P 2 FINNISH DANCE IN FOCUS 2016–2017 EDITORIAL CONTENTS FINNISH DANCE IN FOCUS 2016–2017 P 3 Kristiina
Männikkö
FINNISH DANCE IN FOCUS 2016–2017 VOLUME SEVENTEEN DANCE IS SPREADING 20–26
Publisher: Dance Info Finland Tallberginkatu 1 C/93, 00180 Helsinki FAR AND WIDE A dance artist who Tel. +358 (0)9 6121 812 \ became a filmmaker [email protected] By the Pool – Thomas Freundlich. www.danceinfo.fi events gather Thomas Editor-in-chief: Sanna Rekola Finnish dance field first began to find its feet and grow properly around 30 years ago, \ artists, politicians,
[email protected] and those efforts are now bearing fruit. Many of those who were in the fledgeling stages Freundlich Editor: Sanna Kangasluoma of their careers and who were only just beginning to form their own groups then, are activists, and audi- [email protected] still active and celebrating major anniversaries as artists now. And there’s certainly ence in the pool. 28–32 Editorial board: Hannele Jyrkkä, plenty to celebrate, now that the realisation of a major goal is in sight: the decision Sanna Kangasluoma, Pirjetta Mulari, to build the Dance House in Helsinki has been made, with doors set to open in 2020. \ Inka Reijonen, Sanna Rekola Choreographer Reetta-Kaisa Iles ponders over whether you could even say that dance feels like too narrow a definition for what those trained as dance artists do Writers: Niko Hallikainen, Hannele Jyrkkä, nowadays (see p. 34). Dance often also involves making music, song, theatre, perfor- Mikko Sanna Kangasluoma, Eeva Kauppila, Katarina mance art or installation art.
Lindholm, Raisa Rauhamaa, Inka Reijonen One new genre that is fast gaining ground is dance film, and with the abundance 34–37 Mäntyniemi English translation: Claire Dickenson, Fleur of dance films made in Finland it already feels familiar to dance artists as a form of Jeremiah, Lola Rogers, Ruth Urbom expression. The challenge is, however, capturing and conveying the essence of dance in a way that speaks to people as more than just a beautiful image, according to dance Graphic design & layout: Inka Kosonen artist and film directorThomas Freundlich (p. 28). Susanna Leinonen and Jouka Valkama have clearly succeeded in this respect. Their Photographers: Stefan Bremer, Thomas Fre- collaboration resulted in the creation, side by side, of the startling yet relevant dance \ undlich, Aino Huovio, Mirka Kleemola, Hanna piece SEE | OBEY and the film of the same name. The independent pieces complement “I’ve always associated Koikkalainen, Esko Koivisto, Jenni Kokkomäki, one another, and, performed during the same evening create a strong, driving force singing with movement. Lennart Laberenz, Lilja Lehmuskallio, Jonas between each other (p. 20). They’re inseparable.” Lundqvist, Pekka Mäkinen, Kristiina Männikkö, Dance isn’t just for the professionals; the basis of Jarkko Partanen’s work was Mikko Mäntyniemi, Katri Naukkarinen, Asya audience outreach. Fields of Glory was performed on a sports field, and it can even Nurullina, Laura Oja, Joona Pettersson, Matti be interpreted as a comment on the Olympic Games – the stage of strong, attractive Rajala, Dorit Salutskij, Petra Tiihonen, Meri and capable heroes (p. 10). EDITORIAL NEW FACES Tiitola, Uupi Tirronen, Heikki Tuuli, Jouka The heroes of this piece – 50 men – are amateurs, entering this pompous arena 03 e Danc is spreading far and wide 16 Milla Koistinen: Finding my own choreography Valkama as they are: strengths, weaknesses and all. Instead of competition and winners, Par- \ Sanna Kangasluoma 17 Jaakko Nieminen: The Questioner tanen’s piece celebrates a sense of community and partnership. 18 Milla Virtanen: Peeling back the layers ON THE COVER: Fields of Glory Now is a great time to celebrate dance in Finland. Dance is a part of the everyday NEWS of human behaviour Choreographer: Jarkko Partanen lives of many people, spreading to the suburbs and cinemas – and even to saunas 05 The National Ballet’s Finnish Year 19 Sonja Jokiniemi: Against capture and norms, Cover photography: Katri Naukkarinen with babies (p. 6)! Next year Dancing Finland campaign will get the country on its 06 On the benches of a BabySauna in favour of bareness feet and moving, and challenge the whole world to join in. Stay tuned. 07 New Impulses Printed by: Hämeen Kirjapaino Oy 07 Helsinki will finally get a Dancehouse PHENOMENA: DANCE AND FILMS With Gratitude: The Ministry of Education Sanna Kangasluoma 08 Dancing Finland 2017 - May we have the honour? 20 Beneath the polished surface, a fractured world unfolds: and Culture in Finland Editor 09 Through the decades Susanna Leinonen / Raisa Rauhamaa 27 The power of a slowed moment / Raisa Rauhamaa Finnish Dance in Focus is IDEAS: COMMUNITY AND DANCE 28 Blazing new trails for dance film: published once a year. 10 A Non-conformist in the world of human Thomas Freundlich / Hannele Jyrkkä interaction / Niko Hallikainen 33 A grand spectrum of Finnish dance films leaps off ISSN-1795-9837 15 Putting art first in audience outreach / from the Loikka festival / Hannele Jyrkkä Maija Karhunen CHOREOGRAPHER IN FOCUS 34 The Pippi Longstocking of dance: Reetta-Kaisa Iles / Eeva Kauppinen Dance Info Finland works for Finnish dance since 1980. We promote the position, conditions and visibility of dance art in Finland, and work to build awareness of Finnish dance art abroad. Read more on our new website www.danceinfo.fi. 38–47 Directory of Finnish Dance P 4 FINNISH DANCE IN FOCUS 2016–2017 NEWS NEWS FINNISH DANCE IN FOCUS 2016–2017 P 5 Karoliina have to create the kind of works that boys can also relate to,” Greve stresses. “This
THE NATIONAL Bärlund THE FINNISH NATIONAL BALLET was something I paid particular attention to with The Snow Queen.” 78 permanent dancers “It’s a challenge for an étoile like Tiina 12 dancers in the youth company Myllymäki to one day do Swanlake and the BALLET’S 2016–2017 SEASON next day be a Moomin,” admits Greve. “But it is part of the dancers’ diversity: I want to Romeo and Juliet maintain classical ballet at a very high level, 26 August 2016 FINNISH YEAR but our dancers are also extremely versatile. One of the most exciting things is seeing Guest: Susanna Leinonen Company: PHOTO Mirka Kleemola TEXT Sanna Kangasluoma them do something more contemporary.” SEE | OBEY “THIS SEASON (2016–2017) at the Finnish The opening piece for autumn 2016 30 September – 1 October 2016 National Ballet more room than ever is will be Natália Horečná’s modern take being given over to Finnish choreography on the tale of Romeo and Juliet, which is Alice in Wonderland 7 October 2016 and music,” states Danish Artistic Director sure to strike a chord with young people. Kenneth Greve. “Our programme features Four Finnish contemporary choreographers Guest: Tero Saarinen Company 20 years: eight works by Finnish choreographers.” will be creating their own works for the Could you take some of my weight…? “We are celebrating 100 years of Finnish National Ballet’s dancers, and these will be & MESH independence, and we want to draw in performed on the big stage at the end of 12 – 15 October 2016 audiences with a diverse range of interests. spring 2017. Susanna Leinonen, Virpi Pahki- To do this we have built up a programme nen, Jyrki Karttunen and Jorma Uotinen all The Snow Queen with content ranging from traditional also use Finnish classical or modern music, 4–23 November 2016 fairytales to Jorma Uotinen’s very Finnish from Sibelius to Einojuhani Rautavaara and (Copenhagen 27–29 January 2017) piece, Jord, which has been choreographed cello-rock group Apocalyptica. for 12 men.” The National Ballet’s programme gives The Nutcracker and the Mouse King The main body of the programme Greve a rounded impression of Finnishness, 2 December 2016 – 7 January 2017 has planned features three lines: a classic incorporating not just Moomins and heavy line, new family ballets and a contemporary metal, but also The Seven Brothers, based on Swan Lake line. the first book written in Finnish by Aleksis 17 February – 18 April 2017 “Diversity is what I want to show,” he Kivi (chor. Marjo Kuusela) and the dark emphasises. tale of Kullervo, based on the national epic Moomin and the Comet “I feel that the most important thing is Kalevala (Tero Saarinen – Jean Sibelius). 3–16 March 2017 that we are able to draw in young people “This in no way gives a complete and develop a new audience for ballet. If picture. A major Finnish premier is on The Seven Brothers people feel represented on stage, they’re the way for autumn 2017, where we’ll be 24 March – 7 April 2017 going to be leaning in.” bringing together ballet, opera, choir and One example of a new kind of family singers – unfortunately that’s as much as Kullervo piece for Finland’s anniversary year is I can give away!” Greve states glowingly. 29 April – 13 May 2017 choreographer Jorma Elo’s spectacular “We’ve done a lot of legwork, carrying new interpretation of Alice in Wonderland, out audience outreach programmes and Force (Breaking the Fury – Susanna which will have its premier in October. Also making visits to different parts of Finland. Leinonen; Cantus arcticus – Virpi returning to the programme is the popular Now we’re starting to reap the rewards Pahkinen; Valse triste – Jyrki Karttunen; ballet Moomin and the Comet (chor. from this: we’ve been successful in creating Jord – Jorma Uotinen) Anandah Kononen, 2015) and Greve’s own demand and have brought a new audience 19 – 27 May 2017 choreography for The Snow Queen (2012), on board.” based on H.C. Andersen’s fairytale but well “This spring the ballet has been embedded in Finnish environments, which performing to packed audiences,” Kenneth will also visit Copenhagen in January 2017. Greve is satisfied. “The ballet is really Getting boys to come to the ballet is an finding its place here now.” important personal mission for Greve. “We P 6 FINNISH DANCE IN FOCUS 2016–2017 NEWS NEWS FINNISH DANCE IN FOCUS 2016–2017 P 7
“We wanted to show the diversity of contemporary dance – the ways it can be defined in Finland,” artistic director Olesya Kazakova explains. “For our local audiences, some of the performances were not dance.” Indeed, many of the spectators MIKKO LAMPINEN: Lost Voices of Humdrum. NEW stayed behind to discuss the meanings Asya Nurullina of the performances. Choreographer Sonja Jokiniemi, whose work Hmm was IMPULSES performed at the festival, stresses that such dialogue is important. “Understanding the work is not necessary,” she adds. Maria and Igor Teplyakov had won A BABY SPECTATOR RESPONDS FINNISH-RUSSIAN collaborations in What counts as dance can vary signifi- tickets for the festival from the Finnish WITH ALL OF HIS OR HER SENSES. contemporary dance spring the occasional cantly between the two countries. Institute of St Petersburg. They described When Siirala performs dance productions surprise. “Discussions after the show yielded the performances as strange – in a good for babies, her starting point is her audience’s Lost Voices of Humdrum, the first interesting views about the performance way. “I would definitely come and see senses and their arousal. The language of a co-production funded by the programme and even the whole process. This gave contemporary Finnish dance again. Life is wordless BabySauna performance matches called Finnish- Russian Dance Exchange, rise to a variety of ideas, feelings and sometimes so grey that new impulses are that of a baby and is made up of movement, premiered in January 2016. It was a new relationships,” says Mikko Lampinen, welcome,” says Maria Teplyakov. IR, TL, SK ON THE sound and kinaesthetic experiences. collaboration between Pori Dance artistic director of Pori Dance Company. Interesting elements are repeated through Company of Finland and Bye Bye Ballet, An entire festival, Skoro Finnish Dance, \ rhythm, which can also be interspersed with a contemporary dance centre based at St was devoted to contemporary Finnish www.finrusdance.com BENCHES surprising breaks. Petersburg. dance in St Petersburg in December 2015. A baby spectator is intensely atten- OF A BABYSAUNA tive and alert in reacting to all he or she PHOTO Dorit Salutskij TEXT Katarina Lindholm experiences; at the same time, his or her attention has a natural tendency to wander. \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ “It’s particularly important to establish eye contact with babies during a performance; otherwise the situation disintegrates easily.” SOME TWENTY BABIES and toddlers are seated who has choreographed and also performs Siirala also considers that babies with HELSINKI WILL in the auditorium; they are watching the latest BabySauna production (2015) of their parents form a special audience with intently a dance of colourful pails and a Loiske Ensemble. its own character and with interaction as The House will rhythmic swinging of bundles of dried birch Loiske Ensemble was born in 2006 out a decisive factor. “Babies aren’t yet nerv- FINALLY GET branches. The gurgling of water, the hissing of a desire to create artistic experiences ous about attending a performance, not feature many different of the hot stove and the clattering of the and sensations for babies and toddlers. like older children can be. Parents in turn dance forms. stones on the stove are complemented by Siirala and her colleagues wanted to exam- may be nervous about how their baby will A DANCEHOUSE sauna-themed songs and an enchanting ine ways of communicating with babies behave. It’s important to ensure they are world of sound. The atmosphere is similar through the medium of dance. She has also relaxed in order for the babies to feel safe to any Finnish sauna: calm and sensuous. produced a thesis (2012) on the subject; in during the experience.” After the performance, the small spectators it, she concludes that dance performances will themselves have an opportunity to for babies encourage interaction between \ IN THE MIDDLE of a dismal European reces- substantially,” says Sanna Rekola, Chair of “The project represents a historic step explore the water, the birch branches and baby and carer and enhance a baby’s overall Concept, choreography sion, the Finnish Ministry of Education the governing body of the project. in the development of Finnish dance,” says the pails. communicativeness. and performance: and Culture and the city of Helsinki have The Dancehouse will form part of the Education and Culture Minister Sanni “The idea of a sauna as a starting point The BabySauna experience is aimed Riikka Siirala decided to support the construction of a Cable Factory, Helsinki’s largest cultural Grahn-Laasonen. was inspiring because, apart from being at babies aged 0–1 year and has toured all Concept and direction: Dancehouse with a significant amount. A centre, which will receive an extension. The House will be built in 2018-2019 artistically interesting, it constitutes a over Finland, including mother and baby Antti Larmola year ago, the Jane and Aatos Erkko Founda- According to Managing Director Hanna- and is expected to be open to the public familiar and safe environment for babies homes, in which mothers who need help Sound and music: tion granted the project an unprecedented Mari Peltomäki, the idea is not just about in 2020. SK to experience art. A Finnish sauna brings with their parenting skills learn to take Suvi Isotalo subsidy of 15m Euros. bricks and mortar; the intention is to create together all the elements that interest control of their lives and to interact with “The House will improve the status, an active advocate for dance. The House \ babies,” says Riikka Siirala, a dance artist their babies. visibility and accessibility of dance will feature many different dance forms. www.tanssintalo.fi P 8 FINNISH DANCE IN FOCUS 2016–2017 NEWS NEWS FINNISH DANCE IN FOCUS 2016–2017 P 9
3. SANNA KEKÄLÄINEN: Diva Vulva. 3. Lilja Lehmuskallio THROUGH THE \ 4. ARJA TIILI DECADES Studio Elite
4.
1. ALPO AALTOKOSKI: Navigatio. Stefan Bremer \ 1. 2. LIISA PENTTI Esko Koivisto DANCING
THE RANGE and structure of Finnish dance FINLAND 2017 did not begin to take shape until the 1980s. Helsinki Theatre Academy introduced 2. – MAY WE contemporary dance as an academic and professional subject in 1983, and the government’s Dance Council was set up in HAVE THE provide an easy, intriguing way to learn regardless of ability. The choreographers the same year. there were no opportunities for a career celebrates its anniversary in 2017. Zodiak about dance and physicality. I’m certain who created the pieces are Akim Bakhtaoui The 1990s represented a decade of in dance,” says Aaltokoski. “The actual Presents was founded thirty years ago and that millions will get involved in dance (street dance), Ida Jousmäki (show dance), growth for contemporary Finnish dance. anniversary should really be based on became the present production centre HONOUR? through our campaign,” said project Marina Tirkkonen (ballet), Panu Varstala Several new companies were born as the when I understood myself I was an artist.” twenty years ago. director Pirjetta Mulari. (contemporary dance), Petri Kauppinen number of dance artists grew as a result of He celebrated his anniversary in May 2016 Dance artist Arja Tiili will celebrate Dancing Finland will get under way with and Marjukka Koivuniemi (ballroom the available training. with his new solo choreography Navigatio. her twenty-fifth anniversary as an artist in a dance challenge. Anyone who wants to and folk dance) and Pia Lindy (original Now many of the artists who Liisa Pentti, who graduated as a dancer November with a gala performance, which take part can learn the dance challenge choreography). began their careers at that time are and choreographer in Amsterdam in 1986, is will include excerpts from her productions choreography from an online video or a Dancing Finland is a major campaign celebrating their anniversaries in dance. also celebrating her thirty years as an artist. and her latest performance Break the Fight participating instructor. Participants then to raise the profile of the dance field. It Nevertheless, competition in the sector She was one of the founders of Zodiak in – I was here!, which was born out of an make a video of their own performance represents a new direction for Dance Info has intensified because of the emergence 1980s. In those days, no one was paid for anti-bullying project. and upload it to social media. Finland. of unprecedented numbers of new, young the work. “Just having a space to perform in Aurinkobaletti, a Turku-based company, FINLAND WILL celebrate 100 years of inde- “There are no limits to the dance “In the past, Dance Info Finland groups alongside the still active mid-career and lighting equipment was wonderful,” she will be thirty-five years in 2016, and groups pendence as a nation in 2017. One of the challenge! It’s the ultimate way to unite focused on serving the professional dance groups. comments in the magazine Teatteri&Tanssi. celebrating their twentieth anniversaries ways the centenary will be celebrated is diverse people and groups all over the community. It’s exciting to launch such a Alpo Aaltokoski celebrates his 30th In her anniversary year Liisa Pentti will include at least K&C Kekäläinen & Com- through dance: The ‘Dancing Finland’ cam- world,” Pirjetta Mulari explained. major awareness-raising campaign for the anniversary as a dance artist and choreogra- create a new version of the 1993 duet La pany and Tero Saarinen Company. Susanna paign (Finnish title: ‘Koko Suomi tanssii’), The dance challenge features choreo- general public. Dance is a democratic art pher and says that the Finnish dance sector Folia Melancolia together with Katariina Leinonen Company will be fifteen this year coordinated by Dance Info Finland, will graphed routines from six different dance form everyone can get involved in, so it’s a has indeed changed a great deal. When he Vähäkallio, and organise a series of events and shows two gala performances at the feature dance-related activities for people styles: ballet, street dance, ballroom and great opportunity,” Mulari explained. was at the early stages of his career in the around the theme of postmodernist dance National Opera House. The city of Tam- all over the world. folk dance, show dance and an original cho- The dance challenge will get under way 1970s, he worked as a dance instructor. in Finland. pere, too, will have its share of celebrations: “The Dancing Finland programme will reographed piece accessible to everyone, on 6 January 2017. IR “I came from the countryside where Zodiak – Center for New dance Dance Theatre MD will be twenty. SK FINNISH DANCE IN FOCUS 2016–2017 P 11 A NON-CONFORMIST IN THE WORLD Jarkko Partanen is a Helsinki-based OF HUMAN choreographer whose work intertwines tightly-involved group work, eroticising INTERACTION playfulness and impressive concepts. TEXT Niko Hallikainen
PARTANEN’S WORKS are often the creations of intimate working groups, but in Fields of Glory, which premiered last year, he directed 50 amateur performers using a sports field in Helsinki as their stage. The concept of the piece is a fictional sports event and its opening ceremony. The idea is a long jump into a futuristic period in which community celebrations replace competition between people. The premiere of Fields of Glory was a major collaboration between Zodiak – Center for New Dance, Finland’s Slot Machine Association (RAY) and Helsinki Festival, as well as being part of the 10th anniversary of Zodiak’s award-winning community outreach programme. Partanen, who has instructed Zodiak’s male dance and choreography courses, was commissioned to undertake a community outreach programme for male partici- pants. Fields of Glory was subtitled as a sports event that bids farewell to heroism. “The primary aim was not to create an empowering com- munity dance work, but rather to make a piece on my own terms. I wanted manliness to be separated from biological sex. Anyone who wanted to be could be involved. We didn’t ask about the participants’ backgrounds, only what their motiva- tion was for taking part. I was pleased to have a completely heterogeneous group of performers for our premiere. The youngest was 20 years old, whilst the oldest were closer to 70 – the performance featured men of all backgrounds, from fashion designers to a retired officer, and even businessmen and lawyers”, states Partanen. Normally, sports fields are home to those competing for victory and superiority, but those stepping into this arena do so to put themselves on the line. The deliberately pompous set- ting balanced out the performers’ innately modest movements. Years ago, Partanen had discussed the idea of staging a piece on a sports field with his trusted working group: scenographer JAAKKO PARTANEN: By the pool. Samuli Laine and sound designer Jussi Matikainen. Kristiina Männikkö FINNISH DANCE IN FOCUS 2016–2017 JAAKKO PARTANEN: Fields of Glory. Katri Naukkarinen
“To me, sports fields have always been the stage of powerful, radiate a genuine sense of unity and tranquillity, and they exude The warm pool has provided a unifying oasis in the midst of muscular, good-looking and capable people. And the stages of an enthusiasm about experiencing themselves on the brink of Finland’s mentally and physically numbing winter. The event bodies – whether the events arena was ideological or athletic. something new, together with each other. series began a year ago with the Side Step Festival at Zodiak, This time we wanted to get things going by giving the field to “I’ve done plenty of participatory work with collectives such where artist interviews were carried out in the pool with the Gob people who could step up, complete with their own strengths as the Reality Research Center.1 Perhaps that was what gave me Squad and Hodworks working groups. This winter the concept and weaknesses.” my sensitivity for reading people, which is something that comes broadened into a performance featuring as a guest performer, In the performance the sports event imagery and the pat- in very useful in group situations. My own work is at its best choreographer-musician Elina Pirinen. terns are repeated and then enriched with deceptive cracks, when I create safe working environments; where people dare “I started do develop an event around the swimming pool, whereby the piece alienates the viewer from images familiar to surrender and give something of themselves. When there an event which would melt bodily freezing and where things to them. The piece demonstrates that the spectacle format is are no biases about how things should be, people can throw would be physically different. I thought that different kinds not, in itself, a form of monstrous mass media, but rather a themselves into experimentations that are truly their own.” of people, politicians, activists, dancers could be invited to the means of communication which can have an exceptionally In what Partanen does there is a strong desire to assem- pool. I wanted to create a project that doesn’t inevitably start sensitising effect, and which can be complemented with criti- ble groups of different kinds of people to savour the sense of to diminish into one end point, one final outcome.” cal values. Fields of Glory hijacks the great sense of uniqueness togetherness. Over the last years Partanen has created the By the “In the new instalment of By the Pool the whole audience provided by the magnificent setting for its own purposes. Pool concept events in which people of different backgrounds will be in the pool. There will be no real performers; instead The choreography provides an abundance of space in which were invited to a swimming pool alongside the working group. the performance will be led by two recordings, one under the the performers can be their true selves. It asks the participants to surface, one on it.” perform as little as possible, and on the contrary, gently encour- Summer 2016 Partanen was also involved in the Wonderlust ages them to act in synchronised unity. The result is an arena 1 The Reality Research Center, founded in 2001, is a sex festival, which was held for the third time, and in its own full of individuals, with the differences between them fading, Helsinki based collective of artists engaged in performative words, celebrates diverse and conscious sexuality. Partanen’s appealing to the audience with their sincerity. The performers adventures. previous performances have been – without exception – very P 14 FINNISH DANCE IN FOCUS 2016–2017 FINNISH DANCE IN FOCUS 2016–2017 P 15
1. A sports field is 2. inevitably also a political arena.
Zodiak’s performances found their way PUTTING ART into the audiences through outreach work. Katja Kirsi also has a background in art education. “Contemporary dance is a fairly Art begins to come alive FIRST IN young form of dance in Finland, and when and bring a new kind of it comes to big audiences they don’t know much about the aesthetics of contempo- life to a neighbourhood. AUDIENCE rary dance. This shows that contemporary 1.&2. JAAKKO PARTANEN: Fields of Glory. dance does not yet have such a strong Katri Naukkarinen presence in society, which leaves room OUTREACH for art education work.” TEXT Maija Karhunen One of Zodiak’s audience outreach pro- jects is the My Name Is project, which, led by Jenni Koistinen, has been running for a erotically tinged, but with Fields of Glory’s 50 amateur perform- performers and stimulating the audience with powerful smells, In March 2015 the Zodiak Center for New number of years in Helsinki’s suburbs. To her, and performances. She is delighted that ers he did not move towards sexualisation as such. at Flashdance’s core is the relationship between a look and Dance’s Manager of Education and Out- this community-centric, participatory art keeping up with art and culture doesn’t nec- “Nonetheless, the participants being able to touch one strong visual stimuli. It was thanks to this piece that the group reach, Katja Kirsi, received the State Prize created with non-professionals is a way to essarily require a trip into the city centre. At another and behave intimately with each other is an important became established as the five-person WAUHAUS art collective. for Dance for her ten years of work devel- put down roots in real life, to exist in the the workshops of the My Name Is project, thing. It’s acceptable behaviour. There’s nothing about it that Nevertheless, it feels pertinent to Partanen to return to the oping audience outreach at Zodiak. Kirsi has world and society. “The art scene is quick work with movement marked the discov- we should be problematising. In rehearsals we warmed up by Fields of Glory world and its questions. created a model for audience engagement to form its own bubble, cut off from the ery of a connection between movement, touching each other. Through the various experiences, this piece “There’s a lot of good in Fields of Glory, and it suggests an in contemporary dance, whereby courses outside world. I feel that this is a fruitful thoughts and emotions for Harju. At the has given something new to men of all appearances. From all image of a man which is not represented in society. But the piece and community projects are run not by way to make art, involving different people moment she is working on her own dance the different starting points everyone ended up in the arena, was kept fairly gentle. A sports field is inevitably also a political separate outreach workers, but by the art- and places in the creation process. For me piece, set in the forest, in collaboration with hairy and hairless chests up against each other, in quite sensi- arena – it’s important that events don’t, in fact, stay being just ists themselves. it’s a means to stay in touch with what is three others from Kannelmäki. tive and intimate contact.” ‘nice’. Things were of course done with sensitivity, as the piece “It increases the volume of audience happening in the world and what people Creative work in public spaces creates A second version of Fields of Glory was created for Kuopio’s involved performers who had never performed before.” engagement and the work isn’t focused on are thinking”, she explains. a new kind of relationship with the neigh- ANTI Festival2, where the participants were 23 women and 2 men, As a choreographer Partanen is meticulous about making the individual. With audience outreach it’s This year’s themes are the environment, bourhood a person lives in, and with its ranging from 17 years old to pensioners. The sports field in Kuopio sure that the piece feels safe and meaningful to the performers. not a case of marketing art either, instead power and identity, and in addition to the residents. “Perhaps we’ve given the people was more rugged than the one in Helsinki – this expressiveness He pays particular attention to the performers’ backgrounds: it more closely resembles the artistic work workshops and performances, a community of Kannelmäki an example of what you can of the space brought many new levels to the performance. how critical to be of the performance with amateur performers that the artists do, and which they are inter- garden has been established in Kannelmäki, do – maybe we’ve provoked something This was not the first time Partanen had staged a perfor- of different backgrounds, and on the other hand, what new levels ested in. The artists themselves decide what one of the Helsinki suburbs involved in the too – and they have reacted to us. Through mance in Kuopio, his home town, in a venue intended for sport. these backgrounds bring to the performance event. they want to do”, says Katja Kirsi. project. For those who have already been art, interaction with other residents goes Dirty Dancing (2014) was performed in a wrestling arena, with “It would also be interesting to do a piece for specific con- Zodiak’s audience outreach courses are involved in several My Name Is workshops beyond normal everyday contact.” the audience sitting right up close to the four performers as texts, for example with specific population groups or minorities. not focused on pedagogy or techniques. or performances, a mentoring programme they splashed soured milk around the performance space. In spite of everything, and although it was not the main goal “Putting art first in audience engagement has been set up, where participants can \ Partanen’s works reshape a ready space into a stage, opening of the project, Fields of Gold strongly supports the values of makes it possible to share the artist’s world realise their own art projects. Writer is the editor of Liikekieli.com – up the event and allowing traditionally untouchable conven- empowering community dance pieces.” with participants, and vice versa. Anyone “From an artistic perspective their plans an online publication specialising in dance tions to be released. can get involved in making art and the expe- are high-quality and ambitious. It’s fantas- The acclaimed Dirty Dancing was granted a follow-up last \ rientiality of dance, and play an active role tic to see that when people are given the December, named after the second part of the dance film tril- Writer is a Dance Critic and Freelance Writer themselves. The kind of encounters an artist opportunities, art begins to come alive and ogy: Flashdance. Whilst Dirty Dancing focused on liberating the can offer through their work are unique, as bring a new kind of life to an area”, says is the use of movement to open up routes Jenni Koistinen. into not only art but also a person’s own Anne Harju, a Kannelmäki resident, has 2 The ANTI Festival presents site-specific contemporary life.” been involved in a number of the My Name art covering all artistic forms from sculpture and environmental A third of those coming to watch Is project’s community dance workshops art to dance, live art and performance. P 16 FINNISH DANCE IN FOCUS 2016–2017 NEW FACES NEW FACES FINNISH DANCE IN FOCUS 2016–2017 P 17 TEXT Maija Karhunen, Sanna Kangasluoma & Inka Reijonen PHOTOS Uupi Tirronen & Lennart Laberenz
Dance is a physical JAAKKO NIEMINEN – THE QUESTIONER Since finishing his dance studies, Niem- MEET THE NEW FACES! inen has begun studying political science. form of contemporary Jaakko Nieminen does not want to be “I want to think about and understand the art. I explore what pigeon-holed into kinetic or conceptual bigger picture of the world we live in.” Four young Finnish choreographers - Milla Koistinen, Jaakko Nieminen, Milla aesthetics. For him, choosing relevant “Art offers a different way to exist in a Virtanen and Sonja Jokiniemi - talk about being alert and curious, could be the limits ways to present each work is of greater world dominated by the rat race of capital- of dance movement importance. ism. Art has values other than productivity challenging common codes and languages, and of course, about their art. Having studied in Helsinki, Stockholm and utility.” – I want to develop and Berlin, 33-year-old Jaakko Nieminen “To me, art’s key role lies in its criti- challenges himself by pondering the big cality. It produces something other than FINDING MY OWN CHOREOGRAPHY brought text and language into the works physical forms of questions. In his piece Anthem (2014), he conventional imagery.” – MILLA KOISTINEN more openly than before. expression. seized upon feelings of nationalism. The However, Nieminen does not want to Koistinen’s works are often based on piece was performed against a thundering preach. “I don’t create pieces about immi- Having graduated as a dancer from the subtleties which rock the audience, with background of God Save the Queen and gration or nuclear power – with today’s Theatre Academy of the University of the the unfurling of these elements proving not other national anthems. abundance of information everything Arts Helsinki, Milla Koistinen found herself only rewarding but also giving free rein to “It provoked strong reactions, even becomes overdone and old very quickly. going back and forth between Kuopio and turn the gaze back on the audience them- though it was a very kinetic piece. Some But how do you present something in a way Salzburg, and Reykjavík and Düsseldorf in selves. Koistinen often finds starting points were outraged with anger, whilst other said that makes the audience take a completely her roles as a choreographer, dancer and for her works in literature and fine art. For that it was magnificent.” different perspective on it.” teacher. Nowadays Koistinen calls Berlin her series of pieces in spring 2016 inspi- When he was younger, Jaakko Nieminen home, after having worked in Brussels from ration came from the American abstract was a keen footballer, as well as playing 2006 to 2010. More was asked of dancers expressionist, Agnes Martin. Frenzied in classical piano, and dancing in musicals. “I there, in terms of producing their own mate- her absoluteness, Martin’s paintings and feel that I have a broad basis to fall back rial, which perhaps distinguished it from the impressions are based on endless repetition way things were usually done in Helsinki at and deal with experiences of happiness, the time. However, since having studied to beauty and innocence. become a choreographer in Berlin, Koistinen “The path I’ve travelled searching for has found her own choreography. my identity as a dancer and choreographer “I watched a lot of theatre and chal- feels peculiar, but in a good way. If 10 years on, from the kinetic to the theatrical. I’ve lenged myself to create more conceptual ago I’d have seen the works that I’ve now always been interested in both physical per- choreography. For a while motion had to created as a choreographer, I’d probably formance and art in all its manifestations.” be torn down and got rid of, but now it’s have told you that there was no way would What does he have in the pipeline at making its way back into my pieces”, Milla happen. It’s a good reminder that you can the moment? Koistinen explains. False (2013), which was end up doing absolutely anything. When “Together with my group – NOM Kolle- created in collaboration with the brilliant you don’t know where you’ll be in 10 years’ ktiv – I’m working on a new piece which will actors Elmer Bäck, Rasmus Slätis and Lidia time, it keeps you alert and curious.” premier in 2017: Anna Karenina and Reality Bäck from the theatre group Nya Rampen, TV – confessionality and the gender aspect in a Christian world.” “We’re investigating forms of presenta- tion: what does dancers’ “pedestrian acting” entail. We might end up with grand gestures and a musical!” the choreographer jokes. P 18 FINNISH DANCE IN FOCUS 2016–2017 NEW FACES NEW FACES FINNISH DANCE IN FOCUS 2016–2017 P 1 9
Diversity, challenging physical- political and psychological PEELING BACK THE LAYERS OF HUMAN BEHAVIOUR interested in people’s behaviour. The kinds female characters, grittiness, and putting norms, and fragility are all – MILLA VIRTANEN of hierarchies found in dance sport are, of herself on the line are important elements. course, also easy to spot in the world of Cooperation spanning numerous differ- concepts that speak to me”, Dancer-choreographer Milla Virtanen, contemporary dance. The thematics of the ent forms of art, with media artist Leevi says dance and performance together with Jaakko Toivonen, has cho- piece are universal”, says Milla Virtanen. Lehtinen and musician-sound designer reographed a new piece entitled Blackpool, Virtanen has learnt to cherish and value Anssi Laihonen, has been steadily evolv- artist Sonja Jokiniemi. which premiered in June 2016 and is based the experiences she gained from her time ing over the course of a number of projects. on both contemporary dance artists’ back- in dance sport as a source of richness. “It Milla Virtanen hopes that dance tour AGAINST CAPTURE AND NORMS, grounds in ballroom dance and the world has fine-tuned my muscles and nervous networks will continue to develop in the IN FAVOUR OF BARENESS – SONJA JOKINIEMI of competition. The eminent dance sport system giving me a unique form. There’s future, both in Finland and in Europe. “A competition held in Blackpool is, according no shortage speed and contact with your major change is required here, so that artists Jokiniemi’s solo works open particular and to Virtanen, a special and exciting world co-performer in ballroom dances. At the don’t necessarily need to be producing unique worlds. In the artist’s own words, they of its own, where glamour, brutality and same time, I’ve learnt not only to relax new pieces all the time. It would be great explore “existential questions, the processes hierarchies create a cut-throat atmosphere. but also about scope, through a range of if pieces of art could – thanks to longer life of conceptualisation, and frail experiences of “The piece is a self-ironic look – created works produced by dancers and through cycles – be allowed to grow and resonate life in today’s fragmented reality.” An interest with a great deal of love – at what is choreographic studies”, says Virtanen. with different kinds of audiences.” in visual art, and in exploring objects, different under the ballroom dance’s surface. I’m In Virtanen’s dance theatre strong kinds of language systems and diversity can be seen in her works. The artist, who works all around Europe, graduated with a Master’s degree in theatre arts from the DAS Theatre programme at Amsterdam University of the Arts’ Theatre School. The multidisciplinary study environ- ment influenced her own forms of expression: “Through experimentation I grew inter- ested in miniature forms, playfulness and inanimate objects: how we become sensitised to a space and see human charcteristics in objects too.” The piece OH-NO (2013) followed two pens’ encounters with a giant from the objects’ level. The limited space grew larger and the pens became sticks in Hmm (2015), which explored sounds, meanings and existence. “I communicate with the audience through my works. The pieces pose questions and give viewers room to immerse themselves in their own interpretations, thoughts and associations.” Jokiniemi has also worked with special groups, such as those featuring individuals on the autistic spectrum: “I want to present different ways of com- munication and existence, and challenge what are perceived to be common codes and languages.” Her newest piece, RRRRR (2016) continues her exploration of language systems – and looks at the schizophrenic nature of the times we live in: disjointedness and fragmentation in a world where success plays a central role. P 20 FINNISH DANCE IN FOCUS 2016–2017 FINNISH DANCE IN FOCUS 2016–2017
SUSANNA LEINONEN: SEE | OBEY. Dancer: Misa Lommi Heikki Tuuli
The dancers Sanni BENEATH Giordani and Misa and Natasha Lommi absolutely THE POLISHED SURFACE, hypnotize the viewer with A FRACTURED WORLD their work in the piece. UNFOLDS TEXT Raisa Rauhamaa Jonas
Lundqvist
Choreographer Susanna Leinonen is a forceful SUSANNA LEINONEN rose to international prominence among Finn- ish choreographers with her work Ei kukaan, vain ystäväsi (No creator with a distinct voice. Her works are one, Just Your Friend) in the year 2000, the same year that she characterized by a scrupulously polished graduated with a Master’s in dance. The following year she founded her own group, the Susanna Leinonen Company, whose unity and an ability to meld the technique works have been performed in more than 20 countries. Leinonen has also worked as a guest choreographer with such groups as of classical ballet with the expression of the Finnish National Ballet, the Royal Swedish Ballet, and the contemporary dance. Leinonen’s most recent Danish Dance Theater. In 2010 she was a nominee for the Prix Benois de la Danse. work, SEE | OBEY, touches a current nerve Her company is celebrating 15 years in existence, so this more strongly than even she anticipated in year is a full one. In March 2016 the group made an extensive tour of Sweden as part of Dancenet Sweden, with Tre, a work by the process of creating it. the director of the dance company of Stockholm City Theater, Kenneth Kvanström. The tour included Leinonen’s most recent work, SEE | OBEY. “The Düsseldorf Tanzmesse is coming up in the fall. We’ll be bringing scenes from SEE | OBEY to the Open Studio, and performing material from an upcoming work.” P 22 FINNISH DANCE IN FOCUS 2016–2017 FINNISH DANCE IN FOCUS 2016–2017
1.&2.SUSANNA LEINONEN: SEE | OBEY. Heikki Tuuli
seamlessly interwoven with the free-flowing universe of the for the piece begins with an actor describing a patient of Jung’s unconscious. Dark-toned frameworks stripped of ornamentation who was afraid to go to Paris, and died as soon as he arrived make the movements shine as the dancers perform a flawless, there. The work also spoke of bombs, fear of flying, and death. closely intertwined continuum of motion that demands the That same fall, floods of refugees were growing uncontrol- The multidisciplinary use of the entire body. What is the mould that lably and masses of people were packed into refugee centers Leinonen’s newest piece, SEE | OBEY, received an enthusi- around Europe, in an atmosphere strained by a fear of terror- SEE | OBEY opens a new astic reception in the fall of 2015. Turun Sanomat newspaper’s we’re raised to conform ism. The performance began with a film by Jouka Valkama that facet, because it combines reviewer called it “... an experience that caresses the senses and to? Instead of acquiescing, ended with the texts: Do you hear the bomb’s explosion and stimulates the mind. The thematically dense, interdisciplinary Death will come before the credits. “During the creation stage, we film, spoken word, and narrative seems to combine, among other things, the absurdity should we question couldn’t have imagined how closely our material would track music with the dance. of life, the experience of time, and the feeling of travel.” In fall everything? with reality, because we worked on it slowly, in collaboration of 2016 the piece will be presented in a festival gala at Almi Hall with composer Kasperi Laine. I’ve learned that it takes time for at the Finnish National Opera, where the company will also the right decisions to come to fruition.” perform excerpts from choreographic works of the past 15 years. SEE | OBEY is a cryptic title. “It refers to two things – watch- MORE KINDNESS ing and acquiescing. Do we accept everything we see? Should Lightness, a gentler take on the movement material, and even we intervene in the horrors and violence we see? What do we humor are new flavors in Leinonen’s signature choreographic THE POWER OF OPPOSITES accept automatically and what should we accept? What is the TIED TO ITS TIME style. “I’m trying to be less my own worst enemy. I used to reject Compactness and nebulous sensuality are imaginative oppo- mould that we’re raised to conform to? Instead of acquiescing, The opening night of SEE | OBEY in the fall of 2015 happened ideas immediately, in the rehearsal phase, even when they might sites. These words together describe the deep-diving, separate should we question everything?” Leinonen muses. “The word to be at a moment that shocked the world. The day before the have grown into something with patience. Now I don’t want to world below the surface through which the audience is led in pairing of see and obey also pleases me. It fits into a small space, premiere there was a massive suicide attack in Paris in which be in such safe waters, I want to let ideas bloom. I haven’t lost Leinonen’s choreography. The virtuosically polished surface is just like the dancers who squeeze onto a little stool to dance.” a great number of innocent people died. A section of the text my ambition, but my compulsiveness has eased up.” P 24 FINNISH DANCE IN FOCUS 2016–2017 3. FINNISH DANCE IN FOCUS 2016–2017
1. SUSANNA LEINONEN & JOUKA VALKAMA: SEE | OBEY the film. Jouka Valkama \ 2. & 4.SUSANNA LEINONEN: SEE | OBEY. Heikki Tuuli \ 3. 1. SUSANNA LEINONEN: Touch of Gravity. Heikki Tuuli
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The multidisciplinary SEE | OBEY opens a new facet, because For the first two weeks Leinonen rehearses the dancers it combines film, spoken word, and music with the dance. “I on a work’s repertoire of movement. Practicing movement wanted to include new artists like a poet, writer Jukka Viikilä, phrases and incorporating the dancers she is directing firmly and professional actors.” into the world of the piece, where the dancers, too, have a clear “In the past, I would have strictly controlled everything, but understanding of the goal of the work. “There has to be time to now I have to let the other artists work in peace.” Loosening the experiment with the movement and improvise, because often reins was freeing for Leinonen, but also frightening. “When I was even just clowning around you find an answer. But when I was waiting for the text, I was scared. What if the elements didn’t sawing a stool down to make it shorter and shorter, the dancers work together? Did I have enough ability to integrate them? eventually said, That’s enough; any lower and they wouldn’t There was so much material that the responsibility of finding be able to get up.” the right creative solutions terrified me.” Leinonen thanks her trusted team for the success of the result, including composer A DEMANDING JOB and rap artist Kasperi Laine, costume designer Erika Turunen, Fifteen years is an achievement in a field with scarce resources. filmmaker Jouka Valkama, and her lead dancers. Together with managing director Katri Kekäläinen, Leinonen In rehearsal, Leinonen is short-spoken. The themes of her works full time outside the rehearsal room thinking of new pieces are often personal, but the audience doesn’t need to funding opportunities and searching for new collaboration know where they come from. “The viewer can form their own partners, including internationally. interpretation of the work. And the dancers also have to be When I ask her what else makes up a choreographer’s day, given the freedom of their own interpretation, otherwise the Leinonen says: “My whole family has been recruited into various multidimensionality narrows and the final result falls flat.” projects and we do a lot of things together.” Her spouse Jouka P 2 6 FINNISH DANCE IN FOCUS 2016–2017 FINNISH DANCE IN FOCUS 2016–2017 P 2 7
SUSANNA LEINONEN & JOUKA VALKAMA: SEE | OBEY.
SUSANNA LEINONEN & THE POWER JOUKA VALKAMA: SEE | OBEY the film. Jouka Valkama OF A SLOWED MOMENT TEXT Raisa Rauhamaa PHOTO Jouka Valkama
“I’ve always been interested in how film techniques can be made to serve as content for a movement piece. I started making videos and short films as a hobby when I was just 12,” says SEE | OBEY filmmaker Jouka Valkama, a ballet dancer with the Valkama’s video projections have National Opera. been seen in the Finnish National Valkama reminisced about the early days of his hobby, when he made short Ballet productions of Swan Lake films shot in chronological order. “I had to leave a hundredth of a second of blank and The Little Mermaid, whose 3-D space between shots in case I wanted to animation technique took stage edit in additional footage. Now there are computer-based editing tools within any- narrative to a new level. body’s reach that are constantly developing, and the possibilities for computer graphics are better and better.” Valkama, a dancer with the Finnish National Ballet, is the film- which will premiere in fall of 2017. For the new piece, Leinonen In addition to Leinonen’s works, Valka- accommodated a crowd scene of a hundred “My attempt was not just to record maker of SEE | OBEY, and the couple’s daughter appears in the is using old materials to create something new, going through ma’s video projections have been seen in performers, with water flying and people dance but to use moving pictures to take film. “Our daughter performs the tragic role of the child who her own stores of both costumes and sets and repurposing the Finnish National Ballet productions of dancing, running, and juggling as flames dance narrative to a new level. And some- witnesses her parents’ fight. Right up until the day of filming, I them. “We recycle nearly everything, including our music and Swan Lake and The Little Mermaid, whose blazed in the air. times the simpler a movement is the better was nervous about whether she would agree to perform, because movement material, in the process of creating a completely 3-D animation technique took stage narra- Creating the scene successfully required it looks in an image.” Valkama says he is we shoot flower petals at her. At the last moment our daughter, new work. A theme of our movement vocabulary is motion tive to a new level. mathematical computer modeling, because retiring from dancing in four years. “That who’s five, mustered up her courage and did it, although we had that rewinds. In the process of rehearsal for almost every piece, “I’ve gradually found tools and methods there couldn’t be any wasted footage in way I can concentrate on making movies. a cousin as a back-up.” we’ve played with rewinding movement phrases. Now we’re for using composition and slow-motion to the filming. My self-confidence has grown with the “I’ve created video material for my pieces with Jouka before, going to get to realize that dream.” handle movement, where the image can be “For instance, we had to calculate how doing, and I already know that I can take but this time I wanted to come up with our first dance film that used to make any movement into dance.” fast the camera car should drive past in the good-looking images, but combining ele- could be presented as its own complete work or as a part of the \ The film SEE | OBEY is made up of three crowd scene, so that we got 5.2 seconds ments still has plenty of challenges.” SEE | OBEY performance. The process was so interesting that Works: Susanna Leinonen Company : Ei kukaan, vain ystäväsi (No independent stories: a little girl witnesses a recorded.” we’re going to continue making dance films in the future. We one, Just Your Friend, 2000), Babolat (2001), Indigo (2002), Suo situation that develops into a fight between The film’s narrative combination of \ already have another screenplay written.” tihkua vihreä tammi (Trickle, Green Oak, 2003), Häiritty hiljaisuus her parents; a young man experiences con- dance and everyday actions is stunning. SEE | OBEY won the Loikka Dance Film Fes- “It’s a pleasure to watch the purity of movement,” says (Disturbed Silence, 2004), Chinese Objects (2005), Kaira (Drill, flicting relationships with women; and The flow of intensive images and dreamlike tival Audience Award in April of 2016, and Leinonen. The dancers Sanni Giordani and Misa and Natasha 2006), Fragile | Entity (2008), Grain (2008), And the Line Begins thirdly, an old woman remembers her lost events take one’s breath away. A moment is now seeking channels for international Lommi absolutely hypnotize the viewer with their work in to Blur (2009), Sokea Mieli (Blinded Mind, 2011), Romeo & Juliet life in an uninterrupted string of memories. that lasts for the blink of an eye deepens distribution. the piece. (2012), Touch of Gravity (2014) and SEE | OBEY (2015) All three stories end with one long through slow-motion to become a turning In spring of 2017 Leinonen will direct the dancers of the Finn- slow-motion shot, slowed at its maximum point that reveals a lot of information and ish National Ballet in her work Breaking the Fury. At the same from 5.2 seconds to 3.2 minutes. emotion, and would be inaccessible to the time, she will be working on a new piece for her own company, At its maximum, the slow-motion unaided eye. P 2 8 FINNISH DANCE IN FOCUS 2016–2017 FINNISH DANCE IN FOCUS 2016–2017 P 2 9
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BLAZING 1. & 2. THOMAS FREUNDLICH & VALTTERI RAEKALLIO: Cold Storage. Performers: Eero Vesterinen & NEW TRAILS Valtteri Raekallio. FOR Six years ago, choreographer and dancer FREUNDLICH’S FIRST short film, North Horizon (2010), made with dancer-choreographer Valtteri Raekallio, got its start almost Thomas Freundlich found himself, to his by accident. When a live performance planned in Spitsbergen surprise, shooting and directing a dance film. fell through due to a scheduling issue, the two artists had to change their plans at short notice. One evening in Spitsbergen, DANCE FILM Now he is one of the leading dance film the pair stumbled out of their tent, walked into the tundra, and makers in Finland. What made a dance artist began filming each other improvising in the arctic landscape. TEXT Hannele Jyrkkä PHOTOS Thomas Freundlich “Amazingly enough, it turned out to be a coherent piece a filmmaker, whose newest works, including that seemed to resonate with viewers. Now the film’s been shown at 25 festivals around the world, and there’s still a lot Cold Storage, can be found in 4K format, of interest in it.” which is still rare internationally? Thomas Freundlich decided to study the art and technique of filmmaking in earnest. The 41-year-old artist has already found the time to make 12 short dance films, dozens of recorded dance works, documentaries and trailers, along with his own choreography. These days dance films take up the largest part of his days. P 30 FINNISH DANCE IN FOCUS 2016–2017 FINNISH DANCE IN FOCUS 2016–2017 P 31
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1. THOMAS FREUNDLICH & VALTTERI RAEKALLIO: Cold Storage. Performers: Eero Vesterinen & Valtteri Raekallio. \ 2. THOMAS FREUNDLICH & VALTTERI RAEKALLIO: North Horizon. Performer: Valtteri Raekallio
movie or video can’t. It can help convey the essence of a dance complicated and costly when shooting 3D, but there is great “The democratization of tools has made it possible for dance Dance isn’t work, which often dies in the camera lens or on the screen, to a potential in the medium for dance.” practitioners to begin learning and embracing the techniques exactly different degree. The greatest experience for me was what the of motion imaging in their own work, but dancers and chore- film did forPina Bausch’s live performances.” 4K AND SUPER-PRECISION ographers are also increasingly seeking out collaborations with the easiest He decided he had to get into 3D for his own work. Freun- Last year the multi-talented Freundlich also shot and directed the professional filmmakers. You can definitely see both of those thing to film. dlich’s short 3D film The Raven (2015) recorded Kaari and Roni short filmSubsurface using 4K technology. The visually stunning, things going on. The biggest question when you watch a lot Martin’s contemporary flamenco soloKorppi ja kello, which has polished choreography in the film was done byKatja Koukkula of dance movies is where is the ‘meat’ of the dance itself, the won prizes from here to Spain, in breathtaking style. It was also and Jussi Väänänen, winners of numerous international dance cinematic angle, or that one great idea, presented in a format of the first Finnish 3D dance film. In fact, 3D is still relatively rare competitions. In 4K films, the pixel count of the image is four just a few minutes. Technology can’t answer those questions.” “Dance isn’t exactly the easiest thing to film. In every project, in dance film worldwide. In a 3D film, making the viewer feel times greater than in today’s high definition. For Freundlich, The greatest challenge, he says, is conveying the essence there are so many new things to learn. It’s been an advantage almost thrust into the action is, according to Freundlich, largely however, the tool is not the primary thing. of dance and capturing it so that it speaks in a way other than that I come from a dance background – I already speak the same dependent on working with a team that specializes in 3D. For “Filmmakers still have to put the content and the visual just as a pretty picture. language. I have certainly had fun with this tool, this form.” The Raven, stereographer Jarmo Honkala was responsible for ideas first. With the highest projector resolution you can give The best Finnish dance films are now impressive to watch realizing the direction of Tuisku McLees. the image a new high fidelity and super-precision, but then even by international standards. If only the funding models and 3D AND BEING PRESENT “3D is a demanding medium – maybe eight times more the material has to have a lot of visual detail and texture at the infrastructure can be established, Freundlich thinks that Finnish Last year Freundlich created no less than two dance short films complicated than 2D – and it has a lot of technical, optical, and micro level.” From 2012 to 2014, Freundlich worked with Valtteri dance films will have no problem reaching a global audience. that made use of the newest technologies, 3D and 4K. physiological requirements connected with it.” Raekallio as artistic director of Loikka Dance Film Festival and “There’s been an terrific grass-roots scene for up and coming The three-dimensional perspective offered by 3D pulled “You have to plan precisely how much three-dimensionality later also as coordinator of the festival’s 3D and 4K films. He still dance filmmakers, thanks to the Loikka festival. In the last Freundlich in when he saw the Wim Wenders film Pina (2011) and depth you want to bring into the picture so that the effect watches an impressive number of dance films and is amazed couple of years, we have already seen a number of high-quality, on the big screen. works. With 3D, there’s zero tolerance for error. If everything at the high technical level of today’s dance films. We are well well-organized productions here, even if there isn’t a massive “Pina is the ultimate proof of how 3D can bring out the isn’t technically flawless, in the worst cases the viewer can get a past the days when dance film work meant swaying around in amount of money.” presence of the human body in a way that a traditional 2D terrible headache. The equipment setups can also get extremely a rehearsal studio with a camcorder. P 32 FINNISH DANCE IN FOCUS 2016–2017 FINNISH DANCE IN FOCUS 2016–2017 P 3 3
THOMAS FREUNDLICH & VALTTERI RAEKALLIO: Cold Storage. Performers: Eero Vesterinen & Valtteri Raekallio. A GRAND Powerful dance movements, original SPECTRUM camera angles, and a narrative that runs OF FINNISH from the humorous to the tragic DANCE FILMS combine deliciously. LEAP OFF In April, Loikka, the largest dance film fes- This year’s tour will offer Thomas tival in the Nordic countries, now in its Freundlich and Valtteri Raekallio’s breath- ninth year, presented an impressive number taking Cold Storage and the crystalline FROM of dance films from Australia to Vietnam. harmony of Jouka Valkama’s SEE | OBEY, This year 77 films were shown. Of the 29 based on Susanna Leinonen’s acclaimed Finnish films entered for consideration, 18 dance piece. Also included are the mythic THE LOIKKA were chosen for the festival, five of them Fallen, directed by Mika Tertsunen and premiering there. There were 164 entries choreographed by Annatuuli Saine, and altogether. the international prizewinner Body Lan- FESTIVAL “I don’t remember ever having such a guage Zone, directed by Kim Saarinen and TEXT Hannele Jyrkkä broad range of Finnish offerings, although choreographed by Johanna Keinänen. In we did have a lot last year. I’m extremely the new artist series are Vilma Tihilä and happy at the high level of dance film being Sami Hokkanen’s co-directed Contiguity. made in Finland today,” enthused festival Kallio says that the production funding artistic director Kati Kallio. that started last year for one of the films What does Kallio feel the strong level presented at the festival has also inspired of Finnish dance film stems from? dance artists to try their wings as filmmak- COLD STORAGE Fred Astaire and Gene Kelly – a wide angle, long shots, and “I would certainly wave our own flag ers. The production funding this year, for Freundlich and Raekallio’s years of intensive learning can be controlled camera movement. Particularly in the central dance quite vigorously. The festival, founded example, which has now grown to 50,000 seen beautifully in their newest creation, Cold Storage, which sequence of the film, the shooting style was that of the golden by the group M.A.D., has worked with all euros, went to the trio of Anna Maria was completed last spring. Powerful dance movements, original age of musicals, although the goal isn’t to look like them on their might for almost ten years to raise Jóakimsdóttir Hutri, Maria Saivosalmi camera angles, and a narrative that runs from the humorous to the screen, of course.” the awareness of the audience, the artists, and Andrius Katinas, whose work in this the tragic combine deliciously and quickly draw the viewer in. “Maybe I’m getting middle-aged, but more and more I feel and the funders of Finnish dance film. The field Kallio hasn’t seen before. Kallio sees The profound, tightly narrative story of a lone ice fisherman’s the attraction of continuous dance movement and a wide angle. workshops tailored for professionals and the future of Finnish dance film as a bright longing for friendship is a departure from the pair’s earlier I don’t know why it has been so unfashionable for the past other fusions of the fields of dance and one, because the artists of the younger output. In the story the fisherman, diligently slurping his beer, fifty years.” filmmaking over the years are now bear- generation are rapidly beginning to take finds a frozen prehistoric man and thaws him out to make him For Cold Storage, the duo and their working group received a ing fruit.” interest. a newly discovered soul brother. 40,000 euro production grant, the first ever awarded by Loikka According to Kallio, this can be seen “It would be important for dance stu- “We gave a four or five page script to the editor, and we Festival, the Finnish Film Foundation, and Finnish public broad- strongly in the last four years. dents who are still in school to also be referenced the script and our storyboards all the way through. casting company Yle. “It’s clear that without this production “The level of the films has risen in par- able to practice this wonderful art form, The entire thing was built and previsualized almost like an ani- budget, we wouldn’t have been able to make the film in this ticular in the level of form. Films made in which can reach a huge number of people mated movie. I’m interested in doing the same kind of carefully form. Of course, we also tried to make the movie look like it the north are precise, cool, polished, and and offer a level of storytelling that’s really scripted stories in the future,” says Freundlich, who shot and was made with an even bigger budget. When you come to film there is demand for that in other parts of all its own.” directed the film. In the new piece they wanted to also bring to work from the contemporary dance scene, you definitely learn the world.” In addition to scraping up enough the forefront the physical virtuosity and movement finesse of to make things happen using limited resources!” Kallio says that international interest is funds, the greatest challenge in Finland is the performers. The self-imposed rule was to not cut Raekallio’s growing all the time. The touring program remunerative distribution. Public broad- choreographed dancing at all. \ that kicks off after the festival will consist casting is the only venue that can offer “Yeah, our philosophy of filming dance is straight out of Writer is journalist and art critic. almost entirely of Finnish programming. nationwide distribution. P 3 4 FINNISH DANCE IN FOCUS 2016–2017 CHOREOGRAPHER IN FOCUS
Hanna Koikkalainen
THE PIPPI LONGSTOCKING OF DANCE TEXT Eeva Kauppinen
REETTA-KAISA ILES (b. 1976), a dance artist, musician. Tsuumi creates two or three new and a capacity for self-irony. is known as an all-rounder with roots in productions every year and participates in Collegiality and a multiplicity of art folkdance and is hard to pigeonhole. Iles is a joint productions with different groups and forms constitute the cornerstones of Iles’ multitalented practitioner of contemporary theatres. The artistic roots of the company way of working. “I’ve got no particular art and her creativity bursts in many are to be found in folk tradition, while it interest in Finnish folk art, though different directions: from improvisation derives its themes and inspiration from people often think that. My interests to underground, dance theatre, electronic modern society. The arcane resonates with are more comprehensive, more global in music and folkdance. She doesn’t conform the modern in its activities. their range,” she clarifies. “You’ve got to to the conventions of folkdance any better And no way is Reetta-Kaisa Iles herself recognise traditions born out of different than Pippi Longstocking conforms to the kind of artist who, on making one communities. Think of the dervishes, traditional books of fairies and princesses discovery, concludes: “that’s it, then”. Iles the Karelians, Latin dances, or any dance aimed at little girls. sees through genre boundaries as if they form, and you‘ll find some fundamental, Iles runs Tsuumi Dance Theatre, a Hel- didn’t exist. In addition to solid professional unifying factors: rhythm, pulse, simplicity, REETTA-KAISA ILES & TUOMAS JUNTUNEN: sinki-based professional company, jointly competence, this way of working requires repetitiveness. Corporeality is at its core.” Man and Woman. with Tuomas Juntunen, a dancer and sensitivity, a good eye, a sense of humour “My starting points are: an interest in Petra Tiihonen 1. CHOREOGRAPHER IN FOCUS FINNISH DANCE IN FOCUS 2016–2017 P 37
1. PUHTI DUO: Anne-Mari Kivimäki & Reetta-Kaisa Iles Meri Tiitola \ 2.TSUUMI DANCE THEATRE: Kake – On the way to stardom. Mikko Mäntyniemi
at Finland’s cultural heritage from a female Think of the dervishes, the Karelians, point of view. A recording by Puhti will come out in Germany in summer 2016 Latin dances, and you‘ll find some and the duo will be performing at German fundamental, unifying factors: venues throughout the year. “Contemporary folk dance is a concept pulse, simplicity, repetitiveness. invented by someone at some stage. I have Corporeality is at its core. an unusual relationship with it. I find myself creating productions of many different kinds. Some of them may well be examples of contemporary folk dance. With Puhti, I often use the definition ‘music theatre’. With Tsuumi, with communality as the people, intimacy, humanity, imperfection enough. Her lively activeness is reminiscent starting point, the productions tend more and our powerful need to find another of Ganesha, the Hindu goddess with four towards ‘dance theatre’. person and a group to belong to,” she says. hands, who stands for intelligence and good Ultimately, Iles’ art is about the “I rely heavily on improvisation as a tool. As luck – in Iles’ case, for a visionary and joyous interaction between people and social 2. a choreographer I rarely finalise the dance experience for the spectators. “I’m a mum cohesion. “I’ve always associated singing movements. The end result is invariably juggling with my different roles, trying des- with movement. Or if not singing, some kind coloured strongly by the interpretation of perately to create art,” Iles says and laughs. of vocalisation. They’re inseparable. We the performers.” “I define my work identity is an all-rounder form a circle, execute the same movement, Through improvisation, Iles aims to get of performing arts. Dance seems to be too find a way of communicating without hold of a performer’s idiosyncrasies, habitus narrow a definition to describe my work.” words with another human being. It’s a and individual ways of existing in this world. Reetta-Kaisa Iles’ energy and electricity fundamental need of ours and an element “The combinations discovered in this way are reflected in the names of her artistic that creates a sense of security.” yield something new consistently.” projects and works. She and Anne-Mari Folk tradition carries brashness and Iles’ latest choreography Quiet Kivimäki, an accordionist, form a duo called impudence with it. In those circles everyone Emotions is a good example. She picked Puhti (the word means ‘vim’ or ‘vigour’). sings in his or her own voice. four Finnish contemporary dancers for the Puhti owns a club called Perkele! (damn it!). “The more imperfection I see on stage, social dance context with careers dating In addition, Iles also sings and dances in a the more touching I find it. It’s interesting back decades: Marjo Kuusela, Ervi Sirén, group called Suistamon Sähkö (Suistamo to toy with a sense of shame. Maybe it’s Alpo Aaltokoski and Reijo Kela. Elecricity). because I’ve carried the burden of unsexy “As a person gets a bit older, his or The idea of Puhti is to create a new folk-dancing on my shoulders. The present her essence is clarified, which is brilliant. form of performance art by combining world around us seems to amount to a Everything superfluous vanishes. These high-quality folk music and folkdance. The display of eyelashes, buttocks and tits. four dancers are all strong individuals who duo’s unique sound is created by the use of People are trying to mould themselves stand on their own two feet.” Iles wants accordions, vocals and rhythmic stomping. and be successful.” to show people on stage as fragile, naked, And there’s no shortage of attitude: the two “An international career?” Iles pauses imperfect, naive, stupid, even abashed. As women perform on tables in a bar or at a big to think. “I’ve started building one in small human beings. “In my works I aim to give festival venue with equal boldness. Works in Karelian villages in Russia by performing to the spectators the impression that anyone Puhti’s repertoire include Women and Bags, local grannies.” could him- or herself step onto the stage. which explores role models and taboos; Be one of the dancers.” Love and Devotion, a multi-art concert \ When one tries to describe what kind based on Kalevala, the Finnish national Writer is the arts editor of art Iles creates, terminological defini- epic; and The Kantele Person, a mini-cabaret of the Kaleva news tions don’t seem to fit or be comprehensive which is based on Finnish folklore and looks P 38 FINNISH DANCE IN FOCUS 2016–2017 DIRECTORY OF FINNISH DANCE FINNISH DANCE IN FOCUS 2016–2017 P 39
This directory offers an overview of the Finnish dance field. It lists dance companies, DIRECTORY production centres and regional dance centres as well as festivals and venues. Discover more about Finnish dance, choreographers and education at www.danceinfo.fi .
DANCE THEATER ERI Norway Dance Company within Art Institution A \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ Turku State-subsidised Dance Companies S DANCE PUBLICLY FUNDED Contact: Maarit Keto-Seppälä, producer www.eri.fi Independent Dance Company I DANCE COMPANIES Dancer-choreographers Tiina Lindfors, Production Centre P COMPANIES Lassi Sairela and Eeva Soini founded Regional Dance Centre R AB DANCE COMPANY / Dance Theater ERI in 1989. Over the past AURINKOBALETTI 25 years ERI has built up a repertoire Festival & Event F DANCE COMPANIES Turku that now includes more than 300 works. Professional Education E Contact: Every year they produce around 130 WITHIN ARTISTIC Katja Lehmussaari, managing director & performances, of which four or five are Urmas Poolamets, artistic director premieres. INSTITUTIONS www.aurinkobaletti.com Genres: Contemporary dance, Rovaniemi FINNISH NATIONAL BALLET AB is known as a constantly evolving, dance theatre Tornio Helsinki high-quality contemporary dance I S R Contact: group which is not afraid to venture DANCE THEATER HURJARUUTH Sampo Kivelä, artistic administrator outside the limits of its own genre. Its Helsinki Sweden Russia Artistic Director: Kenneth Greve repertoire includes productions for Contact: Arja Pettersson, director I P R F E www.operaballet.fi both adults and children by Finnish and www.hurjaruuth.fi Oulu About 80 performances and 3–5 pre- international choreographers. The home With a history spanning 30 years and Kajaani I R mieres per season. Also works by stage of the company is at Manilla, a more than 100 productions, Hurjaruuth contemporary choreographers, such as beautifully restored former factory on integrates contemporary dance with F Kokkola R F Tero Saarinen, Jorma Elo, Jiří Kylián, John the banks of the Aura River in Turku. circus artists, musicians, writers and F Pyhäsalmi Neumeier, Alexei Ratmansky and Ohad Genres: Contemporary dance, dance visual artists. Hurjaruuth’s annual Kuopio Naharin. The Ballet employs 77 danc- theatre, performances for children Winter Circus thrills audiences with its Kaustinen Outokumpu E Vaasa F ers representing 21 nationalities, plus 15 aerial stunts, juggling and eye-boggling I R S R E dancers in its Youth Company. entertainment – each year’s show is a F Genres: classical ballet, completely new creation. I R Joensuu contemporary ballet, contemporary Genres: Dance theatre, performances Jyväskylä F dance, young audiences for children and young audiences
Pori I F © Dance
F Joona Tampere I
HELSINKI DANCE COMPANY Theater
S R E F P
Lappeenranta ettersson. S I Helsinki
R F E P Kerava I Contact: Hurjaruuth. Turku Jyrki Karttunen, artistic director S I Kotka I S Vantaa www.hdc.fi
Espoo Helsinki The biggest contemporary dance com- Hanna A
pany in Finland with 12 dancers. HDC Raseborg Brotherus: I S performers are known for performing
I physically demanding contemporary
Piparkakkupoika.
P dance as well as expressive dance thea- tre. Helsinki Dance Company’s home is R the Helsinki City Theatre. F Genres: Contemporary dance, E
Estonia dance theatre P 40 FINNISH DANCE IN FOCUS 2016–2017 DIRECTORY OF FINNISH DANCE DIRECTORY OF FINNISH DANCE FINNISH DANCE IN FOCUS 2016–2017 P 4 1
DANCE THEATRE MD children, young people and adults, often and Saitama Arts Theater (Japan), and ARJA RAATIKAINEN & CO. AS2WRISTS DANCE COMPANY Compañia Kaari & Roni Martin’s style is Tampere combining dance, theatre and circus. in commissions for companies such as Helsinki Helsinki contemporary, rooted in the rhythms Contact: Raatikko puts on over 300 performances NDT1, Batsheva, Lyon Opéra Ballet and Contact: Contact: and forms of flamenco. The work of this Anniina Kumpuniemi, managing director per year, with 2 to 4 premieres, 150 audi- the National Dance Company of Ko- Arja Raatikainen, choreographer, artistic Minna Tuovinen, choreographer international group of artists is charac- www.tanssiteatterimd.fi ence events and over 30,000 spectators. rea. New additions to our repertoire in director www.as2wrists.fi terised by a tight fusion of dance, music Established in 1997, Dance Theatre MD Genres: Dance theatre, performances 2017–2018! Several works available for www.arjaraatikainen-co.fi Their unique style blends Argentinian and strong visual elements. In 2012 they is the only existing unified dance thea- for young audiences touring, with and without live music. Arja Raatikainen (b. 1958) has produced tango with a contemporary vocabulary. won first prize in three categories in the tre in Finland and the only professional Genres: Contemporary dance, contem- an impressive and varied body of highly In recent years the company has toured prestigious Certamen de Coreografía de dance theatre in Tampere. MD performs DANCE THEATRE RIMPPAREMMI porary ballet, community dance, live praised choreographies since 1987. This extensively in South America, most Danza Española y Flamenco competition in Tampere and also tours in Finland and Rovaniemi music performance, dance films uncompromising artist’s path has em- notably in Argentina and Brazil. The with their work The Raven, and they abroad. Its broad repertoire features Contact: braced nuclear issues and movement company is diverse, working in dance have toured in 14 countries. everything from classic fairy tales for Matti Paloniemi, artistic director \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ in time and space, as well as treatment film, organising international develop- Genres: Contemporary flamenco, live children to contemporary dance pieces www.rimpparemmi.fi of completely new elements and the ment projects and teaching workshops music performance, dance theatre, for adults. Its Tampere Dance Current Finland’s northernmost professional search for a balance between disparate in dance and camerawork. dance films, young audiences contemporary dance festival is an an- dance theatre offers a unique mix of INDEPEN- elements. Genre: Contemporary dance nual event. Finnish folk dance and contemporary Genre: Contemporary dance DANCEBOX Genres: Contemporary dance, dance dance. They give about 120 performanc- BOOMTOWN DANCE Lakiala theatre, dance festival, performances es annually and have toured in more DENT DANCE Kotka Contact: Terhi Pinomäki-Lenick for children than 20 countries. Also a repertoire of Contact: Ulla Wirzenius, producer www.tanssiboxi.com first-class folk dance and music perfor- COMPANIES www.boomtowndance.fi DanceBox is an independent contem- DANCE THEATRE MINIMI mances. Boomtown Dance is a crucible of art- porary dance group from Tampere, Kuopio Genres: Dance theatre, folk dance, con- AHO & LUNDÉN COMPANY ists based in South-Eastern Finland who founded in 1998. It performs both in Contact: Jupe Pohjolainen, managing temporary dance, performances for Helsinki produce pieces on the stage and screen Finland and abroad. Performances for a director young audiences Contact: Emilia Aho and Katja Lundén, both in front of and behind the camera. wide range of audiences, young and old, www.minimi.fi artistic directors They also develop teaching units for use in theatres, at schools and on the streets Minimi performs both in Finland and GLIMS & GLOMS DANCE THEATRE www.aholunden.com in schools. Boomtown Dance runs an and at markets. abroad: on its home stage and on tour, Espoo Aho & Lundén Company is a unique annual residency, which has involved ac- Genres: Contemporary dance, in traditional stages and on the streets. Contact: combination of Nordic style, flamenco, tors in addition to the dancers. dance theatre Minimi wants to sustain and develop the Riitta Aittokallio, general manager diverse art forms and international art- Genres: Contemporary dance, dance mobility and availability of dance thea- www.glimsgloms.com ists. The series of works created for Aho theatre, dance film, applied dance DANCE COMPANY tre and create performances in which The Glims & Gloms dance company was & Lundén Company by world-renowned GRUPPEN FYRA (G4) dance and theatre merge into one. founded in 1999 by Simo Heiskanen and Spanish choreographers is a rare hom- Arja Tiili : Break the Fight – I Was Here. CARL KNIF COMPANY Helsinki Genres: Dance theatre, physical theatre, Tuomo Railo. G&G’s works are charac- age to Finnish flamenco. © Laura Oja. Helsinki Contact: Pia Liski street theatre terised by stylish and inventive visuals Genres: Contemporary flamenco, ARJA TIILI DANCE COMPANY Contact: Carl Knif, artistic director www.gruppenfyra.com and multi-layered themes. live music performance Helsinki www.carlknifcompany.fi Contemporary dance combined with Genres: Contemporary dance, Contact: Arja Tiili, choreographer, artis- Dancer and choreographer Carl Knif intelligent humour. Dance theatre and Marja © Dance
Ma dance theatre, performances ALPO AALTOKOSKI COMPANY tic director is truly a singular artist. His art does improvisation-based pieces performed tti
K Theater
orhola:
Rajala. for young audiences Helsinki www.arjatiili.fi not resemble anyone else’s. Through in places like parks, streets and trams. Contact: and www.breakthefight.com his pieces such as Hologram Walls or Touring 2016/17 with the pieces Reino
Raatikko. Hy TERO SAARINEN COMPANY [email protected] Choreographer Arja Tiili is known for Manuscript audiences have encountered and Aino, Shiranai-Hito, Great Expecta- s-hys-Hymylään. Helsinki www.aaltokoskicompany.fi breaking genre boundaries and has a the dreamlike, humorous qualities of tions by Sonya Lindfors and Drink the
Contact: Iiris Autio, managing director Alpo Aaltokoski Company has toured knack for revealing the most intimate, his works. The very personal Red was a new wine by Virpi Juntti. Johanna Rajamäki, head of international in nearly 30 countries worldwide. Ho- secret traits of the human spirit. Her huge success, as was his latest premiere, Genres: Contemporary dance,
sales listic visual insight is characteristic to works often depict our dark side: mad- Friends of Dymphna. dance theatre www.terosaarinen.com Aaltokoski’s artistic work. The chore- ness, violence, loneliness and greed Genre: Contemporary dance DANCE THEATER RAATIKKO Tero Saarinen’s works have capti- ographer’s aspiration is to understand – but always with a palpable sense of Vantaa vated audiences and critics in nearly human beings and their personal rela- humour, as in her latest work Break the THE COMPAÑÍA KAARI & RONI Contact: Marja Korhola, artistic director 40 countries, including at BAM & The tions as well as their relation to the Fight – I was here! (2015). MARTIN www.raatikko.fi Joyce (New York), Chaillot & Châtelet surrounding world, never forgetting the Genres: Contemporary dance, break- Helsinki Founded in 1972, Raatikko has its own (Paris), the South Bank Centre (London), comic side of things. dance, eclectic, hiphop, dance theatre, Contact: Kaari Martin, Artistic Director, venue in Vantaa and also performs on Movimentos Festival (Germany), New Genres: Contemporary dance, martial arts, visual arts, young audienc- & Nea Granlund, Executive Producer tour. Raatikko creats dance pieces for Zealand International Arts Festival, community dance es, community dance www.compania.fi P 4 2 FINNISH DANCE IN FOCUS 2016–2017 DIRECTORY OF FINNISH DANCE DIRECTORY OF FINNISH DANCE FINNISH DANCE IN FOCUS 2016–2017 P 43
DANCE COMPANY OFF/BALANCE or co-operating with unusual partners. outreach programmes. KATVE [BLIND SPOT] Genre: post-contemporary dance the human condition and society. They Jyväskylä Genres: Contemporary dance, Genres: Contemporary dance, multidis- Helsinki and performance work with a wide array of genres from Contact: Elina Häyrynen and Terhi new dance theatre, dance for ciplinary productions Contact: Heidi Masalin, contemporary dance to classical theatre. Kuokkanen, artistic directors young audiences [email protected] BALLET FINLAND www.offbalance.fi ISMO DANCE COMPANY www.katve.info Helsinki MIKKO KALLINEN & THE COMPANY Central Finland-based company with a EHKÄ-PRODUCTION Helsinki Katve [blind spot] is a contemporary Contact: Helsinki versatile repertoire and international Turku Contact: Ismo-Pekka Heikinheimo, dance collective producing fresh and Timo Korjus, [email protected] Contact: recognition. The company produces 1–3 Contact: [email protected] artistic director versatile danceworks for adults and www.balletfinland.com Mikko Kallinen, AD/choreographer premieres/co-productions per year with www.ehka.net www.ismodance.fi young audiences. Humanity, imagination An independent troupe of classically www.av-arkki.fi top choreographers and artists. Dance productions, collaborations, Choreographer Ismo-Pekka Heikinheimo and resilience are the core values of trained dancers and choreographers The Company is a production company Genres: Contemporary dance, residencies, the annual XS festival and blends art and performance with new Katve [blind spot], led by choreogra- seeking new forms of classical and con- of artists from various disciplines. New new dance more. Ehkä hosts the contemporary art concepts and artistic methods. His so- phers Heidi Masalin and Virva Talonen. temporary ballet, tradition and thinking. creations are mainly video dance/ani- space Kutomo, which consists of two cial agenda touches on body politics Genres: Contemporary dance, site-spe- The company was founded in 2009 and mation and interactive choreographic DANCE THEATRE AURACO beautiful studios. Founded in 2004. and the aesthetics of movement. His cific work, young audiences since then has been performing success- works. Jarkko Helsinki Genres: New dance, contemporary work is multidisciplinary, interactive and © Kinetic fully in different venues and theatres in Genres: Contemporary dance,
Contact: Päivi Aura, artistic director dance, performance/live art, adult and transformative, exploring the spectrum Aino Finland. Artistic director: Ville Valkonen. audiovisual
Mandelin:
Huo www.auraco.fi young audiences of visual culture. For him, dance is a way Orchestra. Touring dance company producing 1–3 to perceive, to describe and to be within vio. MALVINIEMI COMPANY NIINA AIRAKSINEN DANCE
Rohk
premieres per year. Auraco produces the world. Vaasa PRODUCTIONS (NADP) performances for all ages and has many Genres: Contemporary Dance, eat. Contact: Mia Malviniemi, artistic Turku years’ experience working with and for Artwork-specific choreography director and choreographer Contact: Niina Airaksinen, babies and toddlers under age 3. Audi- www.malviniemi.fi choreographer|photographer|filmmaker ence development and community JENNI KIVELÄ & KIND PEOPLE Choreographer Mia Malviniemi has nadp.fi dance projects are an essential part of Helsinki created contemporary dance works Niina Airaksinen Dance Productions Auraco’s work. Contact: Jenni Kivelä, choreographer KINETIC ORCHESTRA since 1996, and her company, based on (NADP) combines art and science in Genres: Dance theatre, young audiences www.jennikivela.com Helsinki Finland’s west coast, was established international productions. NADP fo- Creating dance performances since Contact: in 2011. The company produces mainly cuses on historical and cultural themes DANCE THEATRE KAIE Flow Productions: Pessi ja Illusia. © Pekka Mäkinen. 2002 that combine features from dance Jarkko Mandelin, artistic director stage works but there are also site- through contemporary art, lecture se- Kerava FLOW PRODUCTIONS and theatre and move between the con- www.kineticorchestra.fi specific performances in repertoire. ries and dining. At the core of its stage Contact: Anne Jouhtinen Oulu ceptual and the concrete. Jenni Kivelä In just a short time, this group has cre- Malviniemi often brings together live works are a wide dynamic movement www.cra-company.com Contact: has a strong and recognisable style. Re- ated a strong and recognisable style to music and contemporary dance in her range, a close synthesis of movement Multi-artistic productions for adult and Pirjo Yli-Maunula, choreographer cently she worked with a piece based on become one of the most interesting works. and light, and a holistic aesthetic visual- young audiences. Traditional stages as www.flowprod.fi the document Grey Gardens. Finnish contemporary dance companies. Genre: Contemporary dance ity. well as streets, market squares, parks, This company produces the work of Genre: contemporary dance The movement-based content and phi- Genre: Contemporary dance shop windows and kindergartens function artist professor, choreographer Pirjo losophy of their works bring together as performance spaces. The Finno-Ugrian Yli-Maunula. She creates visually rich K&C KEKÄLÄINEN & COMPANY dance techniques, street dance attitudes NOM KOLLEKTIV roots inspire with their mysticism. multidisciplinary productions on stage Helsinki and circus-like agility. Helsinki Genres: Contemporary dance, dance and also exciting immersive site-specific Contact: Genre: Contemporary dance Contact: Jaakko Nieminen, artistic theatre, multi-artistic performances pieces. Lilja Lehmuskallio, managing director director Genres: Contemporary dance, multi- www.kekalainencompany.net LIISA PENTTI +CO www.nomkollektiv.fi DANCETHEATRE LIIKERI disciplinary productions, site specific The mission of K&C is to promote Helsinki The company collaborates on diverse Tampere pieces, immersive work dance as an intellectual art form with Contact: Liisa Pentti, choreographer projects such as group pieces and solos, Contact: Linda Kuha, choreographer strong potential in political and poetic www.liisapentti.com installations and films. The company’s Mamia Company. Nina Mamia & työryhmä: www.tanssiteatteriliikeri.com FREECOLLECTIVE communication of gender. Choreogra- Liisa Pentti + Co’s work is based on the The dark triad. © Jenni Kokkomäki. creations are described as fresh, new Liikeri is a young contemporary dance Tampere pher-dancer Sanna Kekäläinen’s work continuously evolving process of asking and personal. The relationship with collective producing 2–3 new crea- Contact: [email protected] expands the experience of a dance new questions in contemporary society. MAMIA COMPANY ourselves, our bodies, the other and our tions per year. They perform both on vapaakollektiivi.blogspot.fi performance by combining philosophy, The company performs and tours in Vantaa time are elements that run through the traditional stages and in public spaces FREEcollective // VAPAAkollektiivi feminism, text and conceptual thinking Finland and abroad. It organises training Contact: Nina Mamia, choreographer works. The press reviews of their works like galleries and parks. Interaction be- operates by inviting guest artists to col- with highly original movement language. for professionals and non-professionals, www.mamiacompany.fi have been positive. tween the dancers and audience is a key laborate. Creating diverse performances Genre: Contemporary dance and curates and organises events with Mamia Company is a contemporary Genres: Contemporary dance, concept for this company, sometimes for the stage and other public venues; themes related to the performing arts dance theatre. The Company’s perfor- new dance involving spectators in devising pieces touring, hosting masterclasses, audience and their future. mances deal with contemporary topics, P 44 FINNISH DANCE IN FOCUS 2016–2017 DIRECTORY OF FINNISH DANCE DIRECTORY OF FINNISH DANCE FINNISH DANCE IN FOCUS 2016–2017 P 45
PETRI KEKONI COMPANY SUSANNA LEINONEN THE TEMPEST GROUP/ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ international networks and works with Helsinki COMPANY (SLC) MYRSKYRYHMÄ international partners in production, Contact: Petri Kekoni, choreographer, Helsinki Helsinki teacher and artist exchange, and touring. & Maria Junno, producer Contact: Contact: Mervi Leivo, producer PRODUCTION \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ www.kekonico.fi Katri Kekäläinen, managing director www.myrskyryhma.fi Kekoni’s works are known for their ab- www.susannaleinonen.com Founded in 2002. Their work is based on stract yet robust movement language Susanna Leinonen is one of the most the urge to take dance to people in the CENTRES and strong visual and spatial thinking. internationally acclaimed Finnish cho- midst of their natural environment – in REGIONAL The company is a collective of about 20 Routa Company. Kirsi Törmi & Jyrki Rytilä: POST. reographers. Her works comprise a places where dance performances are BARKER-THEATRE, A STAGE FOR artists, dancers, composers and design- © Maria Tolonen. series of intriguing and fascinating cho- not a familiar sight. INDEPENDENT ART ROUTA COMPANY CENTRES ers. In its repertoire: The Stop – Dark reographies at the forefront of Finnish Genres: Performances and workshops Turku Matter of Art (2016), Non-Linear (2014), Kajaani contemporary dance. The company has for senior citizens, contemporary dance, Contact: Miniatures – Humans in small scale Contact: toured in over 20 countries in several dance theatre, dance film Nina Renvall FOR DANCE (2013), Theses of the Deed (2011), Green Kira Riikonen, artistic director, major festivals and venues such as Ju- www.barkerteatteri.fi Armchair (2010). choreographer lidans, The Place and Dance Biennale Barker-theatre is a production house PIRKANMAA REGIONAL DANCE Mat to Tsuumi
Genre: Contemporary dance www.routacompany.fi Tokyo. Available for touring with several star founded in 1997. It hosts various dance CENTRE ti
P dom.
aloniemi: Founded 13 years ago, Routa (Finnish for works for 1–7 dancers. Dance productions, provides rehearsal space Tampere
PORI DANCE COMPANY ‘permafrost’) is an open-minded con- Genre: Contemporary dance © and offers also possibilities for work-in- Contact: Piia Kulin, managing director
Mikk Theatre.
Pori temporary dance production company. Kak progress performances and workshops. www.sisasuomentanssi.fi/english/ o
e Mäntyniemi.
Contact: It produces unique, strong and content- SIVUUN ENSEMBLE Barker also hosts a summer residence for An association for dance professionals. –
Mikko Lampinen or Riku Lehtopolku rich dance performances that arise from Helsinki On dance artists (applications in January– Encourages co-operation, organises vari- www.poridancecompany.com local and global issues. Routa belongs to Contact: Ninni Perko, artistic director the February). ous events, training classes, workshops,
w Pori Dance Company aims to promote the Regional Dance Centre of Northern and choreographer ay meetings for professionals, seminars. humane values and increase tolerance Finland and employs both dance artists www.sivuun.net JOJO – OULU DANCE CENTRE The centre also runs the Liikelaituri ven- through dance. It emphasises a message and audiovisual artists. Sivuun Ensemble, founded by Ninni TSUUMI DANCE THEATRE Oulu ue in Tampere. of physicality as a means of exploring Genres: Contemporary dance, Perko, is a multidisciplinary collective. Helsinki Contact: the imagination. Most of the company’s dance theatre and applied dance The Ensemble’s performances are in- Contact: Helena Lindqvist, managing director CENTRAL FINLAND REGIONAL repertoire is contemporary, and the tense conversations between different Salla Korja-Paloniemi, managing director www.jojo.fi DANCE CENTRE company also has a strong history in jazz SAINE ENSEMBLE art forms. Motion, music, image and text www.tsuumi.com JoJo – Oulu Dance Centre is a dance Jyväskylä dance. They have toured in Africa, South Raseborg entwine into a collage of entities, open- Tsuumi Dance Theatre produces 2–3 production house in Northern Finland. Contact: Korea, Germany, Russia, North America, Contact: ing seminal interpretations to current new performances per year and has a JoJo runs an annual international Mari Hautala, managing director France, and many more countries. Annatuuli Saine, artistic director issues, significant for individuals and large repertoire to tour with. Tsuumi OuDance Festival in September and a tanssinkeskus.fi Genres: Contemporary dance, www.saineensemble.fi communities alike. finds its strength from exploring folklore year-round dance programme consisting Regional centre for dance in Central Fin- dance theatre, performance/live art Produces 2–4 creations and concepts Genres: Dance theatre, multidisciplinary and creating new artistic ways to bring it of its own productions and guest land. Promotes dance and creates work per year in collaboration with artists productions, community dance on stage. Tsuumi’s performers are known performances. JoJo also hosts an Artists’ opportunities for professionals. Organ- RASA COLLECTIVE from different art genres. Works are for their skills in contemporary dance, Residency with an active international ises the Tanssin Aika festival in August. Northern Finland (Tornio/ Rovaniemi) multidisciplinary including dance, music, TAIKABOX folkdance, singing and physical theatre. exchange programme. JoJo is one of Contact: Titta Court or Marjo Selin visual arts and dance shortfilms. Oulu Genres: Dance theatre, folk dance, live the four organisations that form the REGIONAL CENTRE FOR DANCE IN www.pistery.org/tanssiesitykset Genres: Contemporary dance, con- Contact: Tanja Råman, artistic director music performance, contemporary dance Regional Dance Centre of Northern EASTERN FINLAND / ITAK An independent dance collective run temporary flamenco, site-specific www.taikabox.com Finland. Kuopio by dance artists Titta Court and Marjo performance, audiovisual art and multi- TaikaBox creates new ways to experi- WILLMAN DANCE COMPANY Contact: Selin inside the cross-art collective disciplinary productions. ence dance using innovative digital Helsinki ZODIAK – CENTER FOR NEW DANCE Eeva Eloranta, executive producer PISTE, focusing in making art in rela- techniques to enhance our perception Contact: Helsinki www.itak.fi tion to their community. Rasa produces SATU TUOMISTO +COMP of the moving body. TaikaBox is based Marjaterttu Willman, artistic director Contact: Promotes dance, creates work opportu- ambitious and original dance works Helsinki in Northern Finland and Wales and sup- www.willmandancecompany.fi Harri Kuorelahti, artistic director nities for professionals, offers training, especially in Northern Finland and the Contact: Satu Tuomisto, choreographer ports artistic exchange between the two Willman Dance Company brings togeth- www.zodiak.fi and supports dance production in East- whole Barents Region. The aim of Rasa www.satutuomisto.com countries. er artists who share a passion for dance Zodiak – Center for New Dance is a ern Finland. Organises the Paikallisliike is to take dance outside traditional Sweaty physicality, explicit emotions Genres: Contemporary dance, dance/ and stage art. The goal of the company progressive dance organisation and the festival in June and the Lonely in the dance venues. and experimental choreographic chal- technology is to create original contemporary dance main venue for freelance contemporary Rain? festival in November. ITAK also lenges. and dance theatre pieces that focus on dance in Finland. Zodiak co-produces manages the Sotku venue in Kuopio. Genres: Contemporary dance, the central questions of humanity. and hosts 15–20 new dance productions dance theatre Genre: Contemporary dance each year. Zodiak is a member of several P 46 FINNISH DANCE IN FOCUS 2016–2017 DIRECTORY OF FINNISH DANCE DIRECTORY OF FINNISH DANCE FINNISH DANCE IN FOCUS 2016–2017 P 47
REGIONAL CENTRE FOR DANCE IN \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ Dance Company at Pori Theatre along KAKTUS DANCE FESTIVAL LONELY IN THE RAIN? SIDE STEP FESTIVAL NORTHERN FINLAND with other venues. Helsinki Joensuu Helsinki This regional centre is formed of four Contact: Pia Liski, managing director Contact: Contact: Harri Kuorelahti, artistic director companies & producers in the area: FACTORY FESTIVAL MANIFESTI www.kaktustanssifestarit.fi Eeva Eloranta, executive producer www.zodiak.fi www.jojo.fi, www.routacompany.fi, FESTIVALS Turku Kaktus dance festival is held every sec- www.itak.fi Contemporary dance, cutting-edge www.rimpparemmi.fi, www.fullmoon- Contact: Katja Lehmussaari, producer ond year by Dance Company Gruppen Festival for contemporary dance, per- international performances, lectures, dance.fi & programme director Fyra. In June. formance art and improvisation in artist dialogues and workshops. Organ- AND EVENTS www.manillantehdas.fi November. ized by Zodiak – Center for New Dance. REGIONAL CENTRE FOR DANCE IN Annual festival with wide-ranging pro- KAUSTINEN FOLK MUSIC FESTIVAL In February. OSTROBOTHNIA ANTI – CONTEMPORARY gramme from contemporary dance and Kaustinen MOVING IN NOVEMBER Vaasa ART FESTIVAL new circus to exhibitions. In September. Contact: [email protected] Helsinki TAMPERE DANCE CURRENT Contact: Annika Sillander, manager Kuopio www.kaustinen.net Contact: Ari Tenhula & Mikael Aaltonen, Tampere www.pohjanmaantanssi.fi Contact: FULL MOON DANCE FESTIVAL The largest folk music event in the Nor- artistic directors Contact: Anniina Kumpuniemi The aim of the centre is to devel- Johanna Tuukkanen, artistic director Pyhäjärvi dic countries – all the folk music and www.movinginnovember.fi www.tanssivirtaa.net op the dance sector in the region by www.antifestival.com Contact: dance you can handle in a week! In July. International contemporary dance fes- Festival of contemporary Finnish dance creating job opportunities for profes- International contemporary arts festival [email protected] tival in the Helsinki capital region. In held annually in May. sional artists; making dance accessible; presenting site-specific works made for www.fullmoondance.fi KOKKOLAN TALVITANSSIT / WINTER November. developing a greater awareness and public spaces. In autumn and various Contemporary dance from Finland and DANCE IN KOKKOLA TAMPERE FLAMENCO FESTIVAL understanding of the art form; support- other dates. abroad; courses and discussions. In July. Kokkola OUDANCE FESTIVAL Contact: [email protected] ing artists and maintaining and building Contact: Anne Peippo, producer Oulu www.tampereflamenco.com networks between artists, art forms, cul- APINAFEST! HELSINKI FESTIVAL www.kokkolantalvitanssit.fi Contact: Jarkko Lehmus, artistic director International flamenco festival present- tural institutions and local councils on "the second cousin of all festivals" Helsinki A four-day event, full of contemporary www.jojo.fi/festival/ ing high-quality artists and shows. Also a both a regional and a Nordic level. Helsinki Contact: Laura Gottleben, press officer dance and dance theatre. In February. International and local performances wide range of workshops. In July. Contact: Jarkko Mandelin www.helsinkifestival.fi in Northern Finland from all genres of WESTERN FINLAND REGIONAL http://apinafest.apinatarha.fi The largest arts festival in Finland, fea- KUOPIO DANCE FESTIVAL dance with a contemporary twist. In TAMPERE THEATRE FESTIVAL DANCE CENTRE Contemporary dance festival; perfor- turing classical and world music, dance, Kuopio September. Tampere Turku mances, clubs and panels. In April. theatre and urban events. In August. Contact: Contact: Contact: Anna Pitkänen, Festival Director PAIKALLISLIIKE Eevamaija Miettinen-Kopsa, PR manager Contact: Riikka Campomanes, producer BALTIC CIRCLE FESTIVAL HELSINKI FLAMENCO FESTIVAL www.kuopiodancefestival.fi Kuopio www.teatterikesa.fi www.l-tanssi.fi Helsinki Helsinki The largest annual dance festival in the Contact: Asta Elijoki, producer The programme of Finland’s main in- The Western Finland Regional Dance Contact: Hanna Nyman, managing director Contact: Helsinki Flamenco Association Nordic countries. The programme rang- www.itak.fi ternational theatre festival includes Centre covers Southwest Finland and www.balticcircle.fi [email protected] es from contemporary dance to classical Platform presenting new productions by new drama, modernised classics, dance the province of Satakunta. The centre International contemporary theatre fes- The festival brings outstanding flamenco ballet, folklore, workshops and a varied local dance artists. In June. theatre, contemporary circus and street aims to develop collaboration be- tival & a platform for developing new artists from Spain to Helsinki every year. fringe programme. In June. theatre. In August. tween various agents in the dance field trends and ideas. In November. A week full of courses, performances PISPALA SCHOTTISCHE DANCE and gain more public recognition for and fiestas. In February. LAPPEENRANTA INTERNATIONAL MANIA TIME OF DANCE contemporary dance. One of its main BRAVO! BALLET GALA Tampere Jyväskylä challenges is supporting freelance dance Helsinki HURRAA! Lappeenranta Contact: [email protected] Contact: Antti Lahti artists. Contact: [email protected] Helsinki Contact: Irma.Salomaa@nordicdance. www.sottiisi.net www.tanssinaika.fi www.lastenteatteri.fi Contact: [email protected] com or Juhani Teräsvuori, artistic New folk music and dance, concerts, Finnish contemporary dance. In Septem- ZODIAK – CENTER FOR NEW DANCE International theatre festival for chil- www.hurraa.org director performances, training. Every two years, ber, Central Finland. / REGIONAL DANCE CENTRE IN dren and young audiences held every A national festival of performing arts for www.lappeenranta.fi/balettigaala next in October 2017. HELSINKI second year in the Helsinki metropoli- children and young people. In March. A meeting place for Nordic dance and URB – URBAN ART FESTIVAL Helsinki tan area. In March. international stars. Contemporary works RUUTIA! INTERNATIONAL DANCE Helsinki Contact: Harri Kuorelahti, artistic JYVÄSKYLÄ FESTIVAL and classics. In June. FESTIVAL FOR CHILDREN AND Contact: Mikael Aaltonen, Kiasma director DANCE MONTH FESTIVAL Jyväskylä YOUNG AUDIENCES Theatre www.zodiak.fi Pori Contact: LOIKKA DANCE FILM FESTIVAL Helsinki www.urb.fi Zodiak – Center for New Dance func- Contact: Mari Lankinen, production manager Helsinki Contact: Kaisa Karkkonen, producer Urban dance and theatre, site-specific tions as a regional centre for dance in Mikko Lampinen, artistic director www.jyvaskylankesa.fi Contact: Kati Kallio, artistic director www.hurjaruuth.fi performances, visual arts. In August. Helsinki. www.poridancecompany.com City festival for different art forms: www.loikka.fi International dance performances for International dance festival held every concerts, non-verbal theatre, dance, a High quality international dance films, children and young audiences. In April. spring between March and April by Pori children’s programme. In July. lectures, workshops and events. In April. P 48 FINNISH DANCE IN FOCUS 2016–2017 FINNISH DANCE IN FOCUS 2016–2017
ANTI - CONTEMPORARY ART FESTIVAL PRESENTS ANTI Festival International Prize for Live Art
27.–2 9.10. | #ANTIFESTIVAL WWW.ANTIFESTIVAL.COM 2016 : MAJIKAL ARTEFACT : MAJIKAL ARTEFACT (AU)
Kuopio WILLOH S.WEILAND Finland
photo | laurent Philippe Launching the Creative Europe Tero Saarinen company project Future DiverCities
www.fullmoondance.fi FINNISH DANCE IN FOCUS 2016–2017 The Theatre Academy of the University of the Arts Helsinki biennially offers two MA degrees with an orientation towards either dance or choreography. These residential programmes are open to international applicants with sufficient skills in the English language and a previous BA degree. The deadline for applications will be in the beginning of 2017, and entrance examinations will take place in May that year.
Orientation towards artistic research, integration of practice and theory, networking and collaboration on multiple levels as well as an open approach to both choreography and performance enable students to orientate themselves toward the field of contemporary arts. Resident staff and national as well as international guest teachers jointly provide the teaching. Mobility between the university’s different academies opens up new possibilities for the students, who also benefit from the collaboration between these two programmes.
The MA programmes provide possibilities for doctoral studies, e.g. at the Performing Arts Research Centre, TUTKE, which is responsible for all research and post-graduate studies at the Theatre Academy.
This pioneering education dating back to 1983 has had a crucial impact on the Finnish dance scene over the last three decades. New BA students are admitted every second year. The BA programme, however, is so far open only to students who are fluent in Finnish.
Foto: Cristopher Senn Foto: More information on student selections will be available at www.uniarts.fi/en/studies/
More details on the programmes and faculties at www.uniarts.fi
NEW-NEW-NEW-NEW-NEW
WWW. DANCEINFO. FI keeps you updated of current news, events, and tours of Finnish dance companies. Check also the information bank about dance in Finland. NORDIC DANCE PLATFORM COPENHAGEN · DENMARK · 30 NOV– 4 DEC 2016
Five ICE HOT days with live performances, offstage presentations, seminar program, discussions and meetings with artists and other international dance professionals.
Enjoy diverse high quality dance from all five Nordic countries.
Dive into the program and register now! icehotnordicdance.com