A Fine Selection: Special Edition!

29.11 + 30.11*
18:00 Gunilla Heilborn & Kim Hiorthøy – “Why I Wear This Shirt”
19:00 Sebastian Lingserius – “D ANCER”
20:00 Radouan Mriziga – “55”
Break
21:30 Dragana Bulut – “Return of the Zombie, Episode 3”

1.12 + 2.12*
(CANCELLED: 13:00 Mårten Spångberg – “News From The Last Of The International Hotshots/Natten”)
18:00 Margrét Sara Guðjónsdóttir – “Conspiracy Ceremony – Hypersonic States”
19:15 Juli Reinartz – “You said you’d give to me — Soon as you were free”
20:30 Flora Détraz –  “Tutuguri”
Break
22:00 Jens Östberg – “Pre-study for Hamlet”

5.12
13:00-21:00 MDT 30: Margaretha Åsberg – Exhibition ” SOUND MOTION STILLNESS”
14:00- MDT 30: Film screenings
18:00 MDT 30 Seminar: Creating Moderna Dansteatern
19:30 MDT 30 Seminar: Creating MDT

6.12
15:00 MDT 30: Film screenings, with an introduction by Margaretha Åsberg
15:00-20:00 MDT 30: Margaretha Åsberg – Exhibition “SOUND MOTION STILLNESS”
(CANCELLED: 15:00 Mårten Spångberg – “News From The Last Of The International Hotshots/Natten”)
18:00 Double bill: Julia Giertz “Sound as Touch” & Patrik Patsy Lassbo, ”A map to get lost: Choir Rehearsal”
19:00 MDT 30 Seminar: Creating the Future

8.12
(CANCELLED: 22:00 Mårten Spångberg – “News From The Last Of The International Hotshots/Natten”)

9.12
18:00 MDT 30: Book release
19:00 Double bill: Julia Giertz “Sound as Touch” & Patrik Patsy Lassbo, ”A map to get lost: Choir Rehearsal”
20:00 Ludvig Daae – “Dance To Dance To”
21:00 Festernas Fest
…including Ofelia Jarl Ortega & Patrik Patsy Lassbo – “Forever”

*The 29-30/11 + 1-2/12 it is possible to see the full day’s program all in one evening if you want. Or see half of it one day and half the next day. Or your favourite twice. You choose.

You need a festival pass + tickets for each performance. Seminars, exhibition, book release, screenings and party are included in the festival pass.

Festival pass: 200 sek (reduced* 100 sek)
Tickets: 50 sek

MDT kompiskort includes the festival. Book your tickets HERE if you have MDT kompiskort.

(*We offer reduced priced festival pass for students, seniors, youth under 26 and unemployed persons.)

(Text, Choreography, Light, Sound, Room, Clothes: Gunilla Heilborn and Kim Hiorthøy. Artistic Consultants: Katarina Wiklund, Jonas Williamsson, Nadja Hjorton, Sutoda. With support from:  The Swedish Arts Council, The Arts Council Norway, The Swedish Arts Grants Committee.)

29.11 + 30.11 at 18:00

D ANCER is the latest piece by Sebastian Lingserius. A project made together with Nefeli Oikonomou and Franz Edward Cedrins.
D ANCER invites you to a situation of training, both as participant and spectator. A speculation on body ideals and gymnography. Towards what do we exercise at the gym? What imaginary identities do we run towards?
D ANCER is a desire to work toward something, a mental diagram, a race to an end, but an end that is always transforming. A transformative dance which triggers questions regarding our physical relationship to our surroundings, our ideas of what our body is and can be.
Take the chance, you can do it, be a D ANCER with us! Imagine your pajamas, hippest yoga outfit or most comfy adidas trousers, and take the opportunity to turn on the small muscles!
D ANCER asks the question of what would happen in a post queer-stamped-gym…

Sebastian Lingserius is a choreographer and performer based in Stockholm. Educated first at the Royal Swedish ballet school, he then studied a Master in choreography at DOCH lead by Mårten Spångberg. In 2011 Sebastian founded KASS production, through which he produces all of his work, in close collaborations with platforms such as MDT, WELD and Dansens Hus. By having danced and choreographed the past 10 years, he considers dance to be an opportunity to redefine what the human subject could possibly be.

(Concept & Choreography: Sebastian Lingserius, created together with Nefeli Oikonomou. Performance: Sebastian Lingserius & Katrine Johansen. Choreography & collaboration: Oriane Paras. Sound design: Franz Edvard Cedrins. Light: Sebastian Lingserius. Producer: Jonas Robin. Marketing/MDT: Sara Bergsmark. Photography: Aleksandra Sende. Made possible with the support of Kinitiras Athens, Dansens Hus and MDT Stockholm. Supported by: The Swedish Art Council, Stockholm City Council, 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.)

29.11 + 30.11 at 19:00

Performing a functional body on stage and the quality of its executional engagement. Questioning the quantity and the nature of the information a performer can exchange with a viewer, in order to communicate, punctuate or confuse the understanding of a situation. To concretize this, I stipulated two major lines: constructing visual forms while being a merely executive body; setting and coordinating several elemental tasks that result in certain complexity of the body. The concurrent line is dealing with the narrativity of chosen situations, by emphasizing, increasing or reducing its volume.

55 is the first creation by the choreographer and dancer Radouan Mriziga. He studied dance in Morocco, Tunisia and France, and also at PARTS. Since 2008 he lives and works in Brussels. He danced in Half elf zomeravond (Bart Meuleman, Toneelhuis) and Re:Zeitung (Anne Teresa De Keersmaeker) and is artist in residence at the Moussem Nomadic Arts Centre, which in its activities reflects on the impact of globalization caused by old and new migratory flows.

(Concept created & performed by Radouan Mriziga. Assistance: Alina Bilokon. Acknowledgments: Moussem team, Alina Bilokon, Youness Khoukhou, Christophe Dupuis, Bart Meuleman, Steven De Belder. Production Moussem Nomadic Arts Centre co-production C-mine (Genk), WP Zimmer (Antwerpen). In collaboration with Cultuurcentrum Berchem (Antwerp), Kunstenfestivaldesarts (Brussels) Pianofabriek Kunstenwerkplaats (Brussels), O Espaço do Tempo (Montemor-o-Novo), STUK (Leuven). This presentation is part of the project [DNA] Departures and Arrivals, which is co-financed by the Creative Europe program of the European Commission.)

29.11 + 30.11 at 20:00

Cover the windows, barricade the doors, store up on supplies and prepare for an attack when the “Return of the Zombie” takes to the stage at MDT Stockholm. As part of her artistic research in instrumentalizing the figure of a zombie as a metaphor for contemporary subjectivity, choreographer Dragana Bulut looks at the fragile relationship between reality and fiction and perceptively exposes the mechanisms through which our reality is constructed.

Dragana Bulut is a Berlin-based artist from Belgrade working with choreography and performance. Through observing theater space as a place of social gathering, she questions different configurations of aesthetics, labor and economics. By appropriating different social formats, her performances deal with the tension between immaterial and material, object and affect, realty and fiction. www.draganabulut.com

(Author: Dragana Bulut. Artistic Collaboration: Ljiljana Tasić, Ana Monteiro, Sara Tošić. Performance: Dragana Bulut, Ksenija Djurović, Joseph Wegmann, Jelena Alempijević. Dramaturgy: Ana Vujanović. Production: Ksenija Djurović. Touring Management, Production: Joseph Wegmann. With kind support by Station, Service for contemporary dance (Belgrade), [DNA] Departures and Arrivals, scholarship from the Governing Mayor of Berlin, Senate Chancellery – Cultural Affairs, Ministry of Culture of Serbia, Bitef Theatre (Belgrade), Workspacebrussels; and the NATIONALES PERFORMANCE NETZ (NPN) International Guest Performance Fund for Dance, which is funded by the Federal Government Commissioner for Culture and the Media on the basis of a decision by the German Bundestag.)

29.11 + 30.11 at 21:30

A symphony of pathologies, sentiments, and physical states originating in the personal emotional body is on display in this latest work by choreographer Margrét Sara Guðjónsdóttir. Emotions rush through these bodies without filters. The viewer experiences extreme, almost painfully private states. The HYPERSTATES form a corporeal language that serves as a doorway into the subconscious, transferring themselves into the bodies of the audience as they meet the performers with full intensity.

Margrét Sara Guðjónsdóttir was born and raised in Iceland. She studied dance at the Artez University of Arts in Arnhem and Amsterdam. Along side working as a performer with various artists in Europe, Margrét Sara co-founded the production house Panic Productions in Iceland, with dancer and choreographer Sveinbjörg Þórhallsdóttir, which was active from 2004 – 2009, and focused on producing and initiating collaborative performance works with international artists. Margrét Sara has toured internationally with her own work since 2010 and currently lives and works in Berlin. Displaying the politics of intimacy is a core theme within her choreographic work while working with and exploring pathologies of the social political body within our own bodies. Margrét Sara has collaborated with a consistent team of performers over the last five years and the soundscapes which accompany the works are exclusively created by and with Peter Rehberg (PITA),electronic composer and director of the record label Editions MEGO, Austria. In 2015 Margrét Sara became artist in residence at the Cullberg Ballet in Stockholm. Creating her  second commissioned work for the Cullberg Ballet in 2017. She teaches periodically at the Icelandic Dance company, dance department of the Art University of Iceland, BA dance program at DOCH in Stockholm and choreography department of the Art University of Helsinki.

(Direction, choreography, concept, stage, costumes: Margrét Sara Gudjónsdottir. Choreography/performing: Johanna Chemnitz, Catherine Jodoin, Laura Siegmund, Marie Topp, Suet-Wan Tsang. Music: Peter Rehberg. Lighting: Martin Beeretz. Dramaturgy: Anja Röttgerkamp. Dramaturgical Consultants: Richard Aslan. Production Management: Elena Krüskemper. Co-produced by LÓKAL – Performing Arts Reykjavík, and Sophiensaele, Berlin. Funded by Senatsverwaltung für Kultur und Europa, Abteilung Kultur. With support by the Arts Council of Norway and the City of Reykjavík.)

1.12 + 2.12 at 18:00

YSYGM is a film without a camera. A body gets portrayed while dancing. The movie zooms in and out and registers all anatomical and performative details. The camera turns the body into microscopic material, flickering image, alien posture and moving pixel. But the camera does not really exist in the piece: Its perspectives is just the model for the perspective of the audience. It opens up the body for being both – a modifiable material and a desiring subject.
Negotiating the two ends of this line, YSYGM becomes a secret duet with the audience. It turns cyborgfeminist and searches the techno body for what becomes possible. Maybe the new perspective can be turned into a drag ritual. Here the piece encounters the most important question: how does it all feel like?
YSYGM is a metaphor.
YSYGM is an attempt.
YSYGM has good intentions and powerless means.
YSYGM asks how we all feel like.
YSYGM means we cannot wait until we’re free.

Juli Reinartz studied at the University for Dance and Circus (DOCH) and works between Stockholm and Berlin. Her approach to choreography is fueld by the desire to produce formats that experiment on identity formation. Her works ‘Atlantic’, ‘Really Good Music’ and ‘Regional Geographic’ picked the topics of Afrofuturism and animism to explore that and have been shown in various places in Sweden, Germany, Finland, Iceland and Norway. In 2013, she researched on the concert format in a one year residency at Mejan. Since  2015, she is interested in techno bodies, film formats and the camera perspective on the body. The question is if this perspective is in fact a new ritual and if it can be turned into one. Her solo ‘You said you’d give it to me – soon as you were free’ investigates that from a specifically feminist perspective. Tanzabend 4 with Theater Thikwa in Berlin looks at that topic with a focus on difference and collectivity. Juli has been working together as a performer or outside eye with Angela Schubot, Jared Gradinger, Ingri Fiksdal, Trajall Harrel, Verena Billinger / Sebastian Schulz, Nora Schlocker, Jeremy Wade, Tea Tupajic and Social Muscle Club Berlin.

(Choreography / Performance: Juli Reinartz. Artistic collaboration: Liz Rosenfeld. Dramaturgical assistance: Rose Beermann. Light design: Josefin Hinders, Bjoern Kuajara. Music: many. Production: Tove Dahlblom. Supported by Slingan. Research funded by Senat Berlin. Residencies: MDT, Tanzfabrik.)

1.12 + 2.12 at 19:15

TUTUGURI is a polyphonic solo by Flora Détraz which explores the desynchronisation between movements and the sounds that escape them or surrender to them. In a perpetual conflict between opposites and inhabited by whispers, animal growls, children’s noises, alien sounds, conversations and spasms, the performer’s body suggests a world of paradoxes and contradictions. In real-time, the audience become accomplice to a both captivating and disconcerting state of sensory alienation in which dance is audible, sound palpable and unfamiliar gestures suddenly resonate in wholly unexpectedly ways.

Flora Détraz studied Ballet at the Conservatoire, graduated in Literary Studies – Hypokhagne, Khâgne, graduated with a Master in Dance at the University Paris 8 and completed Maguy Marin’s course at the CCN Lyon. She took part in a choreography research program in Lisbon together with Vera Mantero, Lia Rodrigues and Patricia Portela. During various workshops she had an opportunity to collaborate with Meredith Monk, Jonathan Burrows, Lo c Touzé among others. As a performer Flora works with Marlene Monteiro Freitas, Laurent Cèbe and Miguel Pereira. Since 2013, Flora creates and presents her own work, among others: Peuplements (2013), Gesächt (2014), and TUTUGURI (2016).

(Conception and performance: Flora Détraz. Light design: Arthur Gueydan. Set design: Camille Lacroix. Dramaturgical complicity: Ana s Dumaine. Acknowledgments: Konrad Kaniuk, Paula Caspao and Carlota Lagido. Production: PLI – www.compagniepli.org. Co-productions: Materiais Diversos (PT) / PACT-Zollverein (DE)/ MA scène nationale, Montbéliard (FR) / Relais culturel de Falaise (FR)/ CCN de Caen en Normandie, direction Alban Richard. Residencies: Ramdam, un centre d’art (FR), Alktantara (PT) / Espacio Azala (ES). TUTUGURI received the support of DRAC Normandie, Institut Français du Portugal and Fundaçao Gulbenkian.)

1.12 + 2.12 at 20:30

First and foremost we wish to apologize: to stage Hamlet, or any other play that has been done to death, today, is obviously the equivalent of saying: “I have no ideas of my own”.
In this time, when remakes, franchising and the hunt for the “built-in audience” threatens to completely wipe out any attempt of originality – why remake Hamlet, again? One of the most remade works of all time? The only sensible answer to this eagerness to reheat the stale and old has to be to build something from zero – the way Shakespeare himself would do it.
We understand your concern. But – we have a plan.
In the society that we’ve built and continue to build, we live by one all-encom­passing ambition: to be good. That is, per definition, to be better than others. Sometimes, that can be measured (long jump springs to mind). Sometimes, it can’t. But even if you can’t, in the empirical sense, say that one dance piece is good, meaning better than some other piece, that’s exactly what we do, in conversations, in media; we elevate this, we trash that. Without stating on what exact grounds we do so. Even so we pass judgement with great certainty, as if it was a matter of obvious science – instead of what it really is: a single human being feels something, in a certain moment, and somehow voices that?–?which, in turn, is a result of the history of that particular individual; her education, her childhood, her conditions, what her parents did, said, didn’t do, didn’t say. Really, this is the basic situation: I like porridge, you don’t. Who’s right?
Hamlet is an institution. The play enjoys an indisputable status, simply because a great many people, over a great length of time, have agreed on its greatness. Liked the same porridge. Thought the same thoughts as someone before them. Stated that Hamlet is really, really good. But we suspect that if you want to give something back, if you really want to honor Shakespeare, maybe you should attempt something as formidable – that is, to build a masterpiece from the ground up?
Therefore, our conclusion is to propose that there is only one morally defendable way to attack Hamlet, the character, the play, the institution, today, and that is if you believe you have found a key to a new version, that in itself puts an end to the very need of Hamlet. A version so ultimate, so chocking and powerful that the play needn’t be staged again. That the recepy is defunct for all future. That this particular institution goes down, dead, buried at last.
“Pre-study for Hamlet” is therefore, more or less, our approach to this single question: Can We With Great Certainty Claim That Our Version Will Become The World’s Most Powerful Staging Of Hamlet Ever?

(These gorgeous stars have contributed to the making of this piece: Rebecca Chentinell, Ludde Hagberg, Sutoda, Daniel Söderberg, Jonas Williamsson & Samuel Nyholm, Jens Östberg, Liv Östberg. For their fierce support, we also wish to thank these samurai warriors: Danjel Andersson, Tove Dahlblom, Anna Granath, Lisen Rosell, Katti Alm. Without these organisations, things would get harsh: Swedish Arts Council, the Swedish Arts Grants Committee. Thank you all. “Pre-study for Hamlet” is produced by Bortalaget in co-production with MDT.)

1.12 + 2.12 at 22:00

This part of the program is cancelled.

Art exhibition “SOUND MOTION STILLNESS” by Margaretha Åsberg.

Margaretha Åsberg utbildade sig vid Operans balettskola 1951-57, vid Juilliard School of Music i New York och The Martha Graham School of Contemporary Dance 1962-64 samt vid Koreografiska institutet i Stockholm 1964-68. Åsberg blev på 60-talet solodansare hos Birgit Åkesson och var med om att introducera den postmoderna dansen i Sverige. Margaretha Åsberg har skapat ett tjugotal helaftonsverk. Hennes koreografier karaktäriseras av ett nära samarbete med samtidens främsta företrädare inom bildkonst, ny musik, diktkonst och ljuskonst. I slutet av 1970-talet satte Åsberg upp det uppmärksammade postmodernistiska verket Pyramiderna och startade samtidigt dansgruppen med samma namn. Hon tog initiativet till bildandet av Moderna Dansteatern, och var teaterns konstnärliga ledare till 2004.

”In a Swedish bearing, [Margaretha Åsberg] is probably the first choreographer to actively introduce the international discussion in the field, and to start working with integrated elements from minimalism, postminimalism and conceptual art. But at the same time there is also a romantic and psychological feature to many of her pieces, and she does not hesitate when it comes to incorporating elements from an expressionist tradition, literary and mystical elements and references…, in a way that was alien for most  of the American postmodernism’s relatively formalist and intellectualist projects. Rather, you could say that she lets its vocabulary and language of form unite the serial and the hierarchic, the reflexitivity of the self and the lyrical.” (from “Anteckningar om Margaretha Åsberg” av Sven-Olov Wallenstam i “Hänryckning och ohygglighet – Koreografi & samtid, En antologi om Margaretha Åsbergs koreografiska verk”, 2006, Lena Hammergren & Madeleine Hjort, Carlsson Bokförlag. Translation: Anne Vigeland.)

On MDT main stage
Exhibition opening 5th December 13:00-21:00
Exhibition continues 6th December 15:00-20:00

MDT 30: Past, Present, Future
Seminar series curated by Cecilia Malmström Olsson.

Talk #1 Creating Moderna Dansteatern
Margaretha Åsberg, Carl Tham, Carina Reich
5.12 at 18:00

Talk#2 Creating MDT
Danjel Andersson, Cecilia Malmström Olsson
5.12 at 19:00

Talk #3 Creating the Future
Stina Nyberg, Bambam Frost, Ellen Söderhult, Linda Blomqvist
6.12 at 19:00

Screening of four works selected by Margaretha Åsberg together with Cecilia Malmström Olsson:

“Atlanten” (1989), choreography Margaretha Åsberg, text Marguerite Duras
“Det muterade paradiset” (1991) by Margaretha Åsberg
“Hommage à Loïe Fuller” (1992), by Margaretha Åsberg at the Nobel prize dinner
“Pyramiderna” (1979) by Margaretha Åsberg

Studio 1
5th December 14:00
6th December 15:00, with an introduction by Margaretha Åsberg

Book release MDT 30 Years by Cecilia Malmström Olsson, Jonas Williamsson and Samuel Nyholm.

9.12 18:00-19:00 in foyer.

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. The piece “Sound as Touch” (2016) seeks to collectively engage our tactile sense through sound. The continuation of this piece is the work SHRILL, premiering at Notam in Oslo in 2018.
https://soundastouch.com/

At present Giertz is collaborating with Marie Topp (DK), Sindri Runudde (SE), Lisa Nyberg (SE), Tyler Mathew Oyer (USA), Fullmånen från Helvetet (SE) amongst others. Recently her work has been presented at the Venice Biennale, Norberg Festival and Charlottenborg Kunsthal. Giertz is also working with Popkollo and “Vem Kan Bli Producent”, a program for music-producers and sound engineers identifying as non-binary or/and female.

(By/with: Julia Giertz. Thanks to: Audiorama, MDT, Inter Arts Center, Inkonst, Statens Kunstfund, Coven, Marie Topp, Kahurangiariki Smith, Sarah Homewood, Cecilia Nordlund. The presentation is made in cooperation with Audiorama.)

The presentation is part of a double bill together with Patrik Patsy Lassbo “A map to get lost: Choir Rehearsal” at Audiorama.
6.12 18:00
9.12 19:00

The piece is a set of etudes from the development of one of the main musical concepts for the hypermedial theatre production ”A map to get lost” (2017). This choir piece is one node in the project’s network of theatre events. The materials used for the composition are a freeware voice synthesis software, nice sounding words and phrases, algorithms and gregorian modes.
www.amaptogetlost.tumblr.com

Patrik Patsy Lassbo is a composer and sound designer that also work with lights design from time to time. Born 1988 and raised in Dalarna, now based in Stockholm since almost ten years. They have been working with sound, music and lights for performing arts since 2011 and is finished the Sound design BFA at Stockholm Academy of Dramatic Arts 2017. Patsy’s sound and music practice has evolved from being mostly fixed media to now being mostly live performance based.

(Composer: Patrik Patsy Lassbo. The presentation is made in cooperation with Audiorama.)

The presentation is part of a double bill together with Julia Giertz “Sound as Touch” at Audiorama.
6.12 18:00
9.12 19:00

Inspired by the Mexican choreographer Esmeralda Vasquez, Ludvig Daae has created a dance performance that questions the concepts “innovation” and “high culture”. With the help from three dancers, he re-imagines Vasquez’ classic piece Dance To Dance To and transforms it into a contemporary dance performance, as relevant today as it was when it premiered in 1783.
The original Dance To Dance To was left uncompleted when Vasquez died. However, the unfinished piece was presented in her honor. It was an instant success, undoubtedly helped by the rumors surrounding Esmeraldas death and her original plan for the completion of the piece. Today it is considered to be one of the most iconic dance performances of all time. The idea of the unfinished masterpiece interested Daae, and became the starting point for his research.
Ludvig and his team honor the original disco dance elements in Vasquez’ Dance To Dance To, but juxtapose it with their own interpretation of what this classic performance would look and sound like, had it been created today.

Ludvig Daae is a Norwegian choreographer and dancer based in Stockholm. After completing his dance education at the Royal Swedish Ballet School and P.A.R.T.S, he has worked with Deborah Hay (USA), Company Thor (BE), Mårten Spångberg (SE), and produced his own performances. Ludvig’s own works have been presented at Spielart Festival (DE), MDT (SE), Vooruit (BE), Oslo Opera House (NO), The Place (UK), Dansens Hus (SE), Moderna Museet (SE), Rencontres chorégraphiques Internationales de Seine-Saint-Denis (FR), Mousonturm (DE), Gessnerallee (CH) and Zodiak (FI), Black Box Teater (NO), Kampnagel (DE) among others. His solo performance MM has been presented more than 100 times around 10 countries, toured extensively in Norway with Riksteatret and in Sweden with Dancenet Sweden, and gave Ludvig a place in the German dance magazine “Tanz” as one of the “young and hopeful choreographers in Europe” in their recap of 2014. Ludvig is currently touring with the piece HYPERFRUIT, which is a collaboration between film maker Joanna Nordahl and himself. HYPERFRUIT premiered at MDT in October 2015 and has toured around Sweden, Norway, Germany and Portugal.

(Concept, choreography and direction: Ludvig Daae, inspired by Esmeralda Vasquez. Dance and choreography: Viktoria Andersson, Marcus Baldemar and Ulrika Berg. Producer: Sara Bergsmark. Scenography and light design: Daniel Åkerström-Steen. Costumes: Tove Berglund. Composer: William Rickman. With the financial support of Arts Council Norway, Swedish Arts Council and City of 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. Residency at MDT, Stockholm, and O Espaço do Tempo, Portugal.)

9.12 20:00 at MDT stage

Welcome to Festernas Fest!

Join us to celebrate MDT´s 30 years by showering in glitter, eat the cake of your dreams and dance until early. Several artists are creating fireworks throughout the entire building of MDT and you are invited to enjoy it! This is the official birthday party of MDT and the after party for A Fine Selection: Special Edition!
Curated by Tove Berglund.

Dresscode: Dance To Dance To / Nobelbanketten
❤ PLZ ❤ respect the dresscode ❤

Festernas Fest is included in the festival pass. Please note that you need a festival pass for entrance to the party.

Cast:

Tove Berglund party- & costume designer, done work at MDT and Stockholm, Malmö & Uppsala Stadsteater etc. BRÖLLOP1 at Köttinspektionen and MateriAW at Uppsala Stadsteater where the performing arts ♥ party. In her work she explores fun, gender and good taste.

Sara Bergsmark is a producer of performing arts, educated by Stockholm Academy of Dramatic Arts. She works at MDT and in freelance project, often with choreographer Ludvig Daae. She have also worked at Brigaden, ung scen/öst and Dramalabbet. Since 2016 she is in board for WISP, a network for women and trans members of the performing art scene.

Martina Elm entrepreneur, foodenthusiast, event producer, Owner & co founder of Confetti, Nordic js and Hackaway. She have worked with experiences in different forms since 2015. Her main inspirations are internet and pop-culture

Joanna Nordahl grammis award winning music video director. She also do movie, TV and commercials. She have etc worked with Kent, Silvana Imam and Say Lou Lou and have created her own documentary about young dancers for SVT, “One Wish”

Stefan Storm aka The Sound of Arrows have done worldwide success with his melancholy and dreamy pop . He have also been writing songs for several artist such as Lady Gaga, Maroon 5 and London Grammar. Alst composed music for movie, TV and radio.

Oskar Gullstrand are a film director of drama and commercials movies and part of the artist collaboration and production company NAIVE. He has a background from animation, music production and video installations.

Tove Dreiman, artist and set designer, explores abstraction of spaces and has done work at Marabouparkens Konsthall, MDT and Trädgården.

Ellen Söderhult, Lisen Pousette, Lisa Schåman, Cathryn Humphreys, Oda Brekke do Divertissemanget.

Mirande Ivarsson lives in Stockholm and photographes late nights and the days between

Hanna Ukura, photographer and artist with a passion for synesthetic composition.

Jin Mustafa is techno-dj and included in the club collective Arcade Overseas, which organizes gigs with electronic music. She is also an artist educated at the Royal Institute of Fine Arts in Stockholm.

Rasmus Lewinsson is an tech and art enthusiast. Famous for its good temper.

9.12 from 21:00
More info here: www.facebook.com/events/129724371122885/

”Forever” är Ofelia Jarl Ortega och Patrik Patsy Lassbo första samarbete. Arbetet med ”Forever” inleddes under våren 2016 och visats i flera format i olika miljöer så som klubbar, studior, blackboxar, för mindre och större publiker och som en musikvideo. De arbetar på ett nytt verk tillsammans med dansaren Alexandra Tveit med premiär 2018.

Ofelia Jarl Ortega (b. 1990, Malmö) is a choreographer and performer based in Stockholm. She works with different notions of vulnerability and femininity; with the collective as starting point, where necessity is the method and punk, drone and dark are aesthetics. Ofelia graduated from the MA in choreography at DOCH in Stockholm in 2014 and her work has been presented at, among other, MDT, Inkonst, Dansstationen, Manifesta 11 and Hyperlocal Festival.

Patrik Patsy Lassbo is a composer and sound designer that also work with lights design from time to time. Born 1988 and raised in Dalarna, now based in Stockholm since almost ten years. They have been working with sound, music and lights for performing arts since 2011 and is finished the Sound design BFA at Stockholm Academy of Dramatic Arts 2017. Patsy’s sound and music practice has evolved from being mostly fixed media to now being mostly live performance based.

(Choreography and performance: Ofelia Jarl Ortega. Composition and performance: Patrik Patsy Lassbo.)

9.12 in the studio at Festernas fest

A Fine Selection: Special Edition! 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.