Contemporary dance, screendance, and archaeology across Rome, the Appian Way, and Bracciano
Dancescreen in the Land is one of the most original offerings on the dance scene in the Municipality of Rome and the wider Lazio region. Born from the work of the Associazione Canova 22 and supported by the Ministry of Culture as part of a three-year project, the festival does more than just bring contemporary dance to the stage: it brings it into the landscape, into excavations, historic villages, and repurposed industrial spaces. The body thus becomes a tool to reinterpret the historical stratification of the Roman territory.
The festival unfolds across three complementary hubs, all within the Metropolitan City of Rome Capital.
The very name of the festival evokes screendance: alongside live shows, there are screenings, installations, immersive exhibitions, and interactive works where movement generates image and sound. Over the years, the program has paid homage to central figures of 20th-century dance — from Pina Bausch to Lindsay Kemp — putting them in dialogue with emerging Italian companies and the latest digital research.
A substantial part of the project is dedicated to transmission. Workshops, labs, and residencies allow professional dancers and students to work with performers from international companies; the public showings are almost always free and represent one of the most authentic moments of the festival. The Geografie del Corpo project, created with MP3 Dance Project, articulates this dimension through practice, talks, and performances.
Despite its research-oriented roots, Dancescreen in the Land is not just for industry insiders. The formula combining an archaeological visit at sunset with an open-air evening show makes it accessible even to those who do not regularly attend contemporary dance events, and it is one of the most evocative ways to experience the Appian Way in a different light than the daytime tourist rush. Capacity is limited, and booking is highly recommended.
The festival occupies the tail end of the Roman summer and extends into late autumn: a period when evening temperatures make outdoor events pleasant, and the grazing light on the monuments of the Appian Way provides a scenic backdrop that is hard to beat. The October program in Rome moves indoors to the Fornace and partner theaters.
The 2026 edition of Dancescreen in the Land confirms the itinerant structure that has made the Associazione Canova 22 festival recognizable, spreading two months of programming across three territories of the Metropolitan City of Rome Capital. The guiding thread chosen this year is breath, understood as a primary gesture that links the dancer's body to the environment that hosts it.
The journey opens at the end of August in the greenery of Bracciano, continues in September among the monuments of the Appian Way, and concludes in October in the Roman spaces of the Fornace del Canova, Teatro Ruskaja, and Teatro Vascello, where the festival focuses on the lineages of international contemporary dance and the transmission of great choreographic languages.
The festival opens with Creation in the Land, an immersive creative retreat dedicated to the relationship between dance and landscape, led by performers from the Hofesh Shechter Company Attila Rónai, Justine Gouache, and Oscar Jinghu Li, with an artistic residency entrusted to choreographer Filippo Buonamassa and the ResExtensa company. The public showing is scheduled for August 30.
Site-specific performances, happenings, and participatory practices among the monuments of the ancient consular road. Evening shows are preceded by guided archaeological walks curated by archaeologist Lavinia Venturi.
The heart of the Roman section is Geografie del Corpo, an international training and research project promoted by Canova22 with MP3 Dance Project, articulated through workshops, performances, talks, and public showings. Guided by Attila Rónai, Pau Aran Gimeno, Michele Pogliani, and Riccardo Meneghini, participants explore the practices of Hofesh Shechter, Pina Bausch, Carolyn Carlson, and Lucinda Childs.
Collodi – L'Ombra e la Grazia, a new production by Canova22 / ResExtensa / MP3 Dance Project, premiered in 2026, joins the program at the Fornace del Canova as a natural conclusion to the journey dedicated to cultural legacies: a reinterpretation of Pinocchio focused on disobedience and transformation, in the year of the Collodi bicentenary.
Appian Way Archaeological Park: ATAC bus 118 and 218 from Metro B station Circo Massimo or San Giovanni; limited parking is available along the Via Appia Antica, which is closed to private traffic on weekends. Fornace del Canova: Via Antonio Canova 22, Campo Marzio district, a few minutes' walk from Metro A station Flaminio or Spagna. Bracciano: FL3 regional train from Rome Ostiense/Valle Aurelia, about one hour; by car via Cassia bis until the exit for Bracciano.
Affordable entry with limited capacity: in recent editions, single tickets were approximately 12 euros full price, 10 euros reduced, and 8 euros for students. Some workshop showings and participatory activities are free. Booking is recommended as spots fill up quickly.
For events on the Appian Way, wear comfortable shoes: the Roman paving stones and dirt paths are not suitable for elegant footwear. Bring a light sweater for the evenings in late September and October. Those participating in the afternoon archaeological walks should bring water and a hat during the still-warm days of late August.
Associazione Canova 22 — canova22.com — [email protected]
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Fornace del Canova / Parco Archeologico dell'Appia Antica
Via Antonio Canova 22, 00179 Roma