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Electrifying soloist Sati Veyrunes has commissioned choreographers Adrienn Hód and Erna Omarsdóttir for Motor Unit, which foregrounds the work of the dancer
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Before a 7-week choreographic event in Athens, its initiator speaks about its ‘social choreography’
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At Dresden Frankfurt Dance Company, Mandafounis is interested in ‘how focused you are in wanting to do something’
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Lithuanian choreographer Agnietė Lisičkinaitė locates her work at the crossover between art and activism, dancing and demonstrating
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A conversation with Adriana Borriello and Thierry De Mey about interweaving sound and motion, rationality and spirituality
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Through the eyes of Xenia Koghilaki, the punkish practices of headbanging and moshing are less violent than they seem
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Can beauty be a form of resistance? Can dance transform people, systems? An ongoing prison project uses dance to explore both chains and changes
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The rising Portuguese choreographer talks about the background to his ‘mature’ work, Carcaça
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An interview with the French-born Scottish dance artist as she creates her first self-directed work
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Rosas dancer Carlos Garbin talks about becoming a Rosas musician in Anne Teresa De Keersmaeker’s new Exit Above
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Both sides of the stage: audience member Georgia Howlett talks with creator and performer Malik Nashad Sharpe about their show Goner
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Oona Doherty ventures down new roads as London’s Dance Umbrella gives us a chance to look back at where she’s been
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![[image description: Katharina and Tanja are wearing the same stripy jumpsuit in colours of blues, green, reds and salmon with bare-skinned arms, shoulders and backs. Tanja is sitting on the floor with her back facing us. She has a round tattoo in the centre of her upper back. Tanja is slightly leaning to the left, which lets parts of her upper body escape the picture frame. Her head is turned to the right and her gaze is following a black crutch, which she is supporting with her stretched-out right hand. The tip of the crutch catches Katharina’s jumpsuit, furling it and revealing more of her white skin. Katharina’s two legs and her backside are visible and in a motion of moving towards the right, therefore the rest of her body is escaping the frame. It might even seem as if the crutch is luring Katharina back into the picture? End of description.]](https://springback.org/wp-content/uploads/2021/05/senki-and-tanja-1-1.jpg)
Collaborators Tanja Erhart and Katharina Senk talk about multi-sensorial connection, technological pleasures and the aesthetics of access
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Going digital in 2020 has been a natural step for a festival founded to hybridise physical and virtual realms
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Threads of history – artistic, cultural, personal – lie beyond the exuberant images and costumes of Marcos Morau’s new work Sonoma
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Former co-director of Candoco (UK), Stine Nilsen returns to Norway as director of CODA Oslo International Dance Festival
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A four-year UK collaboration between Siobhan Davies Dance and BALTIC Centre for Contemporary Art asks: why take dance into art galleries, and what can happen when you do?
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Italian choreographic duo Ginevra Panzetti and Enrico Ticconi on powerplay and physical rhetoric – past and present
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What is waste? Who is trash? Réka Szabó and Dániel Szász of The Symptoms speak about recycling a street performance
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Front page video compiled from original films by Enya Belak and Alfredo Miralles. Site design: Sanjoy Roy
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