What role does regeneration play in the lives of dancers, in artistic practice, and in the functioning of cultural institutions? Dance Context Journal explores regeneration in its various forms and invites authors to submit proposals for articles for its 2027 issue. Abstracts can be submitted until 20 November 2026.

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 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 choreographer and teacher Bohumíra Eliášová has held various roles at HAMU for over thirty years.

Its artistic director framed this year’s Tanz im August as a weather map of turbulence. Across the thirteen shows spanning three weeks – from Gaza and Belarus to a swimming pool in Prenzlauer Berg – the metaphor held.

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.