Austria Croatia Hungary Slovenia UK

A refl ection on Bridging New Territories 2012-2014

Photo by Dominik Fras

A European NetworkBeyond Front@ seeks to overcome the barriers that keep dance artists marginalised in areas of

Central Europe by addressing needs for co-productions and networking, by mobilising dancers, dance works and audiences, and by providing opportunities for people to meet and develop a shared language for their contemporary dance experiences beyond their respective spoken languages and national cultures.

Five partners from Slovenia, Austria, Croatia and Hungary which co-organised Dance Explorations Beyond Front@ between 2008-2010 were joined by a sixth co-organiser from the United Kingdom, as well as six associated Bridge Partners in Austria, Greece, Serbia, Slovakia, Portugal and Italy. These organisations collaborated on a two-year project entitled Beyond Front@: Bridging New Territories from 2012-2014 and this is the story of the project.

Project Partners:D.ID Dance Identity, Verein fur neue Tanzformen, Pinkafeld, Austria

Flota, Murska Sobota, Slovenia – CoordinatorGreenwich Dance, London, UK

Hrvatski institut za pokret i ples, Zagreb, CroatiaPro Progressione, Budapest, Hungary

OffenesHausOberwart, Austria

Bridging New Territories

As primarily a non-verbal art form, dance has a unique capacity to unite artists and people across Europe.

United by a shared belief in the power of dance, the partners produced a dynamic programme of co-productions and networking opportunities, mobilising dancers and audiences across Europe.

Map drawing by Sally McKay

WE AIMED to explore physical, social and creative bridges between:

NETWORK ASPIRATIONS:

To further develop the success of Beyond Front@ 2008-2010 with the inclusion of new partners and experiences

To root the project in a wider European space through the involvement of Bridge Partners

To support creative processes and artist mobility, enabling high quality experiences and performances to be generated

To ensure the questions of ‘Who is it for?’ and ‘Why does it matter?’ are being addressed

To mobilise dancers, dance works, audiences and organisations to increase communication about and understanding of dance

To explore and improve international and cross-cultural dialogue and appreciation

To reflect on the process and the project through other media, namely visual art, photography and film

Dance artists in big and small cities

New Bridge Partners in other parts of Europe in order to open the Beyond Front@ network to new ideas and talent

Dance and other related artistic mediums (video, photography, visual arts, writing, architecture, design) in order to connect artists, enhance the language of dance, foster artistic creations, develop dance sensibility and expose dance to diverse audiences and presenting contexts

Audiences in different countries, improving access to dance and engaging them in dialogues around their understanding and perception of dance

Different social groups, enabling them to better understand each other and accept their differences, through their experiences around dance

Photo by Dominik Fras

Between 2012–2014:

369 artists have been involved

2 international co-productions (Creation IV and Creation V), presented 11 times in in 5 countries

27 additional presentations of international dance works in 5 countries

6 Dance Communication Labs (DCLs) in progress and 15 DCL public presentations

Over 9500 audience members have attended performances

19 audience buses transported over 300 people across borders in the name of dance. They travelled over 8500 km.

Every 3.5 days a new topic started on our google group email, including 213 discussions threads

11 Dialogues Beyond Front@: forums for artists and audiences discussing dance

5 short dance videos

4 dance exhibitions/installations

Photo by Ksenija Spanec

2 co-productions touring internationally

17 Dance Communication Labs (DCLs)

15 Presentations of DCLs

11 Dialogues Beyond Fronta

Bridging to Artists

Dance Communication Labs began as performative events which now have a growing general audience and are a recognisable concept within the dance community.

In 17 Dance Communication Labs more than 800 artistic encounters were generated, mostly among dance makers but also with musicians, photographers, videographers and sketch artists from Austria, Croatia, Hungary, Slovenia, United Kingdom, Finland, Portugal, Romania, Slovakia, Poland and Germany.

This evolved during the project into Dance Communication Labs in progress, a more process-oriented activity rather than a performative event. Through this series of DCLs a group of five dancers from five different countries could become an outstanding group of performers – a company with cohesive spirit and excellent group performance. These five dancers were engaged in week-long sessions with various improvisation coordinators-choreographers in London (UK), Murska Sobota (SI), Zagreb (HR), Oberwart/Pinkafeld (AT) and Budapest (HU). In every session they collaborated with several local dancers, who were invited to join them. This way the core group of dancers could meet more colleagues, encounter different approaches and also break the ready-made habits of improvisation within the core group. In many cases local musicians were invited to the process, which brought an additional layer, a different ‘non-dancer’ language and therefore enabled enhanced artistic process and presentation.

Dance Communication Labs Matjaž Farič, Director, Flota (SI)

‘My part in Beyond Front@ Creation V was absolutely invaluable to me as a freelance dance artist. The opportunity to work with such a varied group of artists over a long period of time is something very difficult to find in the UK, and is absolutely necessary for growth. One of the most surprising and interesting things to me about working across Eastern Europe and the Balkan region were our different communication, creation, and negotiation strategies (across all aspects) – cultural exchange on a fundamental and, for me personally, developmental level.’Elizabeth Barker (UK), Beyond Front@ dance artist

‘Few cultural exchange projects have brought together international dancers as naturally, and successfully, as Beyond Front@. This spring 2014, I had the opportunity to work with 5 performers from Hungary, Croatia, Austria, Slovenia, and surrounding regions to realize an original creation. I was also given two focused weeks of residency time to stage my work, and an opportunity to show in two of Central Europe’s most outstanding museums: the Ludwig Museum of Budapest, and the MSU museum of Croatia. It was a rewarding experience for dancers, collaborators, and partners: and I hope that these partnerships will inspire other similar cooperations.’ Jonah Bokaer (USA), choreographer

Photo by Tomaz Crnej

Bridging to Artists

‘I was first involved with Beyond Front@ as a facilitator for the first of the 5-day Dance Communication Labs. And this remains my learning of this project – it was all about communication.

The process for creating In Reference to the Robber’s Cave began in 2012. Five dancers met at intervals over one year to spend a week in each other’s company in each of the partner countries. During these weeks they have danced, improvised, performed and lived together – communicating and exchanging values, thoughts, aesthetics and context. This creation continued that process and the work is about this.

We were searching for a common ground, not to lose our individuality or identity in this process but to be together in purpose and action. To be in agreement. This piece is the direct result of globalisation, but we were not politically motivated to comment on this. We were involved, a product of it and the beneficiaries of it. This work is a pure dance piece, constructed using improvisation, repetition and memory in order to find and develop a new home for these dancers to occupy out of the possibilities, references and histories that we do and don’t share. Perhaps our body or sense of ourselves as an individual can become this home, each shut into a private space, but in this work we find a home in the communication and dialogue between ourselves and others.

In this work we perform the process and expose it to view. We question what is the performance, when does it start, what do we want to show, what do we want to hide, where is performance in this space. This analogue allows us to be within the process as we perform.’

Communicating through Dance Robert Clark, Choreographer (UK)

The dancers first met in July 20135 DCLs resulted in Creation Beyond Front@ V artists spending 13.5 weeks working together over 22 months

Facts:

Spotlight on: Creation V: In Reference to the Robbers Cave

In Reference to the Robbers Cave was choreographed by Robert Clark (UK) and was the result of investing in a group of 5 dancers, one representing each partner country, over almost 2 years. They met and worked together for 5 days at a time over the first year and then worked with Robert to create this co-production.

27 public performances of international dance works in 5 countries

Over 9500 people experiencing dance performances

2 international co-productions, presented 11 times in 5 European countries and seen by 1116 spectators

Photo by Tomaz Crnej

Bridging to Audiences

20 audience buses transported over 300 people across borders in the name of dance. They travelled over 8500 km between Nagykanisza, Murska Sobota, Zagreb, Eger, Oberwart, Budapest and Vienna to attend more than 40 events including performances by young dancers, dance schools and academies, local community projects, Dance Communication Labs, Creations Beyond Front@, site-specific events and high quality professional dance productions.

These mobility actions proved to be excellent audience development tools for Beyond Front@ events. It was also easier to find ways to generate new audiences locally through this more personal approach. Many audience members posted their reflections, photos and videos to social media outlets such as Facebook, raising the profile of the network. By bringing audiences from cities to rural areas and vice versa, groups could appreciate the way dance is a universal communication tool across local, social and cultural barriers.

Mobility Actions

On a sunny Monday morning, in a parking lot behind the Cibona Tower, we find ourselves waiting to start a wonderful excursion. The atmosphere in the bus is great: lots of laughter and fun, exchanging stories about earlier experiences. Once we crossed the border, we encountered the beautiful landscapes of the Balaton region. After about a 4-hour drive, we finally arrive in Budapest, with four hours to explore.

Finally we arrive at the theatre. What excitement! The performance In Reference To The Robbers Cave was performed by five dancers, all very different, each one from another country, and yet they all are in sync, feeling each other move. During the performance we encounter a myriad of emotions from passion, to love, to anger, to sincerity, the harmony and disharmony so typical of human relations, achieving of goals and respect for each other’s difference. One could see that the dancers enjoyed what they were doing and found it fulfilling, that dance for them was a way of expressing themselves.

Personally, I had never been to a performance such as this one, and I realized what I have been missing, because I enjoyed the abundance of emotions that I experienced throughout the performance. The fact that there were no words meant that the performance could be universally understood; and, certainly in my case, emotions were experienced more deeply.

The whole excursion was simply a wonderful experience during which I saw and learned so much. I believe that something very valuable was achieved in introducing contemporary dance to the audience. There were a significant number of those who never encountered this art form.

“The overall travel was simply a beautiful experience. The atmosphere was excellent. The dance performance was the cherry on the cake. I don’t know much about dance, and this was a new experience in witnessing movement, body and spirit” Bojana (49 years)

“The performance itself was a bonus and in addition to the impactful sound score, it presented us with a remarkable effort by contemporary dancers. Indeed, it all contributed, along with the great company of new people I met on this journey, to a remarkable experience I will cherish for a long time.” Tihomir (62 years)

A Dance Excursion to Budapest Antonija Ištvanović, audience member

Bridging to Audiences

‘When we talk about audiences, we should not forget that they are not merely spectators, but also interpreters.

Audiences enjoy watching the professionals, knowing that they may not ever be able to achieve such beauty, but their feet unconsciously step with the dance. When a performance is well made, in technique and dramaturgy, the public will go with you, not only in their minds.

Liz King’s work in community dance deals with this phenomenon in a professional and creative way. The question I asked myself, leading a house of contemporary art and theatre, was: How can we show ordinary people that they, with their ordinary lives, are also part of an aesthetic moment, an aesthetic issue, an aesthetic composition?

The idea of our Gasoline Waltz started at a meeting with Hui Tam, the manager of a dance school in the region, when he talked about his work. I thought it would be interesting to put the dancers in strange places, in contrast with their usual environment. Places where they wouldn’t normally dance – for example at a gas station or under a tree. Thus the idea of a performance with ballroom dancers at a gas station was born. The other aspects, like finding a proper gas station and organising the buses was usual work for us event and art managers. The event was born out of a creative and aesthetic demand, namely the question of how to integrate amateur performers and audience members through contemporary art.

The work was a magnificent event in itself. However, at the end of the performance, the audience asked for one more waltz, because they felt inspired to join in the dance. All of a sudden nearly the whole audience was dancing on the gas station, and suddenly the amateurs and the audience were part of the art.’

Spotlight on: The Gasoline Waltz! Alfred Masal, Director, Offenes Haus Oberwart (AT)

Photo by Dominik Fras

Bridging to Audiences

Dance Dialogues Kat Bridge, Artistic Director, Greenwich Dance (UK)‘We met, we came together, we discussed.

A starting point for discussion was a feeling that the public at large struggle to support (contemporary) dance, and that perhaps dance is so inward-looking that soon we may just be dancing to ourselves. Perhaps more fully considering the dramaturgy of dance performances could ensure the cycle becomes more open.

The issues touched upon included the problems of definitions and defining, the function of dramaturgy, commercialisation and the power of the producer, the nature of artistic approach, the readability of work and the varying importance of communication with an audience.

We also discussed how art doesn’t always have to be understood – it can, and should, be felt. How conventions in places like theatres allow a neutral territory between the artist and the audience, a place where the giving and receiving of art can happen. That there are always conventions, in breaking conventions you merely establish new ones. And, how an audience has the right to be disinterested, just as an artist cannot cease to make art.

I believe in a dramaturg as a reflector, the first audience member, a receiver and interpreter of the communication from the artists. As an objective, supportive inside eye, a critical friend. Dramaturgy is inherently present at the point of casting artists and performers, and at when and where we choose to stage dance. Often dramaturgs come into a process after such choices are made, yet the bodies we witness in performance and how we see ourselves reflected on stage seems essential to our understanding or appreciation.

I enjoy the notion of the giving and receiving of art. Of a fair exchange. I also believe that performance art is not whole or complete without the active engagement of an audience.

We don’t very often talk about failure, I guess to be sensitive, to continue to make our case to funders and ourselves but if a dance performance fails to speak to its audience that should be better explored and wondered about. It is not necessarily ‘bad’ art or art lacking in quality, but perhaps being placed in the wrong context.

I am interested in the drama of our art form, its development with the breaking and setting of new conventions. Celebrating dance performance in and out of the theatre and what this means for audiences and artists.

Being in Oberwart watching within an audience of dance experts, dance virgins and people in between was empowering, and the majority of the work was rigorous and readable and enjoyable. Many performances could have been considered challenging, but the ways they had been created and presented is a valuable lesson not to underestimate and undermine our audiences.

As an audience, of course we don’t have to understand everything. We should be challenged, befuddled, made to wonder. But if an aim of communicating is proffered we do need to be empowered to state that yes, we are receiving. Or perhaps that we are not and maybe that should matter.’

Written in response to Beyond Front@ Dialogue in Oberwart Austria in May 2014

5 new short dance videos

1 new online digital dance material archive

213 discussions on a google group email, with a new topic started every 3.5 days

1 enhanced beyondfronta.eu website

4 Exhibition/ installations

1 online presentation of dance related photography

Photo by Chris Nash

Bridging DanceMedia

One of the most exciting Beyond Front@ Dance Media activities was the amalgamation of a Dance Communication Lab and a photography workshop led by renowned dance photographer Chris Nash (UK). Out of a collaboration between 9 dancers from 5 different countries and 7 photographers from Slovenija and Croatia, 12 photographs were chosen and printed on canvases.

The 12 images were displayed outside in a choreographed event called ‘Moving Gallery’ that also included 12 dancers from Slovenia and Croatia. The choreography was developed by the choreographer Ragnhild Olsen (UK), and together the works were presented during Front@ Festival in Murska Sobota, Slovenija as a part of the European Culture Capital – Maribor 2012 programme. This event was developed in collaboration between Greenwich Dance (UK) and Flota (SI).

Spotlight on: Moving Gallery

Photos by Chris Nash

Photo by Benjamin Coffin

Bridging Organisations

‘European Projects are a bit more than just a project with different European partners. These projects are often careful constructs of visions, dreams, aspirations of different individuals who are cultural leaders in their respective environment, who are also generous and eager to share their experiences and all towards building up the art form.

Each partner in the project has an equal say and brings their own perspective and personality to a shared vision and idea, jointly identified and articulated.

Beyond Front@ is not only about the core project partners directly involved. There are numerous what we called Bridge Partners. Partners that each one of us in the project invited to the table to share in the information flow, observe, be it close or from afar, relying on the fact that they too would share their knowledge and experiences to help us strengthen our goals, activities and outcomes. And they did, from disseminating information flow about Beyond Front@ to their respective audiences, to assisting us in choosing participating artists, to drawing our attention to opportunities of increasing our network and inviting to the table experts that otherwise we might not be aware of.

The Bridge Partners and their importance in the growth of a network first seeded many years ago became quite evident in this second phase of the project’s evolution. Initially a couple of years ago it was four partners and we had invited Greenwich Dance to observe the project. Subsequently they joined in the second round as they got quite involved in the first. HIPP’s partner in Italy was introduced to the Austrian partners, and subsequently many other doors opened in the collaboration between Austria and Italy. Likewise, from an earlier project we looked at

continuing the connection to Portugal’s Teatro Viriato in Viseu, and the connection was important as we looked to engage with a young Portuguese choreographer to create a new work. The links spread to Bulgaria and to Serbia and down to Greece.

What initially was a partnership of four quickly became a network of several dance organizations, artists and experts that have vowed to continue to work together moving forward. Because they all acknowledge the benefits of the work and resulting outcomes which provide fruitful ground for growth of not only our organisations but for the benefit of dance artists as well as audiences, not only in the central European region, but across Europe. A network which brings together organizations working in large and smaller urban centres, all connected through their passion, knowledge and vision for a growing, dynamic, diverse contemporary dance scene which while retaining its individual voice and high quality is also attentive to the interests of the public as a vital generator and reason d’être for contemporary dance in Europe to flourish.

The reaction of audiences who without any single opposing voice – from one activity to the next – had nothing but praise – and who continued to attend events even outside of the framework of the project itself, is the best testament to the project’s success. Something that only those who witnessed first-hand can associate with the proud swelling of the heart – that we, organisers, knew we have succeeded. Something to cherish and to be proud of. A reason to continue against all odds, moving forward and beyond all sorts of frontiers!’

The Value of PartnershipMirna Zagar, Artistic Director, Hrvatski institut za pokret i ples (HR)

‘The Beyond Front@: Bridging New Territories project has proven to be a creative experience of considerable value.

Cultural differences come to light when discussing the plans and maps which we make in order to realise the multi-faceted scale of the project, and the individual differences in approach have been highlighted.

As dance is the common idiom for the project we are realising, we have been able to reflect on the resonance of dance as a medium within our own group system. I think we would agree that being active in a project of this nature attunes to the very subject with which we are dealing; the art of dance, movement and choreography. We have become increasingly aware of the advantages of our genre as an intermediary for communication.

All group members are accustomed to moving as part of a team; whether from the inside as a dancer or from the outside as a choreographer or manager, we see clearly how a training in dance and choreography lends itself to the subtleties of human discourse.

At one of our partner meetings we had an extremely interesting discussion about the benefits of an education in the field of dance. For a dancer it is easy to adjust the body in space and execute a choreographic phrase without being disoriented. Changing place is therefore experienced as a positive decision when taking something you know and applying it again in new surroundings.

Thus the body is integrated as an intelligent part of a whole complex of thinking giving one deeper insight and a fresher view point.

According to the missions of each of our institutions, we have directed our dance knowledge toward people who live and work outside of the dance world. Whether in Slovenia with a large group of women and men over 55 in co-operation with the Association for Osteoporosis and Third Age University, or in Austria with the Roma community of Oberwart and a large group of people from all walks of life. In Budapest and Zagreb the inclusion of a lively scene of professional contemporary dancers ensures a constant influx for creating new platforms to encounter artists from the partner countries. The social environment of Greenwich Dance in London unites the interests of all in mixing professionals and non-professionals. At our different festivals we were able to give all groups the chance to perform the various projects which had been developed. Through the bus trips and the informal buffets, performers and audiences could exchange impressions with one another proving that dance is common to all.

Sharing the pieces we have developed within the frame of Beyond Front@: Bridging New Territories has outlined the fact that the body is the one honest way to communicate and that speaking the language of ‘body’ should be taken as a serious study.’

The Value of Dance Liz King, Director, D.ID Dance Identity (AT)

Final word

Dancers: Elizabeth Barker (UK)Celia Hickey (DE/AT)Marton Csuzi (HU)Zvonimir Kvesić (HR)Kaja Janjić (SI)Gabor Ivanov (HU)Teresa Noronha Feio (PT)Varga Boglarka (HU)Maja Kalafatić (SI)Maria Duenas Lopez (ES/HU)Sven Bahat (HR)Anis Habibović (HR)Janina Rajakangas (UK)Nikoletta Korkos (AT)Evin Hadžialjević (SI)Anna Gulyás (HU)Branko Banković (HR)Nataša Jurišić (HR)Zrinka Šimišić Mihanović (HR)Karolina Šuša (HR)Martina Granić (HR)Anna Bjerre Larsen (UK)Darren Anderson (UK)Krista Vuori (UK)Raquel Miro (UK)Rebecca Thomas (UK)Aja Zupanec (SI) Daniel Petkovič (SI) Jerca Rožnik Novak (SI) Josipa Stulić (HR) Kaja Teržan (SI) Kristina Drole (SI) Mia Zalukar (HR) Petra Pekolj (SI) Tina Leskovšek (SI) Michal Stefkovic (SK) Aja Ferjan (SI)Beno Novak (SI)Jan Rozman (SI)

Ivana Vratarić (HR)Nino Bokan (HR)Maja Drobac (HR)Bruno Isaković (HR)Hygin Delimat (AT)Nici Rutrecht (AT)Vera Neubauer (AT)Pawel Dudus (AT)Nina Fajdiga (SI)Beatrix Simkó (HU)Thomas Goodwin (UK)Maša Kolar (HR)Michael O’Connor (AT)Juan Dante Murillo (AT)Pia Födinge (AT)Raphael Michon (AT)Noémi Hársfai (HU)Lilla Kőnig (HU)Dóra Szűcs (HU)Orsolya Rózsahegyi (HU)Jenna Jalonen (HU)Hársfai Noémi, (HU)Kőnig Lilla(HU)Szűcs Dóra (HU)Rózsahegyi Orsolya (HU)Snježana Kovačić (HR)Irena Tomašić (HR)Balazs Szitas (HU)Zoltán Grecsó (HU)Gyula Cerepes (SI/HU)Irena Mikec (HR)Alex Ádám Miklósy (HU)Agnese Lanza (UK)Enya Belak (SI)Milan Tomašik (SI/SK)Veronika Valdes (SI)Petra Söör (UK)Beatrix Csak (HU)Leon Marič (SI)Alex Miklóssy (HU)

Csaba Nagy (HU) Karolina Tóth (HU) András Schlégl (HU)Attila Emődi (HU) Dorottya Kelemen (HU)Anna Schumacher (AT)Koraljka Begović (HR)Ivana Pavlović (HR)Tim Casson (UK)Lana Hosni (HR)Žigan Kranjčan (SI)Klaus Kleinschuster (AT)Len Hanak-Hammerl (AT)Arttu Palmio (FI/AT)Andor Russu (RO/HU)Katharina Illnar (A)Mikó Dávid (HU)Pataki Szabolcs (HU)

Choreographers:Robert Clark (UK)Theo Clinkard (UK)Irma Omerzo (HR)Zrinka Šimičić (HR)Vania Gala (PT)Žak Valenta (HR)Ragnhild Olsen (UK)Liz King (AT)Raul Maia (PT/AT)Magdalena Chowaniec (PL/AT)Mirjam Klebel (AT)Jonah Bokaer (USA)Theo Clinkard (UK)Anna Maria Nowak (PL/AT)Katalin Lőrincz (HU)

Musicians:Davorka Horvat (HR)Miro Manojlović (HR)Neven Šverko (HR)

Adrian Newgant (HU)Gábor Hartyányi (HU) Laura Döbrösi (HU)Sergej Randjelović (SI)Mario Rom (AT)Dániel Köpöncei (HU) Zsolt Moldván (HU) Gergely Okos (HU) Ádám Simon (HU) András Weil (HU)Bojan Gagić (HR)Nikolaus Dolp (AT)Werner Zangerle (AT)David Six (AT)Lukas Kranzelbinder (AT)Vlaho Prohaska (HR)

Videographers:Matej Kolmanko (SI)Tomaž Črnej (SI)Krunoslav Marinac (HR)Roswitha Chesher (UK)Gergő Geltz (HU)

Photographers:Chris Nash (UK)Dominik Fras (SI)Ksenija Španec (HR)Tomaž Črnej (SI)Max Biskup (AT)Alicia Clarke (UK)Eszter Lázár (HU)Natasha Pavlovskaya (HU)

Visual artist:Sally McKay (UK)

Dramaturgs:Zita Sándor (HU)Andreja Kopač (SI)

Organisers:Urška Pleše (Flota, SI)Matjaž Farič (Flota, SI)Barna Pertranyi (Pro Progressione, HU)Kat Bridge (GD, UK)Olive Kane (GD, UK)Liz King (D.ID, AT)Claire Grainer (D.ID, AT)Alfred Masal (OHO, AT)Mirna Žagar (HIPP, HR)Ivan Mrdjen (HIPP, HR)

Artists

Project Partners:D.ID Dance Identity – Verein fur neue Tanzformen, Pinkafeld (AT)Flota, Murska Sobota – Coordinator (SI)Greenwich Dance, London (UK)Hrvatski institut za pokret i ples, Zagreb (HR)Pro Progressione, Budapest (HU)OffenesHausOberwart (AT)

Bridge Partners:OperaEstate Festival, Veneto, Italy, Bridge Partner to D.IDMachfeld Multimedia Artist Group, Vienna, Austria, Bridge Partner to OHOBelgrade Dance Festival, Belgrade, Serbia, Bridge Partner to FlotaIsadora Duncan Dance Centre, Athens, Greece, Bridge Partner to Greenwich DanceTeatro Viriato, Viseu, Portugal, Bridge Partner to HIPPAsociacia Sucasneho Tanca, Bratislava, Slovakia, Bridge Partner to Pro-Progressione

www.beyondfronta.eu