In 2026, when I look at contemporary dance in Europe, I see a body trained for flexibility that suddenly realizes, mid-stretch, that the border has been moved onto the studio floor. For years, the sector sold mobility as a civic virtue, almost as a moral passport: tour, co-produce, “network”, travel from festival to festival, as if collecting proof of legitimacy. Circulating meant existing, and, better still, it meant “doing Europe”.

When we talk about the political aspects of theatre and dance performances, our attention is primarily focused on its thematic content. However, the politics of an art form do not unfold solely in what a performance is about, but more in the conditions in which it was produced – who is allowed to create, to whom trust and visibility are granted, and whose lived experience is considered compatible with professional artistic creation. How are such conditions created?

As part of a panel discussion entitled “People and Innovation” at the 2022 Prague Cultural Forum, the term ‘excellence’ was discussed, a term which is being systematically introduced into cultural policy as a means of measuring the quality of individuals, projects, or organizations, and thus subsequently the extent of the support they receive.

Since the appointment of Martina Šimkovičová as the new Minister of Culture in October 2023, the contemporary art scene in Slovakia has been subject to significant government interference, in particular from the Ministry of Culture of the Slovak Republic itself.

Following the resignation in recent weeks of several members of the Ministry of Culture’s expert committee on professional dance, movement and non-verbal arts in response to planned changes to the grant system, the committee members have now published a joint statement addressed to the Prime Minister of the Czech Republic.

The 2025/2026 season confirmed that there is no overarching trend on the contemporary dance scene. The sphere remains fragmented and dominated by a large number of smaller projects, with even established repertoire ensembles leaning towards them. The scene is populated by smaller groups, some newly formed, despite the uncertain environment, with site-specific projects and those which emphasize audience participation on the rise.

When we take a look at the recent Czech ballet season, we see quite the variety, including repertoire classics, original full-length creations, and programmes featuring works by both Czech artists and proven international choreographers. We see safe bets in terms of the productions chosen, but experimentation with less common source materials and forms.

The third edition of Dance Context Journal is out now. This year’s issue explores the political dimension of dance, examining how politics shapes artistic creation, the functioning of cultural institutions, representation, and the conditions in which dance is created and developed.