P 2 FINNISH IN FOCUS 2017–2018 EDITORIAL CONTENTS FINNISH DANCE IN FOCUS 2017–2018 P 3

Lighting and sound designers Aino Huovio on equal terms with other artists and creatives.

Jani-Matti Salo 22–27 FINNISH DANCE IN FOCUS \ 2017–2018 VOLUME EIGHTEEN CAN WE TACKLE \ Mandelin Publisher: Dance Info 28–32 Tallberginkatu 1 C/93, 00180 SOCIETY’S PROBLEMS combines styles Tel. +358 (0)9 6121 812 \ from circus [email protected] acrobatics to www.danceinfo.fi THROUGH DANCE? contemporary Editor-in-chief: Sanna Rekola dance. [email protected] Editor: Sanna Kangasluoma In today’s global climate, many feel that we live in a precarious and unsafe world, Ilpo Vainionpää [email protected] and this is also reflected in dance art. Art and artists are taking the opportunity to Editorial board: Sanna Kangasluoma, speak out in defence of empathy, trust, honesty and love. Collaboration is the working Katarina Lindholm, Sanna Rekola method du jour, and individual artistic geniuses and stars have been replaced by work that embraces collective creation between artists from different spheres. 12–19 Writers: Olli Ahlroos, Niko Hallikainen, Jenny Body language and dance can be more effective than mere words when it comes Jägerhorn-Tabermann, Sanna Kangasluoma, to initiating all-encompassing human encounters. Breakdance workshops are being Maija Karhunen, Raisa Rauhamaa, used to prevent and resolve bullying problems involving young people, and a dance Inka Reijonen video made by a church in Helsinki and published on YouTube touched many with English translation: Claire Dickenson, its comforting message. \ Fleur Jeremiah, Lola Rogers Joint performances by a Finnish dance artist and an Iranian musician who applied What means can for asylum in Finland are leaving many in tears, and audience discussions on the topic Graphic design & layout: Inka Kosonen of immigration have become an integral part of the piece. contemporary Many artists are now taking a more forthright approach to seizing upon topical dance use to influ- Photographers: Tanja Ahola, Aino Huovio, issues. In recent years Finland has seen the creation of a number of dance works ence our reality? Jarkko Hänninen, Urban Jörén, Tuukka based around themes that clearly delve into issues such as environmental problems, Koski, Sanna Käsmä, Lilja Lehmuskallio, Pirje sustainable development, violence and racialisation. However, the political aspects Mykkänen, Katri Naukkarinen, Laura Oja, of art are not restricted to topics expressed verbally; how people are portrayed or the Yoshi Omori, Ernest Protasievics, Perttu Saksa, context in which a work is performed also constitute political content. Jani-Matti Salo, Mark Stubbs, Joonas Tikkanen, Dance not only inspires us, it is also doing its part to tackle society’s problems. Uupi Tirronen, Heikki Tuuli, Ilpo Vainionpää, Sara Vihavainen. Sanna Kangasluoma EDITORIAL NEW FACES Editor 02 Can we tackle society’s problems through dance? 20 Emmi Venna: Caught in friction ON THE COVER: Superhero Urho \ Sanna Kangasluoma between the body and the world / Maija Karhunen Choreographer: Jarkko Mandelin 21 Kati Korosuo: Dancing for equality / Maija Karhunen Cover photography: Aino Huovio NEWS DANCE INFO FINLAND Dance Info Finland acts as a gateway 04 We all dance in Finland – even Santa Claus PERSPECTIVES Printed by: Arkmedia Oy to Finnish dance art through international networks 06 Without Zodiak, it wouldn’t be the same 22 Jarkko Mandelin – Love, respect, and trust / Raisa Rauhamaa With Gratitude: The Ministry of Education and by providing information about dance in Fin- 07 Tero Saarinen: At the sources of primal force 28 Designing lighting and sound / Niko Hallikainen and Culture in Finland land. Our mission is to support the development 08 Kirsi Monni: Teaching and research are intertwined 33 30 years of lighting and sound design of Finnish dance art, and to open new horizons and 09 against school bullying at the University of the Arts / Sanna Kangasluoma Finnish Dance in Focus is create professional opportunities and connections for Finnish dance published once a year. artists. We are partners in collaboration projects and exchange pro- PHENOMENA grammes, and work closely with the Nordic dance sector and platforms. 10 Compassion makes us human – CHOREOGRAPHER IN FOCUS ISSN-1795-9837 Alpo Aaltokoski & Ali Alawad / Inka Reijonen 34 Johanna Nuutinen invests in physical imagination Founded in 1980, we are funded mainly by the Ministry of Culture and 12 It’s political – Sanna Kekäläinen, Sonya Lindfors and / Jenny Jägerhorn-Tabermann Education in Finland. Read more on www.danceinfo.fi. Tuomo Railo / Olli Ahlroos 38–47 Directory of Finnish Dance P 4 FINNISH DANCE IN FOCUS 2017–2018 NEWS NEWS FINNISH DANCE IN FOCUS 2017–2018 P 5

1.&4. The City leadership danced the cam- Santa Claus took part in paign’s created by the Dance challenge Marina Tirkkonen in the stunning Empire © Santa Claus Office Hall in Helsinki City Hall. The video spread quickly on social media, with over 80,000 views making it the City Executive Office’s \ most popular Facebook video ever. 2. “We got well-deserved attention both Panu Varstala made kids 1. 2. internally and externally – and around a dance his choreography dozen cities have since made their own for the campaign dance videos”, says Senior Advisor Hannu © Jarkko Hänninen Hyttinen. \ “I’m proud of Helsinki”, commented one 3. city resident on social media. for Nordic Royalties at Helsinki DANCE LEAVES ITS MARK Market Square The Dancing Finland campaign has offered © Sara Vihavainen previous non-dancers the opportunity to give dance a try. Some surprising par- ticipants have produced their own Dance Challenge videos, and just before Midsum- mer, Finland’s official Santa Claus took up the challenge on Twitter. Santa and his elves produced their own dance video and tried out street dance for the first time. Dance has also left its mark on people and communities. Getting involved in dance 3. 4. made Malmi’s rector think about how the Parish communicates: “In focusing on verbal communication, the other elements of what make us human have clearly been forgotten or fallen to the IN JUST OVER half a year the Dancing Finland video based on the campaign’s contempo- wayside. I hope that the light of dance and campaign had already reached 1.5 million rary dance choreography by choreographer using our bodies become more widespread WE ALL DANCE IN people. Ordinary people in schools, organi- Panu Varstala. in parish activities around Finland.” sations and working communities – and According to the rector, getting The Dancing Finland campaign will con- even Finland’s official Santa Claus – have involved in the dance increased self-esteem tinue until the end of 2017. And dance will taken part in the Dance Challenge. The and brought joy both to employees and continue long beyond that! FINLAND – EVEN dance videos created by City of Helsinki parishioners: ‘The employees involved felt \ and Malmi Parish have brought together the working community grew closer and employees and touched audiences. the atmosphere improved thanks to the The Dancing Finland campaign features “We published our video late on a dance moment.’ choreography created by choreographers SANTA CLAUS Sunday evening. That evening there were in six different dance genres. Anyone can plenty of people by themselves, surfing “I’M PROUD OF HELSINKI’ – THE learn the choreography of their choice TEXT Inka Reijonen the internet, who contacted me to tell MAYORS” DANCE VIDEOS CREATED with the help of a video or teacher. me about their life situation, and how our A WHOLE NEW IMAGE OF THE CITY You can participate in the Challenge by City Mayors, a church in Helsinki and even Santa Claus have all dived dance had brought them a few moments The Dancing Finland campaign has even photographing or filming your own dance of hope and comfort”, states Malmi’s rector persuaded mayors to get dancing. The series and sharing it on social media – and you headfirst into dance and published their dance videos on YouTube. The Heikki Arikka. of dance videos featuring city employees can challenge anyone to get involved. year 2017 is the centenary of Finland’s independence, and Dance Info A total of 27 employees from Malmi started off with the City of Helsinki, which www.dancingfinland.fi Parish worked together with Glims & Gloms challenged all cities and municipalities in Finland has challenged everyone to dance in honour of the occasion. Dance Theatre to produce their own dance Finland to take part. P 6 FINNISH DANCE IN FOCUS 2017–2018 NEWS NEWS FINNISH DANCE IN FOCUS 2017–2018 P 7

MAIJA HIRVANEN: creative context, along with the audience It’s difficult to even imagine how I without regular funding. A place where you For those who have time (2012) relationship, that I gained from working at would be without Zodiak or the people can create and perform your own work, Lighting design: Heikki Paasonen Zodiak, have proved to be irreplaceable. there, with whom I’ve had so many fruit- as well as partaking, watching, sweating, Zodiak’s ongoing dialogue with for- ful collaborations! Actually, I should thank discussing. Spending time. eign dance artists and producers inspires Zodiak for the profile I now have in the The mark Zodiak has left on me is one in Finland, and it has contemporary dance field.” of thousands of faces: a huge group of art- helped me to expand my own networks.” ists, creators, audience members whom I’ve Maija Hirvanen, Zodiak house choreogra- met. Zodiak’s mark reminds me that I’m not Heikki Paasonen, lighting designer, recipi- pher 2013–2015: alone in this work. ent of awards such as the Finland Prize “A space becomes a place the more Zodiak’s mark has sympathetic ears, in 2012: time you spend there. For me, Zodiak is curious eyes, the deep smile of a many- “I’ve worked as lighting designer for not just any stage, it is The Place. headed creature that has embraced hard WITHOUT ZODIAK, around 30 Zodiak dance pieces. I see Zodiak Zodiak is the place where you can work and will continue to do so with no as something of a home stage for me, a develop new things and be connected with fear. place where I’ve created the framework the history it has. It is an umbrella and a Zodiak’s mark stretches the entire CONTEMPORARY for my own development and growth in temporary home for a growing group of body.” DANCE IN FINLAND WOULD my profession. dance artists working on a project basis, \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ NOT BE THE SAME TEXT Sanna Kangasluoma PHOTO Uupi Tirronen

THIRTY YEARS AGO, in 1986, a group of young see the most interesting performances and Zodiak. In my current role as artistic director choreographers striving for a new form of trends in contemporary dance. of my own dance group, I feel that my time expression founded Zodiak as a produc- One of Zodiak’s key operating princi- at Zodiak gave me the capability to lead my tion association for freelance dance artists. ples is still its artist-driven orientation. Its own group as well as set of useful practices. These pioneers included Kirsi Monni, Sanna programme of domestic premieres is based I believe that Zodiak will continue to TERO SAARINEN: Kekäläinen, Liisa Pentti and Soile Lahden- largely on an open application process and have an important role in the Finnish dance perä. At that time, dance performances curation carried by the artistic director field as a facilitator and developer of con- AT THE SOURCES took place in only a handful of dance thea- together with the artistic working group. temporary dance.” tres, and university-level contemporary We asked a few artists for their views dance tuition had just started in Helsinki. on the significance of Zodiak for contem- Legendary American choreographer Deb- OF PRIMAL FORCE Zodiak arrived onto a scene that was porary dance in Finland and what kind of orah Hay, who performed her solo pieces TEXT Inka Reijonen PHOTO Perttu Saksa dominated by the trio of classical ballet, mark Zodiak has left on them personally. Music and Oh Beautiful at Zodiak in 2003, and jazz dance. Zodiak’s and has since visited Finland a number of performances were something completely Liisa Pentti, one of Zodiak’s founding times as a teacher and choreographer: TWO NEW PIECES by Tero Saarinen will be combining live music and dance and one for seven male dancers, will continue to different: they worked better in the frame- choreographers: “Zodiak was the first experimental premiered in 2018: a commission for the that he describes as a primal force: “If be performed throughout 2017–2018 on work of current phenomena, fine art “Zodiak Presents was originally a col- dance organization in Europe to present my renowned Los Angeles Philharmonic and dance and music become something greater major stages around the world. The chore- and performance art. The performances lective, not an institution, and it had a work. Even more, for the wealth of Helsinki a duet with accordionist Kimmo Pohjonen. together, I feel that I have succeeded.” ographer’s aim is to create art that stands produced by Zodiak were pivotal to the decisive impact on me as a young dance dancers, Zodiak maintained a continuity for With the LA Phil Saarinen is working Saarinen is also exploring the sources the test of time. “You can return to the development of new Finnish dance in the artist. Together, we found a concrete frame- study through support of my workshops, on an interpretation of Bernd Alois Zim- of primal force with musician Kimmo works time after time, much like a good 1980s and 1990s. work to make our work possible. performances, and talks.” mermann’s cello concerto En forme de pas Pohjonen. book or play.” In 1997 Zodiak expanded, taking on the Zodiak also formed a community in de trois (1966). The piece, choreographed “It’s interesting to bring together your Saarinen’s interpretation of Zimmer- name ‘Zodiak – Center for New Dance’ and which we could forward and develop our Jarkko Partanen, choreographer, member for three dancers, will be performed at own artistic vision and someone else’s. To mann’s cello concerto: Premiere 19 January becoming a common forum that unites the own artistic ideas, as the dance field in of the Board of Zodiak 2013–2017: the 2,265-seater Walt Disney Concert Hall. see whether you become something more 2018, Walt Disney Concert Hall, Los Angeles. contemporary dance sphere, offering further Finland in the 80s and 90s was very differ- “Zodiak has been an essential place for “I’m interested in how a performer can be together than you are individually.” Duet with Kimmo Pohjonen: World education and training for professionals and ent to nowadays. me – my first piece after graduating was intimate yet resonate up to the very back Saarinen describes the pair’s work as premiere April 2018, DanseDanse, Canada. a basis for ground-breaking outreach and I was involved in creating Zodiak’s chosen for Zodiak’s programme, and just row at the same time”, Saarinen explains. unusual: he also experiments with creating Morphed: performances 2017–2018 incl. international cooperation. It has become a content and practices for many years – like that I had launched my professional The commissioned piece involves sound and Pohjonen explores movement. Royal Festival Hall (London), The Joyce stage, a renowned place where people can 1987–2012 – so a part of me remains within career. The support, resources and entire a union close to Saarinen’s heart, one Morphed (premiered in 2014), a piece (New York) and Chaillot (Paris). P 8 FINNISH DANCE IN FOCUS 2017–2018 NEWS NEWS FINNISH DANCE IN FOCUS 2017–2018 P 9

BREAKDANCING AGAINST SCHOOL BULLYING PHOTO Laura Oja TEXT Inka Reijonen

CHOREOGRAPHER ARJA TIILI leads Break the express themselves through the workshops. and the aim is to expand the operating Fight! Project, which combats bullying in In rap workshops participants can rap in model to cover all of Finland. schools by means of breakdance. their own native language. Non-verbal “It would be fantastic if the project At the heart of the project are the dance for one is a great way to express your- could be rolled out in every municipality dance piece Break the Fight – I was here! self whatever your background”, says Tiili. in Finland. We want to encourage people aimed at young people over the age of 13, According to Tiili, the young people involved in the local street culture scenes and breakdance, graffiti, beatboxing, DJing involved have spoken openly about to join in with the project.” and rap workshops for 7–28 year olds, com- bullying: Once Break the Fight! has conquered bining elements of street culture and run “We emphasise that no one should be Finland, next up is the rest of the world; in by industry professionals. The workshops left alone when it comes to bullying. We autumn 2017 breakdance and graffiti work- provide a time and place for self-expression also provide information on where to find shops will be held for street children in St and dialogue about bullying. peer support.” Petersburg, Russia. “Young people who do not feel a sense Break the Fight! has reached over 3,000 of belongingness may find their own way to young people, primarily in southern Finland, \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \

ridiculousness, and savaging,” Monni quotes this keeps my work on its toes and awake, thing at a time. It was wonderful to make still be waiting. Personally what interests KIRSI MONNI: art theorist Lisa Lee. provided I experience these activities as an artistic piece with creative, generous, me are the problematics of abstraction As an article in issue 4/2017 of not being disassociated from the questions accomplished, and talented artists. Creative and representation, the specificities and Teatteri&Tanssi puts it, “The pictorial of art, even if I haven’t been creating works work, especially when you have deadlines possibilities of live performance, the body “TEACHING AND RESEARCH choreographic scenes are reminiscent of of my own.” and a work group, inevitably involves a and kinesthetics in an era of virtuality, the a ritual, where the sharp boundary between “I also supervise the students’ artistic certain degree of stress and super-intensity. topic of process ontology and ecology in life and death becomes permeable. Cross- process every year, from small demo pieces When you reach for something that is as yet relation to composition and so on… ARE INTERTWINED” ing that boundary isn’t trivial, as it is in the to large collaborative works. Student super- just an idea that came up in rehearsals and TEXT Sanna Kangasluoma PHOTO Katri Naukkarinen diluted reality of entertainment violence. vision requires theoretical understanding you try to capture it and propel it forward, \ KIRSI MONNI Through the ritual, life is given value and and a conceptual sense for helping students it’s a frenzied activity for everyone involved. AFTER A BREAK of several years, Kirsi Monni, violence. “Violence as a subject cannot be death a deeper meaning.” analyze problems that come their way, but I admit that I had, and I still have, stress Founding member of Professor of Choreography at the Thea- approached directly, it should be viewed a Kirsi Monni, you’ve concentrated on also staying sensitive to communication, because of my work position. Because so Zodiak Presents group, 1986 tre Academy of the University of the Arts bit from the side, through thinking, poetry teaching for the past eight years. How has intuition, and their personal creative ideas. much time has passed, I feel that the recep- Helsinki and founding member of Zodiak, and reflection, as the philosopher Slavoj that influenced the making of this work? These are the skills needed in every artistic tion of the piece could largely define my Doctor of Dance Arts, 2004, Theatre has created a new work, Acts and Affects, Zizek has said,” Monni comments. “First of all, I think about my activity at process, so maybe it has been good training future, whether I have the possibility for Academy of Helsinki (thesis: The Poetic which premiered at Zodiak – Center for The concept of the piece finds points of the university as an entirety that includes for me and also helped me in creating my working groups and funding for new works.” Movement of Being: philosophical New Dance on April 20, 2017. with both the virtual world and not just teaching but supervising students at own piece, which had an actual rehearsal What’s next? interpretations of the new paradigm of The theme of the piece is the mediated visual art. For example, the simultaneous, the MA and doctorate level, following and period that was rather short, intensive, and “My work relationship with the Theatre dance in the light of Martin Heidegger’s mental landscape saturated with structural texture-like and non-hierarchical use of doing research, collaboration with other fast-tempo.” Academy will continue for some time and thinking and the artistic work in the years and everyday violence, both real and ficti- space have been inspired by the similarity art programs also internationally, publish- What’s it like to create a new piece current questions in cultural policies will 1996–1991) tious. Violence as a theme has a powerful of the net-like structure of internet and ing activities, following the field, and a lot after a long break? determine the larger picture in the devel- bodily affect. perspective-free Renaissance paintings. of structural development at the univer- “The workday at school is usually really opment of dance. As far as artistic work, I Numerous published articles and aca- The starting point for the work was And the investigation of movement has its sity level. And secondly, for me teaching hectic and there is a lot activity of every definitely already have lots of ideas, but it’s demic papers to use choreography as a means to inves- motives in the expression of contemporary and research are intertwined; every topic scale at any given time. When I was creat- really difficult to get funding. It took three tigate the bodily experience produced sculpture, in which the return of the figure is being thought anew from the current ing this piece, it was wonderful to be able years to acquire funding for AAA and if it 30 full-length choreographic pieces by the flow of media (images) filled with achieves power “through pushing, rudeness, context, together with my students. All of to concentrate and immerse myself in one weren’t for the Theatre Academy I would P 1 0 FINNISH DANCE IN FOCUS 2017–2018 FINNISH DANCE IN FOCUS 2017–2018 P 11

Alpo Aaltokoski says that all art If seeing the piece encourages is political. "Whatever the subject is – love, grief, or any other theme people to face another person, – you'll have an effect on people's I’ve succeeded. The world emotions." needs more empathy.

WHAT UNITES US The piece and talking about it is sensitive not only for Aaltokoski but also for the audience. Aaltokoski describes the relationship with the audience as something unique. “The audience discussions have been marked by warmth, openness, and a sense of community. People have been able to openly show their feelings, and many have cried. I’ve also been asked if I can tell them what to do about the situation. The conversations have become a part of the work; through them the audience participates not just in the performance but also in the processing of its themes.” Somewhat paradoxically, many have felt that in his absence Alawad is more present in the work than if he were physically AALTOKOSKI AND the Iraqi musician Alawad got to know each other’s Alawad’s playing – they didn’t want to cancel the premiere. present. “The people in the audience have brought him into work when Ali performed at Aaltokoski’s 30th anniversary gala “It was a horrible situation. But at the same time it gave me the space.” as a dance artist. The encounter sparked an interest in each a powerful feeling that this work can’t be sabotaged by anyone But what does Aaltokoski want to say through this work? COMPASSION other’s art and a desire to attempt a collaboration – and their from the outside.” “If seeing the piece encourages people to face another person, piece Ali & Alpo was born as if of its own accord. When Ali left the country, material about twenty minutes I’ve succeeded. The world needs more empathy. ‘Compassion Together Aaltokoski and Alawad explored the meeting of the piece was ready. The dramaturgy, use of sound, and video makes us human’ is also a sustaining theme of Aaltokoski MAKES US of two cultures. Alawad chose traditional Arab music that fit recordings, as well as the beginning and end of the piece, had Company.” Aaltokoski’s movement. to be reinvented. “The themes of the Arab songs are very similar to the themes “I vented my desperation in movement and choreography. “WE WILL PERFORM THE WORK SO THAT ALI IS PRESENT.” of Finnish popular music,” Aaltokoski says. “Love, longing, and You’re running, but you’re not getting anywhere. My foremost Aaltokoski says that his connection with Alawad has remained. HUMAN melancholy. Nostalgic music was no doubt also a comfort to feelings were powerlessness and disbelief that such a thing He shows us the WhatsApp messages where they have been Ali. Art is something that stays with you, something that can’t could be happening–we live in a constitutional state, after all. exchanging ideas for the ending of the piece and sharing news TEXT Inka Reijonen PHOTO Tanja Ahola be taken away.” Finland has always opposed racism, but now refugee policy has and also pictures of the performances. While working on the dance piece, Alawad was an asylum tightened to the point that it’s almost encroaching on interna- “Ali has been a part of every performance.” seeker in Finland. His applications had been refused, and he tional regulations,” Aaltokoski says. According to Aaltokoski, Alawad has voluntarily returned Dancer and choreographer Alpo Aaltokoski, alone feared he would be sent back to Iraq. According to Aaltokoski, the fact that Alawad was an asylum to Iraq. But they still hope for a reunion: on a stripped-down stage, a duet with a “The situation influenced how he interpreted the songs; they seeker had no bearing on the project in the beginning. But sud- “For now we’re presenting the piece as it is. But I’m sure that became even more emotional. He was really exhausted, and often denly the situation was turned on its head and seeking asylum if Ali is alive, we’ll perform the piece with him present some day.” video of Ali Alawad, his friend and a virtuoso oud had to stop playing. Sometimes he lost himself in his playing, became a part of the work: Alawad was persecuted in his home \ player. Alawad should have been on stage but and I would lie on the floor and listen with my eyes closed.” country because of his profession as a musician.” Just three weeks before the premiere, Alawad decided to Ali&Alpo had its premiere March 15, 2017 asylum politics intervened. flee Finland, fearing deportation. But they found time to record at Kulttuurikeskus Caisa. P 12 FINNISH DANCE IN FOCUS 2017–2018 FINNISH DANCE IN FOCUS 2017–2018 P 13 IT’S POLITICAL – SANNA KEKÄLÄINEN, SONYA LINDFORS: NOIR? SONYA LINDFORS Ernest Protasievics AND TUOMO RAILO TEXT Olli Ahlroos TRANSLATION Lola Rogers

What potential does contemporary dance have to make our political reality visible?

THREE ARTISTS whose recent works grapple with social issues are answering that question. Sanna Kekäläinen’s Hafed Collage of Differences and Fragility (2016) and Sonya Lindfors’s Noble Savage (2016) are explicitly political, and viewers who see Tuomo Railo’s Omnipotens are compelled to ask what kind of society drives an individual to shocking acts of violence. Over the past decade, contemporary dance has developed in a more conceptual direction. Dance pieces are filled with speech and text, and this past year the texts were very political ones. But how can “mute” choreography be political? What means can contemporary dance use to influence our reality? Is it possible that contemporary dance needs spoken and written language to have a political impact? The verbal turn of contemporary dance is perceptible in the artistic work of all three of these artists, and all of the above works are filled with text. Contemporary dance can, however, have an impact through means that are outside the reach of language. Tuomo Railo calls this “the politics of touch.” Dance is also better than many other art forms at expressing the politics of the body, as Sanna Kekäläinen has done in her works. Sonya Lindfors’s NOIR? and Noble Savage are political dance pieces that bring the experience of otherness and racialization onto the stage to reveal the power structures that underlie the field of art itself. For Lindfors, the practice of art seems to be an experimental survey of its boundaries with activism, and thus the contexts of performance are seen as a part of their artistic content. P 14 FINNISH DANCE IN FOCUS 2017–2018 FINNISH DANCE IN FOCUS 2017–2018 P 15

TUOMO RAILO: Omnipotens 2. Ilpo Vainionpää

Tuomo Railo in Omnipotens Ilpo Vainionpää 1.

TUOMO RAILO – Omnipotens is the most political piece in the trilogy. The piece is something that bypasses the use of language. He calls it the TUOMO RAILO, SELECTION OF WORKS TENTACLES OF THE PATRIARCHAL SYSTEM can be examined as a study on “the tentacles of the patriarchal politics of touch. “Through dance you can get to that part of Trilogy on the Dimensions of Humanity: The multifaceted contemporary dance career of Tuomo Railo, system”, to borrow Railo’s phrase. humanness that effects us more directly than language.” Arka paikka (Sore Point, 2011) the second artistic director of Dance Theater Glims & Gloms has “We’ve seen the emergence of a strong populist, at times Aikojen lopun kvartetto (Quartet for the End of Time2013) been marked by a programmatic interest in the deepest human extreme right wing politics in the Nordic countries. The Utøan The Politics of Dance Traditions Omnipotens (2015) motivations. His trilogy of works Arka paikka (Sore Point, 2011), tragedy, for me, was a disturbing reminder that such a situation “There are a lot of physical ideals in dance tradition, including Aikojen lopun kvartetto (Quartet for the End of Time, 2013) and can turn like a thunder clap to violence,” Railo says. some rather unbelievable distortions.” As an example of this, \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ Omnipotens (2016), explore the individual in a psychoanalytic Railo mentions the traditional gender imagery of Western dance. framework. A Political Artist? “I’ve been through many of these ideal schools myself,” he says, Railo doesn’t feel a need for a profile as a political artist. As far speaking of his path through dance competitions and classical The All-Powerful Superego as he’s concerned he isn’t creating anything “for any particular ballet to contemporary dance. The last piece in the trilogy, Omnipotens, grapples with the political instance to react to”. But he does see himself as politi- According to Railo, the gender roles of contemporary dance illusion of omnipotence. The piece is a ritualistic dance work cal in “offering a place for shared experience and consideration pieces are more equal. He also thinks, however, that the roles are that provokes the viewer to think about our deepest human of meaning”. often very masculine. But he feels that the image of the body tendencies. Railo used Åsne Seierstad’s novel One of Us, which “Everything you put on stage is in some relation to reality communicated through contact-improvisation is “genderless dealt with the Utøan tragedy in Norway in 2011 as background and in that way is also political,” Railo points out. “Dance as an and flexible, soft, ready for anything. But even within that, the material for the piece1. He performs the monologue Anders B art form is inevitably a form that interprets humanity in so many diversity isn’t as great as what it’s trying to represent.” (2017), adapted from the same materials, along with the dance ways that its aesthetics and politics are realized simultaneously. Listening to Railo sparks a question about the nature of piece. The manuscript is also translated into English. In some sense, having a unique voice is itself political.” the development of Western dance tradition. Does it really From a Freudian point of view it’s no accident that Railo speculates that the political situation in Europe feeds advance toward the liberation of our concept of the body and artists’ desire to be profiled as political. “It also may be that the being human, as is sometimes thought, or does it just go from audience’s desire and ability to see the politics of the body has one frame of reference to another? 1 In July of 2011 there was a mass shooting on the become sensitized.” Norwegian island of Utøan in which 69 people were killed. One means of influence that Railo considers most his own P 16 FINNISH DANCE IN FOCUS 2017–2018 FINNISH DANCE IN FOCUS 2017–2018 P 17 2.

1. 1. SONYA LINDFORS: Noble Savage Ernest Protasievics \ 2. SONYA LINDFORS: Noble Savage Sanna Käsmä

SONYA LINDFORS – and diversity. The generic ethical, liberal, pure artist as such THE REVEALER doesn’t exist. In the real world art is made for a lot of different “In ballet’s roots in the French court the focal point was one reasons. The arts have the same problems as the rest of society,” person framed by a chorus. There was a political agenda in she says. “The arts are in many ways really unequal and homo- that: to reinforce the existing social structure, in which the Sun geneous. For instance, in dance especially, we have a really odd King represented a god.” Those words crystallize what Sonya gender imbalance: the overwhelming majority of dancers are Lindfors feels is something central to her practice. “We forget women, but the artistic directors and other high-profile figures that it’s political. There’s a political agenda in the fact that the are usually men.” body looks sublime and supported. It has to do with our ideals Lindfors reveals something that was hidden even in the in relation to society.” Lindfors believes we ought to remember premise for this article. Why approach the political in art by that all our choices are political in one way or another. limiting our interviews to artists who are considered political? “Politics doesn’t just mean challenging the prevailing order. The Politics in the Arts fact that something isn’t challenged is also political.” Lindfors wants to be part of the discussion of repressive power structures and how to make the world more egalitarian. Her Art and Activism piece Noble Savage (2016) is political even in its title; it examines At the moment Sonya Lindfors is active in an international otherness and racialization network that is reflecting on strategies of activism and art. In Noble Savage, as in her previous work NOIR?, all six per- “The art is more ambivalent than the activism. The tactics formers are black. In its performances, the black body carries a of activism are an attempt to address the problems of society history of being allowed on the stage only for the amusement directly,” Lindfors says. Art and activism go hand in hand in her of white viewers. In Noble Savage, the most important thing is work. “I make dance pieces but I also write and give lectures. the “black stage”, which tries to make the white gaze aware of These things compliment each other. That doesn’t mean that I itself, to place white in the position of “other”, and through that try to explain my art. There are just some things that you should unpack white hegemony. intervene in more directly.” Lindfors says that the political nature of the piece arose from “The ethos behind my practice is anti-racism and feminism,” the very fact of who was on the stage, what they looked like and Lindfors says. This kind of foundation of values leads her to what their backgrounds were. She points out that explicitly choose and develop a political strategy broader than individual stated themes aren’t the only political aspect of art. The context works. “But I find that everything I do is choreography and it’s of a performance is an inextricable part of its political content. all led by a strong ethos and ideology.” “All my work deals with structures in one way or another, and one agenda I have is to make the field of the arts look at SONYA LINDFORS, SELECTION OF WORKS itself, to reveal its internal hierarchies and glass ceilings and Noble Savage (2016) shake the field up from the inside.” Lindfors feels that art can Swag Lessons (ongoing lecture/performance concept) too easily reinforce its own narratives of victimhood and mar- Noir? (2013) ginalization. “This is a dishonest defense strategy. As if artists Founder & artistic director of UrbanApa arts platform & festival had some magic wand that they could use to make the world a better place if they only had more resources.” \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ “Art isn’t automatically some kind of voice for feminism P 18 FINNISH DANCE IN FOCUS 2017–2018 FINNISH DANCE IN FOCUS 2017–2018 P 1 9

2. 1. 3. SANNA KEKÄLÄINEN: The Beast 1. Ella Tommila / KKA \ 2. SANNA KEKÄLÄINEN: Passion Lilja Lehmuskallio \ 3. SANNA KEKÄLÄINEN: Hafed Lilja Lehmuskallio

SANNA KEKÄLÄINEN – “I’m not intentionally uncompromising,” Kekäläinen THE ART AND POLITICS OF THE BODY explains. “It’s my way of existing. It’s a way to take a stand on Choreographer Sanna Kekäläinen’s performances aren’t watched what’s happening in the world. It’s been a major thing for me because they’re an instantly enjoyable or pleasant way to spend since I was young. I want to say something, share something. some time. Going to see Kekäläinen’s works is like going to I’ve seen and experienced unfairness and injustice in the world. therapy or to court: their purpose is not to entertain but to get I want to do something about it.” closer to the truth. The Politics of the Day The Body “The whole thing we call ’art’ is being called into question,” How does a woman’s body exist? has been one of the central Kekäläinen says. “It’s becoming a curse word. We’re being reor- questions guiding Kekäläinen’s work. “Ever since I started to ganized as ’manufacturers of good feelings.’” Kekäläinen seems do my artistic work, one of my basic starting points has been genuinely worried. “I think there’s something fascist in making the politics of the body.” art to make people feel good.” Over the course her career, contemporary dance in general “All ideologies try to tame art,” she continues as she tells has become more conceptual. This development has broadened me about her new work, Whorescope (2017), whose subject she dance’s expressive possibilities, but it has also enabled pasted- describes as “Art in the Era of Terror and Wellness Business.” on themes and subjects in all kinds of pieces. In my opinion, “The ideology of middle class society is summed up in the idea the unique quality of Kekäläinen’s works lies in the way that of wellbeing, which can be obtained as a commodity-like service, their form and content, topic and experientiality, concept and with all its existential dimensions removed. This idea of wellbe- body, are inseparable. ing is irreconcilable with the current Western philosophy of art.” Diva Vulva (2015), which has also been performed in Paris, Now more than ever, Kekäläinen feels, is a time for resist- was subtitled The Body as a Symbol of Capitalism. Its disturb- ance, not surrender. “It’s important to open yourself up to what’s ing images shake up our limited concept of the body, gender, happening,” she says. “Now is the time to make new alternatives pleasure, and the exercise of power. and possibilities visible: curiosity, tolerance, and lovingness.” Queer Elegies (2013), which toured in Cannes and Mexico, According to Kekäläinen, the power of art lies in “the moment asks what is a woman and what is a man, and investigates how of insight, recognition, sharing, in how it transcends feeling, culture moulds identities and limits human variety. time, gender, races, languages. It’s universal… when you let it be and don’t start creating art that serves a certain kind of Dedication social order.” Kekäläinen’s long career on the margins of the arts hasn’t been an easy one. As a trailblazer in an evolving art form, she’s had SANNA KEKÄLÄINEN, SELECTION OF WORKS a lot of mud flung at her. From her work Studien über Hysterie Whorescope (2017) (1991) right up to the 2000’s, the reception of her work in Finland Hafed Collage of Differences and Fragility (2016) has been one of bewilderment. Nowadays Sanna Kekäläinen’s Diva Vulva (2015) Queer Elegies (2013) meaning as an artist is better understood, even in the main- THE BEAST – A Book in an Orange Tent (2011) stream media. P 20 FINNISH DANCE IN FOCUS 2017–2018 NEW FACES NEW FACES FINNISH DANCE IN FOCUS 2017–2018 P 21 TEXT Maija Karhunen PHOTOS Uupi Tirronen

CAUGHT IN FRICTION BETWEEN THE BODY Era Institute of Consciousness. “Michael KATI KOROSUO – Maija Nurmio’s work Oh, Forest. dancers for example at Ivo Dimchev’s AND THE WORLD – EMMI VENNA Jackson is the embodiment of a spectacle, DANCING FOR EQUALITY Having studied in , Philadelphia studio in Brussels and in Tanzhaus Zürich, and my contention is that we can under- and and graduated with a Mas- in children’s homes in Guatemala, to asylum MEET Emmi Venna wonders what kind of bodies stand the state of the contemporary world Kati Korosuo, a dance artist, is pleased with ter’s degree as a dancer in 2011 in Helsinki, seekers and disability support workers. The and subjectivities our time and current and possibly the future through studying the variety of experiences and approaches Korosuo developed Dances to a Beat, a third work in the Merphing series of per- political culture will generate and provoke. Michael Jackson’s body.” The working group she comes across in her profession. For dance technique and a tool for instant cho- formances based on the technique, will be THE NEW “How can we resist normativity with our has approached the enigma of Michael example in recent times, her work as a per- reography, in 2013. The technique is based completed in autumn. bodies? Communities based on voluntarity Jackson’s life through different events, for former has led her to consider uncensored on improvisation, repetition and rhythm. “The more extensively I delve into the and micro scenes, which can work within example at an artistic/scientific seminar corporeality, free from social conventions, She has taught it around the world, from Dances to a Beat practice, the more it feels their own rules, often demonstrate corpo- and an all-night wake. In Oslo at Parallel and to confront human-animal hybrids in Israel to USA, to students and professional essential. Everyone is capable of learning FACES! reality that’s more interesting than in the Lives -event the Institute set up an inter- the technique but it challenges even the professional art scene.” active, intimate therapy room to look at most experienced of dancers. Everyone’s Venna has set up a project together memories and affects related to Michael emotional and bodily history is an equal Two versatile dance artists with director Ossi Koskelainen: Post-MJ Jackson. starting point for dancing. This can result In an untitled work created with Milja in an unravelling of any value judgement between life, choreography, Aho, Anna-Mari Karvonen and Anna- about movements and of social hierarchies.” body and nonconformity. Mustonen, the artists were interested in The interest in performer-centred, how choreography arises in what’s already instant chorography and dramaturgy led there. “We asked ourselves what our per- Korosuo to found the Festival of Instant formance does, not so much what it’s about. Choreography. “It’s brilliant that we’ve We wanted to lure the spectators into a gained a new forum for instant choreogra- space in which watching the performance phy in Helsinki. I hope the new festival will could also be considered dance.” enable us to think laterally and to promote Venna, who graduated with a Master’s transparency, equality and connection with degree in dance performance from the each other. The planning of new strategies Theatre Academy in 2010, says she has will continue.” been greatly inspired by other artists. “My current way of working is based more on knowledge acquired from colleagues and people who I’m a fan of rather than on my formal master’s degree.” Emmi Venna works from the lived-in body’s experience and she aims to configure links between life, choreography, body and culture. “I try to avoid ennobling the body and to communicate more on the friction that is created between one’s own bodily experience and one’s relationship with the world.” P 22 FINNISH DANCE IN FOCUS 2017–2018 FINNISH DANCE IN FOCUS 2017–2018 P 23

JARKKO MANDELIN: Animals Aino Huovio JARKKO MANDELIN – LOVE, RESPECT, AND TRUST TEXT Raisa Rauhamaa TRANSLATION Lola Rogers

Jarkko Mandelin makes use of every DANCING ON TATAMI MATS IN A WRESTLING HALL Mandelin mixes and combines styles from circus acrobatics to possible technique in his works, where breakdancing and from classical ballet to contemporary dance. His style could be called masculine, because the strenuous holds the dancers fly with a dog and dangle and unrelenting pace demand tough physical fitness and a from the tops of tall poles. fearless disposition. Mandelin denies any pursuit of bro-energy. ”I teach aggres- sive movement that requires strength, but gender itself doesn’t interest me one bit.” When the slight-framed Anni Koskinen throws the heavier Mandelin over her shoulder and spins him A GREY FRIDAY morning in April in an industrial area of east Hel- to the ground, it’s about equality – a physical meeting that sinki. Choreographer Jarkko Mandelin’s principal dancer Anni doesn’t highlight their separate sexes. Koskinen is in the depths of a warehouse warming up for an Nevertheless, Mandelin is known specifically as a teacher evening duet. who inspires boys. It’s easy to understand that his high-speed They’re preparing for the 10-year anniversary festival of and relaxed approach speak particularly to boys interested in Apinatarha (Art Cooperative Monkey Garden), of which Man- dance. ”I taught my first hip-hop dance classes when I was just delin is a founding member. ”We have time. Anni knows how 15 and I’ve taught thousands of amateurs and professionals.” to warm up by herself,” the friendly choreographer says when I Instead of setting down rules, guarding the aesthetic of each worry that the interview in the group’s office is taking too long. type of dance, or polishing the technique, he wants to encour- When our chat is over, Mandelin puts on his practice clothes age his students to experience how the movements feel in their and starts rehearsing the duet with Anni. own bodies, and how far they can take them. Through rapid leaps, sensational lifts, tricky turns and drops, ”I teach the students large motor skills in a wrestling hall, on there is no gritting of teeth. Relaxed movement is their alpha tatami mats. The kids can be really clever and ferocious. I want to and omega. Mandelin’s body heats up and the sweat is soon bring a carnal, sort of silent knowledge into dance. I don’t dem- flying. ”I turned 37 this summer,” he chuckles as he performs onstrate the movements for the kids, I just give them a push and the physically grueling movements. watch to see where we end up, without saying anything about In the autumn 2017, Mandelin and Koskinen are headed to the right trajectory of movement or the mechanics of it. Some Strasbourg as guests of the Sead Academy, where they will teach of them will be able to adopt more styles while others will find and rehearse a piece for the school’s Bodhi project. the movement within themselves. Either way is good, as long as P 24 FINNISH DANCE IN FOCUS 2017–2018 FINNISH DANCE IN FOCUS 2017–2018 P 25

1. 1. 2. JARKKO MANDELIN: I want to bring a carnal, Piñata sort of silent knowledge Mikal Ahlfors \ into dance. 2. JARKKO MANDELIN: Wolfpack Hanna Käyhkö.

the aesthetic doesn’t get in the way of the kinetic experience.” human distance and closeness. How momentum is created, It’s important to Mandelin to be able to create an honest how far a dancer can throw a partner, how high they can leap spirit and a community of mutual trust in his teaching. ”For over a partner, what ways they can use to lift a partner by the the students, and all of us, it’s ultimately important to be seen leg as quickly as possible. The movements can be dangerous, as we are and to be accepted. It builds professional self-esteem, but a dancer can’t afford to panic. It’s a fierce kind of dance that gives dancers the wings they need in dance. The skills will demands primitive instincts and animal-like motor functions. come eventually if the psyche can be brought along to help in In Animals Mandelin also explored the physical principles achieving the skills.” of the lever. The Chinese pole, familiar from the circus, was a source of inspiration when the dancers practiced climbing FROM BALLET TO CHINESE POLE and moving atop a 2.5 meter pole for the piece. ”I wanted to Jarkko Mandelin’s own road to his profession led through ama- simulate climbing a tree and moving from tree to tree.” Climb- teur theater. ”When I was thirteen we were required to take ing the poles raised the dancers into a new sphere. ”At first the ballet lessons and I also started practicing breakdancing.” His constant falls were tough on the ankles and staying up at an enthusiasm for dance was immediate. It was so intense, in fact, angle felt quite impossible.” that for the next six months he trained in beginning ballet with classes of 6 and 7-year-old girls!. From training at the Finnish A FLYING CHILD AND A DANCING ALASKAN MALAMUTE National Ballet School he moved on to contemporary dance Mandelin’s aim is to never do two dance pieces alike. ”I make classes at the University of Arts and graduated with a Masters an effort to always understand my own instrument in a new Degree in choreography in 2009. way and I want to use everything I’ve learned about moving In Mandelin’s method, choreographic work and teaching in my choreographed pieces.” are seamlessly interwoven. ”Teaching is a good way to stay in Rohkeat (The Brave, 2015) was a work for the whole family the mix, to investigate the possibilities of movement.” In his that featured Mandelin’s six-year-old son, superhero acrobat teaching he searches for the internal logic of the movements Oiva, who has been dancing since he was three, and charmed themselves. the audience with his stage charisma. ”The father-and-son ”Building choreography and developing a series of move- paired acrobatics were seamless. It was a little scary sometimes, ments is like solving a jigsaw puzzle. too, when the boy went whizzing through the air like a human ”But the most important thing isn’t what happens over the cannonball.” (Helsingin Sanomat newspaper, Feb. 13, 2015) course of an hour on stage. In my work what’s more important Myrskyjä vesilasissa (Tempests in Teapots, 2014), a piece with are all the things we’ve investigated and discovered over the year two men and one ”laconic woman gardener”, drew its ideas as a group. The performances are mileposts of those discoveries.” from Japanese samurai and kabuki traditions. Mandelin’s most recent piece, Animals (2016), explores Mandelin’s popular 2013 piece Wolfpack attracted a lot of P 2 6 FINNISH DANCE IN FOCUS 2017–2018 FINNISH DANCE IN FOCUS 2017–2018 P 2 7

1. & 2. 1. KINETIC ORCHESTRA: Animals It’s a fierce kind of dance that Aino Huovio demands primitive instincts and animal-like motor functions.

media attention because it featured his magnificent sled dog The most important thing is love, respect, and trust for your Ansa. In Wolfpack Ansa, an Alaskan malamute, howled like a workmates. Even if you fail, that connection won’t let you down. wolf, sprinted on stage for the running scenes, and tussled with It carries you and warms you.” 2. her master. When the dancers lay down on the floor, Ansa threw herself down to lie on her side, too, content to wait for the next THE FAST EAT THE SLOW running scene, when she could play and wrestle with abandon When Mandelin became a choreographer and founded Kinetic again. In Wolfpack, Mandelin wanted to examine the bounda- Orchestra, he realized that he couldn’t compete with the wages ries of group behavior, suss out the shared rules of the pack, of larger dance groups. The field of Finnish contemporary dance and make visible the tensions between individual and group. is bustling and the best dancers are in high demand. ”In this field, networking with the right people is the bottom ON FAMILY AND LOVE line. You can’t waste any time after graduation.” Juggling a busy life with three small children and two dogs, Although the silent shared regard of the field is something Mandelin says that the whirl of activity sometimes steers him to rarely spoken aloud, a reputation as a sought-after choreogra- ideas for his work. Even Ansa initially came onstage by accident, pher, or a less interesting one, can spread rapidly. when Mandelin got a solo gig on short notice and had nowhere ”I want to show my colleagues that my community is the to leave the dog. ”When I got there I realized that I could bring place to be. To be in it demands athletic abilities and intelligent her on stage with me.” content that values dancers. You also have to be able to scent The meaning of family is a repeating theme in interviews the spirit of the time before it happens.” with Mandelin. The reason may be in his childhood, when his ”I have to prove that I can act as the leader of the group parents unconditionally supported his stubborn, passionate without forcing them. There should be good ideas and fairness.” interest in dance classes. Mandelin’s next piece, all-male-panel, is about solving cli- Mandelin stresses that the dancers committed to his own mate change. How do you make a dance piece about a seated ensemble, Kinetic Orchestra, are the most important thing in his seminar, and solve world-class problems while you’re at it? work. ”If a dancer doesn’t want what I want, I feel like I’ve failed.” ”It’s a tragic joke. We’ve all seen that power doesn’t suit Practicing and performing together, the group is like an everyone. But it would be fantastic to be able to make the world extended family that’s also able to make interesting work a better place through dance. If this piece doesn’t do that, at together. ”There can be moments in the group when a dancer’s least we can laugh at it!” personal problems effect things in such a way that for a week we can’t get much done. When that happens, you have to give \ it time, because what seems like a period of idleness will always Writer is journalist and dance critic give something back. P 2 8 FINNISH DANCE IN FOCUS 2017–2018 FINNISH DANCE IN FOCUS 2017–2018 P 2 9

ANNI KLEIN & JARKKO PARTANEN: Dirty Dancing, Sound design: Heidi Soidinsalo Spatial and light design: Samuli Laine Katri Naukkarinen | Zodiak 2014 DESIGNING LIGHTING AND SOUND TEXT Niko Hallikainen TRANSLATION Fleur Jeremiah

Performance design is receiving an increasing amount of attention, which is reflected in the growing interest of artists and spectators in different forms of light and sound. This article introduces four designers who work with light and sound in contemporary dance.

FOR SOUND DESIGNER HEIDI SOIDINSALO (b. 1983), sharing thoughts For her, the most important processes are ones that chal- within the working group and her presence at all stages of the lenge her to rethink her own way of working. At its best, this work process form the central planks in artistic work. When thinking has resulted in a carefully thought-out sound design designing, for example, she ponders how the potential concept for Masi Tiitta’s work Flute. The design can also be regarded as of the performance is reflected in the sound and, at the same a thirty-minute stand-alone composition. Soidinsalo is part time, she considers if a sound concept could open up an overall of the WAUHAUS group and she will create the design for the solution for the performance. It’s important to Soidinsalo that group’s sound-based work Private Dancer jointly with sound the sound of a performance is noticed and the aural experience designer Jussi Matikainen. is sensed corporeally as part of the performance. According to Soidinsalo, who works in different performing Soidinsalo, who has a master’s degree (MA) in Sound Design, arts, the human voice has gained an increasingly central role feels that the new generation of sound designers develops ever in dance, and as a result, sound designers should consider the new answers to the scope of a sound designer’s role. Questions nature of the spoken language and the use of a performer’s voice about composing and a designer appearing on stage crop up in contemporary dance. In all her design work Soidinsalo aims more and more. Soidinsalo herself has been on stage, e.g. when to ensure a spectator realises he or she is listening and that working with the Vibes collective but prefers the idea of perform- listening is one of the conditions for a performance to happen. ing through sound: “I’m present when the sound is.” P 30 FINNISH DANCE IN FOCUS 2017–2018 FINNISH DANCE IN FOCUS 2017–2018 P 31

MINNA TIIKKAINEN (b. 1969) likes to design lighting for experimen- Tiikkainen’s design work is influenced by the fact that she JANI-MATTI SALO (b. 1984) is a lighting designer who concentrates tal or medium-sized dance productions. She has also acted as won’t herself be at the lighting control desk during a tour. After on drama, dance and installations. In addition to his master’s designer in some large-scale performances, including Jefta van the first night, a lighting technician assumes the responsibility of degree (MA) in Lighting Design, he has also studied media. Salo’s Light becomes an inseparable Dinther’s and Deborah Hay’s works for the Swedish Cullberg realising the performance; that’s why Tiikkainen aims at simple practice is guided by an artisan identity, a physical marshal- Ballet. In addition to having a master’s degree (MA) in lighting and pragmatic solutions. This year she will have time to design ling of space, ideas and materials. Professional development part of the content of a work. design, Tiikkainen has trained as a graphic artist and studied the lighting for the premiers of works by five choreographers: and a tolerance of incompleteness are constantly present in set design at Rietvald Academie in Amsterdam. In Finland, Tiina Tarpgaard (Denmark), Gunilla Heilborn (Sweden), and his design work. Tiikkainen initially worked in theatre but transferred to con- her established partners van Dinther (Netherlands/Sweden), The work process is never the same for Salo. With increas- temporary dance when she moved to the Netherlands in 2001. Nicole Beutler (Netherlands) and Mette Ingvartsen (Denmark). ing frequency, he is invited to working groups, which are often She describes her design as restrained, with finding the Tiikkainen believes that the widespread interest in lighting put together before a great deal is known about the work. This essential as her aim. “I don’t strive to create changing ‘light- has been boosted by well-known works by artists such as Olafur may lead to a two- or three-year process with the creative team scapes’ or to pinpoint different spaces but I want to arrive at a Eliasson and by light festivals organised in different parts of before the premiere. This year, Salo will collaborate in Jaakko big picture, within which changes of atmosphere and time can Europe. Tiikkainen’s design has been repeatedly acknowledged Pietiläinen’s and Eeva Muilu’s work PET at the Kiasma Theatre, be realised,” Tiikkainen says. In the past few years, she’s been in the reviews. She thinks this is partly thanks to the choreog- Helsinki Museum of Contemporary Art, and in Cirkus Cirkör’s interested in the movement of light; that is, in design based raphers – they have emphasised the importance of team work work Under on the main stage of Dance House in Stockholm. on a spectator’s perception. For instance, in Jefta van Dinther’s in the creative process. In Salo’s designs, light becomes an inseparable part of the For Salo, the most ground-breaking experiences are the ones, work GRIND, the movement of light creates the visual basis content of a work. Because he considers language too abstract in which the stage is not subject to strict control or pre-defined and concept of the work. a tool, he contributes to works via concrete spatial proposals, boundaries and in which any member of the creative team has always aiming to create a strong sensation of cross-disciplinary space to explore any ideas freely. coherence. Salo himself says: “I’ve also participated in works in Salo himself has organised workshops to which he invites JEFTA VAN DINTHER: Protagonist, which the role of lighting is significant and challenging from artists to collaboratively investigate space and light without any Lighting design: Minna Tiikkainen the very start, and in working groups in which I’m able to oper- production pressure. “The time of hierarchical thinking is over; Urban Jörén | Cullberg Ballet 2016 ate on equal terms with other members and creative areas.” we need to aim at the horizontality of teamwork,” Salo opines.

ONA KAMU: Pyramidi, Spatial and light design: Jani-Matti Salo Mark Niskanen | Zodiak 2017 P 32 FINNISH DANCE IN FOCUS 2017–2018 FINNISH DANCE IN FOCUS 2017–2018 P 3 3

MIKKO HYNNINEN (b. 1972) works both as a lighting designer and a sound designer, added to which he also designs spaces. LIGHTING AND The spatiality of materials is a Hynninen has acted as designer for works by Meg Stuart (US/Bel- gium) and Doris Uhlich (Austria) in addition to several works by central element in Hynninen’s David Wampach (France). In the past few years, he has designed SOUND DESIGN AT lighting and sound design. for Finnish dance artists Eeva Muilu, Maija Hirvanen and Veli Lehtovaara. His latest work with the Finns has been with Kirsi Monni in spring 2017. THE UNIVERSITY Hynninen has been involved in lighting and sound design in performing arts from 1995. Apart from a master’s degree in OF THE ARTS theatre and drama, Hynninen gained an MA at Helsinki Acad- TEXT Sanna Kangasluoma emy of Fine Arts in 2008. In Hynninen’s own words: ‘When you’ve created your own works of art, it impacts on your iden- tity and way of working. It’s challenging, at times, to find the boundary between designing for a larger entity and your own piece of work.” Hynninen wants to avoid repetition and aims to be able to be blown over by a design again and again. His task – whether it consists of lighting, sound or space design – amounts to implanting the narrative language of the tool in question into the body of the whole work. The spatiality of materials is a cen- tral element in Hynninen’s lighting and sound design, in other words, their role in creating the architecture of the performance. In Finland, it has been possible to study lighting and sound In addition to performing arts, Hynninen also occasionally cooperates with pictorial artists and with architects in concepts design at a degree level at the Theatre Academy of the for urban planning. However, dance constitutes his favourite University of the Arts Helsinki for the past thirty years. art form because dance and lighting and sound design have a great deal in common in being nonverbal. During this period, the job description of a lighting and \ sound professional has changed from a technician to an Writer is a dance critic and freelance writer artist and an equal member of the artistic working group.

Studying lighting and sound design in Fin- Theatre productions, which can amount to land is focused on art, which is unique in as many as 40–50 premiers a year.” the world. In addition to the basics of their The three-year study programme own field, lighting and sound designers results in a bachelor’s degree (BA) in thea- embark on foundation studies in art: his- tre studies, and the students are able to tory of theatre and dancing, dramaturgy, deepen their own range of expressiveness fine arts, aesthetics etc. in more individual directions in a two-year Tomi Humalisto, Professor of Light- master’s programme. All the lighting and ing Design explains: “The studies nourish sound designers interviewed in the article the areas of artistic thinking, observation, have gained a master’s in theatre studies. knowledge of traditions and technical kno- “From the very beginning our concept whow. Because lighting and sound design is was to produce artists whose paint brushes VELI LEHTOVAARA: Clandestine sites: displaced, studied at the same academy with students take the form of spotlights and sound Spatial and light design: Mikko Hynninen of theatre and dance, the collective creative equipment,” says Esa Blomberg, former Yoshi Omori | Zodiak 2015 performance process becomes familiar to director and lecturer at the Institute of design students as members of the Training Lighting and Sound Design. P 3 4 FINNISH DANCE IN FOCUS 2017–2018 CHOREOGRAPHER IN FOCUS CHOREOGRAPHER IN FOCUS FINNISH DANCE IN FOCUS 2017–2018 P 3 5

Johanna Nuutinen JOHANNA NUUTINEN Tuukka Koski INVESTS IN PHYSICAL IMAGINATION TEXT Jenny Jägerhorn-Tabermann TRANSLATION Claire Dickenson

After 15 years of job security with the , dancer and choreographer Johanna Nuutinen is now opting for freedom, diving into an uncertain freelance future. Following her breakthrough with the multi-award-winning dance film Me – Story of a Performance, she now has her sights set even higher. “I want to focus on building an international career. Success requires respect and awareness of what works in different cultural contexts.”

SHE IS ABOUT 12 years old in the photo I have out that she would receive a three-year worked with many of the biggest name cho- sick leave, a pension ... all things that many On stage she is intense and captivating. applications. The film has been shown at in front of me. The same intense and reso- artist’s grant from the Finnish Cultural reographers in the world of dance: Ohad freelancers and artists can only dream of. “The workshops are an important way over 40 film festivals around the world lute look in her eyes. We studied together Foundation. Naharin, Jiří Kylián, William Forsythe and “I would have had ten years left until to unearth new talent. It was a challeng- (Festival FIVER in Spain, Miami Short Film for a while at the Finnish National Ballet “I’ve always followed my intuition and Tero Saarinen, to name just a few. retirement. But a lot can happen in ten ing platform on which to test out ideas, Festival, FIFA Montreal, Cinedans Amster- School, followed by several years working have never walked away from something I “I’m grateful to have been given the years. Of course it’s nerve-wracking to go and to learn how the entire production dam, San Francisco Dance Film Festival…). together at the National Ballet. I remember felt strongly about doing. I poured my heart opportunity to work with so many fantastic it alone with nothing to fall back on; it’s a phase works.” “I knew that I would be returning to her as a soldier who never gave up. Even and soul into my work for the National choreographers. Some days were extreme case of survival of the fittest.” my job at the National Ballet after my job from an early stage, Johanna Nuutinen had Ballet during my 15 years in the company – having to switch from to The National Ballet’s choreography A BREAKTHROUGH VIA FILM alternation leave, and I wanted to have a highly professional approach to work. and 10 years in the Ballet School. But eve- Swan Lake in the space of 15 minutes. Your workshops and performances were a cru- Nuutinen’s major breakthrough on the something I could develop on the side, and “I got that from my father, a photogra- rything has its time. Everyday life won’t body can cope with it up to a point. I’ve cial springboard for Nuutinen, allowing international stage came with the short it worked. It will still take some time for me pher, with whom I worked a lot as a model change much from how it has been for never seen myself as a classical ballerina, her to create her own choreographies for film Me – Story of a Performance, which to get established. The film was completed when I was a child. That nurtured my work the last two years I’ve spent on a leave, I’m more interested in a different kind of the company. The first years in a company was created in 2013 in collaboration with in 2013, and three years later I’ve managed ethic. I also learned a lot about production which, alongside dance, have been defined image of a woman.” are often tough, and many younger danc- Jopsu and Timo Ramu of Musuta Ltd. The to sell a durational performance concept work and entrepreneurship.” by staying up into the early hours sending Nuutinen is well aware that she is leav- ers start off as substitutes. The workshops minute-long trailer is visually breathtaking, that includes the film to contemporary In February she handed in her resigna- festival applications and the like.” ing behind her the security an institution offered a chance to show a creative side. I and in today’s digital world it has spread museums.” tion notice, despite not yet having found At the National Ballet Nuutinen has provides – a monthly salary, paid holidays, remember seeing her in a whole new light. far and wide via social media and festival Nuutinen developed the film further P 36 FINNISH DANCE IN FOCUS 2017–2018 CHOREOGRAPHER IN FOCUS CHOREOGRAPHER IN FOCUS FINNISH DANCE IN FOCUS 2017–2018 P 37

1. JOHANNA NUUTINEN: Me – Story of a performance Mark Stubbs \ 2. JOHANNA NUUTINEN : Iris Jukka Rajala-Granstubb

1. 2.

into the piece Me, where, alongside the is useful to be able to return to the zero elements and video are also important for dance, circus and theatre artists lead by \ film, she provides a live improvisation, cre- First, I build a world of point if I need to.” parts of Nuutinen’s multidisciplinary works. international master teachers of different ating a performance in collaboration with In the resulting performance, the “A video image constitutes an expansion of movement methods Writer is freelance dance critic and former the audience. The piece is a site-inspired sound, the visual and audience can use a mobile application reality, another dimension.” “It is important to me that I share the dancer at the Finnish National Ballet work for museums and galleries, and serves other moods. I then to influence the performers’ emotional knowledge I find interesting and work as an example of the kind of durational content. FOCUS ON ASIA with the group to test ourselves through works Nuutinen finds captivating. physically step into that Besides creating a stronger contact network improvisation. It won’t be focused solely on “The longest I’ve gone in terms of universe. A PERSONAL UNIVERSE in Finland, Nuutinen also has her sights on dance but rather on movement – physical improvisation is nine hours. I eat and go As a child, Nuutinen could often be found establishing an international career. At the imagination.” to the toilet in the moments when no one drawing. She liked creating three-dimen- moment her attention is focused on Asia. is watching. I want to use the work to break sional architectural spaces. Still today she “In a new culture you develop further down personal boundaries and explore how producer Jarkko Lehmus. The project often jots down her works on paper when and can challenge your own perspectives. audience members react to touch.” studied emotions in a social context from starting work on something new. How success is achieved internationally is The solo piece Hatched was born the viewpoints of neuroscience, dance, “First, I build a world of sound, the dependent on the artists themselves – you PROFILE: Johanna Nuutinen IRIS when a festival director in Hong Kong saw music and visual art. One of the biggest visual and other moods. I then physically have to become your own business card and Lives in: Helsinki Premiere in September 2017 in Helsinki the trailer of Me in Singapore, and asked challenges the team faced was first find- step into that universe.” be aware of the kind of environments in Age: 34 Collaboration with the Irish residency Nuutinen to create a new piece for the ing a neutral movement which they could Recurring themes in Nuutinen’s works which your pieces are presented in. It can Career: The Finnish National Ballet centre Shawbrook 2014 i-Dance festival. Hatched takes use start from. are identity, metamorphosis, and how the take a number of years to establish yourself. 2002–2017 (freelance 2015–2017) ROOM of power, anonymity and identity as its “People in the same space have an emo- body and mind are influenced by fatigue Success requires respect and awareness of If I weren’t a dancer I would: be a pho- Premiere in November 2017 in starting points. tional effect on each other. Trying to hold and the duration of the performance. What what works in different cultures.” tographer and have my own espresso bar. Collaboration with Pori Dance Company Social eMotions is based on the results an emotionally neutral movement while the happens if you see a fifth or sixth version, Nuutinen has not ruled out establish- and the Centre of Choreographic Crea- of a two-year scientific and artistic study other person was dancing full-out roman- and how does the piece take shape in dif- ing her own company in the future, but is UPCOMING WORKS 2017–2018: tion Trois C-L (residency in Luxembourg) carried out in collaboration with a research tic love or loathing was very challenging. ferent spaces? She has travelled the world keen to emphasise that this would require ME – durational performance team led by Tommy Himberg, PhD from It was a very interesting and educational studying different movement practices, finding a suitable person to take care of In November 2017 LUCID DREAM Aalto University’s Department of Neu- experiment, and one that I have been able including Ohad Naharin’s Gaga and Butoh the management side of things. Centre Pompidou Málaga Premiere in spring 2018 in Helsinki roscience and Biomedical Engineering, to draw upon in my working process. Per- with Yoshito Ohno in . Her three-year plan includes activities Collaboration with Seoul Dance Centre and Nuutinen’s partner, performer and sonally, I often start with feelings, but it In addition to the dance, the visual such as organising a variety of workshops (residency in South Korea) P 38 FINNISH DANCE IN FOCUS 2017–2018 DIRECTORY OF FINNISH DANCE FINNISH DANCE IN FOCUS 2016–2017 P 39

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 THEATER HURJARUUTH Norway Dance Company within Art Institution A \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ Helsinki State-subsidised Dance Companies S DANCE PUBLICLY FUNDED Contact: [email protected] www.hurjaruuth.fi Independent Dance Company I DANCE COMPANIES Hurjaruuth is a dynamic dance theatre Production Centre P COMPANIES company founded in 1981. During Regional Dance Centre R AB DANCE COMPANY / time it has given over 100 premieres, AURINKOBALETTI completed dozens of foreign tours from Festival & Event F DANCE COMPANIES Turku Tanzania to Taiwan and provided work Professional Education E Contact: for an astonishing number of dance, WITHIN ARTISTIC Katja Lehmussaari, managing director & circus and theatre professionals. The Urmas Poolamets, artistic director productions combine modern dance INSTITUTIONS www.aurinkobaletti.fi with visual arts and circus with music. FINNISH NATIONAL BALLET AB is known as a constantly evolving, Hurjaruuth has an own venue at Hel- Helsinki high-quality contemporary dance sinki’s Cable Factory. I S R E Contact: group which is not afraid to venture Genres: Dance Theatre, performances Sampo Kivelä, artistic administrator outside the limits of its own genre. Its for young audiences, dance festival Sweden Russia Artistic Director: Kenneth Greve repertoire includes productions for I P R F E www.operaballet.fi both adults and children by Finnish and DANCE THEATRE MD About 80 performances and 3–5 pre- international choreographers. The home I R mieres per season. Also works by stage of the company is at Manilla, a Contact: contemporary choreographers, such as beautifully restored former factory on Anniina Kumpuniemi, managing director F R F Tero Saarinen, Jorma Elo, Jiří Kylián, John the banks of the Aura River in Turku. www.tanssiteatterimd.fi F Pyhäsalmi Neumeier, Alexei Ratmansky and Ohad Genres: Contemporary dance, dance Ranging from dazzling dynamics to Naharin. The Ballet employs 77 danc- theatre, performances for children warmhearted comedy, Dance Theatre Kaustinen Outokumpu E F ers representing 21 nationalities, plus 15 MD’s broad repertoire features shows I R S R E dancers in its Youth Company. DANCE THEATER ERI from classic fairy tales for children to F Genres: classical ballet, contemporary bal- Turku contemporary dance pieces for adults. I R let, contemporary dance, young audiences Contact: Maarit Keto-Seppälä, producer MD also tours actively in Finland and Jyväskylä F www.eri.fi abroad. MD’s dancer-choreographers are I F Pori F HELSINKI DANCE COMPANY Dancer-choreographers Tiina Lindfors, as well frequent visitors in various thea- Tampere I Helsinki Lassi Sairela and Eeva Soini founded tre and opera productions. S R E F S I Contact: Dance Theater ERI in 1989. Over the past Genres: Contemporary dance, dance R F E P 28 years ERI has built up a repertoire theatre, dance festival, performances Kerava I Jyrki Karttunen, house choreographer Turku www.hkt.fi that now includes more than 300 works. for children S I I S Vantaa The biggest contemporary dance com- Every year they produce around 130 Espoo Helsinki pany in Finland with 10 dancers. HDC performances, of which four or five are DANCE THEATRE MINIMI Raasepori A performers are known for performing premieres. Kuopio I S physically demanding contemporary Genres: Contemporary dance, Contact:

I dance and expressive dance theatre. dance theatre Riikka Puumalainen, artistic director

P Helsinki Dance Company’s home is the www.minimi.fi Helsinki City Theatre. Minimi performs both in Finland and R Genres: Contemporary dance, abroad: on its home stage and on tour, F dance theatre in traditional stages and on the streets. E Estonia Minimi wants to sustain and develop the P 40 FINNISH DANCE IN FOCUS 2016–2017 DIRECTORY OF FINNISH DANCE DIRECTORY OF FINNISH DANCE FINNISH DANCE IN FOCUS 2016–2017 P 4 1

mobility and availability of dance thea- ALPO AALTOKOSKI COMPANY BALLET FINLAND international group of artists is charac- Genres: Contemporary dance, tre and create performances in which Helsinki Helsinki Helsinki terised by a tight fusion of dance, music new dance dance and theatre merge into one. Contact: Iiris Autio, managing director Contact: Contact: Ville Valkonen, artistic director and strong visual elements. In 2012 they Genres: Dance theatre, physical theatre, Johanna Rajamäki, head of international [email protected] www.balletfinland.com won first prize in three categories in the DANCE THEATRE AURACO street theatre sales www.aaltokoskicompany.fi An independent troupe of classically prestigious Certamen de Coreografía de Helsinki www.terosaarinen.com Alpo Aaltokoski Company has toured trained dancers and choreographers Danza Española y competition Contact: Päivi Aura, artistic director DANCE THEATER RAATIKKO Tero Saarinen’s works have captivated in nearly 30 countries worldwide. Ho- seeking new forms of classical and con- with their work The Raven, and they www.auraco.fi Vantaa audiences and critics in 40 countries, listic visual insight is characteristic to temporary ballet, tradition and thinking. have toured in 15 countries. Touring dance company producing 1–3 Contact: Marja Korhola, theatre director including at BAM & The Joyce (New Aaltokoski’s artistic work. The chore- Founded in 2009 the company has Genres: Contemporary flamenco, live premieres per year. Auraco produces www.raatikko.fi York), Chaillot & Châtelet (Paris), Royal ographer’s aspiration is to understand performed successfully in Finland and music performance, dance theatre, performances for all ages combin- Founded in 1972, Raatikko has its own Festival Hall (London), Belgrade Dance human beings and their personal rela- abroad. dance films, young audiences. ing dance and mime. Auraco has many venue in Vantaa and also performs on Festival (Serbia), New Zealand Interna- tions as well as their relation to the Genres: classical and years’ experience working with and for tour. Raatikko creates dance pieces for tional Arts Festival, and Saitama Arts surrounding world, never forgetting the contemporary ballet DANCEBOX babies and toddlers under age 3. children, young people and adults, often Theater (Japan), and in commissions for comic side of things. Tampere Genres: Dance theatre, young audiences combining dance, theatre and circus. companies such as NDT1, Batsheva, Lyon Genres: Contemporary dance, BOOMTOWN DANCE Contact: Terhi Pinomäki-Lenick Over 300 performances per year, with 2 Opéra Ballet and the National Dance community dance Kotka www.tanssiboxi.com DANCE THEATRE KAIE to 4 premieres, 150 audience events and Company of Korea. Wide range of rep- Contact: Ulla Owens, producer DanceBox is an independent contem- Kerava over 30,000 spectators. ertoire of works w/ and w/out live ARJA TIILI DANCE COMPANY www.boomtowndance.fi porary dance group from Tampere, Contact: Anne Jouhtinen Genres: Dance theatre, performances music. New creations in 2018: LA Phil Helsinki Boomtown Dance is a crucible of art- founded in 1998. It performs both in www.cra-company.com for young audiences collaboration and new duet ‘Breath’ feat. Contact: Arja Tiili, choreographer, artis- ists based in South-Eastern Finland who Finland and abroad. Performances for a Multi-artistic productions for adult and Tero Saarinen and accordionist Kimmo tic director produce pieces on the stage and screen wide range of audiences, young and old, young audiences. Traditional stages as DANCE THEATRE RIMPPAREMMI Pohjonen. www.arjatiili.fi both in front of and behind the camera. in theatres, at schools and on the streets well as streets, market squares, parks, Rovaniemi Genres: Contemporary dance, contem- and www.breakthefight.com They also develop teaching units for use and at markets. shop windows and kindergartens function Contact: porary ballet, live music performance, Choreographer Arja Tiili is known for in schools. Boomtown Dance runs an Genres: Contemporary dance, as performance spaces. The Finno-Ugrian Matti Paloniemi, artistic director dance films breaking genre boundaries and has a annual residency, which has involved ac- dance theatre roots inspire with their mysticism. www.rimpparemmi.fi knack for revealing the most intimate, tors in addition to the dancers. Genres: Contemporary dance, dance Finland’s northernmost professional secret traits of the human spirit. Her Genres: Contemporary dance, dance DANCE COMPANY theatre, multi-artistic performances dance theatre offers a unique mix of \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ works often depict our dark side: mad- theatre, dance film, applied dance GRUPPEN FYRA (G4) Finnish and contemporary ness, violence, loneliness and greed Helsinki DANCE THEATRE LIIKERI dance. They give about 120 performanc- – but always with a palpable sense of CARL KNIF COMPANY Contact: Pia Liski Tampere es annually and have toured in more INDEPEN- humour, as in her latest works Break the Helsinki www.gruppenfyra.com Contact: Linda Kuha, choreographer than 20 countries. Also a repertoire of Fight – I was here! (2015). Contact: Carl Knif, artistic director Contemporary dance combined with www.tanssiteatteriliikeri.com folk dance and music performances. Genres: Contemporary dance, break- www.carlknifcompany.com intelligent humour. Dance theatre and Liikeri is a young contemporary dance Genres: Dance theatre, folk dance, con- DENT DANCE dance, eclectic, hiphop, dance theatre, Dancer and choreographer Carl Knif improvisation-based pieces performed collective producing 2–3 new crea- temporary dance, performances for martial arts, visual arts, young audienc- is truly a singular artist. His art does in places like parks, streets and trams. tions per year. They perform both on young audiences COMPANIES es, community dance not resemble anyone else’s. Through Touring 2017/18 with the pieces Reino traditional stages and in public spaces his pieces such as Hologram Walls or and Aino, MAMA!, Shiranai-Hito and like galleries and parks. Interaction be- GLIMS & GLOMS DANCE THEATRE AHO & LUNDÉN COMPANY AS2WRISTS DANCE COMPANY Manuscript audiences have encountered Long Leads (Pitkät Piuhat) by Antti tween the dancers and audience is a key Espoo Helsinki Helsinki the dreamlike, humorous qualities of . concept for this company, sometimes Contact: Contact: Emilia Aho and Katja Lundén, Contact: his works. The very personal Red was a Genres: Contemporary dance, involving spectators in devising pieces Tuomo Railo, artistic director artistic directors Minna Tuovinen, choreographer huge success, as was his latest premiere, dance theatre or co-operating with unusual partners. www.glimsgloms.com www.aholunden.com www.as2wrists.fi Friends of Dymphna. Genres: Contemporary dance, The Glims & Gloms dance company was Aho & Lundén Company is a unique Their unique style blends Argentinian Genre: Contemporary dance DANCE COMPANY OFF/BALANCE dance theatre, young audiences founded in 1999 by Simo Heiskanen and combination of Nordic style, flamenco, tango with a contemporary vocabulary. Jyväskylä Tuomo Railo. G&G’s works are charac- diverse art forms and international art- In recent years the company has toured THE COMPAÑÍA KAARI & RONI Contact: Elina Häyrynen and Terhi terised by stylish and inventive visuals ists. The series of works created for Aho extensively in South America, most MARTIN Kuokkanen, artistic directors and multi-layered themes. & Lundén Company by world-renowned notably in Argentina and Brazil. The Helsinki www.offbalance.fi Genres: Contemporary dance, dance Spanish choreographers is a rare hom- company is diverse, working in dance Contact: Kaari Martin, Artistic Director Central Finland-based company with a theatre, performances for young audi- age to Finnish flamenco. film, organising international develop- www.compania.fi versatile repertoire and international ences Genres: Contemporary flamenco, live ment projects and teaching workshops Compañia Kaari & Roni Martin’s style is recognition. The company produces 1–3 music performance in dance and camerawork. contemporary, rooted in the rhythms premieres/co-productions per year with Genre: Contemporary dance and forms of flamenco. The work of this top choreographers and artists. P 4 2 FINNISH DANCE IN FOCUS 2016–2017 DIRECTORY OF FINNISH DANCE DIRECTORY OF FINNISH DANCE FINNISH DANCE IN FOCUS 2016–2017 P 43

EHKÄ-PRODUCTION transformative, exploring the spectrum Genre: contemporary dance, site-­ MAMIA COMPANY Genres: Contemporary dance, Genres: Contemporary dance, Turku of visual culture. For him, dance is a way specific work, young audiences Vantaa new dance community dance Contact: [email protected] to perceive, to describe and to be within Contact: Nina Mamia, choreographer www.ehka.net the world. KINETIC ORCHESTRA www.mamiacompany.fi PETRI KEKONI COMPANY ROUTA COMPANY Dance productions, collaborations, Genres: Contemporary dance, artwork- Helsinki Mamia Company is a contemporary Helsinki Kajaani residencies, the annual XS festival and specific choreography Contact: dance theatre. The Company’s perfor- Contact: Petri Kekoni, choreographer, Contact: more. Ehkä hosts the contemporary art Jarkko Mandelin, artistic director mances deal with contemporary topics, & Maria Junno, producer Saku Koivunen, artistic director, space Kutomo, which consists of two JENNI KIVELÄ & KIND PEOPLE www.kineticorchestra.fi the human condition and society. www.kekonico.fi choreographer beautiful studios. Founded in 2004. Helsinki In just a short time, this group has cre- Genres: Contemporary dance to Kekoni’s works are known for their ab- www.routacompany.fi Genres: New dance, contemporary Contact: Jenni Kivelä, choreographer, ated a strong and recognisable style to classical theatre stract yet robust movement language Founded 15 years ago, Routa (Finnish for dance, performance/live art, adult and producer become one of the most interesting and strong visual and spatial thinking. The ‘permafrost’) is an open-minded con- young audiences www.jennikivela.com Finnish contemporary dance companies. MIKKO KALLINEN & THE COMPANY company is a collective of about 20 art- temporary dance production company. Creating dance performances since The movement-based content and phi- Helsinki ists, dancers, composers and designers. In It produces unique, strong dance perfor- FLOW PRODUCTIONS 2002 that combine features from dance losophy of their works bring together Contact: its repertoire: The Stop – Dark Matter of mances that arise from local and global Oulu and theatre and move between the con- dance techniques, street dance attitudes Mikko Kallinen, AD/choreographer Art (2016), Non-Linear (2014), Miniatures issues. Routa belongs to the Regional Contact: ceptual and the concrete. Jenni Kivelä and circus-like agility. www.av-arkki.fi – Humans in small scale (2013), Theses of Dance Centre of Northern Finland and Pirjo Yli-Maunula, artistic director has a strong and recognisable style. Genre: Contemporary dance The Company is a production company the Deed (2011), Green Armchair (2010). employs both dance artists and audio- www.flowprod.fi Recently she worked with a piece for of artists from various disciplines. New Genre: Contemporary dance visual artists. This company produces the work of children called Kylli the Dog and the un- LIISA PENTTI +CO creations are mainly video dance/ani- Genres: Contemporary dance, artist professor, choreographer Pirjo barkable lightness of being. Helsinki mation and interactive choreographic PORI DANCE COMPANY dance theatre and applied dance Yli-Maunula. She creates visually rich Genre: contemporary dance, dance Contact: Inari Pesonen works. Pori multidisciplinary productions on stage theatre, young audiences www.liisapentti.com Genres: Contemporary dance, Contact: SAINE ENSEMBLE and also exciting immersive site-specific Liisa Pentti + Co’s work is based on the audiovisual Mikko Lampinen or Riku Lehtopolku Raasepori pieces. K&C KEKÄLÄINEN & COMPANY continuously evolving process of asking www.poridancecompany.com Contact: Genres: Contemporary dance, multi- Helsinki new questions in contemporary society. NIINA AIRAKSINEN DANCE Pori Dance Company aims to further Annatuuli Saine, artistic director disciplinary productions, site specific Contact: The company performs and tours in PRODUCTIONS (NADP) humane values and encourage toler- www.saineensemble.fi pieces, immersive work Lilja Lehmuskallio, managing director Finland and abroad. It organises training Turku ance through dance. It emphasizes a Produces 2–4 creations and concepts www.kekalainencompany.net for professionals and non-professionals, Contact: Niina Airaksinen, message of physicality as a means of per year in collaboration with artists FREECOLLECTIVE The mission of K&C is to promote and curates and organises events with choreographer, photographer, filmmaker exploring the imagination. Most of the from different art genres. Works are Tampere dance as an intellectual art form themes related to the performing arts nadp.fi company’s repertoire is contemporary multidisciplinary including dance, music, Contact: [email protected] with strong potential in political and and their future. NADP combines art and science in inter- and integrative with other forms of art. visual arts and dance shortfilms. vapaakollektiivi.blogspot.fi poetic communication. Choreogra- Genre: post-contemporary dance and national productions. NADP focuses on The company also has a strong history in Genres: contemporary dance, con- FREEcollective // VAPAAkollektiivi pher-dancer Sanna Kekäläinen’s work performance historical and cultural themes through jazz dance. They have toured in Africa, temporary flamenco, site-specific operates by inviting guest artists to col- expands the experience of a dance contemporary art, lecture series and South Korea, Germany, Russia, North performance, audiovisual art laborate. Creating diverse performances performance by combining philosophy, MALVINIEMI COMPANY dining. At the core of its stage works America, France, and many more. for the stage and other public venues; feminism, text, gender and conceptual Vaasa are a wide dynamic movement range, a Genres: Contemporary dance, dance SATU TUOMISTO +COMP touring, hosting masterclasses, audience thinking with highly original movement Contact: Mia Malviniemi, artistic close synthesis of movement and light, theatre, performance/live art Helsinki outreach programmes. language. director and choreographer and a holistic aesthetic visuality. Contact: Satu Tuomisto, choreographer Genres: contemporary dance, multidis- Genre: Contemporary dance www.malviniemi.fi Genre: Contemporary dance RASA COLLECTIVE www.satutuomisto.com ciplinary productions Choreographer Mia Malviniemi has Northern Finland (Tornio/ Rovaniemi) Sweaty physicality, explicit emotions KATVE [BLIND SPOT] created contemporary dance works NOM KOLLEKTIV Contact: Titta Court or Marjo Selin and experimental choreographic chal- ISMO DANCE COMPANY Helsinki since 1996, and her company, based on Helsinki www.pistery.org/tanssiesitykset lenges. Helsinki Contact: Heidi Masalin, Finland’s west coast, was established Contact: Jaakko Nieminen, artistic An independent dance collective run Genres: Contemporary dance, Contact: Ismo-Pekka Heikinheimo, [email protected] in 2011. The company produces mainly director by dance artists Titta Court and Marjo dance theatre artistic director www.katve.info stage works but there are also site- www.nomkollektiv.fi Selin under the umbrella of the cross- www.ismodance.fi Katve [blind spot] is a contemporary specific performances in repertoire. The company collaborates on diverse art collective PISTE, focusing in making Choreographer Ismo-Pekka Heikinheimo dance collective producing fresh and Malviniemi often brings together live projects such as group pieces and solos, art in relation to their community. Rasa blends art and performance with new versatile danceworks for adults and music and contemporary dance in her installations and films. The company’s produces ambitious and original dance concepts and artistic methods. His so- young audiences. Humanity, imagination works. creations are described as fresh, new and works especially in Northern Finland cial agenda touches on body politics and resilience are the core values of Genre: Contemporary dance personal. The relationship with ourselves, and the whole Barents Region. The aim and the aesthetics of movement. His Katve [blind spot], led by choreogra- our bodies, the other and our time are el- of Rasa is to take dance outside tradi- work is multidisciplinary, interactive and phers Heidi Masalin and Virva Talonen. ements that run through the works. tional dance venues. P 44 FINNISH DANCE IN FOCUS 2016–2017 DIRECTORY OF FINNISH DANCE DIRECTORY OF FINNISH DANCE FINNISH DANCE IN FOCUS 2016–2017 P 45

SUSANNA LEINONEN MYRSKYRYHMÄ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ international partners in production, REGIONAL DANCE CENTRE IN \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ COMPANY (SLC) Helsinki teacher and artist exchange, and touring. NORTHERN FINLAND Helsinki Contact: Mervi Leivo, producer This regional centre is formed of four Contact: www.myrskyryhma.fi companies/producers in the area: Salla Mistola, managing director Founded in 2002. Their work is based on PRODUCTION \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ www.jojo.fi / www.routacompany.fi / FESTIVALS www.susannaleinonen.com the urge to take dance to people in the www.rimpparemmi.fi / Susanna Leinonen is one of the most midst of their natural environment – in CENTRES www.fullmoondance.fi internationally acclaimed Finnish cho- places where dance performances are REGIONAL AND EVENTS reographers. Her works comprise a not a familiar sight. BARKER-THEATRE, A STAGE FOR REGIONAL CENTRE FOR DANCE IN series of intriguing and fascinating cho- Genres: performances and workshops INDEPENDENT ART OSTROBOTHNIA ANTI – CONTEMPORARY CENTRES ART FESTIVAL reographies at the forefront of Finnish for senior citizens, contemporary dance, Turku Vaasa contemporary dance. The company has dance theatre, dance film Contact: Contact: Annika Sillander, manager Kuopio toured in over 20 countries in several Nina Renvall FOR DANCE www.pohjanmaantanssi.fi Contact: major festivals and venues such as Ju- TSUUMI DANCE THEATRE www.barkerteatteri.fi The aim of the centre is to devel- Johanna Tuukkanen, artistic director lidans, The Place and Dance Biennale Helsinki Barker-theatre is a production house PIRKANMAA REGIONAL DANCE op the dance sector in the region by www.antifestival.com . Available for touring with several Contact: founded in 1997. It hosts various dance CENTRE creating job opportunities for profes- International contemporary arts festival works for 1–7 dancers. Salla Korja-Paloniemi, managing director productions, provides rehearsal space Tampere sional artists; making dance accessible; presenting site-specific works made for Genre: Contemporary dance www.tsuumi.com and offers also possibilities for work-in- Contact: Piia Kulin, managing director developing a greater awareness and public spaces. In autumn and various Tsuumi Dance Theatre produces 2–3 new progress performances and workshops. www.sisasuomentanssi.fi/english/ understanding of the art form; support- other dates. SIVUUN ENSEMBLE performances per year and has a large Barker also hosts a summer residence for An association for dance professionals. ing artists and maintaining and building Helsinki repertoire to tour with. Tsuumi finds its dance artists (applications in January– Encourages co-operation, organises vari- networks between artists, art forms, cul- APINAFEST! Contact: Ninni Perko, artistic director strength from exploring folklore and February). ous events, training classes, workshops, tural institutions and local councils on “the second cousin of all festivals" and choreographer creating new artistic ways to bring it on meetings for professionals, seminars. both a regional and a Nordic level. Helsinki www.sivuun.net stage. Tsuumi’s performers are known for JOJO – OULU DANCE CENTRE The centre also runs the Liikelaituri ven- Contact: Jarkko Mandelin Sivuun Ensemble, founded by Ninni their skills in contemporary dance, folk- Oulu ue in Tampere. REGIONAL DANCE CENTRE OF http://apinafest.apinatarha.fi Perko, is a multidisciplinary collective. dance, singing and physical theatre. Contact: WESTERN FINLAND Contemporary dance festival; perfor- The Ensemble’s performances are in- Genres: Dance theatre, folk dance, live Helena Lindqvist, managing director CENTRAL FINLAND REGIONAL Turku mances, clubs and panels. In April. tense conversations between different music performance, contemporary dance www.jojo.fi DANCE CENTRE Contact: art forms. Motion, music, image and text JoJo – Oulu Dance Centre is a dance Jyväskylä Sanna Meska, managing director BALTIC CIRCLE FESTIVAL entwine into a collage of entities, open- WILLMAN DANCE COMPANY production house in Northern Fin- Contact: www.l-tanssi.fi Helsinki ing seminal interpretations to current Helsinki land. JoJo runs an annual international Johanna Muhonen, managing director The Western Finland Regional Dance Contact: Hanna Nyman, managing director issues, significant for individuals and Contact: OuDance Festival in September and a tanssinkeskus.fi Centre covers Southwest Finland and www.balticcircle.fi communities alike. Marjaterttu Willman, artistic director year- programme consist- Regional centre for dance in Central Fin- the province of Satakunta. The centre International contemporary theatre fes- Genres: Dance theatre, multidisciplinary www.willmandancecompany.fi ing of its own productions and guest land. Promotes dance and creates work aims to develop collaboration be- tival & a platform for developing new productions, community dance Willman Dance Company brings togeth- performances. JoJo also hosts an Artists’ opportunities for professionals. Organ- tween various agents in the dance field trends and ideas. In November. er artists who share a passion for dance Residency with an active international ises the Tanssin Aika festival in August. and gain more public recognition for TAIKABOX and stage art. The goal of the company exchange programme. JoJo is one of the contemporary dance. One of its main BRAVO! Oulu is to create original contemporary dance four organisations that form the Region- REGIONAL DANCE CENTRE OF functions is to support freelance dance Helsinki Contact: Tanja Råman, artistic director and dance theatre pieces that focus on al Dance Centre of Northern Finland. EASTERN FINLAND / ITAK artists to work in the region. Contact: [email protected] www.taikabox.com the central questions of humanity. Kuopio www.lastenteatteri.fi TaikaBox creates new ways to experience Genre: contemporary dance, dance ZODIAK – CENTER FOR NEW DANCE Contact: ZODIAK – CENTER FOR NEW DANCE International theatre festival for chil- dance using new technology to enhance theatre Helsinki Eeva Eloranta, executive producer / REGIONAL DANCE CENTRE IN dren and young audiences held every our perception of the moving body and Contact: www.itak.fi HELSINKI second year in the Helsinki metropoli- engage with audiences on different lev- Harri Kuorelahti, artistic director Promotes dance, creates work opportu- Helsinki tan area. In March. els. TaikaBox produces work for stage, www.zodiak.fi nities for professionals, offers training, Contact: Harri Kuorelahti, artistic public spaces and screen. TaikaBox also Zodiak – Center for New Dance is a and supports dance production in East- director DANCE MONTH FESTIVAL organises the annual Oulu Dance Hack progressive dance organisation and the ern Finland. Organises the Paikallisliike www.zodiak.fi Pori and various artist residencies. main venue for freelance contemporary festival in June and the Lonely in the Zodiak – Center for New Dance func- Contact: Genres: Contemporary dance, dance/ dance in Finland. Zodiak co-produces Rain? festival in November. ITAK also tions as a regional centre for dance in Mikko Lampinen, artistic director technology and hosts 15–20 new dance productions manages the Sotku venue in Kuopio. Helsinki. www.poridancecompany.com each year. Zodiak is a member of several International dance festival which has THE TEMPEST GROUP/ international networks and works with taken place in Pori, Finland since 2007 P 46 FINNISH DANCE IN FOCUS 2016–2017 DIRECTORY OF FINNISH DANCE DIRECTORY OF FINNISH DANCE FINNISH DANCE IN FOCUS 2016–2017 P 47

and is arranged by Pori Dance Company. certs, non-verbal theatre, dance, LOIKKA DANCE FILM FESTIVAL RUUTIA! INTERNATIONAL DANCE artist dialogues and workshops. Organ- www.teatterikesa.fi In 2017 the festival takes place in No- a children’s programme. In July. Helsinki FESTIVAL FOR CHILDREN AND ized by Zodiak – Center for New Dance. The programme of Finland’s main in- vember and brings together a wide array Contact: Kati Kallio, artistic director YOUNG AUDIENCES In February. ternational theatre festival includes of ingenious and expressive artists. KAKTUS DANCE FESTIVAL www.loikka.fi Helsinki new drama, modernised classics, dance Helsinki High-quality international dance films, Contact: [email protected] TAMPERE DANCE CURRENT theatre, contemporary circus and street FACTORY FESTIVAL MANIFESTI Contact: Elisa Järvinen, producer lectures, workshops and events. In April. www.hurjaruuth.fi Tampere theatre. In August. Turku [email protected] The Ruutia! Festival is a rendez-vous Contact: Anniina Kumpuniemi Contact: Katja Lehmussaari, producer www.kaktustanssifestarit.fi LONELY IN THE RAIN? for dance and movement based thea- www.tanssivirtaa.net TIME OF DANCE & programme director Kaktus dance festival is held every sec- Joensuu tre from Finland and abroad. The Festival of contemporary Finnish dance Jyväskylä www.manillantehdas.fi ond year by Dance Company Gruppen Contact: festival, founded in 1997, offers high held annually in May. Contact: Antti Lahti Annual festival with wide-ranging pro- Fyra. In June. Eeva Eloranta, executive producer quality performances for children and www.tanssinaika.fi gramme from contemporary dance and www.itak.fi young audiences as well as workshops, TAMPERE FLAMENCO FESTIVAL Finnish contemporary dance. In Septem- new circus to exhibitions. In September. KAUSTINEN FOLK MUSIC FESTIVAL Festival for contemporary dance, per- meetings with the artists and public dis- Contact: [email protected] ber, Central Finland. Kaustinen formance art and improvisation in cussions about subjects related to the www.tampereflamenco.com FULL MOON DANCE FESTIVAL Contact: [email protected] November. performances. In April. International flamenco festival present- URB – URBAN ART FESTIVAL Pyhäjärvi www.kaustinen.net ing high-quality artists and shows. Also a Helsinki Contact: The largest folk music event in the Nor- MOVING IN NOVEMBER SIDE STEP FESTIVAL wide range of workshops. In July. Contact: Mikael Aaltonen, [email protected] dic countries – all the folk music and Helsinki Helsinki Kiasma Theatre www.fullmoondance.fi dance you can handle in a week! In July. Contact: Mikael Aaltonen & Ari Tenhula, Contact: Harri Kuorelahti, artistic director TAMPERE THEATRE FESTIVAL www.urb.fi Contemporary dance from Finland and artistic directors www.zodiak.fi Tampere Urban dance and theatre, site-specific abroad; courses and discussions. In July. KOKKOLAN TALVITANSSIT / WINTER www.movinginnovember.fi Contemporary dance, cutting-edge Contact: performances, visual arts. In August. DANCE IN KOKKOLA International contemporary dance fes- international performances, lectures, Hanna Rosendahl, executive director HELSINKI FESTIVAL Kokkola tival in the Helsinki capital region. In Helsinki Contact: Anne Peippo, producer, November. Contact: Laura Gottleben, press officer [email protected] www.helsinkifestival.fi www.kokkolantalvitanssit.fi OUDANCE FESTIVAL The largest arts festival in Finland, fea- A four-day event, full of contemporary Oulu turing classical and world music, dance, dance and dance theatre. In February. Contact: Helena Lindqvist, managing theatre and urban events. In August. director KUOPIO DANCE FESTIVAL www.jojo.fi/festival/ HELSINKI FLAMENCO FESTIVAL Kuopio International and local performances Helsinki Contact: in Northern Finland from all genres of Contact: Helsinki Flamenco Association Anna Pitkänen, Festival Director dance with a contemporary twist. In Premiere 16.11.2017 [email protected] www.kuopiodancefestival.fi September. at Cultural Centre Stoa The festival brings outstanding flamenco The largest annual dance festival in the Turunlinnantie 1, Helsinki artists from Spain to Helsinki every year. Nordic countries. The programme rang- PAIKALLISLIIKE Other performances in November A week full of courses, performances es from contemporary dance to classical Kuopio on 18/19/24/25 and 26th and fiestas. In February. ballet, folklore, workshops and a varied Contact: Asta Elijoki, producer fringe programme. In June. www.itak.fi BROTHERS trio will continue HURRAA! Platform presenting new productions by AlpO AAlTOkOSki’s choreography Together duet (2010) – with the theme Helsinki LAPPEENRANTA INTERNATIONAL local dance artists. In June. of traveling together. The relationship Contact: [email protected] BALLET GALA between humans, the deep meaning www.hurraa.org Lappeenranta PISPALA SCHOTTISCHE DANCE of being together, and the pain A national festival of performing arts for Contact: MANIA of detachment. By sharing and children and young people. In March. [email protected] or Tampere surrendering to one’s own, something Juhani Teräsvuori, artistic director Contact: [email protected] bigger will come of it. JYVÄSKYLÄ FESTIVAL www.lappeenranta.fi/balettigaala www.tanssimania.nuorisoseurat.fi Jyväskylä A meeting place for Nordic dance and New folk dance and music, concerts, Contact: international stars. Contemporary works performances, training. Every two years, Tickets 15/12 Kyösti Ylikulju, production manager and classics. In August. next in 28 September– 1 October 2017. € lippu.fi www.jyvaskylankesa.fi aaltokoskicompany.fi City festival for different art forms: con- World premiere! BREATH – NEW DUET WITH LIVE MUSIC Choreographer-dancer Tero Saarinen meets accordion revolutionist, composer-musician Kimmo Pohjonen. Danse Danse, Montreal, 17–21 April, 2018 ”Susanna Leinonen's premiere is always an Event” –HS

World premiere! UPCOMING PERFORMANCES LA PHIL FEAT. TERO SAARINEN COMPANY 6–10.9. New work: Dreams of Replay

Music: Bernd Zimmermann / Choreography: Tero Saarinen / Dance: Tero Saarinen Company Alexander Theatre, Helsinki, Finland Music direction: LA Phil Principal Guest Conductor Susanna Mälkki Walt Disney Concert Hall, LA, 19–21 January, 2018 7–10.11. Dreams of Replay Martinus Concert Hall, Vantaa, Finland

MORPHED 11.11. SEE | OBEY Music: Esa-Pekka Salonen / Choreography: Tero Saarinen / Dance: Tero Saarinen Company DanseFestival Barents, Hammerfest, Norway

Touring in 17/18: Belgrade Dance Festival (Serbia), National Theatre, Zagreb (Croatia), Open Look Festival, St. Petersburg (Russia), Civitanova Danza (Italy), Royal Festival Hall, London (UK), The Joyce, NYC and ’62 Center, Williamstown (USA), NAC Ottawa and Dance House, Vancouver (Canada), Chaillot, Paris (France)

susannaleinonen.com Also available for touring: Borrowed Light with The Boston Camerata

More info and bookings: Johanna Rajamäki Head of International Sales +358 50 371 5773 [email protected]

terosaarinen.com