy for start-ups and scale-ups and in playing off the city as a business-friendly biotope.


  • Ghent is not only the largest student city in Flanders, it is also the city where 22% of all 22-year-olds don’t have a secondary education. Four out of ten residents are single, which is why they vulnerable to poverty. More than 10% of 18/19-year-olds use need social support.


  • Ghent has had a labor paradox for years: many vacancies are not filled, while the city is struggling with an unemployment rate of more than 10%.


  • More than 30% of the inhabitants have a background in migration. The arts sector is aware of the fact that is hasn’t made sufficient efforts over the last thirty years to share its wealth of halls, network, means of production, public, ..., with various ‘new’ creators and audience.


  • For a long time now, professional cultural offerings are no longer exclusively made by subsidized institutions or players. Urban and pop-up initiatives and commercial players offer a growing range of services. A (local) government responds to this evolution and can refer to it to place the professional arts and crafts sector less at the heart of their policies.


  • There are new people active in the management of cultural centers in Ghent. This is the first time that the question, about the need for an arts consultation, is asked by one of the major players. There is a momentum to get new ideas off the ground and vigorously demonstrate that the Ghentian arts sector shares common ambitions.




1. Common focus:

  • We all work hard within our own organization. As a result, we lose power as a collective. A consultation platform can increase this effectiveness by rationalizing work and broadening its impact. 

  • Front-forming from the arts sector has proved possible around urgent themes, but this has not been sustainable so far and is seldom translated into political action.

  • There is a lot of business coming towards us where individual cultural organizations don’t know how to deal with by themselves, also within sectors that have a flanking impact on art and culture (education, taxation, mobility, sustainability...). An art consultation should promote the flow of information and can help to formulate common answers.

  • There is a need for consultation at the policy level rather than at the project level on matters that are at stake for everyone.

  • Current platforms (Greentrack, Muziekoverleg, Zalenoverleg, Diversiteitswerf) supply excellent work. The art consultation must strengthen this and relate to them.


2. The importance of cities is increasing

  • Urban governments are becoming better organized and the impact of local politics is increasing. The arts sector must be ready to take part in the discussion. Both with the policy, but also with the population, the media, other governments...

  • An important part of the cultural budget of the provinces and the Flemish Community is shifting, not earmarked, to the cities and municipalities. This increases the importance of the local level of government and the need for a strong advocate for the sector is growing.

  • With the loss of cultural authority in the provinces, the need for a regional operation increased. The Flemish decree on supra-local culture must give substance to this. What is the position of a city like Ghent on this and what about the arts field?

  • The start of an Arts Consultation in Ghent is essential because of the paradigm shift that is taking place: after the Second World War, culture was at the heart of the policy, culture is now in danger of shifting to the periphery. We are witnessing a retreating government that is increasingly being supported in this by the public opinion.


3. Need for a strong voice on urban policy and other sectors

  • Due to amendments to the decree on local cultural policy, there is no longer a cultural policy coordinator who can conducts (policy) discussions with the cultural operators. As a result, the consultations have been reduced to individual consultations with the city administration, cabinets or politicians and to the annual Ghent meeting culture.

  • Knowledge sharing with the policy is limited (e.g. Eurocities in Ghent but no one was aware of it). This is due to changing people within administrations and cabinets as well as to the lack of a single point of contact for consultation with the arts sector.

  • Thanks to a fast-growing university and colleges of higher education, a (bio)medical and technology scene of international level, a dynamic port and a good range of culture, Ghent has transformed itself the past few decades: there has been a shift from a grey industrial city to a lively one. But there has been little consultation between all these sectors. An art consultation can act as a facilitator and discussion partner for this purpose.

  • The Ghent City Council (Cultuurraad) is reachable and approachable, but sustainable conversations on structural policy themes do not occur, or only at the start of the legislature. An art consultation can do this or promote this as a discussion partner.

  • The role of the city in urban cultural policy is multifaceted: sometimes the city acts as an actor (e.g. Light Festival), sometimes as a facilitator or as a director. This increases the sector’s need to develop its own more organized and unambiguous conversation.

  • There is a need for a collective cultural-political commitment of the city to higher authorities (Flemish Community, Europe). A Ghent arts consultation could be inspiring and guiding to work together with the Alderman for Culture on dossiers relating to the Flemish Community, the Belgian state (about taxation, NMBS...) and the European Union.




Kunstenoverleg Ghent wants to stimulate and facilitate collaboration

  • within the Ghent arts and culture sector, 

  • between the Ghent arts sector and other sectors (tourism, education, economy, urban development, media...)

  • between the Ghent arts sector and governments

in order to broaden its impact and, from there, to develop concrete actions that contribute to the cultural imagination of the city, on a big and on a small scale.




  1. by stimulating meeting and exchange

  2. by formulating points of view

  3. by identifying and supporting joint projects that respond to common needs




  1. A reflection network: strengthens expertise by bringing together employees from different organizations. (At the Brussels Kunstenoverleg this concerns policy, communication, cultural infrastructure and diversity, sustainability, economy, Europe, public action, urban development, employment and tourism. To this end, they use various methods: sharing good practices, debates, meetings, reflection and working groups, training, information sessions... Formal and informal.)

  2. A policy advisor: both for urban cultural policy and for neighboring areas such as mobility, urban planning, education, poverty, integration... The representation of interests is a natural part of it. We approach this fully on the basis of substantive themes.

  3. A platform for joint (artistic) projects: e.g. joint opening of the season, interpretation of Van Eyck 2020, new year’s drink, last-minute tickets, common cultural communication… 


The art consultation/Kunstenoverleg Ghent wants to focus on the strategic level, on long-term visions and on exchange and cooperation with other sectors. It is important that none of these functions get bogged down in micromanagement.




  • In recent years, several initiatives have been launched, but they have never proved to be strong enough to continue to exist. Fatigue in meetings/consultation? Growing cynicism?

  • The cultural sector in Ghent often still thinks competitively and is sometimes put up against each other. It will be essential to express our commitment (common mission and values) to surpass this competition. Focusing on the big plan, more than own interests.

  • Fear of a too local focus and operation. The international reputation of the Ghent cultural sector is currently underrepresented. A large part of the responsibility for this lies with the sector itself. We have to use the local arts consultation, not only for local purposes, but as a way to put Ghent on the international map. At the same time, we have to make sure that there is no ‘cannibalization’ of Ghentian makers.

  • The cultural sector is an autonomous sector. A sector that goes against the establishment and is sharp, also in relation to each other. We have to keep this sharpness. Is there no danger of it disappearing due to such a consultation platform?

  • We have to make sure that we don’t take on too much. What will we do, but what won’t we do as well?

  • The organization stands or falls with the quality of the people who are the driving force. Kunstenoverleg Ghent must be an open new structure based on competencies. This takes place in changing coalitions and not just with the people around the table. Depending on the actions, colleagues with competencies will be in charge of communication, production, finance, public relations, commercial policy...




Kunstenoverleg Ghent is a platform that is not limited to the cultural organizations. It is a place that invites to participate everyone who subscribes to the objectives and values. 


We opt for a light organizational structure in which the broadest possible audience can participate in various ways. Within this structure, there are different commitments in terms of duration and intensity. We strive for as much rotation as possible and the influx of new ideas and people.


The basic idea is an annual meeting called ‘The Grand Assembly’, but also ‘a party in which each and every one of us is invited to take part’: every active Ghent cultural worker or participant has the opportunity to shape Kunstenoverleg and can choose representatives.


Via a broad, open call, all potential members can register via a system (to be set up): professionals and non-professionals, all employees of arts or cultural organizations, individual members of staff, artists, students, cultural workers from different disciplines and sectors, above and below the radar...


We try to appeal to as many people as possible, in order to create as much support as possible for the consultation with as many stakeholders as possible. We aim for a sense of ownership and try to achieve as much registrations as possible by potentially committed members. This new database forms the basis for all communication/interaction.


This annual meeting and its course will be organized for the first time by a start-up committee, which will also elaborate the protocol of registration, the nomination and the electoral procedure. Kunstenoverleg Ghent will be launched on 3th of July 2019 at 8 pm in the Minardschouwburg, which will also celebrate its 25th anniversary in 2019.


At the first annual Grand Assembly (September/October 2019), a Petit Committee (Petit Comité, steering committee) will be nominated, with thirteen representatives from various cultural organizations and sectors. For a period of three years, they will ensure the necessary continuity and will invest in the complementarity with other existing consultation platforms in the field, together with a coordinator, over the course of the year. Meaning platforms like: Zalenoverleg (infrastructure and calendar opportunities), Diversiteitswerf (diversity), Greentrack (ecology)…


Tasks of the Petit Committee:

  • communicating about and broadening the actions of the action groups

  • defining a point of view on matters that need to be followed up quickly because of their topicality (for this purpose the members of the Petit Committee must be given a mandate)

  • organizing exchanges and meetings

  • sparring partner of and communicator with (local) politics.


One third of the members of the Petit Committee are re-elected each year.


The Petit Committee provides the financial, content and logistical support for Kunstenoverleg and operates as a co-founder and designer in the field of urban cultural policy. It also provides a spokesperson. Other roles may also be defined.


This group therefore guarantees the monitoring, consolidation and management of the so-called ‘action groups’, themes and actions that are being developed. The members are nominated at the annual Grand Assembly.


At this annual Assembly, temporary coalitions (‘action groups’) of various persons and organizations are also nominated. These coalitions place new themes or action points on the agenda. Their aim is ambitious but limited in terms of size and time (one year). In the best case, there are several of these action groups. They campaign among registered members for their proposals or actions, present them at the meeting and recruit accomplices.


The selected coalitions or action groups will elaborate their proposals and working points together with the Petit Committee. The action groups provide the inflow of new ideas or topics and form the core and the ‘engine’ of Kunstenoverleg Ghent.


The Ghent Kunstenoverleg can work with annual and permanent action groups. Greentrack,

Diversiteitswerf and Zalenoverleg can be a permanent action group. The relationship between them and Kunstenoverleg are the subject of further discussions.


The registered members receive an update twice a year, a short report of the progression made by the action groups and the Petit Committee.


Kunstenoverleg Ghent does not present itself as a ‘shadow cabinet’. We do not have an ‘opposition’ strategy. We aim to strengthen the cultural policy, not undermine it.




1. How many members does the Petit Committee have?

There are 13 members. Assuming that people are absent from time to time, an average meeting is still guaranteed to have 8 to 10 participants. Due to the co-optation (see below) of members, this number can still be slightly increased. Those who don’t attend half of the meetings on an annual basis, even if they are excused, are being replaced. We assume there will be 10 meetings per year (= monthly, except in July and August).


2. How do you present yourself as a candidate?

Via the registration module that is launched every year in the recruitment for and communication about the Grand Assembly. It also clearly states what is expected of a member of the Petit Committee.


3. How is a balanced composition of the Petit Committee guaranteed?

All members of the Petit Committee join in a personal capacity and not as a representative of an organization. The call for candidates is based on the following equilibria, whereby competence profiles are respected to the fullest:


  • great affinity and commitment to the arts and cultural heritage

  • 50/50 male/female/x

  • 30% of non-Belgian origin (see target for inflow of new employees City of Ghent)

  • individual artists / small organizations / large organizations

  • structurally (Flemish Government) recognized organizations / project organizations / citizens’ initiatives

  • intergenerational: <30 years / 30-50 / 50-65

  • disciplines: cultural heritage, performing arts, music, visual arts, nightlife, design…


The Petit Committee is responsible for ensuring that its composition is as diverse as possible. If it does not succeed on the basis of nominations made by the Grand Assembly, then other candidates may be addressed and co-opted. For the first memberships, the working group for “the architecture of Kunstenoverleg” will be the guardian (see below). The list of members of the Petit Committee is submitted annually to the Grand Assembly.


4. How long does the term of office of a member of the Petit Committee last?

The term of office may not exceed three years. Each year, 1/3 of the members are replaced during the Grand Assembly. Who is leaving after 1 or 2 years, is part of the consultation between the members of the Petit Committee.


5. Does the Committee have a chairman?

Yes, he or she will be appointed by the Petit Committee for a maximum of three years. It can be a person from the members of the Committee, but it can also be an external person.



  • facilitates the internal operation of the Petit Committee and the action groups (in cooperation with the coordinator)

  • team coach of the Petit Committee

  • coordinator’s operational employer

  • representative of Kunstenoverleg in meetings with authorities

  • external communication (e.g. press) can be taken care of by him/her, unless the Petit Committee appoints a spokesperson among its members.


6. Structural link with Diversiteitswerf, Greentrack, Zalenoverleg and Cultuurraad?

Kunstenoverleg Ghent considers it important to cooperate with Diversiteitswerf,

Greentrack, Zalenoverleg and the Culture Council of Ghent. The Petit Committee will look into it, to see how this can be established.


7. Link between action groups and Petit Committee?

The Petit Committee actively monitors the action groups. This can be done in different ways:

  • member of an action group is also a member of the Petit Committee

  • regular consultation with the leader of an action group

  • someone from the Petit Committee takes on the sponsorship of an action group

  • the coordinator is an important liaison in this respect.


8. How to promote collaboration with other sectors?

Kunstenoverleg Ghent will make itself known to other players on other domains: economy, education, welfare... The Petit committee and the actions groups are constantly checking whether we can strengthen our activities by involving active players from other sectors.




1. Is ‘The Grand Assembly’ a good name?

Yes, it says what it stands for and yet it is relativistic. Baseline: Feast of the Ghent arts.


2. Who can come?

Anyone who wants to contribute to the artistic imagination of the city. The number of participants per organization is unlimited. Everyone has to register in advance (name, address, mail, telephone, year of birth, competencies, commitment...).


3. Will there be a vote during the Grand Assembly?

No, this creates division. Based on a proposal by the Petit Committee, the list of members of the Petit Committee for the coming year will be confirmed, and people will have the opportunity during the Assembly to call on accomplices to a specific action group.


4. For free or paying?

Participation in the Grand Assembly is free of charge. If necessary, a call can be done to finance Kunstenoverleg (to the registrants?) by making a contribution without obligation.




1. Who can pitch a call for an action group during the Grand Assembly?

The call for action is made simultaneously with the communication about the next Grand Assembly. Anyone can submit a proposal. Possible course of action: you can only submit if your proposal already has two other partners (best also a partner outside the sector). There can be a prior consultation between someone from the Petit Committee and the proposer (he/she can also act as the ‘godfather’ for the proposal). An action group is validated (again: not elected) at the Grand Assembly.


2. What is the role of the initiator of an action group?

  • calls and keeps the group together

  • ensures decisiveness

  • works in consultation with the Petit Committee

  • is the contact person and spokesperson for his/her action


3. Is the period of operation of each action group limited to one year?

Usually it is. This is what we aim for. In any case, each action group reports annually to the Grand Assembly.



The need for a coordinator for Ghent is recognized. He/she convenes the Petit Committee, keeps a finger on the pulse in the action groups. He/she is neutral, a coaching process counsellor who facilitates consultation, the back office, etc. and is responsible for the communication. He/she may also be in charge of Zalenoverleg and Diversiteitswerf.

We argue for one full-time employee. Overhead costs can be reduced by having a rotating office (every 6 months?) in the offices of one of the members.

It is important that a sufficient number of diverse cultural organizations take part in Kunstenoverleg and in the communication. This cannot only come from the coordinator.

The Brussels Kunstenoverleg is coordinated by two salaried persons, financed by the Flemish

Community Commission and the Brussels-Capital Region.



We opt for mixed financing: city and sector. We ask the city for the labor cost for 1 full time coordinator. (€ 57,000 labor cost - PC 304 - 10 years of seniority + transport costs + luncheon vouchers + mobile phone + computer = € 65,000). The operating costs are borne by the financing from the sector and from private individuals. Financing from the sector: possibly a percentage of the turnover/subsidy can be agreed upon (OKO model). We address the organizations with an invitation to participate financially and set up a fork. Private funding or contributions from players who are not structurally funded: we can ask people for a non-binding contribution during the Grand Assembly. The establishment of a non-profit organization (vzw) makes sense. This offers the possibility to raise capital for specific actions.



After reforming, the culture council is managed by a small core group, which is the driving force behind the advice and the participation. This group forms the formal culture council (cultuurraad). A group of 13 members of various composition. They take care of the general management of the operation. Participation takes the form via actions for, for example, diversity, the professional art houses, accessibility, citizen’s platforms... Every project in the program is participated by two members of the Culture Council.


The Petit Committee of Kunstenoverleg Ghent is one of the permanent projects of the renewed Culture Council. This would mean that two members of Kunstenoverleg Ghent also become members of the Culture Council/Cultuurraad.





At the meeting on 7 February, these colleagues put themselves forward as candidates to act as party planners for the organizations of the to take on the first Grand Assembly:

  • Sophie Vanden Broeck (NTGent)

  • Steve Piens (4Hoog)

  • Wim Wabbes (Handelsbeurs)

  • Rik Vandecaveye (Minardschouwburg)

  • Hanne Boelaert (Action Zoo Humain)

  • Stephanie Callens (Trefpunt)



  • Johan Desmet (Kopergietery)

  • Katrien Laporte (Design Museum)

  • Luc Verscheuren (Cultuurraad and Victoria Deluxe)

  • Steven Heene (NTGent)

  • Lies Leliaert (LOD)

  • Kurt Melens (Handelsbeurs)

  • David Bauwens (Ontroerend Goed)

  • Carl Gydé (CAMPO)

  • Franky Devos (Vooruit)

  • Jos Lootens (de Centrale)



  • Mieke Dumont (Vooruit)

  • Justine Boutens (CAMPO)

  • Karel Lievens (de Bijloke)

  • Elinde Van de Voorde (Museum Dr. Guislain)

5th of June, 2019.



1. Hoeveel leden telt het Petit Comité?

13 leden. Ervan uitgaand dat er af en toe mensen afwezig zijn, blijft het overleg toch gegarandeerd tussen de 8 à 10 deelnemers. Door de coöptatie (zie verder) van leden kan dit aantal nog lichtjes stijgen. Wie op jaarbasis de helft van de meetings niet aanwezig is, ook al ben je verontschuldigd, wordt vervangen. We gaan uit van 10 meetings per jaar (= maandelijks, behalve in juli en augustus).


2. Hoe stel je je kandidaat?

Via de registratiemodule die jaarlijks gelanceerd wordt bij de werving voor en communicatie over de Grote Vergadering. Daarin wordt ook helder aangegeven wat er verwacht wordt van een lid van het Petit Comité. 


3. Hoe wordt een evenwichtige samenstelling van het Petit Comité gegarandeerd?

Alle leden van het Petit Comité zetelen ten persoonlijke titel en niet als vertegenwoordiger van een organisatie. Bij de oproep naar kandidaten worden volgende evenwichten en competentieprofielen maximaal gerespecteerd:

  • grote affiniteit en betrokkenheid bij kunsten en erfgoed 

  • 50/50 man/vrouw/x

  • 30% van niet-Belgische origine (cfr. doelstelling instroom nieuwe medewerkers Stad Gent)

  • individuele kunstenaars / kleine organisaties / grote organisaties

  • structureel (Vl. Gem) erkende organisaties / projectorganisaties / burgerinitiatieven

  • intergenerationeel: <30 jaar / 30-50 / 50-65 

  • disciplines: erfgoed, podiumkunsten, muziek, beeldende kunsten, nightlife, design


Het Petit Comité heeft de verantwoordelijkheid om haar diversiteit in samenstelling maximaal te garanderen. Als dit niet lukt op basis van kandidaatstellingen n.a.v. de Grote Vergadering, kunnen kandidaten aangesproken worden en gecoöpteerd. 

Voor de eerste samenstelling zal de werkgroep “architectuur van het kunstenoverleg” hier de bewaker van zijn. 


De ledenlijst van het Petit Comité wordt jaarlijks voorgelegd aan de grote vergadering.


4. Hoe lang duurt het mandaat van een lid van het Petit Comité?

Het mandaat duurt maximaal drie jaar. Elk jaar wordt 1/3de van de leden vervangen tijdens de Grote Vergadering. Wie er bij de opstart al na 1 jaar uitgaat of na 2 jaar, is onderdeel van overleg tussen de leden van het Petit Comité. 


5. Heeft het kunstenoverleg een voorzitter?

Ja. Hij/zij wordt voor maximaal drie jaar aangesteld door het Petit Comité. Het kan zowel iemand van de leden van het comité zijn als een externe. 


  • faciliteert de interne werking van het Petit Comité en de actiegroepen (in samenwerking met de coördinator)

  • teamcoach van het Petit Comité

  • operationeel werkgever van de coördinator

  • vertegenwoordiger van het kunstenoverleg voor overheden

  • externe communicatie (o.a. pers) kan door hem/haar worden opgenomen, tenzij het Petit Comité een woordvoerder aanstelt uit haar leden


6. structurele band met diversiteitswerf, Greentrack, zalenoverleg en cultuurraad?

Het Gentse Kunstenoverleg vindt het belangrijk om samen te werken met de diversiteitswerf, Greengracht, het zalenoverleg en de cultuurraad. Het Petit Comité bekijkt in overleg hoe dit best gebeurt. 


7. Link tussen actiegroepen en Petit Comité?

Het Petit Comité volgt de actiegroepen actief op. Dat kan op verschillende manieren: 

  • lid van een actiegroep is ook lid van het Petit Comité

  • regelmatig overleg met de trekker van een actiegroep

  • iemand van het Petit Comité neemt het peter/meterschap op van een actiegroep

  • de coördinator is hierbij een belangrijke brugfiguur

  • ....


8. Hoe de samenwerking met andere sectoren bevorderen?

Bij de opstart maakt het Gentse Kunstenoverleg zich bekend bij andere middenveldspelers uit economie, onderwijs, welzijn,... In de werking (zowel van het Petit Comité als van de actiegroepen) toetst het Gentse kunstenoverleg permanent af of we onze werkzaamheden niet kunnen versterken door actieve spelers uit andere sectoren mee te betrekken. 




1. is “De Grote Vergadering” een goede naam? 

Ja, zegt wat het is en is toch relativerend. Baseline: Feest van de Gentse kunsten. 


2. wie mag komen?

Iedereen die wil bijdragen aan de artistieke verbeelding van de stad. Het aantal deelnemers per organisatie is niet beperkt. Iedereen moet zich vooraf registreren (naam, adres, mail, telefoon, geboortejaar, competenties, engagement,...).


3. wordt er op de grote vergadering gestemd? 

Neen, dit zorgt voor verdeeldheid. Op voordracht van het Petit Comité wordt de ledenlijst voor het Petit Comité voor het komende jaar goedgekeurd en mensen krijgen de kans om een oproep te doen naar medeplichtigen voor een actiegroep. 


4. gratis of betalend?

Deelname aan de Grote Vergadering is gratis. Eventueel kan ter financiering van het Gentse Kunstenoverleg wel een oproep gedaan worden (naar de geregistreerden?) om vrijblijvend een bijdrage te doen. 




1. Hoe wordt bepaald wie een oproep voor een actiegroep kan pitchen op de Grote Vergadering? 

De oproep gebeurt met de communicatie over de volgende Grote Vergadering. Iedereen kan een oproep indienen. Mogelijke piste: je kan pas indienen als je voorstel al twee andere partners heeft (best ook een partner buiten de sector) / vooraf is er een overleg tussen iemand van het Petit Comité en de indiener (hij/zij kan ook als peter/meter optreden voor het voorstel).

Een actiegroep wordt gevalideerd (ook hier weer NIET verkozen) op de Grote Vergadering. 


2. Wat is de rol voor de trekker van een actiegroep? 

  • roept en houdt de groep samen

  • zorgt voor daadkracht

  • werkt in overleg met het Petit Comité

  • is aanspreekpersoon en woordvoerder van zijn/haar actie


3. Is de werkingstermijn van elke actiegroep beperkt tot 1 jaar?

Meestal wel. Hier wordt naar gestreefd. Sowieso rapporteert elke actiegroep jaarlijks op de Grote Vergadering. 




De nood aan een coördinator voor Gent wordt erkend. Hij/zij roept het Petit Comité bijeen, houdt de vinger aan de pols bij de actiegroepen. Hij/zij is neutraal, een coachende procesbegeleider die overleg faciliteert, het secretariaat opvolgt en mee de communicatie verzorgt. Hij/zij stuurt eventueel ook het zalenoverleg en de diversiteitswerf aan. 

We pleiten voor één voltijdse medewerker. 


Overheadkosten kunnen gereduceerd worden door een roterend bureau (om de 6 maanden?) in de kantoren van één van de leden. 

Het is belangrijk dat voldoende diverse culturele organisaties mee het kunstenoverleg trekken en mee de communicatie voeren. Dit kan niet enkel van de coördinator komen. 


Het Brussels Kunstenoverleg wordt gecoördineerd door twee personen in loondienst, gefinancierd door de Vlaamse Gemeenschapscommissie en het Brussels Hoofdstedelijk Gewest.



We opteren voor gemengde financiering: stad en sector. We vragen aan de stad de loonkost voor 1 voltijds coördinator. (€ 57.000 loonkost - PC 304 - 10 jaar anciënniteit + transportkosten + maaltijdcheques + gsm + computer = € 65.000). 


De werkingskosten worden gedragen door de financiering vanuit de sector en vanuit particulieren. 


Financiering vanuit de sector: mogelijks kan een percentage van de omzet/subsidie afgesproken worden (OKO-model). We schrijven de organisaties aan met een uitnodiging om financieel te participeren en stellen een vork voor. 


Particuliere financiering of bijdrage van niet structureel gefinancierde spelers: we kunnen mensen die zich registreren voor de Grote Vergadering een vrijblijvende bijdrage vragen. 


Allicht is de oprichting van een vzw wenselijk. Dit biedt ook mogelijkheid om voor specifiek acties eigen middelen te verwerven. 




Na hervorming, wordt de cultuurraad aangestuurd door een kleine kerngroep, die de motor is van de advisering en de participatie. Deze groep vormt de formele cultuurraad. Gedacht wordt aan een groep van 13 leden  van diverse samenstelling. Zij zorgen voor de algemene regie van de werking. De participatie krijgt gestalte via deelwerkingen rond bijvoorbeeld diversiteit, de professionele kunstenhuizen, toegankelijkheid, uitpas, bewonersplatforms,... Aan iedere deelwerking wordt geparticipeerd door een tweetal leden uit de cultuurraad.


Het Petit Comité van het kunstenoverleg is één van de deelwerkingen van de vernieuwde cultuurraad. Dit zou betekenen dat twee leden van het kunstenoverleg ook lid worden van de cultuurraad. 








Op de meeting van 7 februari stelden deze collega’s zich kandidaat om als feestplanner de organisaties van de eerste Grote Vergadering op zich te nemen: 

  • Sofie Van den Broeck (NTGent)

  • Steve Piens (4Hoog)

  • Wim Wabbes (Handelsbeurs)

  • Rik Vandecaveye (Minard)

  • Hanne Boelaert (Action Zoo Humain)

  • Stefanie Callens (Trefpunt)



  • Johan Desmet (Kopergietery)

  • Katrien Laporte (Desingmuseum)

  • Luc Verscheuren (Cultuurraad en Victoria Deluxe)

  • Steven Heene (NTGent)

  • Lies Leliaert (LOD)

  • Kurt Melens (Handelsbeurs)

  • David Bauwens (Ontroerend Goed)

  • Carl Gydé (CAMPO)

  • Franky Devos (Vooruit)

  • Jos Lootens (De Centrale)



  • Mieke Dumont (Vooruit)

  • Justine Boutens (CAMPO)

  • Karel Lievens (De Bijloke)

  • Elinde Van de Voorde (Guislain) 


5 juni 2019

* STARTING GROUP: Carl Gydé (CAMPO), Bert Schreurs (Collegium Vocale), Geert Riem (deBijloke), Jos Lootens (De Centrale), An De Bisschop (KASK / Diversiteitswerf), Eva Peeters (Greentrack), Wim Wabbes (Handelsbeurs), Johan De Smet (Kopergieterij), Franky Devos (Vooruit), Hans Bruneel (LOD), Rik Vandecaveye (Minard / Zalenoverleg), Patrick Allegaert (Museum Dr. Guislain), Steven Heene (NTGent), Marjoleine Maes (Nucleo / Kunsthal Gent), Maarten Soete (Diversiteitswerf / Zalenoverleg), Steve Maes (Vormingsplus / Cultuurraad), Luk Verschueren (Victoria Deluxe / Cultuurraad), Evi Swinnen (Timelab).

** PLENARY MEETING 07.02: An de Bisschop (KASK), Mats Van Herreweghe, David Bauwens (Ontroerend Goed), Lise Thomas (Opera/Ballet Vlaanderen), Ellen Stynen (Kabinet k), Evi Swinnen (Timelab), Carl Gydé (CAMPO), Eva Peeters (Greentrack), Merel Vandegehuchte (Theaterfestival), Geert Riem (De Bijloke), Frederik Styns (Symfonieorkest Vlaanderen), Sofie Van den Broeck (NTGent), Steve Piens (4Hoog), Wim Wabbes (Handelsbeurs), Rik Vandecaveye (Minard), Hanne Boelaert (Action Zoo Humain), Stefanie Callens (Trefpunt), Maarten Soete (Oetang), Franky Devos (Vooruit), Patrick Allegaert (Museum Dr. Guislain), Katrien Laporte (Designmuseum), Bart Van Der Roost (Opera/Ballet Vlaanderen), Luk Verschueren (Cultuurraad, Victoria Deluxe), Inge Lattré (Platform K), Alexandra Meijer (Wisper), Bilal Abbas, Marjoleine Maes (Nucleo, Kunsthal Gent), Jos Lootens (De Centrale), Chokri Ben Chikha (Action Zoo Humain), Luc Baeckeland (De Centrale), Vjera Somers (Compagnie Cecilia), Stefanie Callens (Trefpunt Festival), Ruth Dupré (Danspunt), Ingrid De Coninck (Jazz & Muziek), Marjan Doom (Gents Universiteitsmuseum) en Herlinde Decroos (Ultima Thule).

*** Notarissenfederatie in: De Standaard, 21.02.2019