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MADE in the Nordic Countries 2015 – 2016

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MADE in the Nordic Countries 2015 – 2016 2015-2016 MADE IN THE NORDIC COUNTRIES MADE IN THE NORDIC COUNTRIES 2015 - 2016 Editor in Chief: Åsa Edgren Project Coordinator: Anna Diehl Controler: Tuula Lindblad/Akteau - www.akteau.se Graphic Design: Anna Diehl Conceptualizer MADE IN brand: Anna Laurin/Waybeyond Print: Tryckfolket - www.tryckfolket.se Loco World AB www.locoworld.se | [email protected] Thanks to Kajsa Wipp - www.wipp.se for supplying us with the original for the map. MADE IN 2015 photo: Marco Feclistoff photo: Marco DEAR USER MADE IN the Nordic Countries - catalogue celebrates its fifth edition. The idea of a common printed directory for collecting contact information was born in 2010. We felt there was the potential to increase visibility in order to stimulate more exchange, networking and business operations internationally. Fantastic work for all kinds of audiences was available throughout the region, but the visibility could be stronger, we argued. We turned to the artists and institutions active in the field and many were keen to get involved. Today more than 60 companies are part of the project. The distribution channel that has been used since the start is delegate bags in performing arts festivals and fairs around the world. We believe it is a simple and effective way of reaching our target group. The MADE IN directory provides an overview of what is currently available and what is in the pipeline. It focuses on contact information, on connecting the art to its audience. In 2014 we started the website www.madein-theweb.com. There you will find extended information about our subscribers with the possibility to see filmed trailers and a calendar that is continuously updated with performan- ces, workshops and other events. In this issue we have asked Ása Richardsdottir, a long term collaborator with keðja, Nordics Combined and the Wilderness projects to give her view on the Nordic region, its performing arts and its networking history. Our hope is to get you curious about us Nordic folks and that our catalogue and website will serve you well in your research. There is a lot to explore! Åsa Edgren, Editor-in-Chief MADE IN 3 CONTENT MADE IN 2015 - 2016 3 Norway CONTENT 4 Carte Blanche 42 Cirka Teater 44 BEING NORDIC 6 - 9 Dybwikdans 46 ARTISTS, COMPANIES & PROJECTS 10 - 137 Frikar Dance Company 48 Denmark Herstay 50 Aaben Dans 10 Ingun Bjørnsgaard Prosjekt 52 Danish Dance Theatre 12 Jo Strømgren Kompani 54 Fors Works 16 Molitrix Scenekunst 56 Gazart 18 Panta Rei Dance Theatre 58 Den Jyske Opera | Danish National Opera 14 Siri & Snelle 60 Kassandra Production 20 Zero Visibility Corp. 62 Kitt Johnson X-act 22 Sweden Recoil Performance Group 24 Andersson Dance/Örjan Andersson 66 Republique 26 Art of Spectra 68 Teater Refleksion 28 Björn Säfsten 70 We Go 30 Byström Källblad 72 Finland Carl Olof Berg 74 Arja Tiili Dance Company 32 Cristina Caprioli 76 Helsinki Dance Company 34 Charlotta Öfverholm/Compagnie Jus de la Vie 78 Maria Baric Company 36 Charlotte Engelkes 80 Susanna Leinonen 38 Christina Tingskog 82 Tero Saarinen 40 4 CONTENT Cirkus Cirkör 84 Skånes Dansteater 130 Claire Parsons Co 86 Su-En Butoh Company 132 Complete Dance Crew 88 Teaterunionen 134 Cullbergbaletten 90 Weld Company 136 Eva Ingemarsson Dance Production 92 PRODUCTION OFFICES 138 - 140 Gunilla Heilborn 94 Lene Bang Org 138 Göteborgs Dans & Teater Festival 96 Loco World 139 GöteborgsOperans Danskompani 98 Nordberg Movement 140 Helena Franzén 100 Ildance 102 CONTACTS BY CATEGORY 141 - 143 Ingrid Olterman Dans 104 THE NORDIC COUNTRIES & CITIES 144 Institutet 106 Kenneth Kvarnström & Co 108 MAP 145 Lena Josefsson/Kompani Raande-Vo 110 ABOUT madein-theweb.com 146 Malin Hellkvist Sellén 112 Maria Naidu 114 Marika Hedemyr 116 Memory Wax 118 Norrdans 120 Regionteatern Blekinge Kronoberg 122 Regionteater Väst 124 the Royal Swedish Ballet 126 Shake It Collaborations 128 5 BEING NORDIC Being Nordic by Ása Richardsdóttir Someone once said that the 21st century would be the century of regions. I agree. The Nordic region has em- braced its potential in the last 15 years and artists and other creatives have lead the way in reinventing, recreating and rethinking our part of the world. We have attracted global attention in the arts, design, dance, gastronomy, music – but also in the way we conduct our lives, our democratic tradition, our strong feminist society, our environ- mental approach, our Nordic Model. Our governments and Nordic organisations have follow suit, strengthening funding schemes and developing joint strategies for branding the Nordic. A whole lot of image-building is going on. In the performing arts we have been fortunate. We have managed to create projects and events, with and for colleagues around the world, which continue to receive positive feedback, foster genuine relationships between artists and portray the fun-loving spirit Nordics have become known for. While an image is truthful and an offer is genuine, respect will follow and long-term relationships can be established. A BIT OF HISTORY One should continuously challenge and question concepts, identities and images. In this case I ask myself; what is it to be Nordic? Why this close affinity towards a region and its people? Why on earth do I want to spend my time with them? What is this ‘Nordic-ness’ I claim to feel and own? For us Icelanders one would have thought it would have seemed best to get as far away as possible – once we got out from under the heel of the Danes in 1944. For centuries we were oppressed by either the Danes or the Norwegians and when they were not beating us up, they were, along with the Swedes, busy beating up the Finns and the Baltics… and each other. But there is something I can’t get away from. You might think it is the language and the genes – well yes but not really. I mean, the Finns are a totally unrelated species originally from Siberia and their language – MEIN GOTT – sounds wonderful but is totally incomprehensible. Icelandic is the old mother tongue of the other Nordic languages, but the Danes, Swedes and Norwegians of today have no clue what we are saying. 6 BEING NORDIC Here is a test. Do you English speakers get this? Hwæt, ic swefna cyst secgan wylle, hwæt me gemætte to midre nihte siþþan reordberend reste wunedon. 1 I didn’t think so, and this is also generally what Icelandic looks like to people from the rest of the Nordic countries. When we try to speak a common language – and we try a lot - we speak ‘skandinavisk’. The result – well – the Norwegians, Swedes and Danes are fine, most of the time, but us Icelanders and our Finnish comrades feel like we are back in kindergarten. Is it the culture and the character? Yes, kind of, although it must be said we Icelanders are often perceived by the others as the misbehaving child, the bit-too-crazy-way-too-brutally-honest-Latinos-of-the-North! We take refuge with the Finns who understand this ‘misbehaviour’ thanks to their fantastically melancholic, dark humour. But putting my own ‘misbehaving child’ aside I can honestly tell you there is a reason why we feel so close. Despite wars and other unforgivable behaviour, we have seen immense mobility within the Nordic countries for centuries. Mobility creates understanding. And we have been at peace with each other for over 200 years. There is a tremendous shared cultural heritage which one generation after the other has inherited, made its own and reinvented. Since 1952, we have had the good sense to work together in a systematic way within the Nordic Council and its organisations. ART AND CULTURE AT THE CORE The Nordic countries were the first to establish a passport union, a common labour market and a comprehensive social security system. Not only that, art and culture have been a pillar of Nordic co-operation from the beginning. Strategies have taken all manner of shapes through the years. As elsewhere, the economic argument for invest- ment in creative industries took precedence for a while but recently a new voice has begun to be heard, following the lead of the artistic sector. In one strategy document after the other artistic creation is being celebrated for its own value2, following a holistic approach declaring investment in arts and culture as essential for the sake of the wellbeing of citizens, integration and inclusion, health and education. 7 BEING NORDIC The emphasis on the arts and culture in Nordic policy and funding schemes is and has long been of immense importance for those of us working in the sector. Fortunately, we have developed our schemes and our regional artistic approaches, projects and strategies have become influential. This has been particularly evident in contem- porary dance, for example with the keðja project begun in 2008 and the Ice Hot Nordic Dance Platform launched in 2010. These two projects and others have been celebrated as exemplary by funders and other organisations that have acknowledged the benefit of their holistic approach for the artistic field and applauded their innovative spirit. TRUST In a region of 26 million people it makes economic sense to work together. But more is needed. Our region is built on a tradition of working together that has created trust and openness which has trickled down, through genera- tions, organisations and people. This feeling of trust is fundamental to our joint Nordic existence. Our social safety net enables us to think innovatively, our education gives us free access to opportunities and our gender equality ensures a voice for democracy and an avenue for change. Trust is the key word. It is through trust that we build nations and it is through trust that we build strong regions that have something to share with the rest of the world.
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