Palermo Palermo – Dance in times of crisis?

In December 1989, shortly after the fall of the Berlin Wall, Pina Bausch premiered the piece Palermo Palermo, which begins with the collapse of a wall. How topical are the social and political references in the work of Pina Bausch? Or, alternatively, is it its very ambiguity, which prevents an unequivocal reading of the pieces in terms of social conditions or political events, that guarantees their abiding freshness and pertinence? How political can dance theatre be? What was/is the relationship between art and politics?