Ten new issues have been published since the last Chronicle 2022. They are always about dance and what it does in this world. You could report on this in small bites. Or prepare a fresh culinary meal.

Allow me to introduce myself – the name’s Greenland. I am Mars on Earth. The comparison honors me because it is based on my incomparably beautiful scenery.

Oh how the word shimmers: Lazgi. In French it sounds like “lascar,” a sly fellow. It puts us in mind of the word lasciviousness, or Lascaux for the more historically minded – of the cave paintings left behind by prehistoric humans. It was also the discovery of prehistoric rock paintings that saw the Central Asian Lazgi declared one of the oldest dances still practiced today.

Choreography has much more to do with a radicality and urgency of action than with consent and dancing along. This is true all over the world, without exception.

Burkina Faso is one of the poorest countries in Africa and indeed the world. Despite a recent military coup, it is the venue for a dance festival that allows guests to gain deep insights into the mentalities of the African dance scene. On stage, people argue, dance, and forge new partnerships. Europe has funded this festival – so that it may approach the scene on an equal footing.

Millions and millions of kilometers of yarn are unwound unremittingly from bobbins worldwide – in the myriad textile and sewing factories on this earth. Mechanically speaking, bobbins perform an almost endless pirouette. The human body follows exactly the same principle.

Theaters like to be the good guys in three ways: Good for the citizen. Good for culture. And good for the zeitgeist. Being good is part of the essence of theaters; they do not want to be accused of being racist. But does this fit the reality within the institution itself? The case of Raphael Hillebrand casts doubt on this.