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 pro-ven international choreographers. We see safe bets in terms of the productions chosen, but experimenta-tion 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.

The work Perpetuum Havel by Radim Vizváry and Petr Boháč pays tribute to the former president.

From 17 to 19 July 2026, Žďár nad Sázavou came alive for the fourteenth time with the KoresponDance festival.

On its website, the Czech Ministry of Culture promoted folklore and bread-baking, while over the summer it secretly baked up a new state cultural policy.

Following a period of cultural drought, at least for dance, when July arrived in Rome, it felt like two months squeezed into one: a lot of performances in a short time.

During the last hot week of June, Prague hosted a major dance event. A five-day symposium on improvisation entitled Inner Speech as a Stage Gesture in Instant Composition took place from 22 to 26 June 2026 at HAMU and at the Žižkostel Community Centre.