The statement of the jury
How to navigate uncertainty, to hold space for differences, and to recognize the value of multiplicity in dance.
For a long time, European institutions defined dance through the lens of classical and romantic ideals. These ideals prescribed exactly what a body should do, how it should move, and how it should look. What was once a matter of style and taste became tradition, and this tradition established the dominant framework for how dance, and specifically what kind of dance, was contextualized and valued.
Still, dance has always existed in many forms. Social, ritual, folk, and embodied practices have always been present but not acknowledged within these hierarchies. As these diverse forms become increasingly recognized and incorporated into the field, the landscape of dance is changing. What once seemed clearly delineated is now far more complex, plural, and permeable.
«What constitutes dance? Where does dance end and theatre begin? Is performance art also dance?» These are just some of the questions that accompanied us – the jury – throughout this last year, as we were tasked with viewing 198 pieces that premiered within the last two years, discussing them, and ultimately selecting a programme of 12 works for the Swiss Dance Days 2026.
Intense discussions also about prevailing hierarchies, power relations and the accessibility of different (dance) realities shaped the selection process. Who feels themselves included in «Swiss dance»? Who has the information, the financial means, and the access to institutions to participate in this competition? What does it mean for social, club, and street dance to fit into the framework of classical settings in order to be eligible?
When the very definition of dance is so porous, the task of curating a limited selection became both challenging and invigorating. Without clear parameters, we were constantly invited to reflect – not only on our personal preferences, but also on the broader perspectives and implicit frameworks that shape how we, as a dance scene, understand movement, innovation, and artistic relevance. These questions concern artists and institutions alike, and they call on us to approach them collectively. In this sense, our reflections mirrored the larger conversations taking place within the Swiss dance scene today: a shared attempt to navigate uncertainty, to hold space for difference, and to recognize the value of multiplicity.
What remains, however, are 12 works that we are collectively proud to present for Swiss Dance Days 2026. They are daring, rigorous, and deeply felt works that challenge and expand our expectations of what dance can be. The programme brings together fulminant stage productions and intimate solos, site-specific interventions in public spaces and powerful ensemble pieces. It spans a wide range of styles and practices – from contemporary explorations to Congolese dance and Dancehall – reflecting the richness and diversity of the scene. Audiences will encounter both internationally established artists and exciting new voices, each bringing a distinct approach and urgency to the stage. Together, these works reflect a field that is restless and inventive, that refuses easy definitions, and that continues to grow in unexpected directions. We appreciate these artists for taking risks, for pushing against conventions, and for creating works that will move audiences in very different ways.
In this sense, the selection itself offers a parallel to the moment we are in: just as society is shifting, dance too insists on questioning, stretching, and remaking itself. We must not be complacent in times of change. The works we have chosen remind us that transformation is not only possible but necessary, and that it often begins with art.
