f Editorial

This edition addresses the need to rethink the (nature of) creative labour in the field of performing arts because artists’ as well as critics’ and (semi-)professional viewers’ creative outputs often seem extremely obscure or even inaccessible to ‘outsiders’. It may even appear to many that one is required to possess a particular kind of sensibility if they want to be involved in contemporary performing arts practices – in layman’s terms we often equate this with specific ‘knowledge’ or ‘understanding’, or even ‘the way/ how we Watch’; namely, certain (artistic) practices make no sense to an untrained gaze that doesn’t understand them, so this sensibility seems indispensable in processing such practices to prevent a barricade of anticipated rejection or exclusion as a response to misunderstanding.