2020–2021 P 2 FINNISH IN FOCUS 2020–2021 EDITORIAL CONTENTS FINNISH DANCE IN FOCUS 2020–2021 P 3

Dance artists travelled to the Arctic Ocean to shoot a film. © Lumikinos Production

FINNISH DANCE IN FOCUS 2020–2021 \ VOLUME TWENTY-TWO DANCE AS A CREATIVE Laberenz© Lennart Publisher: Dance Info FORM OF ACTIVISM 12–15 Tallberginkatu 1 C/93, 00180 Tel. +358 (0)9 6121 812 [email protected] This year, we have found ourselves in a global situation so serious that artists cannot 30–33 www.danceinfo.fi simply sit back and ignore it. In this edition, dance artists tell us about how they are Editor-in-chief: Sanna Rekola drawing attention through their work to the environmental and human emergency [email protected] we are facing. Artists have a need to make their audiences think, to create a sense of Editor: Sanna Kangasluoma kinship, and to light sparks of hope. © Petri Tuohimaa [email protected] But what can dance do in the face of the world’s major problems? And is it even Editorial board: Riitta Aittokallio, Sanna artists’ place to step in? \ Kangasluoma, Anni Leino, Katarina Lindholm, Educating the audience might not seem like the most obvious way for art to get Fern Minna Luukko, Sanna Rekola the discussion going about important topics and raise awareness – so how can art Orchestra’s make a difference? Because we all want to have an impact and communicate to make plant jams Writers: Ida Henritius, Sanna Kangasluoma, the world a better place, including through dance. combine \ Eeva Kauppinen, Anni Leino, Teemu Mäki, Many artists are declaring that instead of performing, they are trying to use their Choreographer in Focus: Milla Koistinen Emma Vainio pieces to encourage audiences to put themselves in someone else’s shoes and show performance English translation: Claire Dickenson, Fleur compassion for other people, animals, plants, or even microscopic algae. Using dance art and dance. Jeremiah, Lola Rogers like this allows artists to bring the message home at a deeper, more experiential level. And this is something dance artists – professionals of bodily experience and Graphic design & layout: Inka Kosonen expression – are good at. But in 2020, with the coronavirus pandemic closing venues and knocking the cul- 21–23 Photographers: Saara Autere, Jubal Battisti, tural sector hard, artists have also had to consider how the message can be conveyed David Binderberger, Noora Geagea, Jefunne remotely. Can art still bring people together if the performers and the audience are Gimpel, Arno Illukka, Antti Jussila, Sanna not even in the same space, breathing the same air? Kaesmae, Jaana Kurttila, Lennart Laberenz, Thankfully, artists have seen how encounters on social media offer plenty in Leevi Lehtinen, Janne-Pekka Manninen, Pekka the way of a direct and personal touch, creating a sense of community online, too. EDITORIAL IDEAS Mäkinen, Yoshi Omori, Tom Sebus, Jonne Sip- Can dance art help us take those much-needed steps towards hope? 02 Dance as a creative form of activism / Sanna 16 How to dance against climate change / Teemu Mäki pola, Jonatan Sundström, Uupi Tirronen, Petri Kangasluoma 21 Fern Orchestra – A plant, microorganism and human band / Tuohimaa, Rita Vaali, Paul Valikoski, Hannu- Helsinki, August 2020 Sanna Kangasluoma Pekka Vitikainen Sanna Kangasluoma NEWS 24 The between the body and nature vibrates Editor 04 Target Helsinki – Social media as a playground for through ’s new piece On the cover: dance artists 25 Sanna Kekäläinen: What do we do now? / Sanna Kangasluoma Target Helsinki: The Food Party’s Over 06 In an open space ‘maybe’ is a possible answer – Choreographer: Ehkä production IN THE SPOTLIGHT Elina Häyrynen & Natasha Lommi DANCE INFO FINLAND acts as a gateway to Finnish dance art 07 Mad House Helsinki brings performance art to the / Emma Vainio Cover photography: Noora Geagea through international networks and by providing spotlight 26 Vera Lapitskaya: Life itself inspires me information about dance in Finland. Our mission 08 Carl Knif – contradictions and affiliations within a 27 Hanna Pajala-Assefa: I understand the world through my Printed by: Suomen Uusiokuori Oy is to support the development of Finnish dance, performance body With gratitude: The Ministry of Education and and to open new horizons and create professional 09 It’s already 40 years! – Dance Info Finland 28 Michaela the Queen of Fucking Everything (Laura Culture in Finland opportunities and connections for Finnish dance artists. We are part- 10 What are the hot topics and what’s going on in Pietiläinen) ners in collaboration projects and exchange programmes, and work Finland? – Curators answer 29 Marika Peura: Companionship and synergy are sources of Finnish Dance in Focus is closely with the Nordic dance sector and platforms. 11 Good news & Sad news strength published once a year. Founded in 1980, we are funded mainly by the Ministry of Culture and PHENOMENON CHOREOGRAPHER IN FOCUS ISSN-1795-9837 Education in Finland. Read more on www.danceinfo.fi. 12 Dance Art Explorers / Anni Leino 30 Milla Koistinen: A Crowd is a sensitive thing / Eeva Kauppinen 34–47 Directory of Finnish Dance P 4 FINNISH DANCE IN FOCUS 2020–2021 NEWS NEWS FINNISH DANCE IN FOCUS 2020–2021 P 5

WHILE GENERATING ideas for Target Helsinki, a need to explore ways of creating dance an online art project, no one, including from another angle. A project in which Videos are issued every dance artists Elina Häyrynen and Natasha videos are issued every week and social Lommi, could know what kind of excep- media constitute the stage creates a very week and social media tional spring was just round the corner in different framework for a production. You constitute the stage. 2020. When the corona crisis then started, must be prepared to alter the plans mid- Häyrynen and Lommi had already secured course, which compels you to be present funding for the project to experiment with and ready to react. Your relationship with taking dance online. In addition to videos, the audience is also affected.” live transmissions and images, they were interested in the impact of social media A SLICE OF DANCE HISTORY IN THE presence on the relationship between the SPRING OF THE CORONA VIRUS artist and the audience. Restrictions imposed by the virus forced the entire field of performing arts to experi- ment with the use of the online channels THE DANCER STEPS CLOSER TO THE as the stage. AUDIENCE Encountering the ”It’s pretty incredible how timely Target Target Helsinki published videos, images, audience through the proved, quite by chance. We were afraid stories and other content on Facebook, of the situation in Finland sliding into a Instagram, YouTube and Vimeo every week social media can be complete lockdown, which would have had from the beginning of March till the end a significant impact on the filming plans,” of May. meaningful and direct. according to Lommi. ”Target demonstrated that encounter- Corona did have some effect on the ing the audience through the social media Target videos. On the International Dance can be meaningful and even more direct Day, they issued a black and white video than the traditional discussion with the What moves us, in which twenty-one Finn- audience after a performance,” Häyrynen ish artists dance in their own homes. Do I says. need other people, shot in an empty theatre, Dancers in -driven com- depicts the importance of touch in the panies can easily remain just names on the middle of a period when theatres are closed printed programme with no real contact TARGET HELSINKI: ”Originally, we thought of examining and social distancing is the norm. In the with the audience. Could the social media The Food Party is Over success and associated phenomena by video Generations, Lommi and Häyrynen provide dancers with a channel for contact- Noora Geagea artistic means,” Elina Häyrynen explains. dance duets with their mothers, also danc- ing the audience, and the other way round? TARGET HELSINKI – ”But pretty soon the corona crisis made ers. The video, which resonates beautifully The duo describes the project as a the topic seem uninteresting, though some with the time, reflects a deep-seated physi- playground and a platform for different traces of it are discernible in the Target cal longing for your mother. experiments and for learning from them. videos,” Natasha Lommi continues. For The stockpiling of toilet paper, one ”At first we were worried about how all SOCIAL MEDIA AS A example, in the videos Pose and Gold Rush of the phenomena of the corona spring, this would be received or whether anyone Häyrynen and Lommi strike poses and talk is depicted in the video The Food Party’s would be interested. Neither of us had about money at a funder’s gala. Over, which takes place in a white kitchen previously talked at any great length on Ins- Lommi and Häyrynen have danced resembling a research laboratory. tagram or systematically produced content PLAYGROUND FOR together since they were children at the Häyrynen and Lommi don’t believe that for different platforms. Now we’re certain school of the Finnish National Opera. digitalization will ever be a full substitute that Target Helsinki will continue in some In the past ten years, the duo has danced for live performances, but they are inter- form in the future,” according Lommi. DANCE ARTISTS together at Susanna Leinonen Company’s ested in the value that the social media \ works, among other productions. may be able to add to the dance content, TEXT Anni Leino TRANSLATION Fleur Jeremiah ”We share a long history as company irrespective of corona. www.targethelsinki.com dancers, which results in a certain work In addition to contemporary dancers Elina pattern: a rehearsal period, performances Häyrynen and Natasha Lommi, the work- in Finland, and gigs abroad…and this pat- ing group of Target Helsinki includes visual tern is repeated over and over again,” artist Noora Geagea, sound designer Janne Häyrynen says. ”Target was born out of Hast, and stylist Kaisu Hölttä. P 6 FINNISH DANCE IN FOCUS 2020–2021 NEWS NEWS FINNISH DANCE IN FOCUS 2020–2021 P 7

IN AN OPEN SPACE ‘MAYBE’ IS A POSSIBLE ANSWER – EHKÄ PRODUCTION CREATES OPPORTUNITIES FOR FREELANCE

ARTISTS by Heidi Backström and Annika Tudeer. TEXT Anni Leino TRANSLATION Fleur Jeremiah MAD HOUSE HELSINKI The programme of The Bad House Fes- tival, moved to spring 2021, will also feature international guest performances. The aim BRINGS of the festival – curated by Elina Pirinen, Sonja Jokiniemi and Mikko Niemistö – is Felt Moon and Lofty Softy to be a sparkling and colourful annual cel- Antti Jussila & Rita Vaali PERFORMANCE ART TO ebration of performance art. The guests at the festival will include Jessy Razafimand- THE SPOTLIGHT inmby, Quim Bigas, Aitana Cordero and TEXT Anni Leino TRANSLATION Fleur Jeremiah Jakob Öhrman. Mad House wants to remain receptive EHKÄ PRODUCTION, based in Turku, was born mill, became much more than four walls: “Our operation is artist-centred, which to programme submissions throughout the in 2004 in Amsterdam as a joint Japanese- a social and open space, where you can means the submission process is truly open year. “Our aim is to stay open to impulses Finnish project when the Finnish dance artist be, create and explore. The space is open – we’re interested in hearing about artists’ A Point of No Return and not to force artists to keep their ideas Anna Torkkel met Tashi Iwaoka at SNDO to all art forms, though the programme ideas,” she explains. Saara Autere to themselves. Our relationship to contem- (School for New Dance development). That is weighted towards dance and corporeal Kutomo’s autumn programme opens porary dance is strong but we don’t curate was when Ehkä – the Finnish word means expression,” Torkkel explains. with an exhibition by Antti Jussila and Rita any works actually calling themselves “maybe” – was born to illustrate and facili- Ehkä provides facilities for a dialogue Vaali. Entitled Felt moon and Lofty Softy!, In just over five years, Mad House has ,” according to Heidi tate Torkkel’s and Iwaoka’s artistic work. between art forms, for experimental per- the exhibition is comprised of sound and IN OCTOBER 2014 a group of pioneers of established itself as a venue for perfor- Backström, a member of the curating team. Today, sixteen years later, Anna Torkkel runs formance art, and new dance, which makes textiles. Later in autumn, the programme Finnish live art and performance (Annika mance art. In autumn 2019 it moved to “And what constitutes performance Ehkä and its venue Kutomo together with it an interesting operator in the arena of will include works by dance artists Veli Tudeer, Juha Valkeapää, Satu Herrala, Teurastamo – the former district of slaugh- art? That’s something we aim to answer dance artist Maija Rauman. She does this Finnish performing arts. The work has borne Lehtovaara, Simo Kellokumpu and Anna Martina Marti, Eva Neklyaeva, Heidi terhouses known for urban culture, events with a programme that’s as varied and as in addition to her own artistic work. fruit: Kutomo was granted Theatre Centre’s Maria Häkkinen and their working groups. Backström, Mirva Pulkkinen and Pietu and restaurants. diverse as possible.” special award in recognition of its activities Pietiäinen) organized a month-long festival The main emphasis of Mad House’s pro- NEW DANCE AND in March 2020. \ of performance art in Helsinki. The aim of gramme in the current season lies on works \ INTERDISCIPLINARY PROJECTS Kutomo’s open call for its programme www.ehka.net the experiment, called Mad House, was to by artists who are working in Finland at the www.madhousehelsinki.fi “We badly needed a space of our own, a takes place annually in May, though Torkkel demonstrate the high standard of Finnish present time. It includes creators and works place where we can ourselves determine wants to emphasise that they are happy to performance art and the need for it to have entailing choreography, text, visual arts how we work. Kutomo, a former textile receive submissions outside the period. a stage of its own. and drama. The programme was curated P 8 FINNISH DANCE IN FOCUS 2020–2021 NEWS NEWS FINNISH DANCE IN FOCUS 2020–2021 P 9

Fugue in two colors MUSIC INSPIRED CARL KNIF TO EXPLORE Yoshi Omori IT’S THE CONTRADICTIONS AND AFFILIATIONS ALREADY WITHIN A PERFORMANCE FORTY YEARS! TEXT Ida Henritius TRANSLATION Fleur Jeremiah PHOTO Uupi Tirronen

FAST, LIGHT, precise, crazy, playful. This is how The form of the music has acted JOINT INTERNATIONAL DANCE INFO FINLAND celebrates its 40th birth- choreographer Carl Knif describes Fugue in as an inspiration for the theme of the PRODUCTIONS ARE IN THE PIPELINE day in 2020. Back in 1980, when there was a two colours, his new choreography created choreography. Next year Carl Knif Company will pro- noticeable need for professional and struc- to the piano music of Shostakovich. “I’ve been thinking of the kind of dual- duce a physical theatre performance in tural development in the dance industry, Knif became familiar with Shostako- ism and dichotomy present in the preludes cooperation with Svenska Teatern based in eight dance organizations joined their vich’s preludes and fugues ten years ago. He and fugues; its relationship to contradic- Helsinki and Riksteatern, a Swedish network forces to develop the conditions of the was already drawn to the timeless beauty tions and parallels,” Knif explains. of theatres. The work will be premiered in dance sector in Finland. Broad collaboration and rigour of their form when he first heard The choreography utilizes a method September 2021 and will afterwards tour of artists, dance sports, dance teachers, and them. based on improvisation. The extent of the in in 2022. Nordic cooperation is even community was needed to Fugue in two colours is the first chore- dancer’s freedom to interpret and to react frequent in other respects, too, and the get their cause heard. ography that Knif has created to classical varies from scene to scene, as does the company is planning commissioned works Since the 80s, the sector has grown music. He admits that the tendency of clas- extent of the predetermined content. for different venues. and become more organized. Today Dance sical music to dominate or define scenes has “In the end, the performances are Knif is also preparing a new choreogra- Info Finland still has 12 member organiza- been a challenge to him as a choreographer. unlikely to differ a great deal from each phy for April 2022, due to have its premier tions that represent the variety of Finnish Dance Info staff: from left to right Katarina Lindholm, Sanna Rekola, It has been important to discover his own other. The action is pretty much controlled in Asia. dance field. A lot has been achieved, but Sanna Kangasluoma, Anita Parri, Minna Luukko, Emma Vainio, Riitta relationship to the music and his own way because of the length of the scenes,” Knif Before the international works, Knif new challenges and tasks have appeared in Aittokallio, Anni Leino. of using it. explains. will produce a humorous fantasy, based on its mission to advocate for the dance field. “My aim has been to find a fresh way The performance involves seven danc- Georges Perec’s (1936–1982) book Espéces To keep decision-makers up to date of tackling music, as well as a more playful ers – Knif has worked with four of them d’espaces (1974), for the northern Finnish on it, Dance Info Finland is having regular approach and more convoluted language for a long time. For the dancers from The dance group Rimpparemmi. dialogue with the Ministry of Education and for the choreography. As a result, it doesn’t Helsinki City Theatre, Knif’s method based Culture to specify areas of development Networking with the global dance field has been have to be so bound by the form or a par- on improvisation has been new. of the dance sector. Collecting statistics essential since the beginning. ticular aesthetic,” Knif says. about the number of dance performances, audiences, and companies’ incomes is an essential tool for showing what’s going on on the field. Statistical information has as the Internationale Tanzmesse. Since then possibility of merging into one organiza- been gathered for somewhat twenty years Dance Info Finland has been actively and tion with CircusInfo Finland – to be able to now. regularly present in all major international progress also in the next 40 years. In order to raise awareness and spread networking events and fairs. Co-operations, Hooray now for 40 years of advocating information about dance as an important joint programmes, residencies, and inter- Finnish dance and for the years to come! art form, equal with others more estab- national exchange seem to be key words lished ones, Dance Info also used to publish in today’s international work. a Finnish dance magazine, Tanssi, for 30 The first Finnish contemporary dance years from 1981 until 2012. Today the news showcases were organized already in 1999 from the dance field is shared online at and 2000 in Helsinki, and the latest include Dance Info Finland’s website in Finnish and Ice Hot Nordic Dance Platform in 2018 in English. Reykjavik and Performing HEL in Helsinki Networking with the global dance 2019. field has been essential since the begin- All along the last decades, the whole ning. Already in 1997, Dance Info Finland field of performing arts has developed a attended to an international dance fair in lot, and Dance Info Finland needs to stay in Essen, Germany, which later became known time. That’s why we are now exploring the P 1 0 FINNISH DANCE IN FOCUS 2020–2021 NEWS NEWS FINNISH DANCE IN FOCUS 2020–2021 P 11

Different forms and methods are flowing WHAT ARE THE HOT TOPICS free – acute problems require approaches GOOD NEWS that go beyond borders and genres. LOOK @ DANCE AND CIRCUS FIN- AND WHAT’S GOING ON IN FINLAND? LAND FESTIVAL, ST. PETERSBURG, 2021 Contemporary dance and circus from Fin- land + workshops and talks. The festival will take place in early spring 2021. We asked programme curators working in Finland to tell us the present within the dance community? this possibility come the logics attached It seems that there is no shortage of young to larger scale operations in both artistic PERFORMING HEL 2021 about the trends they consider particularly topical in the choreographers putting themselves right and financial considerations. In our recent The gateway to Finnish performing arts world of dance in Finland. in the middle of the prevailing discussions conversations within a new project called showcasing dance, circus, theatre and eve- and demystifying their artistic practices. Sparks, which supports the creation of new rything in between. Welcome to enjoy By no means is activism something new in productions for the house, we began to Performing HELsinki creative family ambi-

Kaesmae © Sanna so that dance productions and new gen- However, artists are fighting for survival. contemporary dance, but after some years unpack some of these issues together with ance in autumn 2021! erations can develop to match this new, The sense of both hopelessness and that of more inward-turning proceedings, it is Finnish artists. Questions about audiences, grander scale. there are a lack of prospects are growing. high on the agenda once more! touring, artistic collaboration, dramaturgy, ICE HOT NORDIC DANCE PLATFORM Ecological issues, sustainable develop- Despite some positive signals, such as a The old idea of the artist being one step context, and translation were high on eve- IN HELSINKI 2022 ment, intersectional perspectives, and work small growth in funding and the Dance ahead of the rest might sound worn out in ryone’s mind. Contemporary dance from five Nordic to combat racism have permeated society House Helsinki project, some artists are today’s fast-changing social climate. At the As with each generation, reflections in countries showcased this time in Helsinki, at a whole new level over the last couple growing weary. Many of the key issues same time, it’s good to remind ourselves art connect to the developments in sur- in February 2022. Ice Hot Helsinki 2022 of years – including in the current govern- remain unresolved, such as the scarcity of that the art world does have something rounding contemporary society. At present will promote sustainable practices in the HARRI KUORELAHTI, artistic director, Zodiak ment in Finland, which has been fantastic touring activities in Finland and the lack special to offer. The otherworldly com- in Helsinki, within dance we are seeing dance sector. – Center for New Dance, Helsinki: to witness. Artists have often been at the of travel grants.” ponents of contemporary dance can make greater examinations of the urgent issues forefront of and the driving force behind people feel without telling them how to and social realities of our times, such as the NORDIC BRIDGES 2022 IN CANADA “Finland has an array of young and mid- these changes.” © Tom Sebus do so. We can present an emotive alterna- global climate crisis, increasing inequality, Nordic contemporary art and culture as career choreographers and dance creators tive to the numbing effect of information and expanding discourses on identity in part of programming seasons, festivals, with their own distinct styles, who are © Janne-Pekka Manninen overload. And dance has the special ability society. tours and stand-alone events across revitalising and enriching the dance field. to transport people to different places In approaching these topics and against Canada. Curated by Harbourfront Centre Shared values and collectivist, non-hier- without being harmful to the environment!” prevailing human desensitisation brought in Toronto and supported by the Nordic archical choreographic processes are about by the hyper stimulation of modern Council of Ministers. characteristic of their working culture. © Jonne Sippola urban life, some artists are bringing greater Participatory pieces that take place attention towards a heightening of the sen- DANCE HOUSE HELSINKI 2022 outside of traditional theatre spaces and JAAKKO TOIVONEN, artistic director of the sorial experience for performers and/or The walls of Tanssin talo, the Dance House that are experienced in novel ways have Regional Dance Centre of Eastern Finland audiences. This may be explored through Helsinki rise higher day by day. The house is also become more common in recent years. PIRJO YLI-MAUNULA, artistic director, Flow (ITAK), Kuopio: immersiveness, strategies to encourage the due to open its doors in 2022. You can even Perhaps the way we experience things is Productions, Oulu: audience to actively observe, interactions follow the construction via live camera. changing – and the pandemic this spring has “In the applications we received for our with tactile objects and materials, or instal- certainly helped in this respect. There’s now “My take is that dance art is becoming more 2021 co-production programme, artistic lation formats. Within this, a fluidity of a desire to invite audiences to experience and more politicised; it has become far concepts dealt mainly with issues within FAITH TAN, head of programme development, forms and practices merge or flow with a dance pieces in new ways – eschewing the more normal to take a stand on societal the range of current conversations and and Mikael Aaltonen, programme manager, greater freedom than what was once more + SAD NEWS traditional seated theatre set-up. issues, whether it be climate change, social hot political topics. Maybe more than Dance House Helsinki: formal boundaries between dance, live art, IN MEMORIAM: LOIKKA DANCE The long-awaited arrival of Dance inequality, racism, or #metoo. Dance art is ever before. To put it bluntly, the areas of visual art and performance.” FILM FESTIVAL 2008–2019 House Helsinki will create opportunities for a form of activism. interest were workplace wellbeing, climate “The upcoming dance house, which will Despite the great work they had done with dance professionals, as well as a number of Multi-genre art is growing. Perform- change, inequality and body image. be opened in 2022, presents a new thea- dance films in Finland, the association that challenges, too. The dedicated dance venue ing arts that blur genre boundaries are on I am all for artists tackling the social tre dedicated to dance, in particular the run the pioneering festival had to close is nearing completion, and will offer a home the rise. Activation of audiences through issues of today, but one thing did, however, Erkko Hall offers a larger stage and audi- down in 2019 because of a cut in public for larger-scale pieces, as well as drawing in immersive, or at the least site-specific per- strike me. Many projects felt more like ence capacity of up to 700 seats. This new funding. broader audiences. However, at the same formances, is drawing interest. Dance is reflections of society instead of interpre- space opens up potential for choreogra- time, there is an acute need to increase the being brought into new kinds of environ- tations. Could it be that there is a small phers, companies and festivals to present funding and resources allocated to dance, ment and performed in innovative ways. shift happening in ways of dealing with productions on this scale. In tandem with P 12 FINNISH DANCE IN FOCUS 2020–2021 NEWS FINNISH DANCE IN FOCUS 2020–2021 P 13

“Art always comes from somewhere at the very edge of human poten- tial. Risk management forms a key DANCE ART part of professional skill, and it is this element that allows us all to find those edges safely. The most EXPLORERS wonderful moments in doing what we do are, without a doubt, when Text Anni Leino STILL IMAGES from the film Fram we share experiences first with dear friends, and ultimately with PREPARING FOR THE JOURNEY TO THE EXTREMES an audience.” – Valtteri Raekallio The pair’s plan to travel to the Arctic Ocean to shoot a film, just What drives humans to explore the unknown the two of them, is portrayed in the film as a grandiose, even absurd idea. But this is not Freundlich and Raekallio’s first visit or make art, and when it comes down to it, are to Svalbard; their first piece shot there was the 2010 dance film North Horizon. they really just two sides of the same coin? “The first trip really left us with a burning desire to return. Thomas Freundlich and Valtteri Raekallio’s We’re a lot more experienced now – both as hikers and as film makers – which meant we were able to prepare for everything latest dance film, Fram, combines an art that bit better,” explains Thomas Freundlich. film with documentary style. The essay-type Shooting practice sessions to prepare for potential polar bear encounters, careful planning of rations for hiking, and piece juxtaposes making art and exploration, packing a well-thought-out selection of props were all key parts taking the viewer to both extremes amidst the of the preparations required to make this film – not to mention planning the choreography itself. The artists’ backpacks had to breath-taking scenery of Svalbard. accommodate not just their on-screen costumes, but also the equipment necessary for the extreme conditions of Svalbard and their camera kit. P 14 FINNISH DANCE IN FOCUS 2020–2021 FINNISH DANCE IN FOCUS 2020–2021 P 15

EXPLORATION & ART FRIENDSHIP & ADVENTURE As a cinematic essay, Fram depicts both the actual journey to Making this film “Sometimes, it’s difficult to determine whether ideas for pieces FRAM (2019) Svalbard and the dream-like, imagined journey told through come from a sense of professional ambition or from our need to a film by Thomas Freundlich & the medium of movement. The stories of 20th century explor- included shooting explore and spend time together,” Raekallio explains. “Friend- Valtteri Raekallio ers Roald Amundsen and Fridtjof Nansen run through the film, ship creates the framework, within which it’s like we’re having intertwined with the travelogue of the 21st century artist duo. practice sessions to a kind of perpetual planning meeting, despite our best efforts Duration: 28/51 min Exploration and making art are depicted as similar constant prepare for potential to stop talking about work – the ideas start sprouting and some efforts, striving onwards, towards the unknown. The topic has blossom into something more,” Freundlich continues. Production company: been one of great interest to Freundlich and Raekallio for many polar bear encounters… This friendship can be seen in Fram as a sense of directness Lumikinos Production Oy years. Both consider it important that art challenges both the and humour between the friends. It is also the driving force viewer and the creator. behind the project. The film pulls the viewer right to the heart ABOUT THE AUTHORS of the artistic process taking place in these extreme conditions, amidst the fierce stormy weather that turns plans on their Thomas Freundlich and Valtteri head. Raekallio and Freundlich are stuck in their tent for sev- Raekallio are well-known dance eral days, unable to do anything other than wait for the storm artists who have received over 70 to abate. Time becomes elastic, stretching out in the twilight grants, awards and prizes from Finn- zone between sleep and wakefulness. The gale outside means ish and international arts councils, that going out is no longer an option foundations and festivals. Freundlich The storm is a turning point, where the film that began as and Raekallio’s previous dance film a travelogue shifts gradually, finding its own path as a dance collaboration, Cold Storage (2016), film. A mysterious, wandering woman appears in dreamlike has received 39 awards and has been sequences. The pressing need to move onwards and upwards the most widely screened Finnish is a constant, pestering presence, like a Golem-esque figure short film at festivals worldwide for perched on your chest... three consecutive years (2017–2019). P 16 FINNISH DANCE IN FOCUS 2020–2021 FINNISH DANCE IN FOCUS 2020–2021 P 17

TEEMU MÄKI: HOW TO DANCE You’ll Be a Tree Jonatan Sundstrom AGAINST CLIMATE CHANGE TEXT Teemu Mäki. TRANSLATION Lola Rogers.

“New music [– –] has taken all the darkness and guilt of the world on itself. All its happiness is in the knowledge of unhappiness; all its beauty is in denial of the semblance of the beautiful.” Theodor Adorno (1949)

ART’S ENVIRONMENTAL IMPACTS song of all time. Immaterial works and their internet distri- WHAT ARE the carbon footprint and other environmental impacts bution have a reputation of environmental friendliness, but of contemporary dance? How much per performer, or per viewer? Despacito’s 4.6 billion views consumed as much electricity in 6 Does dance do any more harm than the work of poets, paint- months as five poor African countries used the entire year (Chad, ers, or filmmakers? If all goods and services were lined up in a Guinea-Bissau, Sierra Leone, and the Central African Republic). row according to their environmental impact, where would a Many artists worry what meaning or point their works contemporary dance performance belong? have in the shadow of climate change and other serious threats. In theory, all a dancer or poet needs for their art is a working If an artist creates an abstract or very ambiguous – that is, a body or a beat-up laptop, but what happens in practice? What’s poetic – work of art, are they guilty of irrelevance, or promoting the environmental impact of printing a book of poetry, or dis- escapism? Does an artist now have a duty to only create “emer- tributing it to bookstores? Producing a dance performance might gency art” that deals with humanity’s most acute problems? consume fewer natural resources than producing a television Philosopher Theodor Adorno said in 1949: series, but if the audience for the tv series is a thousand times greater than it is for the dance performance, should the artists To write poetry after Auschwitz is barbaric. producing the performance regret their choice of profession? The direct environmental impacts of making, presenting, Should we likewise say now that to create works of dance during and distributing art can be large in any art form. In 2017, Luis the sixth mass extinction is shameful? Fonsi & Daddy Yankee’s Despacito was the most streamed pop P 18 FINNISH DANCE IN FOCUS 2020–2021 FINNISH DANCE IN FOCUS 2020–2021 P 1 9

SANNA KEKÄLÄINEN: If I Would Lose My Voice Years later Adorno regretted that his words had been mis- WHAT TO DO? Uupi Tirronen understood. His original meaning was that after the Holocaust, one couldn’t write the same kinds of poems as before. The same A) holds true today. Climate change and the sixth extinction are REDUCE THE DIRECT ENVIRONMENTAL IMPACTS OF YOUR ART. Use sustainable central subjects of art, and they influence all other themes. electricity and costumes and sets made with recycled materials. Art also has indirect environmental impacts. I don’t mean Don’t fly when you bring your performances to festivals... Get the ones that result when the audience comes to the theater by the assistance of an environmental expert. The expert might car or when someone turns on the light to read a book – since say, “It’s good that your theater has switched to using recycled those are also, in my opinion, direct environmental impacts. toilet tissue and printing programs on recycled paper, but if you I mean how a work of art impacts the environment through really want to make a change you should switch your restaurant people. Art can change people’s world view, their world of to a vegan menu.” experiences, their values – and thus also their behavior. These But those actions aren’t enough. Even if a theater suc- indirect impacts on the environment can be much greater than ceeds in reducing their direct negative environmental impact the direct ones, Despacito’s example notwithstanding. to zero, even if they make a positive impact by planting their It doesn’t make sense to estimate the environmental impact yard full of trees and bushes, they will still cause harm if the of a work of art in the same way as you would the impact of, performances inside reinforce the view of humanity and way say, patio furniture, because works of art are not just a neutral of life that has led to global eco-catastrophe. place to hang out for their users; they are a way to engage with the most important questions as actively, honestly, and com- B) prehensively as possible. Or at least they should be. TAKE A STAND IN NON-ARTISTIC WAYS, TOO. Hang a banner on the wall of your theater and print a text on performance tickets that reads: WE DEMAND AN END TO TAX SUBSIDIES FOR AIR TRAVEL! REPLACE THEM WITH A CLIMATE PROTECTION TAX TO OFFSET THE ENVIRONMENTAL IMPACT OF AIR TRAVEL!

C) Many artists worry what meaning CHANGE THE WORLD THROUGH ART. Reveal shortcomings and search for solutions. Propose new values, new ways of living and new or point their works have in the forms of happiness. shadow of climate change and It’s important to use artistic tools to demand rapid cessation of other serious threats. the burning of fossil fuels, but even more important to make art that searches for alternatives to the vision of humanity and ways of being that have led us to this ridiculous predicament If an artist creates an abstract where people know that they’re destroying their environment or very ambiguous work of art, and themselves but don’t know how to change because the compulsion for economic growth won’t permit it, because the are they guilty of irrelevance, or market must not be disrupted and the gross national product promoting escapism? must not be jeopardized, because it would risk mass unemploy- ment, because we don’t dare give up the comforts we’ve gained, because we think we can’t put the brakes on unless everyone else puts the brakes on at the same time... Some artists develop participatory ways to change human- ity’s relationship with the non-human. They create alternatives to a relationship with nature in which humans are consumers and everything else mere resources. The art collective Other Spaces describes their method this way: “The core of our prac- tice is collective physical exercises that help us get in touch with unfamiliar forms of being and experiencing – that help us visit ‘other spaces’”. I’ve attempted the same sort of directness in works like my piece Sinusta tulee koivu (You’ll Be a Tree, 2017) and P 20 FINNISH DANCE IN FOCUS 2020–2021 FINNISH DANCE IN FOCUS 2020–2021 P 21

Art is just a particularly with bodies and bodily language that are an antidote to the Arboretum Plant Series II, 2018 dominant consumer capitalism and its human image, the body Petri Tuohimaa creative form of activism. of the gladiator. This will require performing arts to have an artistic lan- guage that can make the viewer/participant experience a pow- erful connection to the performer, to that thing in the Other Person – or in the wind, or an animal, or an idea – familiar and touching, and also to something incomprehensible and unattainable. A feeling of connection may not be created in a thundering stage spectacle where an artist with a lean, fit body Jouluevankeliumi (The Gospel of Christmas, 2018). The first blusters and performs a manifest physical tour de force simulat- piece includes lecture segments and one third of the second ing extremes of emotion. One great challenge of performing art piece is made up of interviews with a politician, a theologian, is how to use the performers’ virtuosity without making it the and an economist. In You’ll Be a Tree, the performers lecture primary point of the performance or making the performer a the audience: gladiator for the audience to adore like a child adores Batman. This spring Jenni-Elina von Bagh presented her piece A There are now twice as many of us as there were 50 years ago. Prologue at Zodiak Center for New Dance. It was an excellent The number of beef cattle has grown over the same period at the example of an open, vulnerable, thinking body on stage. The same rate as the human population. But numerous other animal performer was powerfully present, without defensive walls, populations have shrunk, many to the point of extinction. The and was able to share with us her endeavor to be uninhibited collapse has been so rapid that the wild animal population has and free while also viewing herself from a critical distance. shrunk by half in the past 50 years. Nature is now half empty. Instead of a gladiator body, a pregnant woman wandered through the audience, reflecting in words and movement on How have we become such efficient killers? essential questions of her life and art, freely, sincerely, humor- ously, and impulsively, using the ‘(Inter)acting With the Inner Making such statements may feel silly if you’re used to thinking Partner technique’. that speaking directly through art is automatically “unartistic” Heightening empathy and enabling mutual engagement and dull. But climate change and other serious threats have is a frequent goal of all art, from poetry to painting to video changed artists’ attitudes. Many artists now create works that games, but one art form cannot replace another. When bod- FERN ORCHESTRA – A have no ambiguity at all. “Art is just a particularly creative form ies are within touching distance from each other in the same of activism,” some of my students say. The directness of the space in a spirit of artistic interaction, it creates particularly message doesn’t bother them if the form is surprising. favorable opportunities for voluntary engagement and empa- But only some politically active artists want to focus on thy. Good performances cause this potential to be actualized. PLANT, MICROORGANISM pure art activism. What else can be done? I myself try to create They are sensitivity exercises, where the performers and the works that have both direct political content and ambiguous audience/participants try to be more powerfully present than content that eschews verbal expression – and a provocative they normally are and to sense the presence of the Other more break between them that, at its best, opens up new perspectives. sensitively than before. AND HUMAN BAND There is a third way. Some make seemingly abstract works In her novel To Kill a Mockingbird, Harper Lee gives one that have no obvious references to political questions, yet claim of her characters the dialogue: “You never really know a man that they deal with climate change or other great societal ques- until you understand things from his point of view, until you VESPA LAINE IS a lighting designer who makes a plant band sing had created its own biosphere in the enclosed space – if I opened tions indirectly. Is that possible? Adorno put his hopes in atonal climb into his skin and walk around in it.” Lee’s tendentious and creates light art from algae and choreography from the the bottle, it would die. It will last as long as it gets light! To music. He said that tonal music and traditional drama are so anti-racist novel can seem sentimental today, its characters motion of plants. me, this is comforting, in light of the environmental situation.” tied to stereotypical, conservative emotional mechanisms that one-dimensional, but with a bit of mental adjustment it’s a She has done a lot of collaboration with choreographers and “That’s where I got the idea for my first piece,Ferns , where their language can no longer be used to oppose totalitarian- book that can still be enjoyed – and the exhortation to put worked in theater, but when she moved to an outer archipelago I explored what plants sound like. I built my own biosphere, a ism or capitalism. But atonal music can free us from habitual oneself in another’s position and nourish empathy is in any in the Baltic, her former collaborators were left far behind and dome for plants, and composed a piece where I play the plants emotional reactions and help us distance ourselves from them, case timeless. A large portion of contemporary art achieves nature and the sea was close by. Vespa Laine tells us why she by varying their electrical resistance using light, water, and help us to examine the world and ourselves from a new point of that aspiration, but also broadens it to touch on not not just works with plants and other living materials, why photosyn- touch. There was a presentational part of it where I played a view. With its unusual form and uneasy language, it reminds our fellow humans, but all creatures. Of course, you can’t really thesis is important, and what biodiversity can teach us. character and talked about photosynthesis.” us that everything can be different. It creates a new way of climb into another creature’s skin, and only some thoughts, “In the spring of 2014 I found a bottle garden in my yard that “But: I had only rehearsed it in the daytime, when it was being, a new kind of pleasure. I think that message is often emotions, and experiences can be shared, but we should nev- I had thrown out in November, when I thought it was dead. And light out. And the performance was in the evening in a room the most important political gift of dance performance as well. ertheless try, because attempting the impossible can broaden now, to my surprise, there was a fern growing in it. Ferns are full of people – in other words carbon dioxide. One of my plants You can dance against climate change by creating pieces the circle of possibility. living fossils – that’s why it was able to grow in that bottle. It ‘went to sleep’. The others just ‘shouted’. They sounded quite P 22 FINNISH DANCE IN FOCUS 2020–2021 Caption: FINNISH DANCE IN FOCUS 2020–2021 P 23 Mareld, Turku City Theatre, Sep- tember 10-26, a co-production with Regional Dance Centre of Western Finland.

Vox Herbārium Plant Series IV, 2019 EVERYTHING IS DISPENSABLE Petri Tuohimaa EXCEPT PHOTOSYNTHESIS! “Photosynthesis is the most important thing in the world; without it there would be no oxygen, nothing. Thanks to pho- tosynthesis, solar energy is stored in green mass and through it sustains the entire food chain. Humans are dependent on oxygen, which is produced by plants and forests, but also by the photosynthesis of ocean bacteria.” “We should better protect and value the things that make photosynthesis possible. The need to protect forests is some- how easy to picture: if the forests are cut down, you can see what’s not there anymore, what is lost. But what does it mean to protect the oceans? That’s not as clear to us.” “I live on the shores of the world’s most polluted sea, the Baltic, which is surrounded by modern welfare states. So much poison is dumped into it. Most of Finland is in the Baltic water- shed. Everything we dump in the earth for a 100 km radius around the Baltic ends up in the sea.” “We have ocean microorganisms to thank for every other breath we take. They produce half the world’s oxygen. Protect- ing the oceans is a first priority.”

ALGAE LIGHT SHOW exploitative mindset – we don’t understand why we should “I often think, What would a plant do in this situation?” “Our new piece, the Mareld light show, is performed by a bio- Around the world, the importance leave those trees standing. “My pieces have dancers – they’re movement pieces – but luminescent phenomenon caused by dinoflagellates in the of biodiversity isn’t understood at “The unsuccessful Ferns performance was the germ of we call them performance essays. We haven’t wanted to refer to ocean (Alexandrium ostenfeldii). In Finland, this type of algae, something new: plant jams that combined performance art them directly as dance, because people have such strong precon- which glows in turbulent water, is called sea fire, or mareld in all anymore. and dance, where people got to play the plants themselves. ceptions of dance. I’m of the opinion that it definitely is dance. Norse language. Everybody wanted to try it! People said it changed their concept It’s just that the focus is not on the human, but on the plant.” “It’s quite fantastic that the performing algae is a 77-million- of plants and of nature – they were so sentient.” “When, because of corona, our garden tour was cancelled, year-old microscopic organism that cannot be seen with the “Of course you could call that anthropomorphism. But it’s a we decided to make a dance video intended for plants. People human eye, but produces a light phenomenon that we can see! good way to make people aware of what it feels like and what can watch it together with the plants. In the video, the plants This is what we have under the surface of our sea. How can we it sounds like when you pinch a plant! Then you can imagine send voice messages, and plant viewers in another location, learn to feel empathy for such wonderful forms of life?” what a clear cutting sounds like – yikes!” perhaps on the other side of the planet, can receive the mes- “There are also people in the piece, and dancers. We ask “Our working group has found itself pondering whether sage and admire what a wonderful plant that is!” what it feels like to be single-celled, and how to sense the glow we’re plant colonialists when we do these performances. When of fellow cells.” we use plants and drag them around from place to place. I’m POLITICS “We have four categories of ticket prices: spectator, knower, different than they had in rehearsals. Suddenly I had a punk sure they don’t like it. But I think they’re pioneers, come to “Art is my tool. I try to be political, to be an activist. We’re now influencer, and actor. We use the ticket proceeds to buy forest band on my hands! The whole piece went sideways. The time preach! We also have a plant rest home. Some of them are sliding into such a terrible state of the world that I can’t think as a carbon sink. And the price of the ticket includes your fare of day had changed. The plants had already ‘done their day’s always there taking a break from work.” about creating performances about something like sexuality. on Turku public transit.” work’. They panicked.” All our performances are about taking responsibility for the “I realized how little we know about plants and how poorly PLANTS AND MOVEMENT environment.” \ we understand nature. Finns consider themselves forest people, “When creating a piece, it’s important to try to make a connection “It’s important to think about how we create our pieces, Vespa Laine was interviewed by Sanna Kangasluoma. but our connection to nature is broken, too. Around the world, with the plants – What might the plant want? Where would it and where we create them. We think ecologically. We’ve turned the importance of biodiversity isn’t understood at all anymore. like to be, and what is its relationship to the other plants and down gigs that smelled like greenwashing.” Fern Orchestra is an art and science collective that works with Nature is seen as a frightening, incomprehensible thing. These to us humans? The dancer’s instrument – the body – can do this “As an artist, you can make a choice – about how you heat plants and microorganisms, founded by Vespa Laine. Their per- problems come from an exploitation mentality.” well. Dancers can use their kinaesthetic intelligence to find a your studio, what you eat. Your practice can be ecological. The formances are characterized by their inclusion of living organisms “You can find all kinds of things on the internet, but actual, kind of vegetativism, or ‘plantism’. But it’s not an easy thing.” Fern Orchestra doesn’t fly; we always go by train or bus to other than humans. researched information is hard to get. Our collective includes “Organic movement in this context means specific things. our gigs. The best trips were the ones where we sat on a train a marine biologist and we collaborate a lot with researchers. Plants are surprisingly strong movers, but a plant doesn’t do together for days. Those situations don’t arise in normal life. If we humans knew more, maybe we would treat the environ- anything for no reason. Its movement is organic because it has It’s a kind of ‘pilgrimage to the mountain’ ” ment better. As it is, we don’t even know how to question the a clear purpose.” P 24 FINNISH DANCE IN FOCUS 2020–2021 FINNISH DANCE IN FOCUS 2020–2021 P 25

THE CONNECTION BETWEEN THE BODY AND NATURE VIBRATES THROUGH TERO WHAT DO WE SAARINEN’S NEW PIECE DO NOW? TEXT Sanna Kangasluoma TRANSLATION Lola Rogers TEXT Sanna Kangasluoma TRANSLATION Lola Rogers.

SANNA KEKÄLÄINEN is known for her socially responsible contempo- It also naturally follows that nothing is purchased for the rary dance works, which often deal with gender problematics, piece, everything is recycled. "You can't do a piece about the power, and inequality. Her newest piece, If I Would Lose My climate crisis with a lot of gorgeous sets," Kekäläinen says. Voice, is an examination of the human impact on the planet. She has thought hard about how to come at the subject, since The piece doesn't present any argument; instead it considers, the fact that the premiere is on the main stage at the National together with the audience, what we, the human species, have Theatre could create a hierarchical arrangement between the done to this world. The piece had its premiere in August on the stage and the audience. "I've tried for a long time in my work main stage of the . to remove the top down spectacle, and in this piece we've taken "Climate issues and big themes have always been a part that pretty far. Basically, I don't want my work to be some kind Rehearsal footage from of my work, though perhaps not explicitly. Now it is such an of educational experience for the audience." Tero Saarinen’s Transit acute, burning question that I couldn't, as an artist, continue "You can find plenty of information about the topics the Skånes Dansteater / without bringing this issue to the forefront," Kekäläinen says. piece covers elsewhere anyway. I prefer that people identify Jubal Battisti In If I Would Lose My Voice, the stage is called The Place, with the situation. So whether you're on the stage or in the where events begin to unfold. The situation is threatening, there seats, we're all the similar people here, at the mercy of the is something shocking and irrevocable in what is happening. earth in the same way." We have exploited the earth and as a result a different earth "I feel that contemporary art, which is the context where I THE THEME of Tero Saarinen’s upcoming piece Transit is the rapid world of Transit to a trilogy by composer Sebastian Fagerlund begins to live beneath us, a different soil, different waters, riv- place my own work, can bring a poetic angle to eco-catastrophe, disappearance of nature’s diversity and human responsibility which also takes its inspiration from nature. Lighting designer ers, zones. This earth has begun to move, to tremble, bubble, making it easier for people to approach the subject than it is for this change. Although his subject is the climate crisis and Minna Tiikkainen, sound designer Tuomas Norvio, and costume react--the earth is rebelling. through facts, which can make people feel afraid, or guilty. its consequences, the choreographer doesn’t see any reason to designer Teemu Muurimäki also had important roles in the "The starting point in the piece is the earth, and a human "I believe that our art impacts people through a shared divide the political from the poetic in his art. creation of the piece. being is just a little grain of sand, a small part of the vast uni- experience. By creating understanding that this climate crisis “I don’t consciously set out to create dance that takes a “Live music, rich, drawing-based video animation about verse. We try to create a reality where the viewer lives through is a shared reality now, for all of us. By asking, together, what political stance, but my works do always have a strong social the powers of nature and the universe, and the choreography the events with us. We don't 'perform' anything for the audi- do we do now?" conscience,” Saarinen stresses. of bodies at the center of it all – these elements all come at the ence in the traditional sense of performing arts; we created a “Nature, for me, is a great source of inspiration. There are same theme from different perspectives. I’m happy that I’ve shared space," Kekäläinen explains. frequencies, forms and volumes in nature that have a strong brought these particular creators together, and it feels as if what "This is my political way of approaching the subject. The influence on me, that feed my thinking and my bodily expres- we’re creating is the kind of crystallization that will hopefully stage space is entirely free of performing. Performing tech- sion,” he says. make the viewer think about these important matters.” niques are a key part of the content of the work, and this kind of “Nature and the body are the same thing,” the choreog- “Right now, during the time of corona, it’s even more impor- critical perspective on performance politicizes the commercial rapher notes. tant to emphasize that our own existence, our relationship to spectacle and at the same time the reason for climate change." “There is a great deal of information layered in the body. each other and to nature needs to be recalibrated in some way,” Kekäläinen explains the context of her idea: "The capitalist But are we ignoring it, letting it waste away? We are destroying Saarinen says with a sigh. system has invaded performing arts in the form of commercial nature as a result of our actions, and at the same time, with “Although Transit comes out of the erosion and destruction spectacle, which does the same thing in art, and to art, that it our contemporary way of life, constantly distancing ourselves of nature, it also has a strong sense of new possibility rising does elsewhere in society. – You can't just start 'performing' from our own bodies. We don’t listen to the messages the body from the ashes.” the climate crisis!" is sending us. Saarinen would like to hope, and believe, that corrective We dancers and choreographers still have a chance to be action is still possible. more fully present by understanding this connection with nature and its cycles. We still have the sensitivity to perceive \ that those same vibrational frequencies live within us. We are Transit is a co-production by Skånes Dansteater and Tero Saarinen part of the flora and fauna.” Company presented at Malmö Opera. Premiere: October 3, 2020 Saarinen, together with the visual art duo IC98, has set the IN THE SPOTLIGHT IN THE SPOTLIGHT FINNISH DANCE IN FOCUS 2020–2021 P 2 7 TEXT Emma Vainio PHOTOS Uupi Tirronen

VERA LAPITSKAYA: HANNA PAJALA-ASSEFA: Life itself inspires me I experience and understand the world through my body

“AS A CHILD I used to see at the Mari- Vera Lapitskaya has a Master’s degree in “I’ve always heard movement as sound Skeleton Conductor XR Art is a work insky Theatre, and I always dreamt of a psychology. She sees both psychology and within me,” Hanna Pajala-Assefa muses. experienced wearing 6dof VR gear which career as a dancer,” recalls the Russian- dance as universal tools, one mental, the During her 25-year career as a dance artist, allows full movement freedom. “ The player born Vera Lapitskaya. After being a keen other one physical. “Just as psychology she has created traditional stage choreog- produces sound and visuals through moving swimmer for years, Lapitskaya only finally gives you mental ability to see life in dif- raphies, though film, sound and interactive in the virtual space,” Pajala-Assefa explains. fulfilled her dream at the age of eighteen ferent ways, dance is a kinesthetic way to media have already been at the heart of her The essential thing is that the perceiver and began her studies at a dance school in be open to different aspects of life.” artistic work for a long time. becomes the performer in his/her own St Petersburg. In 2008, Hanna Pajala-Assefa was one unique artwork. “VR allows to create an In 2006, she gained a place in the of the founders of the Loikka dance film embodied experience where anyone can dance department of North Karelia’s Outo- festival and acted as the artistic director feel the wisdom of the body and the joy kumpu College in Finland, and has worked and producer of the festival in the early in creating beautiful things with it.” as a dance artist in Finland ever since her years. “Finland had hardly any makers of graduation. dance films, so that Loikka’s festival and Vera Lapitskaya is fascinated by the educational activities were inherently inter- spontaneous dialogue between different national from the start.” art forms. In Jane’s Solstice, a work that had Loikka has played a significant part in its premier in autumn 2019, she worked with the development and internationalization Paolo Cingolani, an Italian dance artist, and of the Finnish dance film. The last Loikka Julyen Hamilton, an English dance artist and festival in 2018 screened the VR film Devil’s poet. Movement and poems intertwined Lungs, which was produced by Pajala-Assefa on stage to become one narrative – the and constructed in a 360◦ environment. core idea was to make the invisible visible. In History of a Love (2013), a stage “Dance and poetry, as art forms, production, Pajala-Assefa began for the breathe and speak highly similar languages,” first time to explore ways of making music Lapitskaya muses. “Straightforwardness through movement. She used contact isn’t the starting point for either; instead, microphones attached to the space and it’s metaphors and messages, which each the body. “How can I produce a sound spectator can freely interpret from their and still keep my thinking kinetic and play own standpoint.” the moving body as if it were an instru- The NotaBene art group, founded by ment?” she wondered. The work evolved Vera Lapitskaya, creates diverse art pro- into developing a practice called Sound- ductions with different groups of people. ing Motion where music was produced “When I produce performances for the through body-placed sensors from dance young or the old, I want to give them space improvisation. to express themselves and to discover Currently, Hanna Pajala-Assefa is something about creating movement.” As working with transferring the movement an example, the dance artist has toured sonification mappings into a virtual envi- sheltered housing blocks with Natalie ronment and researching kinaesthetic Kochelenko to perform their work Soit- thinking in a virtual realm. tolaukku (The Music Bag). “Working with different audiences is an enormous source of inspiration,” Lapitskaya says. “Life itself inspires me in general.” Besides being a diverse dance artist, P 2 8 FINNISH DANCE IN FOCUS 2020–2021 IN THE SPOTLIGHT IN THE SPOTLIGHT FINNISH DANCE IN FOCUS 2020–2021 P 2 9

MICHAELA THE QUEEN OF FUCKING EVERYTHING (LAURA PIETILÄINEN): MARIKA PEURA: My power figure, who radiates the energy of the universe, does what she wants Companionship and synergy are sources of strength

“Play and daftness are immeasurably impor- Since 2016, Pietiläinen has created art Michaela the Queen of Fucking Eve- “For me, freestyle hip hop brings together tant inner resources,” according to dance through Michaela the Queen of Fucking rything has charmed and baffled as a music, friends and movement born in the artist Laura Pietiläinen. “A lack of humour Everything, the power figure of her soul. choreographer and dancer for example in moment,” says Marika Peura, a dancer and hardens and shackles energy.” This anarchic alter ego gives the dance artist the work Blondes, which had its premier choreographer. “The movement vocabulary Laura Pietiläinen’s kinetic roots are to the power to unshackle herself on stage at Zodiak in 2018. The production drew its and grooves are in the dancer’s body, while be found in competitive rhythmic gymnas- and in video installations, and to be able power from the internal bimbo and playing pre-planned movement phrases take away tics. While the world of gymnastics was to be her free, natural self. the fool. It was based on dance artist Paula the crispness of the freestyle moment.” centered on the deficiencies of body and Michaela’s figure doesn’t kowtow, Tuovinen’s iconic work Blonde, premiered in Peura’s dance expression is rooted in mind, dance opened the doors to a deeper belittle herself or find fault; instead, she’s 2000, while finding its very own absurd way. the world of and freestyle level. “It’s only as a dancer and choreogra- a warrior and a star that radiates energy. Apart from the cosmic energies flowing training with friends. She has learned from pher that I’ve found a route to enable me “Through Michaela, I’m linked to the within a human being, Michaela the Queen inspiring dancers and pioneers in the field, to draw from my soul freely. I’m on my immense, empowering energies of the of Fucking Everything is also inspired by e.g. in New York, , Osaka, and way into even greater depths in order to universe and the visions that spring from scents, music, crystals and fashion. “I’d like locally. Entering competitions has been render internal energies visible,” the dance them.” to increase my work with fashion designers a big part of the lifestyle. “Of the street artist explains. in the near future and I’m also intrigued by dance styles, freestyle hip hop is the one the world of music videos.” closest to my heart.” In 2011, Peura participated for the first time in a contemporary dance project at ’s URB festival. That’s when she became interested in dance, performance and choreography created for stage. Peura later graduated as a dancer and choreog- rapher from Helsinki Theatre Academy. “Although hip hop culture and street dance are global phenomena today it is important to acknowledge that they were created by black and poc communities in a particular socio-political climate of the early 70s in the U.S. Drawing from these diverse terrains is fruitful for me but careful reflection of my position is a must, as struc- tural hierarchies prevail between them.” At this point in time, Peura is working on a new choreography in collaboration with Kaisa Nieminen and Suvi Kemp- painen. The work called and then they left will have its premier in Zodiak – Center for New Dance in December 2020. “I find collective working essential!” Marika Peura was also one of the found- ers of Cleva Crew, a dance group formed in 2009. The group members promote street dance culture in Finland and organise the Nordic Soul festival. Apart from an involvement in hip hop circles and stage productions, Peura teaches dance and has performed and worked as a choreographer in music videos, adverts and on television. P 30 FINNISH DANCE IN FOCUS 2020–2021 CHOREOGRAPHER IN FOCUS CHOREOGRAPHER IN FOCUS FINNISH DANCE IN FOCUS 2020–2021 P 31

1. MILLA KOISTINEN: One next to me David Binderberger MILLA KOISTINEN: \ 2. Milla Koistinen A CROWD IS A Paul Valikoski SENSITIVE THING TEXT Eeva Kauppinen TRANSLATION Fleur Jeremiah

“The corona crisis is bound to change the audience, the artists, and the way of working. You could imag- ine that locality will be viewed differently after this.”

1. CHOREOGRAPHER MILLA KOISTINEN is at the a painful chord in the current world of dramaturgist. “Tenderness and violence other end of the phone in her home at social distancing. are present throughout. In the produc- Prenzlauer Berg in Berlin. Canetti writes: “For just as suddenly as tion, the boundary between them is highly The corona pandemic has halted all it originates, the crowd disintegrates. In its volatile in the movement material and in the pending touring performances of the spontaneous form it is a sensitive thing.” people’s actions. The forces can also appear dance artist, who has worked in Germany You could say the same thing about together, and they don’t cancel each other for the past ten years, though the virus Koistinen’s work One Next to Me, which out. The situation can change quickly.” hasn’t affected the preparation and plan- unites on stage sixteen or seventeen dance Partner dancing and communication ning for her next work. On a Clear Day, a professionals and amateurs of different between the performers within the work solo production, was due to be performed ages. The premier of One Next to Me took are highly organic and intensive. At times, at Bauhaus and her latest large group work, place at Uferstudios in Berlin in January it’s as if the dancers were tearing themselves One Next to Me, at the Tanz im August 2019. away from an encounter. The choreography festival. “I already started studying Canetti and contains a large number of stills, frozen One Next to Me would have been the nature of the crowd while teaching at images. Koistinen says that she found welcome right now. It resonates with the SEAD at Salzburg. In March 2018, when over movement material in news photos and present time of the corona virus in a strik- there, I created a work called Lachrimae, documentary films. ing way through the encounters that take which was like a preliminary version of One “It wasn’t our intention to create an place on stage, through its philosophical Next to Me. I did a lot of research into an imagery of realistic violence, or to illus- content, as well as through the ideas of Elias individual’s reactions in a crowd situation, trate things. The movement was meant to Canetti, the Nobel Prize winning author, into how one’s own behaviour in the crowd be abstract while reflecting the themes of who provided the inspiration for the work. may suddenly become totally different the work accurately. We spent a long time Koistinen became interested in Can- and something unlike one’s behaviour as an searching for this effect. I have no actual, etti’s book Crowds and Power (Masse und individual. And I looked into the strength direct experience of violence. My relation- Macht), in which Canetti writes about the of the power exerted by the crowd,” Milla ship with violence has, by and large, been fear of touching the unknown and maintains Koistinen explains. formed by the media.” that only as a member of a crowd can a For One Next to Me, Milla Koistinen Koistinen didn’t want the dancers to human being become free of his phobia chose two forces, tenderness and vio- enact situations. The outward content is of touching. Canetti’s observations strike lence, together with Synne Behrndt, a more like reconstruction. For each scene, P 32 FINNISH DANCE IN FOCUS 2020–2021 FINNISH DANCE IN FOCUS 2020–2021 P 3 3

four or five days. It’s been a new experience Milla Koistinen wants to everyone. It’s also important to me that, to introduce different in that process, children or amateurs are treated in the same way as professionals. bodies to the stage. They’re equal to me, just as important.” Koistinen works closely with another two artists: Paul Valikoski, a sound designer and musician, and Ladislav Zajac, a light- ing designer. This cooperation – seamless, resonant, and reactive – comes across in the the dancers had access to ‘a movement overall artistic product. The choreographer pool’, a list of movements they could doesn’t make all the decisions on her own. choose from. “It’s important to me that all the ele- “All the images in the work are ments are equal. Everyone is able to start extremely charged. Performing can’t go from whatever they find interesting. By beyond that. Things can’t be illustrated or and large, I give them a free hand. Ladislav acted out.” Zajac is originally a fine artist. His spatial Milla Koistinen wants to introduce dif- thinking is different. He also deploys lights ferent bodies to the stage. She has involved differently from a lighting designer with children along professional dancers both another educational background,” Koistinen in A Cloud of Milk (2016) and in One Next explains. to Me. It’s significant to her who is allowed “It’s interesting to cooperate with to dance, who is allowed space in the two people who don’t hail from the genre production. of dance. Ladislav has a highly critical “Non-professionals are able to be approach. He may think theoretically in a themselves on the stage. They don’t start different way, he keeps questioning, forcing assuming any roles. In that respect, I’ve me, too, to think in a different way, which found the presence of non-professionals is good. Paul and I, in turn, share the same interesting,” Koistinen explains. vision about ambiance. I think that this “In contemporary dance performances, trio is a good combination. We balance the performers frequently concentrate each other out and take our ideas forward.” on their sensations, and don’t necessary Koistinen gives her partners credit for look directly at each other. We’ve moved questioning what a work yields to specta- towards behaving on stage as if it repre- tors who aren’t dancers themselves. or in respect of art, what would you wish MILLA KOISTINEN: One next to me sented everyday life. In a way, it’s a trade-off Pas de deux #1 – Constructing Love, the for in this situation? Should we revert to David Binderberger between the non-professionals and the latest work from Team Koistinen-Valiko- Canetti, according to whom “the whole WHO? WORKS: trained presence of the professionals. What ski-Zajac, was premiered at Radialsystem knot of shifting and intensely sensitive reac- the professionals look for in the non-pro- in Berlin in January 2020, just before the tions to an alien touch proves that we are Choreographer, b. 1980 in Finland, lives in Pas de Deux #1 – Constructing Love fessionals and the other way round. The corona crisis. The work didn’t have actual dealing here with a human propensity as Berlin with her family. (Radialsystem, Berlin 2020) children also had a big responsibility. They performers, but an audience of two people, deep-seated as it is sensitive; something were highly focused. Work assumes a dif- who participated interactively in creating which never leaves a man.” From 2008, her works have been per- One Next to Me (Uferstudios, Berlin 2019) ferent significance when it entails this kind the work in the available space. “I’m hoping that the crisis we’re faced formed at Tanzhaus NRW, HAU Hebbel of aspect of communality.” “The new concept entails the idea that with now won’t destroy art but do the am Ufer, Mad House Helsinki, Barker Lachrimae (SEAD Salzburg 2018) Koistinen concedes that A Cloud of the audience is the performer. For the next opposite. The corona crisis is bound to Theatre in Turku, ARGEkultur Salzburg, Milk and One Next to Me have been par- work, we’ve already reached the planning change the audience, the artists, and the Fabriktheater Zürich, Dampfzentrale Bern, On a Clear Day (Uferstudios, Berlin 2017) ticularly important works to her. stage where we’re writing down the concept way of working. You could imagine that Ballhaus Ost, and Uferstudios in Berlin. “The process itself has been exciting together. It’s not my work but belongs to locality will be viewed differently after this. A Cloud of Milk (Tanzhaus NRW 2016) when we’ve been touring and have always the three of us from the very start.” Artists are bound to think where works will included new people and trained them in If you could wish for something for art be executed, in what way and with whom.” P 3 4 FINNISH DANCE IN FOCUS 2020–2021 DIRECTORY OF FINNISH DANCE FINNISH DANCE IN FOCUS 2020–2021 P 3 5

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

performances for young audiences dance films

DANCE THEATRE HURJARUUTH Helsinki Norway Dance companies & Production centres DANCE PUBLICLY Contact: [email protected] Regional Dance Centre www.hurjaruuth.fi Hurjaruuth is based in Helsinki. It is Festivals & Events COMPANIES FUNDED known for its multi-skilled nature: the Professional education dynamic and courageous performances DANCE combine dance, circus, music, visual DANCE COMPANIES arts and cutting-edge video technology. WITHIN ARTISTIC Hurjaruuth was founded in 1981. Today COMPANIES Hurjaruuth employs over 120 perform- INSTITUTIONS ing arts professionals annually, every AB DANCE COMPANY / year approximately 40 000 audience AURINKOBALETTI members come to see them. Rovaniemi Helsinki Turku Genres: Dance theatre, performances Contact: Contact: Urmas Poolamets, for young audiences, dance festival Tornio Sampo Kivelä, Artistic Administrator Artistic Director Artistic Director: Madeleine Onne www.aurinkobaletti.fi Sweden Russia www.operaballet.fi AB is known as a constantly evolving, Oulu About 80 performances and 3–5 pre- high-quality contemporary dance THEATRE MD mieres per season. Also works by which is not afraid to venture outside Tampere Kajaani contemporary choreographers, such as the limits of its own genre. Its repertoire Contact: Anniina Kumpuniemi, Tero Saarinen, Jorma Elo, Jiří Kylián, John includes productions for both adults Managing Director Kokkola Pyhäsalmi Neumeier, Alexei Ratmansky and Ohad and children by Finnish and internation- www.tanssiteatterimd.fi Naharin. The Ballet employs 75 dancers al choreographers. The home stage of Dance Theatre MD has become known Kaustinen Kuopio representing 20 nationalities, plus 12 the company is at Manilla, a beautifully for its high-class choreography and ver- Vaasa Outokumpu dancers in its Youth Company. restored former factory on the banks of satile performers. The broad repertoire Genres: Classical ballet, contemporary the Aura River in Turku. features shows from classic fairy tales ballet, contemporary dance, young audi- Genres: Contemporary dance, dance for children to contemporary dance Jyväskylä Joensuu ences theatre, performances for children pieces for adults. MD also tours in Finland and abroad. MD’s dancer-chore- Tampere ographers are as well frequent visitors in Imatra HELSINKI DANCE COMPANY DANCE THEATER ERI various theatre and opera productions. Lappeenranta Helsinki Turku Genres: Contemporary dance, dance Contact: Antti Lahti, Director of HDC Contact: Maarit Keto-Seppälä, Producer theatre, dance festival, performances Turku www.hkt.fi www.eri.fi for children Kerava HDC is Helsinki City Theatre´s dance Dancer-choreographers Tiina Lindfors, Espoo Vantaa Helsinki company founded in 1973. HDC per- Lassi Sairela and Eeva Soini founded formers are known for performing Dance Theater ERI in 1989. Over the past DANCE THEATRE MINIMI 36 13 physically demanding contemporary 30 years ERI has built up a repertoire Kuopio dance and expressive dance theatre that now includes more than 300 works. Contact: Mikko Makkonen, Artistic Genres: Contemporary dance, dance Every year they produce around 130 Director [email protected] & Iiro Näkki, theatre performances, of which four or five are Artistic Director [email protected] premieres. www.minimi.fi Genres: Contemporary dance, dance Dance Theatre Minimi produces per- Estonia theatre formances balancing on the borders of P 36 FINNISH DANCE IN FOCUS 2020–2021 DIRECTORY OF FINNISH DANCE DIRECTORY OF FINNISH DANCE FINNISH DANCE IN FOCUS 2020–2021 P 37

circus, dance, physical theatre and other GLIMS & GLOMS DANCE THEATRE Alpo Aaltokoski Company has toured ment projects and teaching workshops tures in a unique way and it is moving intelligent humour. Dance theatre and bodily performing arts. Minimi produces Espoo in nearly 30 countries worldwide. Ho- in dance and camerawork. between dance, music, theatre and improvisation-based pieces performed creations from both house and guest Contact: Heidi Yli-Yrjänäinen, listic visual insight is characteristic to Genre: Contemporary dance strong visual elements. Their style is in places like parks, streets and trams. artists aiming to develop employment Production Manager Aaltokoski’s artistic work. The chore- contemporary, rooted in the rhythms Touring 2020/21 with the pieces Liian of freelance artists and to collaborate www.glimsgloms.com ographer’s aspiration is to understand BALLET FINLAND and forms of . In 2012 they pitkät katseet and Long Leads (Pitkät with a variety of partners like dance The Glims & Gloms dance company was human beings and their personal rela- Helsinki won first prize in three categories in the Piuhat) by Antti Lahti. companies, theatres and different art founded in 1999 by Simo Heiskanen and tions as well as their relation to the Contact: Jouka Valkama, Artistic prestigious Certamen de Coreografía de Genres: Contemporary dance, dance organizations annually. Productions are Tuomo Railo. G&G’s works are charac- surrounding world, never forgetting the Director Danza Española y Flamenco competition theatre often planned for touring and to be terised by stylish and inventive visuals comic side of things. www.balletfinland.com with their work The Raven, and they suitable for outdoor venues and pub- and multi-layered themes. Genres: Contemporary dance, commu- An independent troupe of classically have toured in 15 countries. DANCE COMPANY OFF/BALANCE lic spaces. Dance Theatre Minimi was Genres: Contemporary dance, dance nity dance trained dancers and choreographers Genres: Contemporary flamenco, live Jyväskylä founded in 1991 and currently it’s home theatre, young audiences seeking new forms of classical and con- music performance, dance theatre, Contact: Elina Häyrynen and Terhi Kuok- venue is located inside the city theatre ARJA TIILI DANCE COMPANY temporary ballet, tradition and thinking. dance films, young audiences, perfor- kanen, Artistic Directors in Kuopio. Helsinki Founded in 2009 the company has mances anywhere. www.offbalance.fi Genres: Dance theatre, physical theatre, Contact: Arja Tiili, Choreographer, Artis- performed successfully in Finland and Central Finland-based company with street theatre Helsinki tic Director and Executive Director for abroad. versatile, responsive creations. The Contact: Iiris Autio, Managing Director Break the Fight! project Genres: Classical and contemporary DANCEBOX company produces 1–3 premieres/ DANCE THEATER RAATIKKO & Johanna Rajamäki, Head of Interna- www.arjatiili.fi and ballet Tampere co-productions + various events per Vantaa tional Relations www.breakthefight.com Contact: Terhi Pinomäki-Lenick year with fantastic choreographers and Contact: Marja Korhola, Theatre www.terosaarinen.com Arja Tiili is known for breaking genre CARL KNIF COMPANY www.tanssiboxi.com artists. Director Tero Saarinen’s works have captivated boundaries in her artistic work. She has Helsinki DanceBox is an independent contem- Genres: Contemporary dance, new www.raatikko.fi audiences and critics in a knack for revealing the most intimate Contact: Marjo Pyykönen, porary dance group from Tampere, dance Founded in 1972, Raatikko has its own 40 countries, including at Place des and secret traits of the human spirit. Managing Director founded in 1998. It performs both in venue in Vantaa and also performs on Arts (Montreal), BAM & The Joyce (New Her works often depict our dark side: www.carlknifcompany.com Finland and abroad. Performances for a DANCE THEATRE AURACO tour. Raatikko creates dance pieces for York), Chaillot & Châtelet (Paris), Royal madness, violence, loneliness and greed After a decade as a freelance dancer wide range of audiences, young and old, Helsinki children, young people and adults, often Festival Hall (London), KAAT & Saitama – but always with a palpable sense of Carl Knif founded his own company Carl in theatres, at schools and on the streets Contact: Päivi Aura, Artistic Director combining dance, theatre and circus. Arts Theater (), and in commis- humor. Arja is leading Break the Fight! Knif Company in 2012. In addition to the and at markets. www.auraco.fi Raatikko puts on over 300 performances sions for companies such as NDT1, Street Culture Services for municipali- works created for his own company Knif Genres: Contemporary dance, dance Touring dance company producing 1–3 per year, with 2 to 4 premieres, 150 audi- Batsheva, Lyon Opéra Ballet and the ties and communities. Stage creations: also works on commissions for other theatre premieres per year. Auraco produces ence events and over 30,000 spectators. National Dance Company of Korea. Lat- Break the Fight – Breaking Borders! companies, as well as co-productions performances for all ages combin- Genres: Dance theatre, young audiences est creations: Third Practice (TSC & Hki 2018, Break the Fight – In Love! 2015, with other institutions. In 2016 Knif ing dance and mime. Auraco has many Baroque Orchestra, 2019, music: Claudio Break the Fight – I was here! 2015 avail- broadened his work into the field of DANCE COMPANY GRUPPEN FYRA years’ experience working with and for Monteverdi) and Transit (2020, music: able for touring, also other BTF- events theater with his successful adaptation (G4) babies and toddlers under age 3. DANCE THEATRE RIMPPAREMMI Sebastian Fagerlund) on request. of the short story The Metamorphosis Helsinki Genres: Dance theatre, young audiences Rovaniemi Genres: Contemporary dance, contem- Genres: Contemporary dance, break- by Franz Kafka for the Swedish Theatre Contact: www.gruppenfyra.com

Contact: Matti Paloniemi, porary ballet, live music performance, dance, eclectic, hiphop, dance theatre, in Helsinki. Works by Carl Knif Company Contemporary dance combined with Artistic Director & dance films martial arts, visual arts, young audienc- have been seen in 10 countries world- Dance Company Off Balance © Jaana Kurttila Elina Vähäkuopus, Producer es, community dance wide. Fugue in two colors, the latest www.rimpparemmi.fi dance work by the company, will have Finland’s northernmost professional its premiere in October 2020 and is also dance theatre offers a unique mix of AS2WRISTS DANCE COMPANY available for touring. Finnish folk dance and contemporary INDEPEND- Helsinki Genre: Contemporary dance dance. They give about 120 performanc- Contact: Minna Tuovinen, es annually and have toured in more Choreographer COMPAÑIA KAARI & RONI MARTIN than 20 countries. Also a repertoire of ENT DANCE www.as2wrists.fi Helsinki first-class folk dance and music perfor- Their unique style blends Argentinian Contact: Kaari Martin, Artistic Director mances. COMPANIES tango with a contemporary vocabulary. www.compania.fi Genres: Dance theatre, folk dance, In recent years the company has toured Compañia Kaari & Roni Martin is a contemporary dance, live music perfor- ALPO AALTOKOSKI COMPANY extensively in South America, most multicultural and international group mances, young audiences Helsinki notably in Argentina and Brazil. The of artists characterised by their high- Contact: [email protected] company is diverse, working in dance energy and hands-on approach. The www.aaltokoskicompany.fi film, organising international develop- Company has combined different cul- P 38 FINNISH DANCE IN FOCUS 2020–2021 DIRECTORY OF FINNISH DANCE DIRECTORY OF FINNISH DANCE FINNISH DANCE IN FOCUS 2020–2021 P 39 KATVE [blind spot] © Arno Illukka DANCE THEATRE KAIE FLOW PRODUCTIONS JENNI KIVELÄ & KIND PEOPLE mances for babies and children. We use Kerava Oulu Helsinki various ways of communication such as Contact: Anne Jouhtinen Contact: Pirjo Yli-Maunula, Artistic Contact: Jenni Kivelä, Choreographer, movement, music, rhythm, interaction www.tanssiteatterikaie.com Director Producer and sound. Loiske Ensemble performs in Multi-artistic productions for adult and www.flowprod.fi www.jennikivela.com theatres, cultural centres, kindergartens, young audiences. Traditional stages as Contemporary dance, -circus, music and Creating dance performances since dance festivals and children’s cultural well as streets, market squares, parks, visuality combined in multidisciplinary 2002 that combine features from dance festivals in Finland and overseas. shop windows and kindergartens productions, site specific, immersive and theatre and move between the con- Genre: Dance theatre, performances for function as performance spaces. The and on stage, choreographer Pirjo Yli- ceptual and the concrete. Jenni Kivelä young audiences Finno-Ugrian roots inspire with their Maunula as the director. Also series of has a strong and recognisable style. Re- mysticism. visiting shows through out the year with cently she worked with immersive work Genres: Contemporary dance, dance title Flow-circus. called Rosemary’s Room. MALVINIEMI COMPANY theatre, multi-artistic performances Genres: Contemporary dance, Genre: Contemporary dance, dance Vaasa multidisciplinary productions theatre, young audiences Contact: Mia Malviniemi, Artistic Direc-

tor and Choreographer

DANCETHEATRE LIIKERI FREECOLLECTIVE www.malviniemi.fi Tampere Tampere, Jyväskylä, Kangasniemi, Espoo, K&C KEKÄLÄINEN & COMPANY Choreographer Mia Malviniemi has Contact: Linda Kuha, Choreographer Helsinki Helsinki KATVE [BLIND SPOT] continuously evolving process of ask- created contemporary dance works www.tanssiteatteriliikeri.com Contact: [email protected] Contact: [email protected], Helsinki ing questions and in experimentation since 1996, and her company, based on Liikeri is a young contemporary dance vapaakollektiivi.blogspot.fi/ [email protected] Contact: Heidi Masalin, in contemporary society. The com- Finland’s west coast, was established collective producing 1 new creation per FREEcollective // VAPAAkollektiivi www.kekalainencompany.net [email protected] pany performs and tours in Finland in 2011. The company produces mainly year. They perform both on traditional operates by inviting guest artists to col- The mission of K&C is to promote dance www.katveblindspot.kuvat.fi and abroad. It organises training for stage works but there are also site- stages and in public spaces like galler- laborate. Creating diverse performances as an intellectual art form with strong KATVE [blind spot] produces fresh and professionals and non-professionals, specific performances in repertoire. ies and parks. Interaction between the for the stage and other public venues; potential in political and poetic com- versatile danceworks for all kinds of and curates and organises events with Malviniemi often brings together live dancers and audience is a key concept touring, hosting masterclasses, audience munication. Choreographer-dancer people. Humanity and imagination are themes related to the performing arts music and contemporary dance in her for this company, sometimes involving outreach programmes. Sanna Kekäläinen’s work expands the the core values of KATVE [blind spot], and their future. works. The company also offers work- spectators in devising pieces or co- Genres: Contemporary dance, experience of a dance performance by led by choreographer-dancer Heidi Genre: Post-contemporary dance and shops, performances, community and operating with unusual partners multidisciplinary productions combining philosophy, feminism, text, Masalin. performance outreach activities, especially aimed at Genres: Contemporary dance, new gender and conceptual thinking with Genre: Contemporary dance, young au- the elderly. dance theatre, young audiences ISMO DANCE COMPANY highly original movement language. diences Genre: Contemporary dance Helsinki Genre: Contemporary dance LIVE UMBRELLA

Contact: Ismo-Pekka Heikinheimo, Kuopio MAMIA COMPANY EHKÄ-PRODUCTION Artistic Director KATJA LUNDÉN COMPANY KINETIC ORCHESTRA Contact: Johanna Tuukkanen, Artistic Vantaa Turku www.ismodance.fi Helsinki Helsinki Director Contact: Nina Mamia and Kasper Nord- Contact: [email protected] Choreographer Ismo-Pekka Heikinheimo Contact: Katja Lunden, Artistic Director Contact: Jarkko Mandelin, Artistic www.tuukkanen.net man, Artistic Directors www.ehka.net blends art and performance with new www.katjalunde.com Director Live Umbrella manages the artistic work www.mamiacompany.fi Performances, co-productions, residen- concepts and artistic methods. His so- Katja Lundén Company has made a www.kineticorchestra.fi of choreographer and curator Johanna Mamia Company is a contemporary cies, the annual XS festival and more. cial agenda touches on body politics name for itself with its groundbreak- In just a short time, this group has cre- Tuukkanen. Embracing the collabora- dance theatre. The Company’s perfor- Artist-run Ehkä facilitates works and and the aesthetics of movement. His ing works, including Flamencosauna, ated a strong and recognisable style to tive and multidisciplinary, Live Umbrella mances deal with contemporary topics, projects of independent dance and per- work is multidisciplinary, interactive and Edvard Munch – The Dance of Life, become one of the most interesting produces works for stages, galleries and the human condition and society. formance artists, groups and collectives. transformative, exploring the spectrum Universo, AfterMachine and La Vida de Finnish contemporary dance companies. various sites within live, performing and Genres: Contemporary dance, contem- Since 2009 Ehkä has ran the contempo- of visual culture. For him, dance is a way Una Elefante. The group’s performances The movement-based content and phi- contemporary arts. porary theatre, dancetheatre, physical rary art space Kutomo, which consists of to perceive, to describe and to be within are characterised by a unique combina- losophy of their works bring together Genre: Contemporary dance theatre, also for young audiences two bright and beautiful studios. the world. tion of theatre, music and dance genres dance techniques, street dance attitudes

Genres: New dance, contemporary Genres: Contemporary dance, artwork- ranging from flamenco to contemporary and circus-like agility. LOISKE ENSEMBLE / dance, performance/live art, young specific choreography, performances in styles. The collaborators are renowned Genre: Contemporary dance OSIRIS THEATRE audiences architectural sites Finnish and international artists, direc- Helsinki tors, musicians and choreographers. The LIISA PENTTI +CO Contact: Riikka Siirala, Artistic Director

works have toured international dance Helsinki [email protected] and music festivals. Contact: Inari Pesonen www.osiristeatteri.fi Genre: Contemporary flamenco www.liisapentti.com Loiske Ensemble is a touring company Liisa Pentti + Co’s work is based on the that produces unique dance perfor- P 40 FINNISH DANCE IN FOCUS 2020–2021 DIRECTORY OF FINNISH DANCE DIRECTORY OF FINNISH DANCE FINNISH DANCE IN FOCUS 2020–2021 P 4 1 Mikko Kallinen & The Company © Hannu-Pekka Vitikainen Ensemble © Jefunne Gimpel Saine Twenty18 and the Ice Hot dance plat- form in Reykjavik. Raekallio’s recent touring works include Recollections (2019), Oneiron (2018), A Performance (2016) and Rehearsal on Love (2015). He is also an internationally recognized teacher in high demand at dance work- shops and universities. Genres: Contemporary dance

RASA COLLECTIVE Lapland Contact: Titta Court or Marjo Selin, Choreographers www.pistery.org As part of the umbrella organisation Piste Kollektiivi Rasa is the northern- MIKKO KALLINEN & THE COMPANY NOM KOLLEKTIV PORI DANCE COMPANY most professional contemporary dance SAINE ENSEMBLE SUSANNA LEINONEN COMPANY Helsinki Helsinki Pori group in Finland founded by dance art- Raasepori (SLC) Contact: Mikko Kallinen, AD/ Contact: Jaakko Nieminen, Artistic Contact: Mikko Lampinen, Managing ists Titta Court and Marjo Selin. Contact: Annatuuli Saine, Artistic Director Helsinki Choreographer Director Director The works and concepts of Rasa travel www.saineensemble.fi Contact: Susanna Leinonen, www.av-arkki.fi www.nomkollektiv.com [email protected] and move people all over the Lapland Produces 2–4 creations and concepts Artistic Director The Company is a production company The company collaborates on diverse www.poridancecompany.com and internationally. Rasa makes work per year in collaboration with artists [email protected] of artists from various disciplines. New projects such as group pieces and solos, Pori Dance Company aims to further in dialogue and interaction with their from different art genres. Works are www.susannaleinonen.com creations are mainly video dance/ani- installations and films. The company’s humane values and encourage tolerance audience to bring more equality and in- multidisciplinary including dance, mu- Susanna Leinonen is one of the most mation and interactive choreographic creations are described as fresh, new through dance. It emphasizes a message clusion to the world. sic, visual arts, dance shortfilms and internationally acclaimed Finnish chore- works. and personal. The relationship with of physicality as means of exploring Genres: Contemporary dance, commu- poetry. ographers. Her group, Susanna Leinonen Genres: Contemporary dance, audio- ourselves, our bodies, the other and our the imagination. Most of the company’s nity dance, all audiences Genres: Contemporary dance, con- Company, was founded in 2001 and visual time are elements that run through the repertoire is contemporary and inte- temporary flamenco, site-specific has so far performed in more than 25

works. grative with other forms of art. They performance, audiovisual art countries. Leinonen’s unique movement Genres: Contemporary dance, new have toured in various countries around ROUTA COMPANY language has been described as highly MYRSKYRYHMÄ / THE TEMPEST dance Southeast Asia, Russia, Europe, Africa and Kajaani SATU TUOMISTO PROJEKTI physical, detailed and expressive. Latest GROUP North America. During the years many Contact: Jouni Järvenpää, Artistic Helsinki creation ‘Nasty’ touring internationally Helsinki PETRI KEKONI COMPANY well known choreographers have created Director, Choreographer Contact: Satu Tuomisto, Artistic on three continents in 2019/2020. Contact: Mervi Leivo, Producer Helsinki works for the company, and it also func- www.routacompany.fi Director Genre: Contemporary dance www.myrskyryhma.fi Contact: Petri Kekoni, Choreographer, & tions as a hub for artists of many fields to Founded 16 years ago, Routa (Finnish for www.satutuomisto.com Founded in 2002. Their work is based on Anna Peippo, Producer collaborate and create together. ‘permafrost’) is an open-minded con- Choreographer Satu Tuomisto has cre- SIVUUN ENSEMBLE the urge to take dance to people in the www.kekonico.fi Genres: Contemporary dance, dance temporary dance production company. ated dance work for twenty years. Satu Helsinki midst of their natural environment – in Kekoni’s works are known for their ab- theatre, performance/live art It produces unique, strong dance perfor- Tuomisto Projekti is a collective that Contact: Ninni Perko, Artistic Director places where dance performances are stract yet robust movement language mances that arise from local and global produces artistic collaborations, bring- and Choreographer not a familiar sight. and strong visual and spatial thinking. RAEKALLIO CORP. issues. Routa belongs to the Regional ing together dancers with a variety of www.sivuun.net Genres: Performances and workshops The company is a collective of about Helsinki Dance Centre of Northern Finland and other artists, who are all inspired by Sivuun Ensemble, founded by Ninni for senior citizens, contemporary dance, 20 artists, dancers, composers and de- Contact: Valtteri Raekallio, Artistic employs both dance artists and audio- boundless possibilities of corporeality Perko, is a multidisciplinary collective. dance theatre, dance film signers. In its repertoire: 369° (2019), Director visual artists. and movement. The Ensemble’s performances are in- Möhkäle – Erratic Block (2018), The Stop [email protected] Genres: Contemporary dance, dance Genres: Contemporary dance, perfor- tense conversations between different – Dark Matter of Art (2016), Non-Linear Raekallio Corp. produces Valtteri theatre and applied dance mances for young audiences art forms. Motion, music, image and text (2014), Miniatures – Humans in small Raekallio’s unique multidisciplinary, im- entwine into a collage of entities, open-

scale (2013), Green Armchair (2010). mersive site-specific works, as well as ing seminal interpretations to current Genre: Contemporary dance. stage productions designed for interna- issues, significant for individuals and tional touring and dance film projects. communities alike. In 2018, his work was seen at Aerowaves Genres: Dance theatre, multidisciplinary productions, community dance P 4 2 FINNISH DANCE IN FOCUS 2020–2021 DIRECTORY OF FINNISH DANCE DIRECTORY OF FINNISH DANCE FINNISH DANCE IN FOCUS 2020–2021 P 43 Palmgren:Zodiak / Sari Joy Riot © Uupi Tirronen TAIKABOX WILLMAN DANCE COMPANY Oulu Helsinki Contact: Tanja Råman, Artistic Director Contact: Marjaterttu Willman, Artistic PRODUCTION www.taikabox.com Director TaikaBox creates new ways to experience www.willmandancecompany.fi dance using new technology to enhance Willman Dance Company brings togeth- CENTRES our perception of the moving body and er artists who share a passion for dance BARKER-THEATRE, A STAGE FOR engage with audiences on different lev- and stage art. The goal of the company INDEPENDENT ART els. TaikaBox produces work for stage, is to create original contemporary dance Turku public spaces and screen. TaikaBox also and dance theatre pieces that focus on Contact: Nina Renvall organises the annual Oulu Dance Hack the central questions of humanity. www.barkerteatteri.fi and various artist residencies. Genre: Contemporary dance, dance Barker-theatre is a production house Genres: Contemporary dance, dance/ theatre founded in 1997. It hosts various , also young audiences productions, provides rehearsal space VÄKEVÄ COLLECTIVE and offers also possibilities for work-in-

Helsinki progress performances and workshops. TSUUMI DANCE THEATRE Outi Markkula, Artistic Manager, Barker also hosts a summer residence Helsinki [email protected] for dance artists (applications in Janu- Contact: Salla Korja-Paloniemi, www.vakeva.co ary–February). Managing Director Contemporary performance draw- ZODIAK – CENTER FOR NEW DANCE THE REGIONAL DANCE CENTRE OF REGIONAL DANCE CENTRE OF www.tsuumi.com ing from and informed by folk dance TANSSIN TALO Helsinki FINNISH LAKELAND OSTROBOTHNIA Tsuumi Dance Theatre finds its strength tradition. Integral to the work Väkevä Helsinki Contact: Harri Kuorelahti, Artistic Jyväskylä Vaasa from exploring folklore and creating new are collective, temporally loose and Contact: Matti Numminen, director Director Contact: Mari Hautala, Managing Contact: Annika Sillander, Manager artistic ways to bring it on stage. Tsuumi’s multidisciplinary processes that move www.tanssintalo.fi www.zodiak.fi Director www.pohjanmaantanssi.fi performers are known for their skills in boldly in the cross section between art, Tanssin talo is the first large scale dance Zodiak – Center for New Dance is a tanssinkeskus.fi Promotes dance, makes dance acces- contemporary dance, folkdance, singing research and documentation. house in Finland. It welcomes people to progressive dance organisation and the Regional centre for dance in Central Fin- sible, supports artists and creates job and physical theatre. Tsuumi produces Genre: Contemporary dance, folk dance connect with each other and the world main venue for freelance contemporary land. Promotes dance and creates work opportunities for professionals. Works 2–3 new performances per year and has around them. It is a space where some- dance in Finland. Zodiak co-produces opportunities for professionals. Organ- with community activities as well as a large repertoire to tour with. thing fragile and momentary can live and and hosts 12–15 new dance productions ises the Tanssin Aika festival in August. supporting the production of new Genres: Dance theatre, folk dance, live flourish. Tanssin talo opens in spring 2022. each year. Zodiak is a member of several dance pieces and projects in the re- music performance, contemporary dance international networks and works with REGIONAL DANCE CENTRE OF gion. Develops networks and promotes JOJO – OULU DANCE CENTRE international partners in production, EASTERN FINLAND / ITAK collaboration between artists and or- Oulu teacher and artist exchange, and touring. Kuopio ganisations, both in the region and in

JoJo – Oulu Dance Centre / Milla Koistinen: Home Sweet Home © Leevi Lehtinen Contact: Helena Lindqvist, Managing Contact: Ulrika Vilke, Executive Producer the Nordic context. Director www.itak.fi www.jojo.fi REGIONAL Promotes dance, creates work opportu- REGIONAL DANCE CENTRE OF JoJo – Oulu Dance Center is a pro- nities for professionals, offers training, WESTERN FINLAND fessional dance production center and supports dance production in East- Turku operating in the northern Finland’s CENTRES ern Finland. Organises the Paikallisliike Contact: Sanna Meska, Managing vibrant dance art field, offering inter- festival in June and the Lonely in the Director national, multidisciplinary dance art FOR DANCE Rain? festival in November. ITAK also www.l-tanssi.fi programme, with a focus on contempo- manages the ITAK-stage venue in Kuopio. Regional Dance Centre of Western rary dance. The program also includes PIRKANMAA REGIONAL DANCE CENTRE Finland covers Southwest Finland and the OuDance Festival in the autumn. For Tampere REGIONAL DANCE CENTRE IN the province of Satakunta. The centre dance art professionals, JoJo is a plat- Contact: Piia Kulin, Managing Director NORTHERN FINLAND aims to develop collaboration between form for co-productions and visiting www.pirkanmaantanssinkeskus.fi This regional centre is formed of four various agents and actors in the dance performances and offers international An association for dance professionals. companies/producers in the area: field and gain more public recognition residency exchange programs. In ad- Encourages co-operation, organises vari- www.jojo.fi / www.routacompany.fi / for contemporary dance. It promotes dition, JoJo offers open workshops ous events, training classes, workshops, www.rimpparemmi.fi / www.fullmoon- dance, supports freelance dance art- for everyone. JoJo is one of the four meetings for professionals, seminars. dance.fi ists to work in the region and arranges member organizations of the Northern The centre also runs the Liikelaituri ven- meetings, seminars and workshops. Dance Regional Center. ue in Tampere. P 44 FINNISH DANCE IN FOCUS 2020–2021 DIRECTORY OF FINNISH DANCE DIRECTORY OF FINNISH DANCE FINNISH DANCE IN FOCUS 2020–2021 P 45 Drawing by Sonja Jokiniemi Moving in November Festival 2020 / Zodiak: Sonja Jokiniemi: ÖH. ZODIAK – CENTER FOR NEW DANCE APINAFEST! in all its manifestation and genres. Ar- international stars. Contemporary works / REGIONAL DANCE CENTRE IN Helsinki tistic Director is Kamran Shahmardan. and classics. In August. HELSINKI Contact: Isto Turpeinen Annually in July. Helsinki http://apinafest.apinatarha.fi LONELY IN THE RAIN? www.zodiak.fi ‘The second cousin of all festivals’ BRAVO! Joensuu Contact: Harri Kuorelahti, Artistic Contemporary dance festival; perfor- Helsinki, Espoo, Vantaa, Kauniainen Contact: Asta Elijoki, Producer & Director mances, clubs and panels. In April. Contact: [email protected] Communications Manager Zodiak – Center for New Dance func- www.bravofestivaali.fi www.itak.fi tions as a regional centre for dance in BALTIC CIRCLE FESTIVAL International theatre festival for chil- Contemporary dance festival in Helsinki. Helsinki dren and young audiences held every November Contact: Hanna Nyman, Managing second year in the Helsinki metropoli- Director tan area. Next in March 2021. MOVING IN NOVEMBER www.balticcircle.fi Helsinki FESTIVALS International contemporary theatre fes- Contact: Isabel Gonzalez, Executive tival & a platform for developing new FACTORY FESTIVAL MANIFESTI Producer trends and ideas. In November. Turku www.movinginnovember.fi AND EVENTS Contact: [email protected] A contemporary dance festival or- ANTI – CONTEMPORARY ART FESTIVAL BLACK AND WHITE THEATRE FESTIVAL www.manillantehdas.fi HELSINKI FESTIVAL KAUSTINEN FOLK MUSIC FESTIVAL ganised yearly in the Helsinki area. An Kuopio Imatra Annual festival with wide-ranging pro- Helsinki Kaustinen invitation to come together and experi- Contact: Johanna Tuukkanen, Contact: Katri Lätt, Chairwoman gramme from contemporary dance and Contact: [email protected] Contact: [email protected] ence new artistic initiatives, visions, and Artistic Director [email protected] new circus to exhibitions. In September. www.helsinkifestival.fi www.kaustinen.net critical thinking both from abroad and www.antifestival.com blackandwhitetheatre.net The largest arts festival in Finland, fea- The largest folk music event in the Nor- the local scene. International contemporary arts festival For 16 years, Black and White Theatre FULL MOON DANCE, INTERNATIONAL turing classical and world music, dance, dic countries – all the folk music and presenting site-specific works made for Festival has presented a huge variety of DANCE FESTIVAL theatre and urban events. In August. dance you can handle in a week! In July. OULU DANCE HACK public spaces. In autumn and various different styles: dance theatre, ballet, Pyhäjärvi Oulu other dates. pantomime, circus, traditional drama, Contact: [email protected] HELSINKI FLAMENCO FESTIVAL KOKKOLAN TALVITANSSIT / Contact: Tanja Råman opera, puppet theatre and street per- www.fullmoondance.fi Helsinki WINTER DANCE IN KOKKOLA taikabox.com/hack forming. The purpose of the festival is Dance from Finland and abroad; courses Contact: [email protected] Kokkola Oulu Dance Hack is an annual event that – to represent the international theatre and discussions. In July. www.flamenco.fi Contact: Anne Peippo, producer, brings together international dance and The festival showcases outstanding [email protected] media artists, educational specialists

© Pekka Mäkinen ANTI Festival 2018 / Becker-Goldberg-Langgård & Riveria Dance, Outokumpu: Still Life flamenco from Spain, Finland and the www.kokkolantalvitanssit.fi and technology businesses. Nordics. Festival week is full of courses A five-day event, full of contemporary and events. In February. dance and dance theatre. In September. OUDANCE FESTIVAL Oulu HURRAA! KUOPIO DANCE FESTIVAL Contact: Helena Lindqvist, Helsinki Kuopio Managing Director Contact: [email protected] Contact: Anna Pitkänen, Festival Director www.jojo.fi/festival www.hurraa.org Riku Lehtopolku, Artistic Director International and domestic perfor- A national festival of performing arts for www.kuopiodancefestival.fi mances in North Finland from all genres children and young people. Every sec- The largest annual dance festival in the of dance with a contemporary twist. In ond year in March (2022). Nordic countries. The programme rang- September, on week no 37. es from contemporary dance to classical ballet, folklore, workshops and a varied JYVÄSKYLÄ FESTIVAL fringe programme. In June. Jyväskylä Contact: Kyösti Ylikulju, LAPPEENRANTA BALLET GALA Festival Manager Lappeenranta www.jyvaskylankesa.fi Contact: Juhani Teräsvuori, City festival for different art forms: con- Artistic Director certs, physical theatre, dance, circus, and [email protected] programme for the whole family. In July. www.lappeenrannanbalettigaala.com A meeting place for Nordic dance and P 46 FINNISH DANCE IN FOCUS 2020–2021 DIRECTORY OF FINNISH DANCE Tomi Paasonen: RetrospectrumFINNISH DANCE– 5 solos IN FOCUS for 52020–2021 decades P 47 Photo: Barbara Dietl

PAIKALLISLIIKE RUUTIA! SPRING BREAK DANCE FESTIVAL International flamenco festival present- Kuopio INTERNATIONAL DANCE FESTIVAL FOR Helsinki ing high-quality artists and shows. Also a Contact: Maijariitta Karhulahti, CHILDREN AND YOUNG AUDIENCES Contact: Jarkko Mandelin wide range of workshops. In June. Producer & Communications Manager Helsinki springbreakdancefestival.com www.itak.fi Contact: [email protected] kineticorchestra.fi TAMPERE THEATRE FESTIVAL Contemporary dance festival present- www.hurjaruuth.fi Contemporary dance festival hosted Tampere ing productions by local dance artists. Ruutia! Festival hosted by Dance Theatre by Kinetic Orchestra. Concentrating on Contact: Hanna Rosendahl, In June. Hurjaruuth is an international dance fes- new wave movement works. Located in Executive Director tival for young audiences. The festival, Eastern Helsinki www.teatterikesa.fi PISPALA SCHOTTISCHE DANCE MANIA founded in 1997, offers contemporary The programme of Finland’s main in- Tampere and innovative dance performances as TAMPERE DANCE CURRENT ternational theatre festival includes Contact: [email protected] well as workshops, meetings with the Tampere new drama, modernised classics, dance www.dancemania.fi artists and public talks. Contact: Anniina Kumpuniemi theatre, contemporary circus and street www.tanssimania.nuorisoseurat.fi www.tanssivirtaa.net theatre. In August. New folk dance and music, concerts, Festival of contemporary Finnish dance performances, training. Every two years, SIDE STEP FESTIVAL held annually in May. Besides impressive TANSSIN AIKA – next in September – October 2021. Helsinki stage performances, the programme THE JYVÄSKYLÄ DANCE FESTIVAL Joensuu Contemporary Dance Festival Contact: Harri Kuorelahti, Artistic includes dance film screenings, public Jyväskylä 26th November – 29th November 2020 POWER OF DANCE FESTIVAL Director discussions, club events and specially Contact: Janina Rajakangas, Artistic Joensuu, Finland Helsinki www.zodiak.fi commissioned city performances by the Director Contact: Contemporary dance, cutting-edge Dance Current Dance Artist of the Year. www.tanssinaika.fi www.itak.fi [email protected] international performances, lectures, Every year end of September www.tanssinvoimafestivaali.fi artist dialogues and workshops. Organ- TAMPERE FLAMENCO FESTIVAL Contemporary dance, dance theatre and ized by Zodiak – Center for New Dance. Contact: Anne Hyvärinen URB FESTIVAL other genres. The festival is organised In February. [email protected] Helsinki biannually in Helsinki. www.tampereflamenco.com Contact: Sara Hirn, Creative Producer & Program Manager, Kiasma Theatre

VanDance / Ismo Dance Company: Anybody’s Architecture Viika © Sakari www.urb.fi An international street art and culture festival produced by Kiasma Theatre. The annual festival program presents ever- changing art and youth culture in many forms such as live performances, visual art and artist talks. In June.

VANDANCE Vantaa Contact: Nina Mamia & Kasperi Nord- man, [email protected] Annual International Dance Day Event held by Mamia Company & Vantaa cul- tural services ARTIST’S RELIABLE AND COMPASSIONATE PARTNER

We represent the following companies: Agit-Cirk, Dance Theatre Auraco, Johanna Nuutinen +CO, Kekäläinen & Company, MimoArt Company, Nuua and Raekallio Corp.

WWW.PRAGMAHELSINKI.FI P 48 FINNISH DANCE IN FOCUS 2020–2021 Tanssi virtaa 23. Tanssivirtaa Tampereella -nykytanssifestivaali 20.-25.10.2020 Closed Doors Death is the final end point of life that our consciousness understands. It is encountered by all living beings. Death also happen on a smaller scale all the time, moving to a new one often also means giving up… a kind of death.

www.tanssivirtaa.net Katri Naukkarinen

AUTUMN 2020: “Magnificent, thoroughly polished movement” TOXIC World Premiere: Fri 30.10.2020 , Louhi Hall, Finland Sat 31.10.2020 Sun 1.11.2020 Tue 24.11.2020 Wed 25.11.2020 Thu 26.11.2020 Fri 27.11.2020 Dancenet Sweden presents: NASTY Wed 23.9.2020 Norrlandsoperan, Umeå Wed 21.10.2020 Stora Teatern, Göteborg Wed 7.11.2020 Skånes Dansteater, Malmö Tue 10.11.2020 Västerås Konserthus, Västerås Thu 12.11.2020 Regionteater Väst, Uddevalla Sat 14.11.2020 Kungsbacka Teater, Kungsbacka Tue 17.11.2020 Kulturens Hus, Luleå Thu 19.11.2020 Vara Konserthus, Vara

Part I in Fall 2020 Premiere 13.10.2020 Other performances: Fri 16.10. / Sun 18.10. / Tue 20.10. /Sat 31.10. / Sun 1.11. Part II in Spring 2021 Premiere 7.4.2021 Get in touch: www.susannaleinonen.com | [email protected] Other performances: Sat 10.4. / Sun 11.4. / Tue 13.4. / Wed 14.4. / Fri 16.4. / Sat 17.4. / Sun 18.4. Follow us: @susannaleinonencompany choreographerFI Place: Koko Teatteri, Hämeentie 3 TickeTS: tiketti.fi @susanna_leinonen_company Susanna Leinonen Company inFo: www.aaltokoskicompany.fi “If poetry was motion, it would be something like this”

Carl Knif COMPANY Latest piece Fugue in two colors Premiere 12.10.2020 in Helsinki carlknifcompany.com