Dance Base announces the first shows in its 25th festival programme 

Scotland’s National Centre for Dance, Dance Base is known for curating an ambitious programme of Scottish and international shows every August, giving a world-class platform to up-and-coming and established dance artists.

Dance Base Festival 26 in partnership with Assembly, a collaboration now in its fourth year, is Dance Base’s 25th festival programme – a milestone the team is marking with a fantastic line-up of shows.  

2026 is also a landmark year for Dance Base as the organisation celebrates 25 years in its purpose-built home in the heart of Edinburgh’s Grassmarket which becomes one of the festival epicentres every August.  

As always, Dance Base nurtures and celebrates the breadth of Scottish dance talent, this year featuring, among others, YDance – Scottish Youth Dance company, Penny Chivas and her politically charged Where We Choose to Stand and Jack Anderson, Charlotte Mclean, Malin Lewis’ not for glory which dissects heritage and resuscitates tradition, Marc Brew’s moving Boys Don’t Dance and Two Destination Language’s 40/40 celebrating a life of a woman, artist and a migrant.

Outwith the UK, artists from Brazil, Basque Country, Italy, Netherlands, Japan and Taiwan call Dance Base their home this August, presenting work as part of Taiwan Season, São Paulo Showcase and Basque Showcase.

From Breakdancing to Butoh, from Pole Dance to politics – this diverse programme caters to both dance curious and Dance Base’s regular audiences.  

Tickets go on sale on Friday at 12 noon at assemblyfestival.com and on Monday 30 March at edfest.com with further shows to be announced in due course.  

NEW SHOWS ANNOUNCED  

Penny Chivas – Where We Choose to Stand (7-16 August)

A powerful dance-theatre show inspired by activism and political change. Blending movement, music, real stories and moments of audience connection, it invites reflection on the choices we make—and what it means to stand together. 

YDance & National Youth Arts Wales – Celtic Collective (7-16 August)

Bringing together the National Youth Dance Companies of Scotland and Wales for an electrifying night of bold choreography, this special show celebrates the power of dance, blending distinct cultural influences with cutting-edge vibrant contemporary dance. 

Erain / Helena Wilhemsson – Jarraibiderik Gabe / Trembling Frequencies (7-16 August)

A double bill of emerging choreographic voices from the Basque Country. Bodies and objects create shifting physical landscapes in Jarraibiderik Gabe, while the mysterious and dynamic solo of Trembling Frequencies takes a look at the shifting landscapes within. 

Marc Brew Company – Boys Don’t Dance (7-23 August)

A poignant dance theatre show by acclaimed disabled choreographer and dancer Marc Brew, it draws on his experience as the only boy in a rural Australian town who wanted to dance, defying societal expectations. It combines movement, BMX tricks, storytelling, lighting and an uplifting 80s soundtrack, alongside visual projections and animation. 

T.F. Cia de Dança – Border Bodies (7-30 August)

Border Bodies desires to rediscover ways of being together in times of social segregation. Despite their diverse backgrounds, artists unite, believing that their differences empower each other when they act as one.  

LEI Dance Theatre – Proximities (6-30 August) 

LEI Dance Theatre and Lao-French choreographer Olé Khamchanla create a captivating quintet about boundaries and rules, distance and closeness, alienation and connection. An intelligent, imaginative show, questioning blend of traditional, contemporary and classical styles. 

Mailantia Dance Company – Under Mask (6-30 August) 

What lies beneath the roles and identities we choose to play? Drawing upon folk ritual and a battery of cross-cultural movement styles, Lai Yun-Chi’s company Mailantia presents a bold, intricate quartet about concealment and transformation. 

COSMIC DANCE – Space In Between (9-16 August)

A South Asian triple bill exploring tensions between intention and outcome, self and society. Blending Bharatanatyam, Kathak and Contemporary movement, three interconnected works examine regret, conflict and misalignment, revealing unseen forces shaping identity, relationships and choice. 

Jack Anderson, Charlotte Mclean, Malin Lewis – not for glory (11-23 August)

A rebellious unravelling of traditional dance and music. not for glory is bodies and bagpipes, kilts and queerness, a battering, flinging skirl. This dance-theatre gig resuscitates tradition, dissects heritage, not for glory – but for what? 

Corpo Máquina – Poles (18-30 August)

A champion pole dance artist. A spider-like steel structure. A live soundscape. At the cutting edge of personal and public space, pole dance virtuoso Yvonne Smink delivers a performance of technical strength and intimacy, choreographed by Guilherme Miotto. 

Karl Jay-Lewin and Matteo Fargion – If I Can’t Dance I’m Not Coming (18-27 August)

Reimagining Fritz Lang’s 1927 Metropolis as a score for dance, an eclectic ensemble of performers embraces dignity over virtuosity, blending rebellion with humour in a process shaped with clarity and care. 

Compagnia Bellanda – Il canto dell’assiolo (18-30 August)

In the silence of a summer night, a call returns. A duet rooted in Breakin’ explores love’s borders – between desire and control, tenderness and violence. Breath, language, and movement intertwine, exposing intimacy as threshold, conflict, and transformation. 

Two Destination Language – 40/40 (18-23 August)

An inspiring and moving celebration of Two Destination Language co-artistic director Katherina Radeva’s 40 years as a woman, a migrant and an artist. Claiming space on a dance floor, she dances with joyous abundance and presents stories of her past and present.  

Dance Base Yokohama/Conan Amok – R/evolution(s) (18-30 August)

A contemporary Butoh work, this piece reimagines Butoh for the present while carrying its inheritance forward. Uniting Conan Amok – heir to the lineage of Dairakudakan, one of Japan’s leading Butoh companies – and contemporary dancers, renewing the form from within. 

Frauke Requardt and Vivienne Franzmann – Anatomy Of Survival (25-29 August)

A woman walks into a cafe. She orders a coffee. The barista doesn’t understand her request. The woman loses her sh*t. Chaos reigns.  

PREVIOUSLY ANNOUNCED 

Dance Base’s PRIME – We Are (6-9 August)

Who are we when we’re together? When we’re alone? When we fight for what we believe in? Hot off the heels of its 10th anniversary last year, Dance Base’s in-house company for dancers over 60, PRIME premiers new work from Artistic Director Kally Lloyd-Jones and choreographer Malcolm Sutherland. 

Dance Base’s Common Ground(11-16 August)

Dance Base’s two in-house companies PRIME (for dancers over 60s) and Lothian Youth Dance Company (for 14-21 year-olds) come together in a quadruple bill to explore the pressures we all face. Features new pieces created over the past year by PRIME’s Artistic Director Kally Lloyd-Jones, as well as guest choreographers Malcolm Sutherland, Tough Boys Collective and Rosie Mackley. 

Dance Base’s Fringe Fragments (24-25 August)

Catch a glimpse of the next big thing. An industry pitching platform open to audiences, Dance Base’s Fringe Fragments spotlights dance artists from Scotland and around the world as they share 15-minute excerpts of tour-ready performances. A unique event strengthening Dance Base’s position as the major launchpad for dance artists at the Edinburgh Fringe.  

Continuing Dance Base’s commitment to providing a home for Edinburgh’s thriving dance community throughout the Festival, the venue also hosts a vibrant programme of public and professional dance classes from Monday 3 – Sunday 31 August. 

Edinburgh Festival Fringe 2021: A Fringe that will go down in history and help guide our future

After an extraordinary 25 days, the 2021 Edinburgh Festival Fringe has drawn to a close, having brought artists, arts industry, media and audiences together once again to celebrate the magic of live performance.

This year, the Fringe looked very different. For the first time, audiences were able to engage with work both online and in-person, with performers, creators and producers embracing new ways to keep performance in our hearts and minds.

Shows happened in car parks, racecourses, tents and forests. There were brave new works-in-progress; exciting revivals; reimagined classics; solo shows; family-friendly shows; international showcases; sketch shows; interactive digital works; outdoor site-specific shows; walking tours; immersive experiences and late-night, mixed-bill, laugh-a-minute shows.

Some performers took the stage for the first time in 18 months, while others used the festival as a way of reconnecting with fellow artists and industry professionals.

There was support for arts professionals in new ways – with Fringe Connect offering a professional development, workshop and networking space for artists and industry, and Fringe Marketplace providing a digital platform to showcase export ready professional work from across the Fringe to delegates from around the world.

Our Street Events programme looked different, but was just as joy-filled as always, with everything from magic to live music happening in safe, managed locations from West Parliament Square to the Mound.

Street performers also went into communities across Edinburgh, while the Fringe Society worked with over 30 charities and community groups to distribute Fringe vouchers and Lothian bus tickets to give people the opportunity to experience the Fringe either in person or online.

The Fringe Society continued its commitment to accessibility. There was BSL interpretation of the street events at West Parliament Square, and a bespoke access bookings service on offer for customers who require it.

This Fringe was also a big step forward for sustainability. More performers marketed their shows digitally, through QR codes, social media and more. Our online strand meant less travel and a reduced carbon footprint for some participating artists, audiences and industry, extending our global reach even further.

We also strengthened the Fringe’s place in our local community. This year, over a third of audiences were from Edinburgh, and a further 17% were from the rest of Scotland. 44% were from the wider United Kingdom. Artists and creatives local to Scotland also added their stories to stages and screens in greater proportions than we have seen in recent years.

But that didn’t happen at the expense of the festival’s founding open access principle. 38 countries were represented on the Fringe this year, with work from nine countries featured as part of international showcases taking place. There was also increased international representation in proportion to the overall programme.

Commenting on this year’s festival, Shona McCarthy, Chief Executive, Edinburgh Festival Fringe Society, said: “Traditionally, this day in the Fringe calendar is all about statistics: how many shows took place, how many tickets were bought, and what that means.

But this year, I’d like to stop defining success by scale. For me, that’s never been what makes the Fringe special. Success should be defined by the quality of experience we’ve all had – and what we’re hearing from performers and audiences alike is that this year’s Fringe has been hugely successful indeed.

“When registration opened in May, we had no way of knowing for sure what this summer would look like. Today, we celebrate every single show that has been brought to life. I’d like to personally thank and congratulate everyone that made it happen, as well as our audiences, sponsors and supporters who have cheered us on and offered much-needed support through this wild and unexpected year.

“We’ve still got work to do to ensure the Fringe recovers – but recovery isn’t about growth in the statistical sense. It’s about growth as a Fringe community. As we move forward with our Save the Fringe campaign and continue to champion this festival and the wider arts, we’ll be calling on everyone to help us shape what the future of this fantastic festival holds.”

Benny Higgins, Chair, Edinburgh Festival Fringe Society, said: “I’d like to offer huge congratulations to everyone that made this festival happen in the most challenging of circumstances.

“I’ve been blown away by the commitment, creativity and talent of those that have worked tirelessly to bring the magic of the Fringe back to Edinburgh’s streets – and for the first time – to screens around the world.

“As we look to the Fringe’s 75th anniversary in 2022, I am looking forward to being part of a wider conversation about how we make this festival the very best version of itself. This year proved that a small amount of public sector investment can bring about positive change, and it’s crucial that investment in this hugely important festival continues. The Fringe has a big role to play in our recovery, and as we look to build a renaissance for the Fringe in the future, we’ll keep working to support those that make it happen.”

Barbara Smith, Managing Director of Johnnie Walker Princes Street, said: “It’s been a fantastic month, seeing the phased return of the Edinburgh Festival Fringe and seeing Edinburgh locals and visitors get to enjoy what Edinburgh does best.

“As official whisky of the Edinburgh Festival Fringe, Johnnie Walker has celebrated the month with our residence ‘The Fringe Club’ on The Mound throughout the festival and gifting lucky festival-goers with exclusive prizes. We’ve our eyes firmly on the future, opening our doors to Johnnie Walker Princes Street on 6 September and joining in the celebrations once again in 2022.”

Next year’s Edinburgh Festival Fringe will run from 05 – 29 August 2022. It will mark the 75th anniversary of the festival.

SPONSORS and SUPPORTERS

As a charity, the work of the Edinburgh Festival Fringe Society would not be possible without the valuable support of our partners, sponsors and funders.

We are delighted to be working with Johnnie Walker for the third year running as our official whisky partner.

We are proud to be partnering with the newly opened St James Quarter and are excited to be working with them this year and beyond.

We are excited to be partnering with Crowdfunder again through our FringeMakers fundraising platform, supporting Fringe artists and venues with vital fundraising efforts.

We have teamed up with Rare Birds Books to a create a limited-edition book bundle with books selected by the women behind three of the Fringe’s most iconic venues; Rowan Campbell, the General Manager of Summerhall, Dani Rae, the General Manager of Assembly and Katy Koren, who co-runs Gilded Balloon. Proceeds of the sale of this bundle will support go directly to supporting Fringe artists bring work to the Fringe.

We would also like to thank Lothian Buses for their continued support of our Fringe Days Out programme.

We’re thrilled to welcome Edinburgh Gin on board as Official Gin of the Fringe and look forward to working with them.

We are grateful for funding through the PLACE Programme, a partnership between the Scottish Government -through Creative Scotland -the City of Edinburgh Council and Festivals Edinburgh; Scottish Government for Made in Scotland through the Festivals Expo Fund – managed through Creative Scotland – and the continued support of the City of Edinburgh Council. Thanks also to Scottish Government for funds from their Get into Summer campaign.

We are grateful for funding from the Pivotal Event Business Fund, the SCVO Adapt and Thrive programme, the Foyle Foundation and the UK Government to enhance our digital capabilities.

Our thanks also to the Paul Hamlyn Foundation, the Pump House Trust and the Turtleton Charitable Trust.

With thanks to EventScotland and City of Edinburgh Council for supporting Street Events.

Thank you to Brightcove, our streaming partners, for their support in delivering the Fringe Player.

Our thanks also to our Fringe Angels, Patrons, Friends and supporters whose passion and generosity made a real difference this year.