Jacob’s Pillow Dance Festival’s new director, Pamela Tatge, has been on site for only a month or so, but she’s hit the ground running. As America’s longest-running international dance festival gets ready for its 84th season, Tatge has been exploring the sprawling Becket campus and getting to know staff, board members, and the festival’s Berkshire partners. “It’s been such a whirlwind,’’ says Tatge, who replaced longtime Pillow executive and artistic director Ella Baff, who stepped down last September.

One of Tatge’s most important tasks is to draw top talents to the summer festival, which is acclaimed for presenting high-quality dance from around the world, as well as fostering new, cutting-edge choreography.

But for this summer season, mainly curated by Baff, Tatge will get the deep pleasure of discovery and rediscovery like the rest of us. It ranges from the fiery footwork of Argentine gauchos and the acrobatics of the all-male Compagnie Hervé Koubi to returning favorites, such as Aspen Santa Fe Ballet, and innovative tap, including the world premiere of “And Still You Must Swing,’’ with Dormeshia Sumbry-Edwards, Derick K. Grant, and Jason Samuels Smith, already sold out.

The Globe asked Tatge which five productions she was anticipating the most.

Bereishit Dance Company (June 29-July 3), from South Korea: “What fascinates me is how meticulous the choreography is. It has an infusion of street dance from Korea, some interesting ideas about the relationship between man and nature and space. The partnering is exceptional: There are a couple of dueling male duets. I’m excited to see what contemporary dance in Korea is like.’’

Some of a Thousand Words (July 27-31), a Wendy Whelan/Brian Brooks duet. “Brian Brooks is a choreographer I’ve supported for years, and the idea of Wendy commissioning artists to make duets with her, that these two artists have decided to continue to work and mine the relationship of their bodies and choreographic interests, fascinates me. This is a new work [with] live music by Brooklyn Rider, one of my favorite string quartets. One of the gifts the Pillow gives audiences is live music. We have everything from steel pan orchestra to African drumming.’’

Dorrance Dance (Aug. 10-14), tap dance: “Michelle Dorrance is another artist I have a history with. I presented her three days before she got the MacArthur award, and I’ve followed her closely ever since. She came here two weeks ago for a creative development residency to develop ‘ETM: Double Down,’ the work she’s presenting here. It’s a whole new form. Her dancers are playing a stage that is rigged to electronic sounds by Nicholas Van Young, her magnificent collaborator. The work they did in development was so strong. She is just pushing the envelope of tap as music. Her dancers are musicians, and this is even more clear in ‘ETM: Double Down.’ I love that the Pillow audiences have seen her work evolve. I think she’s been here three times in the last four years.’’

FLEXN (Aug. 17-20), a Reggie (Regg Roc) Gray and Peter Sellars collaboration: “The internationally renowned theater director is partnered with a visionary dancer/thinker who specializes in a form called flex, a street dance that came out of Jamaican forms and is done in a lot of reggae clubs in Brooklyn. He is very interested in having the movement and storytelling respond to contemporary justice issues, and we have surrounded the production with a number of activities, including an advance visit to the Berkshire Museum, where he’s teaching class for youth in the Pittsfield area as well as hosting a dance-off competition. Every performance is preceded by a panel where local experts talk about race and equality and issues that are raised in the stories in the piece. This is a bit of a non-traditional Pillow performance that we’re hoping will have a deep impact on our community.’’

Souleymane Badolo (Aug. 24-28): “He is one of the few choreographers in Burkina Faso with a master’s degree [from Bennington College] who’s taken the traditional forms of his country, come to this country, then [been] influenced by contemporary choreographers in New York to create his own form. He’ll be performing with a dancer and a drummer. I’ve commissioned this artist in the past, and he’s a deeply spiritual, thoughtful, and transcendent mover. I’m really excited to see the piece that he’s making for us.’’

This interview has been edited and condensed. Karen Campbell can be reached at karencampbell4@rcn.com.