P 2 finnish in focus 2014–2015 editorial contents finnish dance in focus 2014–2015 P 3 \ \ Visions

Finnish Dance in Focus 2014–2015 Volume fifteen of 04–07 14–21 Publisher: Dance Info Bulevardi 23–27, FI-00180 Tel. +358 (0)9 6121 812 Possible Fax +358 (0)9 6121 824 \ [email protected], www.danceinfo.fi “Some people are Editor-in-chief: Sanna Rekola kinaesthetic learners who [email protected] Worlds 'learn on their feet'.” Editor: Elina Manninen [email protected] – Katja Kirsi Editorial board: Piia Ahonen, Hannele Jyrkkä, Working in a creative field requires the ability to spot new connections between Elina Manninen, Sanna Rekola \ Writers: Satu Herrala, Hannele Jyrkkä, Maija things, develop original ideas and distance oneself from the ordinary. Creative “People have a strong desire Karhunen, Elina Manninen, Raisa Rauhamaa people need to be sensitive, smart, brave and free-spirited. to see everything, to sort of Every now and then, we culture lovers encounter a work that generates English translation: Ruth Urbom 25–28 acquire everything.” Graphic design and layout: Inka Kosonen new associations, possible worlds and broader views on life. To me, this sums Photographers: Tanja Ahola, Maria Baranova, up the meaning of art. – Valtteri Raekallio Bargsteen Photo, Elina Brotherus, Laurent The ability to distance oneself from the familiar and to combine different Champoussin, Victor Engström, Jurgita genres and techniques is also crucial for vibrant dance art. Without that sort Grubere, Satu Herrala, Robert Hoge, Matti of spiritual and physical freedom, dance becomes merely a bearer of tradition, Häyrynen, Mikko Kallinen, Mirka Kleemola a repetition of the past. Lennart Laberenz, Leevi Lehtinen, Pirjo That atmosphere of doing things differently has been reflected strongly in Lempeä, Marko Luukkonen, Anna Mustonen, \ the field of Finnish dance art in recent years. Finnish dance artists draw bril- Marko Mäkinen, Katri Naukkarinen, Park Hyun- “When I photograph dance, I have to get keun, Panu Pohjola, Roberto Pugliese, Patrik liantly on various other artistic genres, social phenomena, cultures and views into the rhythm of the performance.” of the world. Recent works also liberate viewers to experience something new. Rastenberger, Marco Riva, Samuli Ronkanen, – Sakari Viika Nanna Saarhelo, Ia Samoil, Jussi Sirviö, Heidi On pages 14–21 of this issue, Finnish choreographers consider some new Strengell, Uupi Tirronen, Tapio Vanhatalo, ways to generate interaction with contemporary audiences. Some rising young Sakari Viika, Timo Wright choreographers give their views on the sources of their creativity (pp. 8–11), as does (pp. 33–36), who celebrates his 50th birthday this year. On the cover: Just Queens Even Finnish Dance in Focus magazine has been updated. The content and 02 Editorial 22 residency diary Choreographer: Satu Herrala design have been improved – you’ll find a colourful collection of photos from Visions of possible worlds \ Elina Manninen Creating Nature Dancers: Heli Meklin, Noora Nenonen, Linda dance photographer Sakari Viika’s album in the centre spread. We also cherish in the Danish Wilderness \ Satu Herrala Priha, Anni Rissanen, Aino Voutilainen. older traditions, such as continuing to issue the magazine on paper. The core 04 news Cover photography: Katri Naukkarinen content is also available online. We’d love to hear your views on the content as 25 Dance in Pictures Printed by: Painotalo Miktor well as the appearance of the magazine. 08 NEW FACES Sakari Viika – With Gratitude: The Ministry of Education I hope you enjoy reading the latest issue of Finnish Dance in Focus! Masi Tiitta: Concentrated presence Moments crystallised in photos \ Elina Manninen and Culture, The Ministry of Foreign Affairs Marjaterttu Willman: Belief in motion Elina Manninen Anna Maria Häkkinen: The poetic concrete 29 the world and us ISSN-1795-9837 Editor Jarkko Partanen: Freedom and opportunities International dance citizens \ Maija Karhunen \ Elina Manninen 33 Choreographer in focus 1 2 Regional Focus \ Elina Manninen The power of dance is the fiery core of Tero Saarinen’s Dance Info Finland is a gateway to Finnish dance. It works as an active information office and expert organisation world \ Raisa Rauhamaa with a mission to develop the art of dance in Finland and strengthen the position of dance in Finnish society. 14 Feature Founded in 1980, Dance Info Finland´s main activities include communications, promotion, advocacy, gathering Finding new ways to be different \ Hannele Jyrkkä 37 Movers and Shakers statistics and facilitating international projects. It has eleven member organisations that represent the variety of dance styles and dance organisations in Finland. Saiffa – centre \ Elina Manninen Dance Info Finland’s website www.danceinfo.fi includes e.g. performance calendar, dance database TANKA and the latest news about Finnish dance. Finnish Dance in Focus, which represents the Finnish dance field to an international readership, is published once a year. 38 Directory P 4 finnish dance in focus 2014–2015 news news finnish dance in focus 2014–2015 P 5 \ \ Kinaesthetic ICE HOT in Oslo learning The programme will include diverse, photo Uupi Tirronen high-quality performances from established groups as well as newcomers.

From 9 to 14 December 2014, ICE HOT – enthusiasts from all over the world. For the Nordic Dance Platform will present the best first time in 2014, ICE HOT will also present of Nordic contemporary dance in Oslo, the dance performances specially geared for capital city of Norway. children. The programme will include diverse, ICE HOT – Nordic Dance Platform is high-quality contemporary dance perfor- a Nordic collaborative project. The lead mances from established groups as well partners are Dansens Hus in , as newcomers. The full programme will be Dansens Hus in Oslo, Dansehallerne in announced at the Tanzmesse in Düsseldorf Copenhagen, Performing Arts Iceland and in August 2014. Dance Info Finland. EM In addition to the artistic programme, the event serves as a broad forum for dis- \ cussion and meetings that attracts dance Find out more: nordicdanceplatform.com

\ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \

In the spring of 2014, the Zodiak – Center explained Katja Kirsi, Zodiak’s outreach Kirsi explained. for New Dance launched its TALK – Art co-ordinator. In addition to developing methods, the Dance on your and Movement for Language Learning pro- New teaching methods are being devel- project is studying the effects of regular, ject. The three-year project is linked to a oped at selected primary schools, where a long-term creative work on language- workshop method previously developed dance instructor who is a native or fluent learning outcomes and learners’ motivation. tablet at Zodiak, which combines dance art with speaker of the language being taught will The project leaders want to share their language learning. The aim of the project work with the school’s own teacher and experiences with others as well. When the is to continue the development of kinaes- pupils for a period of three years. Seven methods have been developed further, they Dance Info Finland and Provisual Oy, a digital content producer, thetic teaching methods. languages are being taught as part of the plan to produce some instructional videos have created an app that presents Finnish dance art using new “All of us learn via our senses. We programme. on the subject. The kinaesthetic teaching technology. The Dance Finland app, released in April 2014, is free mainly use our senses of sight and hear- “This isn’t a method where you keep method is also being taught as a topic in to download for iPads and Android tablets from the Apple Store ing. Some people are kinaesthetic learners repeating the same exercises. Instead, every special workshops for dance artists and and Google Play. who ‘learn on their feet’. They learn things artist guides the group individually, utilis- language teachers interested in the sub- Dance Finland showcases 14 Finnish dance ensembles and best by storing them as physical images ing their own artistic and physical working ject. EM artists using a variety of media: there are videos, photos, articles using muscle memory: by doing, trying and practices. The artists’ professional skill and links to social media and sources of further information. New experiencing. In the workshops, we use means they can guide any group from the \ content is added regularly. EM methods for all different learning styles. group’s own starting point and involve the Find out more: www.zodiak.fi The idea is that we learn best by totally participants in a creative learning process \ immersing ourselves in doing something,” that combines language and movement,” Find out more: www.fanpod.fi/dance P 6 finnish dance in focus 2014–2015 news news finnish dance in focus 2014–2015 P 7 \ \

special needs. This June saw the publica- FolkJam tion of SampoFolkJam, a book containing 40 dance-based games for children and adults. When we were developing the inspires games, we had the feeling we were break- ing new ground – nobody had done this sort of thing before,” said choreographer and people to get dance instructor Petri Kauppinen. There are now plans for a Swedish- active language version of FolkJam, as the concept based on and folk music has been attracting interest in . “We’re certain that more people will become interested in dance and get involved through this kind of direct physical Dance instructors in northern Finland have The concept was created by dance activity,” explained Kauppinen, who also come up with a new form of dance exercise professionals in the northern city of Oulu leads jam sessions himself at fitness centres that could be called the Finnish answer working together with students from the and other venues. HJ mikko kallinen: to Zumba. FolkJam®, which has its roots in dance education programme at Oulu Uni- REVERSE

This year marks the centenary of Finnish profiles for the cyborg and the robots that Dance gets animation. Over the past hundred years, include influences from the biological and animation has come to encompass a variety mechanical world. Situating the characters of techniques for expressing moving images. and the entire setting of the piece along animated Even the first Finnish computer animation this interface creates a duality that is simul- appeared some forty years ago. taneously cosy and fascinatingly strange,” Animation goes beyond the Moomins Kallinen explained. series and Angry Birds to embrace fine art Working along with Mikko Kallinen on as well. Dancer-choreographer Mikko Kal- the project are Marko Luukkonen, who is in linen & The Company, pioneers in Finnish charge of cinematography and visualisation, video dance, are working on a fictional and Roberto Pugliese, who is responsible animated dance film about an encounter for 3D animation. A trailer will be available between a biological cyborg and mechani- on YouTube in the autumn of 2014, with cal insect-like robots. the completed work released in January “We’ve created for 2015. EM REVERSE

Belief in motion – Marjaterttu Willman (b. 1976) the lessening of humanity around us are things that get me thinking. Growing into motherhood has opened up meet the new faces! Who? Choreographer, dancer, director of the Willman new perspectives. With a small child, being in contact Dance Company, founded in 2012. Graduated from the Finn- with the fundamental things in life brings a new depth ish National Opera School. Works: A rush of blood to to my work, too.” Sensuality, presence, multi-disciplined, providing new encounters and experiences the head (2008), Anchors Aweigh (2009), Snowblind (2012). What do you want to communicate? “The conformities and for audiences… poetic concreteness and belief in movement. Four rising Finnish Key features of your work? “Associative dramaturgy, music- assumptions of being human. Different layers of humanity based dramatic arcs, expression through movement, and emerge delicately in dance and physical communication. choreographers – Masi Tiitta, Marjaterttu Willman, Anna Maria Häkkinen and close interaction between music and movement.” The traces left on people by interactions also fascinate Jarkko Partanen – talk about their work and their aims as artists. me. I want to reveal the deep furrows that are hidden in Why choreography? “Throughout my long dance career, every one of us.” I have conveyed other artists’ inner worlds to audiences as a dancer. Now in creating choreography myself, I feel What are you working on now? “Two brand-new per- Concentrated presence – Masi Tiitta (b. 1983) I am completely in my own territory. I enjoy creating formances. In the concept for one, my colleague and I movement and interacting with dancers. Dance is my way are challenging each other to create a new type of col- Who? Performer, choreographer, dramaturge, sound to communicate; it’s my internal home.” laboration, while the other piece focuses on the theme designer. Studied composition at the Sibelius Academy. of being different.” Dance works: Thank You For Your Love (2011, together What moves you? “People’s interactive relationships and with Anna Mustonen), Soldier (2013).

Why choreography? “To me, the dance stage is a place to concentrate on investigating basic questions of per- formance: presence and the creation of meaning. I also create performances for contemporary theatre, and I don’t see a huge difference between the two.”

What moves you? “Really, I’m just as interested in what gets us moving as in what makes us stop. Right now, I’m thinking about why ‘physical wellness’ seems to indicate a performative relationship to the body, and what kind of exhaustion is generated by the pursuit of efficiency. So it might be invigorating to see a worn-out, tired or lazy body on the dance stage.”

Key features of your work? “My works are often slow and simple, which is politely expressed as ‘pared-down’. Sound, music and visuals play a big role in my work.”

What do you want to communicate? “I want my works to contain space for viewers’ interpretations – to engage viewers’ critical faculties. It’s important to me that the piece works on a conceptual as well as a sensual level. Gender and sexuality gain visibility on the stage.”

What are you working on now? “A collaboration with Satu Herrala, Eeva Muilu and Anna Mustonen, which will have its premiere in Helsinki in August 2014. I’m also working with Vibes, an artistic ensemble.” P 1 0 finnish dance in focus 2014–2015 new faces new faces finnish dance in focus 2014–2015 P 11 \ \

The poetic concrete – Anna Maria Häkkinen (b. 1981)

Who? Choreographer, dancer. Graduated from Theatre Academy Helsinki (2012) and Turku Arts Academy (2007). Works: WCWBF (2012), Dig My Jockey – Live version (2013, together with Jarkko Partanen), Zoo (2014, together with Katariina Numminen & Co).

Why choreography? “I believe in the performing arts as an increasingly important cultural forum. Getting people together at a particular time and place – how and where we spend our time – has political significance.”

What moves you? “Recently, things like questions of Freedom and opportunities – jarkko partanen (b. 1985) agency, copying and reconstruction, the Public Move- ment group’s workshop, the films of Lars von Trier and Who? Choreographer, performer. Graduated from Theatre a lecture by Tuire Kaimio, an animal trainer, on the Academy Helsinki (2012) and Trinity Laban Conservatoire behaviour and movements of animals.” of Music & Dance (2008). Works: Kommandopiece aka Space Invaders (2012), Dig My Jockey – Live version and Key features of your work? “I trained as a dancer, but CMMN SNS PRJCT (2013, together with Anna Maria early on I started doing performances with references Häkkinen). ranging from popular culture to painting and performance art. I aim for clear outlines, within which it’s possible Why choreography? “I want to create performances and to present things that allow multiple interpretations.” understand that word in its broad sense. There are a lot of opportunities and freedom to do that in choreography What do you want to communicate? “Human physical right now: the freedom to reconsider what choreography experience in various contexts, along with unpacking is and what you want the whole performance to be like. issues of otherness and estrangement. I’m interested in What kinds of encounters and experiences you want to translating intimacy, foundations of violence and the arrange for people.” drive to acquire pleasure.” What moves you? “The people I work with are the biggest What are you working on now? “Performance work in influence on my work. Other long-term collaborators Dirty Dancing by Partanen and Anni Klein. Working with besides Anna Maria Häkkinen include the sound designer the feminist group Magnum Opus, as well as working on Jussi Matikainen and the lighting and visual designer End of time together with a sound designer and drama- Samuli Laine. I believe our long-term shared experience turge, and A piece of nature with Rea-Liina Brunou.” is evident.”

Key features of your work? “Anna Maria, probably… We either create works together, or else she always seems to be on stage in my works – hopefully that’ll continue in the future as well!”

What do you want to communicate? “It depends a lot on the work. In my next piece, I hope to communicate something about dirt, dancing, shame and what can be inappropriate in 2014.”

What are you working on now? “I’m part of the Finland- Australia exchange project between the Zodiak – Center for New Dance and the Campbelltown Arts Centre. My latest work, entitled Dirty Dancing, will have its premiere in November 2014. I’m working on that with director Anni Klein.” P 12 finnish dance in focus 2014–2015 Regional Focus Regional Focus finnish dance in focus 2014–2015 P 13 \ \ text Elina Manninen, photo Ia Samoil Dance around

Finland one of our own co-productions or festi- in-group, while some think it’s downright vals, or curating guest programming in sinful. Then again, competitive ballroom FINLAND’S REGIONAL our own Sotku performance space. I have dancing, street dances, folk dancing and DANCE CENTRE NETWORK to tailor my choices to each context. For contemporary dance all have a strong example, I’ve set aside a lot of space in presence in the Oulu region. The regional dance centre network Sotku’s guest performance schedule for “In addition to supporting the artis- was launched in Finland in 2004. experimental artists who take risks. We tic endeavours of local dance artists and There are a total of six regional cen- have plans to open up more opportuni- international residencies, I want to pro- tres in 2014: ties to international exchange activities duce works via JoJo that unite different as well. dance and artistic genres. As I see it, the - the Regional Dance Center of defining feature of dance art as an artistic Eastern Finland, genre is dance: dance works, in which people dance, are a pretty good starting - the Regional Dance Centre of point for planning a programme. I want Western Finland, We want to produce honest, to bring works to Oulu and produce works here whose ideas have been developed - the Regional Dance Center of tough, audacious, sensitive, Ostrobothnia, smart and experimental physically, with plenty of sweat.” Kira Riikonen, Kajaani – Artistic Director - the Central Finland Regional physical stage art. of Routa Company: Dance Centre, “Kajaani is a lively city for culture and dance. We’ve got a strong base for dance - the Regional Dance Center in here, and the public expect deep, chal- Helsinki (Zodiak – Center for lenging performances. I don’t get a sense New Dance) and kira riikonen: Cry of the wolf. “I don’t compromise on my own artis- that the city’s size or location have any Dancers: Anna Riski, Mari Kortelainen, tic concepts, which have been influenced influence on the sort of dance genres or - the Regional Dance Centre in Anna Venäläinen, Elina Manninen particularly by the experimental atmos- representatives of performance styles I’d Northern Finland (consisting Ia Samoil phere of contemporary dance in . I put into our programme. Quite the oppo- of JoJo – Oulu Dance Centre, challenge the public in Eastern Finland site! With my programming choices, I try Routa Company, Dance Theatre to sample new things and new forms of to present new people and their ways of Rimpparemmi and the Pyhäsalmi experimental artistic expression. We want shaping dance art. Dance Association). to produce honest, tough, audacious, sen- “I want to offer Routa’s audiences Finland has a network of regional dance centres covering the entire country from north to south. sitive, smart and experimental physical strong dance art with a message, via the The regional centres work to improve The six centres bring a wide variety of performances to local as well as international audiences. stage art and dance that is relevant to works of choreographers from Finland as conditions for Finnish dance art, both Kuopio. That’s a good basis for our ori- well as abroad. It’s really rewarding when in Finland and abroad. In practical entation towards international cultural we manage to get high-quality, content- terms, their work includes producing exports.” rich, passionate dance performances onto works and festivals, international col- Though it has a small population in com- Nevertheless, plenty of high-quality influence their artistic offerings? We our programme. I think it’s also important laboration projects and residencies, parison to the most densely settled areas dance art, performances and festivals can asked people from the regional dance Jarkko Lehmus, Oulu – Artistic Director for the subject matter of the performances outreach work and supporting local on earth, Finland is one of the largest be found outside the Helsinki region. For centres of Eastern and Northern Finland. of JoJo – Oulu Dance Centre: to open up to the viewer and to be relevant dance professionals. They are funded countries in Europe in terms of area. In our the past ten years, one of the cornerstones “Yes, I have to take the Oulu region’s to today’s life and our surroundings.” by grants from the Finnish govern- sparsely populated country, the vibrant, of making dance art accessible through- Tomi Paasonen, Kuopio – Artistic Curator public into account in planning our pro- ment, local funds and the proceeds ever-growing Helsinki area is attracting out Finland have been the regional dance of the Regional Dance Center of Eastern gramme. Northern Finland has its own \ from their own activities. new residents from the provinces, and centres located around the country. Finland: challenges in relation to dance. A lot of Elina Manninen is the editor and produc- most Finnish dance artists are based in What sort of artistic profile do these “Of course, my artistic choices change people these days seem to find art dance tion secretary for Finnish Dance in Focus or near the Finnish capital. centres have, and how do their locations according to whether we’re talking about strange and obscure, restricted to a small magazine P 14 finnish dance in focus 2014–2015 FEATURE FEATURE finnish dance in focus 2014–2015 P 15 \ \ text Hannele Jyrkkä

Finding new ways to be different

There is currently a variety of movement visible on the boundaries of Finnish contemporary dance: experimentations in form, concept and experience as well as blending art forms into something new.

Let’s investigate elina pirinen: Personal some new, successful dance works by three Finn- takes the audience literally underground, into a civil defence Symphonic Moment. ish artists that shake up performance structures, ways of being shelter. In the dimly lit space, they move among particular sights Dancers: Kati Koro- on stage and the role of the audience in interesting ways. What and evocative childhood memories. Petri Kekoni built five sepa- suo, Katja Sallinen, spurs them to seek out ways of being different in some way? rate stages in an old power station for a brand-new work – his Elina Pirinen Choreographer Elina Pirinen, who won the highly regarded twenty-first – which lets spectators construct a performance for Timo Wright Critics’ Spurs award for her latest work in April, does not hesitate themselves from the things going on around them. to stride across the stage pointing a blowtorch at the audience, looking them right in the eyes, while Dmitri Shostakovich’s Symphonic tempo Leningrad Symphony booms out. In Elina Pirinen’s Personal Symphonic Moment (2013), the music In his first full-length choreographed work,Valtteri Raekallio of Shostakovich booms out on the darkened stage for nearly a P 16 finnish dance in focus 2014–2015 FEATURE FEATURE finnish dance in focus 2014–2015 P 17 \ \

quarter of an hour on its own. Gradually, the stately, unrestrained The works choreographed by 32-year-old Elina Pirinen have “I like building things and visual art, so I like to try out these and ever-expanding performance begins to unfurl, providing been praised for being indirectly political and thus affectingly installation experiments myself,” Raekallio explained. plenty of food for thought. personal. She says she is continually excited by wild, beautiful, Having worked in over 60 dance pieces, 31-year-old Raekal- “We took the symphony as the starting point for the piece. intelligent ‘psycho-physical’ performance landscapes. lio wanted to make the first work he choreographed himself Structurally, it is monumental, with a challenging political his- Pirinen and her team spent a long time considering how primarily experiential rather than conceptual. tory and pompous, boldly sentimental elements – everything to utilise movement techniques acquired through decades of I also want to explore how dance “I’m not ashamed of wanting to work via emotions, even that people are, whether openly or unbeknownst to themselves,” hard work in relation to an undefined new type of bodily being. though the work does engage the intellect as well,” he explained. Pirinen explained. Her latest work has been very well received “We’ve spent enormous amounts of time practising ballet can be as emotional, direct and “I’m not rejecting conceptualism – the installations I’ve created by viewers from Finland and abroad. and contemporary dance technique. On top of all that, it takes expressive as music. are conceptual. But I think it’s nice there are different surfaces to The work acquired its most fundamental characteristic a whole lot of other skills and courage to get it to express things grasp. In my view, the affectiveness of traditional dance theatre during rehearsals in Brussels, when the performers’ hair started other than just itself. I wanted what we were doing not to return is not a bad thing either.” to cling to their faces in a heat wave. Being covered in sticky to dance, but to go somewhere broader,” she said. Raekallio considers himself more of a conservative than a hair became the ‘condition’ in which Pirinen and dancers Kati postmodern creator. Even so, this work also builds on his own Korosuo and Katja Sallinen began to live with and against the experiences as a contemporary live-action roleplayer. tempo of the symphony. New performativity surprising movement and radical ways of being. The items on “Overall, I like getting sweaty, training and making danc- “It took us to some ultimate primitive extreme, to a world When viewing these symphonic bodily re-interpretations stage included a blowtorch, rat traps and lighting fireworks by ing so good it sings. Poets burnish their material. I demand that seemed almost autistic. We delved into a deeper personal performed by three female characters, I was reminded of phi- Tomi Humalisto. Working with Heidi Väätänen, who created the the same of my own performances, even when they’re partly reality and noticed it was easy to stay there. It felt important to losopher and gender theorist Judith Butler’s theory that even absurd, cutting and even humorous script, Pirinen considered improvisational. I also want to explore how dance can be as stylise that in the context of the stage,” Pirinen recalled. gender is a performative act and is constructed by repeating how banal humanity and philosophy could negotiate boldly emotional, direct and expressive as music,” he said. The members of the team began to ponder all sorts of issues the same actions – or variations of them – over and over again. with each other in 2013. about time and humanity. Was Pirinen’s approach to find some sort of new performa- “For example, we thought about how to portray the crip- tivity which foregrounds the female characters’ physicality as Choreographic paintings pled spiritual landscape we and other contemporary people well as performing and being on stage? The call of non-space Choreographer Petri Kekoni describes himself primarily as a inhabit, as well as that of the eternal, universal human body. “Partly, yes,” she replied. “But then again, an attempt to be The Helsinki Dance Company’s lead dancer Valtteri Raekallio creator of movement. He is often characterised as an ‘architect The objective was to create a totality to communicate something and do something different is a paradox! Everything’s already says he has been interested in exceptional spaces – non-spaces – of contemporary dance’ who creates his own unique works as significant about humanity. To us, the work was a celebration been done, and the idea of doing things differently entails ever since he was a child. Naturally, then, he became interested if statues were moving in space. He also wants to break down of sentimental losers, who we sensed were being put in the being against something – the things you’re doing differently. in the civil defence shelter the Helsinki City Theatre used for the boundaries of his own work. spotlight, in a divergence from the spirit of the times,” she said. Are they trends, traditions, or what? Right now I’m asking how storage, and he got permission to stage his debut choreographic “My art is based on my own system of movement, and move- and why it’s meaningful to be against something.” work, Where Does the Light Go? (‘Mihin valo katoaa?’) there in ment is very dear to me,” he said. “I am somewhat conservative Pirinen went on to explain that she is interested in the pres- the autumn of 2013. in that regard. Certain motifs and dancers have followed me ence of the eternal in the present. She also wants to construct “It’s a highly unappealing place. We designed dim lighting from previous works going back ten years or more. There’s a a future that requires a different stance towards the present. and sprayed the slightly mildewed walls to achieve a sense of certain insanity lurking there, when you always look at space While their group was considering an appropriate form for stag- heightened oppressiveness in the space,” he recalled. and creating a work that relates to movement in a new way. I wanted what we were doing ing this ‘incomprehensible concept’, the discussion also turned As spectators follow Raekallio and dancer Auri Ahola’s foot- In that sense, I want to be free from traditional forms,” Kekoni towards the dangers in the work as well as of being on stage. steps in this installation-like work, it is a journey in the spirit said. The 46-year-old artist studied architecture and fine art not to return to dance, but “We had a good laugh at the thought of whether it was of performance art. Cotton-wool clouds have been hung from prior to his career as a choreographer. to go somewhere broader. dangerous to sing, ‘Peter, don’t leave me, or I’ll jump off the the ceiling in the underground rooms, and audience members Non-Linear, which was completed in March and received balcony,’ while apologising to feminists everywhere because have to walk through a thicket of film strips. One of the rooms very favourable comments and reviews, was created for the killing yourself over a man would truly negate their work,” has been decorated to look like a grandmother’s house which church-like Kattila Hall in Helsinki. Audiences there can shape she laughed. has been transformed into a paint-splashed space when people the work themselves via the principle of chance. The notion of dangerousness suffused the movement pass through again on their way back. The work was created With a week to go before opening night, Kekoni was excited material as well as the scenography, giving rise to waiting, auteur-style by means of props. by the thought of what breaking boundaries and performance P 18 finnish dance in focus 2014–2015 FEATURE 2. mFEATUREain story finnish dance in focus 2014–2015 P 1 9 \ \

1. Elina Pirinen: Personal 1. Symphonic Moment. Timo Wright \ 2. petri kekoni: Non-Linear. Nanna Saarhelo \ 3. Valtteri Raekallio: Where Does the Light Go?. Marko Mäkinen

forms could mean when the investigation of movement a new group of musicians with gigs on the horizon. 3. remained at the core. “I’ve started composing my own music and writing absurd In Non-Linear the work is basically scattered like fragments lyrics about a human being wandering around the world with on the walls – choreographic paintings. Viewers can walk around her anatomy,” she said. within the performance along with the multiplicity of varying These days, Valtteri Raekallio would like to spend his time visual compositions, turning their heads when guided by move- doing more “splashing around on the margins” and take his ment impulses or sounds, letting their chosen movement fill future works another step closer to the structure of live roleplay- their mind, seeing the scenes ignite and fade out. The twelve ing. “It would be great to do a long, oppressive performance in an dancers performing primitive yet abstract movement are dis- empty, disused old school I spotted. Hand out a class timetable tanced from one another, but they seem to sense everything and then everybody could re-live their own school years, playing that moves in the space. in the different spaces…” he mused. “You could even think of the work like this: you place a He hopes to develop works further in that direction, where no charge in the middle of it and it blows up, sort of like the Big one knows where the dividing line is between the performance Bang. The universe starts spinning, and everything is trying to and the practical structure. He is also planning a collaborative escape. In that sense, there’s also a sort of spatial dimension piece with a poet and possibly also some wrestlers. here: an image of the universe, if you think that each one of the Petri Kekoni would be interested in exploring how new five stages is its own world,” Kekoni explained. spaces and even outdoor spaces would affect the performance of Non-Linear. “For the rest of this year, though, we’re going to be relying on pieces previously created for my group. For some What’s next? reason, there’s no rush right now. I think that with Non-Linear I During the lengthy process of creating Personal Symphonic created something that filled in the missing piece. Is it possible Moment, Elina Pirinen realised how she wanted to create her that one dance piece could provide that fulfilment – at least for works from then on. There should be a tight framework of entire, a little while? Non-Linear was also a sort of interim statement preferably classical, music pieces, within or against which it was of accounts of everything I’ve done so far,” he said. possible to freely explore new types of performativity. She is currently working on three new pieces, which will utilise her framework method. At the same time, Pirinen has Showing and seeing returned to her roots. She previously sang and played in an indie In his role as a choreographer, Valtteri Raekallio wants interac- rock band and had studied music since childhood. She is now in tion. For the time being at least, he is not interested in creating P 20 finnish dance in focus 2014–2015 FEATURE Point of view finnish dance in focus 2014–2015 P 21 \ \

3. 4. 1. Valtteri Raekallio: Where 1. Does the Light Go?. Marko Mäkinen \ 2.&3. Petri Kekoni: Non-Linear. Nanna Saarhelo \ 4. Satu Herrala: Just Queens. Dancer: Linda Priha 2. Katri Naukkarinen

“I want to keep using this approach to move seated view- A lot of thought has gone into ways of Centre’s activities. ers. In the traditional setup, receiving is hugely experiential, Queer, being Other: not just as part of the process For Priha, the idea behind the project is if the events on stage manage to get the audience whirling. of creating performances, but also at the for everyone to pose the question of how Everything is in motion: the performers So it’s good to consider when creating the material how it Reality Research Centre. This collective we can exist differently in the world, at the 'performativity', the innovative building communicates with the audience, but not to define who the drag and of performing arts professionals produces edges of identity and sexuality. audience is,” she said. works that expand the boundaries of the “It’s literally based on people’s own blocks on the stage and the viewers’ It’s clear that a new performativity is evident in as many performing arts. lives. Making art is linked to considera- works as there are new practitioners seeking new ways of being. Nina Simone Most of their events are put on outside tions of how we could exist differently, viewership. Styles and genres have been being stretched and fused on stage text Hannele Jyrkkä traditional performance spaces, such as investigating existence at the edge and in for a long time, too. in galleries and homes. The Centre also between, or offering a different kind of According to the theory of the postmodern, the present inher- conducts research projects – one current existence, maybe just walking down the ently favours liquid movement, continual change, multiple roles, example is Other Kinds of Circumstances, street. At this early, incubating stage I’ve fluid identities and all-round reflectivity. The much-discussed in which artists go to ‘art prison’ on an been reading a lot of Judith Butler and theme of being different and performing differently can be enforced holiday from their daily life. queer theory.” seen partly as liquidity, which is characteristic of the era, and One of the people in charge of the Priha has just recently been dealing works for passive viewers who come to the theatre to be enter- as an attempt to “find yet another path to the human being”, research is dancer-choreographer Linda with this issue as a dancer in Just Queens, a tained. “I do carry a huge responsibility for making sure the as Elina Pirinen put it. Priha, who is working on a project called work by choreographer Satu Herrala which setting is pleasant for the audience. You can’t frighten viewers, What can be seen is on the one hand something characteris- Being Otherwise – Queer for 2015. The aim gives a new take on drag art. “We investi- even though the work might deal with quite unpleasant things. tic, even universal, of the era, and on the other hand, something of the project is to investigate how people gated things like revealing and concealing. It Sometimes, of course, it’s interesting to take a slightly menacing fresh that avoids ready-made definitions. In works of this nature, can cross conventional borders by creating was fascinating how it was physically linked stance towards the audience,” he said. such as Elina Pirinen’s ‘on-stage bodily autopsies’, Valtteri Raekal- art, what the gender-critical term ‘queer’ to the ways femininity and masculinity are In his sold-out, highly praised debut work, people were lio’s ‘physical theatre of the mind’ and Petri Kekoni’s ‘dance can mean as a form of performance and generally performed. It provided something manipulated to move at a certain pace. “When the viewers Mass’, everything is in motion: the performers’ performativity, what kind of performance gives spectators new physically as well,” she said. see something strange or scary, they slow down the tempo. I the innovative building blocks on the stage and the viewers’ the opportunity to play with their gender For the piece, each person sought out noticed that people have a strong desire to see everything, to viewership. identities. their own drag persona. Priha quickly found sort of acquire everything,” he explained. The experiences of ‘viewer-experi- her own drag character in the singer Nina Elina Pirinen said she is still charmed by the traditional \ menters’ and interactivity of performance Simone – and discovered her own inner stage–audience setup. Hannele Jyrkkä is a journalist and dance critic. events are important aspects of the black woman. P 22 finnish dance in focus 2014–2015 Residency Diary residency diary finnish dance in focus 2014–2015 P 23 \ \ text Satu Herrala, photos Satu Herrala, Anna Mustonen, Jurgita Grubere and Bargsteen Photo We wanted to connect with the non-human beings and Creating Nature processes of nature. We also practiced Dances in the Danish kinaesthetic empathy Wilderness with plants.

In March and April 2014 choreographers Satu Herrala, Anna Mustonen, Eeva Muilu Satu Herrala wrote about the experience: and Masi Tiitta spent three weeks in Toftlund, a small town in Denmark, in a ke ja “This was our first working period and the first time ever when ð the four of us joined in a creative process together. It made a Wilderness Residency. The residency was hosted by a local folk high school for the lot of sense for us to begin our process in such an environment, as one of our starting points for this work is to investigate the performing arts. The group was working in a collaborative process towards a stage relationship between the natural world and theatre space. piece entitled Nature Dances, which will premiere in August 2014 in Helsinki. We are curious about the relationship between the dancer’s body and movement to nature and the natural – and how it has altered through dance history. One of our aims with this piece is to take part in this continuum and dance the nature of 2014. On the first day of the keðja Wilderness Residency, there were three occasions when I found myself in a situation where I felt I was being watched – by dogs. We didn’t see many people on the streets there. Toftlund is a small town with an ageing population and few prospects for making a living.

There were two lively places though. One was the folk high school with 80 young perform- ing arts students with whom The first step was to observe these beings with our senses – although we ate lunch every day. We quite soon we found this was an insufficient way to connect, worked in their studios and as it suggests so clearly a subject–object relationship between shared our process with them the observer and the beings observed. in a workshop and a little Another approach was to find stillness of mind and body and demonstration. allow the intensity of the spring forest with all its beings and The other place was the activities to merge with that stillness. This often created a sense local forest full of wildlife. In addition to the dance studio, the of blurred boundaries between ourselves and our surroundings. forest became our second working space. We could only find We discovered imagination as a powerful tool to enable us to one forest in Toftlund and it was one that had been planted. sense these connections and intensify them. Nevertheless, it was the most natural environment within We also practiced kinaesthetic empathy with plants – similar walking distance. to the way you can project your body into the energy and action We developed a daily practice of spending time there – rest- of another moving body, it is possible to feel empathy towards ing, meditating and moving. We all live and work in an urban a tree. At least this can be trained. environment so it took us some time to tune in to the rhythm At first, it felt impossible to dance in the forest. It was already of the natural surroundings and allow ourselves to settle in. so full of movement and life. Everything I did felt unnecessary We wanted to connect with the non-human beings and there. Standing, sitting and lying were enough. When I stayed processes of nature, and we discovered a variety of strategies still, the animals turned up and approached me – mice, birds in our attempt to do so. and insects. Some of us met deer. P 24 finnish dance in focus 2014–2015 residency diary Dance in Pictures finnish dance in focus 2014–2015 P 25 \ \ Text Elina Manninen, Photos Sakari Viika

I had a feeling that in the forest I saw myself as Sakari Viika – part of the landscape. Moments crystallised

As I settled into the stillness and let myself fade into the landscape, in photos I began to discover the small movements in my body: reflexes, vibrations, pulls towards or pushes away from something. It was not a quest for authenticity, as that also felt irrelevant in the forest, but rather a responsiveness of the body to its surroundings. Perhaps the microbial communities inside my guts were greeting all the microorganisms around, my body’s ecosystem saying ‘hello’ to that of the forest? We looked for ways to integrate these experiences with the exercises we did in the dance studio. Sometimes we took things from the forest into the studio Susanna Leinonen: and devised movement scores with them. Sometimes we took a Blinded Mind (2011) principle from the forest, such as the cycle of a flower emerging, blos- soming and withering, and danced it in different constellations.

The keðja 2012–2015

The keðja project provides a platform for the Nordic-Baltic contemporary dance community, The most essential aspect I took with me was the expanded experi- with an aim to develop the field of contemporary ence of time and space. I had a feeling that in the forest I saw dance in the region. As part of the project, the myself as part of the landscape, especially when I allowed myself keðja Wilderness Residency programme offered just to stay somewhere for a long time without the necessity residency opportunities for dance artists. to produce anything. The most wilderness-like environment we came across The residencies took place between January during our residency was on our trip to Rømø Island. We spent 2013 and May 2014 in ten communities on the a day there merging with the windy beaches and sand dunes. periphery of the Nordic-Baltic region, offering Beginning our work at a keðja Wilderness Residency in a ten artistic groups a unique platform to explore, small, quiet town steered our creative process in a particular engage, create and present work in close proxim- direction that we could not have discovered in our usual urban I started photographing dance art in the matches the tempo of the piece. The way performers’ faces, their sweat! There ity to unspoilt natural environments and local environment. Next we are heading off on another 3-week Wil- 1980s. Initially I saw dance as a visual to do this is by spending enough time are no rows of seats or orchestra pit in residents. derness Residency in the water meadows of Dviete – a nature composition, but then I grew interested there. Over time I’ve also learnt to ‘read’ between. reserve in south-eastern Latvia, home to wild horses and a in its physicality. movement, to anticipate. People think of dancers as beautiful, The keðja 2012–2015 project is funded by the flocking and nesting place for migratory birds.” When I’m photographing dance, I I like to photograph dancers close up, but sometimes you also get glimpses in Culture Programme of the European Union. “have to get into the rhythm of the per- and that closeness is also evident in the my photographs of what that tremen- \ formance. You can’t plan the photos in image. I can’t show viewers the path of dously hard work does to their bodies. \ Satu Herrala is a dancer, choreographer, curator and from 2015 on advance, and you can’t stage a dance movement, but I can convey the physical- Beauty and pain – they’re both part of Find out more: www.kedja.net and the artistic director of the Baltic Circle festival. photograph. ity of the dance. the overall picture.” kedjawilderness.tumblr.com/ I want to get the rhythm ‘under my With a photograph, viewers can skin’, to get up to a shooting speed that see perspective in different ways, the P 2 6 finnish dance in focus 2014–2015 Dance in Pictures Dance in Pictures finnish dance in focus 2014–2015 P 2 7 \ \ 2.

\ \ aatikainen: aatikainen: a R j Looping (2013) Looping 1. I smo- P ekka H eikinheimo: 2. Johanna N uutinen: (2011) X-it 3. A r (2006) Numen 1. 3. P 2 8 finnish dance in focus 2014–2015 Dcontentsance in Pictures The World and Us finnish dance in focus 2014–2015 P 2 9 \ \ 1. \ Text Maija Karhunen International dance citizens

Name: Sakari Viika Profession: Photographer, photographic artist Born: 1956 in Helsinki, Finland Current home: Helsinki

Photographer and documenter of dance art, including works by: , Helsinki Dance Company, Tero Saarinen, Susanna Leinonen, Reijo Kela, Tommi Kitti, Nomadi Productions, Ismo- Pekka Heikinheimo and Kirsi Monni. 2. He has also photographed opera and theatre pro- ductions, documented visual and performance art and installations, worked as a press photographer and had numerous exhibitions of his work.

Going from one dance stage, festival, resi- dency, city and country to another – artists are modern-day nomads for whom multi- culturalism is not just a topic for official speeches or import-export activities but a part of everyday life. Veli Lehtovaara and 1. Mammu Rankanen: Milla Virtanen are dancer-choreographers Rooted to Sky (2011) \ who have set their sights beyond Finland’s 2. Jorma Uotinen: La Diva (1991) borders ever since they were students. P 30 finnish dance in focus 2014–2015 The World and Us The World and Us finnish dance in focus 2014–2015 P 31 \ \

3. She left the world of competitions behind and began study- 1. Milla Virtanen: It's All Over Now, ing at the Fontys Dance Academy in Tilburg, the Netherlands. Baby Blue. She specialised in dance theatre, where she found a way that Leevi Lehtinen Even though it’s a cliché, felt unique to her of using imagination to present different themes in theatrical, fantastical forms. She found a motive for \ Veli Lehtovaara & Maria Ferreira Silva: looking at things from a movement and was able to combine multiple artistic disciplines. 2. Light as a Feather, Green as an Apple. Having completed her studies in 2008, Virtanen undertook Elina Brotherus distance does give you a dance work in two countries: in Finland, including works by clearer view after a while Katja Koukkula and Jussi Väänänen, and in the Netherlands with \ the United-C and Company Koorts ensembles. She has created 3. Veli Lehtovaara: City of bodies. nine dance theatre pieces of her own so far. It’s All Over Now, Timo Wright Baby Blue, completed in 2011, is still touring internationally.

In contact with the world More recently, Virtanen has put down roots in Oulu, Northern 1. Finland. However, our interview for this article was conducted via Skype as she was currently in the midst of a residency in Hammerfest, Norway at the time. “We’re here, the musician just arrived today and his bags got lost, but there’s a good vibe. There’s a blizzard raging outside, so maybe it’ll be snowing inside the theatre for our work entitled ‘Poroporo’,” she said. She believes the people we encounter, the places we visit and the things that happen – or don’t happen – all influence the creation of art, either consciously or subconsciously. To Virtanen, international residencies are an important way to meet people from different cultural backgrounds, to 2. exchange ideas and experiences – to “stay in contact with the world”. Residencies also enable networking and creating models Lehtovaara graduated with a master’s degree in choreography for future collaborations. their own language of movement. Virtanen does not want to in Finland she finds herself wishing there were performances from the Theatre Academy Helsinki and studied from 2008 to Lehtovaara sees pros and cons to the continental European generalise, but she thinks Europeans might be more liberated every night at sold-out, intimate venues. 2010 at P.A.R.T.S. in Brussels. He wanted to bring the two different dance production structure based on co-productions and resi- in the expectations they place on dance works. perspectives into his dance and choreography, to supplement dencies: “On the one hand, it increases artists’ opportunities to Veli Lehtovaara expressed his surprise at the number of Collaboration on a human scale the training he had received in Finland and to challenge the work and perform beyond national or regional structures, but different local contexts in European dance as well. Brussels is Milla Virtanen says she had always hungered to work abroad, conventions he perceived. Pursuing two parallel courses of on the other hand, your contact with people and organisations one hub that receives a constant stream of artists from all over and it felt natural to her. Upon her return to Finland, it felt study seemed intriguing, and it opened up opportunities to in any one place might remain superficial,” he said. Europe. Finnish dance culture is more domestic, and there is strange that her works still had more traction abroad than at work internationally. A residency can enable an artist to briefly break free from less turnover of works and artists, which also affects the dia- home. Things are changing now, though, and she is grateful. From 2011 to 2013 Lehtovaara worked as the artist-in-resi- other obligations, which Lehtovaara believes can be beneficial logue around dance. “It means there are fewer opportunities to “Even though it’s a cliché, looking at things from a distance dence at the Zodiak – Center for New Dance. During his time for ensemble work in particular. study highly diverse performances and practices, and perhaps does give you a clearer view after a while,” she said. The years there, he created Light as a Feather, Green as an Apple (2012) with Location and community became integral layers of the therefore less openness,” he explained. she spent in the densely populated Netherlands with its lack Maria Ferreira Silva and Vartaloiden kaupunki (City of bodies, artistic work in Inter-local Atelier / Sundays for Everyone, which Milla Virtanen has also noticed intriguing differences of forests made her appreciate the Finnish landscape with its 2013) with Aron Blom. aims to find meaning and alternative ways of working to the between countries in the way dance is discussed, as well as how sense of space and calmness. After his time with Zodiak, he founded Lehtovaara & Com- dominant production structures. The long-term process is based works are received. For example, the sometimes-contradictory, In Finland, people deal with things efficiently and precisely – panions, an organisation based in Brussels, which produces on several artists working together in a specific location for a even painful, humour present in many of her works is received perhaps a little too much so. Virtanen says she was taken to Lehtovaara’s own works, as well as supporting the work of other period of time, with no obligation to produce anything. differently: people in the Netherlands and Britain laugh out task for this directness in international groups, and says she artists. Lehtovaara aims to create possibilities for human-scale loud, while Finns are more serious, not daring to laugh, even has learnt a great deal about the importance of strengthening relations and artistic activities between continental Europe, the though they might feel like it. relations between colleagues. She also recalls that sometimes Nordic countries and Finland. Localness creates rich texture Virtanen thinks that mixing genres and disciplines is more there were language-related difficulties when people had dif- Milla Virtanen was well acquainted with the intensity of When Milla Virtanen visited South Korea and watched per- established as a natural part of the performing arts in con- fering levels of English, which was often the working language touring from her 16-year career in competitive ballroom danc- formances there, she noticed how the language of movement tinental Europe. Various dance techniques are blended into used. That can make it difficult to convey the right ideas. ing. By 2004, though, she was yearning for freedom and a new in Korean works often seemed to be based on classical dance intriguing cocktails, and Virtanen’s own genre of dance theatre Veli Lehtovaara also acknowledges that language influences way of relating to her body instead of continually competing traditions. In one discussion, a Korean choreographer remarked has a stronger presence there than in Finland. She admires his work, and says he particularly enjoys the moments when with herself and others. how European performances seemed to take liberties in creating the boldness of artists there and says that now that she lives he gets to use Finnish. “The boundaries of my expression really P 32 finnish dance in focus 2014–2015 The World and Us Choreographer in Focus finnish dance in focus 2014–2015 P 3 3 \ \ Text Raisa Rauhamaa

open up, and my language is more precise,” he explained. human scale. By “communities” he does not necessarily mean Lehtovaara has been looking for a balance between being nations or groups constructed according to national identities. at home and on the road. In recent years he has spent a third of Lehtovaara also emphasises that art cannot be exported as the year in Brussels, a third in Finland and a third travelling. His a product. The value of art lies elsewhere. “Culture and art can home in Brussels has become more important to him, though, serve as a site for encounters between different people and and he is seeking out more work opportunities there. traditions. Essentially it’s a question of exchange and sharing, “The opportunity to work in different places is enriching, understanding and becoming understood, doing things together but so is putting down roots in one place, in one community and encountering otherness,” he summarised. and building up long-term relationships,” he said. To him, localness is a social and cultural approach; it counter- \ acts indifference and alienation. Equally important are sharing Maija Karhunen is a performer and writer specialising in the and collaboration among different communities, on an easy, performing arts.

In the autumn of 2013, an international conference entitled ‘Sacre 100’ looked at the cultural and historical significance of The power of dance is The Rite of Spring. The programme for that There is a sort of event also included some brief contempo- rary interpretations of the sensational work. impossibility around One of the ten contemporary versions the fiery core of Tero performed at the conference by invita- doing that whole work tion was by Finnish choreographer Milla – that intrigues me. Choreographer Milla Koistinen Koistinen. Her Le Sacre du Printemps, Lennart Laberenz Part II is currently being developed into Saarinen’s world a full-length dance work that will have its premiere in Berlin in the spring of 2015. “The original work has such unbeliev- able energy and fury, and that’s hard to achieve. The music is also challenging, and Heidi Strengell the task of how to relate to the music is dif- in 2004, is a modern-day artist-nomad. Milla Koistinen ficult. There is a sort of impossibility around Over the years she has worked all over the doing the whole work – that intrigues me,” world, including , Germany, Belgium, Koistinen noted. Switzerland, Austria, Iceland, and the and the ever- “In 1913 Le Sacre du Printemps caused Palestinian territories. a riot in the audience: it was new, unfamil- Having put down roots in Berlin, This autumn, on 7 September 2014, choreographer Tero Saarinen Created as a solo piece and set to Stravinsky’s Rite of Spring, it challenging iar and disturbing. For my interpretation Koistinen feels she is in a fortunate position, will celebrate his fiftieth birthday. That age used to mark the could scarcely be more physically demanding. Hunt was last I propose an investigation of chaos and being able to meet and work with artists pinnacle of a person’s career, with lengthy speeches and gifts seen in the autumn of 2013 in Nairobi, after a total of 174 per- confusion, focusing on mechanisms of of many different nationalities. like a gold watch or a fancy vase. In Tero Saarinen’s case, such formances over 12 years in 32 countries. Rite of Spring exclusion and inclusion, as well as the “That’s been the best reward for my images of veneration seem absurd. He looks like a man in his The New York Times dance critic Anna Kisselgoff cited Hunt relation between the individual versus the work! Being mobile and international text Elina Manninen thirties and speaks with boyish enthusiasm. as the best performance at the 2005 Lyon Dance Biennial, and community.” constantly opens up new perspectives “Ageing is interesting – it’s a bit like existing in a liminal the same newspaper ranked it among the top ten performances “The choreographic material explores and takes me and my ideas in some really space: on one hand, it’s a relief to let some things go, but I feel in New York the following year. The Russes’ premiere performance aspects of rituals, madness and rhythm. In a surprising directions. But I also make an I’ve got a lot to give to dance,” he remarked. “The final performance seems to be a bigger thing to others of Le Sacre du printemps (The Rite of Spring) more subtle form the piece poses questions effort to try to organise things in Finland, Saarinen is among Finland’s highest-profile dancer- than to me,” Saarinen noted. shocked its audience in Paris in 1913. Its about the role of the arts today,” she added. too. This is a good time to think about all choreographers on the international scene. At the age of 41 he choreography by Nijinsky and music by The Paris-based Ballets Russes rep- kinds of collaborations and developing new was awarded the international Movimentos award for best male All over the world Stravinsky prompted one of the greatest resented the international dance culture models, when arts funding is being cut in dancer, along with Alina Cojocaru and Sidi Labri Cherkaoui’s Foi. The has performed in Europe, North scandals in the history of 20th-century of their time. Milla Koistinen, who gradu- many countries, and working conditions are The only concession Saarinen has made in his repertoire and South America, Oceania, Africa and Asia over the past two dance. ated from the Theatre Academy Helsinki becoming more challenging,” she noted. may be that he no longer performs his successful work, Hunt. decades. Of his 38 new works, Saarinen created ten for his own P 3 4 finnish dance in focus 2014–2015 Choreographer in Focus Choreographer in Focus finnish dance in focus 2014–2015 P 3 5

1. \ \

3. 1. tero saarinen: Hunt. Dancer: Tero Saarinen. Sakari Viika \ 2.&3. tero saarinen: Vortex. Company: National Dance Company of Korea. Park Hyun-keun

2.

ensemble, as well as commissions for organisations such as the in new levels of sensitivity, but it seems to me they will end up bother me to be the only boy among a bunch of sweaty girls. Lyon Opera Ballet, the in Israel and My own history is an accumulation of on thin ice with this shift,” Saarinen mused. That was the turning point, and there was no going back.” NDT1 in the Netherlands. fleeting, significant moments that open “Could new men be themselves more often, more deeply Besides his solo success with Hunt, Saarinen has achieved and more openly than ever before?” he wondered. Fleeting moments international acclaim with his ensemble with works such as new doors to understanding, Saarinen likes to talk about the significance of key moments. their breakthrough Westward Ho! (1996), Petrushka (2001) and The ecstasy of movement “My own history is an accumulation of fleeting, significant Borrowed Light (2004). The latter was named as one of the best When Saarinen speaks about movement and dance, his eyes moments that open new doors to understanding,” he explained. performances of 2005 by European critics Emma Manning, Maggie light up and the rhythm of his speech quickens. “I train and do The next bloodletting happened in a lesson with the butoh Foyer and Donald Hutera. The Village Voice in the USA cited as a young choreographer in the face of the new. It also arose my choreographic movements the same as before – my dancing master Kazuo Ohno in Japan, after Saarinen had left a promising it as one of the most interesting performances of the decade. from a fanatical faith, almost euphoria, in his own vision. soul is still aflame,” he explained. career with the Finnish National Opera ballet in 1993. These works are classics and continue to find new audiences “I wanted to analyse my own situation in life via move- Saarinen’s choreographic handwriting is not small in scale, The elderly man’s butoh performance, in which he trans- year after year without turning into museum curiosities. Tero ment, to investigate masculinity and friendship. When I was so it demands virtuosity combined with the pursuit of sensitiv- formed into a wolf-like presence, convinced Saarinen of the Saarinen Company and The Boston Camerata were invited to establishing my company, I also thought about whether I had ity in movement motivated by music. power of dance – how movement could express the hidden perform Borrowed Light at the Théâtre National de Chaillot in enough to say, the will and the desire – would anybody help?” As Satu Halttunen, a long-serving dancer in Saarinen’s com- peripheries of humanity so much more precisely than words Paris in the spring of 2014, ten years after the creation of the he explained. pany and his assistant, put it: “Tero’s material is tough: it activates ever could. Everything was there in Kazuo Ohno’s performance: work. It was the first performance by a Finnish ensemble on “Our most recent performance of Westward Ho! was in spring your extremities, pushing them away from each other. Your arms the subconscious and the traditions of the past. that theatre’s main stage. 2014 on the Faroe Islands, and that’s when the piece reached make wide arcs. Tero paints movement with a broad brush and “When Ohno said, ‘We dance on top of our ancestors,’ it was Sections of Borrowed Light were also included in A Chair Fit maturity, at the age of eighteen,” he said. guides you to interpret the content of movement, of images.” as if I’d been slammed against the wall. But most importantly, it for an Angel, a documentary film about the Shaker movement Saarinen’s latest work, Morphed, will have its premiere in “Physicality and even physical distress have always been wasn’t about an individual person’s egotism or need to perform, directed by Raymond St-Jean which won two awards at the August 2014 on the main stage of the Finnish National Opera important to me. I was a puny, asthmatic child, and as a teen- but about something bigger: shared, unspoken knowledge that International Festival of Films on Art in Montreal in March 2014. during the Helsinki Festival. It is a choreographed work for eight ager my utter self-contempt drove me to improve my physique could be expressed through movement,” Saarinen explained. male dancers from different disciplines set to three composi- and develop my muscles. I played sports and did weight train- “Then I understood how far the emphasis on the individual A man’s journey tions by Esa-Pekka Salonen. Morphed sees Saarinen returning ing and went swimming in the summer. Even then, I had an and celebrity are from the original values of dance. Because the Saarinen’s first international success was withWestward Ho!, a to the theme of masculinity. unrestrained desire to make it on my own,” Saarinen recalled. ballet world is constantly seeking new, technically brilliant, work for male dancers, in 1996. Westward Ho! is like a wilderness “Could a new image of males permit men to express things It was not until he was sixteen that he discovered dance. beautiful stars, I realised I didn’t want to be involved in creating rite for three men, with an intensity created by subtle means. like sensuality, vulnerability and desire? With the collapse of “My first dance lesson in a small-town dance school was like that image of the world,” he added. Saarinen recalls how this piece came about from his uncertainty old structures of masculinity, younger men are already living a heady rush, as if somebody had drawn blood – it didn’t even P 36 finnish dance in focus 2014–2015 Choreographer in Focus Movers and Shakers finnish dance in focus 2014–2015 P 37 \ \ text Elina Manninen, Interviewee Jussi ”Focus” Sirviö.

The importance of values “We should learn to be present and not drown ourselves More than merely investigating movement, Tero Saarinen in useless distractions. If you suddenly started fiddling with speaks of values. Values are the basis of everything, and that is your mobile phone in the middle of this interview, I’d smash evident in everything the Tero Saarinen Company does. “Tero it,” he half-joked. SAIFFA – focuses on people. He leads people, not just an organisation. Even so, Saarinen finds that there is also a powerful counter- You can always discuss things with him,” said Satu Halttunen. current in force. A naturally friendly, mutually respectful mood reigns in “There are faint signals in the ether of a collective longing the office and among the company’s members. “We don’t have to discover primitive movements. Choreographers have a lot of STREET DANCE CENTRE roles; we develop ideas in a free atmosphere,” as Saarinen put responsibility here, but also a huge opportunity. Young people it. “It’s important to us to protect the core of our community, so are more interested in different forms of dance than before. Saiffa – Street Dance Centre, located in the heart of Helsinki, offers dance lovers a that everyone can develop their own talents.” What better way to increase tolerance than blending traditions “For example, it’s no use for me to spend a lot of time in and generating interaction among cultures through dance?” variety of lessons, events and a Finnish-style ‘can-do attitude’. The vibrant dance centre front of the computer,” he explained – and admitted that he he observed. and school was founded in 2010 by four dancers from the Flow Mo Dance Crew. currently has over 3,000 unopened emails. This year, Tero Saarinen has completed major commissions Thanks to Iiris Autio, the for Japan and South Korea, and the company also undertook its Why do we do this? company’s managing director, first cooperative development project in Kenya. Flow Mo Dance School? Saarinen can focus on his own “Dance is a relatively young discipline in Finland, and I find Because dance is artistic work while she carries we’re just starting to wake people up. But it’s fantastic to have ultimate responsibility for fund- a chance to learn about dance traditions that are thousands Located? In Helsinki, so important. ing and production. of years old.” at Lönnrotin­katu 25 A. When selecting professionals “When the dancers of the National Dance Company of Korea Over for the company, Saarinen and Autio listen to their intuition. performed some series of movements devised by their guru, lessons20 weekly (breakdance, locking, The psychodynamics of the group are important to them. It is no with their skirts swaying and ancient traditional instruments x popping, hip hop, house…), some 200 accident that the group includes leading figures in many fields, playing, I realised it’s through dance that we are on the same, “Saiffa”? A term used by Finnish students aged 5–40, 9 teachers. Found- such as costume designer Erika Turunen and lighting designer almost shamanistic, spiritual path,” he recalled. dancers when they refer to a ers: Olli-Matti ‘Mercy-1’ Lajunen, Jussi , along with many others. dance cypher or circle. ‘Focus’ Sirviö, Johannes ‘Hatsolo’ Hat- “I never hold auditions where the quiet people, the ones you \ tunen, Mikko ‘Wartecs’ Björk. maybe ought to select, stay in the back row and the bolder ones Raisa Rauhamaa is producer and culture journalist specialising in occupy the front row. I like to be challenged, but the people who contemporary dance. question everything are too challenging. At the end of the day Is street dance becoming dance they’re just propping up their own egos, and they mustn’t ruin art? “Street dance has been get- the spirit of the group,” Saarinen explained. ting closer to the field of dance Money is never a prime motivator, and an indication of this Name: Tero Saarinen art in recent years via a number is that Saarinen has even pledged his apartment as security for Profession: Artistic director, choreographer, dancer of performers, in Finland most loans to make his art possible. Born: 1964 in , Finland notably Ima Iduozee, Dennis ‘Ätä’ “Why do we do this? Because dance is so important,” he Current home: Helsinki Nylund, and Sonya Lindfors.” Events? Intensive courses, jams, club nights, said. “Even in this interview, we could talk endlessly about Dancer: Finnish National Ballet (1985–1993), as a free- Finnish championships and successes with particular pieces, but it’s more important to talk lancer in works choreographed by John Kresnik, Daniel about the enormous opportunities that are crystallised in the Ezralow, , Carolyn Carlson and Jorma the annual Flow Mo concept of ‘dance’.” Uotinen. Own company: Tero Saarinen Company, founded in 1995 Finnish breakdance style? Anniversary event. The power of dance Choreographer: “Faithful to the traditions and “I believe dance and movement are imprinted in people’s DNA. Key works: Westward Ho! (1996), Petrushka (2001), Hunt history of the genre. Focuses on Dance brings people together with its intuitive power. People (2002), Borrowed Light (2004), Mariage (2007) Flow Mo Dance Crew? clean movements and careful have used dance to speak to the gods, to make crops grow and Commissions: for organisations including the ballet polishing of details.” See also: to achieve communion with nature. Physical talent is present companies in Lyon, Marseilles and Lorraine, the Goth- Finland’s most in everyone, if we just surrender ourselves to it. But we are so enburg Ballet, NDT1, Batsheva, Saitama Arts Theatre www. distanced from our own bodies,” Tero Saarinen said. (Japan), the National Dance Company of Korea successful street “It feels like we’re living inside a big bubble these days,” he Motto: “Through my dance, I want to reach the unsaid, dance group, winners of titles includ- saiffa.fi said, referring to the way modern-day people are increasingly the unexplained, the unnamed. I believe in dance that ing the Rock Steady Crew Anniversary www.twitter.com/saiffa entangled in cyberspace and listen less and less to messages touches, that speaks for itself.” in New York and three-time winners www.instagram.com/saiffafm from their own bodies. of Kingz World Championships in www.facebook.com/katutanssikeskus Switzerland. P 38 finnish dance in focus 2014–2015 Directory of Finnish Dance Directory of Finnish Dance finnish dance in focus 2014–2015 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.

The biggest contemporary dance com- Dance Theater Hurjaruuth Norway Dance Company within Art Institution a pany in Finland with 12 dancers. HDC Helsinki State-Funded Dance Companies s DANCE performers are known for performing Contact: Director Arja Pettersson physically demanding contemporary www.hurjaruuth.fi Independent Dance Company i dance as well as expressive dance Hurjaruuth has integrated contemporary Production Centre p COMPANIES theatre. HDC’s home is the Helsinki City dance with circus artists, musicians, Regional Dance Centre R Theatre. writers and visual artists for 30 years, Genre: Contemporary dance, dance with more than 100 productions. Festival & Event f Dance Companies theatre Hurjaruuth’s annual Winter Circus thrills Professional Education e audiences with its aerial stunts, juggling within Art Institutions \ \ \ \ \ \ \ \ \ \ \ \ \ and eye-boggling entertainment in a State-Funded Dance new creation every year. Finnish National Ballet Genre: Dance theatre, performances for Rovaniemi Helsinki Companies children and young audiences R s Contact: Artistic Administrator Sampo Kivelä AB Dance Company Dance Theatre MD www.opera.fi Turku Tampere Sweden Russia About 80 performances and 3–5 Contact: Contact: i p R f e premieres per season. Also works by Managing Director Katja Lehmussaari Managing Director Anniina Kumpuniemi Oulu contemporary choreographers, such as www.aurinkobaletti.com www.tanssiteatterimd.fi Kajaani R Tero Saarinen, Jorma Elo, Jiří Kylián, John High-quality contemporary dance Theatre MD performs in Tampere Neumeier, Alexei Ratmansky and Ohad touring both in Finland and abroad. and on tour around 120 times per year. f Kokkola R f Naharin. The Ballet employs 73 dancers The repertoire includes productions The annual programme consists of 2–3 f Pyhäsalmi representing 19 nationalities, and 10 for both adults and children by Finnish premieres of contemporary dance cho- Kuopio Youth Company dancers. Artistic Direc- and international choreographers. AB’s reographies and dance theatre pieces Kaustinen f Outokumpu e Vaasa s R e tor: Kenneth Greve. regular guest is Russian choreographer for children and adults. MD also organ- i p R Genre: Contemporary dance, classical Sasha Pepelyaev. ises the annual Tampere Dance Current f i R ballet, contemporary ballet, perfor- Genre: Contemporary dance, dance the- contemporary dance festival. Jyväskylä mances for young audiences atre, performances for young audiences Genre: Contemporary dance, dance theatre, performances for children i f Pori Tapio Vanhatalo Tampere Dance Theater ERI Turku Dance Theater Minimi R s e f Lappeenranta Contact: Producer Katriina Lamberg Kuopio Kerava i www.eri.fi Contact: Jupe Pohjolainen, Producer s e g Turku i R f Dancer-choreographers Tiina Lindfors, www.minimi.fi s Vantaa s Lassi Sairela and Eeva Soini founded Minimi performs both in Finland and Espoo Helsinki Dance Theatre ERI in 1989. Over the past abroad: on their home stage and on

a 25 years, ERI has built up a repertoire tour, on traditional stages and on the

s that now includes more than 300 works. streets. Minimi wants to sustain and

i The group produces about 130 perfor- develop mobility and availability of

p Helsinki Dance Company mances every year, of which four or five dance theatre and create performances Helsinki are premieres. in which dance and theatre merge into R Contact: Genre: Contemporary dance, dance one. f Artistic Director Jyrki Karttunen theatre Genre: Dance theatre, physical theatre, e Estonia www.hdc.fi street theatre P 40 finnish dance in focus 2014–2015 Directory of Finnish Dance Directory of Finnish Dance finnish dance in focus 2014–2015 P 4 1 \ \ Matti Häyrynen Dance Theater Raatikko 40 countries, including at BAM and company’s philosophy. As2Wrists Dance Company Vantaa The Joyce (NY), Chaillot and Châtelet Genre: Contemporary dance Helsinki Contact: Artistic Director Marja Korhola (Paris), Southbank Centre (London), Contact: www.raatikko.fi Movimentos Festival (Germany), New Arja Raatikainen & Co. Choreographer Minna Tuovinen Founded in 1972, Raatikko has its own Zealand International Arts Festival, and Helsinki www.as2wrists.fi venue in Vantaa and also performs on SIDance (S. Korea), and in commissions Contact: Manager Marjo Pyykönen Their unique style blends Argentine tours. Raatikko makes dance pieces for for e.g. NDT1, Batsheva Company and www.arjaraatikainen-co.fi tango with a contemporary vocabulary. children, young people and adults, often Lyon Opéra Ballet. Touring in 2014/15: Arja Raatikainen has produced an In recent years the company has toured combining dance, theatre and circus. Morphed (premiere), Borrowed Light impressive and varied body of work. Her extensively in South America, most Raatikko has over 300 performances w/ Boston Camerata, Gaspard, solo Vox work includes pieces commissioned for notably in Argentina and Brazil. The per year, 2–4 premieres, 150 audience Balaenae w/ EIC. Finnish dance festivals, Helsinki Dance company is diverse, working in dance events and over 30,000 spectators. Genres: Contemporary dance, contem- Company and the Finnish National film, organising international develop- Genre: Dance theatre, performances for porary ballet, community dance, live Ballet. Raatikainen’s path has embraced ment projects and teaching workshops young audiences music performance, dance films the treatment of completely new in dance and camerawork. elements and the search for a balance Genre: Contemporary dance Dance Theatre Rimpparemmi \ \ \ \ \ \ \ \ \ \ \ \ \ between disparate elements. Rovaniemi Genre: Contemporary dance Canela Contact: Helsinki

Artistic Director Matti Paloniemi Independ- Maria Baranova Contact: Anna Palmio and The Compañía Kaari & Roni Dance Company Gruppen Fyra www.rimpparemmi.fi Annatuuli Saine Martin (G4) Finland's northernmost professional ent Dance www.canela.fi Helsinki Helsinki dance theatre offers a unique mix of Canela’s repertoire consists of Contact: Contact: Pia Liski Finnish folk dance and contemporary and works that combine contemporary Producers Joonas Antikainen and www.gruppenfyra.com dance. They give about 150 perfor- Companies dance and other art forms. Their works Nea Granlund Contemporary dance combined with mances each year and have toured in include solo pieces by the group’s mem- www.compania.fi intelligent humour. Dance theatre and more than 20 countries. Also a reper- Aho & Lundén Company bers, as well as commissioned pieces by This company’s primary focus is to improvisation-based pieces in places toire of first-class folk dance and music Helsinki top new flamenco and contemporary incorporate flamenco and its Nordic like parks, streets and trams. Touring performances. Contact: Artistic Directors Emilia Aho dance choreographers from Spain and dimension into the field of international 2014/15 with pieces Nagru, Reino and Genre: Dance theatre, folk dance, con- and Katja Lundén Finland. contemporary dance, art and music. In Aino, and Mama!. temporary dance www.almaflamenca.net Genre: Contemporary dance, flamenco, December 2012 their work The Raven Genre: Contemporary dance, dance Aho & Lundén Company is a contempo- performance/live art, performances for won first prize in three categories in the theatre Glims & Gloms Dance Theatre rary flamenco group combining Finnish young audiences prestigious Certamen de Coreografia de Espoo and Spanish culture as well as different Flamenco y Danza Española choreogra- Dance Company Off/Balance Contact: art forms in interesting outcomes. The Carl Knif Company phy competition. Jyväskylä General Manager Riitta Aittokallio group has adapted flamenco to other Helsinki Genre: Dance theatre, flamenco, Contact: Artistic Directors Elina www.glimsgloms.com music genres, e.g. to accompany Finnish Contact: Artistic Director Carl Knif performances for young audiences, Häyrynen and Terhi Kuokkanen Glims & Gloms dance company was folk poetry. www.carlknifcompany.fi contemporary flamenco, contemporary www.tanssiryhmaoffbalance.net founded in 1999 by Simo Heiskanen and Genre: Contemporary flamenco, live Dancer-choreographer Carl Knif is more dance and music, physical theatre Central Finland-based company with a Tuomo Railo. G&G’s works are charac- music performance Arja Tiili & Co than personal; he is a very singular artist. versatile repertoire and international terised by stylish and inventive visuals Helsinki His art does not resemble anyone else’s. DanceBox recognition. The company produces 1–3 and multi-layered themes. Alpo Aaltokoski Company Contact: [email protected] With pieces such as Hologram Walls and Lakiala premieres/co-productions per year with Genre: Contemporary dance, dance the- Helsinki www.arjatiili.fi Manuscript, audiences have become Contact: Terhi Pinomäki-Lenick top choreographers and artists. atre, performances for young audiences Contact: Manager Helmi Saksala Arja Tiili’s works baffle, frighten, thrill acquainted with the dreamlike, humor- www.tanssiboxi.com Genre: Contemporary dance, new dance www.aaltokoskicompany.fi and make people laugh. The perfor- ous qualities of his works. The very DanceBox is an independent contem- Tero Saarinen Company Moving explorations at the core of mances lie on the borderline between personal Red, his latest premiere, was a porary dance group from Tampere, Dance Theatre Auraco Helsinki human life, complete visual insights, dance, performance art and theatre, huge success. founded in 1998. It performs both in Helsinki Contact: Managing Director Iiris Autio flashes of the Finnish mindscape in bravely mixing styles from breakdance Genre: Contemporary dance Finland and abroad. Performances for a Contact: Artistic Director Päivi Aura Head of International Sales Johanna modern dress and winding paths to contemporary dance and video art. wide range of audiences, young and old, www.auraco.fi Rajamäki towards peace of mind. Solidarity and Her latest work is inspired by Günter in theatres, at schools, on the streets Touring dance company producing 1–3 www.terosaarinen.com joint responsibility are recurring themes Grass’s novel The Tin Drum. and in market squares. premieres per year. Auraco produces Tero Saarinen’s works have capti- in choreographer Alpo Aaltoko- Genre: Contemporary dance, dance Genre: Contemporary dance, dance performances for all ages and has a vated audiences and critics in nearly ski’s works and are at the core of the theatre, young audiences theatre long experience in working with and P 4 2 finnish dance in focus 2014–2015 Directory of Finnish Dance Directory of Finnish Dance finnish dance in focus 2014–2015 P 43 \ \ Laurent Champoussin of visual culture. For him, dance is a way independent dance artists Heidi Masalin seeking new forms of classical and broad national and international col- to perceive, to describe and to be within and Virva Talonen. The collective pro- contemporary ballet, tradition and laboration network. Also organises the the world. duces works by Talonen and Masalin, thinking. The company was founded in PDC Dance Month Festival at the Pori Genre: Contemporary dance, artwork- collaborating widely with artists from 2009 and has been performing success- Theatre. specific choreography different art forms. fully in different venues and theatres Genre: Contemporary dance, dance Genre: Contemporary dance and perfor- in Finland since then. Artistic director: theatre, performance/live art Jenni Kivelä & Kind People mance, site-specific work, performances Ville Valkonen. Helsinki for children Genre: Classical and contemporary Petri Kekoni Company Contact: Choreographer Jenni Kivelä ballet Helsinki www.jennikivela.com Kinetic Orchestra Contact: Choreographer Petri Kekoni Since 2002 dance performances that Helsinki Malviniemi Company www.kekonico.fi combine features from dance and thea- Contact: Vaasa A collective of 20 artists, dancers, com- tre and move between the conceptual Artistic Director Jarkko Mandelin Contact: Artistic Director, posers and designers. Kekoni’s works and the concrete. Jenni Kivelä has a www.kineticorchestra.fi Choreographer Mia Malviniemi are known for their personal movement strong, recognisable style. Recently In a short time, this group has created a www.malviniemi.fi language and strong visual thinking. she has been exploring what can be strong, recognisable style and become Produces mainly stage works, 1–2 In their repertoire: Non-Linear (2014), recycled in a dance context. Around one one of the most interesting Finnish premieres per year. Also site-specific Miniatures – Humans in small scale premiere per year. contemporary dance companies. The performances in repertoire. (2013), Theses of the Deed (2011), Green Genre: Contemporary dance movement-based content and philoso- Genre: Contemporary dance Armchair (2010). phy of their works bring together dance Genre: Contemporary dance techniques, street dance attitudes and Hoge Robert Merja Nieminen/Patrik Rastenberger for babies and toddlers under 3 years of dance, performance/live art, adult and circus-like agility. Routa Company age. Audience development and com- young audiences Genre: Contemporary dance Kajaani munity dance projects are an essential Contact: Artistic Director, part of Auraco’s work. Flow Productions Lehtovaara & Companions Choreographer Kira Riikonen Genre: Dance theatre, young audiences Oulu Brussels www.routacompany.fi Contact: Contact: Producer Riikka Thitz The 12-year-old Routa (Finnish for ‘per- Dance Theatre Kaie Choreographer Pirjo Yli-Maunula www.lehtovaara.co mafrost’) Company is an open company Kerava www.flowprod.fi A Finnish-led, Belgium-based support for contemporary dance production. It Contact: Anne Jouhtinen Northern Finland-based company cre- and production organisation for dance produces unique, strong and content- www.cra-company.com ates 2–3 new productions per year, has a K&C Kekäläinen & Company arts and artists. They coordinate and Mikko Kallinen & The Company rich dance performances rooted in local Multi-artistic productions for adult and large repertoire, and tours both nation- Helsinki promote artistic work and cultural Helsinki and global issues. Routa belongs to the young audiences. Traditional stages as ally and internationally. The heart and Contact: exchanges between continental Europe, Contact: Regional Dance Centre of Northern well as streets, market squares, parks, soul of the company are two renowned Managing Director Lilja Lehmuskallio Scandinavia and Finland. Artistic Director/Choreographer Finland and employs both dance artists shop windows and kindergartens func- dance artists, Maria Littow and Pirjo Yli- www.kekalainencompany.net Genre: Contemporary dance Mikko Kallinen and audiovisual artists. tion as settings. The Finno-Ugric roots Maunula, who collaborate with artists The mission of K&C is to promote www.av-arkki.fi Genre: Contemporary dance, dance inspire with their mysticism. from different art genres. dance as an intellectual art form with Liisa Pentti +CO A production company of artists from theatre and applied dance Genre: Contemporary dance, dance Genre: Contemporary dance, multidisci- strong potential in political and poetic Helsinki various disciplines. New creations are theatre, multi-artistic performances plinary productions communication of gender. Choreogra- Contact: Artistic Director Liisa Pentti mainly video dance/animation and Satu Tuomisto +Comp pher-dancer Sanna Kekäläinen’s work www.liisapentti.com interactive choreographic works. Helsinki Ehkä-production Ismo Dance Company expands the experience of a dance Produces 1–2 creations per year and Genre: Contemporary dance, audio- Contact: Producer Laura Heikkinen Turku Helsinki performance by combining philosophy, tours in Finland and abroad. Other visual art www.satutuomisto.com Contact: [email protected] Contact: Artistic Director Ismo-Pekka feminism, text and conceptual think- activities: teaching and dance-related “Nothing’s created such a stir before,” www.ehka.net Heikinheimo ing with highly original language of discussions and events. PDC Pori Dance Company wrote the Helsingin Sanomat news- Dance productions, collective projects www.ismodance.fi movement. Genre: Post contemporary dance Pori paper. Tuomisto’s latest production, and the annual festival XS. Ehkä hosts Choreographer Ismo-Pekka Heikinheimo Genre: Contemporary dance Contact: Mikko Lampinen Riisuttuna (‘Bare’, 2014), caused a mas- the contemporary art space Kutomo, blends art and performance with new The Little Ballet of Finland PSB www.poridancecompany.com sive media uproar and is now touring. a stage, studio and gallery. Founded in concepts and artistic methods. His KATVE [blind spot] Helsinki West coast established professional Satu Tuomisto loves sweaty physicality, 2004 by Anna Torkkel and Tashi Iwaoka social agenda touches on body politics Helsinki Contact: Kari Castrén dance group whose dancers have been explicit emotions and experimental and run by Torkkel and Maija Reeta and the aesthetics of movement. His Contact: Choreographer Virva Talonen www.pienisuomalainenbalettiseurue.fi recognised for their skilful technique. choreographic challenges. Raumanni since 2009. work is multidisciplinary, interactive and www.katve.info An independent troupe of classically Their high-level, varied repertoire has Genre: Contemporary dance, dance Genre: New dance, contemporary transformative, exploring the spectrum KATVE [blind spot] was founded by two trained dancers and choreographers guaranteed international tours and a theatre P 44 finnish dance in focus 2014–2015 Directory of Finnish Dance Directory of Finnish Dance finnish dance in focus 2014–2015 P 45 \ \ Tanja Ahola Susanna Leinonen Company Tampere Regional Dance Centre in Zodiak – Center for New Dance func- Helsinki Contact: Managing Director Piia Kulin Northern Finland tions as a regional centre for dance in Contact: www.sisasuomentanssi.fi/english/ Members of Regional Dance Centre in Helsinki. Managing Director Timo Parkkonen Northern Finland: www.susannaleinonen.com Central Finland Center www.jojo.fi / www.routacompany.fi \ \ \ \ \ \ \ \ \ \ \ \ \ Susanna Leinonen is one of the most Jyväskylä / www.rimpparemmi.fi / www.full- internationally acclaimed Finnish Contact: moondance.fi choreographers. Her works have toured Managing Director Mari Turunen The Regional Dance Centre in Northern ORGANISA- in 20 countries at various festivals and www.dancex.fi Finland consists of JoJo – Oulu Dance venues. SLC has been appointed as one The aim of the regional centres is to Centre, Routa Company from Kajaani, TIONS of the Key Projects in Finnish Cultural improve the availability of dance art, to Rimpparemmi Folk Ensemble from Export. SLC is available for touring with support its development, to promote Rovaniemi and Pyhäsalmi Dance Asso- several works for 1–7 dancers. collaboration, and to enhance profes- ciation, which organises the Full Moon Theatre Centre Genre: Contemporary dance sional opportunities in Central Finland. Dance Festival. Contact: Maaria Kuukorento Specialising in community dance, [email protected] The Tempest Group dance artists and provides performance outreach and service production – the Regional Dance Centre of www.teatterikeskus.fi Helsinki \ \ \ \ \ \ \ \ \ \ \ \ \ opportunities for professional dancers. centre also runs Liikelaituri venue in Ostrobothnia A co-operative organisation for profes- Contact: Elli Isokoski Dancers as well as choreographers are Tampere. Vaasa sional theatre and dance companies www.myrskyryhma.info employed for each production. We Contact: Annika Sillander in Finland. Its goal is to promote the Founded by Elli Isokoski and Pauliina also provide opportunities for brief www.pohjanmaantanssi.fi / activities of the individual theatres and PRODUCTION Panu Pohjola Tyni in 2002. The group takes dance into residency work. www.watt.fi companies and strengthen their posi- the community, to people who wouldn’t CENTRES The Regional Dance Centre of Ostro- tion in Finland. Theatre Centre is also a normally get to see contemporary Zodiak – Center for New Dance bothnia in Western Finland operates in network of 34 member theatres. dance. Their works tackle issues that all Helsinki the three Ostrobothnian regions. The kinds of audiences can easily relate to. JoJo – Oulu Dance Centre Contact: Center promotes dance, organises dance Union of Dance and Circus Genre: Contemporary dance, dance Oulu Artistic Director Harri Kuorelahti events, maintains and builds networks Artists of Finland theatre, dance film, performances for Contact: www.zodiak.fi between artists, cultural associations Contact: Chairperson Outi Kallinen or senior audiences Artistic Director Jarkko Lehmus Zodiak – Center for New Dance is a and local councils. The Centre works to Sami Hiltunen www.jojo.fi progressive dance organisation and the extend and strengthen Nordic and inter- [email protected] Tsuumi Dance Theatre JoJo – Oulu Dance Centre is a dance main venue for freelance contemporary national networks and collaborations. www.teme.fi/sttl Helsinki production house in Northern Finland. dance in Finland. Zodiak co-produces Contact: JoJo runs the annual international and hosts 15–20 new dance productions Regional Dance Centre of \ \ \ \ \ \ \ \ \ \ \ \ \ Managing Director Salla Korja-Paloniemi OuDance Festival in September and a each year. Zodiak is a member of several Western Finland www.tsuumi.com year-round dance programme consisting international networks and works with Turku Tsuumi brings folk dance and traditional of its own productions and guest per- international partners in production, Contact: FESTIVALS tonal music into the present day: skill formances as well as hosting an Artists’ teacher and artist exchanges, and Managing Director Lotta Skaffari and competence combined with sensi- Residency with an active international touring. www.l-tanssi.fi AND EVENTS tivity and humour. Genre: Dance theatre exchange programme. JoJo is one of The Western Finland Regional Dance the four organisations that form the \ \ \ \ \ \ \ \ \ \ \ \ \ Centre covers Southwest Finland and Willman Dance Company Regional Dance Centre in Northern Regional Dance Centre of the province of Satakunta. The centre ANTI – Contemporary Art Helsinki Finland. Eastern Finland ITAK aims to develop collaboration between Festival Contact: REGIONAL Kuopio different agents in the dance field Kuopio Artistic Director Marjaterttu Willman WATT – Dance artists in the Contact: Producer Jupe Pohjolainen and gain more public recognition for International contemporary arts festival www.willmandancecompany.fi Vaasa region CENTRES www.itak.fi contemporary dance. One of its main presenting site-specific works made for Willman Dance Company brings Vaasa Promotes dance, creates work opportu- challenges is supporting freelance dance public spaces. together artists who share a passion Contact: Mari Omars / Mia Wiik nities for professionals, offers training, artists. Contact: Producer Vilja Ruokolainen for dance and stage art. The goal of the www.watt.fi FOR DANCE and supports dance production in www.antifestival.com company is to create original contem- Watt is an independent organisation Eastern Finland. Organises festivals: Pai- Zodiak – Center for New Dance porary dance pieces that focus on the that produces contemporary dance kallisliike every June and Lonely in the / Regional Dance Center in ApinaFest central questions of humanity. pieces and operates in the whole Central Finland Regional Rain? in November. ITAK also runs the Helsinki Helsinki Genre: Contemporary dance Ostrobothnian region. The organisation Dance Center Sotku cultural centre in Kuopio. Helsinki Contemporary dance festival; perfor- creates employment opportunities for Pirkanmaa and Häme Center www.zodiak.fi mances, clubs and panels. In April. P 46 finnish dance in focus 2014–2015 Directory of Finnish Dance Directory of Finnish Dance finnish dance in focus 2014–2015 P 47 \ \

Contact: Mikko Heino Helsinki Festival Contact: Northern Finland, mainly contemporary International dance happening and folk over the city with one art action at a http://apinafest.apinatarha.fi Helsinki Artistic Director Mia Malviniemi dance. In September. dance festival combined. In June. time. In autumn. The largest arts festival in Finland, fea- www.kokkolantalvitanssit.fi Contact: Contact: [email protected] Contact: Artistic Director, Choreogra- Baltic Circle Festival turing classical and world music, dance, Artistic Director Jarkko Lehmus www.sottiisimoves.fi pher Sonya Lindfors Helsinki theatre and urban events. In August. Kuopio Dance Festival www.jojo.fi/festival/ www.urbanapa.fi International contemporary theatre Contact: The largest annual dance festival in the Tampere Dance Current festival & platform for developing new Senior Press Officer Sini Koskimies Nordic Countries, programme from Pispala Schottische Dance Tampere \ \ \ \ \ \ \ \ \ \ \ \ \ trends and ideas. In November. www.helsinkifestival.fi contemporary dance to classical ballet, Mania Festival of contemporary Finnish dance Contact: folklore, workshops and varied fringe Tampere organised annually in May. Festival Director Eva Neklyaeva HURRAA! programme. In June. New folk music and dance, concerts, Contact: Anniina Kumpuniemi VENUES www.balticcircle.fi Helsinki Contact: performances, training. Every two years, www.tanssivirtaa.net A national festival of performing arts for Festival Director Anna Pitkänen in September 2015. BRAVO! children and young people. In March. www.kuopiodancefestival.fi Contact: [email protected] Tampere Flamenco Week Helsinki – Espoo metro- Helsinki Contact: [email protected] www.sottiisi.net Tampere politan area International theatre festival for chil- www.hurraa.org Lappeenranta International International flamenco performances

dren and young audiences organised Ballet Gala Marco Riva and courses in flamenco dance, guitar Alexander Theatre every second year in the Helsinki metro- Jyväskylä Festival Lappeenranta and singing. In July. Contact: Director of International politan area. In March. Jyväskylä Meeting place for Nordic dance and Contact: Affairs Saija Nisula Contact: [email protected] City festival for different art forms: international stars. Contemporary works Artistic Director Anu Silvennoinen www.aleksanterinteatteri.fi www.bravofinland.org concerts, non-verbal theatre, dance, a and classics. In August. www.tampereflamenco.com Capacity: 473. All forms of performing children’s programme. In July. Contact: arts. Factory Festival Manifesti Contact: Artistic Director Juhani Teräsvuori Tampere Theatre Festival Turku Production Manager Mari Lankinen www.lappeenranta.fi/balettigaala Tampere Espoo Cultural Centre Annual festival with wide-ranging pro- www.jyvaskylankesa.fi The programme of Finland’s main inter- Contact: Producer Sanna Katajavuori gramme from contemporary dance and LOIKKA Dance Film Festival national theatre festival includes new www.espoo.fi/kulttuurikeskus new circus to exhibitions. In September. Kaustinen Folk Music Festival Helsinki drama, updated classics, dance theatre, Capacity: Louhi Hall 233/296, Tapiola Contact: Producer & Programme Direc- Kaustinen High-quality international dance films, contemporary circus and street theatre. Hall 686/773 depending on the con- tor Katja Lehmussaari The largest folk music event in the lectures, workshops and events. Organ- In August. figuration. All forms of classical and www.manillantehdas.fi Nordic countries – all the folk music ised by the open artists’ collective MAD Contact: contemporary dance, performances for and dance you can possibly gobble up in Productions. In April. Ruutia! International Dance PR Manager Eevamaija Miettinen-Kopsa young audiences. Full Moon Dance Festival a week! In early July. Contact: Artistic Director Kati Kallio Festival for Children and www.teatterikesa.fi Pyhäjärvi Contact: [email protected] www.loikka.fi Young Audiences Kiasma Theatre – Museum of Contemporary dance from Finland and www.kaustinen.net Helsinki Time of Dance Contemporary Art Kiasma abroad; courses and discussions. In July. Lonely in the Rain? International dance performances for Jyväskylä Contact: Jonna Strandberg Contact: Winter Dance in Kokkola Joensuu children and young audiences. In April. Finnish contemporary dance. In Septem- www.kiasma.fi Artistic Director Pirjo Yli-Maunula Kokkola Festival for contemporary dance, new Contact: Producer Kaisa Karkkonen ber, Central Finland. Capacity: 200. Contemporary dance www.fullmoondance.fi A four-day event, full of contemporary dance and improvisation. in November. www.hurjaruuth.fi Contact: and theatre, performance/live art, dance and dance theatre. In March. Contact: Artistic Director Teemu Kyytinen site-specific, performances for young Executive Producer Eeva Eloranta Side Step Festival www.tanssinaika.fi audiences, urban art. Matti Häyrynen www.itak.fi Helsinki Contemporary dance, cutting-edge URB – Urban Art Festival Savoy Theatre Moving in November international performances, lectures, Helsinki Contact: Producer Anna-Liisa Tasapuro Helsinki artist dialogues and workshops. Organ- Urban dance and theatre, site-specific www.savoyteatteri.fi International contemporary dance festi- ised by Zodiak – Center for New Dance. performances, visual arts. In August. Capacity: 735. Performance/live art, val in the Helsinki region. In November. In February. Contact: Mikael Aaltonen contemporary dance, dance theatre, Contact: Artistic Directors Ari Tenhula Contact: www.urb.fi folk dance, flamenco, concerts. & Mikael Aaltonen, Artistic Director Harri Kuorelahti www.movinginnovember.fi www.zodiak.fi UrbanApa Stoa Helsinki Contact: Producer Monika OuDance Festival SottiisiMoves International UrbanApa is not your usual nice and Silander-Stolt Oulu Dance Festival safe, once-a-year festival. It’s a different www.stoa.fi International and local performances in Tampere and surprising series of events that takes Capacity: Theatre Hall 240 seats, Music P 48 finnish dance in focus 2014–2015 Directory of Finnish Dance \ International MA students are admitted in Helsinki in 2015

As part of the newly established University of the Arts Helsin- Mirka Kleemola Hall 74 seats. Contemporary dance, folk ki, the Theatre Academy biennially offers two/a MA degrees dance, flamenco, performance/live with an orientation either towards dance or choreography. art, performances for young audiences, These residential programmes are open to international music and theatre. applicants with sufficient skills in English language and a previous BA degree. The dead line for applications will be in the beginning of 2015 and the two week entrance examina- Tampere tions take place in May that year. Tampere Hall Networking and collaboration on multiple levels as well as Contact: Head of the Concert an open approach to both choreography and performance Department Marko Stenström enable students to orientate toward the contemporary art www.tampere-talo.fi field. As distinguishing features of their studies is that the Capacity: Main Auditorium 1800–1900, students gain access to professional level production facil- Small Auditorium 450, Studio 170–200, ities and have the possibility to work with fellow students Park Hall 1000. All forms of performing from a variety of other disciplines. Resident staff and na- arts and music. tional as well as international guest teachers jointly provide the tuition. Mobility between the Academies opens up new Turku possibilities for the students who also benefit from the col- laboration between these two programmes. Barker Theatre, Stage for Independent Art in Turku Arts Academy at Turku portal.savonia.fi The curricula are currently being updated, to support Contact: Jesper Dolgov University of Applied Sciences individual artistic research and interdisciplinary approaches. www.barkerteatteri.fi Faculty of Performing Arts / Dance North Karelia College The MA programmes provide possibilities for doctoral Contemporary dance performances, Dance Teacher Education (4-year BA Outokumpu studies e.g. at the Performing Arts Research Centre, TUTKE, training facilities, dance residency. level) Movement & Performance Research responsible for all research and post-graduate studies at the Contact: Contemporary dance Theatre Academy. \ \ \ \ \ \ \ \ \ \ \ \ \ Tarja Yoken [email protected] Vocational qualification in dance www.taideakatemia.turkuamk.fi Head of Dance Education: Ulla Mäkinen This pioneering education dating back to 1983 has had a Contact: [email protected] crucial impact on the Finnish dance scene for the last three PROFES- Oulu University of Applied www.pkky.fi/amo/outokumpu decades. Every second year new BA students are admitted. Sciences This programme, however, is so far open only to students SIONAL School of Media and Performing Arts Tampere Conservatoire who are fluent in Finnish. Options of study: Ballet, folk dance, Contemporary dance, classical & couple dance, show dance contemporary ballet, jazz dance, dance More information on student EDUCATION Degree Programme in Dance Teacher theatre, performance/live art selections will be available Education Vocational qualification in dance at www.uniarts.fi/en/studies/ Head of Degree Programme: Head of Degree Programme: Finnish National Opera Ballet Niina Susan Vahtola Miika Riekkinen More details on the programmes School Contact: [email protected] Contact: and faculty at www.uniarts.fi Contact: [email protected] www.oamk.fi/english/info/schools/ [email protected] www.ooppera.fi mdm/ www.tampereenkonservatorio.fi 11. – 17.6.2015 • 16. – 22.6.2016 • 15. – 21.6.2017 University of the Arts Helsinki Savonia University of Applied Turku Conservatory of Music – Theatre Academy Sciences and Dance www.uniarts.fi / www.teak.fi Kuopio Academy of Music and Dance Contemporary dance, jazz dance, classi- Department of Dance Contemporary dance, classical ballet, cal ballet Planning Officer: Jan-Peter Kaiku dance improvisation, dance education, Vocational degree in dance Contact: [email protected] jazz dance Director of Dance Department: Department of Dance and Theatre Degree Programme in Dance, Dance Sari Hannula Pedagogy Teacher (BA) Contact: Planning Officer: Justiina Westerinen Head of Degree Programme: [email protected] Kuopio Contact: [email protected] Eeri Pihlajakari www.turunkonservatorio.fi Contact: [email protected] www.kuopiodancefestival.fi Photo: Tani Simberg mainossivu mainossivu P 52 finnish dance in focus 2014–2015 contents \

mainossivu