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Directory of Finnish Dance P 2 FINNISH DANCE IN FOCUS 2015–2016 EDITORIAL CONTENTS FINNISH DANCE IN FOCUS 2015–2016 P 3 Sakari Marko Viika 09 20–26 Mäkinen COMBINE, STIR, MIX AND SHARE FINNISH DANCE IN FOCUS 2015–2016 VOLUME SIXTEEN – \ Tero Saarinen brings Sibelius' Kullervo Publisher: Dance Info Finland symphony on stage at the National Opera. Tallberginkatu 1 C/93, 00180 Helsinki THE RECIPE FOR SUSTAINABLE Tel. +358 (0)9 6121 812 [email protected] www.danceinfo.fi DEVELOPMENT IN DANCE Marko Editor-in-chief: Sanna Rekola \ Mäkinen [email protected] Valtteri Raekallio's piece Editor: Sanna Kangasluoma Sustainable development in the dance field has been an important talking point and breaks down the wall between [email protected] 16–19 audience and performers. guiding principle for Dance Info Finland in recent years. To our delight, we noticed Editorial board: Hannele Jyrkkä, Sanna Kan­ that colleagues, policymakers and artists immediately recognised the importance gasluoma, Pirjetta Mulari, Sanna Rekola of this concept. Writers: Tove Djupsjöbacka, Hannele Jyrkkä, Dance is a mode of expression for the future because it is so diverse. Taneli Törmä, Jenny Jägerhorn, Sanna Kangasluoma, Elina one of the ‘New Faces’ in this issue, describes how dance can be presented as a sporting Manninen, Raisa Rauhamaa, Inka Reijonen, achievement, a magical experience, an investigation, an attempt at communication… Sanna Rekola Dance as an artistic genre takes an open-minded, respectful approach to interdis- English translation: David McDuff, Lola Rog­ ciplinarity, collective activity, coexistence with other genres, new combinations and ers, Tomi Snellman, Ruth Urbom repurposing. This magazine contains plenty of examples of all of these. Audiences are \ even encouraged to get up from their seats and take part in the show – to experience Choreographer Alpo Aaltokoski returns to Graphic design & layout: Inka Kosonen the performance more directly and physically than ever before, as in the wandering his roots in Finnish social dance culture. groups of audience members in Valtteri Raekallio’s piece, Edustaja (‘The Representa- Photographers: Joonas Antikainen, Victor Eng­ tive’) (p. 20) or the waltzing spectators in Alpo Aaltokoski’s work (p. 16). ström, Nina Haukkovaara, Harri Hinkka, Matti EDITORIAL PHENOMENA Häyrynen, Jonas Lundqvist, Marko Mäkinen, Sustainable development also means the dance ecosystem needs to be strengthened Yoshi Omori, Valtteri Raekallio, Nanna Saar­ to make the field more able to withstand a variety of threats and thrive as competi- 02 Combine, stir, mix and share \ Sanna Kangasluoma 16 Contemporary dance bows to social dancing helo, Ia Samoil, Uupi Tirronen, Ilpo Vainionpää, tion gets tougher. International collaboration and skills exchanges are the best ways – Alpo Aaltokoski \ Tove Djupsjöbacka Sakari Viika, Timo Wright, Pirjo Yli­Maunula to utilise and share resources. Combining things makes the field stronger and more NEWS 20 Immersing the viewer in poetry and dance diverse – and generates progress, in artistic as well as structural terms. 04 Kill Carmen – inspired by Kaurismäki and Tarantino – Valtteri Raekallio \ Hannele Jyrkkä ON THE COVER: The Earth Song Influences and exchange are indispensable ingredients for progress, but at the 05 I am Katri Soini and I am 50 years old 27 Performance piece picks viewers up in cars \ Hannele Jyrkkä Choreographer: Sari Palmgren same time it’s important to be brave enough to hold on to your own artistic vision 06 Finnish training portal takes 30 Dancing into a world of magic – Jyrki Karttunen Dancers: Jukka Tarvainen, Lotta Suomi and keep your main objective clear. Sometimes it’s easier to work at a slight distance street dance all over the world \ Raisa Rauhamaa Cover photography: Uupi Tirronen from the main current. 07 See and obey? “Finnish dancers laugh a lot,” remarked Lucy Guerin, an Australian choreographer 08 Crossing borders via Russian BUILDING BRIDGES Printed by: Wellprint who appreciates Finns’ desire to experiment (p. 28). Remembering to laugh makes it and Finnish contemporary dance 28 Melbourne and Eastern Finland find a common language With Gratitude: The Ministry of Education Happy birthday Sibelius! \ Sanna Kangasluoma and Culture in Finland easier to try out some pretty crazy experiments. Or how about a Finnish contemporary 09 drive-in dance piece (p. 27), where rural youth who like to ‘pimp their rides’ can follow Finnish Dance in Focus is the performance while sitting in the cars? IDEAS CHOREOGRAPHER IN FOCUS published once a year. 10 From growth to compost – Sari Palmgren 34 Pain points that become turning points – Carl Knif Sanna Kangasluoma \ Elina Manninen \ Jenny Jägerhorn ISSN­1795­9837 Editor 11 Sustainability and dance \ Sanna Rekola 38–48 Directory of Finnish Dance NEW FACES DANCE FINLAND APPLICATION 12 Johanna Nuutinen: Multidimensional worlds Tanssin Tiedotuskeskus FOR TABLETS DOWNLOAD FREE Ima Iduozee: Touching the collective consciousness Dance Info Finland FROM 13 14 Taneli Törmä: Mastering space and the moment Dance Info Finland is an expert organisation whose mission is to promote Finnish dance art in Finland and abroad. It is also 15 Maija Mustonen: A sure path to euphoria an information office publishing statistics and maintaining a database on Finnish dance. Read more: www.danceinfo.fi. \ Elina Manninen P 4 FINNISH DANCE IN FOCUS 2015–2016 NEWS NEWS FINNISH DANCE IN FOCUS 2015–2016 P 5 KILL CARMEN – “I AM KATRI INSPIRED BY KAURISMÄKI SOINI AND AND TARANTINO I AM 50 PHOTO Joonas Antikainen YEARS OLD” PHOTO Uupi Tirronen THE FINNISH CONTEMPORARY flamenco ensem­ Merimée’s original novella Carmen. Mer­ DANCER KATRI SOINI and choreographer Arja The solo piece, entitled Startplay, Another piece choreographed by Arja ble Compañía Kaari and Roni Martin’s KILL imée’s way of observing Spanish customs \ Raatikainen have a lot in common. Both explores the line between performing Raatikainen will also premiere this autumn. Carmen make a delicious cocktail: the stage and culture as an outsider also intrigued KILL Carmen of them are among the first dance artists and being, the difference between action She is putting the finishing touches on her piece blends flamenco, funk and Balkan them. Artistic directors Kaari and Roni Martin trained to degree level in Finland, and they and the absence of action, meaning and own solo piece with sound artist Antti music with pop culture and top artists from “Up here in the Nordic countries, we Choreography Mariana Collado, Kaari have collaborated on ten dance works meaninglessness. Every so often in the Nykyri. The movement and installation many genres. don’t need to be weighed down by tradition Martin, Carlos Chamorro over a period of thirty years. Now Katri performance, Katri Soini breaks out of char­ piece Graindance is a dialogue between “This piece draws on everything from in our interpretation of Spanish flamenco. Music Roni Martin Soini has commissioned Arja Raatikainen acter, makes eye contact with the audience a dancer and a ‘sound box’ that produces legendary Finnish author Pentti Saarikoski’s From our vantage point as outsiders, we Dramaturgy Atro Kahiluoto to choreograph a solo piece to mark her and says, “I am Katri, and I am 50 years old.” sounds from the dancer’s movements on poetry to Paul Simon’s world music albums, can even give a cheeky take on Spanish www.compania.fi fiftieth birthday in September. Katri Soini is an expressive dancer who top of a box filled with gravel. SK and from Tarantino to South Park. The ways – through the medium of flamenco,” In this new piece, they are united by packs as much ‘oomph’ as a small power Spanish performers have also learned about laughs Martin. deep bodily listening, a strong presence in station. The choreographer’s task is to har­ \ the world of Kaurismäki’s films and how to KILL Carmen premiere was on 28 August which the senses are wide open. Arja Raati­ ness that energy and guide the dancer to Startplay. Premiere 17 September 2015 at not do anything,” explains choreographer 2015 during the Helsinki Festival. IR kainen calls her method ‘embryonising’: it’s tune her body to the frequencies required KokoTeatteri, Helsinki Kaari Martin. about awakening the initial movement and for different shades of meaning. “That grey Graindance. Performances 23 Nov – 2 Dec The internationally famed Finnish fla­ seeing where it leads. In rehearsals, Katri’s area is important. Black and white are too 2015 at Kaapelitehdas, Helsinki menco ensemble became fascinated by physical and verbal improvisation leads to easy – the extremes aren’t interesting in www.arjaraatikainen-co.fi the brutality of French author Prosper further associations and chains of events. themselves,” Arja Raatikainen says. P 6 FINNISH DANCE IN FOCUS 2015–2016 NEWS NEWS FINNISH DANCE IN FOCUS 2015–2016 P 7 SEE The figures behind the dojo are Jussi Sirviö and Anniina Tikka, Finland’s inter­ FINNISH BREAKDANCERS’ nationally recognised b­girl. AND “Breaking is a male­dominated genre. TRAINING PORTAL TAKES But anyone can do it, regardless of age or gender. Anniina does a lot to encourage OBEY? PHOTO Jonas Lundqvist girls to get involved,” Sirviö emphasised. STREET DANCE ALL OVER The dojo is setting its sights on the international market. The website is cur­ THE SUSANNA LEINONEN Company is known what I see around me, it feels natural to commented in one rehearsal. rently available in Finnish, English, Spanish, for its visually ambitious works that display combine different art forms,” Susanna The piece, performed by three dancers, THE WORLD Chinese and Japanese – with Russian, Arabic a mastery of strong personal movement Leinonen explains. will tour Sweden with Kenneth Kvarn- PHOTO Victor Engström and French versions in the works. language. In her work, Leinonen examines the ström’s dance company in March 2016. SK “The web enables us to communicate Now Leinonen is working on a new difficulty of communication, the swift pas­ “BREAKING HAS TAKEN me all over the world world’s first online portal for teaching the entire history of breaking, and hip­hop piece whose world consists of an encounter sage of time and the use of power.
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