A Conversation with Caterina Giangrasso Angrisani on Dance Management, Women’s Leadership, and Building Sustainable Cultural Ecosystems in Italy
Caterina Giangrasso Angrisani is a cultural manager, editor, and consultant whose decade-long career in the Italian performing arts is defined by a deep commitment to advocacy and structural sustainability. Deeply rooted in the cultural heritage of Southern Italy, Caterina is a passionate advocate for gender equity and mentorship. Her work consistently bridges the gap between local artistic roots and global networks, envisioning a future where culture serves as a collective force for social resilience.
You have a special bond with the dance scene, having trained as a dancer, your work as a writer and editor at Campa di Danza Dance Magazine, and as a project manager at ArtgaragedanceCo in Naples. Do you think dance in Italy still struggles for recognition compared to more “visible” art forms like opera?
«Absolutely — and that’s a very interesting and complex question. Yes, I do believe that dance in Italy still struggles for recognition, especially when compared to more institutionalised art forms like opera or theatre. This has a lot to do with historical and structural reasons: opera has always been deeply connected to Italian identity and public funding systems, while dance — particularly contemporary dance — has often existed on the margins, with less institutional support and visibility.
However, I also think this marginal position has allowed dance to remain one of the most innovative and socially engaged art forms in Italy today. Many choreographers and organisations are using dance as a space for experimentation, inclusion, and dialogue across disciplines. What we need now is a stronger cultural policy that recognises dance not as a niche language, but as a vital part of our national artistic ecosystem — capable of expressing the body, identity, and change. In 2026, it will be ten years since I started working in this field, and I believe there have been steps—dance steps—forward, but we need to commit ourselves to doing even better».
Tell us more about your professional background.
«I trained formally as a journalist and collaborated with several local and national news outlets, always focusing on culture and the performing arts. When I moved from Cava de’ Tirreni to Rome to study and gain professional experience, I initially thought my path would be in cinema. I worked in small productions as an assistant on music videos and documentaries, then completed internships at Cattleya and Nomad Film while also writing for Cinematographe.it, covering major events such as the David di Donatello Awards. My transition to the dance sector happened unexpectedly. A professor from Sapienza University suggested that I apply to Balletto di Roma, which was looking for someone to be trained in communication and management. That experience became my true professional foundation — I learned the dynamics of artistic production, communication, and organizational leadership by working directly alongside the general and artistic directors. I take great pride in having been educated in Italy’s public university system, which gave me both a strong cultural grounding and a sense of social responsibility. Those years taught me that excellence in the arts does not come from privilege, but from public access to knowledge and a commitment to collective growth. Today I approach my work with that same spirit — combining cultural rigor, field experience, and advocacy for a more equitable and sustainable performing arts ecosystem».
As an editor at Campa di Danza, what insights did you gain into the Italian dance scene? How has that experience shaped the way you approach managing a dance company?
«Working as an editor at Campa di Danza gave me a broad and nuanced perspective on the Italian dance landscape — from independent artists and small collectives to large institutional productions. It allowed me to observe the diversity, resilience, and creativity that characterise this field, but also to understand the systemic challenges it faces».
As a project manager at ArtgaragedanceCo, what does your role primarily involve, and how would you describe the state of the contemporary dance scene in Italy compared to other European contexts?
«As a project manager at ArtGarageDanceCo, my role sits at the intersection of production, strategy, and international collaboration. I coordinate artistic projects, manage partnerships and funding applications, and support touring and educational activities — from local community programs to European cooperation initiatives. It’s a dynamic position that requires balancing the artistic vision with the practical structures needed to make it sustainable and efficient.
Regarding the state of contemporary dance in Italy, I would say it’s a landscape full of talent and creative energy. Still, it often operates with limited resources and lower institutional recognition compared to other European contexts. In countries like France or Germany, contemporary dance benefits from more systematic support and integration within national cultural policies. In Italy — especially in the South — many independent companies survive thanks to passion, adaptability, and informal networks.
At the same time, this context generates a very authentic and innovative ecosystem in which artists constantly reinvent production and collaboration models, turning necessity into creativity. However, there is still a noticeable gap between what is considered “contemporary dance” and what falls under “performance art.” This division, while sometimes productive, can also limit dialogue and collaboration across disciplines. Everything that has artistic value deserves space, but the system would be much stronger if these different artistic planes could coexist and complement one another, rather than compete for recognition and resources».
«Living and working in Naples also means fighting stereotypes, both about the South and about women»
Growing up surrounded by such a rich cultural heritage in the South, how has this shaped your professional path and your vision for cultural work?
«Growing up in Southern Italy — in Cava de’ Tirreni, where I lived until the age of 23 — has profoundly shaped my professional and personal identity. In this region, history, art, and everyday life are inseparable; beauty is not confined to museums, it’s part of the landscape, the architecture, and the people’s imagination. Later, I lived in Rome for about six years, a period that allowed me to deepen my cultural education and professional experience. During that time, I also travelled frequently to Venice, where I worked on a project with La Biennale di Venezia. So, I can say that I have never lacked aesthetic or intellectual stimuli — they have always surrounded me. Since 2020, I have returned to Cava de’ Tirreni for family and personal reasons, while continuing to work mainly in Naples and with cultural organisations across Italy as a project consultant — always keeping a special focus on the South.
Living and working here also means fighting stereotypes, both about the South and about women. I strongly reject the clichés that still shape how people from Naples or the South are perceived — especially when they come from other Southerners. These experiences have taught me that cultural work is, above all, an act of resistance and imagination. This background inspires my vision: to create inclusive cultural ecosystems that connect local roots with international dialogue, where creativity is not a privilege but a collective force for social resilience and transformation. Working between Naples and other parts of Italy allows me to connect different realities: institutional and independent, local and international. My commitment is to make the South part of that dialogue — not as a periphery to be ‘saved,’ but as a generator of ideas, collaborations, and new models of sustainability».
Beyond dance, how would you describe the cultural sector in the South of Italy more broadly? What makes it unique, and what systemic challenges remain most persistent?
«The cultural sector in Southern Italy is both rich and full of contradictions. It’s a land where cultural expression is inseparable from place, memory, and community. Yet beyond its beauty, the system reveals structural gaps that affect not only small independent realities, but also major institutions. While there is public investment — often through regional and European funds — resources remain limited, fragmented, and rarely directed toward long-term infrastructure. One of the most critical issues, particularly for dance, is the lack of adequate spaces. Studios and theatres are often too small, outdated, or inaccessible. And this is not only a problem for emerging artists or mid-scale companies: it extends to major cultural institutions. During the two seasons I worked at the Fondazione Teatro di San Carlo, the oldest opera house in Europe and home to Italy’s oldest ballet school, I witnessed how even such an institution struggles with space management — few rehearsal rooms, scheduling difficulties for classes, rehearsals, and productions. This scarcity limits not only artistic growth but also the visibility of dance itself, which remains secondary to opera and symphonic work in most programming».
«There’s growing awareness that culture is not a luxury, it’s a driver of innovation, inclusion, and local growth»
There is often a stereotype that women in the South face stronger traditional expectations than in the North. From your perspective, is this a myth, a reality, or something more nuanced?
«It’s definitely more nuanced than a simple myth or reality. In the South — and perhaps in all “Souths,” or more broadly within Mediterranean and Latin cultures — traditional expectations around gender roles still exist. They are part of a long social and cultural history. Yet, at the same time, these are places where women have always held invisible but powerful forms of authority within families and communities. I consider myself quite fortunate: both my grandmothers worked, as did one of my great-grandmothers.
Today, women are often at the forefront of transformation, especially in the cultural field. Many of the most innovative festivals, projects, and independent spaces in Southern Italy are led by women who are redefining what leadership and creativity mean. With ArtGarage’s founder and artistic director Emma Cianchi, for instance, we created Woman Made — a multi-year project supported by the Italian Ministry of Culture through the Boarding Pass Plus programme. It promotes international mobility for female choreographers, dancers, and managers and highlights the value of women’s artistic voices in contemporary dance. That said, structural inequalities persist: fewer professional opportunities, unequal access to funding, and strong social expectations around care and family still shape women’s paths. But I choose to see this as part of a continuous process of empowerment — one deeply intertwined with Italy’s broader cultural and social renewal».
How does the regional divide between North and South in Italy impact opportunities for cultural professionals, especially women?
«The North–South divide in Italy is not only about cultural work — it affects opportunities in general. The two areas move at different speeds. For women, this often means navigating precariousness and limited recognition, but also building alternative spaces — collective, community-based, and grounded in care rather than hierarchy. I don’t think the direction is reversing yet, but in my generation I see a growing desire to do and stay — to build a meaningful life and work where we feel we belong. The South may still face inequalities, but it’s also a place where creativity, resilience, and a different idea of well-being are quietly redefining what it means to create culture».
Through the Woman Made project, you connected with leading U.S. institutions and mentors. What did that international exchange teach you about supporting women’s careers in the performing arts?
«The experience with Woman Made taught me that mentorship doesn’t always need to be formal to be powerful. When Emma Cianchi and I developed the project, our aim was to support the international careers of women in the performing arts — not only choreographers and dancers, but also cultural managers. To be eligible for funding through the Boarding Pass Plus programme of the Italian Ministry of Culture, we included an internationalisation component, which led us to collaborate with American Dance Abroad. Through that connection, I met Carolelinda Dickey and Andrea Snyder, who became true mentors throughout the process. With their guidance, we built a partnership with Jacob’s Pillow Dance Festival in Massachusetts, where we held a three-week residency in 2022, later renewed in 2024 thanks to the strong relationship developed with the festival’s director, Pam Tatge. That exchange was transformative. Managing every phase of the project while being supported by such inspiring professionals showed me how mentorship can emerge organically through collaboration — and how international exchange can strengthen both artistic and managerial leadership for women in the arts».
If you could design a mentoring or networking program for women in Italy’s cultural sector, what would it look like? And in your opinion, what could be the first step in addressing the gender gap in leadership roles?
«If I could design a mentoring or networking program for women in Italy’s cultural sector, it would be hybrid, intergenerational, and territorially inclusive — something that connects women working in very different contexts, from big institutions in Milan or Rome to independent spaces in Naples, Palermo, or rural areas. I’d imagine a program combining mentorship, skills exchange, and collective visibility, where emerging professionals can learn not only management and fundraising but also negotiation, leadership, and self-advocacy. I’d also include international mobility components, giving participants the chance to engage with global networks and see how gender equity is addressed elsewhere. Equally important would be creating safe, peer-led spaces where women can share experiences of discrimination, burnout, or self-doubt — because empowerment starts with being heard».
You recently founded an organization that consults the cultural sector and artists. What inspired you to take this entrepreneurial step?
«Founding Theatrica felt like a natural evolution — the result of shared values, complementary skills, and a common vision of culture as a tool for growth and inclusion. I co-founded the organisation with Camilla Stellato and Carolina Pizzicato, two extraordinary women whose perspectives enrich our collective work. Camilla is an experienced fundraising expert and theatre director, with deep knowledge of cultural management and project design. Carolina, the youngest among us, brings freshness, curiosity, and a keen sensitivity to social issues — qualities that remind us why youth engagement is central to our mission. Beatrice Baino, our artistic director and mentor, is an accomplished actress, director, and project designer whose experience and creative insight guide much of our artistic and educational direction. Theatrica is a cultural and educational organisation that promotes the performing arts and creative learning as tools for inclusion, participation, and community development. We work across theatre, dance, and interdisciplinary practices, developing workshops, training courses, and projects that foster collaboration and intercultural dialogue. We are still at the beginning of this journey, but already building strong connections and projects rooted in mutual trust, professionalism, and the belief that art can transform both individuals and communities».
What are the biggest hurdles facing cultural entrepreneurs in Italy today, and what forms of support should Italy prioritize to better help cultural entrepreneurs thrive?
«The biggest challenge isn’t a lack of ideas — it’s turning those ideas into something sustainable. Funding can still be complex and fragmented, and bureaucracy often takes up more energy than creativity. But things are changing: there’s growing awareness that culture is not a luxury, it’s a driver of innovation, inclusion, and local growth. What we really need now is a shift in perspective. Support for cultural entrepreneurs should be part of a bigger ecosystem — one that links creativity with education, digital skills, and sustainability. Simplifying access to funding would make a huge difference, as would investing in mentorship and professional training — helping people strengthen not only their artistic vision, but also their management and collaboration skills. And, of course, long-term stability is key: short projects keep us busy, but only long-term investment allows us to grow. Italy is full of talent and energy. With the right tools, trust, and continuity, culture could become one of its strongest forces for change».
Do you think cultural managers are better prepared through formal education, or does “learning by doing” still dominate in practice? What was your own experience after graduating and entering the sector?
«In my experience, ‘learning by doing’ still dominates — and perhaps it always will in a field as dynamic and unpredictable as culture. Formal education provides the theoretical grounding — understanding policies, funding systems, and cultural history — but the real learning happens in practice, where you navigate uncertainty, negotiate with partners, and find creative solutions within complex systems. That said, formal and experiential learning should complement each other. A solid academic background sharpens critical thinking and gives you context; professional experience teaches resilience, collaboration, and the ability to turn ideas into sustainable projects. The real issue is the lack of dialogue between universities and the professional world. Graduates are often well-educated but unprepared for the operational and managerial realities of the sector. When I completed my master’s degree, I had strong cultural knowledge but little practical experience. My roles at Balletto di Roma and later ArtGarage became my real training — learning to manage budgets, coordinate international partnerships, and translate artistic visions into feasible productions. So yes, “learning by doing” still defines much of our profession, but if academic and professional pathways were better connected, we could make that learning curve less steep and far more equitable for cultural managers».
Looking at the Italian system, what reforms or new initiatives would best prepare cultural workers for management and leadership roles?
«I think many cultural management programs in Italy are still too academic — they don’t really prepare you for what working in the field actually means. We’d need stronger partnerships between universities, cultural institutions, and festivals, so students can work on real projects and learn directly from people who are doing the job — not just through unpaid admin work. I’d also prioritise lifelong learning. The sector changes fast — digital tools, funding policies, international frameworks — so access to ongoing, affordable training is essential. These programs could easily be co-funded by the Ministry of Culture and European networks like IETM or On the Move. And finally, we should start seeing management as a creative act. Cultural managers build vision, shape strategy, and hold things together. Supporting them properly — with training, fair pay, and trust — would make the whole cultural system stronger».
What advice would you give to young women aspiring to leadership in the arts and cultural sector, who may feel held back by structural or cultural barriers?
«I'd say: don't wait for permission. Start where you are and build your platform. The cultural world can still be quite hierarchical and slow to change, but most of the truly transformative projects I've seen were created by women who simply stopped waiting for validation and made things happen for themselves and their communities. Another tip is to build strong networks: horizontal, intergenerational, and supportive. Collaboration is a form of growth. Surround yourself with people who share your values, even if they work in different fields. Also, I've learned to trust my own perspective, and that's a piece of advice I'd like to share. Women are often taught to over-prepare or wait until they feel completely ready. But leadership isn't about perfection, it's about courage. And finally, it's important to protect your energy. The art world often relies on unpaid passion, but true leadership requires balance and self-respect».
Caterina Giangrasso Angrisani’s LinkedIn profile
