Labor-intensive and ephemeral, concert dance could always use more money, attention, and prestige, but never moreso than after the pandemic. Bravo, then, to Sadler’s Wells (and a generous anonymous guardian angel) for inaugurating the biennial Rose International Dance Prize. What kind of dance is eligible? Any kind from anywhere, say the organizers. But the first biennial’s jurors (two choreographers, an actress, a fashion designer, and PJ Harvey!) clearly had a coherent vision. First, the shortlisted choreographers — Kyle Abraham (United States), Lia Rodrigues (Brazil), Christos Papadopoulos (Greece), and Marco da Silva Ferreira (Portugal)—would make any presenter’s shortlist, having already played prestigious arenas. Second, the work is vigorously physical and rhythmically attuned, often to glorious music. It is rooted in particular dance communities, whether Portuguese street dance or a Black urban house party, accompanied by soft soul. The ensembles reflect that collective spirit. While most dances “coulda been a contender,” these four are. Each piece receives two performances in an 11-day run-up to the Prize announcement. —Apollinaire Scherr