At the start of this year, all four of my “quick jaunts” to London, Amsterdam, Brussels, and Florence to see dance were significantly disrupted.

PONEC theatre finds itself caught between two conflicting perspectives. Within the institution, the prevailing feeling is that things are moving forward and a necessary recovery process is underway. From the outside, however, the theatre is judged primarily on its results, which remain modest so far.

Crossing Berlin in winter is risky, the icy sidewalks are a constant hazard. Yet, the city simultaneously organizes itself into a constellation of diffuse performative spaces.

Dance programming in Paris has recently been characterized by a noticeable reluctance to take artistic risks, largely driven by ongoing budget cuts across arts institutions.