Marseille’s Magnetic Pull: How France’s Second City is Rewriting the Rules for European Dance
Forget the established capitals. A quiet revolution is underway in Marseille, France, where a confluence of affordability, artistic freedom, and a uniquely supportive cultural ecosystem is attracting dancers and choreographers at an unprecedented rate. While Paris traditionally dominates the French arts scene, Marseille is rapidly emerging as a vital alternative, offering a compelling model for sustainable artistic practice in an increasingly precarious world – and potentially reshaping the landscape of European dance altogether.
The Precariousness Paradox: Why Artists are Leaving London and Beyond
The exodus isn’t simply about seeking sunshine and a Mediterranean lifestyle. For many artists, particularly those from the UK post-Brexit, the economic and logistical realities of maintaining a creative career have become untenable. Solène Weinachter, currently splitting her time between Glasgow and Marseille, points to Brexit, economic instability, and global conflicts as key drivers. “Everything was so precarious” in London, explains Andrew Graham, co-founder of The Other House, a company dedicated to inclusive arts practices, who relocated from London in 2018. Cancelled jobs, funding challenges, and a general sense of uncertainty have pushed artists to seek more stable and supportive environments.
Space to Experiment: Marseille’s Affordable Advantage
Marseille’s key differentiator? Space – and affordable space at that. Venues like KLAP House for Dance and The Wasteland, a repurposed tobacco factory, offer studios at minimal or no cost. This accessibility fosters a culture of experimentation that’s increasingly rare in major European cities. “It allows a certain culture of experimentation that is difficult in London,” Graham emphasizes. “I feel like I can go wrong. It allows me to create unusual work.” This freedom to fail, to explore unconventional ideas, is proving to be a powerful draw for artists seeking to push boundaries.
A Receptive Audience: Culture as Citizen’s Right
The appeal extends beyond practicalities. Marseille boasts a deeply ingrained appreciation for the arts, rooted in a tradition of viewing culture as an essential part of civic life. Amit Noy, a dancer and choreographer who recently moved from Hawaii and Aotearoa (New Zealand), notes that performances are consistently well-attended and draw diverse audiences. “People are used to being spectators and being in front of challenging work,” says Graham, highlighting the willingness of French audiences to engage with innovative and thought-provoking performances. This receptive environment provides a crucial platform for artists to develop and share their work.
Resilience and Solidarity in the French Arts Ecosystem
While France’s generous historical investment in the arts is well-documented – with a significant influx of funding in the 1990s – even this support is facing pressures. However, the independent dance scene in Marseille demonstrates remarkable resilience. Weinachter emphasizes the strong sense of solidarity within the community, with artists actively supporting one another. Initiatives like France’s “intermittent du spectacle” – an unemployment insurance program for freelance artists – provide a vital safety net, contributing to the stability of the local dance community. This network of support is attracting artists like Hours Veyrunes, a frequent collaborator with Oona Doherty, and Jean-Daniel (JD) Brousse, co-founder of the queer cabaret Shit Show.
From Transience to Rootedness: Building a Local Community
Traditionally, many Marseille-based artists have maintained a transient lifestyle, traveling for projects and returning to the city as a base. However, a shift is occurring, with choreographers like Emanuel Gat actively encouraging artists to establish a more permanent presence. “For my next production, I’m asking that applicants live here, so the studio relationship can extend into real life,” Gat explains. This desire to foster a stronger local community is further supported by organizations like Parallel, which provides funding and opportunities for choreographers from the South of France, the Middle East, and North Africa, encouraging them to remain and develop their work within the region. Noy’s recent work, Good Luck, rehearsed and presented entirely in Marseille, exemplifies this growing trend.
Marseille’s Unique Identity: A Malleable Cultural Landscape
Despite its burgeoning artistic activity, Marseille remains relatively uncrowded compared to other European dance hubs. Noy points out the lack of overwhelming competition and the ability to maintain a life outside of dance. This malleability is a key attraction. “If you’re in Paris, it’s a bit like ‘How can I carve out a space for myself?’” Noy observes. “Marseille feels more malleable. There’s more of a spirit of doing things yourself.” This spirit is amplified by the city’s diverse cultural makeup, with strong communities from North Africa and the Middle East, offering artists connections and perspectives unavailable elsewhere. Marseille Tourism provides further insight into the city’s rich cultural tapestry.
The Future of Dance: A New Model for Sustainability?
Marseille isn’t poised to replace Paris or London as a global dance capital overnight. However, it’s demonstrating a compelling alternative model – one that prioritizes affordability, artistic freedom, and community support. As economic pressures continue to mount in established art centers, and as artists increasingly seek environments that value experimentation and collaboration, Marseille’s magnetic pull is only likely to grow. The city’s success could serve as a blueprint for other regional hubs seeking to cultivate thriving and sustainable artistic ecosystems. What will it take for other cities to replicate Marseille’s success? Share your thoughts in the comments below!