When we attend a dance festival we tend to know what we are looking for: new dance works, perhaps some well-known works by prominent choreographers (if we are nostalgic or enjoy a historical perspective), fresh ideas by younger and emerging choreographers, some experimental pieces by cross-over artists, and promising new companies from abroad to expand our horizons. If it is not dedicated to a retrospective, say, of canonical works by Balanchine, Tudor, Kylian, or Graham, nor celebrates national treasures such as Pina Bausch or Alvin Ailey, we expect a contemporary dance festival to provide insight into how dance is evolving, how changes relate to cultural shifts and, perhaps, to a new generation of audience that drives the change.