The world of dance celebrated its brightest talents this past weekend as the Deutscher Tanzpreis (German Dance Prize) was awarded at a gala held at the Aalto-Theater Essen on February 28, 2026. Choreographer Christian Spuck received the coveted prize, recognizing his significant contributions to contemporary ballet. Alongside Spuck, Tanzwissenschaftlerin (dance scholar) Gabriele Brandstetter was honored for her pioneering work in dance research, and Butoh dancer Tadashi Endo was posthumously recognized for his lifetime achievements.
The evening, hosted by Vivian Perkovic and accompanied by German Sign Language interpretation, wasn’t without a minor hiccup. Initial technical difficulties with microphones and staging required some improvisation, but the focus quickly shifted to the artistry on display. The Deutscher Tanzpreis is considered Germany’s most important accolade in the field of dance, celebrating innovation and excellence across the discipline.
A Diverse Program Showcases the Range of Contemporary Dance
The gala performance featured a diverse array of dance styles, showcasing the breadth of the German dance landscape. The Urban Dance Department & Friends opened the evening with “WATER,” a dynamic choreography by Souhail Jalti. Thomas A. Bradley’s premiere of “NOT BUTOH SOLO” served as a direct tribute to both Professor Dr. Gabriele Brandstetter and the late Tadashi Endo, acknowledging their profound influence. A performance excerpt from Marcos Morau’s “Millennials” was also presented by the MiR Dance Company Gelsenkirchen, demonstrating the collaborative spirit of the event.
Morau, currently an Artist in Residence at the Staatsballett Berlin since 2023, highlighted the growing influence of the Berlin dance scene. This connection was further emphasized throughout the evening with performances featuring the Staatsballett Berlin.
Spuck Recognized for Bold Vision and Collaborative Leadership
The core of the evening centered on the recognition of Christian Spuck, Intendant (Director) of the Staatsballett Berlin. The jury lauded his “courageous and clear” revitalization of the Staatsballett Berlin. Dance journalist Dorion Weickmann, in her laudatory speech, described Spuck as possessing a unique combination of dancer’s insight, choreographic curiosity, and directorial vision. The Staatsballett Berlin underscored this praise with excerpts from three of Spuck’s works: “Nocturne,” “Romeo and Julia,” and “Beethoven.”
“Nocturne,” set to Frédéric Chopin, showcased Spuck’s ability to reimagine classical vocabulary, with Leroy Mokgatle and Jan Casier – Mokgatle having received the FAUST-Preis in 2025 – delivering a nuanced and evocative performance. The balcony pas de deux from “Romeo and Julia,” featuring Kalle Wigle and Michelle Willems, was praised for its authentic portrayal of the iconic scene, punctuated by a touch of comedic relief. “Beethoven,” originally created for the Staatsballett Berlin’s 20th-anniversary gala in 2024, offered a compelling study of relationships and shifting dynamics within a group.
A Call for Unity and Support in a Turbulent World
Spuck’s acceptance speech was remarkably direct. He expressed gratitude, but also a sense of humility and a sobering awareness of the current global climate. “We live in a time when the world really seems to be falling apart,” he stated, referencing “wars, social tensions, and political radicalizations.” He then posed the question of art’s role in such times, offering a measured response: “I have never believed that dance alone can change the world or society directly. But I deeply believe that it can change people.” He described art as “encounter,” “bodies in space listening to and reacting to each other,” and emphasized the importance of ensemble work built on mutual responsibility – a counterpoint to “isolation, loudness, confrontation, and culture war.”
He powerfully highlighted the diversity within the Staatsballett Berlin, stating, “People from 26 different nations work together at the Staatsballett Berlin alone. That needs to be preserved. And unfortunately, we are now having to fight for it.” This statement underscored the challenges facing international collaboration in the arts. Spuck also spoke of the need for trust and spaces where questions – even uncomfortable ones – can be openly explored.
Spuck deliberately shifted the focus away from individual recognition, emphasizing the collaborative nature of theatrical production. He thanked Michael Banzhaf, the artistic director of the Staatsballett Berlin, and the company’s management for their unwavering support, even amidst significant budget cuts. He concluded with a personal note, expressing gratitude to his parents and partner for their unwavering support.
The next Deutscher Tanzpreis will be awarded on March 13, 2027, once again at the Aalto-Theater Essen. As the dance community reflects on this year’s celebration, the call for continued support of artistic expression and international collaboration resonates strongly.
What does this year’s Deutscher Tanzpreis signify for the future of ballet in Germany? Share your thoughts in the comments below.
