The choreographic boom has reached Poland! Choreographers are in high demand – prestigious galleries, art centers, and especially theaters are calling out for a new generation. But for all the enthusiasm, and despite growing audiences and increased recognition, one can hardly beat the impression that the dynamically developing Polish choreography still remains strangely and surprisingly unseen in the mainstream cultural discourse (and internationally almost invisible). Might this be blamed to the fact, that rebellious by its nature, choreography simply refuses to belong to the mainstream? That it is discursive and political, referencing other disciplines, boldly inhabiting spaces in-between, celebrating diversity and freedom, constantly engaging in revealing and confronting naturalized and/or imposed ways of perceiving and experiencing the body and the world in order to create counter ways of seeing and being seen? And to resist oppressive images, ideas and ideologies? Is the factual economic censorship and lack of well-deserved presence in official circuits potentially due to the fact that this is an art form fiercely challenging both the artistic and social status quo as well as agendas of current micro- and macro-policies?

Joining the celebration of the 15th anniversary of the Old Brewery New Dance program, during two intensive days, Switzerland’s Muzeum Susch hosted a seven-member representation of Polish artists who have made a generational shift on the country’s dance scene during the last decade. Presentations within the framework of the Acziun Susch program and in cooperation with the Culturescapes:Polen festival offered Swiss audiences a glimpse into the current landscape of contemporary Polish choreographic practice.   The line-up of diverse choreographic positions- a set of presentations accompanied with Acziun Susch curator Joanna Leśnierowska’s introductions and artists’ talks/discussion – allowed everybody to reflect upon answers to the question ‘Who’s afraid of (Polish) choreography?’ Are you?