Prix du Nord has been discontinued

March 26, 2026

Over time, we have carefully reviewed the future of Prix du Nord from several perspectives: financial sustainability, practical considerations, and current research on talent development.

In recent years, costs related to travel, accommodation, food, and theatre rental have increased significantly. This places greater financial demands on the project and would require substantially more funding partners and resources. At the same time, participation costs for dancers would likely need to increase, making it harder for some to take part. This raises an important question of accessibility and equity and how we ensure that participation is based on potential and development and not on financial means.

We have also identified practical challenges. There are differing views on timing, and proposed dates do not fully align with theatre availability, stage access, or school schedules. In addition, questions remain around structure and format, including whether participants should perform only classical ballet or also contemporary dance. These differences impact fairness, as varying formats are not directly comparable.

Most importantly, we have taken into account current research within dance and aesthetic sports. This research shows that before and during puberty, development varies greatly between individuals, making it difficult to assess long-term potential. Talent is dynamic and multidimensional, and early performance often reflects temporary advantages linked to maturation rather than future capacity.

Early competition risks narrowing development by focusing on limited criteria and short-term outcomes. Research also highlights the “Matthew effect”, where those who are selected early gain more resources and opportunities, while others are overlooked and risk dropping out, regardless of their future potential.

Based on these considerations, we believe that competition at a younger age is neither necessary for development nor a reliable way to assess future potential. Instead, it risks reinforcing early selection and exclusion rather than supporting long-term growth.

For these reasons, competition is not prioritised at younger ages. We believe that such formats are more appropriate later, when dancers have progressed through puberty – approximately from the end of upper secondary school, around the age of 17.

This decision is grounded in a commitment to long-term dancer development, health and equal opportunity.

Sebastian Michanek

Artistic Director, Prix du Nord