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.
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.
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.
As surely as spring turns into summer, the dance season in London continued its course from late April right through to July.
On 13 September 1777, the world premiere of Maximilien Gardel’s pantomime ballet La Chercheuse d’Esprit took place before the French court at Choisy.
