Emotional, sensational, magnetic and deeply physical. You cannot stop watching. The highly skilled dancers of Sharon Eyal, express feelings that cannot be put in words. Eyal is considered one of the most important choreographers today. Her creations take us on a breathtaking journey along the emotions we face in life. Delay the Sadness is the new work by Eyal for S-E-D Dance Company, the new company founded by her and Gai Behar. Following their successful collaboration on ima for GöteborgsOperans Danskompani, Josef Laimon will compose the soundtrack for this new piece, exclusively for S-E-D.
Ballet de Lorraine glitter in a double bill, featuring work by two contemporary choreographers. In these works, Ayelen Parolin and Marco da Silva Ferreira both explore the joy of shared dance, as expressed at raves and in nightclubs. Parolin’s title Malón is a reference to a state of disorder, when energy and movement are amplified to the point of excess in a dance rave. Da Silva Ferreira’s title is a reference to the folia, a festive 16th-century Portuguese shepherds’ dance. Bringing out its ecstasy, joy and entrancing effect, he mirrors this folk dance to nightclub dancing.
May 6th – 11th, 2025 Grand Théâtre de Genève, Geneva June 5th – 7th, 2025 Kampnagel, Hamburg January 14th – 17th, 2026 Maison de la Danse, Lyon January 24th, 2026 Festspielhaus St. Pölten, St. Pölten June 11th – 14th, 2026 De Singel, Antwerp 65 minutes
With Mirage, Damien Jalet offers his very first creation for the Ballet du Grand Théâtre, where he has been an associate artist since 2022. Mirage also constitutes the fourth chapter of his collaboration with Japanese visual artist Kohei Nawa.
Inspired by the phenomenon of mirages and Fata Morgana – optical illusions linked to specific meteorological conditions, caused by light being distorted as it passes through different- temperature layers of air – Damien Jalet and Kohei Nawa depict humanity wandering in a metaphorical desert in search of itself.
Through a series of unpredictable transformations inspired by different mythologies, climatology, botany and entomology, as well as Hayagawari – a Japanese kabuki theatre technique in which performers suddenly transform during a performance –, the piece peels back the performers, layer after layer, exploring an endless variety of physical and emotional states.
Sometimes evoking the spectres of a civilization at the edge of a dry well, sometimes crossed with the dazzling colours and sensuality of tropical nature, Mirage passes through like a moving, fluctuating, waking dream of atmospheric phenomena.
April 24th – 25th, 2025 Yeulmaru, Yeosu April 30th – May 1st, 2025 GS Arts Center, Seoul July 10th – 20th, 2025 Teatro de la Zarzuela, Madrid September 26th – 27th, 2025 Festspielhaus St. Pölten, St. Pölten November 5th, 2025 Concertgebouw Brugge, Bruges November 22nd – 23rd, 2025 Festival de Danse Cannes, Cannes March 27th – April 2nd, 2026 Théâtre du Châtelet, Paris 100 minutes
Afanador emerges from the tension between the fascination that emanates from Ruven Afanador’s photos, and my own fascination with all the mystery, so diurnal and yet so nocturnal, that once fascinated Ruven.
Marcos Morau
Ruven Afanador’s photography is not documentary or monumental—it doesn’t archive history or glorify its subjects. Instead, it is driven by desire, distorting and being distorted by its object. Desire, elusive by nature, shapes what it sees, revealing subjective and profound truths.
Afanador approaches Andalusian folklore through this lens, exposing flamenco’s raw subconscious—its passion, death, and untold stories. His work amplifies its essence into a surreal, evocative world of shadow and light, where he both observes and is observed.
Our work extends this vision, capturing Afanador’s gaze and the transformative power of photography. Like Goya’s Caprichos, these images blend familiar themes through association and metamorphosis, turning photography into both miracle and mystery. Each shot lingers just beyond reach, on the verge of vanishing into its own fire.
February 6th – 7th, 2025 VIERNULVIER, Ghent March 7th, 2025 Festspielhaus St. Pölten, St. Pölten April 24th – 25th, 2025 Lieu Unique, Nantes May 9th – 10th, 2025 Sadler’s Wells, London May 14th – 17th, 2025 Dublin Dance Festival, Dublin June 24th – 27th, 2025 Théâtre de la Ville, Paris August 13th – 16th, 2025 Kampnagel, Hamburg 60 minutes
Part fiction, part biographical, all elements are overlapping, and it will become difficult to determine what’s myth and what’s reality.
It goes back to a time when families worked in the abattoirs of Belfast. Pigs in the garden of New lodge.
There’s something in the meat of me, bloodline, there is a pink fleshy vulnerability to me, to dancing, there is a violence in me.
This new show will follow the story of Oona’s Great Great Grandfather Specky Clark and his arrival in Belfast.
For this piece which will be unfolding in a series of theatrical images, Oona Doherty will collaborate with many faithful and new partners. The production features music from Irish band Lankum, Gavino Murgia and David Holmes & Raven Violet. Maxime Jerry Fraisse is sound designer, Irish playwright Enda Walsh is dramaturg, Sabine Dargent is set designer, Darius Dolatyari-Dolatdoust is costume designer and long-time collaborator John Gunning is lighting designer. The piece will be performed by an international cast of 9 dancers.
February 1st, 2025 Tanzbiennale Heidelberg, Heidelberg March 17th, 2025 dFERIA, San Sebastián March 20th – 22nd, 2025 Le CENTQUATRE, Paris April 12th, 2025 Osterfestival Tirol, Innsbruck July 1st – 2nd, 2025 COLOURS International Dance Festival, Stuttgart July 18th – 19th, 2025 Kalamata International Dance Festival, Kalamata March 21st, 2026 Festspielhaus St. Pölten, St. Pölten 55 minutes
A body that is outwardly still and inwardly vibrating – what processes does the energy undergo before it breaks through? How does it change when the body matures?
In his new production Mellowing, Christos Papadopoulos embarks on his inaugural collaboration with the dancers of the Dance On Ensemble. Together they create a lively restlessness, a permanent vibration in which the spectator is inevitably involved.
Christos Papadopoulos’ works are fed by an intensely observant approach to movement and often unfold a lively and meditative power. His attention is focused on the minimal shifts of perception, the perpetual, often unnoticed and yet powerful movements that are ever-present in nature, in everyday life, within physical phenomena and political contexts.
December 4th – 7th, 2024 Théâtre de la Ville, Paris December 10th, 2024 Espace des Arts, Chalon-sur-Saône December 14th, 2024 Festpielhaus, St. Pölten December 17th – 18th, 2024 Théatre Senart Scéne Nationale, Melun 90 minutes
Bringing together the virtuoso, Irish traditional concertina player Cormac Begley, the European classical, contemporary collective, s t a r g a z e and twelve international dancers from the Teaċ Daṁsa company, MÁM is a meeting place between soloist and ensemble, classical and traditional, the local and universal.
Following the success of his acclaimed re-imagining of the world-famous ballet, Swan Lake/Loch na hEala (2016) Michael Keegan-Dolan and Teaċ Daṁsa have created another mythic yet timely production that acknowledges how life’s polarities can on occasion come together and find resolution.
November 26th/27th/29th/30th & December 1st, 2024 Opernhaus Wuppertal, Wuppertal May 13rd – 15th, 2025 Theatertreffen, Berlin October 11th, 2025 Festspielhaus St. Pölten, St. Pölten October 15th – 18th, 2025 Amare, The Hague November 7th – 9th, 2025 SIDCT, Shanghai June 4th – 6th, 2026 Opernhaus Wuppertal, Wuppertal June 10th – 11th, 2026 LAC, Lugano 100 minutes
Originally premiered in 1978, Kontakthof is a seminal piece in Pina Bausch’s repertoire, created at a time when her work was beginning to receive international recognition.
It is said that Pina often mused on the idea of seeing her original cast dance the piece when older. Now, 45 years later, a new encounter with Kontakthof is being created by choreographer Meryl Tankard, who was one of the main characters in 1978.
Eight of the original dancers return to their roles as the production creates a poignant interaction between past and present. Kontakthof – Echoes of ‘78 integrates projections of archival footage from their performances as younger dancers, and with company members no longer on stage.
Sadler’s Wells, Pina Bausch Foundation and Tanztheater Wuppertal Pina Bausch
November 13th – 19th, 2024 Grand Théâtre de Genève, Geneva January 18th – 19th, 2025 Staatenhaus, Cologne January 24th, 2025 Festspielhaus St. Pölten, St. Pölten March 30th – April 6th, 2025 Théâtre du Châtelet, Paris October 2nd – 4th, 2025 Danse Danse, Montreal December 12th – 17th, 2025 De Singel, Antwerp Duration: 90 minutes
In Arabic, the word Ihsane represents an ideal of goodness, kindness and benevolence. In Islam, it refers to a form of communion with the universe. With Ihsane, Sidi Larbi Cherkaoui continues a diptych begun within his Eastman company with Vlaemsch (chez moi), in 2022. While Vlaemsch was dedicated to his mother and his Flemish roots, Ihsane explores his relationship with his father, who left Morocco for Flanders, emigrating but always retaining – despite leaving – an unconditional love for his home country. Sidi Larbi Cherkaoui was still a teenager when his father died. Thirty years later, he searched for him in vain in a Tangier cemetery too full of graves. He continues to search for him through this creation bringing together dancers from the Ballet du Grand Théâtre de Genève and Eastman.
But in Belgium, Ihsane is also associated with a racist and homophobic crime that took place in Liège in 2012: a young homosexual man of 32, of Moroccan origin, beaten to death outside a nightclub. As someone who himself identifies as an artist, a queer and an Arab, Sidi Larbi Cherkaoui identifies with and pays tribute to him through this production which revisits his family story. Ihsane is a journey towards the quest for inner peace, and the attempt to transcend conflict, abandonment and forgetting. Sidi Larbi Cherkaoui dances the questions that obsess him: what do we have left when our place slips away and fades? How can multiple identities coexist in the same body?
As ever, the choreographer has assembled a unique artistic team, reflecting the effervescence and artistic vitality of this region of the world to which Sidi Larbi Cherkaoui is linked through his ancestors. Tunisian musician and viola d’amore virtuoso, Jasser Haj Youssef, will compose the music and perform it onstage with Moroccan singer Mohammed el Arabi Serghini and Lebanese singer Fadia Tomb El-Hage. Stage design will be from visual artist Amine Amharech, who creates sensory and sensitive spaces into which Moroccan influences are often melded, while costumes are by fashion designer Amine Bendriouich, who elevates traditional forms of Berber clothing beyond norms and gender.
With Ihsane, Sidi Larbi Cherkaoui watches the world change in a never-ending cycle of destruction and rebirth. He is wary of cultures when they imprison and separate individuals. He prefers geography in the making, ever-changing landscapes, and the shared space where we coexist. In this space, he reveals the invisible threads that connect us to each other.
