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| Tanzpreis | |
|---|---|
| Name | Tanzpreis |
| Awarded for | Excellence in dance performance and choreography |
Tanzpreis is an award recognizing outstanding achievement in dance performance and choreography within German-speaking cultural contexts and beyond. Established in the late 20th century, the prize has been conferred to soloists, choreographers, companies, and ensembles associated with major institutions and festivals. It occupies a visible place among European dance honors and is cited in discourse around contemporary ballet, modern dance, and interdisciplinary performance.
The prize traces its roots to postwar cultural rebuilding and the growth of institutional dance in cities such as Berlin, Munich, Vienna, Hamburg, Cologne, and Frankfurt am Main. Early patrons included municipal cultural offices and foundations linked to figures from the worlds of opera houses like Staatsoper Unter den Linden and theaters such as the Schauspielhaus Zürich. Over decades the award intersected with developments at festivals and venues including the Salzburg Festival, the Bregenz Festival, the Tanz im August festival, and contemporary platforms such as ImPulsTanz in Vienna. Key administrative changes paralleled reforms at national bodies like the Kulturstiftung des Bundes and collaborations with institutions such as the Deutsche Oper Berlin, the Komische Oper Berlin, and the Bayerisches Staatsballett.
The prize evolved as choreographic practice shifted from classical repertoires—associated with houses like the Paris Opera Ballet and the Royal Ballet—toward hybrid work influenced by practitioners linked to collectives and studios such as Pina Bausch Tanztheater Wuppertal, Sidi Larbi Cherkaoui’s projects, and residencies at centers like the Battersea Arts Centre and the Tanzquartier Wien. Funding models reflected relationships with cultural ministries in states such as Nordrhein-Westfalen and Baden-Württemberg, and with philanthropic entities exemplified by the Fundación Antonio Gala and the Soros Foundation in arts grantmaking contexts.
Selection criteria emphasize artistic excellence, innovation, and influence on contemporary performance practice. Eligible candidates commonly come from institutions including the Ballet National de Marseille, the Royal Swedish Ballet, and independent collectives affiliated with venues like the Sadler's Wells Theatre, the Kammerspiele München, and the Thalia Theater. Juries frequently comprise directors and curators from opera houses such as La Scala, festival programmers from events like the Edinburgh Festival Fringe, critics associated with publications linked to Die Zeit and Süddeutsche Zeitung, and representatives of dance pedagogical institutions such as the Codarts Rotterdam and the Palucca Hochschule für Tanz Dresden.
Nomination pathways include proposals from companies, endorsements by artistic directors from organizations like the Stuttgart Ballet and the Nederlands Dans Theater, and recommendations from networks such as the European Dancehouse Network and the International Dance Council (CID). A shortlist process typically involves presentations, repertoire review, and studio viewings at venues like the Tanztheater Wuppertal rehearsal spaces or residencies at the Maison de la Danse. Decisions can be influenced by touring records at festivals including the Avignon Festival and collaborations with choreographers known from productions at the Metropolitan Opera and the Bolshoi Theatre.
Recipients span internationally known performers, choreographers, and ensembles. Awardees have included artists who also worked with institutions such as the Royal Ballet, the New York City Ballet, the Berlin State Ballet, and companies nurtured at schools like the Juilliard School and the Hochschule für Musik und Tanz Köln. Laureates encompass figures whose careers intersect with names like William Forsythe, Ohad Naharin, Pina Bausch, Mats Ek, Merce Cunningham, and younger practitioners affiliated with collectives that performed at venues including the Theatre de la Ville and the Teatro alla Scala. Ensembles awarded have toured through circuits including the Jacob's Pillow Dance Festival, the Festival d'Avignon, and the Tanzmainz series, reinforcing links with presenters such as the Lincoln Center and the Southbank Centre.
The roster further includes choreographers who later assumed leadership positions at companies like the Bayerisches Staatsballett, the Nederlands Dans Theater, and the Munich Biennale-associated projects, as well as interpreters whose recordings and archival partnerships connected to archives such as the Deutsches Tanzarchiv Köln.
Critical reception of the prize has been discussed in forums including specialist outlets connected to Ballett-Journal, mainstream cultural coverage in Frankfurter Allgemeine Zeitung and The Guardian, and academic commentary published through university presses collaborating with institutions like the University of Arts London and the Free University of Berlin. The award is credited with catalyzing commissions at houses such as the Staatsballett Berlin and influencing programming decisions at festivals like Tanz Köln.
Debates about the prize reflect broader conversations involving funding bodies such as the European Cultural Foundation and advocacy organizations like Dance/USA and ASK Dance regarding representation, diversity, and the balance between repertory preservation and experimental practice. Critics and supporters alike reference comparisons with other honors such as the Benois de la Danse and national distinctions conferred by ministries linked to the Bundesministerium für Kultur und Medien.
The prize exists amid a constellation of awards and cooperative schemes including the Benois de la Danse, the Prix Benois, and collaborative commissioning platforms such as the European Commission-backed networks and the Creative Europe programmes. Partnerships often involve residencies with dance houses like the Tanzhaus NRW, co-productions with presenters such as the Helsinki Festival, and exchanges supported by cultural institutions including the Goethe-Institut and consortia connected to the British Council.
Competitions and fellowships that intersect with the prize’s ecosystem include those run by the Youth America Grand Prix, the Prix de Lausanne, and juried showcases at the Venice Biennale and the Munich Opera Festival, creating pathways between conservatoires such as the Royal Conservatory of The Hague and company rosters across Europe and North America.
Category:Dance awards