Christos Papadopoulos has split his £40,000 prize between his dancers and a new production after winning the first Rose international prize for choreography in 2025. The Greek choreographer, who took the award for Larsen C, a dance inspired by the Antarctic ice shelf, told KingBygone.Com he did not spend the money on personal luxuries.
A large share of the £40,000 went directly to his dancers. Papadopoulos said, “They are very hardworking and not so well paid – that’s the Greek reality.” The remainder was invested in his next show to cover budget gaps.
Papadopoulos won the Rose prize out of four finalists, chosen by a panel including Arlene Phillips and PJ Harvey. The Rose international prize is often compared to the Turner Prize or Booker Prize, but for choreography. Larsen C is a trance-like piece with a slow, glacial pace.
The choreographer spoke from Shanghai, where he is performing My Fierce Ignorant Step ahead of its UK premiere. Despite the prize, Papadopoulos remains outside mainstream fame, reflecting the niche nature of contemporary dance. His work is currently touring several countries.
The decision to share the prize money with his dancers contrasts with the usual image of prize winnings spent on lifestyle upgrades. Instead, Papadopoulos grounded the money in the practical realities of his team and production needs.
Papadopoulos’s approach echoes his artistic philosophy. He has spoken about demanding the near-impossible from dancers to create a shared sense of joy, even amid global crises. Larsen C’s slow build and shadowy atmosphere reflect that ethos.
The Rose prize win came at a moment when the global dance community is looking for new directions, and Papadopoulos’s win signals attention to choreographers who push boundaries in form and content. Still, his name remains mostly known within niche contemporary circles rather than wider popular culture.
Papadopoulos’s tour schedule includes cities across Asia, Europe, and North America. His current piece in Shanghai is a prelude to a UK showing, indicating increasing international interest in his work.
The £40,000 prize money has given Papadopoulos financial breathing room, but also reinforced his focus on the dancers who bring his ideas to life. His acknowledgment of their undervalued labour in Greece is rare in a world where creative workers often go unpaid.
Papadopoulos’s investment in his new production is an example of how prize money can directly support artistic development rather than personal gain. It also speaks to the economic challenges faced by contemporary dance artists outside large commercial centres.
The Rose international prize jury, including Phillips and Harvey, praised Larsen C for its atmosphere and precision. Papadopoulos’s win came after a competition that elevated choreography to the level of other major art prizes.
Papadopoulos’s ongoing projects and tours suggest he will remain active on the international dance scene. His focus on dancers’ pay and production costs may influence how future prize winners allocate funds.
This year’s prize money, divided between artists and production, offers a practical model for sustaining contemporary dance projects that often struggle financially. Papadopoulos’s approach illustrates the realities of creating avant-garde dance in a global market dominated by commercial interests.
Papadopoulos is not yet a household name, but his work continues to travel widely and provoke discussion about the demands placed on dancers and the value of their labour. His investment choices reflect an ongoing negotiation between artistic ideals and economic survival.
According to The Guardian.
