P 2 FINNISH DANCE IN FOCUS 2015–2016 EDITORIAL CONTENTS FINNISH DANCE IN FOCUS 2015–2016 P 3 09 Viika Sakari 20–26 Marko 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 Mäkinen Editor-in-chief: Sanna Rekola \ [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 Yli-Maunula 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 ISSN-1795-9837 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 b-girl. AND “Breaking is a male-dominated 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 hip-hop piece whose world consists of an encounter sage of time and the use of power. Poet \ – to over 50 different countries – perform­ street dance, bboydojo.com. music and culture, even to developing between spoken text, physical movement Jukka Viikilä contributed the text, which SEE | OBEY ing, teaching and judging competitions,” The online dojo features information countries. We’ve had some great interest and an exciting soundscape. This work, will be heard in Finnish and English, recited Choreography: Susanna Leinonen explains top Finnish street dance pro Jussi and instructional videos for everyone from from places like India and Pakistan,” Sirviö entitled SEE | OBEY, will also encompass by three actors. Text: Jukka Viikilä Sirviö. “After a while I started to think beginners to pros. There is also an interac­ says. IR a free-standing dance film. Uniting text with dance was uncharted Music: Kasperi Laine about how I could reach all those people tive service where users can get real-time “A new work is always a commentary territory for Susanna Leinonen. “It makes Premiere: 14 November 2015 at Stoa, more quickly.” feedback and test their skills against the \ on the world in some way – and when I me excited – in a nice way – to use Helsinki That idea formed the origin of the instructors in a b-boy battle simulator. www.bboydojo.com try to present my own interpretation of comprehensible ‘narrative’ speech,” she www.susannaleinonen.com P 8 FINNISH DANCE IN FOCUS 2015–2016 NEWS NEWS FINNISH DANCE IN FOCUS 2015–2016 P 9

dancers to masterclasses, WHS & SUNGSOO AHN: workshops, choreographers’ Swan of Tuonela. CROSSING visits, artists’ residencies HAPPY Nina Haukkovaara and large- and small-scale BORDERS VIA guest performances in both BIRTHDAY directions. There have been many open applications RUSSIAN AND for performances in both SIBELIUS! Russia and Finland. “We think that there is FINNISH a strong system of dance education in Finland and we will be happy to collaborate CONTEMPORARY with new colleagues in order to raise the level of DANCE our own school. Also the experience of organising cultural events in this province unites Kostroma with many Finnish towns,” THIS YEAR MARKS the 150th anniversary of the Meanwhile, the Finnish contemporary the directors of Dialogue birth of the Finnish composer Jean Sibelius. circus collective WHS and Korean Dance School & Company, The anniversary year has got Finnish artists choreographer Sungsoo Ahn are inventively Evgeny Kulagin and and creative practitioners fired up, and breaking boundaries between eras, artistic Ivan Estegneev, said in a dance artists have been particularly genres and cultures with their work entitled statement. inspired by the maestro’s works based on Swan of Tuonela. “In the current the Finnish Kalevala mythology. “Audiences haven’t heard contemporary geopolitical climate, I Kullervo, a Gesamtkunstwerk cre­ interpretations of Sibelius’ compositions think this sort of cultural ated by the Finnish National Opera and like these, and the ancient swan of Tuonela dialogue is important. choreographer­ Tero Saarinen, brings hasn’t been performed using the language I want to provide Sibelius’ Kullervo symphony to life with of traditional Korean dance or tanko dance opportunities for Russian dancers, an orchestra, a choir and vocal­ before,” explains the director of the piece, and Finnish dance artists’ ists. Swan of Tuonela, a piece by the WHS circus artist Ville Walo. DANCE INFO FINLAND “Long-term planning, creativity to meet. I hope contemporary circus troupe from Finland has launched a new two-way cooperation with dialogue will lead to long- and Sungsoo Ahn, a Korean choreographer, CONTEMPORARY ALLEGORIES collaborative development presenting both Finnish term collaborative models combines Finnish contemporary circus arts Saarinen and Walo have found echoes of programme for Finland choreographers in Russia that will benefit both and Korean contemporary dance in a fresh metaphors from Sibelius’ pieces and the and Russia. The aim of the and Russians in Finland, sides,” said choreographer take on Sibelius’ piece of the same name. legends behind them in contemporary life, programme is to boost and co-productions are Tomi Paasonen. He is the such as the anger caused by exclusion, and interaction between dance outstandingly important. director of the Lonely in SIBELIUS REINTERPRETED immigrants who travel across the sea. companies, dance artists Especially as St. Petersburg the Rain festival in eastern Sibelius’ music provided the inspiration “On stage, the journey across the and organisations working is so close to Finland. I am Finland, which will include for both of those works – but the artists border between the realms of the living in Finland and Russia happy that the programme guest performances from wanted to leave some room for their own and the dead is made in an Optimist dinghy, \ \ throughout the field of is happening now and that Russia as well as sessions to interpretations. into which is distilled a tragicomic faith Finnish National Opera & Tero Saarinen WHS & Sungsoo Ahn Pick-up Group: contemporary dance. it is helping build bridges promote cooperation, such “Very early on, we – along with costume that things will get better,” Walo explains. Company: Kullervo Swan of Tuonela Contemporary dance between us,” enthused as improvisation workshops designer Erika Turunen and lighting and set Saarinen recognises Kullervo’s anger. Choreographer and Director: Tero Choreography: Sungsoo Ahn has come a long way in the Vadim Kasparov, Managing and panel discussions. SK designer Mikki Kunttu – were certain we “New Kullervos are created all the time Saarinen Direction: Ville Walo last 20 years in Russia as Director of Kannon Dance. didn’t want to produce an illustration of in places ravaged by war, where there is a Music: Jean Sibelius Kullervo (Symphony Music: Jean Sibelius, Samuli Kosminen, well as Finland. Now the A number of \ the Kalevala story; we wanted to create lack of prospects. I hope we can change Op. 7) Hauschka & Jeffrey Zeigler ambition is to foster local collaborations have already Finnish-Russian Dance our own study of humanity,” explains Tero and come together – and break the cycle Premiere: 13 February, 2015, Finnish Premiere: 26 September, 2015, Verkatehdas, collaboration and achieve come about, from joint Exchange Programme Saarinen, the director and choreographer of hatred,” he notes. IR National Opera, Helsinki, Finland Hämeenlinna, Finland lasting effects. productions by freelance www.finrusdance.com. of Kullervo. www.terosaarinen.com www.w-h-s.fi FINNISH DANCE IN FOCUS 2015–2016 P 11

2. 1. SARI PALMGREN: The Earth Song. Uupi Tirronen \ 2. Sari Palmgren. Ia Samoil

also made use of ‘mental recycling’. we make decisions – the direction of our SUSTAINABILITY AND DANCE “We often had open rehearsals, and desire – is a huge issue. If everybody wants we arranged for around 400 people to the same thing, the same oil, gold, natural Cultural sustainability – or more precisely, come before the opening night. Different resources, things can easily culminate in culture as a key element of sustainable devel­ groups, from children to senior citizens. We a disaster. But can people’s desires have opment – has been a topic of discussion for rehearsed and discussed. The piece gained different directions?” she asks, and then almost thirty years. Yet the concept still remains energy from the people who came; they answers: “I think the easiest way is to change vague and ambiguous. had an influence on the work,” she explains. our choices. Not everybody has to want a The Sustainability Think Tank, arranged by Palmgren regards such encounters as huge home and a car. Diversity is part of Dance Info Finland within the Nordic-Baltic keðja essential – perhaps even more so than even an ecosystem. In exactly the same way, 2012–2015 project, took on the challenge of the opening night. That idea resurfaces in the ecosystem of dance includes different elaborating on what sustainability could mean her fourth element of creating sustainable people and groups – bigger ones as well as for dance. The Think Tank’s report, Recommen- dance: sharing. smaller ones. There’s a place for everyone; , was 1. FROM GROWTH dations for a Nordic and Baltic Dance Field “Sharing is an essential part of the life everybody just has to find their own way published in spring 2015. cycle of a work. The Earth Song originated of doing things.” Its concrete recommendations and sugges­ in my desire to share my experiences of par­ Finally, Palmgren wants to emphasise tions challenge policy makers, funding bodies TO COMPOST ticipating in a Challenge Europe conference one more important thing: composting. and the dance community to change attitudes, on climate change organised by the British “People often take a utopian view of renew operating and working models and reform TEXT Elina Manninen Council,” she says. “I wanted to carry that the work of individual artists as continuous ways of thinking. Although the work of the Sus­ content forward into the dance arena, into growth. Within financing structures, the tainability Think Tank was grounded in the dance CYCLES AND CHOICES. These words come up discover totally new skills, things they the working group, and to everyone who assumption is always that grants and field in the Nordic and Baltic countries, feedback again and again when choreographer Sari Making money is too slow didn’t even have available in their personal took part in creating the piece. And the support will continue to increase every has proven that its recommendations are rel­ Palmgren discusses what ‘sustainability’ Teeth brushing is too slow toolkit before. When we were working on culmination of all that in the work made year, but that’s not how things work in the evant and applicable outside this context as well. means in dance art. Palmgren, a multi-tal­ this piece I thought about everything those the piece itself a form of sharing.” real world.” The analogy with ecological sustainability ented figure in Finnish dance, spent two My thinking is too slow… other artists might possess, how we could In order to ‘keep up’, artists take was found to be a useful way of looking at things years from 2012 to 2014 chewing on that make use of their entire human capacities.” on multiple projects – and easily burn from a new perspective: the dance field could be subject in the Sustainable Strategies for And because The Earth Song was Lower your emissions out. A sustainable way of creating art is seen as an ecosystem. Growth in dance is about the Nordic-Baltic Dance Field Think Tank. Palmgren decided to make four concepts a particularly human-powered work, fundamentally different in nature. strengthening the system, not always aiming for She starts with the basics: “Well, sus­ tangible: time, resources, recycling and Palmgren felt it was important to channel Think about how much you “We’ve talked to dance artists a great more. The use of existing resources should be tainable development includes a number sharing. most of the budget into wages. “It doesn’t save deal about the cycle of creating. About the more effective, cost-effective, long-lasting and of aspects: social, cultural, environmental “I simply thought about what we should necessarily work that way all the time. But way when something new is created, new targeted. There is a need for entire life-cycle and economic. Similarly, those aspects are use our time for. I wanted to share time that’s what it means to understand your Choose wisely… green shoots sprout up, and what direction thinking and a holistic approach to development also present in our field of dance.” among the working group so I wouldn’t resources: how much time and money have they then grow in from there. There should of the dance sector. In the think tank’s meetings, which waste my time or others’. That meant pre­ we got to put into this, and where are we also be a sort of composting phase. That’s One example: addressed abstract concepts, this chore­ paring as well as possible.” going to target them?” During the rehearsal phase for the piece, not a bad phase, it’s a very necessary one. It is common for dance productions to have ographer of the concrete decided to create She also describes the sustainable the working group met with sustainable Over time, that’s exactly where new things only a short performance period after their her own practical principles for sustain­ use of time over the entire life cycle of a development experts. The final piece as come about. A continuous cycle – that’s premiere, but this is a waste of resources. Better able development. To her, The Earth Song, work: what happens before the premiere Recycle clothes performed was structured around dance part of this whole thing.” touring possibilities increase income oppor­ which premiered in 2013, was both a hilari­ and afterwards? What other things does a as well as songs whose content and lyrics tunities and prolong the life of productions. ous, critical take on consumerism and a work generate, besides the performance? Recycle your ideas arose from those visits with experts. The \ Suggestion: support for a Nordic-Baltic touring laboratory for creating sustainable dance. What can people learn from it, with a view Recycle your wishes… group ended up thinking about the effects Writer is a journalist specialising in culture network. SR towards the future? of everyday choices in particular. and nature. When speaking about resources, she “The choices we make in our daily The extracts in the text are taken from the \ enthuses: “We did this work together, In addition to recycling and reusing lives include an individual level, as well lyrics in The Earth Song. See more: www.danceinfo.fi collectively. Working this way, people might costumes and sets, Palmgren says the work as their upward cumulative effects. How P 12 FINNISH DANCE IN FOCUS 2015–2016 NEW FACES NEW FACES FINNISH DANCE IN FOCUS 2015–2016 P 13 TEXT Elina Manninen, PHOTOS Uupi Tirronen

MEET THE NEW FACES! TOUCHING THE COLLECTIVE CONSCIOUSNESS interpretations and elemental nature of Prepares, R&B and soul star D’angelo’s – IMA IDUOZEE (B. 1988) movement. Movement communicates what comeback, G.I. Gurdijeff’s book Meetings lies beyond spoken language and addresses with Remarkable Men – and the Helsinki Surrealism and pop, shaking up emotions, precise movement and euphoria. Four “Strong, fluid movement with clear lines,” issues that cannot be tackled any other way. night. was one Finnish dance critic’s assessment I believe dance carries with it a lot of tacit In the spring of 2015 he was awarded young Finnish choreographers – Maija Mustonen, Ima Iduozee, Johanna Nuutinen of Ima Iduozee’s solo debut work This is knowledge about our history and our ori­ the prize for the best artistic breakthrough and Taneli Törmä – talk about their work, future plans and sources of inspiration. the Title (2012). That piece was also called gins, about human nature. It’s just that this by the Finnish Critics’ Association. a “duet between the dancer and the surface bodily wisdom often remains unnoticed,” Iduozee has also performed on inter­ that buoys him up” – reflecting his intense, he explains. national dance stages: his piece This is the richly nuanced dialogue with the white mat. “I’ve found my own tools in contem­ Title was part of the 2014 ICE HOT – Nordic Those reviews provide an excellent porary choreography which I am trying to Dance Platform programme in Oslo. His summary of Iduozee’s virtuosic move­ use to make this time as well as the past next theatrical work, Purple Nights, will MULTIDIMENSIONAL WORLDS I like to mix dance, film and photography in and makes you question and see the subject at ment. Currently studying in the dance visible. I hope my work can touch our col­ premiere in Stockholm in late 2015. – JOHANNA NUUTINEN (B. 1983) order to create a multidimensional world.” hand in a new light,” she says. department at the University of the Arts lective consciousness, across generations So what plans does this young cho­ “At the moment I’m interested in working Her plans for the future include the follow­ Helsinki, he has rapidly gained a foothold and cultures,” he adds. reographer have for the future? “I often “Conflict, intuition, surrealism, the subcon­ with non-dancers. There is something very cap­ ing essentials: “To study the body and the mind in the Finnish dance scene. His roots are in Asked to list his inspirations, he says he dream of a long arc, one where doing things scious mind and freedom are the topics and tivating, raw and sincere in a non-professional and to stay curious. To deepen my existing part­ breakdance, but studying contemporary draws on “the circumstances I’ve gathered remains meaningful and ever-changing,” ideas I very often find myself exploring,” says performer who doesn’t have years of training nerships and to find new collaborative partners dance has opened up totally new horizons around me.” Recently these have included he responds. Johanna Nuutinen, a dancer-choreographer in the performing arts,” she explains. with whom to create an inspiring platform for of movement to him. a collection of essays by the US theatre who graduated from the Finnish National “On the physical side I’m inspired by skin. artistic endeavours. To work hard – and play “I’m fascinated by the multiple director Anne Bogart entitled A Director Opera’s ballet academy in 2002. The texture, feel and energy it has, gives and even harder!” Her works include HATCHED, which pre­ receives... I also have an enormous interest in miered in Hong Kong in 2014; an award-winning the delicacy of the human mind and mindful, dance film entitled ME – Story of a Performance multi-faceted movement. A soulful and strong (2013); as well as X-it (2011), a piece which com­ physical performer, who can seize the moment bines dance and video. by just standing still, is something that really Asked to describe her works, she says: “My floats my boat.” works are built upon set physical choreography And what does Nuutinen hope to be able and set improvisation. The arc of the produc­ to give viewers herself? tion often lies in the surrealistic soundscape “Among other things with my work I desire and I play with strong contrasts in the audio­ to offer a visceral journey which shakes your visual input and intention of the movement. emotions, wakes up your kinaesthetic empathy P 14 FINNISH DANCE IN FOCUS 2015–2016 NEW FACES NEW FACES FINNISH DANCE IN FOCUS 2015–2016 P 15

A SURE PATH TO EUPHORIA New Dance, Mustonen assembled ten art­ herself. “I want my work to last – for it to – MAIJA MUSTONEN (B. 1979) ists around ten pieces of music. The results be mentally and physically healthy and were joyous, deeply affecting and inven­ empowering… and I hope it can be a feasi­ Dance and performance artist Maija tively imaginative cavalcades of music and ble way of earning a living for my family,” Mustonen is all about “doing and igniting dance. Next on her list of works is a ‘New she adds. things together.” Age musical’. She hopes being close to audiences “I’m often the behind-the-scenes So, what aspects of dance attract this will open new doors and new modes of honcho and the ideas generator in large multi-talented artist? practice as an artist. groups. My job description is a mix of visual “At its best, dancing is a sure path to “In general, inspiration comes when I’m MASTERING SPACE AND THE MOMENT – TANELI TÖRMÄ (B. 1985) design, directing, curating, conceptualising euphoria! My life has always been based with close associates. Their skill, creativity, and choreography,” she explains. on dance. It wasn’t a choice for me; it was wisdom and humour are an endless gold “I’m interested in how to teach myself and viewers to be Mustonen, who has a master’s degree an orientation and foundation for growth. mine. I’d like to continue communicating more open-minded. To be interested in difference, in indi­ in visual art from the Helsinki Academy of I feel at home with dance as an art form memories and experiences to audiences viduals’ and groups’ different ways of thinking and points Fine Arts as well as a degree in dance art because it tends to attract people who about human life in all its amazingness, of view, without prejudice or making snap judgements,” from Trinity Laban, has also worked in the draw on the collective world of experi­ comedy and awfulness – or at least some says dancer-choreographer Taneli Törmä. field of music. ences, beyond literal understanding,” she honest glimpses in that direction,” she Törmä, currently based in Denmark, is a brilliant exam­ For her pieces The Greatest Love Songs explains. says. ple of a dance artist with an appetite for experiences and (2012) and The Greatest Dance Hits (2014) Of her dreams for the future, Mustonen open communication. which premiered at Zodiak – Center for mentions opportunities to dance more He studied and has worked in Finland and elsewhere in Europe, and his repertoire encompasses a broad spectrum of dance styles. In addition to his stage work, Törmä has collaborated with numerous multidisciplinary and multi­ cultural groups to bring dance to new performance spaces. For several years now he has also been making dance films. “My mode of expression is built on and inspired by the moment, the space and my collaborative partners. I interrogate the terms ‘dance’ and ‘choreography’ by taking them to extremes on occasion; by presenting the body in a way that interacts with the site, different artistic disciplines and other impulses; and by dividing up the role of ‘soloist’ in the work,” he explains. Critics have been impressed. One review of ZOOM (2014), created by Törmä with lighting designer Petri Tuh- kanen and sound designer Esa M. Mattila, said: “artistic synergy has reached its zenith. It feels like watching a moving light sculpture that makes sounds.” Törmä himself says there are virtually limitless approaches to choreography. “The sky’s the limit! You can portray dance as an amazing sporting achievement, a magical moment, an investigation of movement or a means of communication. When you’re aware of these possibilities, you can achieve wonders,” he says. Taneli Törmä produces his distinctive performances and films under the brand of LOCATION X projects. Some of his dreams for the future are to make his dance art even more versatile and to work on new projects “from every extreme to any other”. “For example, producing an art project under the constraints of a small village in Greenland – or an entire evening-length contemporary dance or ballet ensemble work, maybe for the Finnish National Opera ballet com­ pany!” he mused. 1. P 16 FINNISH DANCE IN FOCUS 2015–2016 FINNISH DANCE IN FOCUS 2015–2016 P 17

In Helsinki social dancing and evergreen music are currently experiencing a kind of renaissance

1. Alpo Aaltokoski Ninna Lindström \ 2. 2. ALPO AALTOKOSKI: Take my hand. Marko Mäkinen

ALPO AALTOKOSKI is an experienced cho­ music that is an organic part of it that the evergreen songs, into which the whole reographer who has had a considerable attracts people year after year? Alpo Aal­ spectrum of life is written: meeting, falling influence on contemporary Finnish dance. tokoski wanted to find out by using dance, in love, parting, being left... Yet the cou­ Take my hand is a work in which he returns and specifically contemporary dance. ple’s movements don’t really express any to his roots in Finnish social dance culture feelings: the two people remain in a close and reflects on its new popularity. The work SOCIAL DANCE CULTURE dance position.” was premiered in Helsinki in the autumn IS AN IMPORTANT PHENOMENON Physicality is, however, written into of 2014. IN FINLAND dance. “What will be resonating in your The old factory hall is decorated in Choreographer Alpo Aaltokoski himself has body when the dancing is over?” Aaltoko­ the style of a dance restaurant: people sit close contact with social dance culture. As ski says. casually at tables around the edge of the a child he lived in a rural area where after The behaviour code of social dancing floor. On the dance floor contemporary the war social life revolved largely around creates security. When everyone knows dance and social dance bow to each other. dancing, all the way to the 1960s. how to behave when dancing, it’s easy to The fusion is not done by force – instead, “At the age of six I already knew all get close even to strangers. contemporary dance is used to examine the Finnish social dances. Relatives usu­ But there are also considerable pres­ social dance culture with respect, and to ally came to visit on Saturdays, when the sures. “The woman used to have to submit, gain a deeper acquaintance with what can carpets were rolled up and the dancing to indicate that she was waiting for some­ CONTEMPORARY only be guessed at on the dance floor. got going. In my youth, too, I was always one to ask her to dance. In showing their “In this dance work, social dancing is out dancing.” interest, the men had to take a risk. The presented in the context of performing art, “Social dancing is not just a superficial etiquette used to dictate that a woman and we see what emerges. This is an attempt leisure activity,” Aaltokoski remembers. never refused to dance with a man if he was DANCE BOWS TO to tiptoe around on the border, without “The Finnish national character can be decent. But the applicant had to know how breaking the boundaries,” says Aaltokoski. seen in our dance culture. Touching the to dance, and be able to lead!” In Helsinki social dancing and evergreen other person or the direct expression of Some, in their turn, were wallflowers music are currently experiencing a kind of emotions are simply not a part of Finnish night after night. “But that’s how it is in life, SOCIAL DANCING renaissance. It is not just a phenomenon of culture. However, the couple dance is an too”, observes Aaltokoski, who originally nostalgia and retro-inspired fashion. What intimate situation. While you dance with trained as a youth instructor and family TEXT Tove Djupsjöbacka is it about social dancing and this popular the other person you hear the words of therapist. “Some remain excluded, at the P 18 FINNISH DANCE IN FOCUS 2015–2016 FINNISH DANCE IN FOCUS 2015–2016 P 1 9

side of the pavilion. Yet they are present instrumental versions – the familiar music ALPO AALTOKOSKI: Take my hand. at the dance.” awoke personal memories in the specta­ Dancers: Jouni Majaniemi, Johanna Iko- Then in the 1970s women received their tors, their feelings and their own meanings. la, Jussi Väänänen, Esete Sutinen. Alpo Aaltokoski is an award-winning turn: women were allowed to ask a man to In Take my hand the dancers were Marko Mäkinen choreographer and dancer, who has also dance. This development went in parallel young contemporary dance profession­ been active in Finnish dance as director with women’s search for greater equality. als, and they also instantly recognised the of the Full Moon Dance Festival and “And nowadays there is also the so-called evergreen songs, even though they had Professor of Choreography at the Theatre “queer-dancing”, and couple dancing is no no experience of social dance pavilions. Academy. The works of the Aaltokoski longer linked to gender.” Among the dancers there are also the Company have been presented in Europe, Alpo Aaltokoski’s road finally took him award-winning Finnish ballroom dancers Asia, North America, Latin America and to contemporary dance, but first for sev­ Katja Koukkula and Jussi Väänänen, but by Africa. Aaltokoski’s next work is “Okon eral years he taught social dancing, disco no means all the performers are specialised Fuoko – See me” set to the music of the and folk dance. “I funded my studies as a couple dancers. Finnish composer Leevi Madetoja writ­ youth worker by giving weekend training A professional dancer can, of course, ten in 1927. It is based on the story of a courses. Once in the pavilion a man came learn the steps of social dancing quickly, but Japanese puppet maker who falls in love up to me who wanted to introduce me to a dancer with a contemporary background with his marionette – Aaltokoski’s cho­ his wife and thank me for having taught can find leading and following difficult. “The reography is set in the present day, in the him to dance – otherwise he would not modern dancer is trained in comprehensive world of social media and selfie culture. have found a wife for himself.” expression with the body, and even though The premiere took place in August 2015. the training includes, for example, contact improvisation, this is a completely different * thing. The music, the steps and the grip are precise – and then you have to be able to Social and ballroom dance tradition is What will be resonating lead and follow”. intrinsic in the Finnish cultural history Social dancing is as its name suggests a and its golden age was during the 1950’s. in your body when the participatory dance form, whereas contem­ Dancing has always been an integral part dancing is over? porary dance is mostly presented on the of the so-called common people’s leisure. stage as art, with the audience passively This dance culture has created around watching. To combine these two different itself an entire genre of popular music – types of experience, before the perfor­ its special feature being Finnish tango. mance Aaltokoski organized social dance lessons for the spectators. “A lot of people want to learn couple dancing. But it’s more important that the audience don’t remain in the traditional situation of being passive observers, but participate in the dancing as part of their own experience – and in a very concrete THE COURAGE TO manner, too.” LEAD AND FOLLOW When I saw the performance, the audi­ The idea to bringing social dance culture ence went boldly on to the dance floor, into a contemporary dance work went leading and following in time to the waltz smouldering on for five years in the making and the tango. Some in the audience had a of Tärkeintä on olla (Being is everything, rose as a sign that they did not want to be 2009). After it Aaltokoski spent a long time taken and preferred to remain wallflowers. listening to Finnish tangos, waltzes and This was also part of the work's code lan­ other evergreens. guage. The meeting of contemporary dance Many popular songs are etched on the and social dancing gave rise to a strong Finnish collective consciousness. “People sense of cohesion between the audience only need to hear a few bars of a hit to and the performers – everyone felt they know right away what the song is about.” were taking part in this work, and everyone In Take my hand you could hear a lot of felt the joy of dance. P 20 FINNISH DANCE IN FOCUS 2015–2016 FINNISH DANCE IN FOCUS 2015–2016 P 21

IMMERSING THE VIEWER IN POETRY AND DANCE TEXT Hannele Jyrkkä

It began as a shared workshop in an old barn – a collabora- tion between choreographer Valtteri Raekallio and poet Eino Santanen. Two years later, in October of 2014, they produced a successful work on a massive scale: Edustaja (The Repre- sentative). What spaces and situations did this artistic duo immerse their audiences in, using the tools of contemporary dance and poetry? And what were those tools?

“I SIGNED in on this side of the border,” intones a man on a video. audience is made to transcend the observer’s role. On the fifth Meanwhile, viewers are transported by bus to the performance floor of the building the performers come to fetch the audience location, which none of them yet know. The evening oozes members one at a time, throwing their coats in a pile on the floor dark, the mood of the video is unusual to say the least, and the and steering each one firmly to their place for the opening act. bouncing ride of the bus serves to fog the audience’s sense of Thus begins an intensive dialogue of virtuoso, at times fren- direction. All of this has a purpose. zied contemporary dance, combined with grand and musical live Having performed in more than 60 dance works in 34 coun- poetry in installation-like spaces, addressing power, money, and tries over the course of his career, 32-year-old choreographer identity. And more than that – about each one of us as varied and dancer Valtteri Raekallio wanted to create an atmosphere representatives of our own lives and everyday actions. in his second long piece in which the audience’s familiar role EINO SANTANEN: Extract from the poem Tunneseteli (Bill of Knowlegde) (2014). of observer is removed at the very outset. A PHYSICAL THEATRE OF THE MIND Translation Lola Rogers. Part of the installation in The Representative. And once the bus arrives at its destination, a 5,000-square- For Raekallio, the immersion of his audience completely in Valtteri Raekallio meter space in the Bunkkeri factory hall in south Helsinki, the the world of a performance doesn’t follow in the footsteps P 22 FINNISH DANCE IN FOCUS 2015–2016 3. FINNISH DANCE IN FOCUS 2015–2016 P 23

1. 2. 1. VALTTERI RAEKALLIO: The Representative. Dancers: Auri Ahola & Valtteri Raekallio. Marko Mäkinen \ 2.VALTTERI RAEKALLIO: The Representative. Performer: Eino Santanen. Marko Mäkinen Raekallio’s passion for \ transporting his creations 3. VALTTERI RAEKALLIO: The Representative. Dancer: Auri Ahola. to unusual locations has its Marko Mäkinen wellspring in role-playing games.

of previous, well-known, international group works. For him, bomb shelter. In The Representative everything has been thrust the concept of immersion, adapted from the world of games larger, notwithstanding the economic risk. into performance art is mostly about the tools with which a “I have to admit that the shoulders of the eight of us feel viewer’s experience is manipulated. So what exactly does he very small when you consider the scale that The Representative have in his toolbox? has grown to,” Raekallio says. “Group dynamics, for one thing. How do you make an audi- ence move through particular spaces, which I call non-spaces? THE GREAT PACKING BOX OF NIGHT What relationship do the performers bring to the audience? In the centre of a mammoth performance space, poems writ- When a viewer walks around and follows the performance, ten on 20-euro notes suspended on strings sway lightly, like so the situation is more ordinary than sitting in seats, where the much laundry on a line. On the lower edge of one note is written: physicality of the audience is almost blotted out.” So viewers have to decide for themselves how to watch it all, “...This bill will soon be 6 and they might be more open to changing their way of watching. “This way it’s easier to subtly direct and alter their way of degrees separated watching the piece. Or how do you create an atmosphere with a kind of fear or even a threat of violence in such a way that the from you, viewer will still participate in the performance as it goes along? like all the rest of the world. It’s a difficult tone to achieve. The meanings and situations can swing really far,” Raekallio explains, visibly enthused by Tell it: Bye bye these starting points, which are already being used for future bill. works as well. He refers to his two recent pieces and the upcoming work It won’t answer.” with the term physical theatre of the mind, a concept he devel- oped himself: Works that fuse physically potent performing art Under the poetry installation is a dimly shining catwalk. The forms while striving to exercise a powerful influence on the poems hanging in the air are an eloquent, stage-set variation mental landscape of the viewer. on a conceptual poetry project launched in 2012 during which After numerous performances in contemporary dance, opera, Eino Santanen wrote poems about money with a typewriter on and theatre productions as well as in dance films, Raekallio began 20-euro notes. The artist puts some of the poems into circulation, his career as a choreographer with his acclaimed debut work, for instance by using them to pay for purchases. Mihin valo katoaa? (Where Does the Light Go?) in 2013. He and In the next space Santanen proclaims tightly rhythmic his group created 11 installation-like spaces in an underground verse from his highly praised Tekniikan maailmat (Tech Worlds) P 24 FINNISH DANCE IN FOCUS 2015–2016 FINNISH DANCE IN FOCUS 2015–2016 P 25

collection into a microphone. That collection is the source of all Santanen, who has published four collections of poetry, has --how far you can push the the poems in The Representative and was, in fact, the choreog- a working style that has gradually shifted to using the construc- rapher’s inspiration to create a work such as this one. tion of various performances as an aid to writing his poems, boundaries of the spectator testing and moulding his poems by reading them aloud while with depictions of the exercise “--NNNNNNNNNNNNNNNNNNNNOW rehearsing new performance pieces. The 39-year-old poet has done cross-disciplinary projects and of power or even violence-- I feel with a new heart now literary-sourced performances throughout his 13-year career. In addition to his own poetry projects, he now performs with the it flutters ensemble black mödernism. I sit here in the great packing box of night “For the past ten years there has been a lot of literary per- formance art, where the text plays a crucial role.” now Among authors, for example, Marjo Niemi has developed and feel shock and great sadness interesting performance pieces that combine sculpture, music, and dramatic work. because you are no longer “In the last performance I saw, they sculpted a piano with a chain saw. It was a pretty interesting piece,” Santanen says death--” with a laugh.

The ambiguous poems speak their own language in the voice PLAYING WITH IDENTITY of a lyric “I” that sits in a packing box or at a screen, constantly Valtteri Raekallio’s passion for transporting his creations and flowing outside of definitions. Poetry and dance in this work audiences to specific, unusual locations has its wellspring in are an excellent pairing, because both create rich imagery, yet role-playing games, where as a young man he found surpris- leave a wide space for participants’ own interpretations. ingly concrete ingredients for the construction of an identity. “The dance and poetry don’t obscure one another. Both have “In role-playing games there are many places to take the extremely open meanings, but at the same time really play with part of the subject or the target. I’ve had a lot of experiences similar ideas. I’m also attracted by the fact that Valtteri hasn’t with games where everyone understands that it’s fiction, yet attempted to illustrate the poems,” Santanen says. at the same time they experiment, try things out, and develop For him, the wonderful thing about projects that reach their own persona.” between art forms is that two or three art forms together can During a long career in various capacities, including as a create an overlapping collaboration where neither is subsumed dancer with Helsinki Dance Company, Raekallio says that he by the other. has often wondered about the different interfaces in his roles as a performer. PERFORMANCE AS AN AID TO WRITING “I would start to think, for instance, about why I as the Raekallio remembers how admirably Santanen kept repeating performer am here asking you to watch me. In my own choreog- his poems by himself while the rest of the group was rehearsing raphy it feels like a more intricate game if I take the performance and polishing their revisions for the dance and performance out of the theatre space, so that it’s harder for the meaning to space. become cemented. And a premise can be easier to incorporate “Eino would work among us with the poems and think of in a dancer’s body when the performers are sometimes dancer’s solutions for specific situations, right at the last minute. There bodies but the piece also includes a more ordinary way of being.” was no need to intervene in anything,” Raekallio says six months Raekallio would like viewers to also be constantly in motion, after their collaboration. seeking something new – and perhaps shaking up their own For the The Representative, however, the poems from the ways of seeing and interpreting identities, bodies, sexuality, an collection had to be glimpsed in pieces and made into a new, art that moves within the interface between different kinds of mobile whole. awareness, the motion of everything. “A completely different kind of intensity had to be found in “It’s interesting to test how far you can push the bounda- the individual texts, there was no taking shelter in the continuity ries of the spectator with depictions of the exercise of power of the collection of poems. Once that intensity was found, Valtteri or even violence between performers, or the objectification of weighed the text against the length of the dance scenes. That bodies. But I don’t want to humiliate viewers in front of the was a way to decide where to begin what. When fitting them other people in the audience.” VALTTERI RAEKALLIO: The Representative. together it also helped for the dancers to listen to my thing and Performers: Eino Santanen & Valtteri Raekallio. for me to watch the dancers – we found common marks and Marko Mäkinen nuances that were connected.” P 2 6 FINNISH DANCE IN FOCUS 2015–2016 FINNISH DANCE IN FOCUS 2015–2016 P 2 7

MINIMI & ROUTA COMPANY & FULL MOON DANCE: P*lluralli. Dancers: Samuli Nordberg, Laura Rämä and Tuomas Juntunen. Pirjo Yli-Maunula.

Works that fuse physically potent performing art forms while striving to exercise a powerful influence on the mental landscape of the viewer.

between the performers and the audience wasn’t so clearly “I want the viewer to be able to step feasibility of the concept. broken. I think the immersivity could be best seen in the fact PERFORMANCE into the work, be immersed and absorbed Now the local young people’s central that the work had understood depths and a closeness that was into its world. Another goal is to offer a gathering places have been mapped out on a completely different level than in a traditional theatre work that is gently participatory work and and scenes tested in which performers space. That closeness allows you to play the game in a more PIECE PICKS involves all the senses, where your own and viewers can hop into cars. A variety VALTTERI RAEKALLIO: The Representative. powerful way,” Santanen commented. choices might have an influence on what of routes have been found for adventures in Dancer: Valtteri Raekallio. At the end of The Representative’s intense, perhaps even you experience,” says Yli-Maunula, a cho­ souped-up cars along the highways, roads, Marko Mäkinen rough hour and a half journey, the performance troupe bonds VIEWERS reographer and professor of art who has and backwoods of Pyhäjärvi. the audience together in a gentle, everyday moment by making used immersive elements in her own work. “We thought a lot about what pussy­ and serving them waffles and mulled wine. UP IN CARS Summer 2014 the streets of the little cruising means as a social event. It is, of THE VIEWER’S CHORUS More collaborations on immersive pieces are in the works. town saw a demo-version of this year’s course, still an important thing to young With each performance of The Representative Eino Santanen had At the time of this April interview, Eino Santanen is inten- site-specific piece, which got its start very people who participate in it. It’s like every a more and more definite perception that when the audience sively writing a new collection titled Yleisö (Audience). These naturally from an immersive local source. little town’s own catwalk, where people was made to move, many other things were also set in motion. poems will be part of Valtteri Raekallio’s staged piece Kuun- The audience is part The idea for a piece set in cars and local go to pose, to be with others. In that way “The audience became part of the performance quite auto- nelmia hiljaisuudesta (Audio Dramas on Silence), which has its of the performance in venues originally came from British jour­ it is strongly connected with questions of matically. The viewers are visible and form a sort of chorus, but premier in February 2016. nalist Donald Hutera, who marvelled at identity,” Rämä said, describing the atmos­ are at the same time vulnerable.” Echoes of this coming work and previous pieces incorporating a piece set in a parking lot, Finnish youths cruising the local strip in phere of the demo-week. Viewers also started to form certain kinds of groups. San- Santanen’s poems were heard in the summer of 2015 at the Full and in souped-up cars. their cars every night during the 2010 During rehearsals for the demo perfor­ tanen says that he feels the work grew over the course of the Moon Dance Festival in Pyhäjärvi, in performances of Novelleja festival. mance local residents very quickly began project mostly through the manipulation and guidance of the unohdetuista huoneista (Stories from Forgotten Rooms) a site- “He said, Why not do a performance to stop their cars in the middle of every­ audience. specific work at Lamminahon sikala, an old country farmhouse in the middle of it all, with the audience thing and participate in the development “You could quickly see that people take on roles in a pro- and surrounding hog farm. For fall of 2016 Raekallio is developing sitting in their cars?” Yli-Maunula explains. of ideas. ject like this – quite powerful roles. Some viewers even start a major piece based on Jaakko Yli-Juonikas’s Neuromaani When the artistic director of the Joen­ “It’s wonderful how young people performing.” (Neuronovel) which will be set on the grounds of a large hospital. suu City Theatre Vihtori Rämä suggested so quickly joined in and invited the per­ With each performance the scenes became tighter and the Valtteri Raekallio says that the possibilities, the multileveled doing a piece for cars a couple of years ago, formers to get in the car and get to know effectiveness of the piece kept growing stronger. The piece close-ups and distant views of physical theatre of the mind are Yli-Maunula remembered that original idea. their culture and Pyhäjärvi’s story,” said broke down the wall between audience and performers, but what interest him most as an artist now. For the Full Moon Dance Festival, in its 24th “The thing progressed quickly and we Yli-Maunula, who became permanently Santanen says that toward the end the place where the perform- “My abilities and enthusiasm are based most of all on a year, art director Pirjo Yli-Maunula chose decided to give it the provocative title, hooked on immersive works after seeing ers perfectly move in among the audience was also broken and close-up, human scale.” immersion as a theme and picked out works familiar to many generations of Finns, of a performance of the Punchdrunk group became whatever the dancers were able to do with the audience. that couldn’t be experienced anyplace else. Pilluralli (Pussycruising).” for the first time in London. HJ The viewers were sometimes terrified in the final scenes, when \ From its very first years this northern In July of 2014 collaborators from the performers sometimes did things such as crashing into the Writer is a journalist and dance critic Ostrobothnian festival has presented dance the Joensuu City Theatre, the Routa \ audience as they danced. The extracts in the text are taken from Eino Santanen's poetry in unique settings such as a ring of fire in contemporary dance group from Kajaani, P*lluralli premiere at the Full Moon Dance “There were other scenes where individual audience mem- collection Tekniikan maailmat (Tech Worlds) that was awarded the forest, the roof of a convenience store, the Minimi Dance Theatre, and the Festival 2015 was a success that enthused bers were momentarily horrified, but in those scenes the barrier the Yleisradio (Finnish Public Radio) prize in 2015. or deep within a mine. Pyhäsalmi Dance Association tested the the audience and the press. P 2 8 FINNISH DANCE IN FOCUS 2015–2016 FINNISH DANCE IN FOCUS 2015–2016 P 2 9

Contemporary dancers from MELBOURNE Finland and Australia share an openness, positivity and AND EASTERN FINLAND experimental approach. FIND A COMMON LANGUAGE LUCY GUERIN: I’m trying to tell you. Ia Samoil

same way six months ago when they were during our interview, entitled I’m trying to “We tried using Google Translate contemporary dance bubble where in Melbourne, not all that far from the tell you had its premiere in Finland on 13 while we were working. It translates I never needed to wonder whether I’M TRYING TO TELL YOU. South Pole, for a month of rehearsals…” June. The piece examines what happens to words really strangely and creates my works would be understood,” she “Despite the different geography, meanings when we go from one language meanings a person couldn’t even dream recalled. “We’re somewhat removed Choreography: Lucy Guerin. we’ve got lots in common with the to another, from one place to another, up. We had a lot of fun!” Lucy Guerin from current dance practices in Europe Music: Robin Fox. Australians: authenticity and directness, from one part of the world to another, recalled. and America. We follow what’s being Performers: Olli-Kalle Heimo, the same sense of humour and a serious from spoken language to movement. “Contemporary dancers from Finland done in the rest of the world but we Tuukka Jukola, Maija Nurmio and attitude towards our work,” said Kira When we understand and misunderstand and Australia share an openness, don’t want to imitate them. We want to Kira Riikonen. Riikonen, a dancer and the artistic director one another. What do we get from these positivity and experimental approach. find our own identity,” she explained. of Routa Company. translations, and what is lost? That’s great for me, because I prefer to “We borrow ideas from Europe, but Lucy Guerin Inc. is an Australian “I think both sides are familiar with “It starts with a random conversation work by experimenting via movement we might only acquire them 10 to 15 dance company established in a certain feeling of cultural isolation, so between two actors, which the dancers – I explain and justify things less,” she years later. And when that happens, the Melbourne in 2002. we understand one another really well,” pick up in the form of movement. The explained. “And Finnish dancers laugh ideas change into something different Routa Company (routa is the Guerin summarised. actors have to start moving and the a lot!” along the way, because our cultures are Finnish word for permafrost) is LUCY GUERIN, an Australian choreographer The collaboration between Routa dancers have to produce verbal expression “Lucy uses a release-style movement different. It’s not a matter of copying.” a Finnish contemporary dance from Melbourne, spent some time in the and Lucy Guerin Inc. began when Kira – it generates an odd dissonance when language. There’s a lot of flow through “You could say exactly the same company established in Eastern small Finnish city of Joensuu, less than Riikonen saw a work by Guerin entitled the body and the conversation each go the body, throwing of the limbs, very things about Finnish dance!” Kira ex- Finland in 2002. a hundred kilometres from the Russian Conversation Piece in Melbourne in 2013. in their own directions,” Lucy Guerin precise hand and arm movements, a lot claimed. “I saw a lot of very distinctive border, creating a new work for a dance “It blew my mind. I’ve also worked with explained. “I had planned for the piece of articulation, movement of the spine pieces at the Australian Dance Mas- This joint work is part of a wider company based in the Kainuu region. The pieces where movement was placed to contain a discussion in which the and torso,” Kira Riikonen explained. sive festival. I associate their unusual- dance collaboration between Finland piece calls for two dancers as well as two alongside verbal language, but what I saw speakers constantly changed. But then I “The way Lucy thinks about movement ness with their geographical isolation and Australia. Dance Info Finland and actors from the local city theatre and an there was something unique, absolutely noticed that Finns don’t speak over each is clearly different from how we view its and their need to keep experimenting the Australia Council for the Arts Australian musician. unprecedented. I felt it was exactly the other the way we do in Australia. Here role here in Finland. The overall result is on their own. When you’re working ‘far noticed that they had similar ideas It’s a long way from Melbourne to direction I wanted to investigate further,” you have monologues, during which the an intriguing fusion of movement, text away from everybody else’, you have to for development in contemporary Joensuu. Riikonen recalled. other person just listens patiently.” and actions.” clarify your thoughts and keep your dance and so decided to join forces. “It definitely feels like I couldn’t be So Riikonen got up from her seat, The piece uses mainly Finnish as its Early in her career, Lucy Guerin main objective clear. Then you can de- Dance production centres in each any further from Australia!” Lucy Guerin marched right up to Lucy Guerin and spoken language, because it needs to spent seven years in New York, where velop your work in a really distinctive country were assisted in finding remarked on her third day in Eastern asked her whether she might consider engage the local audience. Doesn’t that contemporary dance audiences know direction. Sometimes it’s really good to partners, and an artist exchange Finland. Even though it was late May, collaborating with Riikonen’s ensemble make it difficult when the choreographer- their Trisha Brown and their Merce be a bit isolated,” she smiled. SK programme arose from those the weather necessitated a heavy sweater in Finland. director can’t follow what’s being said Cunningham. “When I went back to partnerships. and gloves. “But I’m sure the Finns felt the The work that was still in progress on stage? Australia, I realised I’d been living in a 1. FINNISH DANCE IN FOCUS 2015–2016 FINNISH DANCE IN FOCUS 2015–2016 P 30 1. JYRKI KARTTUNEN: P 31 Fairy Councillor Koo. Marko Mäkinen \ 2. Marko Mäkinen DANCING INTO A WORLD OF MAGIC TEXT Raisa Rauhamaa

2. Jyrki Karttunen has had an im- pressive career in contemporary dance both as dancer and cho- reographer since the 1990s. He is now artistic director of HDC, Helsinki Dance Company, a spearheading contemporary dance ensem- ble working in the Helsinki City Theatre. Karttunen’s last two choreographies have been family pieces.

FAIRY COUNCILLOR KOO (2014) is an ensemble work in which Kart- No wonder that children’s performances have begun to inter- tunen dances the title role. The buoyant choreography of the est him, although Karttunen refuses to be branded specifically new music theatre piece Pippi Longstocking (2015) on the main as a representative of children’s culture. “Children are a great stage in the Helsinki City Theatre is also by him. audience. It would be a pity to forego the joy of performing for “The rehearsal period of both pieces were unusual for me. them. Children’s productions are often underrated, but I don’t Just before the beginning of the rehearsals for Pippi Longstock- think you should waste your time making similarly distinc- ing I became a father,” says the happy dad of a six-month-old tive contemporary dance pieces exclusively for colleagues and baby girl. cognoscenti,” he says. P 32 FINNISH DANCE IN FOCUS 2015–2016 FINNISH DANCE IN FOCUS 2015–2016 P 3 3 1. 1. & 2. JYRKI KARTTUNEN: Fairy Councillor Koo. Dancers: Sofia Hilli, Heidi Naakka, Jenni-Elina von Bagh, Sofia Ylinen. Marko Mäkinen

Karttunen recalls the reception of the super popular Fairy (2002). “Now I know what it feels like when you’re a rock star My bright attitude is also and the audience howls along with you. Fairy was originally a message, it is my way of a fairy tale for adults, but it was hijacked by children. In Lyon, when the Fairy who has lost its wings tried leaping into the making politics. air, 600 children shouted encouragement every single time!” But leaping into the world of fairy tales raised eyebrows in art circles, and for some Fairy was too entertaining. Karttunen wanted to get the children to leave the performance jumping rejects the notion. “My bright attitude is also a message, it is and bouncing like Pippi herself.” my way of making politics,” says the choreographer. Different By contrast, the starting point of Fairy Councillor Koo was types of works can be deliberate alternatives to trends and to quite profound. the obsessive notion of continuous renewal in art. “What’s there “My first thought was, can you make a philosophical piece to renew in art?” Karttunen asks. “My main purpose is not to for children about time. The idea was crazy enough, so it began reinterpret forms. Renewal in contemporary dance happens by producing lots of material.” He gave the piece a subtitle, Learned accident, you can’t just decide to do it. You can only work with reflections for understanding fairies (and other spirits). the skill you have developed over the years.” The work is a fairy tale, told with text and movement, about the seven days of the week who have their order mixed up by SURPRISING RECONTEXTUALISATIONS an absent-minded scientist. The weekdays are each represented Karttunen’s style is audaciously childish and comical. His works by spirits of different type. The old-fashioned and fantastically are characterised by a combination of play and gentle sadness. exuberant visualisation creates just the right context for fairies “I like to put characters into wrong situations and see what and spirits. The work looks like an illustration in a traditional happens. In My Imaginary Friend Is With Me (2007) an artist in fairy tale book, sparing no false noses, wigs, horns or wings. Fairy a crisis has to reflect upon his own existence surrounded by Councillor Koo is based on Karttunen’s childhood experiences Moomins (!), in Digital Duende (1998) clumsy Finnish men try of theatre. 2. to survive in the role of Spanish flamenco dancers, andHuman Imitations (2005) features men who do not know much any- IT’S OK TO BELIEVE IN MIRACLES thing – how to perform, how to talk, yet they are expected to “People come to the theatre to believe in miracles,” says Kart- make a finished piece.” tunen. He remembers the huge impression made on him by a “Already when I was a child I loved pretending to be someone production of Lintu Sininen (‘The Blue Bird’), an old fairy tale else. I often went to school dressed in a Superman costume play by the Finnish author Zacharias Topelius, which he saw made from my mother’s tablecloth. I dreamed of being able at Joensuu City Theatre as a child. Although the bird was but a to fly or being invisible and able to walk through walls,” he ball of feathers suspended from a string, still it was a real blue reminiscences. As a boy he had poor eyesight but a lively bird! Fairy Councillor Koo too has all sorts of creatures flying on imagination. “When I went to school, I got a pair of glasses. top of sticks, and there is no need to hide the supports. While Karttunen takes care of his own inner child, he also gives others an opportunity to step into the world of make- believe. “At first I was a bit wary about how the ensemble would Children are a great audience. take the idea of making a performance for children. But the Koo process was awesome. It gave dancers an opportunity to let go It would be a pity to forego the of the strict dancer’s role. Performing for a full house time after time was absolutely fantastic. When children cried out when joy of performing for them. they lived with the events on stage, we felt we were real stars.” As a father of a six-month-old girl, Karttunen has already seen three performances made for babies. In the performance of Carnival for Diaper People, all it took for the eyes of his little It was boring, because now I could see too clearly, and was no daughter to light up was for a red ball to appear on stage. “I would longer able to imagine endings.” never have believed what excitement that dramatic moment “My works are a kind of continuation of childhood dreams,” caused in me as well,” Karttunen says with a laugh. “Perhaps says Karttunen, 45. “Maintaining a fantasy world helps you to I should make my next performance for babies,” he grins. trust in your imagination when you have to solve problems. For example, in the choreography for Pippi Longstocking, I had \ to come up with an idea for how to lift up a horse in the air. I Writer is a journalist specialising in contemporary dance. P 3 4 FINNISH DANCE IN FOCUS 2015–2016 CHOREOGRAPHER IN FOCUS CHOREOGRAPHER IN FOCUS

THE WAY CARL KNIF looks at you reveals a sensitive and expressive “For me, the text too is like a choreography. It is made of inner person. His gaze is both intense and shy at the same time. rhythms and pauses; I dance the text as well.” He may be small in stature, but his language of movement is In Red, Knif tells about events taking place a few months all the larger in scope. before the presentation of his first major commission,Hologram Knif is one of the most interesting new contemporary chore- Walls, for the Helsinki Festival. He has been out running, and ographers in Finland, and now Europe too has become aware of standing in the kitchen to drink a glass of water, he is stricken PAIN POINTS him. The European Aerowaves – Dance Across Europe network by a panic attack. His hands begin to shake, he hyperventilates elected Knif’s Red as one of the most promising works in 2015. and falls down on the floor. He has been plagued by endless The distinction means that the solo is now on a list of recom- self-criticism ever since he was a student, and the effort to carve THAT BECOME mendations that can open doors to more European scenes. himself a space in the dance world has been exhausting. And “It means really a lot to me. I have long wanted to go on tour then a pinched nerve in the neck that has become worse and and build an international career. This is a step in that direction.” prevents his hands from functioning normally. Knif’s earlier choreographies have often been abstract and “I thought I might never dance again. The idea that the TURNING POINTS gesture-based, but in Red he chooses a new approach, combining damage could be permanent was psychologically crippling. dance with texts written by himself. Red is an autobiographical At the same time, I received great opportunities I simply could TEXT Jenny Jägerhorn PHOTOS Yoshi Omori survival story in which Knif seizes the theatrical with the same not afford to miss. In my worst moments, I was afraid I was personal integrity and specific directness that characterises his going crazy.” artistry in his own as well as others’ work. The starting point Hologram Walls was eventually a turning point as well as was to create an abstract piece with red light as its fundamental an artistic success. Knif decided that what had happened must concept. never happen again. Yet Red is not just about the colour red, but about all the “I want to dance, I want to create, but nothing is worth charged things associated with it. Love, sexuality, betrayal, school risking your health.” bullying, aging, loneliness, how to become yourself – these were the themes that emerged in the process. Knif decided to put LONELINESS AND AGEING Dancer and choreographer Carl Knif is not afraid to his message into words and wrote poetic texts to complement Red is also very much a political work. As he was sitting down use his own painful experiences to discuss what ails the choreography. and writing his texts, a law was passed in neighbouring Russia “To expose yourself was terrifying, but also liberating. When banning “homosexual propaganda”. society. The autobiographical solo piece Red explores I was writing, I could decide how much I wanted to tell, and that To grow up as gay in the small town of Vaasa was not easy. pain points that become turning points. gave me a sense of control.” “I had to hide all the big emotions. I could not be myself. That It was also important for the text to reflect the poetic mood created a powerful sense of loneliness and alienation.” of the dance. In another scene, Knif portrays a meeting with his neighbour, P 36 FINNISH DANCE IN FOCUS 2015–2016 CHOREOGRAPHER IN FOCUS CHOREOGRAPHER IN FOCUS FINNISH DANCE IN FOCUS 2015–2016 P 37

Berit, a lonely old lady. “During her last days, I became the closest The time with Tero has obviously influenced Knif as a dancer, person to her. It was terrible to see how lonely she was. But I although he has his own distinctive stage language. They both thought we were helping each other. Berit said, ‘When you are use floor contact, weight shifts, motion paths and eyes as part old, I will come to you.’ There was hope in that. When I get old, of the instrument. And both have a poetic approach to dance. “I kept falling and falling deeper than I maybe someone will do the same for me.” “But I’m much sharper and edgier, whereas Tero is round Knif always starts out from the personal in his work. He is and like the wind. It was not easy to leave, but Tero always knew had ever fallen before. There was no time open and honest in his art, through it he wants to participate that I wanted to try my own wings.” or movement, but I was falling. I was lying in shaping social discourse. Yet Red is his most personal work Should Knif dream about life in ten years’ time, this is what to date. it will look like: on the floor, holding on to a door frame “The themes in my work are universal, even when I use “I hope that I will still be able to dance myself. I’m 38, but I so that I wouldn’t disappear. It was like myself as the starting point.” can already see the end approaching, and must process those Knif has a holistic conception of artisthood – he wants to emotions. I hope that I will still work with the same dancers, my body wanted to live, but my senses experience a strong connection between the visual, light, sound but also with new ones. I will be creating new works and tour were preparing to die. My fingers twisted and movement. It helps to have worked for a long time with internationally as much as possible.” the same team. and dislocated, and suddenly it seemed “Everybody has a hand in everything. I supply the basic vision, \ but I don’t always have the answer for how we will get there. Writer is a journalist and dance critic, and former dancer at the too difficult to breathe. I heard the door We discover the way together and do a lot of improvisation.” Finnish National Ballet. and you came home. I was frightened Before setting up his own ensemble, the Carl Knif Company, a few years ago, Knif danced almost ten years with Tero Saarinen. All photos from Red. because you were frightened by me. You said it’s that damn medication, I have seen it before. I was relieved to know that you could see me. I thought I didn’t exist.”

Carl Knif: Red. Extract from the text in the performance. P 38 FINNISH DANCE IN FOCUS 2015–2016 DIRECTORY OF FINNISH DANCE FINNISH DANCE IN FOCUS 2015–2016 P 39

This directory offers an overview of the Finnish dance field. It lists dance companies, DIRECTORY OF production centres and regional dance centres. It also includes festivals, venues and schools providing professional dance education. Discover more Finnish choreographers, FINNISH DANCE organisations and events at www.danceinfo.fi .

DANCE THEATER ERI Norway Dance Company within Art Institution A \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ Turku State-subsidised Dance Companies S DANCE STATE SUBSIDISED 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, dance Rovaniemi FINNISH NATIONAL BALLET AB is known as a constantly evolving, 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.opera.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 beautifully restored former factory on integrates contemporary dance with F Kokkola R F as Tero Saarinen, Jorma Elo, Jiří Kylián, the banks of the Aura River in Turku. circus artists, musicians, writers and F Pyhäsalmi John Neumeier, Alexei Ratmansky and Genres: Contemporary dance, dance visual artists. Hurjaruuth’s annual Kuopio Ohad Naharin. The Ballet employs 73 theatre, performances for children Winter Circus thrills audiences with its Kaustinen Outokumpu E Vaasa F dancers representing 19 nationalities, aerial stunts, juggling and eye-boggling I R S R E and 9 dancers in its Youth Company. entertainment – each year’s show is a F Genres: Contemporary dance, completely new creation. I R Joensuu Jyväskylä classical ballet, contemporary ballet, F © Seilo Ristimäki. AB Dance Company. Jorma Uotinen: Ennen viimeisiä ajatuksia. performances for young audiences I F Pori F Tampere I HELSINKI DANCE COMPANY S R E Lappeenranta F S I Helsinki R F E Kerava I Contact: Turku Jyrki Karttunen, artistic director S I Kotka I S Vantaa www.hdc.fi Espoo Helsinki The biggest contemporary dance com­ Raseborg A pany in Finland with 12 dancers. HDC I S performers are known for performing

I physically demanding contemporary

P dance as well as expressive dance thea­ tre. Helsinki Dance Company’s home is R the Helsinki City Theatre. F Genres: Contemporary dance, dance E Estonia theatre P 40 FINNISH DANCE IN FOCUS 2015–2016 DIRECTORY OF FINNISH DANCE DIRECTORY OF FINNISH DANCE FINNISH DANCE IN FOCUS 2015–2016 P 4 1

Genres: Dance theatre, performances DANCE THEATER RAATIKKO GLIMS & GLOMS DANCE THEATRE \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ uncompromising artist’s path has em­ addition to the dancers. for children and young audiences Vantaa Espoo braced nuclear issues and movement Genres: Contemporary dance, dance Contact: Marja Korhola, artistic director Contact: in time and space, as well as treatment theatre, dance film, applied dance Dance Theatre MD. Tommi Hyppy. Kitti: © Harri Hinkka. www.raatikko.fi Riitta Aittokallio, general manager INDEPEN- of completely new elements and the Founded in 1972, Raatikko has its own www.glimsgloms.com search for a balance between disparate CARL KNIF COMPANY venue in Vantaa and also performs on The Glims & Gloms dance company was elements. Helsinki tour. Raatikko creats dance pieces for founded in 1999 by Simo Heiskanen and DENT DANCE Genre: Contemporary dance Contact: Carl Knif, artistic director children, young people and adults, often Tuomo Railo. G&G’s works are charac­ www.carlknifcompany.fi combining dance, theatre and circus. terised by stylish and inventive visuals ARJA TIILI DANCE COMPANY Dancer and choreographer Carl Knif is Raatikko puts on over 300 performances and multi-layered themes. COMPANIES Helsinki truly a singular artist. Through his pieces per year, with 2 to 4 premieres, 150 Genres: Contemporary dance, dance Contact: [email protected] such as Hologram Walls or Manuscript audience events and over 30,000 theatre, performances for young AHO & LUNDÉN COMPANY www.arjatiili.fi audiences have encountered the dream­ spectators. audiences Helsinki and www.breakthefight.com like, humorous qualities of his works. Genres: Dance theatre, performances Contact: Emilia Aho and Katja Lundén, Arja Tiili’s works baffle, frighten, awaken, The very personal Red was a huge suc­ for young audiences TERO SAARINEN COMPANY artistic directors thrill and make people laugh. She has a cess, as was his latest premiere, Friends Helsinki www.almaflamenca.net knack for revealing the most intimate, of Dymphna. DANCE THEATRE RIMPPAREMMI Contact: Iiris Autio, managing director Aho & Lundén Company is a contempo­ secret traits of the human spirit. Her Genre: Contemporary dance Rovaniemi Johanna Rajamäki, head of international rary flamenco group combining Finnish work often depicts our dark side: mad­ DANCE THEATRE MD Contact: sales and Spanish culture as well as different ness, violence, loneliness, greediness… THE COMPAÑÍA KAARI & RONI Tampere Matti Paloniemi, artistic director www.terosaarinen.com art forms, with interesting results. In one but always with a palpable sense of MARTIN Contact: www.rimpparemmi.fi Tero Saarinen’s works have capti­ production, the group adapted flamen­ humour. Helsinki Anniina Kumpuniemi, managing director Finland’s northernmost professional vated audiences and critics in nearly co to the music for Finnish folk poetry. Genres: Contemporary dance, Contact: www.tanssiteatterimd.fi dance theatre offers a unique mix of 40 countries, including at BAM & The Genres: Contemporary flamenco, live breakdance, eclectic, hiphop, dance Joonas Antikainen and Nea Granlund, Established in 1997, Dance Theatre MD Finnish folk dance and contemporary Joyce (New York), Chaillot & Châtelet music performance theatre, martial arts, visual arts, young producers performs in Tampere and also tours in dance. They give about 120 performanc­ (Paris), the South Bank Centre (London), audiences www.compania.fi Finland and abroad. Its broad reper­ es annually and have toured in more Movimentos Festival (Germany), New ALPO AALTOKOSKI COMPANY The company’s focus is to incorporate toire features everything from classic than 20 countries. Also a repertoire of Zealand International Arts Festival, Helsinki AS2WRISTS DANCE COMPANY flamenco and its Nordic dimension into fairy tales for children to contemporary first-class folk dance and music perfor­ and Saitama Arts Theater (Japan), and Contact: Helsinki the field of international contempo­ dance pieces for adults. Its Tampere mances. in commissions for companies such as Helmi Saksala, managing director Contact: rary dance, art and music. In 2012 their Dance Current contemporary dance fes­ Genres: Dance theatre, folk dance, NDT1, Batsheva, Lyon Opéra Ballet and www.aaltokoskicompany.fi Minna Tuovinen, choreographer work The Raven won first prize in three tival is an annual event. contemporary dance the National Dance Company of Korea. Ritualistic and earthy corporeal www.as2wrists.fi categories in the prestigious Certamen Genres: Contemporary dance, dance Touring in 2015–2016 with its new crea­ expressions, refined visual insights Their unique style blends Argentinian de Coreografía de Danza Española y Fla­ theatre, dance festival, performances tion Morphed and other repertoire, and flashes of the Finnish mindscape tango with a contemporary vocabulary. menco competition. for children with or without live music. in modern dress. Alpo Aaltokoski is In recent years the company has toured Genres: contemporary flamenco, dance Genres: Contemporary dance, one of the key figures on the Finnish extensively in South America, most and music, physical theatre, young DANCE THEATRE MINIMI contemporary ballet, community dance, dance scene and his choreographed notably in Argentina and Brazil. The audiences Kuopio live music performance, dance films works speak across cultural boundaries. company is diverse, working in dance Contact: Performances on tour in 2015–16: film, organising international develop­ DANCEBOX Glims & Gloms. Simo Heiskanen: PapulaBOX. © Ilpo Vainionpää. Jupe Pohjolainen, managing director Okon Fuoko, Magician, Together, Take ment projects and teaching workshops Lakiala www.minimi.fi my hand. AAC has toured in nearly 30 in dance and camerawork. Contact: Terhi Pinomäki-Lenick Minimi performs both in Finland and countries worldwide. Genre: Contemporary dance www.tanssiboxi.com abroad: on its home stage and on tour, Genres: Contemporary dance, DanceBox is an independent contem­ in traditional stages and on the streets. community dance BOOMTOWN DANCE porary dance group from Tampere, Minimi wants to sustain and develop the Kotka founded in 1998. It performs both in mobility and availability of dance thea­ ARJA RAATIKAINEN & CO. Contact: Ulla Wirzenius, producer Finland and abroad. Performances for a tre and create performances in which Helsinki www.boomtowndance.fi wide range of audiences, young and old, dance and theatre merge into one. Contact: Boomtown Dance is a crucible of art­ in theatres, at schools and on the streets Genres: Dance theatre, physical theatre, Marjo Pyykönen, managing director ists based in South-Eastern Finland who and at markets. street theatre www.arjaraatikainen-co.fi produce pieces on the stage and screen Genres: Contemporary dance, dance Arja Raatikainen (b. 1958) has produced both in front of and behind the cam­ theatre an impressive and varied body of highly era. Boomtown Dance runs an annual praised choreographies since 1987. This residency, which has involved actors in P 4 2 FINNISH DANCE IN FOCUS 2015–2016 DIRECTORY OF FINNISH DANCE DIRECTORY OF FINNISH DANCE FINNISH DANCE IN FOCUS 2015–2016 P 43 OFF/Balance. Anna Mustonen: The Age of the Wind. © Matti Häyrynen. FLOW PRODUCTIONS ISMO DANCE COMPANY independent dance artists Heidi Masalin MALVINIEMI COMPANY Oulu Helsinki and Virva Talonen. The collective pro­ Vaasa Contact: Contact: Ismo-Pekka Heikinheimo, duces works by Talonen and Masalin and Contact: Mia Malviniemi, Pirjo Yli-Maunula, choreographer artistic director collaborates widely with artists from artistic director and choreographer www.flowprod.fi www.ismodance.fi different art forms. www.malviniemi.fi Northern Finland-based company cre­ Choreographer Ismo-Pekka Heikinheimo Genres: contemporary dance and The company produces mainly stage ates 2–3 new productions per year, has a blends art and performance with new performance, site-specific work, works, 1–2 premieres per year. Also site- large repertoire, and tours both nation­ concepts and artistic methods. His so­ performances for children specific performances in repertoire. ally and internationally. The heart and cial agenda touches on body politics Genre: Contemporary dance soul of the company are two renowned and the aesthetics of movement. His KINETIC ORCHESTRA dance artists, Maria Littow and Pirjo Yli- work is multidisciplinary, interactive and Helsinki MAMIA COMPANY Maunula, who collaborate with artists transformative, exploring the spectrum Contact: Vantaa from different artistic genres. of visual culture. For him, dance is a way Jarkko Mandelin, artistic director Contact: Nina Mamia, choreographer Genres: Contemporary dance, to perceive, to describe and to be within www.kineticorchestra.fi www.mamiacompany.fi multidisciplinary productions the world. In just a short time, this group has cre­ Mamia Company is a contemporary Genres: Contemporary Dance, Artwork- ated a strong and recognisable style to dance theatre. The Company`s perfor­ FREECOLLECTIVE specific choreography become one of the most interesting mances deal with contemporary topics, Tampere Finnish contemporary dance companies. human condition and society. They work DANCE COMPANY OFF/BALANCE shop windows and kindergartens Contact: [email protected] JENNI KIVELÄ & KIND PEOPLE The movement-based content and phi­ with a wide array of genres from con­ Jyväskylä function as performance spaces. The vapaakollektiivi.blogspot.fi Helsinki losophy of their works bring together temporary dance to classical theatre. Contact: Elina Häyrynen and Finno-Ugrian roots inspire with their FREEcollective // VAPAAkollektiivi Contact: Jenni Kivelä, choreographer dance techniques, street dance attitudes Terhi Kuokkanen, artistic directors mysticism. operates by inviting guest artists to col­ www.jennikivela.com and circus-like agility. MIKKO KALLINEN & THE COMPANY www.offbalance.fi Genres: Contemporary dance, dance laborate. Creating diverse performances Creating dance performances since Genre: Contemporary dance Helsinki Central Finland-based company with a theatre, multi-artistic performances for the stage and other public venues; 2002 that combine features from dance Contact: versatile repertoire and international touring, hosting masterclasses and edu­ and theatre and move between the con­ LIISA PENTTI +CO Mikko Kallinen, AD/choreographer recognition. The company produces 1–3 DANCETHEATRE LIIKERI cating new dance public. ceptual and the concrete. Jenni Kivelä Helsinki www.av-arkki.fi premieres/co-productions per year with Tampere Genres: Contemporary dance, has a strong and recognisable style. Contact: Sanja Karppinen, producer The Company is a production company top choreographers and artists. Contact: Linda Kuha, choreographer multidisciplinary productions Recently she has explored what can be www.liisapentti.com of artists from various disciplines. New Genres: Contemporary dance, new www.tanssiteatteriliikeri.com recycled in dance context. This company produces 1–2 crea­ creations are mainly video dance/ani­ dance Liikeri is a young contemporary dance GRUPPEN FYRA (G4) Genre: contemporary dance tions per year and tours in Finland and mation and interactive choreographic collective producing 2–3 new creations Helsinki abroad. Other activities: teaching and works. DANCE THEATRE AURACO per year. They perform both on tradi­ Contact: Pia Liski K&C KEKÄLÄINEN & COMPANY dance-related discussions and events. Genres: Contemporary dance, Helsinki tional stages and in public spaces like www.gruppenfyra.com Helsinki Genre: post-contemporary dance audiovisual Contact: Päivi Aura, artistic director galleries and parks. Interaction between Contemporary dance combined with Contact: www.auraco.fi the dancers and audience is a key con­ intelligent humour. Dance theatre and Lilja Lehmuskallio, managing director BALLET FINLAND NIINA AIRAKSINEN DANCE Touring dance company producing 1–3 cept for this company. improvisation-based pieces in places www.kekalainencompany.net Helsinki PRODUCTIONS (NADP) premieres per year. Auraco produces Genres: Contemporary dance, new like parks, streets and trams. Touring The mission of K&C is to promote Contact: Turku performances for all ages and has many dance theatre, dance for young 2015/16 with the pieces Nagru, Reino dance as an intellectual art form with Timo Korjus, [email protected] Contact: Niina Airaksinen, years’ experience working with and for audiences and Aino, Mama!, Great Expectations by strong potential in political and poetic suomalainenbalettiseurue.fi choreographer / photographer / babies and toddlers under 3 years of Sonya Lindfors and Drink the new wine communication of gender. Choreogra­ An independent troupe of classically filmmaker age. Audience development and com­ EHKÄ-PRODUCTION by Virpi Juntti. pher-dancer Sanna Kekäläinen's work trained dancers and choreographers nadp.fi munity dance projects are an essential Turku Genres: Contemporary dance, dance expands the experience of a dance seeking new forms of classical and con­ NADP combines art and science in inter­ part of Auraco’s work. Contact: [email protected] theatre performance by combining philosophy, temporary ballet, tradition and thinking. national productions. NADP focuses on Genres: Dance theatre, young audiences www.ehka.net feminism, text and conceptual thinking The company was founded in 2009 and historical and cultural themes through Dance productions, collective projects, with highly original movement language. since then has been performing success­ contemporary art. A holistic aesthetic DANCE THEATRE KAIE the annual XS Festival and more. Ehkä Genre: Contemporary dance fully in different venues and theatres in visuality is at the core of company’s Kerava hosts the Kutomo contemporary art Finland. Artistic director: Ville Valkonen. stage works. Contact: Anne Jouhtinen space, which includes a stage, studio KATVE [BLIND SPOT] Genre: Contemporary dance www.cra-company.com and gallery. Founded in 2004. Helsinki Multi-artistic productions for adult and Genres: New dance, contemporary Contact: Virva Talonen, choreographer young audiences. Traditional stages as dance, performance/live art, adult and www.katve.info well as streets, market squares, parks, young audiences KATVE [blind spot] is founded by two P 44 FINNISH DANCE IN FOCUS 2015–2016 DIRECTORY OF FINNISH DANCE DIRECTORY OF FINNISH DANCE FINNISH DANCE IN FOCUS 2015–2016 P 45

NOM KOLLEKTIV PETRI KEKONI COMPANY ‘permafrost’) is an open-minded con­ dancers are available for touring. The TSUUMI DANCE THEATRE ZODIAK – CENTER FOR NEW DANCE Helsinki Helsinki temporary dance production company. company has toured in over 20 coun­ Helsinki Helsinki Contact: Contact: Petri Kekoni, choreographer It produces unique, strong dance perfor­ tries in major festivals and venues such Contact: Contact: Jaakko Nieminen, artistic director www.kekonico.fi mances that arise from local and global as Julidans, The Place and Dance Bien­ Salla Korja-Paloniemi, managing director Harri Kuorelahti, artistic director www.nomkollektiv.fi The company is a collective of 20 art­ issues. Routa belongs to the Regional nale Tokyo. www.tsuumi.com www.zodiak.fi The company collaborates on diverse ists, dancers, composers and designers. Dance Centre of Northern Finland and Genre: Contemporary dance Tsuumi Dance Theatre draws strength Zodiak – Center for New Dance is a projects, also installations and films. The Kekoni’s works are known for their per­ employs both dance artists and audio­ from archaic rootstock and gets inspi­ progressive dance organisation and the company’s creations are described as sonal movement language and strong visual artists. SIVUUN ENSEMBLE ration from the surrounding world. It main venue for freelance contemporary fresh, new and personal. The relation­ visual thinking. In its repertoire: Non- Genres: Contemporary dance, dance Helsinki creates diverse performing arts focus­ dance in Finland. Zodiak co-produces ship with ourselves, the other and our Linear (2014), Miniatures – Humans in theatre and applied dance Contact: Ninni Perko, artistic director ing on the synthesis of movement and and hosts 15–20 new dance productions time are elements that run through the small scale (2013), Theses of the Deed and choreographer rhythm. Tsuumi’s speciality has always each year. Zodiak is a member of several works. The press reviews for Le Nom (2011), Green Armchair (2010). SAINE ENSEMBLE www.sivuun.net been a strong co-operation with musi­ international networks and works with (2013) were praising. Genre: Contemporary dance Raseborg A multidisciplinary collective whose cians of modern folk music. international partners in production, Genres: Contemporary dance, new Contact: performances are intensive conversa­ Genres: Dance theatre, folk dance, live teacher and artist exchange, and tour­ dance RASA COLLECTIVE Annatuuli Saine, artistic director tions between different art forms. music performance, contemporary dance ing. Northern Finland (Tornio/ Rovaniemi) www.saineensemble.fi Motion, music, image and text entwine PDC PORI DANCE COMPANY Contact: Titta Court or Marjo Selin Produces 2–4 creations and concepts into a collage of entities, opening semi­ WILLMAN DANCE COMPANY \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ Pori www.pistery.org/tanssiesitykset per year in collaboration with artists nal interpretations to current issues. Helsinki Contact: An independent dance collective run from different art genres. Works are Genres: Dance theatre, multidisciplinary Contact: Mikko Lampinen or Riku Lehtopolku by dance artists Titta Court and Marjo multidisciplinary including dance, music, productions, community dance Marjaterttu Willman, artistic director REGIONAL www.poridancecompany.com Selin inside a cross-art collective PISTE, visual arts and dance shortfilms. www.willmandancecompany.fi Founded 26 years ago, Pori Dance Com­ focusing in making art in relation to Genres: contemporary dance, TAIKABOX Willman Dance Company brings togeth­ CENTRES pany carries forward the message of their community. Rasa produces dance contemporary flamenco, site-specific Oulu er artists who share a passion for dance physicality. Most of its repertoire is con­ works especially in Northern Finland performance, audiovisual art and Contact: Tanja Råman, artistic director and stage art. The goal of the company temporary, and the company also has and the whole Barents Region. The aim multidisciplinary productions. www.taikabox.com is to create original contemporary FOR DANCE a strong history in jazz dance. PDC has of Rasa is to take dance outside tradi­ TaikaBox creates works for stage, screen dance pieces that focus on the central toured in South Korea, Germany, Russia, tional dance venues. SATU TUOMISTO +COMP and specific sites, using innovative questions of humanity. North America, France, and many more. Helsinki digital techniques to enhance our ex­ Genre: contemporary dance CENTRAL FINLAND Genres: Contemporary dance, dance ROUTA COMPANY Contact: Satu Tuomisto, choreographer perience of the moving body. TaikaBox REGIONAL DANCE CENTRE theatre, performance/live art Kajaani www.satutuomisto.com is based in Northern Finland and Wales \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ Contact: “Nothing’s created such a stir before”, and supports artistic exchange between PIRKANMAA AND HÄME CENTRE Kira Riikonen, artistic director wrote the Helsingin Sanomat news­ the two countries. Tampere www.routacompany.fi paper. Tuomisto’s latest production Genres: Contemporary dance, dance/ PRODUCTION Contact: Piia Kulin, managing director Founded 13 years ago, Routa (Finnish for Riisuttuna (‘Bare’, 2014) caused a massive technology www.sisasuomentanssi.fi/english/ media furore, and is now touring. Petri Kekoni: Non - Linear. © Nanna Saarhelo THE TEMPEST GROUP CENTRES KESKI-SUOMI CENTRE Sweaty physicality, explicit emotions and experimental choreographic Helsinki JOJO – OULU DANCE CENTRE Jyväskylä challenges. Contact: Mervi Leivo Oulu Contact: Genres: Contemporary dance, dance www.myrskyryhma.info Contact: Mari Hautala, managing director theatre Founded in 2002. Their work is based on Jarkko Lehmus, artistic director tanssinkeskus.fi the urge to take dance among people, in www.jojo.fi SUSANNA LEINONEN the centre of their natural environment JoJo – Oulu Dance Centre is a dance pro­ The aim of the regional centres is to COMPANY (SLC) – in places where dance performances duction house in Northern Finland. JoJo improve the availability of dance art, to Helsinki are not a familiar sight. runs an annual international OuDance support its development, to promote Contact: Genres: Contemporary dance, dance Festival in September and a year-round collaboration, and to enhance profes­ Susanna Leinonen, artistic director theatre, dance film, performances for dance programme consisting of its own sional opportunities in Central Finland. www.susannaleinonen.com senior audiences productions and guest performances. Specialising in community dance, out­ Susanna Leinonen is one of the most JoJo also hosts an Artists’ Residency reach and service production, the centre internationally acclaimed Finnish chore­ with an active international exchange also runs the Liikelaituri venue in Tam­ ographers. Her works comprise a series programme. JoJo is one of the four pere. of intriguing and fascinating choreog­ organisations that form the Regional raphies of which several works for 1–7 Dance Centre of Northern Finland. P 46 FINNISH DANCE IN FOCUS 2015–2016 DIRECTORY OF FINNISH DANCE DIRECTORY OF FINNISH DANCE FINNISH DANCE IN FOCUS 2015–2016 P 47

REGIONAL DANCE CENTRE public recognition for contemporary \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ Contact: JYVÄSKYLÄ FESTIVAL Juhani Teräsvuori, artistic director dance. One of its main challenges is sup­ Mikko Lampinen, artistic director Jyväskylä www.lappeenranta.fi/balettigaala OF EASTERN FINLAND, ITAK porting freelance artists. www.poridancecompany.com City festival for different art forms: Kuopio concerts, non-verbal theatre, dance, a LOIKKA DANCE FILM FESTIVAL Contact: FESTIVALS FACTORY FESTIVAL MANIFESTI children’s programme. In July. Helsinki Eeva Eloranta, executive producer ZODIAK – CENTER FOR Turku Contact: High quality international dance films, www.itak.fi NEW DANCE / REGIONAL Annual festival with wide-ranging pro­ Mari Lankinen, production manager lectures, workshops and events. In April. Promotes dance, creates work opportu­ AND EVENTS gramme from contemporary dance and www.jyvaskylankesa.fi Contact: Kati Kallio, artistic director nities for professionals, offers training, DANCE CENTRE IN new circus to exhibitions. In September. www.loikka.fi and supports dance production in East­ HELSINKI ANTI – CONTEMPORARY Contact: Katja Lehmussaari, producer & KAKTUS DANCE FESTIVAL ern Finland. Organises the Paikallisliike ART FESTIVAL programme director Helsinki LONELY IN THE RAIN? festival in June and the Lonely in the Helsinki Kuopio www.manillantehdas.fi Kaktus dance festival is held every sec­ Joensuu Rain? festival in November. ITAK also Contact: International contemporary arts festival ond year by Dance Company Gruppen Festival for contemporary dance, per­ manages the Sotku venue in Kuopio. Harri Kuorelahti, artistic director presenting site-specific works made for Full Moon Dance Festival Fyra. In June. formance art and improvisation in www.zodiak.fi public spaces. In September. Pyhäjärvi Contact: Pia Liski, managing director November. Zodiak – Center for New Dance func­ Contact: Contemporary dance from Finland and www.kaktustanssifestarit.fi Contact: REGIONAL DANCE CENTRE tions as a regional centre for dance in Johanna Tuukkanen, artistic director abroad; courses and discussions. In July. Eeva Eloranta, executive producer OF NORTHERN FINLAND Helsinki. www.antifestival.com Contact: KAUSTINEN FOLK MUSIC FESTIVAL www.itak.fi Pirjo Yli-Maunula, artistic director Kaustinen Members of Regional Dance Centre of \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ APINAFEST! www.fullmoondance.fi The largest folk music event in the Nor­ MOVING IN NOVEMBER Northern Finland: “the second cousin of all festivals” dic countries – all the folk music and Helsinki www.jojo.fi | www.routacompany.fi Helsinki HELSINKI FESTIVAL dance you can handle in a week! In early International contemporary dance fes­ www.rimpparemmi.fi ORGANI- Contemporary dance festival; perfor­ Helsinki July. tival in the Helsinki capital region. In www.fullmoondance.fi mances, clubs and panels. In April. The largest arts festival in Finland, fea­ Contact: [email protected] November. Together the Northern Finland dance SATIONS Contact: Mikko Heino turing classical and world music, dance, www.kaustinen.net Contact: Ari Tenhula & Mikael Aaltonen, companies form the Regional Dance apinafest.apinatarha.fi theatre and urban events. In August. artistic directors Centre in the area. THEATRE CENTRE Contact: KOKKOLAN TALVITANSSIT / www.movinginnovember.fi Contact: Maaria Kuukorento BALTIC CIRCLE FESTIVAL Sini Koskimies, senior press officer WINTER DANCE IN KOKKOLA [email protected] Helsinki www.helsinkifestival.fi Kokkola OUDANCE FESTIVAL REGIONAL DANCE CENTRE www.teatterikeskus.fi International contemporary theatre fes­ A four-day event, full of contemporary Oulu OF OSTROBOTHNIA The Centre is a co-operative organisa­ tival & a platform for developing new HELSINKI FLAMENCO FESTIVAL dance and dance theatre. In March. International and local performances tion for professional theatre and dance trends and ideas. In November. Helsinki Contact: Anne Peippo, producer in Northern Finland from all genres of Vaasa companies in Finland. Its goal is to Contact: The festival brings outstanding flamenco www.kokkolantalvitanssit.fi dance with a contemporary twist. In Contact: Annika Sillander, manager promote the activities of individual the­ Hanna Nyman, managing director artists from Spain to Helsinki every year. September. www.pohjanmaantanssi.fi atres and companies and to strengthen www.balticcircle.fi Together with Finnish flamenco artists KUOPIO DANCE FESTIVAL Contact: Jarkko Lehmus, artistic director The aim of the Centre is to develop the their position in Finland. they offer a week full of courses, per­ The largest annual dance festival in the www.jojo.fi/festival/ dance field in the region, to support art­ BRAVO! formances and fiestas. In February. Nordic countries. The programme rang­ ists and build networks between artists, UNION OF DANCE AND CIRCUS Helsinki Contact: Marianna Stråhlmann, es from contemporary dance to classical PAIKALLISLIIKE art forms, cultural institutions and local ARTISTS OF FINLAND International theatre festival for chil­ Helsinki Flamenco Association ballet, folklore, workshops and a varied Kuopio councils on regional and Nordic levels. Contact: Outi Kallinen, chair dren and young audiences held every www.flamenco.fi fringe programme. In June. Platform presenting new productions by or Sami Hiltunen, union secretary second year in the Helsinki metropoli­ Contact: local dance artists. In June. [email protected] tan area. In March. HURRAA! Anna Pitkänen, Festival Director Contact: Asta Elijoki, producer REGIONAL DANCE CENTRE www.teme.fi/stst Contact: [email protected] Helsinki www.kuopiodancefestival.fi www.itak.fi OF WESTERN FINLAND www.lastenteatteri.fi A national festival of performing arts for children and young people. In March. LAPPEENRANTA INTERNATIONAL PISPALA SCHOTTISCHE Turku DANCE MONTH FESTIVAL Contact: [email protected] BALLET GALA DANCE MANIA Contact: Pori www.hurraa.org Lappeenranta Tampere Lotta Skaffari, managing director International dance festival held every A meeting place for Nordic dance and New folk music and dance, concerts, www.l-tanssi.fi spring by Pori Dance Company at Pori international stars. Contemporary works performances, training. Every two years, The Centre covers Southwest Finland Theatre – one of the oldest theatres in and classics. In June. next in October 2015. and the province of Satakunta. It aims to Finland. The Dance Month festival cele­ Contact: Contact: [email protected] develop collaborations and gain more brates its 10th anniversary in April 2016. [email protected] or www.sottiisi.net P 48 FINNISH DANCE IN FOCUS 2015–2016 DIRECTORY OF FINNISH DANCE

RUUTIA! INTERNATIONAL DANCE URB – URBAN ART FESTIVAL OULU UNIVERSITY OF APPLIED FESTIVAL FOR CHILDREN AND Helsinki SCIENCES YOUNG AUDIENCES Urban dance and theatre, site-specific SCHOOL OF MEDIA AND Helsinki performances, visual arts. In August. PERFORMING ARTS International dance performances for Contact: Mikael Aaltonen Options for study: Ballet, folk dance, children and young audiences. In April. www.urb.fi ballroom dance, show dance Contact: Kaisa Karkkonen, producer Degree Programme in Dance Teacher www.hurjaruuth.fi \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ Education Head of Degree Programme: Niina SIDE STEP FESTIVAL Susan Vahtola MA, Senior Lecturer in Helsinki PROFES- Dance Contemporary dance, cutting-edge Contact: [email protected] international performances, lectures, www.oamk.fi/english artist dialogues and workshops. Organ­ SIONAL ized by Zodiak – Center for New Dance. SAVONIA UAS SCHOOL OF MUSIC In February. AND DANCE, KUOPIO Contact: EDUCA- Contemporary dance, classical ballet, Harri Kuorelahti, artistic director dance improvisation, dance education, www.zodiak.fi TION AND jazz dance Degree programmes in Dance, Dance TAMPERE DANCE CURRENT Teaching (BA) Tampere TRAINING Head of degree programme: Eeri Festival of contemporary Finnish dance Pihlajakari held annually in May. Contact: [email protected] Contact: Anniina Kumpuniemi FINNISH NATIONAL www.portal.savonia.fi www.tanssivirtaa.net OPERA BALLET SCHOOL Contact: [email protected] NORTH KARELIA COLLEGE TAMPERE FLAMENCO FESTIVAL www.balettioppilaitos.fi OUTOKUMPU International flamenco festival present­ MOVEMENT & PERFORMANCE ing high-quality artists and shows. Also a THEATRE ACADEMY OF THE RESEARCH wide range of workshops. In July. UNIVERSITY OF THE ARTS HELSINKI Contemporary dance Contact: [email protected] Department of Dance Vocational qualification in dance www.tampereflamenco.com Planning officer: Jan-Peter Kaiku Head of dance education: Ulla Mäkinen Contact: [email protected] Contact: [email protected] TAMPERE THEATRE FESTIVAL www.pkky.fi/amo/outokumpu Tampere DEPARTMENT OF DANCE AND www.pkky.fi/en The programme of Finland’s main in­ THEATRE PEDAGOGY ternational theatre festival includes Planning officer: Justiina Westerinen TAMPERE CONSERVATOIRE new drama, modernised classics, dance Contact: [email protected] Contemporary dance, classical & con­ theatre, contemporary circus and street http://www.uniarts.fi temporary ballet, jazz dance, dance theatre. In August. theatre, performance/live art Contact: ARTS ACADEMY AT TURKU Vocational qualification in dance Eevamaija Miettinen-Kopsa, PR manager UNIVERSITY OF APPLIED SCIENCES Head of degree programme: Miika www.teatterikesa.fi Faculty of Performing Arts / Dance Riekkinen Degree Programme (BA) Contact: TIME OF DANCE in Dance Teacher Education [email protected] Jyväskylä Contact: Heidi Alppirinne www.tampereenkonservatorio.fi Finnish contemporary dance. In Septem­ [email protected] ber, Central Finland. www.tuas.fi/en Contact: Teemu Kyytinen www.tanssinaika.fi University level education in dance in Helsinki

As part of the University of the Arts Helsinki, the Theatre Academy biennially offers a MA degree specializing in either dance perfor- mance or choreography and biennially a BA degree in dance. This pioneering education dates back to the year 1983 and has had a cru- cial impact on the Finnish dance scene since. The residential MA programmes are open to international applicants with sufficient skills in English language and a previous BA degree. The residential BA programme is open only to students who are fluent in Finnish language. As part of their studies, the students gain access to professional level production facili- ties in various fully equipped performance spaces and have the possibility to work with fellow students from a variety of other disci- plines. Resident staff and national as well as international guest teachers jointly provide the tuition. Mobility between the Academies opens up new possibilities for the students. Auditions take place in Helsinki biennially in May.

The Performing Arts Research Centre, TUTKE, is responsible for research and post-graduate studies at the Theatre Academy.

More details on the programmes, faculty and admission at www.uniarts.fi

25th

Contemporary Dance Festival

23.-25.7.2016 Pyhäjärvi www.fullmoondance.fi Photo: Sanna Käsmä