- Yeah! Another fine selection
Now we do it again.
Our yearly festival with great works in a neat package. Eight shows in four days. (See them all in 2 days if you want.)
Check out the video below. Tickets are now released. Info and schedule below too.
- Program schedule
30 nov + 1 dec
17:30 Juli Apponen “Life is hard and then you die – part 3”
19:00 Britta Persson “Medea Tapes – on a trackless sea-swell of troubles”
19:45 Mårten Spångberg “Digital Technology”
21:30 Nadja Hjorton “Medea – it’s a classic”
2 + 3 dec
*3rd dec extra performance* -17:00 Julia Giertz “Sound as touch”
18:00 Julia Giertz “Sound as touch”
19:00 Halla Ólafsdottir & Franz Edvard Cedrins “AlI that you can’t leave behind”
20:15 Marie Topp “The Visible Effects of Force”
21:15 Ludvig Daae & Joanna Nordahl “Hyperfruit”
- Ticket info
To join the festival you need a festival pass + tickets for each performance.
Tickets cost 50 kr / piece. Tickets are valid only together with festival pass.
Festival pass cost 150 kr (Reduced price: 50 kr). Individual tickets are needed for each perfomance.
Reduced price festival pass is offered to students, seniors, youth under 26 and unemployed persons.
Get your tickets here.
We will put out waiting lists in MDT’s foyer each day for any sold out performances, where you can come and write your name. (Please note that it is not possible to put your name on the lists beforehand.) The waiting lists will be put out one hour before the first performance on each day. You can also keep an eye on Nortic in case of any spare tickets showing up.
- Juli Apponen “Life is hard and then you die - part 3”
Life is hard and then you die – part 3 is an autobiography of a body and therefore, unavoidably, also about identity. Through a fractional collage of indescribable pains, psychological fashion reviews, anatomical reports of too many surgeries, memories, astrology, some disturbing ideas and dreams and bureaucratic adventures, it will satisfy your curiosity; possibly more than you even wished for.
Juli Apponen is an artist working with performance and choreography. She produces and tours internationally with several co-operations and projects as well as her own solos – as performer, director and choreographer. Originally from Finland and now based in Sweden. She studied at the Norwegian Theater Academy.
(Performer/author: Juli Apponen. The presentation is made at Teater Galeasen.)
- Britta Persson “Medea Tapes - a Trackless Sea-swell of Troubles”
A choreographic sound piece. The scene is built by suggestive loops and Medea’s feelings all play parts. Medea Tapes is a spin off from Nadja Hjorton’s “Medea – it’s a classic”.
Britta Persson is a Stockholm-based composer and musician. The last ten years she has released four solo albums and toured mainly in Europe. She has done many collaborations in pop music but also other genres. The conversation and collaboration with choreographer Nadja Hjorton has been going on since the 90’s.
(Music by Britta Persson. Lyrics by Euripides & Britta Persson. Mixed by Frans Hägglund. Performers: Britta Persson, Nina Kinert & Frans Hägglund. Supported by: Stockholms läns landsting. The presentation is made in cooperation with Audiorama.)
- Mårten Spångberg “Digital Technology”
“I don’t want to know what this thing is all about. A little adventure that I do with the audience. Together we can perhaps figure out what’s between the lines and move on in small dances, a bunch of object that animate themselves in companionship with me. It’s a little like talking about a book that we all read but really long ago and remember different things and now they are played again, in front of us but more inside and there is also a quite slow film. A film – like the piece – that’s there more like the television left on without sound. I like television sets that sit there without nobody looking. I image that that’s the time when the TV really enjoys itself, appreciating the images and sequences for what they are not what they show.
I have a friend whose name is Juan Dominquez. It’s a name with really nice flow and in the end we eat ice-cream together without speaking to much. That’s so sweet, to enjoy something really good and in silence. If you wait for a while, it is possible to just show up.
Seven years ago a journey started. An adventure taken up to study the secret life of objects. Does the texture of time transform through living in close proximity with objects; not as tools or souvenirs, not as pets or substitutes for loved ones, but as objects, just objects? There’s more to it than that performativity, it’s just grown a little shy, lately.
As one grows older ones future decreased, second by second. At some point the past catches up with ones future. To live with the experience that one’s future lies behind is to cope with loneliness.
Digital Technology is a meditation in the company of objects, a feed of impressions that comes to an end and there we are and it’s nothing special, ok?”
Mårten Spångberg is a choreographer living and working in Stockholm and Brussels. His interests concern choreography in an expanded field, something approached through experimental practices and creative process in multiplicity of formats and expressions. His 2003 solo Powered by Emotion, has become a classic. Since 2014 he has created a series of larger scale works taking a particular interest in time and texture. La Substance, but in English commissioned by MoMA PS1 in New York (2014), The Internet (2015) addresses choreography in the time of digital production, NATTEN premiered Kunsten Festival (2015) is a seven hour long tour de force into the darkness of existence. In 2011 he published the controversial book Spangbergianism and has recently published his first fictional texts.
(With and by: Mårten Spångberg. With a film by James Benning. Supported by The Swedish Art Council, The Swedish Arts Grants Committee. Co-produced by MDT, PAF)
- Nadja Hjorton “Medea - it's a classic”
Medea is a fucking annoying person. To revenge her boyfriend Jason she kills her children, and takes the opportunity to kill King Creon and his daughter while she’s at it. Medea is an oppressed, humiliated woman who rises and does the impossible – she slaughters patriarchy, reproduction and heteronormativity during one thrilling day in Corinth. There are different stories.
”Medea – it’s a classic” is Nadja Hjorton and co-creators Halla Olafsdottir, Shirley Harthey Ubilla, Daniel Andersson, Chrisander Brun and Britta Perssons re-interpretation of the classical drama. Accompanied by a soundtrack of suggestive loops signed Britta Persson and with theatre masks and zorba dance, they replace the ancient dialouge with emotional vomiting and absurd camp fire stories.
”Medea – it’s a classic is Nadja Hjortons third piece to be shown at MDT. With ”Radio dance” and ”On air” she used the radioformat as a starting point for choreography. With ”Medea – it’s a classic” she digs into the idea of the classic – and how we choose to make classics up to date by filtering them through our contemporary society.
Nadja Hjorton is a choreographer and dancer based in Stockholm. In her last two pieces “Radio dance” and “On Air”, words and text have been central to the work. The pieces use the medium radio as format and framing. By working with choreography in radio and presenting radio as choreography and dance, Nadja has worked on stretching the boundaries of what choreography and dance can be, both in terms of expression and as a working practice. Medea is a continuation of these pieces but instead of radio Nadja will work with “the play” as a format.
(Choreography: Nadja Hjorton. Performers: Daniel Andersson, Halla Olafsdottir, Shirley Harthey Ubilla, Nadja Hjorton. Composer: Britta Persson. Lights, set design and costume: Chrisander Brun. Producer: Siri Hjorton Wagner. Medea is a co-production between MDT, Uppsala Stadsteater, Norrlands operan and ÖFA-kollektivet. Residency: Turteatern. Supported by the Swedish Arts Council, the city of Stockholm and the Stockholm County Council. This presentation is part of the project [DNA] Departures and Arrivals, which is co-financed by the Creative Europe program of the European Commission.)
- Julia Giertz “Sound as Touch”
In her current work, Julia Giertz is using sound as the basis of her choreographic practice. By drawing on music, physics and our perception of sound, Giertz is mapping bodily and structural responses to vibration. Sonic experiences, that activate the materiality of sound, and the tactile aspect of hearing, are central elements in this work.
As a result of her research into sound and perception, Giertz is facilitating sonified spaces where the body undergoes physical adaptation to frequency, geometry and force, allowing for the sound and vibrations to activate a perceptual disturbance where hearing and touch meet. Her new work, titled: “Sound as Touch”, seeks to collectively engage our tactile sense through sound.
Giertz is currently undertaking studies at the faculty of Engineering at Lund’s University (SE) to broaden her artistic scope. At present she is collaborating with choreographer Marie Topp (DK), visual artist Tyler Mathew Oyer (USA) and musician Cecilia Nordlund’s solo project “Fullmånen från Helvetet” (SE).
(By/with: Julia Giertz. Thanks to: Inter Arts Center, MDT, Audiorama, inDiscourse, Statens Kunstfund, Coven, Marie Topp, Kahurangiariki Smith, Sarah Homewood, Fullmånen från Helvetet. The presentation is made in cooperation with Audiorama.)
- Halla Ólafsdóttir & Franz Edvard Cedrins “AlI that you can't leave behind”
“When you start working, everybody is in your studio – the past, your friends, enemies, the art world, and above all, your own ideas – all are there. But as you continue working, they start leaving, one by one, and you are left completely alone. Then, if you are lucky, even you leave” / J.C
In All That You Can’t Leave Behind Franz Edvard Cedrins and Halla Òlafsdottir take on the roles of choreographers, dancers, instrumentalists, composers, and music producers. Exploring potentialities of the performer becoming the orchestra while simultaneously turning music into performers. All That You Can´t Leave Behind works with the presence of live music, recorded music, of loudspeakers, and the presence of live and audio-recorded dancing bodies.
The collaboration between Franz Edvard Cedrins and Halla Ólafsdóttir started way back, when they first met, both working in Dorte Olesens performance Orena Tankar, a beginning of an exceptional friendship involving endless conversations lurking around the occult, and various ideas about the animate and inanimate. They went to new age conventions and expos, got some complex tarot card readings (actually some really miserable readings for one of them, so miserable it took four new card readings in a row to get back on track) got their auras analysed by an Aural Spectral Machine 3000 and went on a couple of shamanistic astral travels in a salt-walled basement close to the supreme court of Stockholm.
Halla Ólafsdóttir is an Icelandic artist, dancer and choreographer living and working in Stockholm. She works in different constellations and collaborations with an interest in expanding the notion of dance and choreography. Her stage work is concerned with methods of reinterpretation of recognizable formats of representation, facilitating a shared experience. Halla is a MA choreography graduate from DOCH (Stockholm) and was a part of mychoreography and INPEX, creating and performing a number of pieces and projects which have toured to festivals in Sweden, England, Belgium, France, Germany, Vienna and the United States. She has recently been touring the piece Giselle, together with John Moström, which involves the partake of over a hundred artists in Europe. As well as the piece Beauty and the Beast, together with Amanda Apetrea, which won the Prix Jardin d’Europe Awards at ImpulsTanz in 2013. Her work takes on various forms and expressions, she co-curated the Reykjavík Dance Festival: A Series of Event 2012 where 30 artist were invited to partake in a 10 day festival in Iceland and recently played the lead role in the feature film Under Influence by Sidney Leoni, premiered at Dansens Hus, 2015. She has worked collectively with choreographers such as Zoe Poluch, Stina Nyberg, Nadja Hjorton and Amanda Apetrea. Together they constitute SAMLINGEN that in December 2013 joined forces with the Cullberg Ballet for a temporary installation at the Dance museum in Stockholm, invaded Kulturhuset with history writing and were key note speakers at the Post Dance conference at MDT in 2015. Halla was part of a collective project with the band the Knife, co-creating and preforming, along with eleven other artists, the show Shaking the Habitual, touring it in Europe and North-America, in 2013-2014. She recently premiered the pieces All That You Can’t Leave Behind at MDT in Stockholm and What A Feeling together with Lovísa Gunnarsdóttir and the Iceland Dance Company at Reykjavík City Theater. She is currently performing in Nadja Hjorton´s Medea and starting a new creation of the piece DEAD along with Amanda Apetrea.
Franz Edvard Cedrins is a orchestral composer, choreographer, and visual artist based in Stockholm. He studied fine arts and media at Dramatiska Institutet in Stockholm and has since then presented work at Norrlands Operan (SE) Dramaten / The Royal Dramatic Theatre (SE) Sveriges Television (SE) Prins Eugens Waldemarsudde (SE) Rogaland teater (NO) National Theatret (NO) A.C Popov Central (RU) Steirischer Herbst (AU) SSG Los Angeles (US) among other places. His work is often multi-faceted encompassing dance, sculpture, installation, photography, sound art, and pop music. As a composer, music producer and sound designer he has during the last years worked with choreographers such as Gunilla Heilborn, John Moström, Nefeli Ikonomou and Sebastian Lingserius. He’s currently working on the piece All that you can´t leave behind with Halla Ólafsdottir, the piece Hamlet together with Andersson dance company, and his forthcoming film Scandinavian Nightlife.
(Concept & choreography & dance & original sound & original music by: Halla Ólafsdóttir and Franz Edvard Cedrins. With support of Konstnärsnämnden / The Swedish Arts Grants Committee and Kulturförvaltningen Stockholm. This presentation is part of the project [DNA] Departures and Arrivals, which is co-financed by the Creative Europe program of the European Commission.)
- Marie Topp “The Visible Effects of Force”
The impacts of forces are inevitable and constant. Everybody is set in motion, everything is affected. At the same time, the force itself is never visible. It is the signs, traces and remains of it, that produce visible marks, from which we draw conclusions and imagine the force behind it.
The Visible Effects of Force is a charged solo about force that explores what remains in the body after the impact.
“The Visible Effects of Force” is a choreographic project initiated by Danish choreographer Marie Topp in a collaboration with sound artist Julia Giertz and light designer Mårten K Axelsson. It is the conclusion and third part of an artistic exploration of the body exposed to different forces. The trilogy of solos include the pieces “The Everyday Practice of Resistance” (2012) and “Forerunning” (2014).¨ Marie Topp was awarded “Dancer of the Year” by CPH Culture for her performance in The Visible Effects of Force.
Marie Topp is choreographer and performer based in Denmark and Sweden. Embodiment of concepts is the core interest Topp spins her productions and choreographies around. The last years she has made three solos, all concerned with the body exposed to different forces. Her pieces have been shown e.g. at Dansehallerne (Copenhagen), Kampnagel (Hamburg), Diskurs Festival (Giessen), at Reykjavik Dancefestival as well as at the Nordic Dance Platform ICE HOT (Helsinki). Besides her solo practice she is part of the Copenhagen based collective RISK.
(Concept, Choreography, Dance: Marie Topp. Sound: Julia Giertz. Light: Mårten K Axelsson. Mentor: Igor Dobričić. Produced by: K3 – Zentrum für Choreographie | Tanzplan Hamburg. Supported by : The Danish Arts Foundation, Hamburgische Kulturstiftung, Augustinus Fonden, Københavns Scenekunstudvalg. Adminstration: Lone Vibe Pedersen/Projektcenteret Dansehallerne. This project was possible with the help and support of: Danjel Andersson, Daniel Goody, Inkonst Malmö, Malte David Haugaard, Elektra Malmö, Fanclub, Fam. Topp, Marie-Louise Stentebjerg, Ida-Elisabeth Larsen, Stefanie Lorey. The presentation is made at Teater Galeasen.)
- Ludvig Daae & Joanna Nordahl “Hyperfruit”
With “HYPERFRUIT”, choreographer and dancer Ludvig Daae and film maker Joanna Nordahl research how the internet, and how we communicate online could be used as a structure for a dance performance. What happens when our way of experiencing information on the internet is used as dramaturgy for a performance? When conventional connections and causalities such as “beginning, middle, end” or “1, 2, 3” are exchangeable to for example “1, 2, dog, Beyoncé”?
Joanna and Ludvig are both freelancing artists, meaning a life style where they are constantly traveling. Thus most of their relationships take place online, through their computers. This is something that they are used to and appreciate, as children of their time. However, they have come to a crucial realization – it is unexpectedly complicated to meet the demands they have on their love relationships in this digital world. Both Ludvig and Joanna have a lot of experience with long distance relationships, where the internet, rather than facilitating the communication, becomes a necessary evil. The demands and expectations on the relationship become unreasonable and complex, while at the same time the idea about the relationship and the image of the person on the other side of the screen is glorified.
In “HYPERFRUIT” Joanna and Ludvig will continue the research from their previous performance, “MM”; what is the difference between communicating physically compared to digitally, measured in emotional impact. All online communication means a distance, a filter if you like. The most obvious reason being the dependency of a physical tool or machine. The communication may be “live”, but then always filtered through something non-organic. Joanna and Ludvig will be live on stage, live on film and recorded on film. These different versions of them all communicate with each other and the audience, expanding the physical and spatial limitations. “HYPERFRUIT” never shows the internet – “HYPERFRUIT” is the internet as a world or essence. An emotional longing for closeness and intimacy is present throughout the performance, and the communicative obstructions challenge the relationship between both Joanna and Ludvig, and between them and the audience.
Ludvig Daae is a Norwegian dancer and choreographer working mostly in Stockholm and Brussels. He moved to Sweden at the age of 16 to attend the Royal Swedish Ballet School in Stockholm. After one year at the classical curriculum, he found that contemporary dance was the right path for him, and so after graduating from the ballet school, he moved to Brussels to learn more at another school – P.A.R.T.S. After completing the training cycle at P.A.R.T.S. in 2008, Ludvig has worked with Deborah Hay (USA), Company Thor (BE), Mårten Spångberg (SE) among others, when not creating his own work.
When creating his own work, Ludvig always has an interest in entertainment and popular culture. He feels that dance art can benefit from having a theoretical platform to rest on and develop from, without the performance being weighted by theoretical language. Ludvig’s own works have been presented at Oslo Opera House (NO), MDT (SE), Vooruit (BE), Dansens Hus (NO), Mousonturm (DE), The Place (GB), Dansens Hus (SE), Moderna Museet (SE), Zodiak (FI), Rencontres chorégraphiques Internationales de Seine-Saint-Denis (FR), GUIdance (PT), Gessnerallee (CH) among others.
Joanna Nordahl is a Swedish/Brazilian film director and visual artist based in Stockholm yet constantly on the move. She comes from a background in performing arts and stage productions, thus falling in love with dance and choreography at an early age. Her directing work is characterised by a passion for visualising the individual story, political themes or subtexts and exploring musicality and choreography through film. In 2014 she initiated and directed the documentary series “One Wish” for Swedish National Television – an 8 episode show intimately following three young dancers during one year as they reach for their dreams in a very tough dance industry. Joanna is visually fascinated by the combination of cinematic epicness / a more is more aesthetic and exploring the most simple human behaviors and situations. Capturing youth culture and emotional complexity in the modern world is something she wants to further explore.
Joanna has presented her film work at various platforms and festivals, including San Fransisco International Dance Film Festival, Gothenburg Int. Film Festival, Music DOC New York, Tempo Documentary Festival, Lunds Konsthall, while presenting videos and visual content for musical artists like Say Lou Lou, Silvana Imam, Nonono, Adrian Lux and Lune.
In “HYPERFRUIT”, Nordahl will not only work behind the camera and conceptually, but also coming back to the stage physically, making “HYPERFRUIT” Daaes and Nordahls first duet as performers.
(Concept, direction, choreography and performance by Ludvig Daae and Joanna Nordahl. Producer: Sara Bergsmark. Costume design: Tove Berglund. Composer: William Rickman. Lighting consultant: Chrisander Brun. 3D animation/VFX: Petter Bergmar, Good Motion. “In memoriam” and trailer: Ossian Melin. Film production by INDIO / DoP: Rob Witt, Producer: Kim Jansson, Focus puller: Johnny Isaksson, Lighting: Johan Gärskog, Lighting assistant: Anton Höjer, Grip: Kalle Linde, Sound: George Hagstrand, Hair/Make: Louise Linder, Production assistant: Marcus Bile, Editor: Milad Moore, Colorist: Oskar Larsson, Online/Vfx: Markus Rosén. Supported by: Arts Council Norway and City of Stockholm. Co-produced by MDT, Dansstationen and Atalante. This presentation is part of the project [DNA] Departures and Arrivals, which is co-financed by the Creative Europe program of the European Commission. Residencies at Kinitiras Studio in Athens and O Espaço do Tempo in Portugal.)
Yeah! Another Fine Selection is made possible thanks to Kulturförvaltningen Stockholm stad, Stockholm läns landsting, and [DNA] Departures and Arrivals network which is co-financed by the Creative Europe program of the European Commission. Thanks to Audiorama, Swedish Arts Grants Committee’s International Dance Programme, and Teater Galeasen.
- Yeah! Another fine selection
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