2018–2019 P 2 FINNISH DANCE IN FOCUS 2018–2019 EDITORIAL CONTENTS FINNISH DANCE IN FOCUS 2018–2019 P 3 Uupi

Tirronen Tomi

FINNISH DANCE IN FOCUS 12–17 Paasonen 2018–2019 VOLUME TWENTY DANCING ON Publisher: Dance Info 22–31 Tallberginkatu 1 C/93, 00180 THE EDGE \ Tel. +358 (0)9 6121 812 Outside of the [email protected] \ big cities and www.danceinfo.fi Editor-in-chief: Sanna Rekola \ still firmly at [email protected] The fast-paced way of life in bustling metropolises has an almost magnetic draw for the heart of a Audience’s role Katri Editor: Sanna Kangasluoma artists. When large numbers of creative people come together in one place, it often field of art.

changes from passive Naukkarinen [email protected] feels that there is always something worth knowing about going on. recipient to that of Editorial board: Riitta Aittokallio, Sanna In this issue we take a look at what’s going on away from these hubs, what it is like a participant who Kangasluoma, Anni Leino, Katarina Lindholm, making art ‘elsewhere’, away from artistic bubbles, and even north of the Arctic Circle. makes choices. 32–35 Sanna Rekola The artists working in these peripheries tell us about the importance of having a good connection with the local community. However, this does not mean that art Writers: Sanna Kangasluoma, Eeva Kauppinen, can only be local, made only for local people. In this globalised world, connections Laura Kujala, Aino Kukkonen, Anni Leino, Elina with other parts of the planet can be formed from even the most remote of locations, Manninen, Raisa Rauhamaa, Maria Säkö, Minna new ideas and influences travel quickly, and art produced at the peripheries can just Tawast as easily draw interest in or Geneva. English translation: Claire Dickenson, Art’s connection with the surrounding world, and its need to communicate with \ Fleur Jeremiah, Lola Rogers the people, become ever more important the more remote the location. Far from the ”I’ve tried to bring out the psycho ­analytic bustling hubs, the art you create is not subjected first and foremost to the gaze of physicality of contemporary dance.” Graphic design & layout: Inka Kosonen peers, of the artistic community, but instead seeks its significance in the local context. Luckily, artists are keen to move. From a working perspective, the perimeters can Photographers: Tanja Ahola, Simon Berg- sometimes be more interesting places than locations at the heart of the action. Attract- man, Stefan Bremer, Gabriel Comerford, Aino ing dance artists from Europe or Australia to the small towns of eastern Finland has EDITORIAL IN THE SPOTLIGHT Huovio, Uwa Iduozee, Jouni Ihalainen, Ulla proven to not be difficult at all. 02 Dancing on the Edge / Sanna Kangasluoma / Elina Manninen Isotalo, Janne Kaakinen, Mirka Kleemola, Mikki 18 Samira Elagoz: The moment I started working Kunttu, Sanna Käsmä, Tiia Lappalainen, Lilja Sanna Kangasluoma NEWS with a camera changed everything Lehmuskallio, Jonas Lundqvist, Janne-Pekka Editor 04 Nordic contemporary dance gathers in Iceland in 19 Maria Nurmela: Life in motion Manninen, Pekka Mäkinen, Hannu Mällinen, December 20 Anna-Maria Väisänen: Art for all Kristiina Männikkö, Mikko Mäntyniemi, Katri 06 Madeleine Onne takes the lead 21 Maija Nurmio: Towards a deeper understanding Naukkarinen, Mathias Nyqvist, Tomi Paasonen, at the Erno Soralipas, Petra Tiihonen, Uupi Tirronen, 07 A strong woman is the subject of Susanna PERSPECTIVES Sakari Viika, Marko Vuorinen, Timo Wright. Leinonen’s choreographies 22 Meanwhile Elsewhere 08 New artistic director for Kuopio Dance Festival 24 Pirjo Yli-Maunula: Is there even such a thing as the ON THE COVER: Jotteeh – The Wanderers DANCE INFO FINLAND actss a a gateway to Finnish dance art 08 Helsinki Dance House director Matti Numminen periphery? / Eeva Kauppinen Choreographer: Auri Ahola through international networks and by providing comes from theatre world 26 Tomi Paasonen: Present in local life, direct connections to Cover photography: Hannu Mällinen information about dance in Finland. Our mission is 09 Ismo-Pekka Heikinheimo and architecture of the the world / Sanna Kangasluoma tot suppor the development of Finnish dance art, body 28 Auri Ahola: Dancing in the Snow / Minna Tawast Printed by: Suomen Uusiokuori Oy and to open new horizons and create professional 10 360˚ and virtual reality films suck the spectator into With Gratitude: The Ministry of Education opportunities and connections for Finnish dance artists. We are part- their worlds CHOREOGRAPHER IN FOCUS and Culture in Finland ners in collaboration projects and exchange programmes, and work 11 Ari Tenhula steps into Raija Ojala’s shoes at Zodiak 32 Elina Pirinen – crazy sensitive corporeal painter of closely with the Nordic dance sector and platforms. psychological states / Raisa Rauhamaa Finnish Dance in Focus is PHENOMENON published once a year. Foundedn i 1980, we are funded mainly by the Ministry of Culture and 12 Letting the audience into its own limitations – How 36–47 Directory of Finnish Dance Education in Finland. Read more on www.danceinfo.fi. Sari Palmgren and Valtteri Raekallio see the new ISSN-1795-9837 role of the audience in their work / Maria Säkö P 4 FINNISH DANCE IN FOCUS 2018–2019 NEWS NEWS FINNISH DANCE IN FOCUS 2018–2019 P 5

MAIJA HIRVANEN: ART AND LOVE SANNA KEKÄLÄINEN: HAFED COLLAGE OF WAUHAUS: FLASHDANCE (on stage) DIFFERENCES AND FRAGILITY (on stage) Art and Love is a choreographic lecture (on stage) Flashdance creates a space where viewers AN ABUNDANCE OF performance. ‘Hafed is a long-time friend of mine. He encounter an almost tangible darkness, Maija Hirvanen’s work was also selected for was born in Algeria and lives in Paris with their field of vision restricted and disturbed. the Tanz im August festival in Berlin 2018. no papers.’ A quest for the bodily differences that NORDIC CONTEMPORARY separate us, and the fragility that unites us. DANCE SET TO ARRIVE IN ICELAND

IN DECEMBER VALTTERI RAEKALLIO: ONEIRON SONYA LINDFORS: NOBLE SAVAGE ELINA PIRINEN: BRUME DE MER (site specific) (More More More) (More More More) Oneiron combines site-specific perfor- Noble Savage is a piece that studies coloni- Brume de Mer is a physical and vocal sonata mance art, a walk-through radio play, a alised bodies and racialised representation. paintedy b Elina Pirinen and her workgroup. virtuosic staged dance piece and a com- munal dinner into a single evening-length experience.

THE ICE HOT Nordic Dance Platform is to be presenters, festival organisers and agents. Performing Arts Iceland (Iceland) and Dance held in Reykjavík this year, running 12–16 The ICE HOT platform has been held Info Finland (Finland). December 2018. The artistic programme four times previously, each time in a dif- The Nordic collaboration and the ICE will feature 20 performances and almost ferent Nordic capital. ICE HOT 2016 in HOT event served as inspiration for the as many performance pitches at dedicated Copenhagen brought together over 300 inaugural Hot Pot East Asia Dance Platform SUSANNA LEINONEN COMPANY: TAIKABOX: BORN OLD pitch sessions. A number of seminars and festival directors and representatives of organised jointly between China, Japan DREAMS OF REPLAY (More More More) networking events are also scheduled, with performance venues, as well as other pro- and South Korea and held in Hong Kong in (More More More) A multi-disciplinary performance, for the programme running from the morning fessionals from the world of dance. The November 2017. Every movement, down to the finger tips children aged 4 to 10, that uses dance, until late into the evening. The dance per- event was held in Helsinki in 2012. The following Finnish choreographers and each detail of the posture is consid- storytelling, songs, live looping and inter- formances selected all come from Iceland, The partners organising the ICE HOT and companies will be featured in the ICE ered and carried through to its ultimate active projection to tell stories from the Norway, , Finland and Denmark. platforme ar Dansehallerne Copenha- HOT Reykjavík programme for 2018: conclusion. Finnish epic Kalevala. TheCET I HO Nordic Dance Platform gen (Denmark), Dansens Hus is intended primarily for international (Sweden), Dansens Hus Oslo (Norway), P 6 FINNISH DANCE IN FOCUS 2018–2019 NEWS NEWS FINNISH DANCE IN FOCUS 2018–2019 P 7

I WANT TO BE PART OF THIS FORCE – MADELEINE ONNE TAKES THE LEAD AT THE FINNISH NATIONAL BALLET TEXT Sanna Kangasluoma PHOTO Mirka Kleemola

MADELEINE ONNE had only recently accepted encouraging dancers who had already audiences, families, and young people are Leinonen, who has a background in clas- the role of director at the Houston Ballet reached a very high standard on the takeno int consideration in the program, A STRONG WOMAN IS THE sical ballet. Academy when it was suggested that she technical side of things to blossom as art- creating an alternative attractive enough ‘I o wanted t show the classical tech- apply for the position of artistic director ists – developing their own style. Every to draw people away from their mobile nique as something physically strong. I of the Finnish National Ballet. Originally movement, even the abstract ones, must phones. SUBJECT OF SUSANNA LEINONEN’S added a lot of contraction to it; I empha- from Sweden, Onne previously served as say something. When I moved away from Onne promises that future audiences sisede the us of the frame and the spine principal dancer and artistic director at the Hong Kong, I left behind a truly harmoni- at the National Ballet will see the work of as well as strong hands. It is strenuous, but Royal Swedish Ballet and artistic director at ous group.” both Finnish and internationally acclaimed CHOREOGRAPHIES corporeality is so interesting – the locating the Hong Kong Ballet. When she started to The Finnish National Ballet is almost choreographers. Those who brought their TEXT Sanna Kangasluoma PHOTO Jonas Lundqvist and searching for movement.’ familiarize herself with the National Opera twice as big than the one in Hong Kong, talents to Hong Kong during Onne’s time The picture of a strong Finnish woman and Ballet in Helsinki, the people and the with 0 over 8 dancers. The contracts are there included Christopher Wheeldon, ise aliv in Leinonen’s choreographies, in working atmosphere in the house, it all longy b international standards, and the Alexei Ratmansky and Jorma Elo. which women take control. Nevertheless, begano t make a very strong impact on her. dancers span a wide age range. “It would be wonderful if the Finnish Leinonen feels that women face com- “I w saw ho open the people were to “In my view, having dancers of different National Ballet could find its own unique pletely different expectations from men, new things, how keen they were to experi- ages is a definite advantage. You develop feature, something it could become known and women are routinely tripped up in the ment, and the raw hunger to keep doing your artistry and mature with time. The for around the world.” FOR SUSANNA LEINONEN, the year 2018 means for the final part of the year also include hierarchies of power. better that prevails here.” Finnish National Ballet has a group of Madeleine Onne is due to take up her rushing from one place and production to St Petersburg, Tallinn and Baku. ‘If n you’re a assertive woman, you’re “The whole leadership, with women amazing artists with a broad register to tell role in Helsinki in August, following the another. The choreographer has just arrived But before then, she has to get to the called ‘nasty’. Men, in contrast, are con- all the way up to the chair of the Board of different stories. Younger dancers can learn preparations to bring Sleeping Beauty back from Tampere, where she has created a studio with her own dancers to work on sidered ambitious and strong,‘ Susanna Directors, is really different and interesting so much from their older colleagues, and onto the stage and getting to know the work called The Field for Dance Theatre a new premier, a piece called Nasty. The Leinonen says angrily. – o I wanted t be part of this amazing force.” thanks to them develop faster as artists.” dancers. MD. The work deals with the memory of the work,oe t b premiered in September, is Nasty also considers the self-image Madeleine Onne was the artistic direc- Madeleine Onne wants to present a “Building trust is important. I want to Civil War, waged in Finland a hundred years named after the words ‘nasty woman’ of dancers and forcing their bodies into a tor of the Hong Kong Ballet for eight years, repertoire featuring both classical and help the dancers, guide and inspire them ago, from the point of view of a modern blurted out by Donald Trump in respect standard stipulated by someone else, a kind 2009–2016, during which time she over- contemporary dance. “It’s important for in o order t make them develop far beyond woman. of Hillary Clinton. of exercise in power in itself. saw a growth in the number of dancers the dancers. Naturally, we don’t want to their own expectations. Ballet is evolving all Leinonen’s own Company has become ‘When I ponder over my earlier works, In contrast to the fierce subject and employed and improved the company’s eat the same foods every day – the same the time, and dancers are expected to pre- noticeably more active in the past couple of I see that themes militating against a one- movement, Leinonen has this time decided standing through a challenging repertoire applies here.” sent ever more demanding performances. In years. This year, she will tour with her own dimensional picture of women were already to use, among other things, Arvo Pärt’s and a number of tours. Sheo als aims to continue the work ordero t do so the dancers must feel they group’s work Dreams of Replay in Finland, present in Trickle, green oak, which I cre- delicate music. “The most important thing was of her predecessors in ensuring different are part of the process.” Poland and Germany’s Tanzmesse. Her plans ated in 2003 for four female dancers,’ says P 8 FINNISH DANCE IN FOCUS 2018–2019 NEWS NEWS FINNISH DANCE IN FOCUS 2018–2019 P 9

attended the main performances in 2017, KUOPIO DANCE FESTIVAL ANNOUNCES with around 700 partaking in the courses and thousands enjoying the festival’s free events. ITS NEW ARTISTIC DIRECTOR ‘I see Kuopio Dance Festival as an TEXT Laura Kujala international festival that focuses on con- temporary dance, offering audiences not only experiences but also meaning. I’m KUOPIO DANCE FESTIVAL, which is soon set director of Dance Company. interested in stretching the boundaries to celebrate its 50th anniversary, has wel- Held every June, Kuopio Dance Festival ofe danc and its overlaps with other arts, comedn o board a new artistic director is the oldest dance art festival in the Nordic and o I plan t bring dance out beyond its – Riku Lehtopolku. countries. During the course of the festival traditional stage settings. I also feel that it Lehtopolku, 32, has established a week over 20 main performances will be is important to provide young talent with diverse career as a dancer – appearing in held, featuring performers from all over the room to grow,’ explains Riku Lehtopolku. works by the likes of , cho- world. The broad range of courses offered Lehtopolku’s contract is set to run for reographer and instructor, as well as taking as part of the festival features something three years, with the 2020 festival the first on various expert roles. The multitalented for everyone, from professionals to keen for which he will be taking the reins. Lehtopolku has also served as co-artistic hobbyists. Approximately 9,000 people

experiences of a space change into dance. \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ ISMO-PEKKA HEIKINHEIMO The fifth work of the series will be realised in autumn. It’s a work for a group of four dancers. AND ARCHITECTURE Heikinheimo describes his approach HELSINKI DANCE HOUSE DIRECTOR as ecological. “We don’t leave any traces in the venue, OF THE BODY we don’t bring in any equipment and we MATTI NUMMINEN MAKES THE LEAP TEXT Aino Kukkonen PHOTO Sakari Viika don’t buy anything new. Oh, all right, we bought a moustache for the hipster char- acter of Löyly,” he says with a laugh. FROM THE WORLD OF THEATRE The series has also drawn attention to TEXT Sanna Kangasluoma & Dance House Helsinki PHOTO Tiia Lappalainen the fact that public spaces are not really open – performing in them demands long negotiations. In line with the title of the series, the performances are accessible to FINLAND’S FIRST EVER centre dedicated to embracing change. Whilst dance is gaining 2018. Recruitment for a programme direc- DANCE AND ARCHITECTURE share the same laws Finnish architecture and dance. Löyly is a all and free. dance in all its forms, Dance House, is set a fantastic new home, Numminen wants to tor, with whom Numminen will work of nature, such as verticality and gravity, popular sauna building with its terrace by Another starting point is a straightfor- to open its doors within the next couple of makee sur that the centre’s operations are closely and who will have responsibility accordingo t choreographer Ismo-Pekka the sea, and represents new architecture. ward relationship with the public. years, and expectations are high. “Actually, not restricted to its four walls. for designing the Dance House Programme, Heikinheimo. Movement also alters our The architecture of the internationally “I’mt a the door to welcome people, to be perfectly honest with you, I did nearly “You can set up a stage anywhere, is underway. experience of space. famous Temppeliaukio Church, which was and I tell them in a few words what fall of my chair when they showed me the including on a smart phone screen. Dance House is set to open its doors “Spatiality is an essential element of dug inside a rock in the 1960s, was initially we’ve done. I want to create an atmos- audience targets,” Matti Numminen con- Although our walls are soon going up, what in autumn 2020. dance – dancers continuously observe criticisedy b some. The studio home of phere in which the choreographer can be cedes, before adding that he is conscious I o want us t be thinking about is how we space and time. I’ve always been interested Hvitträsk with its garden is an example approached by the public. For example in ofw just ho much work there is to be done. can add a more democratic and interac- \ ine the spac for performing and its visual of national romanticism in the early 20th the National Library, some members of the However, as he emphatically states in tive dimension to the audience–performer Read the full interview with Matti Num- elements. For example, in the work ToF, century. The oldest venue is The National audience stayed behind to have a lively an interview by the Dance House, “as far relationship. We absolutely need to make minen on the Dance House website: which dealt with the gay community, we Library (1840), called one of the most beau- discussion with the working group. I don’t as I’m concerned, right now dance is the sure we make the most of what we have, www.tanssintalo.fi/en/news built a two-storey home and an outside tiful libraries in the world. remember when I’d have had as much feed- genre that’s delivering the most interesting butt ar can’t stay stuck indoors. It needs to space on the stage.” The works are solos created together back as now!” cultural experiences.” be made visible in the urban setting,’”says Heikinheimo’s popular series of works, with the dancers, also involving musicians Heikinheimo recently worked at an Numminen, who has previously worked Numminen. Anybody’s Architecture (2017–2018), has and architectural experts. The working artists’ residency in Paris on large acrylic as a producer and managing director in the Matti Numminen will take up the post so far featured four choreographies. They group initially examines every space and paintings. It remains to be seen how this theatre world, is known for open-mindedly of director of Dance House on 1 December form a fine cycle of encounters between its users. The focus is on the way in which will be associated with dance. P 1 0 FINNISH DANCE IN FOCUS 2018–2019 NEWS NEWS FINNISH DANCE IN FOCUS 2018–2019 P 11

WONDERFUL, TERRIFYING DEVEL- Artistic experiences OPMENT OF TECHNOLOGY ARI TENHULA Hanna Västinsalo’s Womb Song also lures will offer a holistic way you into believing in a cinematic reality. of leaving behind the The Womb Song features a scene in which STEPS INTO RAIJA thea camer follows a dancer who moves everyday. forward between two thin, fluttering pieces of fabric. I stand still between the fabrics OJALA’S SHOES tryingo t resist the temptation to move towards the dancer. The fluttering fabrics AT ZODIAK impair my sense of balance and I occasion- PHOTO Uwa Iduozee ally think I can feel the current passing between them on my skin. AN EXPERIENCE LIKE A DREAM It’s t rare tha an adult gets to experi- PROFESSOR FOR CON- I feel tense as I stand alone wearing 360˚ ences thing honestly for the first time TEMPORARY DANCE glasses and headphones, my eyes and ears and be immersed to the extent he or she Ari Tenhula, 54, is covered. With my senses cut off from the forgets the surrounding world. I’m highly seto t join Zodiak outside world, the film takes me into a inspired by what I’ve seen – and jubilant. I – Center for New black,y bogg space, where I feel as I’m can’t help wondering what technological Dance as its new standing on a rostrum. When I look down, development can mean for the performing managing director. I see a faint circle of light surrounding my arts,e danc and dance films – or for travel. He will be step- feet. Whyo fly t the other side of the world, pingo int the post I’m in the space alone for only a if cinematic worlds spring from artists’ in early September, taking over from pre- moment. Slightly blurred human figures imaginations, that is, alternative worlds decessor Raija Ojala, who has served in the spread around me, some close, others fur- you might be able to visit one day – while role for over 20 years. ther away. The world of Devil’s Lungs and in your own living room? An award-winning dance artist in his its dream-like atmosphere remind me of After its premier at Loikka Dance Film own right, Tenhula has also a great deal of scenes in the TV series Stranger Things, in Festival, Devil’s Lungs has been shown at experience owing to his roles as professor which Eleven’s subconscious is shown as a Tampere Film Festival. It was also invited, of dance art at the University of the Arts black, endless state space. I can’t approach as the first Finnish VR film, to be part of Helsinki and co-artistic director of the fes- the figures but I can reach out and turn. I the 2018 Next VR programme of Cannes tival Moving in November, with previous laugh aloud when I try to touch one of Film Festival. In June 2018, Devil’s Lungs got roles including that of artistic director of the film’s dancers, the accordion player the Best Immersive and 360° Film Award at Helsinki City Theatre Dance Company. or the other musicians – I should know VIS – Vienna Shorts Festival, in Austria. Tenhulas i keen to get started in his they aren’t physically present! Even so, if new role. someone touched me now from behind, I ‘After a period at the University of the TWO FINNISH 360˚ FILMS received their pre- could believe it’s one of them. I marvel at Arts, I now want to work with contempo- 360˚ AND VIRTUAL REALITY miers in 2018: Devil’s Lungs, a 3D work the ease with which the human brain can rarye danc and help Finnish contemporary directedy b Alla Kovgan and produced by be deceived. dance strengthen its ties with the interna- Loikka Kontakt, and a VR work, The Womb In one scene of Devil’s Lung I stand in tional dance field,’ Tenhula explains. FILMS SUCK THE SPECTATOR Song, directed by Hanna Västinsalo. They the middle of a table surrounded by the Raija Ojala, who has held the reins at lead the spectators, one at a time, into their film’s figures. Some of them I recognise. Zodiak for over 20 years, will be retiring at dream-like worlds. Dancers Tuomas Juntunen, Salla Korja- the beginning of October. INTO THEIR WORLDS Immersivity swallows the audience Paloniemi and Reetta-Kaisa Iles are nearby; ‘I’m very optimistic about Zodiak’s TEXT Anni Leino PHOTO Simon Bergman while the work creates its own logic and they seem real, they’re singing a drinking future prospects with Ari at the helm, and world,n i which the spectator is one of the song, downing shots. They look me straight I know all of our staff share my optimism. pawns in the game. With the development in the eye, that is straight at the camera, We have complete confidence and faith of technology and the greater availability and smile mischievously. I can only smile that with Ari’s solid experience and artistic of VR films, artistic experiences will offer back and turn on the spot in order to see values, Zodiak’s trend of decisive develop- ae mor and more holistic way of leaving the faces of all sitting at the table. ment will continue,’ Raija Ojala summarises. behind the everyday and even the surround- Harri Kuorelahti will be continuing as ing world. Zodiak’s artistic director. P 12 FINNISH DANCE IN FOCUS 2018–2019 FINNISH DANCE IN FOCUS 2018–2019 P 13

SARI PALMGREN: Fenced Dreams Uupi Tirronen LETTING THE AUDIENCE INTO ITS OWN LIMITATIONS TEXT Maria Säkö TRANSLATION Lola Rogers

WHEN YOU’RE TRAVELING on foot, there’s no change of scenery. The present and future utopias. The piece included six alternative landscape is changing, but only very gradually. That reminder walking routes and each viewer could choose only one route of the slowness and the limits of life’s natural processes informs to follow during any given performance. two recent Finnish dance works in which the audience walks Since 2012, Zodiak Center for New Dance has built a com- or otherwise physically takes part in the choreography rather munal city culture in projects where choreographers make than just remaining passive recipients. Instead of their usual role works close to people’s everyday lives, in touch with where they of sitting in an auditorium to receive a work of dance, viewers come from. Palmgren has been part of this from the beginning. become participants who actively set things in motion, which Fenced dreams starts from three themes: power, identity, gives them a new awareness of their own agency, its possibili- and environment. Excerpts from Frederic Gross’s A Philosophy ties and its limitations. of Walking, an important literary underpinning for the project, In the virtual world, choices and changes happen instantane- were read to the audience. Other textual sources in the piece were ously, but when walking or eating, a person experiences change the ideas of the early Finnish pioneer of ecological thought Pentti in his or her own body. Moving can tie an audience – delicately, Linkola and the garden-related memories of the performers. imperfectly, unpredictably – to life, and thus also to mortality. “We started with big themes. But one way I approached Moving and eating remind the viewers of their kinship with them was through my own concrete experiences. I have a really other people near and far away. small garden. I was in the garden pulling weeds and I thought about how long the weeds could keep spreading and how long AN AUDIENCE WALKING A WORK OF DANCE I would have to keep pulling them. Where does it end?” In August of 2017, choreographer Sari Palmgren directed Aidatut In Fenced dreams, the audience walks in small groups and unelmat (Fenced dreams), a walking piece for Kannelmäki, a each group has headphones and an mp3 player that plays a suburb of Helsinki about ten kilometers from the city center. In soundscape, music and text designed for that route. One route the piece the audience got to know the history of the place, its goes from a noisy train station past the playground of an P 14 FINNISH DANCE IN FOCUS 2018–2019 FINNISH DANCE IN FOCUS 2018–2019 P 15

2.

1. & 2. arenas where the rules of a small intimate space didn’t apply. SARI PALMGREN: The movement in Fenced dreams started with Palmgren Fenced Dreams giving the performers concrete tasks for thinking about differ- Jouni Ihalainen ent types of limits. “We did different kinds of movements that expressed gravity, decomposition, cyclicity, push.” As the audience walks, dancers and other performers pop up in front of them. Sometimes they’re clearly distinguishable from passers-by and at other times it’s difficult to tell who’s performing and who isn’t. In Palmgren’s choreography the dancers are connected to the ground and to each other. They tug at each other, dangle from fences, dig in the dirt. apartment complex, from some power lines to a church, and In the performance of Fenced dreams, the experience of the from there through the tight-fenced yards of detached houses limits of an enclosed garden expands into the contemplation of to a stand of apple trees. On the way it stops in at an allotment the very idea of human interaction. How do we interact with garden, and the last leg is a long walk through woods to the people? What are the boundaries that refugees aren’t allowed festively lit orchard. to cross? Where are the fenced and unfenced places in the The piece brings together a large number of professional world, and how are the fences that are built becoming more performers and more than 80 volunteers ranging in age from impenetrable? In the Kannelmäki neighborhood, for instance, 6 to 70. Their varying backgrounds, bodies, and ways of moving there didn’t used to be any fences, but now everything’s inside give the audience countless opportunities to create various fenced boundaries. As you walk you notice these fences and relationships with each other and their environment. boundaries, both concrete and invisible. “It’s become more and more important to me to see diver- sity on the stage. Right now I’m working in Hong Kong, and AN EXPERIENCE THAT DEMANDS ACTION the sameness of the dancers is even more striking than in the In Oneiron, directed by Valtteri Raekallio, the viewer’s role Finnish dance world.” changes from passive recipient to that of a participant who must Getting off stage and outdoors was also new to Palmgren. make choices. What most intrigued Raekallio about Oneiron, Contemporary dance is often done in small spaces with a small Laura Lindstedt’s 2015 novel about seven women in a liminal group of performers. Fenced dreams provided many spacious space just before death, was the book’s omniscient narrator. 1. P 16 FINNISH DANCE IN FOCUS 2018–2019 FINNISH DANCE IN FOCUS 2018–2019 P 17

1. 2.

The narrator’s voice seems sometimes sympathetic toward the 1. & 2. audience is left to handle things as they see fit.” although in reality everything has to be under control. We women but then, particularly at the end of the story, it turns cold. VALTTERI RAEKALLIO: For Raekallio, it’s important that the people in the audience think that our choices have such tremendous meaning – and “It made me think about the inequality of the voices in the Oneiron have to do something. of course they do – but it’s also true that the world will keep book. Not all the women get the same amount of space, not Stefan Bremer “It was important to me that the audience isn’t given an turning regardless of what we do.” even for dying. I started thinking about forms of performance experience of just paying a certain amount of money and that’s In their minds and in virtual space people can be connected that could create that kind of inequality.” it.” to everything, autonomously transcend every boundary, but in Raekallio ended up creating five different beginnings for his Through participation, the piece puts a question to the audi- the concrete world a person’s body can’t do that. I think that the piece. Some of the audience followed the jogging route of the ence: “What do I have to do to have the experience?” experience of watching a work of contemporary dance draws its performance artist Shlomith, the character given the most space Along with the walking and the meal, the audience is also power from that very contradiction, it can politicize it perhaps in the story. Some of them visited the dancer Mirva Mäkinen’s a part of constructing the movement material of the piece. The more powerfully than any other art form right now. Through fictional home, where she was in the kitchen slicing beets. A way the viewer moves and what they focus on has enormous participation, Sari Palmgren’s Fenced dreams provoked questions few viewers got to see how one of the dancers prepared for the Oneiron ends with a shared meal. The audience is seated at meaning for the whole. in its audience about who can walk where, who’s allowed there coming performance. a long table and served borscht, sour cream, bread and butter “The idea of the black box is that you can trim away eve- and who’s kept outside those boundaries. Then the whole audience was brought to Cirko’s Maneesi, – the viewer encountering their corporeality through eating, rything superfluous from a performance, but when you have In Valtteri Raekallio’s Oneiron, the experience of solidarity a circus arts center located in an old gas plant, where lighting which is essential to staying alive. the audience walk and eat, there’s much more that’s out of with each other was present as a more general ethical question. and spatial alterations created the unreal space between life “I actually think of the meal at the end in a sort of religious your control.” A person may feel like an omnipotent decision-maker, but also and death. sense.” When the audience is allowed to make choices, something be constantly reminded of the transience of everything. “I use the methods of immersive theatre very tenuously. The female characters in the piece aren’t given equal space. uncontrolled inevitably seeps into the performance. But at the “It’s just this kind of dualism that you see in Oneiron. People It’s more like I perform those methods. I didn’t try to create an In the end, the performance puts the audience in a situation same time the viewers’ feeling of being uncontrolled and free try to act in all-powerful ways, to live without thinking about immersive performance an sich, it was more that I maybe wanted where they have to think about their solidarity with others in to make their own choices is partly an illusion. The audience’s death, but then it hits them that we’re all going to die, and after to play a little with immersive theatre’s repertoire of methods.” their own real life. choices matter, but they have much more limited choices than that’s there’s nothing,” Raekallio says. Everybody watches the performance through the prism of “The meal is purposely designed so that we dancers exit in real life. “How are we going to organize our human interactions in their own life experience, Raekallio stresses. and let the audience decide what to do. We die, and then the “I try to create an uncontrolled feeling for the viewer, the world right now, while we’re still alive?” P 18 FINNISH DANCE IN FOCUS 2018–2019 IN THE SPOTLIGHT IN THE SPOTLIGHT FINNISH DANCE IN FOCUS 2018–2019 P 1 9 TEXT Elina Manninen PHOTOS Uupi Tirronen

SAMIRA ELAGOZ (B. 1989) who graduated from Amsterdam’s School MARIA NURMELA (B. 1978) for New Dance Development (SNDO) LIFE IN MOTION in e 2016 ar garnering praise from critics IN THE “The moment I started working with and spectators in different parts of the “Dance represents a life-long love affair to “I’m moved by authenticity and a a camer changed everything,” says the world. The works are the docu-fiction film me. One of my role models, choreographer sense of humanity in both life and art. I Finnish-Egyptian artist Samira Elagoz. Craigslist Allstars and Cock, Cock...Who’s Anna Halprin, says that movement and the mean small, beautiful, everyday moments. SPOTLIGHT “Especially fundamental was the deci- There?, which combines film with a live knowledge yielded by corporeality connect I’m inspired by a human being’s personal siono t film strangers. That was initially performance. a human being over and over again to his or movement. As Pina kept saying, I’m also born from wanting to escape working in a The film shows Elagoz’ first encounters her e own lif experience, past and present. interested in what moves a human being, studio or collaborating with professionals. I with strange men in their homes in Amster- Those words are my motto,” says Maria why a human being moves.” wantedo t make a work that was unscripted, dam, Berlin and Tokyo. Elagoz found the Nurmela, a dancer and choreographer. unrehearsed and co-starred people I had men via an advert on the internet. Nurmela, who grew up surrounded by \ never met before.” In the encounters, the camera is avail- dance and music in her childhood home, www.marianurmela.com Now the graduation works of Elagoz, able e for us by both the documentarist has studied at the Ballet School of Finnish and the subject. The material it records is National Opera, at Folkwang Universität in completely novel: “cruel and funny, lyrical Essen (‘Pina Bausch’s school’) and at Theatre and smutty,” according to one critic. Academy Helsinki. Audiences have been Cock, Cock...Who’s There? also explores ableo t watch Nurmela’s highly praised power, intimacy and the astonishing diver- dancing in works by Tero Saarinen, Susanne sity of the relationship between the sexes. Linke and the Swedish Helena Franzén. Awards won by the work include the Prix In the past few years, Nurmela has Jardin d’Europe at the ImPulsTanz Festival increasingly worked as choreographer and in 2017. is particularly interested in cooperating Elagoz is interested in the female gaze with artists from different fields. in a world in which the dominating male “In the transdisciplinary process, I like gaze is developing cracks. to take a leap towards an aesthetic that I’m “I think my work deconstructs the male not yet familiar with and that makes the gaze without placing it in contest with a end result shaped by it hard to predict,” female gaze. By allowing the subjects to she says. film me, too, the camera is in constant In the work Toccata for Two Dancing conversation. Men are not forced to adopt Pianists (2015) Nurmela and jazz a role, but free to present themselves how- pianist Kari Ikonen play and ever they want to be seen,” she muses. dance in the jointly choreo- Because of her background in dance, graphed and composed Toccata Elagoz says she’s very aware of movement: simultaneously at a grand piano with the what gestures can convey, how much body two art forms overlapping. language can articulate. “In Toccata, dance isn’t realised without “Eventually this became a basis for music, nor is music realised without move- my style. It ignited a deep curiosity about ment. An extremely challenging work for social choreographies, how people portray both of us – and a real journey outside our themselves whether it’s online or in front comfort zones!” of a camera.” Dawnings – intertwining visual art, “I have an aesthetic of depicting the dance and music created for Wäinö Aal- average human body without trying to tonen Museum in Turku, Finland, had its diminish or glorify it. I show the audience premier in February 2017 and was inspired real people in search of attention, vali- by the sculptor’s art and life. Closer to the dation or some form of intimacy – not a Wild Heart, an extremely minimalistic work representation nor a caricature.” in terms of theatre technology, was born in 2016. The ecological, profoundly corporeal \ work was created in cooperation with light www.samiraelagoz.com and sound designers. P 20 FINNISH DANCE IN FOCUS 2018–2019 IN THE SPOTLIGHT IN THE SPOTLIGHT FINNISH DANCE IN FOCUS 2018–2019 P 21

ANNA-MARIA VÄISÄNEN (B. 1986) MAIJA NURMIO (B. 1979) ART FOR ALL TOWARDS A DEEPER UNDERSTANDING

“I o want t wake people up, make them her work Discourse of nakedness (Paljauden emotions both in me as the creator and in Where can we find a place that doesn’t examines goodness, Departures (2015) grief. working physically, I’m interested in the understand that art doesn’t just belong diskurssi , 2016), which premiered in Berlin. the spectators that I believe it to be a very suffer from a deluge of news, verbal abuse Cooperation with young people taken into other side of reason and logic.” to n stages i theatres and is not merely a The starting point of the intensive, feminist important work,” Väisänen opines. and a societal lack of vision? care e gave ris to the choreography for the “I believe that knowledge contained in monopoly of the elite. I’m interested in work created jointly by Väisänen and Eevi “Deep down, I’m highly sensitive. I Oh, Forest (2017), a work by Maija tender and furious work Everything ahead the body can be released in a movement whomt ar is made for and who is actually Tolvanen is the thematics of violence, coer- alwayso try t be as open as possible and Nurmio, a dancer and choreographer, is of you (Kaikki edessä, 2016, director: Satu or into a movement. And in order to make allowed to perform.” cion, physical suffocating and facing shame. mindful of the moment, sponge-like in my a sensuous tribute to the forest, which – Linnapuomi). an informed decision, one has to gather Anna-Maria Väisänen, who graduated “Discourse is a work whose world understanding and awareness of the sur- despite the nonstop exploitation of nature “Dance became part of my life when information from different sources. I feel from the dance department of North Kare- it’s difficult to enter. It’s hard to per- rounding impulses and stimuli. I feel it’s the – still covers a large part of our planet, I was young, when it acted as a catalyst it’s my responsibility both as an artist and lia College Outokumpu in 2012, confirms form but it arouses such big only way of doing this work.” unfailingly timeless and accepting. between a challenging childhood environ- as a human being,” she explains. that her work is openly political. It aims “I’m interested in our relationship with ment and learning to be me. I grew into it,” “Love for my own art form lies at the to change structures both in the field of nature, the state of nature and, as a result, Nurmio explains. heart of my work, as does the question of arts and the social work and health sector. the state of our humanity. Oh, Forest is “These days I associate dance and howt ar can change the world, together Väisänen, who lives in Kuopio, has also one of my core choreographies and I will movement with a feeling of freedom – or with a wish for a deeper collective under- workedh wit special needs groups such carry on with the theme to create at least with striving towards it. Dance, for me, is standing. I want to arouse sympathy and as the elderly and people with learning a trilogy,” Nurmio says. a way of being and observing the world.” makee us of the body’s knowledge. I yearn disabilities. Nurmio graduated as dancer from Lon- Nurmioo als mentions corporeality fore a chang in ways of acting and thinking Her first major work, Brides (Morsia- don’s Trinity Laban Conservatoire of Music and movement as her central means of and I’m committed to it myself, too.” met, 2015), questioned traditional standards and Dance, and as choreographer from The- creating art. expected from dancers. The work, which atre Academy Helsinki. The themes of her “The knowledge we carry in our bodies \ dealt with the great emotional diversity works are big and go deep: Goodwill (2018) is equally weighty as the words we use. In www.maijanurmio.com of people’s love lives, involved a working group with an age range of 20 – 93 years. In additiono t professional dancers, the work featured on stage seven elderly people whose histories were portrayed. “I’m moved by people’s commitment and courage,” Väisänen comments. “Io als work a lot with special needs artists and do my best to improve their rights as artists. In general terms, my work focuses on communication and dialogue with the surrounding society.” Väisänen has dealt with a socially par- ticularly topical – and painful – subject in P 22 FINNISH DANCE IN FOCUS 2018–2019 FINNISH DANCE IN FOCUS 2018–2019 P 23

PIRJO YLI-MAUNULA: Mute Janne-Pekka Manninen MEANWHILE ELSEWHERE

What is it like to do contemporary dance far from the metropolitan areas easily considered the true home of contemporary dance and the central place where it is developed?

FINLAND IS a geographically large country, where the distances are great. Most artistic activities are concentrated in the cities of the south, but some artists have gone their own way and chosen to live and work elsewhere. Pirjo Yli-Maunula, Tomi Paasonen, and Auri Ahola, three dance artists who work in eastern and northern Finland but are also very international, tell us about their own experience and what they feel is important in their work. Works of art may use the very newest international methods, but it needs to have a relationship with the local community. Art’s connection to its surroundings and its need to communicate with the people around it only increases when the work isn’t first subjected to the gaze of peers – the artists’ bubble – but instead seeks its meaning in its local context. For all of these artists it’s clear that it’s possible to be an even more visible force “elsewhere” than in the urban south of Finland, but at the same time it brings a great deal of responsibility – responsibility to the themes they deal with in their work and to the whole field of dance, because there isn’t a wide spectrum of other dance artists in their communities. \ SK P 24 FINNISH DANCE IN FOCUS 2018–2019 FINNISH DANCE IN FOCUS 2018–2019 P 25

PIRJO YLI-MAUNULA: The Tower Pekka Mäkinen

PIRJO YLI-MAUNULA: Mute Janne-Pekka Manninen

art made out of big cities? “Naturally I’ve sometimes thought about moving to Helsinki. Multidisciplinary work IS THERE EVEN SUCH A “To me it’s important that my work resonates in my own In the capital region I can find more artists like me and art cir- production environment. That’s the reason to do art and cultural cles where I could have interesting conversations,” she muses. is natural and easy. work, after all – so it will speak to and reach as many people as “But on the other hand, since there aren’t a lot of representa- THING AS THE PERIPHERY? possible where it is,” Yli-Maunula says. tives of every kind of art here, especially not dance, it means that TEXT Eeva Kauppinen TRANSLATION Lola Rogers “But I certainly don’t think I would do work that was only artists in different fields are eager to seek out collaborations with local, just for people in Oulu,” she adds. each other. We come in contact naturally – out having lunch, at “I want to have a sounding board for my work nationally openings and performances, and we follow each other’s work. PIRJO YLI-MAUNULA, the lead choreographer and artistic director of and internationally as well. That’s why touring’s important. As Multidisciplinary work is natural and easy.” find in the places where they are.” Flow Productions, creates striking works of art 550 kilometers an artist you want to get out of disposable culture and you hope There are advantages to being outside Helsinki. Working outside of the Helsinki area doesn’t mean an artist north of Finland’s capital. She also works as a curator and pro- your work has a longer life span.” “I think it’s kind of special that the arts institutions and has to shrink her work down or simplify the themes or the ducer as well as providing expertise in various other projects. She Yli-Maunula doesn’t like to think of art as even having a festivals in my hometown of Oulu do regular collaborations thesis of a work. is a member of the Central Arts Council and was on the selection periphery. with an entity like Flow Productions,” Yli-Maunula says. “In my own work I want to challenge the audience. Not jury for the ICE HOT Nordic Dance Platform in 2016 and 2018. “But I understand that jargon, of course. People talk about “Would joint projects between one small, independent group just in how I create the work, but also in my relationship with Talking with Professor Yli-Maunula you get the impression the capital area and then about art of the countryside. That’s or artist and official art institutions happen this naturally in the audience. I like to create traditional works to be watched that a person can be outside of the big cities and still firmly at how it is everywhere – there’s the capital and then the rest of Helsinki? With so many producers farther south, there’s a dif- on a stage, but also immersive pieces where there’s some way the heart of a field of art. Whether you live and work in Ultima the country.” ferent kind of competition and art institutions perhaps don’t that the audience steps into the piece, some participation and Thule or, like Yli-Maunula, in Oulu, it doesn’t automatically make Yli-Maunula was born and went to school in Oulu, a north- need to collaborate like they do here.” perhaps interaction.” your artistic work peripheral or mean that its content has to be ern university town. That’s where she has put down roots and Pirjo Yli-Maunula has been part of the selection jury for the “I try to find different ways to meet the audience and to set in some untamed wilderness. The artistic demands are the that’s where she has stayed, because she has established good ICE HOT Nordic Dance Platform, where she also often runs into challenge them every time to encounter the same art form in same regardless of place: vision, competency, networks, vantage working relationships and trust with her audience. the question of how an artist or art work coming from outside a new way.” points and outlook. “The working relationships include both a workspace (at the buzz of the big city can distinguish itself. Is there even such a thing as the periphery? When it comes Culture Centre Valve) and funding. I feel my work in Oulu has “Art has to on the one hand be global and universal, but on \ down to it, in what sense does periphery actually exist in the had significance, and I’ve got positive feedback about it, which the other hand special and unique in how it explores its themes Pirjo Yli-Maunula’s new immersive work The Secret Garden pre- art world? Does the need to use the concept of periphery simply is encouraging. I feel an affinity with the Oulu mentality – the if it wants to speak to an audience outside its hometown,” she mieres August 24, 2018 in Oulu. It will take its audience for a trip showcase a condescending attitude and a value system toward cultivation of sarcasm and dark humor.” says. “Curators are looking for special pieces, things they can’t to a dark vision of a future where we live in a barren world. P 2 6 FINNISH DANCE IN FOCUS 2018–2019 FINNISH DANCE IN FOCUS 2018–2019 P 2 7

VILLE NYLEN & ANNA SHCHECKLINA: “Playground for the Brave” Regional Dance Center of Eastern Finland PRESENT IN LOCAL LIFE, Tomi Paasonen DIRECT CONNECTIONS TO THE WORLD TEXT Sanna Kangasluoma TRANSLATION Lola Rogers

TOMI PAASONEN IS a Finnish-born, internationally active choreogra- pher and curator who from 2013 to 2018 has been the director of the Regional Dance Center of Eastern Finland, an organization creating infrastructure for contemporary dance and performance art, based in Kuopio, Finland. At the same time, he has been active in Berlin and created his own international work under the name PAA (Public Artistic Affairs) and done international collaborative works through KUNST-STOFF Productions, which he originally founded in San Francisco. We talked with Tomi Paasonen about making art and the ANNA-MARIA VÄISÄNEN & BEC JONES: potential of working outside of major cities. I don’t know this body Regional Dance Center of Eastern Finland WHAT’S IT LIKE MAKING ART IN EASTERN FINLAND, Gabriel Comerford COMPARED TO BERLIN OR SAN FRANCISCO? “I can see the world getting more and more networked. People are closer to each other and more aware of things. It isn’t practi- cal to think that here in Savo region there’s some certain kind of audience whose expectations you should accommodate.” Tomi Paasonen has a strong personal view of making art, self-absorbed or insider art. But here in the east the circle of “There’s a way to do applied dance that’s already well- developments and new methods in dance. Then you can use and his own way of working. He hasn’t been afraid to challenge insiders is really small – we can’t stay in an artistic bubble!” established. The custom has been to have artists go into people’s them in a local context.” local audiences. Paasonen says that in the early years it was challenging everyday lives and environments and then do something. But For artists and the whole field to develop it’s important to “I’m interested in an experimental, progressive approach to draw audiences to the Lonely in the Rain festival in Joen- it usually ends there.” see different ways to do things, to be open to something new. to contemporary dance, site-specific works, cross-disciplinary suu, even though there were interesting international dance “My idea is now let’s use those applied dance methods to Your own artistic quality, artistic expression, way of making art works, immersivity, socially conscious work with political performances. In larger cities even marginal art can have its make works for the stage. Local people come to see each other become clearer that way. But funders don’t seem interested in relevance.” own niche audience that’s large enough, but in a small town perform and they see that there’s this other possible kind of supporting international projects. “Here in Eastern Finland we’ve tried in various ways to in Finland there simply aren’t enough people. contemporary dance. That has strong relevance for audience “In spite of that, I think it’s been important to open direct update how contemporary dance is made and understood, to get “We realized that we had to make the locals a more active education.” pipes to the world from here in Eastern Finland.” away from the tradition of the 90’s, and we’ve chosen working part of our work, not just come in from outside with guns Mutual interaction with the surrounding audience helps During Tomi Paasonen’s time artists of eastern Finland have methods that are currently used elsewhere in the world. The blazing.” artists get out of the bubble, open up their artistic horizons and done international collaborative productions with groups includ- gaps in how dance is made in different parts of the world have “Last fall we did an event that included all the local amateur enrich the content of dance. ing Australian dance ensembles. In summer of 2016 the Regional closed. We produce the kind of art that’s relevant in Geneva or dance groups. A spirit of shared creation was born. It brought “You can’t underestimate the audience; you don’t need to Dance Center of Eastern Finland brought a whole program to Berlin. Not the same art but something that’s original in an folk dancers in to watch contemporary dance, there was vogu- make everything safe and familiar. Art changes as the world Berlin, and Russian contemporary dance and performance art interesting way. “ ing and somatic bodywork. The formula is to span the divide, changes. We’ve been cultivating an audience that’s interested has been on view at the Lonely in the Rain festival. to give people a good reason to watch contemporary dance.” in this kind of profile. “ “Artists from other countries have been happy to come here. HOW HAS THE LOCAL AUDIENCE We have things to offer, like spaces to work, exciting venues like RESPONDED TO YOUR PERFORMANCES? HOW DO YOU CREATE LOCAL RELEVANCE? WHAT IS INTERNATIONAL INTERACTION an old mining facility. And of course there’s something a little “Well, anywhere you go people tend to like something that’s “It’s a creation of the community. I myself give dance classes for LIKE FAR FROM ART CENTERS? exotic about the place, too.” easy and recognizable. If it’s strange or odd it’s thought of as seniors and do choreography for community projects.” “You don’t have to imitate Central Europe, but you can follow P 2 8 FINNISH DANCE IN FOCUS 2018–2019 FINNISH DANCE IN FOCUS 2018–2019 P 2 9

Auri Ahola TERO SAARINEN: Ulla Isotalo Zimmermann Trio. In photo: Auri Ahola.

Lapland and also ethnically Sami.” Her identity has always been clear to her. She hasn’t completely given up dancing in other artists’ works. She recently performed in Tero Saarinen’s Zimmermann Trio when it premiered in Los Angeles in January of 2018. She says no to a project if it doesn’t feel like her own. After a moment’s thought she adds that she gets by with very little nowadays. ”In Lapland I don’t need cappuccinos, or much of anything else.”

CLOSE CONNECTIONS TO THE LOCAL COMMUNITY The local atmosphere, where people don’t judge you by your clothing or your income, is key to Ahola. The sense of com- munity is palpable. When she was creating a dance piece about the Inari Sami’s annual migration and had no rehearsal or performance space and no staging equipment, she got local help. ”It felt incredible that in Inari professional dance isn’t really done or seen, and yet people supported us. People we knew let us use their fur boots, they plowed to make us a rehearsal area in the snow, they helped with the programs, and they all came Auri Ahola is a dancer you can’t take your eyes off. Her tall, to see the performance.” long-limbed, intense bearing draws you in like a magnet. A Ahola’s first full-length workJotteeh (The Wanderers), per- DANCING IN successful professional dancer in Helsinki for eleven years, she formed in Lapland in 2017 was a success. It was performed in Jotteeh was performed in has danced with the National Opera Ballet and in contemporary an amphitheater made of snow, in freezing weather, under a dance, in many solo roles and wonderful modern works such as starry sky, at the Skábmagovat film festival in Inari. an amphitheater made of THE SNOW Tero Saarinen’s Marriage or Ohad Naharin’s Minus 7. ”It was like the place was made for dance!” TEXT Minna Tawast TRANSLATION Lola Rogers But two years ago she made a leap into the void, left ballet, The impetus for Jotteeh was a realization that while to the snow, in freezing weather, and a salaried position, though she had no assured work in a Sami traveling is a way of life that follows the repeating year under a starry sky, contemporary dance group and wasn’t working on a piece of in ritual form, dance, too, was originally something other than her own. performances done in indoor spaces. The procession, the snow, ON AN ISLAND in a lake called Muddusjärvi in the Inari region of ”I just had a powerful feeling that I had to leave. It felt like, the shoes all gave Jotteeh a sense of feet continuously trampling Finnish Lapland is a log house built in 1906 where a couple from now on this is going be a repetition of the same thing, even snow ever onward. lives with their dog, cats, and many sheep. The island has no though I was getting wonderful roles. Maybe I’m not naturally ”My dancers, Unna Kitti and Pekka Louhio, could tell you electrici ­ty and is accessible only by boat. When the ice is break- suited to ballet. The hardest part is the hierarchy, even though how heavily and lightly you can slide or slog through the snow. ing up in the spring there is no way to get to the island at all, I understand that it’s necessary.” Traditional Sami shoes are excellent for moving in snow. The nor, of course, to get off. In Lapland, nothing is nearby, and you She made the decision to move to Lapland, to Muddusjärvi, fur on the bottom goes in two directions, for sliding or braking.” don’t just run into your neighbors at Muddusjärvi. the same way she made the change to contemporary dance, In a remote place like Inari there are no ready-made struc- What if you’re injured, or become seriously ill? or decided at one time to take dance classes. She has always tures or resources for dance. You have to do everything yourself ”That’s the thing, you have to be prepared to survive in followed her intuition. from scratch, starting with finding a hall to rehearse in. many situations without assistance. But in an emergency you Ahola’s background is in Lapland, and she was born in the ” Jotteeh was a lesson for me about everything: production, can call in a rescue helicopter,” states dancer and choreographer northern town of Rovaniemi. When she was a child, her family marketing, hauling stuff. You have to believe in what you’re Auri Ahola calmly. lived in eastern Finland, in the town of Mikkeli. ”I’m both from doing.” P 30 FINNISH DANCE IN FOCUS 2018–2019 FINNISH DANCE IN FOCUS 2018–2019 P 31

SAMI DANCE The oppressed status of the Sami in the Nordic countries has recently been more apparent than ever. Many Sami artists have raised awareness of the history of the subjugation of indigenous peoples and demanded improvements in the Samis’ right to self-determination in their territories in Finland, Sweden, and Norway. But Auri Ahola doesn’t think of herself as a political artist. ”I am a language activist and of course I promote the Sami issue through my work in dance.” ”But as a private person it’s different: If they start bringing a mine into Inari then I’m definitely going to be there protesting.” ”I didn’t speak Sami as a child. Now I do. When I moved to Inari I took a year-long course. I studied full-time, eight hours a day. It’s a hard language. I went to class with the attitude that I had to learn it. When I’m with people who speak Sami, I speak Sami.” Ahola teaches a weekly dance class for children who come from about a hundred kilometer radius. The classes are in Sami and Finnish. ”Here in Lapland, even a group of four is quite a large class. There’s a dance boom in the Inari area right now. Many parents have come to thank me,” Ahola says happily. Ahola’s main focus now is on her Sami dance project. ”I researched various sources and did interviews to find out what indigenous Sami dance might have been like. It died out, presumably due to the influence of Christianity, just like yoik singing nearly did.” “My goal is to use the research to try to create something that’s faithful to Sami culture, but also my own version of Sami dance. It doesn’t assume the Western criteria that contemporary dance should be a work for the stage. I’m not sure whether to even call it a ”piece” or a ”performance” – this dance bubbles up from a different kind of culture – a culture that doesn’t even have such Western terms in its vocabulary.”

AURI AHOLA: Jotteeh Hannu Mällinen P 32 FINNISH DANCE IN FOCUS 2018–2019 CHOREOGRAPHER IN FOCUS CHOREOGRAPHER IN FOCUS FINNISH DANCE IN FOCUS 2018–2019 P 3 3

ELINA PIRINEN: Angel. THE POWER OF FANTASY Katri Naukkarinen ELINA PIRINEN – CRAZY SENSITIVE CORPOREAL PAINTER OF PSYCHOLOGICAL STATES TEXT Raisa Rauhamaa TRANSLATION Lola Rogers

Elina Pirinen’s roots are in a small town on Finland’s eastern border. Now her maverick art is bringing choreography to audiences around the world.

CHOREOGRAPHER ELINA PIRINEN’S upcoming business world, and when it’s attached to household. My mother is a therapist and work Brume De Mer will have its debut at the profound process of making art, it can my father’s an artist. It gave me emotional, MDT in Stockholm in August, followed by feel alienating.” affective sustenance and a deep way of performances at the Moving in November Thew ne piece is for five female dancers understanding people, animals, and nature.” festival in Helsinki and other places. and in it Pirinen explores obsession, intui- Pirinen was a musician – a violin major It’s a new break for the artist. tion, killing, and muteness. who studied classical music, folk singing, ”I can’t keep doing the same things ”It’s o going t be my best work. Wonder- and jazz singing at the North Karelia Music I’ve done in my previous works. But I’ve ful,” says Pirinen, who has recently garnered School and graduated from the Kuopio also been thinking about how to move international attention. Conservatory in 2000 – until she went on to something new without giving up my A masterful dancer and contemporary to train as a dancer. own signature, my own mannerisms. I’ve choreographer, Elina Pirinen is also a versa- ”I’m from a really small place. I’ve fol- found something valuable over the years, tile and skillful musician. She grew up near lowed an artistic path ever since I was a and I shouldn’t discard that. Art doesn’t the Russian border in a small town called child, and made my own way. I’m proud of haveo t be innovative just for innovation’s Nurmes, in Eastern Finland. my background.” sake. That’s an idea that seeps in from the ”I was raised in a psychoanalytic Pirinen tends to choose great classical P 3 4 FINNISH DANCE IN FOCUS 2018–2019 CHOREOGRAPHER IN FOCUS CHOREOGRAPHER IN FOCUS FINNISH DANCE IN FOCUS 2018–2019 P 3 5

1. ELINA PIRINEN: radical imagination and risk-taking. And Personal symphonic forte tha w need a person who will keep moment examining things more deeply. When I look Timo Wright at what’s happening in the world, many people could benefit from the modern \ psychoanalytic process if it were just more 2. readily available.” ELINA PIRINEN: When teaching students of the arts, Meadow, meadow, Pirinen encourages them to not just search meadow what’s on the internet, but to also search Timo Wright. themselves for context. ”Or if you want to learn about some- thing ’outside yourself’, as they say, try lookingt a older sources, like classical works of y art. The have a timelessness that can offer a respite from the enormity of the present,” she urges. ”Being sensitive and egalitarian doesn’t mean you have to abandon yourself to feelings of guilt. I want to have the cour- age to look at the world through my own 1. 2. conception of reality and put myself in an empathetic position towards others’ compositions like the works of Sergei Rach- dancers interpret the Leningrad Symphony moved among the singers, touching them stille imag that aspired toward the eternal. situations without creating a dichotomy I’ve tried to bring out maninoff or Dmitri Shostakovich as the by rebelling against its architectural form, and searching for her place in the group. I wrote of the piece, ”This work, in all its between myself and others. My art is drawn the psychoanalytic musical frames for her pieces and meld but the performance nevertheless has the The sublime acapella singing stirred the madness, shows that in order to live we from local reality, from the information them with her own feminist, psychoabstract same quality of anarchy as the symphony emotions and Pirinen’s vulnerable and must communicate our truths. We need and understanding that I’ve subjectively physicality of language of movement and performance. itself. Its profundity is in its small moments unpredictable character was like a physi- sincere sharing and acts of caring before experienced.” contemporary dance. ”Psychological subjects are what gives capturedy b the performers – delicate, cal stand-in for the subconscious processes it’s all over.” (Teatteri&Tanssi magazine, 2015) It’s been two years since Pirinen’s last life its precious nuances, which I’ve tried lewd, ecstatic.” (Helsingin Sanomat, 2013) of the audience. If Pirinen is courageous on stage, she is performance piece. A three-year artist’s toe us in my art. I don’t want to get stuck Pirinen’s work depicts the person as a ”A lot of people tended to see me off s stage a well. She wants to offer her own grant has given her the security to take in the past – changes are precisely what psychological, poetic, and corporeal agent. sometimes as an angel, and sometimes alternativeo t fashionable, post-humanist some time away from the process of con- createw ne constructs, and they flow in ”I’ve tried mightily to bring out the psy- as crazy person. It bothered me a little trends in contemporary dance and the per- stantly producing new, demanding works. some form onto the stage as well.” choanalytic physicality of contemporary because it meant the viewer was external- forming arts. She’s been writing, composing, reading, Pirinen made her international break- dance. My pieces strive to create bodily izing the piece. As if what the audience was ”The trends in making art remind me without a specific goal. Letting things through with her piece Personal symphonic states, feelings, emotions, and the stage witnessing didn’t really have anything to do of insecure parental bonds. Being a part of affect her. moment in 2013. In 2015 the piece won the dynamics they produce.” with them, it was about somebody else.” them can tear an individual apart. They can ”I o can’t g back to the types of gestures Prix Jardin d’Europe choreography prize, ”A person’s body is tuned to be full of Pirinen’s works are about revealing the deceive you, and you shouldn’t attach your- thate ar in Shostakovich or Rachmaninoff’s which she shared with choreographer Ligia psychoactive processes, and my job is to subconscious. But she doesn’t like to use selfo t them, even if they’re what the spirit music now. I want to move toward a spirit Lewis. somehow try to coax out that physicality, such Freudian terminology. of the times, the production houses and of abstraction.” The bold choice of music for the piece, to see the person in their entirety.” ”I have a feminist orientation, so I prefer funders,e ar expecting. A maker of dance For Brume De Mer (in English Sea Mist), Shostakovich’s fierce, unbridled Leningrad The aim is not a representation of the to talk about fantasy, about the fantasies can, if she wants, decide on her own to she has chosen modernist experimenter Symphony, drew particular praise. therapeutic process. It’s about a chore- thate aris from the thoughts and emotions search for a new canon, one that’s better Victor Suslin’s Organ Sonata no. 2 as her Pirinen says it was Personal symphonic ography and a worldview firmly based in the performing arts can paint.” for her work.” music. moment that helped her find herself as the form and language of Pirinen’s artistic In her piece Meadow, meadow, ”Capitalism is trying to blot out human ”It’s a wild organ sonata that visits a an artist. medium. meadow, Pirinen and her colleagues created reality,t bu the post-humanist trend in piece I created with Ville Kabrell in the ”It was a significant breakthrough for Her most recent work, Angel (2016), three scenes birthed in entirely different danceo is als blotting out the role of the legato and earth-shaking mode of organ me. It was surrendering to the state of the was a solo dance in collaboration with the worlds: delicate singing, audience partici- human.s It’ understandable because the music. For us, the sea mist is a volumitu- broken body, and dancing through it.” Lumen Valo (Snow Light) vocal ensemble. pation in a live-art party among scattered human relationship to other living things is dinous spiritual space that’s blissful and One review of the work said, ”The Pirinen performed as a character that rubbish, and for the last segment a classic so disheartening. But we need constructive, empowering to live with.” P 36 FINNISH DANCE IN FOCUS 2018–2019 DIRECTORY OF FINNISH DANCE FINNISH DANCE IN FOCUS 2018–2019 P 37

This directory offers an overview of the Finnish dance field. It lists dance companies, DIRECTORY festivals and events, production centres and regional dance centres in Finland. Discover information about professional dance education and organisations, and more about dance artists and choreographers at www.danceinfo.fi.

DANCE THEATRE HURJARUUTH Norway Dance Company within Art Institution A Helsinki State-subsidised Dance Companies S DANCE PUBLICLY Contact: [email protected] www.hurjaruuth.fi Independent Dance Company I Hurjaruuth is a dynamic dance theatre Production Centre P COMPANIES FUNDED company founded in 1981. During time Regional Dance Centre R it has given over 100 premieres, com- pleted dozens of foreign tours from Festival & Event F DANCE COMPANIES DANCE Tanzania to Taiwan and provided work Professional Education E for an astonishing number of dance, WITHIN ARTISTIC circus and theatre professionals. The COMPANIES productions combine modern dance INSTITUTIONS AB DANCE COMPANY / with visual arts and circus with music. Rovaniemi AURINKOBALETTI Hurjaruuth has an own venue at Hel- Tornio FINNISH NATIONAL BALLET Turku sinki’s Cable Factory. I S R E Helsinki Contact: Urmas Poolamets, Genres: Dance Theatre, performances Contact: artistic director for young audiences, dance festival Sweden Russia Sampo Kivelä, artistic administrator www.aurinkobaletti.fi I P R F E Artistic Director: Madeleine Onne AB is known as a constantly evolving, DANCE THEATRE MD Oulu www.operaballet.fi high-quality contemporary dance group Tampere Kajaani I R About 80 performances and 3–5 pre- which is not afraid to venture outside Contact: Anniina Kumpuniemi, mieres per season. Also works by the limits of its own genre. Its repertoire managing director E F Kokkola R F contemporary choreographers, such as includes productions for both adults www.tanssiteatterimd.fi F Pyhäsalmi Tero Saarinen, Jorma Elo, Jiří Kylián, John and children by Finnish and internation- Ranging from dazzling dynamics to Kuopio Neumeier, Alexei Ratmansky and Ohad al choreographers. The home stage of warmhearted comedy, Dance Theatre Kaustinen Outokumpu E E F Naharin. The Ballet employs 76 danc- the company is at Manilla, a beautifully MD’s broad repertoire features shows Vaasa Ilmajoki I R S I R E ers representing 23 nationalities, plus 12 restored former factory on the banks of from contemporary dance pieces for F dancers in its Youth Company. the Aura River in Turku. adults to classic fairy tales for children. I R E Joensuu Genres: classical ballet, Genres: Contemporary dance, dance MD also tours in Finland and abroad. Jyväskylä E F contemporary ballet, contemporary theatre, performances for children MD’s dancer-choreographers are as well Pori F dance, young audiences frequent visitors in various theatre and I F E Tampere I DANCE THEATER ERI opera productions. S R E Lappeenranta F S I HELSINKI DANCE COMPANY Turku Genres: Contemporary dance, dance R F E P theatre, dance festival, performances Kerava I Helsinki Contact: Maarit Keto-Seppälä, producer Turku Contact: Jyrki Karttunen, www.eri.fi for children S I Kotka I S Vantaa house choreographer Dancer-choreographers Tiina Lindfors, Espoo Helsinki www.hkt.fi Lassi Sairela and Eeva Soini founded DANCE THEATRE MINIMI Raasepori A HDC is Helsinki City Theatre´s dance Dance Theater ERI in 1989. Over the past Kuopio I S company founded in 1973. HDC per- 29 years ERI has built up a repertoire Contact: Riikka Puumalainen, a

I formers are known for performing that now includes more than 300 works. rtistic director

P physically demanding contemporary Every year they produce around 130 www.minimi.fi dance and expressive dance theatre. performances, of which four or five are Minimi performs both in Finland and R Genres: Contemporary dance, premieres. abroad: on its home stage and on tour, F dance theatre Genres: Contemporary dance, in traditional stages and on the streets. E Estonia dance theatre Minimi wants to sustain and develop the P 38 FINNISH DANCE IN FOCUS 2018–2019 DIRECTORY OF FINNISH DANCE DIRECTORY OF FINNISH DANCE FINNISH DANCE IN FOCUS 2018–2019 P 39 Alpo

mobility and availability of dance thea- AS2WRISTS DANCE COMPANY contemporary, rooted in the rhythms intelligent humour. Dance theatre and Aaltokoski tre and create performances in which Helsinki Helsinki and forms of flamenco. The work of this improvisation-based pieces performed dance and theatre merge into one. Contact: Iiris Autio, managing director Contact: Minna Tuovinen, international group of artists is charac- in places like parks, streets and trams.

Genres: Dance theatre, physical theatre, Johanna Rajamäki, head of international Company choreographer terised by a tight fusion of dance, music Touring 2018/19 with the pieces Reino street theatre sales www.as2wrists.fi and strong visual elements. In 2012 they and Aino, MAMA!, Shiranai-Hito and

www.terosaarinen.com Their unique style blends Argentinian won first prize in three categories in the Long Leads (Pitkät Piuhat) by Antti Lahti. ©

DANCE THEATER RAATIKKO Tero Saarinen’s works have captivated Tanja tango with a contemporary vocabulary. prestigious Certamen de Coreografía de Genres: Contemporary dance,

Vantaa audiences and critics in 40 countries, Ahola In recent years the company has toured Danza Española y Flamenco competition dance theatre Contact: Marja Korhola, theatre director including at Place des Arts (Montreal), extensively in South America, most with their work The Raven, and they www.raatikko.fi BAM & The Joyce (New York), Chaillot & ALPO AALTOKOSKI COMPANY notably in Argentina and Brazil. The have toured in 15 countries. DANCE COMPANY OFF/BALANCE Founded in 1972, Raatikko has its own Châtelet (Paris), Royal Festival Hall (Lon- Helsinki company is diverse, working in dance Genres: Contemporary flamenco, live Jyväskylä venue in Vantaa and also performs on don), Saitama Arts Theater (Japan), and Contact: [email protected] film, organising international develop- music performance, dance theatre, Contact: Elina Häyrynen and Terhi tour. Raatikko creates dance pieces for in commissions for companies such as www.aaltokoskicompany.fi ment projects and teaching workshops dance films, young audiences, Kuokkanen, artistic directors children, young people and adults, often NDT1, Batsheva, Lyon Opéra Ballet and Alpo Aaltokoski Company has toured in dance and camerawork. performances anywhere. www.offbalance.fi combining dance, theatre and circus. the National Dance Company of Korea. in nearly 30 countries worldwide. Ho- Genre: Contemporary dance Central Finland-based company with a Raatikko puts on over 300 performances New creations in 2018/19: duet ‘Breath’ listic visual insight is characteristic to DANCEBOX versatile repertoire and international per year, with 2 to 4 premieres, 150 audi- feat. Tero Saarinen and accordionist Aaltokoski’s artistic work. The chore- BALLET FINLAND Tampere recognition. The company produces 1–3 ence events and over 30,000 spectators. Kimmo Pohjonen, Zimmermann Trio w ographer’s aspiration is to understand Helsinki Contact: Terhi Pinomäki-Lenick premieres/co-productions per year with Genres: Dance theatre, performances live orchestra and new full evening crea- human beings and their personal rela- Contact: Ville Valkonen, artistic director www.tanssiboxi.com top choreographers and artists. for young audiences tion with Monteverdi’s music. tions as well as their relation to the www.balletfinland.com DanceBox is an independent contem- Genres: Contemporary dance, Genres: Contemporary dance, surrounding world, never forgetting the An independent troupe of classically porary dance group from Tampere, new dance DANCE THEATRE RIMPPAREMMI contemporary ballet, live music comic side of things. trained dancers and choreographers founded in 1998. It performs both in Rovaniemi performance, dance films Genres: Contemporary dance, commu- seeking new forms of classical and con- Finland and abroad. Performances for a DANCE THEATRE AURACO Contact: Matti Paloniemi, nity dance temporary ballet, tradition and thinking. wide range of audiences, young and old, Helsinki artistic director Founded in 2009 the company has in theatres, at schools and on the streets Contact: Päivi Aura, artistic director Sanna Viero, producer ARJA TIILI DANCE COMPANY performed successfully in Finland and and at markets. www.auraco.fi www.rimpparemmi.fi INDEPEND- Helsinki abroad. Genres: Contemporary dance, Touring dance company producing 1–3 Finland’s northernmost professional Contact: Arja Tiili, choreographer, Genres: classical and dance theatre premieres per year. Auraco produces dance theatre offers a unique mix of artistic director and executive director contemporary ballet performances for all ages combin- Finnish folk dance and contemporary ENT DANCE for project Break the Fight! DANCE COMPANY GRUPPEN FYRA (G4) ing dance and mime. Auraco has many dance. They give about 120 performanc- www.arjatiili.fi and www.breakthe- CARL KNIF COMPANY Helsinki years’ experience working with and for es annually and have toured in more COMPANIES fight.com Helsinki Contact: Pia Liski babies and toddlers under age 3. than 20 countries. Also a repertoire of Arja Tiili is known for breaking genre Contact: Carl Knif, artistic director www.gruppenfyra.com Genres: Dance theatre, young audiences first-class folk dance and music perfor- AHO & LUNDÉN COMPANY boundaries and has a knack for reveal- www.carlknifcompany.com Contemporary dance combined with mances. Helsinki ing the most intimate, secret traits of Dancer and choreographer Carl Knif Genres: Dance theatre, folk dance, Contact: Emilia Aho and Katja Lundén, the human spirit. Her works often de- is truly a singular artist. His art does Gruppen contemporary dance, performances artistic directors pict our dark side: madness, violence, not resemble anyone else’s. Through for young audiences www.aholunden.com loneliness and greed – but always with a his pieces such as Hologram Walls or Fyra

Aho & Lundén Company is a unique palpable sense of humor. Arja is leading Manuscript audiences have encountered –

GLIMS & GLOMS DANCE THEATRE combination of Nordic style, flamenco, Break the Fight! Street Culture opera- the dreamlike, humorous qualities of Long

Espoo diverse art forms and international art- tions against school bullying in Finland. his works. The very personal Red was a Leads

Contact: Tuomo Railo, artistic director ists. The series of works created for Aho New creation coming in September huge success, as was his latest premiere, © www.glimsgloms.com & Lundén Company by world-renowned 2018: Break the Fight – Breaking Bor- At once, in Helsinki, a piece that was Petra

The Glims & Gloms dance company was Spanish choreographers is a rare hom- ders!. commissioned by the Kuopio Dance Tiihonen founded in 1999 by Simo Heiskanen and age to Finnish flamenco. Genres: Contemporary dance, break- Festival Tuomo Railo. G&G’s works are charac- Genres: Contemporary flamenco, dance, eclectic, hiphop, dance theatre, Genre: Contemporary dance terised by stylish and inventive visuals live music performance martial arts, visual arts, young audienc- and multi-layered themes. es, community dance COMPAÑÍA KAARI & RONI MARTIN Genres: Contemporary dance, Helsinki dance theatre, performances Contact: Kaari Martin, Artistic Director for young audiences www.compania.fi Compañia Kaari & Roni Martin’s style is P 40 FINNISH DANCE IN FOCUS 2018–2019 DIRECTORY OF FINNISH DANCE DIRECTORY OF FINNISH DANCE FINNISH DANCE IN FOCUS 2018–2019 P 4 1

DANCE THEATRE KAIE multidisciplinary productions on stage JENNI KIVELÄ & KIND PEOPLE Munch – The Dance of Life, La Máscara, Finnish contemporary dance companies. contemporary arts. Kerava and also exciting immersive site-specific Helsinki Shadowplay, La Vida de Una Elefante The movement-based content and phi- Genre: contemporary dance Contact: Anne Jouhtinen pieces. Contact: Jenni Kivelä, and Machina Flamenco. The group’s per- losophy of their works bring together www.tanssiteatterikaie.com Genres: Contemporary dance, multi- choreographer, producer formances are characterised by a unique dance techniques, street dance attitudes LOISKE ENSEMBLE/OSIRIS THEATRE Multi-artistic productions for adult and disciplinary productions, site specific www.jennikivela.com combination of flamenco, theatre, and and circus-like agility. Helsinki young audiences. Traditional stages as pieces, immersive work Creating dance performances since music and dance styles ranging from Genre: Contemporary dance Contact: Riikka Siirala, artistic director well as streets, market squares, parks, 2002 that combine features from dance rock to afro. The works have been very [email protected] shop windows and kindergartens FREECOLLECTIVE and theatre and move between the con- well received by the public and critics LIISA PENTTI +CO www.osiristeatteri.fi function as performance spaces. The Tampere ceptual and the concrete. Jenni Kivelä alike, and have successfully toured inter- Helsinki Loiske Ensemble is a touring company Finno-Ugrian roots inspire with their Contact: [email protected] has a strong and recognisable style. national dance and music festivals. Contact: Inari Pesonen that produces unique dance perfor- mysticism. vapaakollektiivi.blogspot.fi Recently she worked with a piece for www.liisapentti.com mances for babies and children. We use Genres: Contemporary dance, dance FREEcollective // VAPAAkollektiivi children called Kylli the Dog and the un- KATVE [BLIND SPOT] Liisa Pentti + Co’s work is based on the various ways of communication such as theatre, multi-artistic performances operates by inviting guest artists to col- barkable lightness of being. Helsinki continuously evolving process of asking movement, music, rhythm, interaction laborate. Creating diverse performances Genre: contemporary dance, Contact: Heidi Masalin, new questions in contemporary society. and sound. Loiske Ensemble performs in DANCETHEATRE LIIKERI for the stage and other public venues; dance theatre, young audiences [email protected] The company performs and tours in theatres, cultural centres, kindergartens, Tampere touring, hosting masterclasses, audience www.katve.info Finland and abroad. It organises training dance festivals and children’s cultural Contact: Linda Kuha, choreographer outreach programmes. KAAKON TANSSI RY Katve [blind spot] is a contemporary for professionals and non-professionals, festivals in Finland and and overseas. www.tanssiteatteriliikeri.com Genres: contemporary dance, Kotka dance collective producing fresh and and curates and organises events with Genre: dance theatre, performances for Liikeri is a young contemporary dance multidisciplinary productions Contact: Neil Owens versatile danceworks for adults and themes related to the performing arts young audiences collective producing 2–3 new crea- www.kaakontanssi.fi young audiences. Humanity, imagination and their future. Ismo tions per year. They perform both on Kaakon tanssi is a crucible of artists and resilience are the core values of Genre: post-contemporary dance and Malviniemi traditional stages and in public spaces Dance based in South-Eastern Finland who Katve [blind spot], led by choreogra- performance

like galleries and parks. Interaction be- produce pieces on the stage and screen phers Heidi Masalin and Virva Talonen. Company Company tween the dancers and audience is a key both in front of and behind the camera. Genre: contemporary dance, site-specif- LIVE UMBRELLA concept for this company, sometimes They also develop teaching units for use ic work, young audiences Kuopio

© ©

involving spectators in devising pieces in schools. Contact: Johanna Tuukkanen, Mathias Sakari or co-operating with unusual partners. Genres: contemporary dance, dance KINETIC ORCHESTRA artistic director

Viika

Genres: Contemporary dance, theatre, dance film, applied dance Helsinki www.tuukkanen.net Nyqvist new dance theatre, dance for young Contact: Jarkko Mandelin, Live Umbrella manages the artistic work audiences ISMO DANCE COMPANY K&C KEKÄLÄINEN & COMPANY artistic director of choreographer and curator Johanna MALVINIEMI COMPANY Helsinki Helsinki www.kineticorchestra.fi Tuukkanen. Embracing the collabora- Vaasa EHKÄ-PRODUCTION Contact: Ismo-Pekka Heikinheimo, Contact: Henrietta Ikonen, In just a short time, this group has cre- tive and multidisciplinary, Live Umbrella Contact: Mia Malviniemi, Turku artistic director executive producer ated a strong and recognisable style to produces works for stages, galleries and artistic director and choreographer Contact: [email protected] www.ismodance.fi www.kekalainencompany.net become one of the most interesting various sites within live, performing and www.malviniemi.fi

www.ehka.net Choreographer Ismo-Pekka Heikinheimo The mission of K&C is to promote dance Kinetic Choreographer Mia Malviniemi has Dance productions, residencies, the an- blends art and performance with new as an intellectual art form with strong created contemporary dance works nual XS festival and more. Artist-run concepts and artistic methods. His so- potential in political and poetic com- Orchestra since 1996, and her company, based on Ehkä hosts the contemporary art space cial agenda touches on body politics munication. Choreographer-dancer Finland’s west coast, was established

Kutomo, which consists of two beautiful and the aesthetics of movement. His Sanna Kekäläinen’s work expands the in 2011. The company produces mainly © studios. Founded in 2004. work is multidisciplinary, interactive and experience of a dance performance by Aino stage works but there are also site-

Genres: New dance, contemporary transformative, exploring the spectrum combining philosophy, feminism, text, Huovio specific performances in repertoire. dance, performance/live art, adult and of visual culture. For him, dance is a way gender and conceptual thinking with Malviniemi often brings together live young audiences to perceive, to describe and to be within highly original movement language. music and contemporary dance in her the world. Genre: Contemporary dance works. FLOW PRODUCTIONS Genres: Contemporary Dance, Artwork- Genre: Contemporary dance Oulu specific choreography, performances in KATJA LUNDÉN COMPANY Contact: Pirjo Yli-Maunula, architectural sites Helsinki MAMIA COMPANY artistic director Contact: Katja Lunden, artistic director Vantaa www.flowprod.fi www.katjalunde.com Contact: Nina Mamia, choreographer This company produces the work of Katja Lundén Company has made a www.mamiacompany.fi artist professor, choreographer Pirjo name for itself with its groundbreaking Mamia Company is a contemporary Yli-Maunula. She creates visually rich works, including Flamencosauna, Edvard dance theatre. The Company’s perfor- P 4 2 FINNISH DANCE IN FOCUS 2018–2019 DIRECTORY OF FINNISH DANCE DIRECTORY OF FINNISH DANCE FINNISH DANCE IN FOCUS 2018–2019 P 43 Petri

mances deal with contemporary topics, making art in relation to their communi- SUSANNA LEINONEN COMPANY (SLC) THE TEMPEST GROUP/MYRSKYRYHMÄ Kekoni the human condition and society. ty. Rasa produces ambitious and original Helsinki Helsinki

Genres: Contemporary dance, Company dance works especially in Northern Fin- Contact: Salla Mistola, Contact: Mervi Leivo, producer contemporary theatre land and the whole Barents Region. The managing director www.myrskyryhma.fi aim of Rasa is to take dance outside tra- www.susannaleinonen.com Founded in 2002. Their work is based on

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MIKKO KALLINEN & THE COMPANY Erno ditional dance venues and make art part Susanna Leinonen is one of the most the urge to take dance to people in the

Helsinki Soralipas of the everyday. internationally acclaimed Finnish cho- midst of their natural environment – in Contact: Mikko Kallinen, AD/ Genres: Contemporary dance, commu- reographers. Her works comprise a places where dance performances are choreographer nity dance, young audiences series of intriguing and fascinating cho- not a familiar sight. www.av-arkki.fi reographies at the forefront of Finnish Genres: performances and workshops The Company is a production company ROUTA COMPANY contemporary dance. The company has for senior citizens, contemporary dance, of artists from various disciplines. New Kajaani toured in over 20 countries in several dance theatre, dance film T creations are mainly video dance/ani- Contact: Saku Koivunen, major festivals and venues such as Ju- suumi mation and interactive choreographic artistic director, choreographer lidans, The Place and Dance Biennale

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works. www.routacompany.fi Tokyo. Available for touring with several Mikko Genres: Contemporary dance, Founded 16 years ago, Routa (Finnish for works for 1–7 dancers. audiovisual PETRI KEKONI COMPANY and it also functions as a hub for artists ‘permafrost’) is an open-minded con- Genre: Contemporary dance Mäntyniemi Helsinki of many fields to collaborate and create temporary dance production company. NIINA AIRAKSINEN DANCE PRODUC- Contact: Petri Kekoni, choreographer, together. It produces unique, strong dance perfor- SIVUUN ENSEMBLE TIONS (NADP) & Anna Peippo, producer Genres: Contemporary dance, dance mances that arise from local and global Helsinki Turku www.kekonico.fi theatre, performance/live art issues. Routa belongs to the Regional Contact: Ninni Perko, artistic director Contact: Niina Airaksinen, Kekoni’s works are known for their ab- Dance Centre of Northern Finland and and choreographer TSUUMI DANCE THEATRE choreographer/photographer/ stract yet robust movement language RAEKALLIO CORP. employs both dance artists and audio- www.sivuun.net Helsinki filmmaker and strong visual and spatial thinking. Helsinki visual artists. Sivuun Ensemble, founded by Ninni Contact: Salla Korja-Paloniemi, nadp.fi The company is a collective of about 20 Contact: Valtteri Raekallio, Genres: Contemporary dance, dance Perko, is a multidisciplinary collective. managing director Niina Airaksinen Dance Productions artists, dancers, composers and design- artistic director theatre and applied dance The Ensemble’s performances are in- www.tsuumi.com (NADP) combines art and science in ers. In its repertoire: Möhkäle – Erratic www.raekallio.fi tense conversations between different Tsuumi Dance Theatre produces 2–3 international productions. NADP fo- Block (a solopiece, premiere 5.10.2018), Raekallio Corp. produces Valtteri SAINE ENSEMBLE art forms. Motion, music, image and text new performances per year and has a cuses on historical and cultural themes The Stop – Dark Matter of Art (2016), Raekallio’s unique multidisciplinary, im- Raasepori entwine into a collage of entities, open- large repertoire to tour with. Tsuumi through contemporary art, lecture series Non-Linear (2014), Miniatures – Humans mersive site-specific works that include Contact: Annatuuli Saine, ing seminal interpretations to current finds its strength from exploring folklore and dining. At the core of its stage works in small scale (2013), Green Armchair Neuromaani, the 2016 commissioned artistic director issues, significant for individuals and and creating new artistic ways to bring it are a wide dynamic movement range, a (2010). dance work of Helsinki Festival, which www.saineensemble.fi communities alike. on stage. Tsuumi’s performers are known close synthesis of movement and light, Genre: Contemporary dance. took over 100 rooms in a disused hos- Produces 2–4 creations and concepts Genres: Dance theatre, multidisciplinary for their skills in contemporary dance, and a holistic aesthetic visuality. pital in Helsinki. The company also per year in collaboration with artists productions, community dance folkdance, singing and physical theatre. Genre: Contemporary dance PORI DANCE COMPANY produces stage works designed for in- from different art genres. Works are Genres: Dance theatre, folk dance, Pori ternational touring, including the latest multidisciplinary including dance, music, TAIKABOX live music performance, NOM KOLLEKTIV Contact: Mikko Lampinen, production Oneiron (2018), premiered in visual arts, dance shortfilms and poetry. Oulu contemporary dance Helsinki managing director Helsinki to rave reviews with all 16 per- Genres: contemporary dance, con- Contact: Tanja Råman, artistic director Contact: Jaakko Nieminen, [email protected] formances sold out. Raekallio’s previous temporary flamenco, site-specific www.taikabox.com WILLMAN DANCE COMPANY artistic director www.poridancecompany.com touring works include A Performance performance, audiovisual art TaikaBox creates new ways to experi- Helsinki www.nomkollektiv.fi Pori Dance Company aims to further (2016) and Rehearsal on Love (2015). ence dance using new technology to Contact: Marjaterttu Willman, The company collaborates on diverse humane values and encourage toler- Raekallio Corp. also produces dance SATU TUOMISTO PROJEKTI enhance our perception of the moving artistic director projects such as group pieces and solos, ance through dance. It emphasizes a film projects. Helsinki body and engage with audiences on dif- www.willmandancecompany.fi installations and films. The company’s message of physicality as means of Genres: Contemporary dance Contact: Satu Tuomisto, choreographer ferent levels. TaikaBox produces work Willman Dance Company brings togeth- creations are described as fresh, new exploring the imagination. Most of the www.satutuomisto.com for stage, public spaces and screen. Tai- er artists who share a passion for dance and personal. The relationship with company’s repertoire is contemporary RASA COLLECTIVE A touring contemporary dance com- kaBox also organises the annual Oulu and stage art. The goal of the company ourselves, our bodies, the other and our and integrative with other forms of art. Northern Finland (Tornio/ Rovaniemi) pany. Dance Hack and various artist residen- is to create original contemporary dance time are elements that run through the They have toured in various countries Contact: Titta Court or Marjo Selin Genres: Contemporary dance, cies. and dance theatre pieces that focus on works. around Southeast Asia, Russia, Europe, www.pistery.org/tanssiesitykset dance theatre, performances for Genres: Contemporary dance, dance/ the central questions of humanity. Genres: Contemporary dance, Africa and North America. During the Finland’s northermost independent young audiences technology Genre: contemporary dance, new dance years many well known choreographers dance collective run by dance artists dance theatre have created works for the company Titta Court and Marjo Selin focuses P 44 FINNISH DANCE IN FOCUS 2018–2019 DIRECTORY OF FINNISH DANCE DIRECTORY OF FINNISH DANCE FINNISH DANCE IN FOCUS 2018–2019 P 45 Pirkanmaa REGIONAL DANCE CENTRE OF EASTERN dance, supports freelance dance art- presenting site-specific works made for dren and young audiences held every FINLAND / ITAK ists to work in the region and arranges public spaces. In autumn and various second year in the Helsinki metropoli-

PRODUCTION Regional Kuopio meetings, seminars and workshops. other dates. tan area. In March. Contact: Eeva Eloranta,

Dance executive producer ZODIAK – CENTER FOR NEW DANCE / APINAFEST! DANCE MONTH 2018 www.itak.fi REGIONAL DANCE CENTRE IN HELSINKI Contact: Jarkko Mandelin Pori

CENTRES Centre BARKER-THEATRE, A STAGE FOR Promotes dance, creates work opportu- Helsinki http://apinafest.apinatarha.fi Contact: Mikko Lampinen,

INDEPENDENT ART © nities for professionals, offers training, Contact: Harri Kuorelahti, ‘The second cousin of all festivals’ artistic director

Turku Janne and supports dance production in East- artistic director Helsinki www.poridancecompany.com/

Contact: Nina Renvall Kaakinen ern Finland. Organises the Paikallisliike www.zodiak.fi Contemporary dance festival; perfor- tanssikuu2018 www.barkerteatteri.fi festival in June and the Lonely in the Zodiak – Center for New Dance func- mances, clubs and panels. In April. International dance festival which has Barker-theatre is a production house Rain? festival in November. ITAK also tions as a regional centre for dance in taken place in Pori since 2007 and is ar- founded in 1997. It hosts various dance manages the Sotku venue in Kuopio. Helsinki. BALTIC CIRCLE FESTIVAL ranged by Pori Dance Company. In 2018 productions, provides rehearsal space Helsinki it takes place between 2.–10.12.2018 at and offers also possibilities for work-in- REGIONAL DANCE CENTRE IN Contact: Hanna Nyman, managing Pori Theatre which is the oldest Finn- progress performances and workshops. NORTHERN FINLAND director ish speaking theatre in Finland. Festival www.jojo.fi / FESTIVALS www.balticcircle.fi brings together a wide array of ingen- JOJO – OULU DANCE CENTRE www.routacompany.fi / International contemporary theatre fes- ious and expressive artists from around Oulu REGIONAL www.rimpparemmi.fi / tival & a platform for developing new the world as well as well-known Finnish Contact: Helena Lindqvist, www.fullmoondance.fi AND EVENTS trends and ideas. In November. companies and performers. managing director This regional centre is formed of four ANTI – CONTEMPORARY ART FESTIVAL www.jojo.fi CENTRES companies/producers in the area: Kuopio BRAVO! JoJo – Oulu Dance Centre is a dance Contact: Johanna Tuukkanen, Helsinki production house in Northern Fin- REGIONAL DANCE CENTRE OF artistic director Contact: [email protected] FOR DANCE OSTROBOTHNIA land. JoJo runs an annual international www.antifestival.com www.lastenteatteri.fi OuDance Festival in September and a PIRKANMAA REGIONAL DANCE CENTRE Vaasa International contemporary arts festival International theatre festival for chil- year-round dance programme consist- Tampere Contact: Annika Sillander, manager

ing of its own productions and guest Contact: Piia Kulin, managing director http://pohjanmaantanssi.fi Anti

performances. JoJo also hosts an Artists’ www.sisasuomentanssi.fi/english/ Promotes dance, makes dance acces- Festival Residency with an active international An association for dance professionals. sible, supports artists and creates job exchange programme. JoJo is one of the Encourages co-operation, organises vari- opportunities for professionals. Works 2017.

four organisations that form the Region- ous events, training classes, workshops, with community activities as well as Maija al Dance Centre of Northern Finland. meetings for professionals, seminars. supporting the production of new

The centre also runs the Liikelaituri ven- dance pieces and projects in the re- Mustonen ZODIAK – CENTER FOR NEW DANCE ue in Tampere. gion. Develops networks and promotes

Helsinki collaboration between artists and or- &

Contact: Harri Kuorelahti, CENTRAL FINLAND REGIONAL DANCE ganisations, both in the region and in Kaaos

artistic director CENTRE the Nordic context. Company: www.zodiak.fi Jyväskylä Zodiak – Center for New Dance is a Contact: Mari Hautala, REGIONAL DANCE CENTRE OF progressive dance organisation and the managing director WESTERN FINLAND Pond

main venue for freelance contemporary tanssinkeskus.fi Turku © dance in Finland. Zodiak co-produces Regional centre for dance in Central Fin- Contact: Sanna Meska, managing Pekka and hosts 15–20 new dance productions land. Promotes dance and creates work director Mäkinen each year. Zodiak is a member of several opportunities for professionals. Organ- www.l-tanssi.fi international networks and works with ises the Tanssin Aika festival in August. Regional Dance Centre of Western international partners in production, Finland covers Southwest Finland and teacher and artist exchange, and touring. the province of Satakunta. The centre aims to develop collaboration between various agents and actors in the dance field and gain more public recognition for contemporary dance. It promotes P 46 FINNISH DANCE IN FOCUS 2018–2019 DIRECTORY OF FINNISH DANCE DIRECTORY OF FINNISH DANCE FINNISH DANCE IN FOCUS 2018–2019 P 47 Full

Moon [email protected] OUDANCE FESTIVAL The Ruutia! Festival is a rendez-vous International flamenco festival present- www.kokkolantalvitanssit.fi Oulu for dance and movement based thea- ing high-quality artists and shows. Also a

Dance A four-day event, full of contemporary Contact: Helena Lindqvist, tre from Finland and abroad. The wide range of workshops. In June.

Festival dance and dance theatre. In February. managing director festival, founded in 1997, offers high www.jojo.fi/festival/ quality performances for children and TAMPERE THEATRE FESTIVAL

© KUOPIO DANCE FESTIVAL International and local performances young audiences as well as workshops, Tampere

Katarina Kuopio in Northern Finland from all genres of meetings with the artists and public dis- Contact: Hanna Rosendahl, Contact: Anna Pitkänen, dance with a contemporary twist. In cussions about subjects related to the executive director

Lindholm Festival Director September. performances. In April. www.teatterikesa.fi www.kuopiodancefestival.fi The programme of Finland’s main in- The largest annual dance festival in the PAIKALLISLIIKE SIDE STEP FESTIVAL ternational theatre festival includes Nordic countries. The programme rang- Kuopio Helsinki new drama, modernised classics, dance es from contemporary dance to classical Contact: Asta Elijoki, producer Contact: Harri Kuorelahti, artistic theatre, contemporary circus and street ballet, folklore, workshops and a varied www.itak.fi director theatre. In August. fringe programme. In June. Platform presenting new productions by www.zodiak.fi local dance artists. In June. Contemporary dance, cutting-edge TIME OF DANCE FACTORY FESTIVAL MANIFESTI HURRAA! LAPPEENRANTA INTERNATIONAL international performances, lectures, Jyväskylä Turku Helsinki BALLET GALA PISPALA SCHOTTISCHE DANCE MANIA artist dialogues and workshops. Organ- Contact: Antti Lahti Contact: Siina Siltanen, Contact: [email protected] Lappeenranta Tampere ized by Zodiak – Center for New Dance. www.tanssinaika.fi [email protected] www.hurraa.org Contact: Irma.Salomaa@nordicdance. Contact: [email protected] In February. Finnish contemporary dance. www.manillantehdas.fi A national festival of performing arts for com or Juhani Teräsvuori, www.tanssimania.nuorisoseurat.fi In September, Central Finland. Annual festival with wide-ranging pro- children and young people. In March. artistic director New folk dance and music, concerts, TAMPERE DANCE CURRENT gramme from contemporary dance and www.lappeenranta.fi/balettigaala performances, training. Every two years, Tampere URB – URBAN ART FESTIVAL new circus to exhibitions. In September. JYVÄSKYLÄ FESTIVAL A meeting place for Nordic dance and next in September–October 2019. Contact: Anniina Kumpuniemi Helsinki Jyväskylä international stars. Contemporary works www.tanssivirtaa.net Contact: Mikael Aaltonen, FULL MOON DANCE FESTIVAL Contact: Kyösti Ylikulju, and classics. In August. RUUTIA! Festival of contemporary Finnish dance Kiasma Theatre Pyhäjärvi festival manager INTERNATIONAL DANCE FESTIVAL FOR held annually in May. www.urb.fi Contact: Alpo Aaltokoski, www.jyvaskylankesa.fi LOIKKA DANCE FILM FESTIVAL CHILDREN AND YOUNG AUDIENCES Urban dance and theatre, site-specific Artistic Director City festival for different art forms: Helsinki Helsinki TAMPERE FLAMENCO FESTIVAL performances, visual arts. In June. www.fullmoondance.fi concerts, physical theatre, dance, circus, Contact: Kimmo Alakunnas, chairman Contact: [email protected] Contact: [email protected] Contemporary dance from Finland and and programme for the whole family. [email protected] www.hurjaruuth.fi www.tampereflamenco.com abroad; courses and discussions. In July. In July. www.loikka.fi URB High-quality international dance films,

Festival HELSINKI FESTIVAL KAKTUS DANCE FESTIVAL lectures, workshops and events. In April.

Helsinki Helsinki 2018. Contact: Laura Gottleben, press officer Contact: www.gruppenfyra.com LONELY IN THE RAIN?

www.helsinkifestival.fi Kaktus dance festival is held every sec- Joensuu “Vianey” The largest arts festival in Finland, fea- ond year by Dance Company Gruppen Contact: Eeva Eloranta,

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turing classical and world music, dance, Fyra. Next time in June 2019. executive producer Marko theatre and urban events. In August. www.itak.fi

KAUSTINEN FOLK MUSIC FESTIVAL Festival for contemporary dance, per- Vuorinen HELSINKI FLAMENCO FESTIVAL Kaustinen formance art and improvisation in Helsinki Contact: [email protected] November. Contact: [email protected] www.kaustinen.net www.flamenco.fi The largest folk music event in the Nor- MOVING IN NOVEMBER The festival brings outstanding flamenco dic countries – all the folk music and Helsinki artists from Spain to Helsinki every dance you can handle in a week! In July. Contact: Mikael Aaltonen & Ari Tenhula, year. Festival week is full of courses and artistic directors events. In February. KOKKOLAN TALVITANSSIT / www.movinginnovember.fi WINTER DANCE IN KOKKOLA International contemporary dance fes- Kokkola tival in the Helsinki capital region. In Contact: Anne Peippo, producer, anne. November. OPENING NEW HORIZONS AUTUMN 2018 FOR FINNISH Alpo Aaltokoski Company presents DANCE

Sisters with Dance Theatre MD PREMIERE AT HÄLLÄ STAGE, TAMPERE, 26.10.2018

Aaltokoski Dance Marathon 5 days and 5 works of contemporary dance AT STOA, HELSINKI, 21.–25.11.2018

Together · Choreography: Alpo Aaltokoski Navigatio · Choreography: Alpo Aaltokoski Sisters · Choreography: Alpo Aaltokoski

Perro · Choreography: Daniel Abreu (ES) Flower Tree · Choreography: Ervi Sirén

www.aaltokoskicompany.fi www.danceinfo.fi

EARS ilmo_FINAL.indd 1 4.8.2016 14.43

ONEIRONVALTTERI RAEKALLIO’S EVENING-LENGTH DANCE WORK FOR SIX DANCERS BASED ON THE FINLANDIA AWARD WINNING NOVEL BY LAURA LINDSTEDT

THE ARTISTIC PROGRAMME

Wauhaus Margrét Sara Guðjónsdóttir ZebraDans Linda Blomqvist Elina Pirinen Kitt Johnson Björn Säfsten Magnus Myhr Sofia Södergård Bára Sigfúsdóttir Sonya Lindfors Tharan Revfem Juck Maija Hirvanen Fors Works Jon Skulberg Spreafico Eckly Stian Danielsen Ásrún Magnúsdóttir Steinunn Ketilsdóttir Taneli Törmä Ingri Fiksdal Dadadans Kekäläinen & Company TaikaBox Katrín Gunnarsdóttir “Breathtaking... crafted with exceptional skill... Byström Källblad Raekallio Corp Noah Hellwig Marble Crowd Ingun Bjørnsgaard Prosjekt RAEKALLIO CORP. Gunilla Heilborn Susanna Leinonen Company Recoil Performance Group Himherandit explosive dances that transgress the limits Productions Hilde Ingeborg Sandvold Berstad/Helgebostad/Wigdel Díó Iceland Dance Company of mind and movement. Raises the bar of Finnish Available for touring contemporary dance, for others to follow.” www.raekallio.fi/oneiron WWW.ICEHOTNORDICDANCE.COM - Raisa Rauhamaa, Theatre & Dance magazine 1/2018 [email protected] Vocational education in contemporary dance RIVERIA, OUTOKUMPU

// Movement and performance research Study modules in English

// More information RIVERIA.FI [email protected] NASTYPREMIERE SEPTEMBER 7 2018

Here we have an ensemble that rivals that of any world-class dance company.”

JUSSI TOSSAVAINEN, HELSINGIN SANOMAT NEWSPAPER, 09/07/2017

AUTUMN PROGRAM 2018

NASTY (EXTRACT) AUGUST 25 TURKU, FINLAND DREAMS OF REPLAY AUGUST 29 DÜSSELDORF, GERMANY NASTY SEPTEMBER 7–16 HELSINKI, FINLAND DREAMS OF REPLAY SEPTEMBER 22–26 HELSINKI, FINLAND SEE|OBEY OCTOBER 17 ESPOO, FINLAND NASTY WOMEN NOVEMBER 7 HELSINKI, FINLAND NASTY NOVEMBER 23–24 TALLINN, ESTONIA NASTY DECEMBER 2 ST. PETERSBURG, RUSSIA NASTY DECEMBER 9 PORI, FINLAND

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Ms. Elina Tanskanen Head of International Relations [email protected] [email protected] | www.susannaleinonen.com +358 50 3223 093