Moving Balkans invigorates contemporary dance across southeastern Europe

Claudine Colozzi

Launched in 2024, the Moving Balkans Contemporary Dance Platform brings together choreographers from across the southeastern Europe peninsula to champion their work internationally. Teja Reba, Ljubljana based director of the project, outlines the issues and challenges it involves: connecting, supporting, and promoting dance professionals in a region that is as dynamic as it is diverse. 

Why did you create Moving Balkans?

Teja Reba: Moving Balkans was created at the start of 2024 as a regional platform for contemporary dance, in order to give more visibility to the choreographic work that’s being done in the Balkans and to strengthen regional cooperation, so that this scene could be more competitive on a European scale. The platform brings together dance professionals (festival directors, dance centers, programmers) to create a sustainable network. This is not the first project of this kind: there have already been several attempts which, unfortunately, due to financial constraints, have failed to build long-term stability. Furthermore, in terms of networking projects from what used to be Yugoslavia [Editor’s note: now Bosnia and Herzegovina, Croatia, Macedonia, Montenegro, Serbia, and Slovenia], other programs have been running in parallel for several years. Moving Balkans aims to connect these existing projects and help them evolve by offering a new step in their structuring and development.

What did you want to achieve with this?

T.R: To promote a dynamic ecosystem, increase the mobility of artists, offer showcases, workshops, and skills-building activities, and thus foster exchanges between Balkan countries and beyond. The project also aims to build a more connected, supportive, and visible scene on the European map. It is co-financed by the European Union, notably through Creative Europe [Editor’s note: a program led by the European Commission that works to promote cultural diversity in Europe], and by local and national funds allocated to the eleven main partners.

“These scenes are often very open to experimentation and intercultural dialogue”

What is the contemporary dance landscape like in the Balkans?

T.R.: It is characterized by a wide variety of practices and voices, with a strong presence of independent endeavors, festivals, collectives, and structures that defend artistic freedom. These scenes are often very open to experimentation and intercultural dialogue, while seeking to strengthen their professional infrastructure. 

Are there similarities between the countries in this particular area?

T.R.: Yes, several countries share common challenges, such as the need for greater artistic mobility, international visibility, and structured cooperation in a context where independent networks play a pivotal role. This field is highly precarious: institutional support is insufficient, and in some contexts, there is almost no public funding for this artistic field. Working conditions are untenable, prompting many creators to emigrate abroad.

Are there any specific aesthetics?

T.R.: There is obviously not a single “Balkan” aesthetic. What stands out above all is a wide variety of choreographic languages, with works that explore diverse contemporary forms. Due to differences in financial resources between countries and the level of circulation of ideas, there are also very different types of productions. In some contexts, more classical and narrative forms prevail, while in others, more experimental approaches are emerging. Many shows are small-scale (solos, duets, with minimal sets). I would say that there is significant potential, but due to extremely low public funding, this sometimes translates into a certain lack of resources and a lack of structured support mechanisms throughout the creative chain. Greece stands out, thanks to a strong private foundation that provides ongoing support for the development of the field. In any case, this environment, although insufficiently structured, can open up spaces for reinvention for international partners: with a clear vision and adequate support, many things are possible. It is necessary to change perspective and begin to better integrate voices from the European periphery. Due to its colonial debt, Europe has turned to other territories, leaving aside a large part of its own “South.” It would be appropriate to take a greater interest in what is developing outside the established networks, and to consider these spaces as places where alternative meanings, forms, and models are produced. 

How do you pick the projects that are supported by Moving Balkans?

T.R.: We proceed via open calls distributed across all partners’ networks. For example, ten dance pieces and six project presentations are then selected for our showcases by the artistic council on the basis of applications that meet eligibility criteria.

What type of initiatives have you already implemented?

T.R.: The first edition of the Moving Balkans Contemporary Dance Showcase took place in May 2025 in Ljubljana (Slovenia), Rijeka (Croatia), and Zagreb (Croatia), bringing together a selection of contemporary pieces from many Balkan countries and also offering spaces for artists and professionals to meet and exchange ideas. The second edition of the showcase is scheduled for May 2026 in Novi Sad (Serbia). We have also organized two international workshops: one for young dancers in Skopje (North Macedonia) and the other for young choreographers in Bucharest (Romania). A third workshop will follow, this time in Sofia (Bulgaria), aimed at young producers, with similar objectives. We also co-produce new pieces. These have been designed with a view to promoting more concrete joint actions between two or more partners, with the aim of connecting creators from different countries and offering them new opportunities to work in an international context.

What are your first conclusions?

T.R.: The project has already demonstrated that regional cooperation is possible and productive: the first edition brought together artists from different Balkan cultures, it has attracted local and international audiences, and served as a springboard for works that could circulate throughout the network. 

What are your plans for the future?

T.R.: I want to see the platform grow and establish itself regionally. We are preparing a new application for the Creative Europe program, as well as developing local and international partnerships. We also want to strengthen our advocacy work in contexts where contemporary dance is still not well integrated into cultural policies and encourage cultural diplomacy between countries.

In the mid-1990s, while she was still a student majoring in journalism in Lille, Claudine Colozzi interned at the dance magazine Les Saisons de la danse, where she learned to sharpen her critical perspective. As a journalist, she works for magazines, teaches, and writes on a variety of topics, notably disability. She continues to feed her insatiable curiosity for dance by writing for websites such as Danses avec la plume and Coups d’œil. She has written documentary books for young audiences: L’Encyclo de la danse (Gründ), Dans les coulisses de l’Opéra, La danse classique and Passion hip-Hop (Nathan).

Canal online 2026
available on March 16 
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Moving Balkans Contemporary Dance Showcase 2026 vol#2.
May 13 to 16
in Novi Sad, Serbia
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