Edition 2017

In the run-up to this celebration of contemporary dance, which is held every two years in a different Swiss city, a jury comprising five leading figures from the world of dance has watched more than 140 productions over the last 12 months. The winning entries will be presented at 12 venues across Geneva, which have joined forces especially for the occasion through the creation of an association and a small team.

In doing so, they, alongside Reso – Dance Network Switzerland, provide a tangible demonstration of their commitment to the art of choreography and dance in Switzerland. The Swiss Dance Days, which are also open to the public, are aimed at professionals ­– journalists, festival directors, programmers – from both Switzerland and abroad.


La Ribot, Mona De Weerdt, Joëlle Smadja, Patrick Müller, Claude Ratzé


adc (Association pour la Danse Contemporaine), Festival Antigel, TU – Théâtre de l’Usine, Théâtre du Loup, Théâtre du Grütli, Théâtre du Galpon, Théâtre Forum Meyrin, Service culturel de Vernier und Reso - Tanznetzwerk Schweiz.

In cooperation with

Théâtre Am Stram Gram, Théâtre Pitoëff, Salle du Faubourg, Palladium, Casino Théâtre, Point favre und Théâtre du Centre des arts de l’Ecole Internationale de Genève.

Media reviews

16.12.16, Le Courrier, La danse en effervescence, Cécile Dalla Torre PDF
16.12.16, Le Courrier, L’histoire continue de s’écrire, Cécile Dalla Torre PDF
22.01.17, Le Matin, La danse à dévorer du regard, Mireille Descombes PDF
25.01.2017, Les, La fluidité du mouvement, Vanesa Dacuña Rodriguez et Anastassia Issakova PDF
25.01.2017,, Espace, chorés et 3D… signés Gilles Jobin PDF
30.01.2017, Tribune de Genève, Genève, plate-forme suisse du mouvement, Katia Berger PDF
1.02.17, Tribune de Genève, Genève, ville de danse !, Jean-François Mabut PDF
2.02.17, Tribune de Genève, Cindy Van Acker brise les digues, Katia Berger PDF
3.02.17, Le Temps, Le grand bal des chorégraphes, Alexandre Demidoff PDF
2.02.17, Le Temps, L’ode maritime sublime de Cindy Van Acker, Alexandre Demidoff PDF
3.02.17, Le Temps, Comment Genève s’est mise à chérir la danse, Alexandre Demidoff PDF
3.02.17, Le Monde, Montée de sève chorégraphique à Genève, Rosita Boisseau PDF
3.02.17, Tribune de Genève, Lea Moro dilate l’instant, Katia Berger PDF
3.02.17, Le Courrier, Gabor Varga. Fonceur sans borne, Cécile Dalla Torre PDF
4.02.17, Le Temps, Video, La danse contemporaine racontée en image, Alexandre Demidoff VIDEO
6.02.17, Tribune de Genève, Huit stations pour un chemin de croix érotique, Katia Berger PDF
7.02.17, Le Courrier, Danser la contestation, Cécile Dalla Torre PDF
6.02.17, SRF 2 Radio, Kultur Kompakt, Maya Künzler, ab Minute 5:26 PODCAST
21.02.17, Danser canal historique, Genève, capitale de danse, Gérard Mayen PDF
22.02.17, Suíça propõe programa de intercâmbio cultural com a América Latina - Cultura - Estadão, Helena Katz PDF
23.02.17, I/O Gazette, La Suisse prend position, Marie Sorbier PDF
6.03.17, ballroom, Voyage en Suisse PDF
7.03.17, SRF Kultur, Journalismus im Wandel - Traumberuf Kritikerin? Nein, danke., Julia Voegelin PODCAST
10.03.17, Magazin tanz, La Ribot & Fleischlin/Meser, Arnd Wesemann PDF
06.04.17, Revista Revol Brazil, Swiss Dance Days 2017, Maria Lavandera, VIDEO
01.05.17, Magazin tanz, Thomas Hauert, Lilo Weber PDF

Final selection

Ruth Childs / Scarlett’s

Pastime, Carnation, Museum Piece (recreation of three soli by Lucinda Childs)

Gregory Batardon

It took until the 1990s for Europe to (re-)discover the experimental repertoire of American dance from the 1950s and 1960s. Lucinda Childs, an icon of post-modern dance, came to fame at the Festival d’Avignon in 1979 through her collaboration with Bob Wilson. She has bequeathed three of her solo works to her niece Ruth. These she created in New York, during an era when the city was fizzing with artistic creativity. In Pastime (1963), the dancer – sitting on the side of a bath – multiplies surface and volume effects by playing with the cloth which envelopes her. In Carnation (1964), she systematically deconstructs her own image using everyday objects. As for Museum Piece (1965), it is a dream come true: the dancer goes inside a painting (Le Cirque by Seurat), using her body, and humour, to describe it. The entire programme is as fresh as it was some 50 years ago.


Ruth Childs first studied classical dance in the United States before returning to the city of her birth, London, to complete her training. She later joined the Ballet Junior in Geneva, where she worked with an eclectic mix of choreographers, including Foofwa d’Imobilité, La Ribot, Gilles Jobin and Massimo Furlan. In 2014, she “inherited” a series of solo pieces from her aunt, Lucinda Childs, the iconic founding member of the Judson Dance Theater in New York and creates SCARLETT’S FALL with Stéphane Vecchione, an electro/minimal/girlie/dirty/kitchen/pop musical duo.

Further productions available for touring

Particular Reel, Calico Mingling, Reclinig Rondo, Katema, 2017, 54 min
Particular Reel, Katema, 1 Performer
Calico Mingling, 4 Performer
Reclinig Rondo, 3 Performer


Choreography Lucinda Childs

Performer Ruth Childs

Light design Eric Wurtz

Production SCARLETT’S

Administration, production, diffusion Tutu Production

Coproduction adc – Association pour la danse contemporaine, Genf.

Support Stadt Genf, Loterie Romande, Stiftung Stanley Thomas Johnson, Fondation Nestlé pour l’Art et la Fondation Vuitton

Diffusion Tutu Production, Lise Leclerc, Lausanne,


Théâtre du Grütli
Rue du Général-Dufour 16, 1204 Genève
Google Maps


1.2.2017, 17:00—18:00
Théâtre du Grütli
2.2.2017, 17:00—18:00
Théâtre du Grütli
3.2.2017, 17:00—18:00
Théâtre du Grütli