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Unlike ballet, contemporary dance neither knows distinct aesthetical or technical conventions nor strongly directive work relationships. Based on 18 in-depth interviews with dancers and/or choreographers who are predominantly associated with the Brussels dance scene, we examine the most important factors ensuring a minimal order in the semi-directive mode of artistic collaboration that dominates within contemporary dance. We successively discuss (i) the motives to initiate or break off a collaborative relation, (ii) the importance of mutual artistic trust and a particular personal fascination in the one whom one cooperates with, and (iii) the expectation of a considerable creative contribution and a sufficient degree of personal recognition. In the conclusion, we first briefly signal the relatively scant interest for processes of co-creation within the sociology of the arts. We then conceptualize the analysed semi-directive work relation in light of the model of symbolic exchange (the dynamic of gift and counter-gift) developed by Marcel Mauss and point out the relevance of both this interpretation and the presented empirical findings for the study of work relationships in other artistic fields and the so-called creative economy.

The German sociologist Dirk Baecker is one of the most prominent voices within contemporary social systems theory and German sociology, but is not well known within the wider circles of international sociology. He follows in the footsteps of Niklas Luhmann, yet in marked contrast with his 'sociological master' Baecker also gives ample attention to the notion of culture. This paper first summarizes some of the main lines in his writings on the notion of culture and on contemporary culture. It then continues with a succinct presentation of Baecker's approach to artistic communication against the background of this more general characterization of the relationship between the individual and society, conscious sensory perception and communication, in terms of an 'aesthetic coupling'. It will be shown that a recurrent figure of thought links up Baecker's various considerations on culture and art, i.e. the inclusion of the excluded.