The building of long-term and equitable cross-cultural networks is an important factor in our work. Through our grants, the Johannesburg office of Pro Helvetia looks to support artists and cultural practitioners in our region and Switzerland to connect and develop meaningful exchanges and collaborations that unfold over time.
One such example is the creative relationship between Kenyan dancer and choreographer Adam Chienjo and Swiss choreographer Alessandro Schiattarella that has been developing and deepening around inclusive dance practices over the last two years.
Adam Chienjo is the founder and curator of the annual Dance Life Festival in Nairobi, Kenya. He was first introduced to inclusive dance in 2005, and since launching the festival, has prioritised space in the programming for mixed ability performances to help grow local awareness.
Alessandro Schiattarella’s interest in inclusive choreography is rooted in his long-term commitment to anti-ableist artistic practices. His work aims to question aesthetic norms, redistribute authorship, and highlight fragility as a form of strength.
In 2024 Adam invited Alessandro to present his project ‘Sulle Sponde Del Lago’ at the festival in Nairobi. This marked the start of a rich exchange between the Swiss artist’s inclusive choreographic practice and Adam’s curatorial vision with the Dance Life team. What drew Alessandro to the festival was its vibrant, community-rooted energy and its openness to experimentation. In turn, Adam and the festival team were intrigued by the work’s method of weaving accessibility, transformation, and collaboration into contemporary dance.
To expand his knowledge of inclusive dance and curatorial practices, Adam undertook a research trip in Switzerland between May and June 2025 to follow the DISFRAME Festival tour, co-directed by Alessandro. The DISFRAME programme consisted of dance, comedy and performance pieces that artistically question ableist practices and habits. The programme was hosted across a network of partners including BewegGrund in Bern, Out of the Box in Geneva, Orme in Lugano, Wildwuchs in Basel and Theaterhaus Gessnerallee in Zurich. Alongside the performances, various talks, workshops and master classes were held on the topic of inclusive cultural practice. This immersive research trip offered Adam rich ground to deepen his knowledge of inclusive dance practices, as well as establish new connections and have many fruitful conversations.
Following on from this, Alessandro travelled to Nairobi in July 2025 to present a version of his work ‘Strano’ at Dance Life Festival, reworked onsite together with six disabled and non-disabled Kenyan dancers. The piece explores normality, ableism, and media aesthetics, and was created following an improvisation-based structure that allows for flexible adaptations and reshaping around the unique abilities and interpretations of new performers.
‘Engaging with the context of Nairobi, where local dance traditions are strong and often shaped by community and cultural heritage, was both a challenge and a gift,’ Alessandro reflects. ‘It required adapting my methods to new forms of embodiment, different performer experiences, and distinct understandings of access.’
For Adam and the festival, ‘hosting “Strano” provided an opportunity to reflect on inclusion beyond thematic representation. The collaboration prompted questions about infrastructure, local disability discourse, and what inclusive dance could look like when grounded in Kenyan performance traditions. This mutual learning enriched both parties, especially in how to navigate access and authorship across different cultural and economic realities.’
Looking ahead, the artists share a common desire to deepen the exchange between Alessandro and the festival, potentially co-developing future projects involving inclusive artistic practices, local disabled performers, and further choreographic research.
‘One of the most powerful aspects of this collaboration was the openness and mutual curiosity shared by all participants — curators, dancers, organisers, and audiences. Despite practical challenges such as limited time, technical delays, and accessibility constraints, the experience demonstrated that inclusive creation is possible in a wide range of contexts. It also highlighted the value of relational work, listening, adapting, and trusting, in building long-term artistic connections,’ Alessandro concludes.
Support for the performing arts
Find out all about our activities and funding measures in the performing arts here.
