Do we need more collaboration within the dance field on the Visegrad axes? What can we learn from existing V4 performing arts projects in terms of strengths and pitfalls? And a Visegrad Dance Platform? What good would it do (and to whom)? Is is mobility and collaboration that artists from the Czech Republic, Slovaki,a Poland and Hungary strive for the most? What do inspiring models from abroad teach us? Is Visegrad merely a financing channel or could it become a marketing label selling V4 dance across the world? To what extent is our field influenced by the current negative connotation of Visegrad in international relations? Does the artistic Visegrad with all its open-mindedness have the potential to redefine the negativism around the political Visegrad?
These are just a few of the questions that will be addressed within a conference entitled Visegrad Dance Platform? by 50 artists, arts managers, critics and dance theorists from V4 countries. The conference is held within the XXth edition of the Flora Theatre Festival.

Visegrad Dance Platform? is a project supported from the International Visegrad Fund. The project is organized by DW7 in partnership with L1 Association (HU), Centre for Culture in Lublin (PL), Truc sphérique (SK) and Tanec Praha (CZ).

Polish participants of the conference:
Tomasz Ciesielski (Teatr Chorea), Ryszard Kalinowski (Lubelski Teatr Tańca), Grzegorz Kondrasiuk (Uniwersytet Marii Curie Skłodowskiej), Konrad Kurowski (Lubelski Teatr Tańca), Joanna Leśnierowska (Art Stations Foundation), Paweł Łyskawa (Krakowski Teatr Tańca), Jadwiga Majewska (niezależny krytyk, kurator, badacz, wykładowca), Eryk Makohon (Krakowski Teatr Tańca), Anna Piotrowska (Teatr Tańca i Ruchu Rozbark), Michał Ratajski (Grupa Kijo), Karolina Staneczek-Pucher (Teatr Tańca i Ruchu Rozbark).