How is intersectionality understood in a Danish context? How can we translate words and concepts from a race-conscious context like the United States to a race-evasive context like Denmark? And what do artists' needs, institutions, and intersectionality have to do with each other?
For artists and industry professionals. 30 participants.
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Language: Danish. Accessibility: Ground floor with ramp.
Please send an email to phyllis@hautscene.dk if you have specific accessibility needs.
This session is about stopping and taking a moment to both define and contextualize key concepts that are often used across creative and social industries. Many of us want positive change, but are we even sure that we understand what each other means?
Intersectionality is a concept developed by Black feminists that we adapt to our context from the US-American context. With a feminist starting point, we make space for multiple perspectives and artistic expressions that lie outside the norm across both society and the Danish performing arts scene. When we express the importance of an intersectional approach, it means that we acknowledge the ways in which different forms of oppression operate simultaneously – ways in which artists experience interlocking inequalities. We work from the notions that if we take good care of the most vulnerable among us, everyone benefits. Therefore, we take as our starting point a Black feminist ethic of care and cite, for example, Patricia Hill Collins, Audre Lorde, Kimberly Crenshaw, the Combahee River Collective, and others.
In a short presentation, key concepts are contextualized in a Danish context, after which participants are invited to critical reflection through collaborative exercises. Finally, we do a simple somatic exercise to feel where these topics land for each of us.
COLLECTIVE PRACTICE is a newly developed framework that takes our current context as its starting point. In the spring of 2026, we will focus on ARTIST CARE, as the Danish performing arts field lacks a common vocabulary for articulating lived experiences of inequality in Denmark—in Danish.
Elizabeth Löwe Hunter, PhD, er uafhængig forsker, formidler og kulturanalytiker og undersøger racialisering, tilhørsforhold, og repræsentation i Danmark gennem feministiske, dekoloniale forskningsmetoder.
Hun har undervist i normkritiske forskningsmetoder på UC Berkeley og rådgiver organisationer i intersektionelle tilgange til dataanalyse, formidling og klientrelationer blandt andet i uddannelses- og kunstsektoren. Elizabeth har en PhD i Black Studies og Gender Studies fra University of California Berkeley og er specialiseret i at forstå racegørelse i en dansk og europæisk kontekst.
Hun vil desuden varetage formidlingsopgaver gennem en intersektionel tilgang
Phyllis Akinyi (she/they) is a Danish-Kenyan dancer, choreographer, and interdisciplinary performance artist based between Madrid and Copenhagen. Working at the intersection of flamenco, Africanist spirituality, and contemporary performance, their practice explores cultural hybridity, ancestral memory, and embodied resistance. Akinyi’s concept of Spatial Listening frames her durational and site-specific works, where sound, trance, and ritual create portals for diasporic presence. She is the founder and artistic director of Diasporic Dimensions and co-editor of Afro-Nordic Perspectives on Performance. Their work has been presented across Europe and the U.S., including at the Venice Biennale, Haus der Kulturen der Welt, Yellow Fish Festival, and The Danish Royal Theatre.
