DIEHL+RITTER is a Berlin-based office specialising in large-scale cultural projects and funding initiatives. Founded in 2011 by the former directors of Tanzplan Deutschland, Madeline Ritter and Ingo Diehl, it combines their extensive experience of shaping cultural policy and creating innovative cultural education programmes. Tanzplan Deutschland, a major initiative by the Kulturstiftung des Bundes, mobilised 21 million Euros for dance in Germany over five years. DIEHL+RITTER designed and delivered its two follow-up programmes: TANZFONDS ERBE (Dance Heritage Fund) and TANZFONDS PARTNER (Dance Partnership Fund). It is lead partner and project coordinator of the EU cooperation project DANCE ON, PASS ON, DREAM ON.
Belgrade Dance Festival, currently in its 14th edition, has become an important landmark for dance artists. Every year it brings the most iconic and innovative productions from all over the world to the city, where it continues to inspire and invigorate the regional dance scene. The festival reaches a large audience and introduces new and sometimes challenging aesthetics to a wide range of people, helping them to discover and appreciate contemporary dance. The festival also provides immeasurable support to local professional dancers, choreographers, teachers and students through masterclasses and workshops. Diversity of cultural expression and cutting-edge aesthetics define Belgrade Dance Festival.
Codarts University of the Arts in Rotterdam trains talented and driven dancers, musicians and circus performers to become dedicated and inspiring artists, ready to spread their wings in a dynamic, international context. Codarts combines the oldest traditions and the latest trends in professional arts education. Its mission is based on six principles: craftsmanship, self-management, diversity, inquisitiveness, sustainability, and connectivity. Students immediately apply everything they learn, developing their own projects and performing in shows and concerts. From the very start they learn to both take and share responsibility. The university is firmly rooted in Rotterdam, with a tradition of passing on diverse culture, styles and disciplines to new generations of performing artists.
Compagnie Jus de la Vie and its artistic director, the Stockholm-based dancer and choreographer Charlotta Öfverholm, have been creating work for more than 20 years – over 25 dance productions that have toured all over the world. Jus de la Vie produces dance theatre that has been described as brutal and physical, but at the same time as tender and touching. Charlotta Öfverholm dances, choreographs, commissions other choreographers, teaches workshops, and curates unique festivals and international meeting points tackling the issue of age on stage. Age on Stage is also the name of the company she has founded for dancers over 45.
A house for everybody – this is the ethos of the Festspielhaus St. Pölten, embodied in its programme, architecture and service. A 1100-seat cultural centre in Austria, it presents a varied programme of dance, music, film and other events. Through collaborations with other dance houses it has become an important co-producer of new contemporary dance works. A second area of specialisation is outreach and participation work: The Festspielhaus St. Pölten has a thriving education department and engages the local community in dance and performance projects such as the intergenerational dance workshop Atelier für Alle, and the participatory project Tanz 60+ for people over 60. It is never too late to start dancing.
GRIP is the dance company of choreographer Jan Martens and also represents three associate artists, choreographers Bára Sigfúsdóttir, Steven Michel and Rodrigo Sobarzo. GRIP aims to support a young generation of artists in search of their place in the field of contemporary art. Jan Martens and the associate artists create challenging, delicate, critical dance works of high artistic quality, which tour all over Europe and the world. All of Jan Martens’ work explores the possibility of a complete symbiosis between story-telling and conceptualism. He is inspired by the beauty of the imperfect human being, rather than by choreographic complexity or physical virtuosity.
Holland Dance Festival is the largest international dance festival in The Netherlands. Its formula of See, Do, Experience has made Holland Dance a familiar and highly regarded name in the dance world and among the public. From its inception, its prime objective was putting together a programme at the highest possible artistic level, and that goal has remained unchanged over the years. Holland Dance provides a stage not only for big, internationally famed dance companies, but also for smaller groups and individual dance artists who have carved out their own unique place in the dance world. The range is unlimited: All styles are programmed, from urban dance to classical ballet, and from tango to modern dance.
Nomad Dance Academy Slovenia is part of the international network and platform Nomad Dance Institute, which was founded in Belgrade in 2005 and operates across the Balkan region. NDA Slovenia produces dance works and art projects, curates festivals, and aims to influence cultural policy in the region. Three principles govern the organisation: The invitation principle (which ensures that the board is continually refreshed with new personalities), the principle of balance (according to nationalities, gender, and art forms), and the principle of empty space, which stipulates that not everything is set, leaving space to be filled with ideas.
Sadler’s Wells is a world leader in contemporary dance presenting a vibrant year-round programme of dance of every kind – from tango to hip hop, ballet to flamenco, Bollywood to cutting-edge contemporary dance – bringing the best of international and British dance to audiences at its three theatres in London. It commissions and produces original new work and tours it to major arts venues around the world. Since 2005 it has helped to bring 80 new dance works to the stage. Sadler’s Wells’ goal is to grow the public’s enjoyment and understanding of dance by making dance relevant, meaningful and enriching. At the same time it seeks to develop the art form by supporting artists and the creation of exciting new work.