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2019–2020 P 2 FINNISH DANCE IN FOCUS 2019–2020 EDITORIAL FINNISH DANCE IN FOCUS 2019–2020 VOLUME TWENTY-ONE DANCE CHANGES THE WORLD, Publisher: Dance Info Finland Tallberginkatu 1 C/93, 00180 Helsinki AND CHANGES PEOPLE Tel. +358 (0)9 6121 812 [email protected] www.danceinfo.fi Editor-in-chief: Sanna Rekola “I believe in dance as an archetype of empathy and connectedness, something we [email protected] need to see and experience in times of social and political extremism,” Pia Krämer Editor: Sanna Kangasluoma says in this issue. She has been chosen for the future Dance House programming [email protected] team, which you can read more about on page 8. Editorial board: Riitta Aittokallio, Sanna The physicality of dance, its bodily expression, isn’t separate from a person’s mental Kanga sluoma, Anni Leino, Sanna Rekola state and emotions, or from our political or social environment. Dance professionals Thank you for your valuable input: Raisa know this intuitively, but there is now an attempt to find scientific evidence for it as well. Rauha maa & Pirjo Yli-Maunula Neuroscience research has shown that people’s brains become tuned to each other’s frequency when they watch a dance performance. It is thought that this may Writers: Tove Djupsjöbacka, Sanna Kan- increase empathy in a broader sense and improve people’s ability to cooperate – just gasluoma, Aino Kukkonen, Harri Kuusisaari, the things the world needs more of! Tiia Lappalainen, Anni Leino, Teemu Mäki, Kati Also in this issue, artists who work in inclusive dance tell us what is meant by Raatikainen, Raisa Rauhamaa everyone’s cultural right to art – including dance. At the individual level people are English translation: Claire Dickenson, Fleur empowered when they have an opportunity to be equal members of society regardless Jeremiah, Lola Rogers of their age, abilities, or other variables – to experience dance, to express themselves, and to create something meaningful through dance if they wish – to become visible. Graphic design & layout: Inka Kosonen As artist and writer Teemu Mäki says in this issue, “The physical, sensory medium of dance can be extremely powerful. It can cause such great internal upheaval that Photographers: Mika Ailasmäki, Nico our minds, our existence, and our behavior is changed.” Backström, Meri Björn, Stefan Bremer, Tiago Or put another way: The purpose of art is not to entertain elites, but to change Coelho, John Collingswood, Ian Douglas, the world. Minna Hatinen, Harri Hinkka, Elli Isokoski, Mirka Kleemola, Kai Kuusisto, Sami Kulju, Kim Helsinki, August 2019 Laine, Janne Lehtinen, Janne-Pekka Manninen, Sanna Kangasluoma Dmitrij Matvejev, Pirje Mykkänen, Marko Mäki- Editor nen, Kristiina Männikkö, Katri Naukkarinen, Ulla Nikula, Ben Rogers, Jenni Räikkönen, Pasi Räsämäki, Erno Soralipas, Uupi Tirronen, Jussi Virkkumaa DANCE INFO FINLAND acts as a gateway to Finnish dance art ON THE COVER: Ode to the Forest through international networks and by providing Choreographer: Hanna Brotherus information about dance in Finland. Our mission Cover photography: Janne Lehtinen, UPM is to support the development of Finnish dance, and to open new horizons and create professional Printed by: Suomen Uusiokuori Oy opportunities and connections for Finnish dance artists. We are part- With Gratitude: The Ministry of Education ners in collaboration projects and exchange programmes, and work and Culture in Finland closely with the Nordic dance sector and platforms. Finnish Dance in Focus is Founded in 1980, we are funded mainly by the Ministry of Culture and published once a year. Education in Finland. Read more on www.danceinfo.fi. ISSN-1795-9837 CONTENTS FINNISH DANCE IN FOCUS 2019–2020 P 3 © Dmitrij Matvejev 16–19 \ How should we watch contemporary dance, and how should we think about it? © Marko Mäkinen © Marko \ © Kai Kuusisto “First and foremost, I’m interested in 12–15 people.” 26–29 \ What is so attractive about Monteverdi? EDITORIAL POINT OF VIEW 02 Dance changes the world, and changes people / 16 What does lubricant have to do with social issues? Sanna Kangasluoma / Teemu Mäki NEWS IN THE SPOTLIGHT 04 Petri Kekoni: Space comes first, then movement / Tiia Lappalainen 06 Performing HEL – Connect with the Finnish 20 Mira Kautto: A shared space for imagination performing arts 21 Jenni-Elina von Bagh, an examiner of layeredness 06 New artistic director of Moving 22 Tanja Råman combines dance and technology in November festival 23 Iiro Näkki’s choreography is dictated by space 07 WAUHAUS’s Sapiens is about the history of the human race PERSPECTIVES 08 Three experts to plan the programme 24 Inclusion in creation for Dance House Helsinki 25 Kati Raatikainen: Challenging the image of a dancer 09 Research shines a light on the impacts 26 Hanna Brotherus: Dances for ordinary people dance has on the brain / Raisa Rauhamaa 10 Stretch 2019 Turku & Stretch 2020 Gothenburg 30 Elli Isokoski: Dance films about human encounters 11 Change of generation boosts the street cred – / Anni Leino Dance Theatre Minimi CHOREOGRAPHER IN FOCUS PHENOMENON 32 Kaari Martin: Flamenco is just one of my many tools 12 Monteverdi’s invitation to dance / Harri Kuusisaari / Tove Djupsjöbacka 36–47 Directory of Finnish Dance P 4 FINNISH DANCE IN FOCUS 2019–2020 NEWS SPACE COMES FIRST, THEN MOVEMENT TEXT Aino Kukkonen PHOTO Erno Soralipas WHEN CHOREOGRAPHER Petri Kekoni embarks on a new work, he initially views it from a distance. “At first, I see the stage from the out- side. Movement follows at the next plunge, but these two worlds aren’t separate but closely connected.” He shows drawings for his forthcoming work from a sketch book and says that he often designs the sets himself. When he was twenty, fine arts and architecture were possible career choices but dance won. Kekoni says that he’s still dedicated to dance and still capable of being intoxicated by movement. “I prepare a lot in advance for the danc- ers, but not everything is pre-designed – I also improvise together with them. The situation is collective and rationality then NEWS FINNISH DANCE IN FOCUS 2019–2020 P 5 takes a backseat. The material springs from Erratic block is suited to different emerge,” says Weckman. the depths of subconsciousness. The cho- spaces and continues to be performed in She has consciously favoured recycling: reographer has the role of an intermediary; a new environment. Kekoni’s design won partly for budgetary reasons, partly as an it entails something that emerges from the environmental art competition of the artistic choice because costumes carry their underground or descends from heaven.” city of Helsinki. In the outdoor version, the history with them. For example, Kekoni’s The working process remains open for figure glides in from the sea on a ferry and work Storm-03 utilised costumes obtained a long time. According to Kekoni, you’ve the challenge is to provide a large sphere of from National Ballet. got to give a work the chance to become light at a height of ten metres. Kekoni smiles For Erratic block, they bought a large what it is. and compares it to a full moon in August. number of knitted garments in certain col- The next group work, 369˚, will have its ours from recycling centres. Pieces of the DANCERS ON TO A PEDESTAL premier in November and continues with items were sewn together while the old Erratic block (2018), a solo work reminiscent the concept of “a stage within a stage’, shapes remained recognisable. of an installation, was a kind of watershed something that has been present in Kekoni’s “It’s the biggest and heaviest costume because it relied heavily on improvisation. earlier works. I’ve ever designed. It was essential for the “The work incorporated the aesthet- “It will feature some kind of a boxing material to be elastic and to breathe, and ics of getting wrapped up and hiding. All ring, an altar or a construct by the Atzecs you also had to see through it. of a sudden, there was no need to fix the for five dancers. The audience will be able Contemporary dancers are open to movements with such precision, though to walk freely round it from all directions. experimentation and they have a close the themes were crystal clear. The costume The focus is in the middle; the aim is a relationship with their bodies and outfits. resembled a big, elastic train which I had shared, intensive vortex. They also appreciate their costumes. It’s wrapped round myself and which I had to Kekoni perceives his work as a con- always a brilliant moment when a dancer get out of. I wanted to commodify myself tinuum and wants to combat the disposable puts on his or her costume for the first on one hand and to humanise a commodity culture surrounding art. He has organised time,” says Weckman. on the other.” mini festivals at which earlier works can be Kekoni’s works often present technical seen again.“The Glimmer of Twilight (2005) \ challenges. For example, the slow lifting of is a work that I’d like to do now. It incor- Erratic block @ Performing HEL the gigantic costume was achieved by a porated texts written by Sjόn from Iceland Friday August 30, 2019. traditional theatrical technique: by means about the melting of icebergs. What would www.kekonico.fi of sandbags. Opening them was like watch- it look like now when climate change has ing an hourglass. become a shared concern?” IT’S A BRILLIANT MOMENT WHEN A DANCER PUTS ON HIS OR HER COS- TUME FOR THE FIRST TIME The Erratic block impresses with its statuesque and layered visual approach, which was born together with dance, one feeding the other. Kekoni and Joanna Weckman, a costume designer and researcher, have cooperated on six works so far.