Sal Reis Trouxa is a plant-based chef working with sustainability, zero-waste and fermentation. They are especially interested in the politics and social aspects around food and culture. Growing up in a self-sustaining community made by their grandparents in rural Portugal, Sal’s roots continuously inspire them to work with food both as a necessity and as a point of connection and togetherness. In the recent years they have worked as an assistant cook for artist Mirna Bamieh in her project Palestine Hosting Society and choreographer Samah Hijawi. Whilst working professionally as a chef, they have also done catering for multiple artist projects and festivals. Meanwhile they are developing their own ferments from grains sustainably produced in Scandinavia.
Sarasvati Shrestha is an artist and horticulturist working at the intersection between art, design and horticulture. Through intermedial works, gardens and farm work, sculptures, installations, education, social and performative practices, the work is often driven by issues around value systems, food, circularity, access to land and health. Through cultivation and primary production of vegetables, she has expanded her work to collaborate with social movements, artists, activists, farmers, friends and family, by raising questions around working conditions, ownership, geopolitical conflicts and accountability. Guided by queer ecologies and strategies that resist colonial and binary logics, her work centers around tracing routes to nurture a societal transition towards food sovereignty, agroecology and solidarity.
Ar Utke Ács is working as an artist within contemporary dance and an expanded understanding of choreography. They work with the poetics and politics of the body in the seams of performance, dramaturgy, text, installation, the social and the imaginary. Ar Utke Ács working with discourse in proximity with their artistic production, in particular, they are busy with counter- hegemonic strategies from queer and crip writing and lived experience. Collaborative and collective processes builds the core of their body of work and Ar Utke Ács often works across different fields and mediums of art and research. Throughout the past years, they have created a series of works focusing on affect landscapes and subversive poetics of positioning oneself non-verbally, including their first major performance production echoes. They are currently working on Thrash Mob, a commission for ESC Youth Company, which deals with social choreographies and alternative Dance History. Furthermore they are currently working on the first piece of their unapparent trilogy which will premiere in 2025 co-produced by MDT (SE) and Dansehallerne (DK).
Ar Utke Ács is a part of the queer art club collective fake daughter, which has organized queer art gatherings since 2019, as well as the studio cooperatives Dance Cooperative in Copenhagen and höjden studios in Stockholm.
Adam Seid Tahir (they/them) is a choreographer and creative technologist. Their two roles involve crafting performative work and designing/developing websites. These practices also merge and expand into writing texts, making video installations, 3D animation, crafting sensor-based instruments and building the new MDT website which launched in 2023. Seid Tahir uses speculative imagination as a tool of resistance and centres their work around creating loud and immersive black queer fiction. They are interested in mythological figures, daydreaming and crafting affective machines. These interests often intersect through water, where they take the shape of sirens, waterfalls and submerged transatlantic communication cables. In their latest works Seid Tahir keeps returning to the practice of braiding hair. Both its traditional meaning with its ancestral social traditions and through the expanded idea of braiding as a method for working together. In the latter notion Adam has recently collaborated with Amina Seid Tahir and the collective EMBRACE (Lydia Östberg Diakité, Meleat Fredriksson and Adam Seid Tahir).
They have presented their work in contexts including: Kunstenfestivaldesarts 2023 (BE), New Sh*t @ Dansehallerne 2022 (DK), Emergentia 2022 (CH), Batard 2022 (BE), My Wild Flag 2021 (SE) and Dubrovnik Summer Festival 2020 (HR). They have worked with other artists including: Bambam Frost, Pontus Pettersson, Frederic Gies, Theo Clinkard, Samlingen, Meleat Fredriksson, Lydia Östberg Diakité, Amina Seid Tahir, Paloma Madrid, Eleanor Bauer, Zoë Poluch and Michael Keegan-Dolan. They have studied courses and programmes including: Decolonial strategies within art and activism @ Uniarts (SE), Aesthetics @ LTU (SE), Programming for Artists @ Konstfack (SE), Ballet Junior de Geneve (CH) and Royal Swedish Ballet School (SE).
Adde Andreas Huumonen is a sound designer and composer. Adde creates electroacoustic music and soundscapes where the boundaries between sound and space blur, forming immersive experiences. His work is anchored in an intuitive process that allows space for emotional interpretation before the intellect determines its form. With a bachelor’s degree in sound design from Stockholm University of the Arts and training in music production and fine arts, his work spans across theater productions, installation work, performance art, and dance. He has composed music and sound design for performances at some of Scandinavia's most reputable stages, including Dramaten, Kulturhuset, Riksteatern, Uppsala City Theater, Dansehallerne Copenhagen.
Adèle Essle Zeiss completed the five-year master program in art at Stockholm’s Royal Institute of Art last spring. She has previously worked as a dancer and choreographer, graduating from the Royal Swedish Ballet school in 2002. Her work moves between choreography, installation, and video.
Adriano Wilfert Jensen works with dance and choreography to analyse and produce conditions for relations. His practice includes making, performing, curating, representing and dealing choreography, dancing for and with other artists, as well as a number of other occupations like a series of cocktail hangouts, publications, research projects, teaching etc. Together with Simon Asencio he is since 2014 running Galerie – an immaterial gallery for immaterial artworks. With Anna Gaïotti, Emma Daniel and Linda Blomqvist he developed “Indigo Dance Festival” (2014 – 2017) and “Indigo Dance Magazine” (2016). Other works include “Strohhalmen (Straws)” (2014), “Debut” (2013) collaboration with Sandra Lolax and Pontus Pettersson, “Spending Time With Dinosaurs” with Emma Daniel (2012).
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Rubino's music is a mashup of classic flamenco, Latin American rhythms, and original pieces. In Andalusia she studied with Spanish guitar masters and taught and toured for several years. In 2012, she was included in the Spanish documentary “Tocaoras” as one of the few foreign female flamenco guitarists and in 2017 she was one of five female guitarists portrayed in a large reportage in the Spanish magazine El País under the name “Ellas dan el toque” (“The women tackling the macho world of flamenco guitar”) and awarded the STIM scholarship (Swedish Composer’s International Music Bureau Composition Scholarship). She has opened for flamenco guitar legend Vicente Amigo and toured with Spain’s premier female flamenco guitarist Antonia Jiménez. In 2018, she performed at flamenco festivals in Spain together with percussionist Nasrine Rahmani and collaborated on this occasion also with flamenco legend Paco de Lucia’s harmonica player Antonio Serrano and Spain’s most sought-after double bass player, Javier Colina.
Since 2016, she has repeatedly worked with her project “The Double Bass Project”, together with the Swedish double bass player Peter Janson and singer Helena Ek and has during 2018 toured regularly with Swedish flamenco guitarist Robert “Robi” Swärd.
Nasim Aghili (artist, director, writer) and Björn Karlsson (artist and horticulturist) is an artist duo working in the field of performing and visual arts. aghili/karlsson’s performances, theatre installations, art in the public space and collaborative works often deal with the experience of existing and living in different forms of exile and how power reproduces ungrievability. Their works often take form of healing rituals and the collaborative making of grievability. The last few years they have been involved in international projects that explore radical gardening, civil disobedience and the aesthetics of sisterhood – mainly with artists, activists and collectives whose work involves various forms of decolonising practices. aghili/karlsson are based in Stockholm and the rural area outside of Södertälje where they also have their garden and studio. www.aghili-karlsson.se
"I'm interested in interventionist art practices and tactical media and I am trained in art and in disciplines outside the field of art (Interdisciplinary practices.
I'm a cybermedia "dumper" promoting an approach that challenges traditional genres and the limits of the gallery/museum context. I was soon influencen by Velimir Khlebnikov and his radio theories. I'm interested in sound theories and their anthropological implications, especially in the internet area."
Aleksandar Georgiev – Ace is a choreographer/cultural worker. He has been part of formal and no-formal educational programs such as NOMAD, SPAZIO, DanceWeb, 50 Days Fly Low and Passing Through and Critical Practice program (3rd generation). He graduated from the Masters programme in Choreography at DOCH, Stockholm, in 2014. Since then, he has been exploring nomadic approaches to aworking base, constantly replacing himself. However, it has been within the last 4 years, while working, that Ace has defined four places he considers home/locality;Stockholm, Sofia, Skopje and Tenerife. More recently, he initiated the choreographic research CO-series. The research works with different artistic practices and methods exploring the ideas of co-existence, hyper and holography through the prism of dance and choreography. He is member of NGOs such as Lokomotiva (Macedonia), Garage Collective (Bulgaria) and Interimkultur (Sweden). He is also a member of the network NOMAD (Balkan countries).
Alen Nsambu (he/they, b. 1998) is Finnish-Angolan choreographer and performer based in Helsinki, Finland. In 2022 they graduated from Den Danske Scenekunstskolen in Copenhagen, Denmark with a BFA degree in dance and choreography. Since graduating Nsambu has collaborated internationally with choreographers and directors such as Sonya Lindfors (FI), Marie Topp (DK), WAUHAUS (FI) and Filip Vest (DK).
Artistically Nsambu is busy with questions related to identity and the trinity of normal/neutral/natural. The use of diverse performative registers and representations as well as interdisciplinary practices are in the core of their work. Nsambu sees the stage, in its many versions, as a potential for the marginalized body to transform into something that the dominant narrative is suppressing.
Nsambu has been featured in venues such as Zodiak – Center for New Dance, Amos Rex Art Museum, The Finnish National Theater, The Watermill Center in New York, Dance House Helsinki, and the International Performing Arts Festival in Copenhagen.
Nsambu was selected to be one of the GENERATION2023 artists for the triennial exhibition featuring promising young artists curated for Amos Rex museum in Helsinki. In 2024 Nsambu was a summer resident artist at The Watermill Center in New York, under the artistic direction of Robert Wilson.
In 2025 Alen Nsambu has been selected to the Aerowaves network as a #Twenty25’ artist with their debut solo work "NEON BEIGE”.
Artist and choreographer, Alex Baczynski-Jenkins engages with queer affect, embodiment and relationality. Previous solo exhibitions include: Kunsthalle Basel, Switzerland (2019); Foksal Gallery Foundation, Warsaw (2018); and Chisenhale Gallery, London (2017). Baczynski-Jenkins has also presented work at: Klosterruine Berlin (2021), Schinkel Pavillon/Disappearing, Berlin (2021), Future Generation Art Prize, Pinchuk Foundation, Kyiv (2021), The 2nd Riga International Biennial of Contemporary Art, Riga (2020), Meetings on Art at the 58th Venice Biennale of Art, Venice (2019); Stedelijk Museum, Amsterdam (2019); Museum of Modern Art, Warsaw (2017); Swiss Institute Contemporary Art, Νew York (2016). Baczynski-Jenkins is co-founder of Kem, a Warsaw based queer feminist collective focused on choreography, performance and sound at the interface with social practice.
Alex Bailey is originally from Birmingham, United Kingdom now living in Vienna, Austria. He completed a photography degree before working at Eastside Projects, in Birmingham and later moving to Amsterdam to study an MFA at the Sandberg Institute. Here he met Krõõt Juurak and together they conceived the project Performances for Pets in 2014. Alongside they have performed for over 100 pets in cities and homes across Europe in both visual art and dance festivals. From 2016 he has also appeared and performed in contemporary ballet productions. He is the author of the practice Humourology, a study into humour related cosmic to comic communications. Both Performances for Pets and Humourology are represented by Galerie international, an immaterial gallery dealing exclusively with immaterial artworks run by Adriano Wilfert Jensen and Simon Asencio.
Alexander Dam (1989, Stockholm – SE) began his artistic career in 2006 within the Swedish street dance scene and has since taught, performed and competed in various styles of street dance in Sweden and internationally. He has won competitions such as UK BBoy Championships (2009), Locking Up Moscow (2011) and Juste Debout (2012).
In 2013, he trained in contemporary dance at the Salzburg Experimental Academy of Dance (S.E.A.D.) in Austria and has since completed his studies worked with various choreographers, within various projects and institutions. Alexander's artistic practice is based on techniques and experiences from street dance, contemporary dance and contemporary circus, with a focus on improvisation. Alexander has been working since autumn 2022 as an educator, supervisor and course coordinator at Åsa Folkhögskola.
ALEXIS STEEVES is a dance artist based between New York City and Stockholm. Steeves pursues ongoing research in live solo and collaborative performance praxis. Her questions emerge from substrata of long-term, interdisciplinary dialogues and the relational ethics and emergent practices within which they co-create and sometimes rest. Most often these methods proliferate in shared studio practices, experimental performance and pedagogical formulations. Steeves’ is deeply informed by her exchange with Rosalind Crisp (AUS, EU), and work with the NYC based performance collective HAM (high art moment).Her work as a choreographer and teacher is nourished by 18 years as a licensed, therapeutic bodywork practitioner (LMT, SI).
She earned an MFA in Choreography in the New Performative Practices program at the Stockholm University of the Arts as a scholarship recipient and
holds a BA from Bard College (USA). Her artistic work has been presented in Estonia, Germany, Spain, Sweden, the USA and UK. She has taught contemporary dance, performance and composition at the Tallinn University (TLU), Fine5 Dance Theater, Noore
Tantsu Festival (NoTaFe), Bard High School Early College and Brooklyn Arts Exchange (BAX). Since 2003 Steeves has worked as a licensed and certified massage therapist and, from 2013, specializes in Structural Integration (ATSI, manual fascial work of Ida Rolf).
Alice MacKenzie is a dance artist based in Stockholm. Her work enfolds speculative fiction, voice and movement scores alongside medicinal plants and cultures of bacteria in performances of intimate intra-action.
Alma Lindé is a playwright, scriptwriter, librettist and director. She has a bachelor's degree in drama/dramaturgy from Stockholm University of the Arts, and has written some thirty plays that have been staged in various theatres around Sweden.
This is how Alma describes her work:
"My vision as a playwright is really quite simple - I want to make people laugh, feel good and through my stories get to know different quirky characters that they probably would never have met otherwise. I have a great love for humanity, and the fact that we are so different is, I think, the greatest treasure of humanity. I love unlikely heroes, people who are stuck in an absolute truth about the way the world is, and forcing them to coexist with other characters with whom they clash a lot.
For me, humour is almost a sacred thing, something I truly believe is vital to humanity. I genuinely believe that you can reach just about anyone about just about anything if you tell the story with enough warmth, and if you make it funny enough."
Alma Söderberg is a choreographer and performer who works with music and dance. She uses her voice and body to play space as if it was an instrument. Her ongoing research deals with how we listen as we look; the relation between the ear and the eye. She has grounded her practice in several solo performances but has also created duos, trios and group works in collaboration with different artists, collectives and institutions.
She has mainly trained in contemporary dance and flamenco at a.o: Matilde Coral Escuela de Danza in Seville, Amor de dios in Madrid, Gotlands dansutbildningar in Visby and SNDO in Amsterdam. Since 2019 she also does occasional curations, for example the EarEye festival with the same focus as in her practice.
I'm a Finnish- Ghanaian dancer, dance teacher, choreographer and doula.
I love groove, flow, a sense of freedom and belonging. In my dance universe (and life) I'm constantly drawn for these elements. Besides my passion for dance I love nature, children, colors and community. My heart burns for creating for and with children and youth. I'd love to see a world where children and youth got to grow up being in their superpowers.
Amalia Kasakove is a Stockholm based artist working in the gutter between animation and choreography. They hold a MFA in Choreography from Stockholm University of the Arts (2022) and a BA in Dance and Choreography from The Danish National School of Performing Arts (2017). Together with Anna Lea Ourø they form the artist duo A Ourø / A Kasakove. Amalia’s work has been situated at venues such as Weld, Dansehallerne, MDT, Ställbergs Gruva, Warehouse9, HAUT, Aaben Dans, MARC, Vitlycke-CPA, Dance Cooperative and Insister Space.
Amanda Apetrea (born in 1981 in Uppsala, Sweden) is a performer and choreographer based in Stockholm. In her work she integrates political theories such as feminism, sexpositivism, body positivism and queerutopism. Apetrea went to Ballet Academy in Stockholm and has a masters degree in choreography from DOCH (University College of Dance and Circus), Stockholm.
Her works are marked by her feminist point of view, calling into question larger power structures of the modern world through the performance of western classical and cultural dance, spectacle and conceptual performance. Her current works challenge structures that restrain and inhibit the microcosm of the choreographic field as a reflection of society at large.
As Apetrea has continued to critically examine, integrate and inhabit the above mentioned overlapping politically radical theoretical concepts, her work has significantly hinged on the collaborative process and ethos fostered with the ÖFA-collective that Apetrea co-founded in 2004, as well as Samlingen started in 2014. Some of these collaboratively authored works are: I Ass Jazz with Emma Tolander and Lisen Rosell, EDIE&EDIE with Emma Tolander, Beauty and the Beast with Halla Ólafsdóttir featuring Lisen Rosell and Chrisander Brun (jardin d’europe 2013 prize winner), DEAD with Ólafsdóttir, Samlingen - en danshistoria (Riksteatern) with Nadja Hjorton, Zoë Poluch, Stina Nyberg and Halla Ólafsdóttir, I’m a Very Understanding Woman, SPRINGITME and There Will Be Men with Mica Sigourney (SF, USA). Grottbjörnens Folk with Nadja Hjorton and Lisen Rosell and Stolthet och fördom with Lisen Rosell.
Amanda Hedman Hägerström is a costume designer and scenographer whose work often revolves around the body, the queer gaze, vulnerability and humor. She likes to work with seductive aesthetics with desire and intuition as an artistic compass. Amanda graduated from Stockholm University of the Arts in 2022 and is active both in institutions and in the free field. She is one of three founders of the independent group Goosebumps Scenkonst, which creates cross-artistic performances and alternative methods for co-creative work processes.
Amanda Piña [CL/MX/AU] lives and works between Vienna and Mexico City. Her artistic work is concerned with the decolonization of art, focusing on the political and social power of movement, temporarily dismantling ideological separations between contemporary and traditional, human and animal, nature and culture. Coming from extractivist contexts like Chile and Mexico, where desertification and water scarcity caused by Capitalocene-induced climate change are already a reality, the artist proposes to refresh our experience of and relation to water through works in different media aimed at re-awakening ancestral knowledge and memory.
Amie Mbye (b.1993) is a Norwegian-Gambian performing and creating dance artist based in Oslo who works between Oslo, Barcelona and Dakar.
She has a background within African Aesthetic Dances and club-street dance, and holds a BA within dance art and choreography from HFDK.
Amie finds herself working in different artistic contexts and constellations. She has participated in and co-created projects ranging from battles and dance jams to artistic productions for stages, presented both nationally and internationally.
Amie is the initiator and founder of B16 dance collective. The dance collective consists of 20 dancers between the ages of 18 and 32 who work widely with dance; performance, facilitating and organizing professional dance workshops, artistic talks, dance jams and art nights in Oslo.
Amina Seid Tahir (she/her) is a Swedish-Eritrean artist and choreographer based in Stockholm/London. Her work is rooted in themes around resting and dreaming within the global majority community and grows through mediums such as sound, braiding, vibration, installation and performance. Braiding together her interests in ancestral knowledge with oral traditions and myths, she creates a universe between reality and fiction. Manifesting spaces where dreams can work like seeds to grow Futures.
Currently, Seid Tahir is studying fine art at Konstfack (SE) and Chelsea College of Art (UK). She has presented work in contexts including: Kunstenfestivaldesarts 2023 (BE), New Sh*t @ Dansehallerne 2022 (DK), Emergentia 2022 (CH), Batard 2022 (BE), Botkyrka Konsthall 2022 (SE) and My Wild Flag 2021 (SE). Seid Tahir’s work is grounded in community and would not be possible without the conversations or collaborations with her communities, including people as: Ailin Mirlashari, Are Karim, Rebecca Beyene, Lina Alarabi, Adam Seid Tahir, Nora Seid Tahir, Sara Rad, Dina Said and many many more.
She has lectured at various universities and was a visiting professor at the Performance Studies Dpt. of the University Hamburg. Since 2016 she is a team member and mentor at SNDO – School for New Dance Development, Amsterdam. She was a member of the editorial collective of TkH [Walking Theory], a Belgrade-based theoretical-artistic platform, and editor-in-chief of the TkH Journal for Performing Arts Theory (2001-2017). She participates in artworks (performance, theatre, dance, and video/film), as a dramaturge and co-author, with artists such as Marta Popivoda, Eszter Salamon, Christine de Smedt, Dragana Bulut etc. She has published a number of articles and books, most recently Public Sphere by Performance, with B. Cvejić (Berlin: b_books, 2012). Currently she edits the collection Live Gathering: Performance and Politics in Contemporary Europe with L. A. Piazza (Berlin: b_books, 2019), and works on the documentary Resisting Landscapes, directed by M. Popivoda.
Andrea Rodrigo is a curator and researcher in the field of contemporary dance and choreography. Her practice is articulated in different formats and
gestures through the curation of programs, writing, dramaturgy and the accompaniment of choreographers and artists.
Her research focuses on the potential of form for the production of aesthetic and political sensibilities; the transmission of somatic forms of knowledge and the body as a site of emergence and ideological inscription.
She was the artistic co-director of the Dance Festival Sâlmon in Barcelona (2023–2024). She is the director of the Corporeal and moving dimension module of PRAXIS, the structure for independent studies of Santander’s project space fluent. She has curated the programmes Amarre at MDT, What I am already intuiting at Centro de Arte Dos de Mayo–CA2M, Madrid; Amarre I at CondeDuque, Madrid; The Sensing Salon with Valentina Desideri and Denise Ferreira da Silva at fluent in collaboration with Centro Botín, Santander.
She is involved in contexts such as the Performing Arts Forum, St. Erme, France where she organises the Spring Meeting alongside Bojana Cvejić, Nikhil Vettukattil, and Stefa Govaart, and Bulegoa z/b, Bilbao, where she worked as a coordinator from 2017-2018. She works with Isabel de Naverán in different ways, accompanying each other in their research and curatorial work. She is a member of ARTEA, a research group and an independent association focused on performing arts, linked through its members to different Universities and Research Centers in Spain and Latin America.
Andreas Haglund (b. 1996 in Stockholm, Pronouns: He/They) works as a freelance dancer, performer and choreographer in and around Stockholm and Copenhagen.
He is an active member of Dance Cooperative; a platform, dance studio and venue for leftist practice and performance organised by 14 professional artists in Copenhagen. Through this framework he has facilitated several performance events, presenting both his own works and collaborations as well as hosting other artists and their works.
They are educated in Dance & Choreography from The Danish National School of Performing Arts where they trained mostly western dance techniques with an emphasis on contemporary dance practices. Their education also included an exchange semester at The Academy of Dramatic Arts in Zagreb, Croatia.
Andreas has worked in various constellations with choreographers, visual artists and institutions such as: Frédéric Gies, Jules Fischer, Weld Company, Zheng Bo, Ágnes Grélinger, Tårnby Park Studio, Paolo Gile, Nordlys, Stina Ehn, Antonia Harke & Denise Lim.
Andreas Merk was born in Germany, studied dance and theatre in Frankfurt (Hochschule für Musik und Darstellende Kunst) Brussels (P.A.R.T.S.) and Switzerland (Scuola Teatro Dimitri). He appeared in productions by various directors and choreographers on stage and screen; Tomer Heymann, Idit Herman, Nicolas Steman, Falk Richter, Tania Carvalho, Inbal Pinto&Avshalom Pollak Dance Company, MataNicola, Noa Shadur, Marlene Monteiro Freitas, Richard Siegel amongst others.
Andrew Tay, 1977, Toronto Canada. Multi-hyphenate choreographer, performance curator, dancer and DJ, Andrew’s work seeks to trouble dominant perceptions of power informed by his lived experiences as a queer Filipino Canadian. His work Make Banana Cry (co-authored with Stephen Thompson) questions perceptions of “Asian-ness” in Western culture and has been presented at the Festival TransAmériques (Montreal), Kampnagel (Hamburg), Fierce Festival (UK) and continues to tour internationally. His other works Fame Prayer / EATING (created with Katarzyna Szugajew and François Lalumière), The Magic of Assembly (created with Whacking artist Ashley Colours Perez) and Odd-Sensual have received numerous accolades including the Risk and Innovation Award (Summerworks Toronto) and 5 Dora Mavor award nominations.
Andrew is known for reimagining possibilities within historic dance institutions through his work as the inaugural Artistic Curator of the Centre de Creation O Vertigo (CCOV) Montreal and his current role as Artistic Director of Toronto Dance Theatre (TDT) one of Canada’s oldest contemporary dance companies. In 2022 Andrew was named on the list of “50 under 50 shaping tomorrow” by Concordia University. He actively thinks about community, irreverence and resistance in both his performance and curatorial practices.
Andros Zins-Browne, born in New York in 1981, works at the intersection of performance and dance. His work extends choreographic notions into encounters with dancers, nondancers, singers, objects, and texts. Since 2016, his performance Already Unmade where he de-hearses previous works, ‘unmaking’ them, has been presented at the Institute of Contemporary Arts, London; Whitney Museum of American Art, New York; Rockbund Art Museum, Shanghai; and Lafayette Anticipations, Fondation Galeries Lafayette, Paris. In 2019, Atlas Unlimited, a series of exhibitions in collaboration with artist Karthik Pandian, was featured at the PERFORMA19 Biennial, New York, and as a series of music videos currently presented on the Criterion Channel. In 2020/21, his work was commissioned for online projects by Danspace Project, the Aspen Art Museum, and Triple Canopy.
In 2022, Zins-Browne premiered color a body who flees, a collaborative sound installation and performance series at the Hammer Museum, Los Angeles. Performance remixes include The Tony Cokes Remixes, 10th Berlin Biennale (2018), Dia Art Foundation (2023); See-Saw, MoMA, New York (2019) and Asymmetry 222, Getty Museum, Los Angeles by Simone Forti; as well as Jérôme Bel, 1995 (2020) KADIST, Paris, in collaboration with e-flux (2020). In collaboration with Ley, Kris Lee and a host of co-conspirators, Zins-Browne premiered duel c (River-To-River Festival, 2023) a performance that ascended Outlook Hill on Governors’ Island, in a choreography that stirs towards a commingling of care and violence. Zins-Browne is the recipient of awards from the Goethe-Institut; Graham Foundation for Advanced Studies in the Fine Arts; Ministry of Culture of the Flemish Community; and New York State Council on the Arts.
Angela X is a lighting designer.
Anika Edström Kawaji & Robin Haghi are dancers and choreographers from Stockholm and have been active as dance artists since studying at P.A.R.T.S. (Brussels, 2013 - 2016). They have worked together as dancers in the company Rosas/Anne Teresa de Keersmaeker (BE) between 2016 - 2021 i.a. Rosas Danst Rosas, Rain, Drumming, Achterland, Bartók/Beethoven/Schönberg, The Dark Red Research Project, A Love Supreme, Zeitigung, The Six Brandenburg Concertos and the dance installations: Work/Travail/Arbeid (Tate Modern, London) Brancusi ( Bozar, Brussels) and Dark Red (Kolumba, Cologne). Individually, they have collaborated with i.a. Louis Nam Le Van Ho (FR), Fieldworks - Heine Avdal & Yukiko Shinozaki (NO/JP), Robin Jonsson (SE), Wee/Francesco Scavetta (NO/IT) and Tilman O'Donnell (DE/US). They are also co-founders of the Brussels-based platform YOUNGSTERS, which arranges and creates spaces for meetings between artists and young people in Brussels.
Anika Edström Kawaji and Robin Haghi are dancers and choreographers from Stockholm and have been active as dance artists since studying at P.A.R.T.S. (Brussels, 2013 - 2016). They have worked together as dancers in the company Rosas/Anne Teresa de Keersmaeker (BE) between 2016 - 2021 i.a. Rosas Danst Rosas, Rain, Drumming, Achterland, Bartók/Beethoven/Schönberg, The Dark Red Research Project, A Love Supreme, Zeitigung, The Six Brandenburg Concertos and the dance installations: Work/Travail/Arbeid (Tate Modern, London) Brancusi ( Bozar, Brussels) and Dark Red (Kolumba, Cologne). Individually, they have collaborated with i.a. Louis Nam Le Van Ho (FR), Fieldworks - Heine Avdal & Yukiko Shinozaki (NO/JP), Robin Jonsson (SE), Wee/Francesco Scavetta (NO/IT) and Tilman O'Donnell (DE/US). They are also co-founders of the Brussels-based platform YOUNGSTERS, which arranges and creates spaces for meetings between artists and young people in Brussels.
Ann-Sofie Lundin is originally from Gävle (SE). As a songwriter, producer and pop-artist/act she goes by the name Min Stora Sorg. Her first EP was released on the label Bengtsson&Wirfält in september 2012 and was met with great reviews. The follow up album “Mvh Anso, M$$” was released in February 2014 and took the Swedish press by storm. With her third album “BITCH LOVER CHILD MOTHER SINNER SAINT” Min Stora Sorg created a unique spot of her own within the Swedish field of music. Besides creating music for the act Min Stora Sorg, Ann-Sofie is also a composes music for theatre and dance. She also works as an actress as well as collaborates with other musicians as a songwriter, live musician and singer.
Anna Efraimsson is the Theater director of MDT Moderna Dansteatern. She has shifted between roles as curator, producer, administrator, teacher and dramaturge. She is senior lecturer in choreography with a focus on curatorial practices, and was the head of department at the Department of Dance at DOCH/Stockholm University of the Arts. Since 2014, she also runs the experimental business The Blob.
Efraimsson is educated at the Department of Cultural Studies at Stockholm University, Études théatrâles at the Sorbonne in Paris and at Icpp, Institute for Curatorial Practice in Performance at Wesleyan University in the USA. She has previously worked at The Kitchen, Kulturhuset, Konstnärsnämnden's international dance program, Moss exhibitions, Perfect Performance and more. She has also started the feminist network W.I.S.P. with Sandra Medina, Tove Sahlin and Johanna Skobe.
Anna Fitoussi is working within dance and performance. She holds a BA in dance, Context and Choreography (HZT) from UdK Berlin.
In her practice, she researches voice and movement as material, and the ways they can alter bodies, states and time of performers and observers. Her work revolves around human mythologies, geo and sociopolitical histories, folklore and migration. Anna's fascination with voice on stage led to her research choir practices, western and eastern harmonies, immersive sounds compositions, arrangements and circular songs.
Anna worked with artists Myriam Van Imschoot, Colin Self, Alma Söderberg, Deborah Hay, Jefta Van Dinther, Halla Ólafsdóttir, Hooman Sharifi and Renan Martines among others.
For more than 40 years, Anna Grip has taught in institutions, training courses and in the extra-institutional dance area. In addition to freelance assignments, Anna Grip has been working with the organization ccap under the leadership of Cristina Caprioli since 2014. Together with ccap, Anna Grip also runs the public venue Hallen in Farsta, Stockholm.
ANNA ÖBERG (S) is a contemporary dancer and choreographer who uses her background in Swedish folk dance as the starting point for both her artistic and research work. Her deep knowledge of tradition in combination with her innovative approach has drawn a lot of attention to her choreographic work, which is characterized by the creation of multilayered performances with a strong physical approach, often using the interaction between music and movement as a central core.
Commissioned works in recent years include e.g Dalateatern, Stadsteatern, Scenkonst Sörmland, Riksteatern, Dancenet Sweden. Her stage works have been presented at e.g. Dansens Hus, MDT, Norrlandsoperan, Moderna museet, Dansstationen in Sweden, Dansehallerne in Denmark, Riksscenen Norway and Brut Imagetanz Vienna. During 2019 she created SOLITUDE as Dancenet Sweden's new co-production.
Anna has recurring commissions as a dramaturg, moderator, and pedagogue in Sweden and abroad. During the years, she has also initiated and curated platforms for stage art, pedagogical issues and research, latest FLOCK, a new festival for scenic art in Falun, Sweden, in collaboration with Dalateatern and Folkmusikens Hus.
Anna Pehrsson is based in Stockholm, Sweden. She has been a member of Alias Compagnie, Stockholm City Theatre and Cullberg Ballet, and danced in works by Birgitta Egerbladh, Edouard Lock, Jefta van Dinther, Benoît Lachambre, Deborah Hay, Eszter Salamon, Cristian Duarte, Stina Nyberg, Alexandra Waierstall and Rachel Tess among others. She received her MFA in Choreography at DOCH in Stockholm at 2013 and her last piece Cut In/ Fold Out, made in collaboration with artistic advisor Siegmar Zacharias and light designer Thomas Zamolo, premiered in 2016. She is an artistic advisor for MARC (Milvus Artistic Research Center) in Kivik (Skåne) and in 2015 examinator for the MA in Didactics at DOCH, and since 2017 teaches at the Bronnbacher Stipendium in Mannheim, Germany.
Anna Vnuk is a choreographer, dancer, director and playwright working with stage, film and TV productions. She often works with music and comedy, moving freely between Eurovision Song Contest, Dansens Hus and the Royal Dramatic Theatre (Dramaten).
Anne Juren (b. 1978, Grenoble) is a choreographer, dancer, and Feldenkrais practitioner. She lives and works in Vienna. In 2003, she co-founded the Wiener Tanz- und Kunstbewegung association. Juren’s choreographic pieces and artistic works are shown worldwide in theatres, festivals, museums, and art venues. Since 2013, Anne Juren has been a Feldenkrais® practitioner. Between 2014 and 2018, she was a member of the Artistic Committee of the Master Programme in Choreography at DOCH in Stockholm. She is currently a PhD candidate at the Stockholm University of the Arts under the supervision of André Lepecki and Sandra Noeth.
Anne Naukkarinen (b.1987) is a Helsinki-based choreographer, dancer-performer, and visual artist. She uses methods from dance and somatic practices, as well as writing to explore intimate and complex human experiences that are in relation to changing situations. Her work is situated at the intersection of contemporary dance, visual art, and the expanded field of choreography. Her recent artworks have been presented at Moving in November, Mad House Helsinki, Contemporary Art Space Kutomo, Kunsthalle Helsinki, Titanik Gallery, SIC Gallery. Naukkarinen is also a curator at the Performance art venue Mad House Helsinki.
Annika Hyvärinen is educated at the Ballet Academy and the Academy of Dance in Stockholm. Since 2000, she has worked as a freelance dancer in contemporary dance with a large number of choreographers nationally and internationally. Among the choreographers Annika has worked with are Cristina Caprioli, Tero Saarinen, Örjan Andersson, Carl Knif, Anna Källblad and Helena Byström and Helena Franzén. Annika also works as a repeater at the Tero Saarinen Company and teaches Tero Saarinen's technique.
Antonia Harke is a Oslo based artist mainly working within the fields of dance and choreography.
Her dance practice leaks and lingers. It gently articulates an interest in the vocal, the sensorial and the fleshy. It expands in collaboration. She uses writing as a motor to chat with and listen to the many hidden dances and fictions that live within.
Antonia holds a BA in dance and choreography from the Danish National School of Performing Arts in Copenhagen (2019). She received the DanceWEB Scholarship at ImPulsTanz Vienna in 2021.
She is currently a Master Student in Dance at KHiO (2023-2025).
Antonia Rohwetter studied Philosophy and Culture and is currently graduating at the Institute for Applied Theatre Studies in Gießen. She holds a teaching position for queer-feminist theories at University Witten/Herdecke. In her theoretical and curatorial work she tries to pursue and enable caring and affective scenes of knowledge production thinking through queer feminist epistemologies.
Ar Utke Ács is working as an artist within contemporary dance and an expanded understanding of choreography. They work with the poetics and politics of the body in the seams of performance, dramaturgy, text, installation, the social and the imaginary. Ar Utke Ács working with discourse in proximity with their artistic production, in particular, they are busy with counter- hegemonic strategies from queer and crip writing and lived experience. Collaborative and collective processes builds the core of their body of work and Ar Utke Ács often works across different fields and mediums of art and research. Throughout the past years, they have created a series of works focusing on affect landscapes and subversive poetics of positioning oneself non-verbally, including their first major performance production echoes. They are currently working on Thrash Mob, a commission for ESC Youth Company, which deals with social choreographies and alternative Dance History. Furthermore they are currently working on the first piece of their unapparent trilogy which will premiere in 2025 co-produced by MDT (SE) and Dansehallerne (DK). Ar Utke Ács is a part of the queer art club collective fake daughter, which has organized queer art gatherings since 2019, as well as the studio cooperatives Dance Cooperative in Copenhagen and höjden studios in Stockholm.
Katja Seitajoki is a choreographer/director and artist who works with performing arts as a tool for creating norm critical projects. From 2006 to 2015 she was one of the artistic directors of Arena Baubo, which works in a multidisciplinary fashion with anti-hierarchal structures. Throughout the years Arena Baubo has been using formats such performances, lectures and open talks in order to create new impulses, ideas and meetings. For example, previous projects include: ”Leadingfollowing: the spectator’s dance”.
Ariel Efraim Ashbel lives and works in Berlin. He is a graduate of the school of visual theater Jerusalem (2006) and holds a BA in philosophy and history from Tel Aviv University (2011). Weaving together a wide array of historical, political, theoretical, and pop culture references, his pieces are interdisciplinary compositions at the intersection of theater, dance, music, and installation. He also collaborates as a performer, dramaturg and light designer with friends such as visual artist Alona Rodeh, choreographers Ligia Lewis and Constanza Macras, performance collectives Showcase Beat Le Mot and Apparatus, composer Wojtek Blecharz and more. Ashbel lives and works in Berlin where he regularly collaborates with HAU Hebbel am Ufer, as well as other institutions and festivals around Germany and internationally.
Ashik Zaman is the founder of the contemporary arts publication and nomadic exhibition platform C-print, which turned 10 years in 2023. Since 2024 he holds position as artistic director at Konstnärshuset in Stockholm and also serves as board member of Konstnärshuset and chairman of the board of Centrum för Fotografi. He is also a regular critic for the international lens-based publication Camera Austria.
Aurelia Dey is a multi-artist who performs Afrobeats, Reggae, Dancehall and Nordic & Ghanaian traditional music, acts and choreographs. Aurelia creates awareness around diversity and inclusion and explores the intersectionality of art forms, including her Ghanaian heritage. She leads and implements cross-genre projects in the storytelling tradition with drama, music, dance and urgent messages.
When she is not making music or leading projects, she writes play scripts, choreographs and acts. She has toured Ghana, Zimbabwe and South Africa and won awards such as “Best Female Artist” and “Best Stage Artist” at the Scandinavian Afrobeats Music Awards. Aurelia can be heard in, among other things, the band Sallyswag and has debuted as a playwright at Angereds Teater in the play VOICE, which she also acts in. She has acted in plays such as “Woza Albert!” at Kulturhuset Stadsteatern Vällingby December 2019, the monologue “random” by debbie tucker greene at Kulturhuset Stadsteatern Husby/Kilen 2022 and choreographed “Den omättliga vägen” at Dramaten 2022. Aurelia runs the dance course The Dancehall College in Gothenburg for adult women and non-binary.
AYMERIC HAINAUX is a visual artist, musician and composer. Particularly known for his very personal human beatbox style and his 6 years hitchhiking tour. For his intense corporeal performances he uses a kind of beatboxing style, but ends up with sound signatures that relate much more to abstract electronic music, drone, glitch and noise than to hip hop. Besides his own body, breath and voice, the only extras he uses are a microphone, some harmonicas, accordion, bells and echo pedal. No loop, live action only! His music comes literally from within – voice, breath, muscle tension, movements, heartbeats and sudden outbursts of sound are celebrating the living and the immediacy of the present moment. Hainaux has repeatedly been awarded in the French Beatbox Championship. He has played in different places; from squats to La Fondation Cartier, Palais de Tokyo, Empty Bottle Chicago, Phono Festival Odense, Biennial of Thessaloniki, MUDAM Luxembourg, Villa Arson Nice.
Åsa has been working as a freelance dancer with Stockholm as her base for over ten years. Before that, Åsa was at the Cullberg Ballet for more than 15 years and worked with choreographers such as Mats Ek, Stijn Celis, Sidi Larbi Cherkaoui, Johan Inger, Alexander Ekman and Ohad Naharin. As a freelancer in Stockholm, Åsa has worked a lot in the last ten years with performances aimed at children and young people, at both ZebraDans, Teater Tre, Ingrid Olterman dans and with Julia Kraus Dybeck. With Anne Jonsson, Åsa has had a slightly longer collaboration in recent years in three different productions. Together with David Nondorf,
Åsa created "The Dance of Death" for Strindberg's Intima teatern, a performance that has been played on and off for the past three years. With Helena Franzén, Åsa has previously worked in several productions over several years both on tour and in Stockholm. Lisa Östberg, Anna Vnuk and Magdalena Eriksson are also some choreographers that Åsa has worked with over the years. With Mats Flink, Åsa has collaborated more cross-border between theatre, text and dance. In addition to working as a stage artist, Åsa teaches ballet, modern, repertoire and improvisation to both professionals and students at, among others, Cullberg, the Ballet Academy in Stockholm and Norrdans. Åsa has also choreographed and acted as a movement coach for Anna Pettersson's works for Strindberg's Intima teater and Dramaten.
Daniela Bershan is a visual artist, DJ, activist and researcher that can best be described as a media-vagabond and fearless sampler. In her work – ranging from sculpture and performance to social organisation and music – she conceptualizes not just the characteristics of her materials but with and through them the skills and objects they can be read with. Sampling and being sampled she dissects choreographies and scores in order to make tangible how they operate; She is committed to create and circulate queering tools. For Daniela object-making, situations, material processes, affective encounters, active study, performance, remixing and choreography are all expressions of sense-making processes, compose potentia-spaces for erotic/aesthetic practices and nonmonotonic thinking. #DJsarelisteners
Bershan co-founded and directed FATFORM (NL), and is co-organizing ELSEWHERE & OTHERWISE at Performing Arts Forum (FR). Her works, projects and performances have been presented at ao. the 29th Sao Paulo Biennale (BR), De Appel Arts Centre (NL), Frankfurter Kunstverein (DE), Museum Katharinenhof (DE), MaerzMusik (DE), KunstenfestivaldesArts (BE), W139 (NL), Portikus (DE), NAS Gallery Sydney (AU), Capacete (BR), Smart Project Space (NL), Paradiso (NL), Künstlerhaus Graz (AT) and Triennale Luxembourg (LUX).
BamBam Frost is a dancer and choreographer based in Stockholm, Sweden. She graduated from Stockholm University of the Arts, with a bachelor of contemporary dance in 2013. In her work she has moved between the club scene, commercial work, the contemporary dancefield and art institutions. In 2018 she debuted with her piece SORRY.
SORRY (2018), SO SORRY (2019), and YES (2020) all take off from her interest in social dances and pop culture phenomena in relation to the times and contexts they arose from. In her work she insists on pleasure and fiction as a compass to imagine and shape choreographic proposals. “immortal summit” and “choreographic conversation” were created together with Lydia Östberg Diakité and both premiered in 2021.
bas bleau is a Stockholm-based producer, composer and DJ. In 2021 she released the debut EP ”SOMA” via London imprint Cherche Encore, along with experimental mixes for Threads Radio, RTM and TUKIO among others. bas bleau’s music is characterised by liquid rhythms and wet melodies, fluidly moving between dark wobbly bass, dynamic percussion and shiny textures, in sharp and playful tension.
BamBam Frost is a dancer and choreographer based in Stockholm, Sweden. She graduated from Stockholm University of the Arts, with a bachelor of contemporary dance in 2013. In her work she has moved between the club scene, commercial work, the contemporary dancefield and art institutions. In 2018 she debuted with her piece SORRY.
SORRY (2018), SO SORRY (2019), and YES (2020) all take off from her interest in social dances and pop culture phenomena in relation to the times and contexts they arose from. In her work she insists on pleasure and fiction as a compass to imagine and shape choreographic proposals. “immortal summit” and “choreographic conversation” were created together with Lydia Östberg Diakité and both premiered in 2021.
Benjamin Pohlig är koreograf, dansare och researcher, ursprungligen från Berlin med utbildning i England och Belgien. I sitt arbete undersöker han teatern som en agora, en plats där sociala och politiska beteenden inte bara praktiseras utan också erfars fysiskt. Detta koncept framträder i alla hans arbeten, såsom det deltagarbaserade solot dance yourself clean (2013) och i samarbeten som 5 seasons (2016) och A Farewell to Flesh (2017). Som dansare har han arbetat med Martin Nachbar, Isabelle Schad, Grayson Millwood och Zoë Knights, såväl som internationellt med Pierre Droulers och Renan Martins. För tillfället är han ensembledansare för Cullberg i Stockholm. Som researcher ägnar han sig åt konceptet social koreografi och undersöker hur en kan tala om global uppvärmning genom dans.
Benjamin Vandewalle studied at the Royal Ballet School of Antwerp and graduated at P.A.R.T.S. in Brussels in 2006. Since early on, the central theme in his work is perception. He creates movement – not only in the performer’s body but also in the spectator’s. His work is about sharing new experiences and perspectives with a large audience.
For the performances Birdwatching (2009) and One/Zero (2011), he worked closely with visual artist and scenographer Erki De Vries. In 2012 he stepped out of the black box into the public space. His mobile performance Birdwatching 4×4 was a festival favourite amongst audience and critics and toured for several seasons. At this moment Benjamin is touring the intimate installation Inter-view (2013) as well as the sound choreography Hear(2016). For both pieces he works closely with local participants. Benjamin is also working on several new installations and performances for public space. Benjamin Vandewalle is interested in dance education and is a dedicated teacher for children, amateurs, students as well as professionals. He was guest teacher at the KASK and MUDA and also created a guest choreography for Passerelle (Kortrijk, BE). He collaborated with the dance school Nyakaza in South Africa, launched the project Comfusao in Mozambique and accompanied a group of P.A.R.T.S. dance students during an exchange project in Senegal. Together with philosopher Jan Cnops and a group of school children from Molenbeek (Brussels) he made the documentaries (un)usual and Movements.
Benjamin Vandewalle is Artist in Residence at Kaaitheater from 2017 to 2021.
Bianca Traum is an autodidact versatile artist who works with dance, acting and choreography. Through her own tailored education, she has primarily gathered knowledge and information during the years she lived in NYC. There, Traum practised various forms of street dance and modern dance and was active in various club scenes. In her work, she moves between the context of street dance, commercial contexts and the contemporary dance scene. She has been a part of some twenty productions and performances in Sweden and festivals around the world.
She grew up in a household with music and dance, and was exposed to social dances from an early age. Her fascination and burning interest in performativity and folklore forms the basis of the ceremony TR3I, her debut solo performance.
https://www.biancatraum.com/about
Choreographer Björn Säfsten is based in Stockholm. His work is centered around a curiosity of sign and representation bending and of what arises from transformation of gesture and sound, lately also including text and singing. He build his practice through long-term exploration of specific ideas, often with failure, humour and the details of a movement in focus. His body of work includes over 15 original creations as well as curation of festivals and platforms. Also, a strand of well-developed practices for workshops is continually presented both at home and abroad. Read more at www.bjorn-safsten.com
Bojana Cvejić is Associate Professor of Dance at KHIO National Academy of Arts in Oslo and Professor of Philosophy of Art at FMK, University Singidunum, Belgrade. She has widely published in philosophy and dance and performance theory and has been the director, performer or dramaturg in a number of performances since 1996. Her most recent books are: Choreographing Problems: Expressive Concepts in Contemporary European Dance and Performance (Palgrave, 2015), A Choreographer’s Score: Drumming and Rain (with Anne Teresa De Keersmaeker, Mercator, 2013) and Public Sphere by Performance (with Ana Vujanović, Bbooks, 2012).
The Swedish duo Byström Källblad makes work for the stage, the gallery and the public space. Artist Helena Byström and choreographer Anna Källblad share a desire to tell stories from and based in collaboration and exchange with specific places and its people. Through choreography and bodies in motion they create work that spans across dance and fine art. Fearlessly with both seriousness and humor Byström Källblad develops concepts inspired by challenges in society today and seek to express its complexities.
Byström is a visual artist from the north, working mainly with film and sculpture, Källblad is a choreographer from the south, who returned to Sweden after ten years divided between London, New York, Los Angeles and Chicago. Byström and Källblad work locally, nationally and internationally and have shown work in places like a sports arena, a nuclear power plant, Shibuya Crossing Tokyo, Sakakini Art Centre Ramallah, Stockholm City Hall, Uppsala Cathedral, Kulturhuset, Dansens hus, The Royal Dramatic Theatre and the Modern Museum in Stockholm. 2024 they premiered Calling we are here and January 2025 A third possibility and since the premiere at Dansens Hus Stockholm toured the perfomance City Horses all over Europe as selected artists and part of Big Pulse Dance Alliance as well as i Australia and Mexico.Their work has attracted wide media attention and is referred to in academic papers.
Byström Källblad are supported by the Swedish Arts Council, Region Västmanland, Region Stockholm and Swedish Arts Grants Committee.
Cajsa Godée (she/they) is a queer dancer and choreographer working mainly in Berlin and Stockholm. Cajsa gravitates towards exploring themes around sexuality and intimacy from a queer experience. She approaches it with a touch of humor and often in an intimate setting with room for spontaneity in the meeting between herself and the audience. Both as a dancer and creator, Cajsa works with a mix of different performative practices and somatic movement practices. Her dance foundation is within groove oriented styles and club dances, especially locking and popping, that was acquired and developed in the swedish Streetdance community. Cajsa has been part of groups such as JUCK, What Came out of the Mothership, Analkollaps and many others. Her most recent work, Lez Dance - Dyke Camp, was created together with Xirley Harthey Ubilla and premiered at MDT Sthlm in 2024.
Camilla Vatne Barratt-Due, is a composer, musician and instrument builder.
She develops sonic fields, performative installations and altered mechanical systems that often includes electronics and live coded synthesis merged with materials from her extensive accordion collection. Her work have been presented in museums and theatres as well as sound-art, dance and music festivals in Germany, Denmark, Spain, Sweden, UK and Norway.
She holds a BA in classical accordion from The Royal Danish Music Academy, an MA in Sound Studies from Universität der Künste in Berlin, and is currently a PhD fellow in artistic research at the Norwegian Academy of Music in Oslo.
Cara Tolmie (born Glasgow, based in Stockholm) spends much of her time oscillating between contexts as an artist, musician, performer, DJ, pedagogue and researcher. Her works have been performed and exhibited widely at art galleries, music festivals, biennials, conferences and in the public space – both as solo presentations and collaborative projects.
Her practice at large centres itself upon the voice, the body, and the complex ties between the two. All at once subjective as well as socially determined, she explores voice and body as two co-dependent entities able to confirm as well as contradict one another. Within this she often explores performative techniques that disorient the listening relationship between the singer and her audience through live uses of the defamiliarised, uncanny and sampled singing voice. Cara Tolmie is currently a PhD candidate in Critical Sonic Practice at Konstfack, Stockholm.
As a dancer and choreographer, Cecilia Lisa Eliceche (1986, Argentina) is fascinated by the endless potential of the body and movement. She conceives dance as a site to experiment and rethink notions such as ‘democracy’, ‘community’ and ‘the political’. With a cannibalistic and erotic approach, she creates rigorous compositions in tight relation to the history, codes, and traditional heritage of the dance medium.
Eliceche: “I self-identify as a feminist, queer, postcolonial subject, drawing inspiration from seemingly disparate sources, such as Steve Paxton, the cumbia of Pablo Lescano, Trisha Brown, Merce Cunningham, tango, George Balanchine, South American folklore, Anna Teresa de Keersmaeker, tropical music, nature, my fantasies of Lygia Clark and the Tropicalia movement, Native American craft, romantic ballets, social dances, Basque witches…” Her choreographies can be read as personal, bastardized, ‘creole’ mixes of all these sources.
Eliceche studied ballet and contemporary dance at the Bahia Blanca conservatory and attended the University School of Agriculture and Farming at the Universidad Nacional del Sur in Argentina. In 2004 she moved to Madrid to study ballet with Victor Ullate. Two years later she enrolled at P.A.R.T.S. in Brussels. This also gave her the opportunity to spend time at Movement Research in New York as an exchange student and to collaborate on DD Dorvillier’s “CPAU Get ready!”
In 2011 she created “Cow’s Theory”, a dance production for three female performers following one principle, that of always maintaining contact with each other. It won second prize in the Prix Jardin d’Europe ‘because of its intense physical exploration of structural dynamics and social relationships’. “Cow’s Theory” was followed in 2014 by the quartet Unison which takes the classic dance format of ‘unison’ as a starting point to re-think ‘togetherness’ and ‘the political’ from a personal, feminist perspective. Recent festival commissions include “Candle Solo with 2 Pianos” (2013) and “The Non-Massage Bastardised Cumbia Performance” (2014).
As an alternative to the standard ‘creation’ process Eliceche has developed the ongoing series of Dance Concerts, which take the form of two-week residencies with a culminating presentation. In these performance events, she explores choreographic, political, social and process-based themes in an evolving dynamic format. The Non-Massage Dance and Touching Sessions are another expression of her commitment to challenging typical modes of production, in search for new forms and collaborative constellations. One of the forms this takes is “TNMD a performative treatment”, developed in partnership with Manon Santkin.
In addition to her work as choreographer, Eliceche is a freelance dancer and an assistant to ballet master Janet Panetta. She danced in work by (among others) Eleanor Bauer, Heather Kravas, Claire Croizé, Etienne Guilloteau and DD Dorvillier. Currently, she is attending the Master of Choreography at the Amsterdam Hogeschool voor de Kunsten. She is an active member of State of the Arts and practices political activism in her daily life as an member of civil society.
Communicator
Célia Lutangu is a Swiss curator and promotor with values. Currently based in Brussels, she co-organises two event projects: Leaving Dakota and Bledarte. With the first, together with Seelik Mutti, they encourage artistic exchange between local artists and art collectives based outside of Belgium that they invite through exhibitions, parties, talks, projection or workshops. Bledarte is a non-mixed collective of racialised women based in Brussels. Célia and her sisters aim to offer space for thinker, artists and clubbers descendant of immigrants. They are also active against police brutalities and any opressions non-white youth can face in Belgium. In June 2018 and then in September 2019 they organised a two-day festival that proved to be a great success. Célia is also know under the dj name of Wutangu, when she’s spinning tracks as a dj around Europe or for the artist Jardin.
Celine Orman runs the project Bevara Rörelse at Skånes Dansteater. She has a master's degree in ABM (archival science, library and information science and museology), and has previously studied literature, photography and film. Celine has a background as a dancer and has since 2010 engaged in somatic practices, leading courses in the movement practice Authentic Movement. Her work is driven by finding bridges between the silent body experience and the cognitive verbal language and how together they can contribute to the development of both the individual and the collective. With a listening approach, she works to preserve the dance experience in a unique and living archival format to promote the relevance, research and heritage of dance.
Charlie Laban Trier is a dance-maker and performer, (1987 CPH/DK), based primarily in Amsterdam. He graduated (2018) from SNDO – Bachelor in Choreography. His background is in styles such as House and Vogue and is still rooted within these scenes both in terms of his base of movements, but also through participation – especially within the European Vogue Ballroom scene. Being in different queer scenes and categorizing himself as a transgender person, has also influenced his thinking and approach to work. One of the focuses of his work is studying how to embody and learn from methods of already existing performance practices that can turn the gaze inside-out and that aims on enhancing space for bodies corrupted by different oppressive structures.
Charlie has worked in the past years with a variety of artists. In the recent year he has worked for artists such as Paul Maheke (LND), Michele Rizzo (AMS), Noha Ramadan (AMS), Keren Levi (AMS), Phoebe Osborne (NYC/AMS). He has since 2015 worked for and with Italian choreographer Cristina Kristal Rizzo. They are currently co.creating an upcoming piece (working title: “Hypernating”) that will premiere in 2020.
Charlotta Ruth (S/A) 1977, Ruth’s work has e.g. been presented at Tanzquartier & Brut Vienna, MDT & Dansens Hus Stockholm and international touring to Denmark, Estonia, Russia, Norway, France. As an artistic researcher she has worked at Academy of Fine Arts Vienna, Uniarts, Stockholm and is part of a project developed by University of Applied Arts Vienna at the Venice Artistic Research Pavilion in 2019. Coming from the field of choreography, Ruth approaches ideas with a genre independent but site and context-specific approach ranging between stage, gallery, public space, institutional in-between spaces and online. A continuous source for inspiration and resonance of thought comes from working as a performer and collaborator with other artists e.g. Ingrid Cogne, Carola Dertnig, Alexander Gottfarb, Dominik Grünbühel, Anne Juren, Toxic Dreams/Yosi Wanunu, Petter Jacobsson & Thomas Caley. Ruth is educated at the Royal Swedish Ballet school and holds an MFA in choreography with performance art specialization from Uniarts Stockholm. She also studied computational thinking & basic programming, e-poetry, digital movie making, media activism, writing of Live Action Role Play and is since 2017 a PhD student in artistic research at the University of Applied Arts, Vienna.
Chloe Chignell is an artist working across text, choreography and publishing. Chloe takes the body as the central problem, question and location of her research. She invests in writing as a body building practice, examining the ways in which language makes us up. She graduated from the research cycle at P.A.R.T.S (BE, 2018) and went on to the post-master research program at A.pass (BE, 2020). She has a Bachelor in Dance from Victorian College of the Arts, (AU, 2013) and studied a writing and residency program at DOCH (SE, 2017). She received the DanceWEB scholarship in 2015.
Since 2019 Chloe co-runs rile* a bookshop and project space for publication and performance with Sven Dehens. Her most recent work Poems and Other Emergencies premiered at Batard Festival Brussels 2020 and has been presented at Saal Biennale (Tallinn, 2021), Moving Words Festival (NO, 2021), QL2 (AU, 2022) and soon at KAAP (Bruges, 2022) and Littérature etc. (Paris 2022). Chloe has been commissioned by the Keir Choreographic (AU, 2016) for the creation of Deep Shine touring to Japan for The Awaji Art Festival. She presented a short work forever in both directions for the Venice Biennale’s Biennale of Dance (2017).
Chloe is the founder and co-editor of This Container magazine, a publication focusing on choreographic writing, currently in its 8thedition. She has developed choreographic writing and reading formats hosted by Kottinspektionen (Stockholm), PraxisFestivalen (Oslo), PAF (France) Scene:Bluss (Norway). She teaches the Masters of Choreography Students at ISAC.
Stockholm based Chrisander Brun is keeping busy as a scenographer, light designer and photographer. Brun studied at Dramatiska Institutet where zhe got a BA degree in 2010. Brun has done lights and scenography for many dance and theatre performances in Scandinavia and zhers work has been presented at several international performing arts festivals in Europe. Brun has had long term collaborations with artists such as Halla Ólafsdóttir, Amanda Apetrea, Nadja Hjorton, Dorte Olesen, Ludvig Daae, Mychoreography, Tatu Hämäläinen, TOYBOYS, TO-EN Butoh Company, Zero visibility corp, Örjan Andersson, Martin Forsberg, Björn Säfsten, Stina Nyberg ++++ Zhe has worked with theatres and companies such as Rogaland teater in Stavanger, Kungliga Dramatiska Teatern, Riksteatret in Norway, Kulturhuset Stadsteatern, Skånes Dansteater, Helsingborg Stadsteater, Turteatern, Carte Blanche , CullbergBaletten ++++. For more info, check out: www.chrisander.no and www.chrisanderphotographer.no
Christoffer Lloyd, born 1991 and based in Stockholm, Sweden. BFA in light design at Stockholms Konstnärliga Högskola 2019-2022. Link to website.
Chrysa Parkinson identifies as a dancer. She comes from North American and Northern European dance communities where she has been working for forty years as a performer. Her artistic inscriptions include the proscenium stage, queer communities, and somatic practices – the combination of which manifest as a deep respect for both poetry and camp, a queasy relation to categories, and an ongoing pleasure in redefining virtuosity through experimentation. Since 2011, Chrysa has been working as a Professor of Dance at Stockholm University of the Arts (SKH), where she directed the New Performative Practices Master education for many years, and is now Head of Subject for Dance. Her research focuses on how dance situates itself in practitioners’ lives and how performers, in turn, author, dismantle and reconstitute worlds.
Chrysa is currently (2025) leading the research project Authorship Ownership and Control: dancers’ roles and materials (AOC). Hosted by SKH and funded by the Swedish research council, AOC will be completed in 2027.
Following a passion for the empowering perreo that started in the 00s at her teenage parties in Galicia, Spanish MC and DJ Clara! blends revolt, sex and humor on reggaeton/rap mutant rhythms with a punk spirit and a feminist foundation. For this infectious and twisted take on the genre she joins forces with eclectic producers including Pearson Sound, Low Jack and Maoupa Mazzocchetti.
Her DJ sets consist of wide ranging, tempo hopping mixes, lead by her hispanic roots, a blind curiosity, fun and a deep love of dancing. Her iconic “Reggaetoneras” mixtapes compiled 100% female reggaeton MCs with rhythms from the ‘90s up to the modern day. Crammed with rude drums and hooks levered from major dance hits, and sandwiched with skits and personal edits.
Corina Oprea is a curator, editor and educator, focusing on contemporary art, visual and performance culture. Oprea is the co-editor of the collection book Climate: Our Right to Breathe, she has served as Managing Editor of L’Internationale Online, the digital platform for research and arts of a network of over 15 leading European museums and arts organizations and as lecturer at HDK-Valand, Gothenburg. Between 2017 and 2018, she was Artistic Director of Konsthall C, in Stockholm, with a program on Decolonization in the North. Corina holds a PhD from University of Loughborough-UK, with the thesis ‘The End of the Curator – on curatorial acts as collective production of knowledge’ and is curator of Timisoara 2023- European Capital of Culture and of the large scale inaugural exhibition Chronic desire-Sete cronica. Born in 1981 in Bucharest, she lives and works in Stockholm.
Cristina Caprioli is a dancer and choreographer based in Stockholm. In the mid 1990s she founded the independent organisation ccap, wherein she produces performances, installations, films, objects, publications and other choreographies, and runs long-term interdisciplinary research projects. Caprioli’s choreography is characterized by precision, complexity and physical high-technology.
All of her productions challenge the field’s normative formats and exchange economies. During the years 2008 to 2013, Caprioli was a professor of choreographic composition at the School of Dance and Circus (DOCH) in Stockholm, and she has received a number of grants and awards. Fall 2021, Caprioli was awarded the royal medal Illis quorum meruere labores “for her extensive and significant
work as a dancer and choreographer as well as outstanding contributions in both the Swedish and the international dance field.”
In August 2022, her retrospective Once Over Time was performed at Tanz im August in Berlin.
Cuba (she/her) is a multidisciplinary dancer and singer based in Alicante. Beginning with an urban dance training, she specialised in Twerk and joined the Twerk Up collective. She became a teacher of this practice and subsequently collaborated with multiple artists such as Kid Keo, Kalash Krimiel, Jedet and others on video clips and during tours. Cuba also works as a stripper in Miami and is currently a dancer for the international tour of Karol G.
Eleanor Campbell
Eleanor Campbell (b. 1985) is originally from Australia. She was drawn to ballet and sports in her youth and began her early dance career working for Australian companies The Queensland Ballet and Dance North. Eleanor traveled to Europe at age 21, landing first in Scotland before studying contemporary dance. After one year at SEAD, Salzburg, she entered the 4-year program at PARTS, Belgium.
After graduating, she worked with theatre directors Mokhallad Rasem and Thomas Ryckewaert and choreographers Peter Savel, Georgia Vardarou, and Albert Quesada. In 2015, Eleanor joined Cullberg and performed in the work of Deborah Hay, Jefta Van Dinter, Eleanor Bauer, Ian Kahler, Alma Söderberg, Margrét Sara Guðjónsdóttir and Halla Ólafsdóttir. Throughout her time in Cullberg, Eleanor's focus has been on improvisation in performance, group processes, and how somatic practices merge with and support choreographic forms.
Mohamed Y. Shika
Mohamed Saleh (b. 1989), Shika "Mohamed Saleh, known as Shika, is an Egyptian contemporary dancer of Nubian origin. His dance journey blends influences from Nubian folk dances, martial arts, house, and Afro-traditional and contemporary dances studied at Senegal's Ecole des Sables. Inhabiting various worlds and identities intersect, Shika's artistic sensibilities thrive in the fusion of these diverse experiences.
Shika's interest extends beyond dance to different art mediums, such as painting and photography, influenced by the dynamism of his movement. In 2017, Shika was awarded the Pina Bausch fellowship following the work of Nora Chipaumire, where their close collaboration continues to evolve to date. Shika has been dancing with Cullberg since 2018.
Shika's invitation to the Within Practice festival ignited his interest in exploring, through the lens of his own experience, how dancers' roles within companies like Cullberg shape and inform the utilization of the various tools and practices they have developed or been exposed to. Specifically, he's intrigued by the intersection of dance practices and long-term approaches.
Freddy Houndekindo
Freddy Houndekindo (b. 1991), Stockholm, Sweden, is an interdisciplinary artist positioned at the intersection of music, spoken word poetry, dance, film, and performance. His interest in dance originated from street dance, later he studied contemporary dance at the Conservatoire National superior de Musique et de Danse de Lyon (France) and German modern dance at the Folkwang Universität der Künste in Essen (Germany).
Movement Director and Choreographer, Freddy's expertise and interest in multimedia led him to work in a variety of contexts, such as stage work, film, and fashion. A dancer at Cullberg, he joined the ensemble in the autumn of 2018. Freddy's recent project proposes to look at performance practices as sites where ethics and theory could potentially self-actualize into practice.
Born in Singapore, Cynthia Koppe is a New York City based dancer and teacher. Her longest collaborations have been with Liz Santoro and Pierre Godard: Le Principe d’Incertitude, and Shen Wei Dance Arts. She has also appeared in work with Yve Laris Cohen, Heidi Howard and Liz Philips, Nicole Mannarino, Ryan McNamara, Sam Roeck, Adam Weinert, Christopher Williams, Ellis Wood, and Bill Young amongst others, and was a “reperformer” for Marina Abramovic’s 2010 MoMA Retrospective. Cynthia holds teaching certifications in both Yoga and Pilates and currently studies Craniosacral Therapy with Etienne Peirsman. She also holds a certification in Female Ejaculation and the G-Spot, has trained in Holistic Pelvic Care TM with Tami Lynn Kent, and studies sex education with Isa Coffey of WiseBodies. Cynthia is currently working on a new creation with John Jasperse.
Dance Art Critical Ecology that enhances deep listening, the philosophy of jojking and empowerment.
Ottawa native, based in Montreal since 2000, Dana Michel is a Canadian of Caribbean descent whose family hails from the island of Saint Lucia. She describes herself as a live artist. Exploring the world of nuance, Dana caused a stir from the start with her first creations. Since then, she has been refining her exploration of time and improvisation, finding her own way into concepts such as identity, sexuality, and work—in other words, looking for ways to expand her relationship to existence. Each of Dana’s projects exposes her vulnerability and her quest to create more vital space for us all.
“MIKE” is her fourth major piece after “Yellow Towel” (2013), “Mercurial George”(2016), and “Cutlass Spring” (2019). In this last decade, her creations have garnered some remarkable accolades. In 2014, she received the ImPulsTanz Award in recognition of creative excellence. In 2017, she was awarded the Silver Lion for Innovation in Dance at the Venice Biennale. In 2019, she received the International Prize for Live Art from the ANTI Festival (Kuopio, Finland). In 2022, she was awarded the Jacqueline Lemieux Prize by the Canada Council for the Arts for her significant contribution to dance in Canada.
Daniel is a Stockholm-based set- and costume- and light designer as well as a stylist. He was educated at the Stockholm University of The Arts. Daniel has for the past 15 years worked for theatres in Sweden and Norway. He is also one of the founding members and part of the creative team behind Swedish pop-act Min Stora Sorg/Mi Gran Tristeza. Daniel is originally from Skellefteå, Västerbotten in the north of Sweden.
Darío Barreto Damas is a Canarian freelance dancer working in the field of dance and choreography. Darío is based in Sofia, Skopje, Stockholm and Tenerife. His education takes place at Teatro Victoria, Tenerife; Institut del Teatre, Barcelona and DOCH, Stockholm. Darío has worked with Cullberg as a guest dancer and ccap / c.off, (lead by Cristina Caprioli), Aleksandar Georgiev and Ofelia Jarl Ortega among others. Throughout his work, Darío focuses on the research of dance as a possible autonomous phenomena and on spaces of de-contextualisations. Darío is co-creator, with Aleksandar Georgiev and Zhana Pencheva, of the artistic team STEAM ROOM and the cultural project institution ICC (Imaginative Choreographic Center). Darío is member of NOMAD Dance Academy Network, Lokomotiva (Macedonia), Interimkultur (Sweden), Garage Collective (Bulgaria), PiedeBase (Canarias) and TenerifeLAV (Tenerife).
Dasha Plokhova – choreographer, dancer, teacher, and artist. Dasha studied contemporary dance composition at Vaganova Ballet Academy (MA’2013), cofounded dance cooperative Isadorino gore (isadorino-gore.com) with Sasha Portyannikova. They experiment with forms and formats of dance and educational projects. From time to time Dasha cooperates with contemporary art institutions: Garage contemporary art museum, V-A-C Foundation, and others. For the last 6 years, she leads the child contemporary dance group and adult classes in ZIL Culture Centre. Sometimes Dasha makes her dance pieces, supported by Russian contemporary dance environment.
Diederik Peeters is an officially certified visual artist that accidentally got lost in the stables of stage-art, and usually makes performances, but has also been caught writing texts, inventing installations or video’s and crafting other amalgams that appear hard to categorise. Because Peeters is a proud patient of a pathological preference for confusion, in his work impossible contradictions and absurd consistencies are stubbornly piled up.
Dijle Neva Yigitbas, also known as Neva Deelay, is a versatile artist and musician active in performing arts and film. Since 2007, she has established herself as a unique and innovative creator in audiovisual art and composition. As the founder of the independent label Abow Production, she highlights creative and norm-breaking talents in the media industry.
Dijle is a dedicated meditator and keeps her artistic and spiritual practices closely intertwined as she wants to invite the recipient to a curious inner exploration through her works. She combines norm-critical questions with her characteristic and musical expressionism and weaves dreamlike worlds that challenge the boundaries between sound and image, fantasy and everyday life, idealism and reality.
In 2019, Dijle debuted her self-produced audiovisual project Galax-Ma - a conceptual feminist utopia that wants to go beyond the limits of what we think is possible (released as film and vinyl) which marked the beginning of a new era of integrating music, film and performance in their works. Since then, she has, among other things, released “Queens Date Themselves” - a hybrid of music video, mockumentary and art film in three parts which, with an ecofeminist eye, intends to make visible the connection between the oppression of women and the oppression of the earth. She is current working with DEVOTED in collaboration with Lisa Janbell and continues to give life to new, and ancient, worlds where the woman has the main role.
Dominik Grünbühel (A) 1978, Grünbühels work was performed at Wiener Festwochen, Tanzquartier and WUK in Vienna as well as guest performances in Sweden, Estonia, Hungary, Croatia, Israel. Together with long term collaborator L. Baio Grünbühels work is defined by the ambition of developing and creating everything needed for their performances themselves. Specifically built canvases, ukuleles, miniature models, puppets together create a bricolage that presents itself in the most unpretentious manner. In 2017 their work “Ohne Nix” was chosen and performed in the context of Aerowaves Spring forward 2017. Dominik Grünbühel has been performing professionally as a freelancer dancer in productions ranging from dance to opera to performance art since 2000. He is also the bass player and MC of Nifty’s, a klezmer punk band that was awarded the Austrian World Music award (05) and Ö1 Künstler des Jahres (06). Dominik Grünbühel is originally educated at London Contemporary Dance School. In 2016 he completed a Magister in digital art from the University of Applied Arts, Vienna and is currently doing post-gradual studies in applied dramaturgy at the University of Music and Performing Arts in Vienna.
Dominique Pétrin is a visual artist living and working in Montreal, Canada. She has been working primarily with silkscreen printing for over 20 years. A former member of the petrochemical rock band Les Georges Leningrad from 2000-2007, she also collaborated with renowned artists such as Sophie Calle, Pil and Galia Kollectiv and choreographers Antonija Livingstone, Stephen Thompson and Jennifer Lacey in Culture, Administration & Trembling performance. Some of her most featured works are including an installation in Banksy’s The Walled Off Hotel (2017) in Palestine, and Supernova (2013), an all-over installation on the Beaudry metro station in Montreal. Her work has also been exhibited in many artist-run centers across Canada, at the Musée d’art Contemporain de Montréal, Musée National des Beaux-Arts du Québec and have been nominated for the prestigious Sobey Art Award 2014.
Dominique Pollet is a lighting designer.
The Stockholm-based performance duo and band Dos Oké, is composed of the dancers and choreographers Lisa Janbell and Camilla Sivam. Drawing on the power of twinship-sisterhood as their creative force, Dos Óke creates sacred electronic prayers through intuitive unified movements and sound.
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
Élie Autin (she/her) is a model, dancer and artist. Autin studied contemporary dance at the Manufacture HES-SO in Lausanne. Directly after obtaining her diploma, Autin worked on various artistic creations and productions within theatre, dance and performance as a performer, but also as creator and co-creator. Autin has worked with Tamara Alegre, Marvin M’Toumo, Natasza Gerlach, Caner Teker, Juliette Uzor, Nagi Gianni, Alexandre Doublet among others. Recently she exhibited her first sculpture installation at a group exhibition at La Rada in Locarno, Switzerland and is now starting to develop artistic work in new directions.
Edwin Kolpa is a set designer.
Born and raised in Japan and a resident of New York since 1976, Eiko Otake is a movement–based, interdisciplinary artist. After working for more than 40 years as Eiko & Koma, she now performs as a soloist and directs her own projects collaborating with a diverse range of artists.
Eleanor Bauer is a performer and choreographer working at the intersections of dance, writing, and music. Her work is a profound synthesis of embodied intelligences, bound in her practice of making sense with the senses in performance. From solos to talk shows to large ensemble pieces, her versatile works range in scale, media, and genre traversing categories of performance with wit, humor, and aplomb.
Originally from Santa Fe, New Mexico, Bauer is currently based in Stockholm where she is a PhD candidate in Choreography at Stockholm University of the Arts. She created performances via GoodMove vzw, a production structure she initiated for collaborations in Brussels, from 2007-2019, and was artist in residence at Kaaitheater in Brussels from 2013-2016. Together with Ellen Söderhult and Alice Chauchat, Bauer co-founded the open-source format for exchange of practices in the performing arts called Nobody’s Business in 2015, which has since been adapted by myriad practitioners and local organizers worldwide. Bauer continues to teach, write, lecture, and co-create contexts for exchange of knowledge in the arts, including PROTO TALKS and A class for a cause.
Bauer has worked as a performer with, among others, choreographers Xavier Le Roy, Boris Charmatz, Anne Teresa De Keersmaeker/Rosas, Trisha Brown, David Zambrano, Mette Ingvartsen, Veli Lehtovaara, Karinne Keithley, Ivy Baldwin, and Chris Yon. She has collaborated as a choreographer and performer with visual artists Matthew Barney, and Every Ocean Hughes/Emily Roysdon. She has performed or collaborated with music groups such as Ictus contemporary music ensemble, The Knife (leading Miguel Gutierrez’s Deep Aerobics for the Shaking The Habitual/Shaken Up tour), and WATT clarinet ensemble.
Bauer’s primary collaborator in music since 2004 is Chris Peck with whom she has created numerous performances ranging from an remote Mail-art & interdisciplinary performance collaboration with Jon Moniaci, Beth Gill, and Chase Granoff called ”<3 The Band” to several large scale and touring theatrical, musical, and dance pieces over the years. Together they write songs and transport, transpose, or trans-muddle structures and ideas between different media in a strongly intuitive practice they call ”compostition” (compost, composition, and superstition).
Bauer choreographed a collaboration between Swedish rap artist Yung Lean and the Swedish dance company Cullberg called NEAR, which premiered in 2018 at Gothenburg’s Way Out West music festival and Stockolm’s Dramaten Theater. In Spring 2020, Bauer collaborated with Danish pop artist Lydmor and Corpus dance company at Copenhagen’s Danish Royal Theater for an original collaboration entitled SENSUALITY HAPPENS, slated to appear also at Denmark’s renowned Roskilde music festival, currently suspended until further notice due to Coronavirus. Other ongoing collaborations include a project with Nora dance company in London, working title Nora (the many), and a film and dance artistic research collaboration with Swedish filmmaker/director and fellow PhD candidate at SKH named Mia Engberg.
Eleanor Campbell
Eleanor Campbell (b. 1985) is originally from Australia. She was drawn to ballet and sports in her youth and began her early dance career working for Australian companies The Queensland Ballet and Dance North. Eleanor traveled to Europe at age 21, landing first in Scotland before studying contemporary dance. After one year at SEAD, Salzburg, she entered the 4-year program at PARTS, Belgium. After graduating, she worked with theatre directors Mokhallad Rasem and Thomas Ryckewaert and choreographers Peter Savel, Georgia Vardarou, and Albert Quesada. In 2015, Eleanor joined Cullberg and performed in the work of Deborah Hay, Jefta Van Dinter, Eleanor Bauer, Ian Kahler, Alma Söderberg, Margrét Sara Guðjónsdóttir and Halla Ólafsdóttir. Throughout her time in Cullberg, Eleanor's focus has been on improvisation in performance, group processes, and how somatic practices merge with and support choreographic forms.
Elias Ortiz works on many fronts in the stage industry. With various music education behind him, he is active as a freelance drummer, studio musician, songwriter and music producer and also co-directs the music studio Studio Lur. In 2020, Elias trained as a Theatre, Event & Stage Technician at Frans Schartau's Business Institute and since has worked as a lighting designer, sound and lighting technician and technical coordinator on several stage and TV productions.
Eliisa Erävalo is a Finnish choreographer and dancer based in Stockholm. Eliisa has a long history of work both as a solo artist and in different kind of collaborations around Europe and in Sweden. She always explores and works with the concept of "Support" in her different tasks.
Eliisas choreographic work contains two "clouds". She has a deep interest in making art in public spaces and has created a work series of interventions on streets. She does this work alone. It is a part of her research in the idea of a porous body and the experience of intuition. Mostly Eliisa works in collaborations and with dance. One of her focuses there is to further intersectional feminism and a non-binary society.
The work Eliisa has lately been doing elaborates different concept pairs as outside-inside, technology-nature, materia-spirit and winner-loser. She wants to understand how we build togetherness and form strategies in life. Even in that she wants to create space and focus attention to that which we cannot put into words. Eliisa has worked as a dancer at the London Royal Opera House with Freddie Opoku-Addaie, toured with Dorte Olesen, Gui Garrido and Sidney Leoni and worked with many other choreographers.
Elina Pirinen is a choreographer, dancer, singer-songwriter-musician, artistic director and curator based in Helsinki. She often uses large classical music pieces as companions and frameworks for different corporal, vocal and linguistic performative qualities. She works closely with contemporary psychodynamic theories and their potential in stage practise. She works also with animal activism and makes intensive baroque-rockmusic with her orchestra Bambi lammella.
Eliott Marmouset (he/they) was born in 1994 in Fontainebleau, France.
In 2014 he completed a bachelor in Product Design in Paris, he went on to study choreography and dance in ArtEZ Arnhem Netherlands.
Eliott has been part of Cullberg from 2017 to 2023, collaborating and performing in works of: Deborah Hay, Alma Söderberg, Halla Ólafsdóttir, Eleanor Bauer, Jefta Van Dinther, Hooman Sharifi.
He has worked with his sister Fanny Marmouset, Albert Quesada, Mirko Guido, Cristina Caprioli.. In 2021 Eliott choreographed a theatre play for FONACT (Fontainebleau school of acting).
Hand in hand with the dancing, he nurtures practices of painting and crafting that revolve around the notion of body(ies).
Elisa Harkins is a Native American (Cherokee/Muscogee) artist and composer based in Tulsa, Oklahoma. Her work is concerned with translation, language preservation, and Indigenous musicology. Harkins uses the Cherokee and Mvskoke languages, electronic music, sculpture, and the body as her tools. Harkins received a BA from Columbia College, Chicago and an MFA from CALARTS. She has since continued her education at the Skowhegan School of Painting and Sculpture. She has exhibited her work at Crystal Bridges, documenta 14, The Hammer Museum, The Heard Museum, and Vancouver Art Gallery. She created an online Indigenous concert series called 6 Moons, and published a CD of Creek/Seminole Hymns. She is also the DJ of Mvhayv Radio, an Indigenous radio show on 91.1FM in Tulsa, OK and 99.1FM in Indianapolis, IN. Radio III / ᎦᏬᏂᏍᎩ ᏦᎢ is a dance performance that features music and choreography by Harkins. With support from PICA and Western Front, songs from the performance have been collected into a limited edition double-LP which can be found on Harkins’ Bandcamp. Harkins resides on the Muscogee (Creek) Reservation and is an enrolled member of the Muscogee (Creek) Nation.
Elisa Tuovila är en helsingforsbaserad danskonstnär/medioker IKT-student. I sitt konstnärliga arbete är Elisa intresserad av både __ och __ men också __ eller.
Elisabete Finger is a Brazilian choreographer based in Berlin and São Paulo. She studied dance and choreography in different places such as the Essais Program at the Centre National de Danse Contemporaine CNDC d’Angers (FR) and the MA SODA (UdK /HZT Berlin).
In her creations she works with the rawness of bodies and materials, moving their anatomies, revealing insides and outsides, exposing textures, forms and fluids in images and situations that stand in the border between delight and disturbance, beauty and ugliness, delicacy and danger, often challenging social/cultural expectations. Her pieces have been presented in dance, performance and visual arts contexts, with the support of Brazilian and international institutions and programs as such: RUMOS/Itaú Cultural, Festival Panorama, FUNARTE, Sesc (BR), Institute Français, Le CND (FR), Goethe-Institut, PACT Zollverein, Fabrik Potsdam, Uferstudios, Tanzfabrik, Radialsystem (DE), IASPIS, Weld, Moderna Museet (SE), among others. She was recently a fellow of Martin Roth Initiative (2021-2022), and a resident artist at Radialsystem (2023), within the frame of Weltoffenes Berlin program. https://elisabetefinger.com/
Ellen Nyman is a Swedish actress, director and playwright, born in 1971 and educated from The Acting School at Aarhus Theatre in 1997. She has worked in both Denmark and Sweden and starred in more than 30 plays, a row of films, television and performances. Furthermore she has established her own art projects – often political actions, happenings and video-art. She has exhibited at several museums, taught at a number of art academies and worked as a lecturer, debater and translator. For the time being Ellen lives in Sweden, where she has directed at Malmø Stadsteater, Teater Tribunalen and Folkoperan.
Ellen Söderhult is a dancer and choreographer based in Stockholm. Her choreographic works have often taken on the collective as protagonist (Rudy, Shane et al, How to do things with Romance: a prologue, DUNKA DUNKA), but also explored monstrous emotions and textures in sweet-bitter love (GROV) and the ghostly in the relationship between dancer and dance (Spökdanser, Blessika).
With a background in choral singing and sports, she often works with voice, enveloping soundscapes and big leaps. Ellen has worked with choreographers such as Iki Gonzalez Magnusson, Sorour Darabi, Anna Källblad, Nikima Jagudajev, Sindri Runudde, Nadja Hjorton, Marvil Iglesias and Catarina Zarazua Mujo, and as a musician with composer Hara Alonso. Ellen is educated at Bollnäs Folk High School's music line and on the bachelor's programmes in contemporary dance and circus at DOCH / Stockholm University of the Arts.
Ellie was introduced to tea while living in the forests of the Pacific Ocean over 10 years ago, and has been steeping ever since. Ellie drinks tea everyday with his family, alone, with friends or with strangers. His tea practice is a contemporary, coastal California, forest magic adaptation of Gung-Fu style tea. He understands the practice of drinking tea as a way to listen, be still, and be in dialogue with the environment. Tea is an improvisation, tea is a moment together, tea is happening. As well as this practice, Ellie has spent the last 14 years researching somatic movement and dance practices such as Body-Mind Centering, and teaches classes in embodiment and Contact Improvisation. Out of the dance studio he tends native plant ecosystems and connects to place through processing plants and palpating their seasonal stories into medicine and food.
Else Tunemyr (b. 1984 Sweden) lives in Berlin, Germany. She engages in different collaborations, sometimes as a dancer and sometimes as a maker, often without a clear division. The Past is the result of passing on a specific choreography for the last time to the singer Liina Magnea (b.1991 Germany).Tarrying on the other hand is the first outcome of a commitment to lingering with Alexandra Tveit (b. 1989 Norway) and Elisa Yvelin (b. 1984 France).
Elvan Tekin (Izmir, 1994) is a dancer, performer, choreographer and community organizer based in Berlin. Her artistic interests deal with the entanglement and fluidity of one’s body, language, identity, and their (trans)formations and how these interact and shape the understanding of self and other. In 2023, her solo performance to be a fish in a raki bottle was presented at Tanztage Festival in Sophiensaele, Berlin. Moreover, Elvan is the co-curator and organizer of the curatorial project emergent spaces that is centralizing queer and trans feminist perspectives in the diaspora. She has completed her master’s degree in Choreography at HZT, Berlin.
embrace is a collective of three artists: Meleat Fredriksson, Adam Seid Tahir and Lydia Ö Diakité, who came together in Spring 2020 to begin work on their debut collective project 'EMBRACE', a project comprising research for a dance performance of the same name.
The name embrace points towards the foundation of their collaboration; to embrace their existence and experiences as African diaspora in the Nordics, and examine and explore how these influence the ways in which they create art.
Erik Annerborn is a costume designer and creative director, based in Sweden and working across Europe. With a strong interest in the performative aspects of the design process, as well as the sensual and social magnetism embedded within clothing, Erik creates costumes for and with dancers who want to go deep. His costume design furthers a long-standing styling and costume tradition working with individuality, archetypes, and what fashion says about us. Besides a longstanding collaboration with Jarl Ortega, Erik has been working with a number of Swedish and international choreographers, including Lito Walkey, Malik Nashad Sharpe, Chara Kotsali and Anna Koch. His works have been shown at venues such as ImPulsTanz, ICA London, Arsenic, Sadler’s Wells, The Yard, Roskilde Festival and Dansens Hus Stockholm.
Erik Linghede is an active choreographer, dancer, actor and photographer from Stockholm.
His work as a choreographer has been shown on some of the country's major stages such as Dansens Hus, Norrlandsoperan, Stora Teatern in Gothenburg and others. Erik is driven by an innovative drive in his work and lets the specific project idea together with desire control the creative process and expression / design.
"Idioter I Skogen" (2025) is Erik Linghede's first solo and fourth stage production.
Linghede began his journey in the field when he actively participated in the street dance/battle scene nationally and internationally during the period 2006-2014. During this period, Erik also produced a number of different battles and scenic concepts (Almost A Jam, Scandinavian Superjam & Oldschool Battle etc.).
Since 2014 Erik Linghede has concentrated on choreographing and producing his own stage works based on themes such as forbidden love, the human need for conviction and the border between fiction and reality, man and machine. ‘HOLD’ (2014), “IDIOM” (2016), “DRONE” (2018).
In recent years (2019-2024), Erik Linghede has reworked his choreographic practice through still photography in the exhibition series ‘High Definition 1 & 2’ (2020/2021) and ‘Portals’ (2023). In 2022, Erik Linghede presented his latest take on choreography through ‘SUNRISE’. A headphone-based concert where the sunrise at a specific viewpoint is choreographed through a customised soundtrack composed by Yared Tilahun Cederlund.
Erik Valentin Berg is an artist working in between the practices of choreographing, directing, and curating. His work articulates questions of language, desire and power and holds the form of performances and installations where the audience-artwork encounter is heavily orchestrated to allow immersion into paradoxes. Former member of internationally noted performance company Poste Restante 2009-2016, Erik Valentin Berg is now realizing work under his own name in a range of different constellations, most notable with composer Mats Erlandsson.
Erna Ómarsdóttir is an artistic director of Iceland Dance Company and an independent artist. She graduated from PARTS in 1998. She has created and directed a number of works for Iceland Dance Company and directed a number of highly acclaimed works that have been shown internationally. In 2008 Erna and Valdimar Jóhannsson founded the performance group Shalala. Shalala has produced numerous dance- and performance pieces that have been presented at leading performing arts festivals and theaters worldwide.
Erno Aaltonen (b. 1985) is a lighting designer, scenographer and co-creator working in performing arts. His work is typically situated somewhere in between what is being performed and the audience experience, whether it means artistic dialogue, visual design or technical production. He is interested in how the contemporary stage works and how understanding design can help us understand the ideologies that constitute the artwork.
Escarleth Romo Pozo performs and creates dances. Born in Nicaragua, she has lived, studied and danced in the UK, Belgium, Switzerland and is currently working in Scandinavia. Departing from metastable bodily states her work is a continuous revision of moments of resilience dealing with the elasticity between resistance and surrendering. She creates through states of loss and dissolution as recycled events placed in a circular sensation of time rather than a linear perception of history. Escarleth is particularly fascinated by the ever changing levels of resonance and dissonance of the intimate, the hidden and the invisible forces that bring us together or make us fall apart.
Esete Sutinen is a Helsinki-based freelance dance artist and works extensively as a dancer and performer at various intersections of dance, theater, performance and installation. Sutinen has worked in the Finnish dance field for almost 20 years.
Ewa Dziarnowska (PL) is a dancer and choreographer based in Berlin and working internationally. Her latest projects, “This resting, patience”, “https://4677684728466.com" and “Untitled.Solo”, engage with the ideologies of improvisatory processes and embodied knowledge in countering the prevailing need for rationality, linearity and sense-making. She is interested in a poetic dimension of dance, its inherent sensuality as well as the pleasure and pain it brings along. Feral, rough and raw, but not devoid of precision and expertise in relation to movement technique(s), her practice challenges ways in which dance circulates within the context of bourgeois theatrical conventions and product-oriented entertainment industry.
Ewa is a graduate of SEAD, Salzburg and HZT Berlin and a 2015 DanceWEB scholarship recipient. As a performer, most recently she has worked with Alex Baczyński-Jenkins, Michele Rizzo, Enad Marouf, Isabelle Schad and Sheena McGrandles.
Heine Avdal and Yukiko Shinozaki together started their own company fieldworks (formally named ‘deepblue’). Since 2000 more than 20 productions were created, which all have been touring internationally. The various productions are concerned with “performativity” and allow for an open interpretation of movement as a heterogeneous combination of a variety of media. Consequently, the artists draw on a broad range of disciplines and expertise: performance, dance, visual arts, video, music, and technology. Every performance plays on the tension and contrast between the body and objects, the body and the mind, fact and fiction/representation, the tangible and the invisible, the organic and the artificial, … Recurrent themes in the productions include the relationship between performer and spectator, the non-hierarchical approach to the various elements of a performance, and the exploration of both theatrical and non-theatrical environments. fieldworks productions are made for a wide variety of locations/settings, both public and private; for the theatre: you are here (2008), nothing’s for something (2012), a supermarket: Borrowed Landscape(2013), a hotel room: Field Works-hotel (2011), an office: Field Works-office (2010), a concert hall: The Otheroom (2016 – a collaboration with contemporary music composer Rolf Wallin), or even a whole building and its surroundings: carry on (2015). Avdal and Shinozaki’s latest production unannounced(2017) is a performance on fragmentation of time and space that blurs the conventional distinctions between the ‘outside’ and the ‘inside’ of the aesthetic event. For a full overview of all shows, see fieldworks website www.field-works.be
Filmform – The Art Film & Video Archive (est. 1950) is dedicated to preservation, promotion and worldwide distribution of experimental film and video art. Constantly expanding, the distribution catalogue spans from 1924 to the present, including works by Sweden’s most prominent artists and filmmakers, available to rent for public screenings and exhibitions as well as for educational purposes.
Filmform – The Art Film & Video Archive (est. 1950) is dedicated to preservation, promotion and worldwide distribution of experimental film and video art. Constantly expanding, the distribution catalogue spans from 1924 to the present, including works by Sweden’s most prominent artists and filmmakers, available to rent for public screenings and exhibitions as well as for educational purposes.
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).
Born in 1986 in Austria, Florentina Holzinger studied choreography at the School for New Dance Development (SNDO) at Amsterdam University of the Arts. Her solo graduation work Silk was awarded the Prix Jardin d’Europe at the lmPulsTanz Festival 2012.
Her collaboration with Vincent Riebeek resulted in the pieces Kein Applaus für Scheisse, Spirit, Wellness and Schönheitsabend. Holzinger’s solo work Agon and Recovery present her recovery from a traumatic stage accident and explore different modes of female representation and physicality. As a continuation, she developed training programs for dancers, proposing training for a fight as training for life as an artist.
She is currently artist in residence at the International Choreographic Arts Center ICK Amsterdam where she is also producing her ballet Apollon Musagète that intends to be an all-female contemporary adaption of Balanchine’s neoclassical ballet quartet. Florentina, together with Meg Stuart were mentors for the DanceWeb scholarship at the Impulstanz, Vienna in 2018.
Francesca Chudnoff also known as Franz (she/they), is a Tkaronto based millennial, with a BFA in performance, and paying rent as a multidisciplinary artist. She is a dance maker, video artist, and photographer who is slowly learning digital illustration. Their work is in conversation with internet aesthetics and shaping a “social aura”. In process they prioritize improvisation and collaborative creation. Franz recently completed a 3 year research residency at Dancemakers Centre for Creation with Driftnote, and has worked as a mentor and dramaturge at Festival of Recorded Movement and X University.
After graduating in 2003 from the National Superior Conservatory of Paris for Music and Dance, François Chaignaud has danced for many choreographers (Alain Buffard, Boris Charmatz, Emmanuelle Huynh, Gilles Jobin). Since his first piece in 2004, he conceives dance as a global expression, his work is characterized by the articulation of singing and dance and a profound relationship to history, evinced in his own work as well as in the collaborations he has formed with multiple artists (with Jérôme Marin, Marie Caroline Hominal or Théo Mercier). Between 2005 and 2016, together with Cecilia Bangolea, he created a series of noteworthy shows that were presented worldwide. In 2021, he founded mandorle productions, whose artistic line is based on the cooperation with other artists such as Nina Laisné, Marie-Pierre Brébant, Akaji Maro, Dominique Brun, and Sasha J. Blondeau. He also creates pieces for large groups of performers: Soufflette in 2018, and t u m u l u s in 2022, then In absentia in 2024, with Geoffroy Jourdain. He recently created the pieces Mirlitons with Aymeric Hainaux and Petites Joueuses and is currently working on Último Helecho with Nadia Larcher and Nina Laisné (to be created in 2025). A portrait is dedicated to him on the occasion of the Festival d’Automne à Paris 2025. He is an associate artist at Chaillot – Théâtre national de la Danse in Paris as well as the Maison de la danse and the Biennale de la danse de Lyon.
Franz Edvard Cedrins is a director, sound artist and composer based in Stockholm, Sweden.
Combining music with conceptual art, choreography, site-specific installations, architecture, VR and film his work has been shown in a variety of contexts and places such as Norrlands Operan (SE) MDT (SE) The Royal Dramatic Theatre / Dramaten (SE) Bonniers Konsthall (SE) Sveriges Television (SE), BBC (UK), NRK (NO) National Theatret (NO), Milano Salone (IT), Paris Fashion Week (FR) Steirischer Herbst (AU) and SSA gallery Los Angeles (US) among others.
Freddy Houndekindo is an interdisciplinary artist situated at the intersection of dance, performance, spoken word, poetry and music. His work reflects on subjects such as identity, blackness and masculinity. Freddy is currently enrolled in the Master program in Fine Art at Mejan: Kungliga Konsthögskolan where he is further developing his solo project “I worried for men”.
Between 2018-2024 Freddy has been working as a dancer with Cullberg dance ensemble in various pieces of the repertoire. His expertise and interest for multimedia lead him to work with film and photography and won several international prizes. And further develop it as movement director in collaboration with clients such as Vogue Scandinavia, H&M, H&M move, WEEKDAY, HOPE, CAP74024 and Absolut Vodka.
FutureBrownSpace is a weave of Afro-Diasporic practitioners, based in Black Studies, dedicated to creating nourishing spaces for people of the global majority to develop their projects. We fabulate a futuristic black unconscious as an imaginative platform for producing coalitional thought in both separatist and mixed spaces without the interference of neo-colonial noise. A Vetenskaprådet artistic research project based at Stockholm University of the Arts.
George Chamoun is a Producer, Curator, Club Organizer and Art Educator born in Beirut and based in Stockholm.
He has initiated several platforms focusing on queer and progressive culture and nightlife the past decade aswell as also being a DJ and co-founding Stockholm's first and only drag festival, STOCKWIG.
George is currently on leave from his employment as Art Educator at Tensta konsthall to work with queer dance show Baba Karam — Through Jamileh and Khordadian together with Konstgruppen Ful as a performer aswell as being in charge of the musical soundtrack of the show.
Born in 1976, Gisèle Vienne is a franco-austrian artist, choreographer and director. After graduating in Philosophy, she studied at the puppeteering school Ecole Supérieure Nationale des Arts de la Marionnette. There she met Etienne Bideau-Rey with whom she created her first shows. She works regularly with, amongst other, the writers Dennis Cooper and Catherine Robbe-Grillet, the musicians Peter Rehberg (also known as Pita) and Stephen O’Malley, the light designer Patrick Riou and the actor Jonathan Capdevielle. The current works in progress are an exhibition at the FRAC Alsace for March 2016, an interpretation of Blue Beard’s Castle of Béla Bartok for La Monnaie-De Munt in Brussels for spring 2017, and a dance project for fall 2017. Her company is supported by le Ministère de la culture et de la communication – DRAC Alsace, la Région Alsace and la Ville de Strasbourg. The company is also supported by Institut Français for international touring. Gisèle Vienne is associate artist at the theater Nanterre-Amandiers from 2014 and at Parvis, Scène nationale de Tarbes-Pyrénées since 2012. http://www.g-v.fr/
Golin is an Amsterdam-based, Japanese-American artist, singer, producer, classically-trained pianist and performance artist. Passionate and oddly baroque in its digital zeitgeist, Golin’s work blurs the lines between mainstream pop and experimental electronic music Her unique perspective informs her approach to music, mediating contemporary experiences of cultural and physical displacement, taking the form of euphoric J-pop hallucinations.
Golin first appeared with the self-produced debut EP ‘Momo’ in 2017, continued in 2018 by ‘Fushigi’, a collaborative EP with Belgian producer Buga released on Shanghai’s Genome 6.66 Mbp. Following a two-year residency at Brussels cultural house Beursschouwburg and a year as part of the European SHAPE network’s platform, the CalArts-trained dancer’s most recent EP ‘Crush’ was released in October 2020.
Grégoire Blanc is a young French musician, known for his work involving the theremin – this very unusual musical instrument invented in the 1920s by the brilliant Russian scientist, Лев Термен.
His musical journey began with the cello as he was 5 years old, and he never stopped developing his musicianship since then. The revelation came during a physics lesson in high school : the theremin was mentioned as the very first electronic musical instrument in history, which immediately raised his curiosity. Determined to learn how to play, he started on his own and published a few videos over the web after having acquired a good level. Meeting other classical theremin players and taking part into various ensembles as a chamber musician was the clue to rapid progress.
With its characteristic sound and its astonishing expressivity, the theremin has a huge potential, from classical music to contemporary creations, film soundtracks, etc. Grégoire Blanc is renowned as a promising artist, and is regularly invited to perform in various contexts : orchestral performances, classical concerts, lectures, studio recordings, all around the world, from Canada to Kazakhstan.
Gry Tingskog (they/them) works with choreography together with dance, sculpture, technology, DIY programming and text, making experimental scenic and sensorial experiences. Mostly in the dark. Curious about dances that aren’t primarily mediated through their visibility, Gry's choreographic research engages various mediums to investigate how a dance can take place more in the body and imagination of the audience, rather than on stage in front of them. Their works seek to animate human and more-than-human bodies to disrupt normative conceptions and representations of dancing bodies. Oriented by the politics of queering, traversing ethics, methods and aesthetics, Gry's practice moves across disciplinary borders and conventions.
Gunilla Heilborn is a choreographer and film maker based in Stockholm. After studies at the Tamalpa Institute in San Francisco, USA and the program of choreography at the University of Dance in Stockholm 95-98 she has created performances and movies for both adult and children audience. Heilborns’ unique way of combining text, motion, video and images spiced with dry humor, has given her an indisputable position as one of Sweden’s most interesting performance and film artists.
Håkan Jelk is a producer, photographer and videographer, and has worked with dance since 1995. He started working with Dansens Hus, Moderna Dansteatern, Cullberg and with independent choreographers such as Cristina Caprioli, Margaretha Åsberg and Liza Penkova. In 2011 he started a collaboration with choreographer Helena Franzén with documentary photography of the work of creating dance. The collaboration has since developed and deepened, today they develop performance ideas, scenography and lighting together.
Håkan Jelk and Helena Franzén have created dance films that have been shown at international dance film festivals since 2014. Håkan has also exhibited photography and video installations based on dance.
Håll Käften och Dansa (HKOCHD) was founded in 2010 as a female DJ collective, but today consists of the founder Gabriella Ekman. With a strong love for hip hop, influences from the tropics, rhythms from dancehall and bass from the clubs ancestors - HKOCHD has also worked as a nightclub manager and arranged clubs at Sweden´s most famous nightclubs. Besides creating an energetic, positive and dance friendly atmosphere at every event, HKOCHD is one of the mothers of legendary Thotland, has also held DJ workshops, played behind multiple artists, worked in theaters and at both local and international festivals among many other things.
Her music is a en eclectic mix of house edits, dancehall, rnb, afrobeats, amapiano and other surprising edits and genre breaking mixes you’re going to love.
Halla Ólafsdóttir is a dancer and a choreographer with an MA in choreography from Stockholm University of the Arts (formerly DOCH). She always works collectively in various constellations, looking for ways to expand the notion of choreography. A big part of her work revolves around inventing new formats for dance performances and how politics and gender are projected onto body movements. Halla often uses recognizable material from art and popular culture in order to explore what happens when it is put in the context of contemporary dance.
Together with Amanda Apetrea she has toured and created the pieces Sälkvinnorna (2022), DEAD (2017) and Beauty and the Beast (2011), winner of the Prix Jardin d’Europe Awards in 2013. Halla and Eliisa Erävalo have a communal practice called bitchcraft and together they have created the works Granddaughters (2022), Bitch (2021) and BITCHCRAFT (2017). Together with Erna Ómarsdóttir Halla created Julia & Romeo (2024), The Juliet Duet (2022) and Romeo <3 Juliet (2018) which was nominated for “DER FAUST Awards” in 2019. Halla premiered the piece Sylph (2023) together with Cullberg at Dansens Hus.
Halla has choreographed various international dance companies such as Cullberg (SE), Iceland Dance Company (IS), Böler Samvirkelag (NO), Gärtnerplatztheater company (DE) and Ballet Basel (CH). As a dancer she has worked with choreographers and collectives including Dorte Olesen, Samlingen, Inpex, Nadja Hjorton, mychoreography and The Knife. Halla experiments with various art forms and expressions and has acted in films by Ester Martin Bergsmark, Sidney Leoni and Joachim Koester.
Hana Lee Erdman is a US American artist based in Stockholm and Berlin, working within the field of dance and choreography. Central in her work is the notion of companionship as an orientation and organizing principle, from which she creates works across a wide range of kinds; namely dance, performance, social choreography, installation, video and sound. Her work has been produced and presented internationally in galleries, museums, theaters, churches, workshops, national parks and publications. Together with Louise Dahl she is engaged in a long-term research and collaboration which has resulted in several dance creations.
Based in Montreal, Hanako Hoshimi-Caines has danced and collaborated with a great many local choreographers: Frédérick Gravel, Maria Kefirova, José Navas/ Compagnie Flak, among others. Often touring internationally, she participated in the creations of the Cullberg Ballet in Stockholm, where she performed in works by Benoit Lachambre, Deborah Hay, and the Forsythe Company. Her personal work has been presented in several European festivals, in Germany, Sweden, Bulgaria.
Hannah Krebs is a dance artist working within storytelling, flirting through a dancing body, set material, world building and serious playfulness. Their solos reveal an urgency for fractures, working with techniques of semi-fictional world buildings from a feminist and critical perspective.
Within the craft of dance, Hannah is creating scenarios to insert and widening the cracks as a joint effort to help imagining a radically different world. Using written language, spoken word, karaoke and dance as a portal.
As a dancer they are working with Nature Theater of Oklahoma, Leah Landau, Ellen Söderhult and Judit Förster amongst others. Hannah graduated at SKH with a Master of Choreography in 2024.
Hara Alonso är pianist och kompositör baserad i Stockholm. Från en klassisk bakgrund, med en nuvarande praktik av elektronisk och instrumental musik tillsammans med interaktiva inslag. Hennes musik blandar dans, electronica och experimentell estetik som genererar rika, komplexa och fantasifulla ljud universum. Rörelse och fysikalitet är ett centralt inslag i hennes skapande och hon arbetar i många dans och cirkusprojekt. Hennes verk har presenterats på flera festivaler som Sound of Stockholm (Sverige), Biennale de Musique en Scène (Lyon, Frankrike), S.T.R.E.A.M. Festival (Hamburg, Tyskland) eller Keroxen Festival (Teneriffa, Spanien). 2021 släpptes hennes nya album ‘Somatic Suspension’ med piano och elektronisk musik på skivbolaget Eotrax.
Harald Beharie (b.1992) is a Norwegian-Jamaican performer and choreographer based in Oslo. While applying various formats and contexts his practice looks into alternative modes of being, dancing and existing together while questioning notions of normativity. Harald holds an interest for the unpolished, the DIY and vulnerability of being in the unknowing. His choreographic practice unfolds in various constellations with other dance and visual artists, and some of the leading interests in his work at the moment are dissecting known physical narratives and opening for a conscious naivety and playfulness while indulging into the pathetic, collapsing but still joyful body. Harald's practice and focus is being with local people, local ideas, spending time with people and developing ideas with and within the community.
Heine Avdal (Norway) has been active in the fields of contemporary dance, performance, video and visual arts. After studying at the Oslo National College of the Arts (1991-94) and PARTS 1995-96 (Brussels), he worked as a performer for various companies. He also collaborated with Mette Edvardsen, Liv Hanne Haugen, and Lawrence Malstaf on the performance installation “Sauna in Exile” (2005 – 2006), and choreographed “horizontal plane“ (2010) for the Norwegian National Contemporary Dance Company Carte Blanche. Since 2000, Heine Avdal created and produced more than 20 different performing arts projects, most often in collaboration with Yukiko Shinozaki.
In recent projects, Heine Avdal’s focus has been on the distribution of space. He questions how spatial conventions affect the way we experience and move through private/public spaces. Considering people’s preconceptions of spatial conventions and through slight shifts, or manipulations he searches for unexpected intersections between different components of a space. In this context, Avdal also questions how technology is being used or, can be used in acquiring new meanings and perceptions on the human body and on our daily surroundings. He investigates the blurred distinction between what is artificial and what is organic.
Helena Franzén is a choreographer with more than 35 years of practice as a dancer and with choreographic work. She has created close to 100 pieces for the stage, which have toured nationally and internationally both as projects of her own and as commissions for institutions like: Skånes Dansteater, Göteborgsoperans danskompani, Norrdans, The Edge, Nytt Dansk Dansteater. Helena Franzén is a sought-after teacher and mentor and she regularly teaches at a large variety of dance institutions around the world.
In 2019-2020 Helena Franzén presented a comprehensive retrospective exhibition at Dansmuseet in Stockholm - Mitt dansande liv. The exhibition included films, photographs, photo books, interviews with experts from the dance field, two publications by Cecilia Malmström Olsson and Sinikka Neuhaus, and excerpts from Franzéns 30 years of artistic work.
For the past ten years, Helena Franzén has created dance films together with the photographer and filmmaker Håkan Jelk. Their films have been presented at several international dance film festivals. During recent years, Helena has created work for other settings and rooms and her solo, Reverberate 2022, at Norrköpings konstmuseum is the latest in this series of collaborations. In 2024, she is collaborating with Uppsala konstmuseum in Brytpunkt, a spatial installation and live performance. Helena Franzén was awarded with DANSPRISET 2024 for her, among other things, being idiomatically uncompromising and consistent in her dance vocabulary throughout her long career.
Like most Flex Dance Music (FDM) artists, HMXGOD is a dancer and a producer. He has played a vital role in developing the dance style, as well as the music, that Brooklyn's high energy FDM Dance Battles have become notorious for in recent years.
The Flex Dance style was born from Flex n Brooklyn, a local access tv show which was broadcast on Brooklyn tv-network BCAT. The foundation of the Flex Dance style is called BRUK UP named after Legendary Jamaican dancer and music artist BRUK UP. The style consists of elastic contortion body movement, hence "Bruk" as in broken, ballet-like fluidity with disjointed movements, and facial animations.
Originally known as "Flex Tunes" FDM is rooted in dancehall but has been growing into a genre of its own with club-ready beats and obscure samples, providing the sonic background for FDM and legendary Flex dance battles.
Hugo ”Fuse” Sivermalm is born on Colombian soil and soul and is raised in a Swedish home close to nature as his third parent. Before he could even stand, he danced, so his love for music and movement was already a given aspect in his life from birth. Fuse leads with curiosity and he has now dedicated 20 passionate years to learning and studying dance styles and cultures from all over the world. Through his studies he has found a particular love, fascination and respect for cultures and esthetics coming out of the US and the UK where the black people with roots in africa, the caribbeans and latin america together established artforms of expressions such as Hiphop. Fuse is now sharing his knowledge as a teacher while also participating in competitions and dance battles throughout Sweden and Europe.
ICC (Imaginative Choreographic Center) is a long term artistic project focused on processes of imaginative institutionalisation of the artist's work in the field of choreography and dance. ICC functions as a net that researches different support structures for artistic works processes and stresses discursive practices around choreography and dance. ICCproposes an undefined space for collectively working around practices of nurturing the choreography and dance scene and the creation of common resources oriented towards the artist's work, (the totality of the labour implied in it), its regulation and its processes.
ICC does not have a physical space even though it actualises itself in different existing physical spaces. Following the same logic, ICC does not own an administrative body / does not have a legal organisation and it functions by collaborating with existing ones.
The territory where it operates intrinsically depends on the people who are part of it. ICC is a black hole, a denationalised container, a proposal for a choreographic center run on the bases of needs and imagination.
ICC offers different programs focused on discursive and critical practices, the dialogue between artists- art-audience, research, artistic residencies and emerging artists.
Ida “Inxi” Holmlund is a freelance dancer, choreographer and dance teacher based in Stockholm, Sweden. She is educated in streetdance styles at Åsa Folkhögskola Five Styles and One Style programme in Sweden, and at the Juste Debout school in Paris.
Since 2013 she became part of the Majeko Dance Crew.
Now she is the first international member of the house of Alphaomega , who are mainly based in NYC. Inxi got titled as Legendary in the ballroom scene at the ”Abow the Rainbow ball” in Paris 2019. Her first recognition in ballroom is the Vogue femme final at streetstar 2013.In may 2023 she was voguing at the Beyonce Renaissance concert in Stockholm.
Inxis wins in popping are Streetstar 7 to smoke final edition, Hiphop weekend in Malmö, Battle bad Sweden, Juste Debout Scandinvia, Ladies of hiphop in NYC , Soul session Oslo etc. During her career Inxi has been touring in Europe, Asia, Usa, Russia and South Africa to give workshops, judge, battle guest or perform. She has also worked as a dancer in productions in the contemporary field with Örjan Andersson, Kenneth Kvarnström, Mari Carrasco & Cullberg Dance Company. As a choreographer she made a solo piece ”Octo” for Detour Festival in Copenhagen 2023. The Vogue piece ”bitch please” together with the house of prodigy in 2019. And duo piece ”konflikt” in 2018 for Urban Connection and Dansnät Sverige.
IDA SIDENVALL is a Stockholm-based choreographer and biodynamic craniosacral therapist. She has a ba in dance from Sead (2008) and a ma in choreography from Sthlm Uniarts (2016). She is curious about the space in between the current reality and that which could come to be.
In whatever work she does, whether it’s on a treatment bench, on stage or elsewhere, she wants to honour this in-between space. This has also been articulated in her choreographic practice Here and There. She has worked alongside artists and choreographers such as Oda Brekke, Peter Mills, Tova Gerge and Caroline Byström.
Ida Wigdel is a Norwegian choreographer and dance artist. The choreographer and dancer in her cannot be separated, and she has a strong belief in the synergy between her partners and the audience. Her expression is characterized by complex physicality and strange absurdities with elements of darkness.
Inga Gerner Nielsen is an artist, artistic researcher and performer working between Brussels and The West Coast of Denmark. She initiated the project In The Mirror of Care Work with a local nursing school when realising how much her one-to-one performances draw on the physical and social skills she once developed as an ”ufaglig”, or “non-professional” helper in the elderly home where she worked throughout her years of studying sociology. She hatched artistically as a performer within the fictional parallel worlds of the performance-group SIGNA during the early 2000s, and then as co-founder of the Copenhagen-based activist performance-collective Club de la Faye (2007) and a little later the smaller bureau, Fiction Pimps (2010, DK). In her solo-works she continued to explore the subtle nuances of interaction in performance installations within art spaces and venues such as Sixty Eight Art Institute (2014, DK), KUNSTEN Museum of Art in Aalborg (2018, DK) and in The Pool SB34 (2022, BE) in Brussels where she opened THiS INSTiTUTE, a structure by which she summons the sensual mode of her thinking. - An immaterial studio, she conjured as part of her artistic research in the post-graduate program A.pass (2022, BE).
Inga Huld Hákonardóttir was born in Höfn in Iceland and now lives and works in Brussels. After graduating from P.A.R.T.S in 2014 she has worked within the field of performance as a performer, dancer and choreographer. As collaborator and performer Inga worked with Eleanor Bauer and composer Chris Peck in the contemporary musical, MEYOUCYCLE. She danced for Salva Sanchis in his most recent works Islands and Radical Light and performed/collaborated with the contemporary music ensembles ICTUS and GAME (Ghent Advanced Master Ensemble) in their project Ballet Mekanique. She also currently performs in Traces, a work by Rósa Ómarsdóttir. As a choreographer/maker Inga has has worked mostly in collaborative environments and has created several collaborative works in the past few years. She has worked extensively with Rósa Ómarsdóttir under the name Inga and Rósa. Their works include two duets; The Valley, and Wilhelm Scream, and one group piece, Da Da Dans which was a comission for The Icleandic Dance Company, in celebration of the Dada movements 100th anniversary. Their work focuses on seeking the friction between the symbolic and the sensorial. Inga has also collaborated extensively with Katie Vickers with whom she created the duet Slogan For Modern Times and the trio We Will Have Had Darker Futures they created together with choreographer Rebecca Stillman. Their work together focuses on situations and experiences that effect the moving hand of time. We Will Have Had Darker Futures dealt with strange anticipatory fantasies of the future that lie on a wide spectrum between hope and fear.
Ingeleiv Berstad and Kristin Helgebostad have worked closely on several productions and constellations since graduating from Oslo National Academy of the Arts with an MA in choreography in 2010. For the National Company of Contemporary Dance, Carte Blanche, they choreographed «Loudspeakers» (2014), and are currently developing «KNOW HOWS», which will premiere in 2019. Other prominent works include SPOILER by Berstad/Helgebostad/Wigdel – the same trio that created SOIL GIRL – a highly celebrated piece that has toured extensively in Europe and Norway since the premiere in 2014. In collaboration with Eivind Seljeseth they have developed AV HISTORISK GRUNN which has brought out three different pieces as well as seminars, publications, and touring all over Norway. They are co-funders of Landscape Theatre of Norway which premiered LULLELI FOR FRUHOLMEN FYR in 2016 – nominated for the Norwegian Critics Prize in 2016. Berstad and Helgebostad are also performers and create works individually and in collaboration with others. «Somatøs Samling» by Berstad/Holden, and «CHEERS» by Helgeostad/Rueslåtten will both premiere in the autumn season 2018, at Black Box teater og Dansens hus in Oslo. www.ingeleivberstad.com, www.kristinryghelgebostad.com
Ingrid Berger Myhre is a Norwegian choreographer and dancer based in Brussels. She holds an MA in Choreography; Research and Performance from ex.e.r.ce at the Choreographic Centre in Montpellier and later deepened her project literacy in dance at the Research Studio’s at P.A.R.T.S from ’17-’18.
Since her studies, Ingrid has developed her work as associate artist at Dansateliers Rotterdam, and from 2019 - 2020 with the support of the Dutch Performing Arts Fund’s Nieuwe Makers Regeling. Her solo BLANKS (2017) and the duet PANFLUTES AND PAPERWORK (2019), a collaboration with Lasse Passage were both selected for Aerowaves, and has toured a number of venues in Europe and in Norway.
Ingrid's work is supported by the Advancing Performing Arts Project (APAP) network and Caravan Production in Brussels.
Izabella Borzecka arbetar som curator, redaktör och verksamhetschef i Stockholm. Hon intresserar sig för publiceringspraktiker, sociala koreografier och ledarskap som curatoriell praktik. Hon är initiativtagare till Reading edge – ett bibliotek för fristående och självutgivna publikationer med fokus på dans, koreografi och performance. Hon har varit verksam inom det fria kulturlivet i Stockholm i över tio år, bland annat som verksamhetsledare på c.off och just nu verksamhetschef på FOLK i Skärholmen. Tillsammans med Pontus Pettersson organiserar hon projektet och publikationen Delta.
Danish artist and composer Jacob Kirkegaard works in carefully selected environments to generate recordings that are used in compositions, or combined with video imagery in visual, spatial installations. His works reveal unheard sonic phenomena and present listening as a means of experiencing the world. Kirkegaard has recorded sonic environments as different as subterranean geyser vibrations, empty rooms in Chernobyl, Arctic calving glaciers and tones generated by the human inner ear itself.
Jacob Kirkegaard has presented his works at galleries, museums and concert spaces throughout the world, including MoMA in New York, LOUISIANA – Museum of Modern Art and ARoS in Denmark, KW in Berlin, The Menil Collection & at the Rothko Chapel in Houston, Aichi Triennale in Nagoya, the Mori Art Museum in Tokyo, Japan. Kirkegaard has gallery representation through Galleri Tom Christoffersen. His sound works are released on the TOUCH (UK), Important Records (USA), mAtter (JAP), VON Archives (FR), Holotype Editions (GR) & Posh Isolation (DK) labels. Kirkegaard’s work is represented in the permanent collection of LOUISIANA – Museum of Modern Art in Denmark and he is a founding member of the sound art collective freq_out.In 2016 Jacob Kirkegaard was the sound-artist-in-residency at St. John’s College, University of Oxford, U.K.
Website: http://fonik.dk/preview.html
Jacqueline Sobiszewski - visual artist, works with light, video, film and photography. Born and raised in the Netherlands. Studied at the Cinematography Department of the State Higher School of Film, Television and Theater in Łódź. Combining various techniques, always looking for a new visual language in various fields of art, cooperating with directors, musicians, choreographers and individually.
Her work has been shown in NYC,Los Angeles, Sydney, London, Paris, Vienna, Madrid, Lisbon, Sao Paulo. She was awarded at the 15th International Small Scene Theater Festival in Rijeka, Croatia for light direction in Medea ( awarded with the Nestroy Preis ) by Grzegorz Jarzyna and received a distinction for lighting design at The Divine Comedy International Theater Festival "for creating a coherent landscape in which individuality manifests itself through a powerful emotional charge”.
The experience of growing up in the marginalized periphery of Cartagena de Indias Colombia turned Jao Moon into a political body. Living in an environment of constant resistance made them question the predominant social orders, this became the matter of Jao Moon’s work.
Jao Moon’s work includes Memory of Dislocation, Everybody can be / Everybody can not be at Ballhaus Naunynstraße. The Lifetime of Fire - Manifestos for a Queer Futures at HAU, HKW Haus der Kulturen der Welt and Anahuacalli Museum CDMX. His collaborations and works have been presented at: Volksbühne Berlin, Sophiensaele Berlin, Kampnagel Hamburg, Deutsche Oper Berlin, Pompidou Center Paris, Neue Nationalgalerie Berlin, Hamburger Bahnhof – Nationalgalerie der Gegenwart Berlin 2024.
Jassem Hindi is a performer, sound artist and teacher. He has studied philosophy and has been working in the field of dance and performance for over ten years. His strategy is to use broken objects, broken bodies and broken sounds, cast together by nervousness and necessity.
His last three works focus on death poems as choreographic worlds. He has collaborated with choreographers as Ligia Lewis, Mia Habib, Lara Kramer, Ida Larsen, Keith Hennessy, Ruairi Donovan, Ofelia Jarl Ortega, Rani Nair and many more.
Javon Bennett (b.1989) lives and works in Oslo as artist and baker to create deliciously edible installations. Playfully exploring ingredients and their bounds, stretching and extracting essences, textures and colours while applicating with a somewhat painterly eye and approach. His creations attempt to recollect dwindling memories of past generational tastes and serve to hold a purposeful presence: to be convivially shared and gorged; to bring fleeting bliss with fantastical beauty. All the way down.
Javon’s work has been shown and shared at Billedhoggerforening, Interkulturet Museum, Spriten Kunsthall, Nitja senter for samtidskunst, Unge Kunstneres Samfund (UKS), Tenthaus, PACHINKO, in Romsås senter with Øst Kunst and currently with Fotogalleriet, Oslo, Norway.
Jeanette Groenendaal she studied at theatre faculty of the Amsterdam School of the Arts (DasArts), graduated in editing at the Binger FilmLab and did Hermetica studies at the University of Amsterodam. She is the author and co-author of many multimedia projects, video installations and performances. She often works with experimental methods of filmmaking, mixing documentary and activist performance. Her film Dutch Cocaine Factory premiered at IDFA festival in 2007.
Jenni Elina von Bagh (F) 1980 is a choreographer-performer from Finland. She works with body, text and voice as part of a compositional play. She holds a MfA in Choreography from the Theater Academy in Helsinki. Her latests works as a choreographer are “Post Human Days” (Helsinki, 2018) “a life” (Helsinki 2017), “Sirens” (together with Ida Backer, Helsinki, 2017), Posthuman (Helsinki, 2016) also selected to Amsterdam NeuNow web festival 2017, Papers and Pens (Helsinki, Moscow, Tallinn, 2016), We are the world (Helsinki, 2016), Playing storytelling (Living theatre New York, 2012). She has also worked as a choreographer for Finish National Theatre and Helsinki City Theatre. As a dancer/performer Von Bagh has worked in Sweden, Finland and mid-Europe with important choreographers like: Kenneth Kvarnström, Örjan Andersson, Helena Franzen, Gunilla Heilborn, Margareta Åsberg, Deborah Hay, Linda Kapetanea, Jozef Fruzeck, Anton Lachky, Ikuo Kuroda, Ina Christel Johannessen to mention a few. Years 2006-2015 she was a member of Helsinki Dance Company and worked with many international and national choreographers such as Andonis Foniadakis and Jyrki Karttunen.
Jeroen Peeters är en Bryssel-baserad essäist, dramaturg och performer som är vida publicerad inom samtida dans, i synnerhet inom frågor såsom uppmärksamhetsekologier, publiken som läsekrets, förkroppsligad kunskap, materiell läskunnighet och hållbar utveckling. Bland hans publikationer återfinns en bok om Meg Stuarts arbete, Are we here yet? (2010), essäsamlingen om åskådarskap inom dans Through the Back: Situating Vision between Moving Bodies (2014) samt en essä om Mette Edvardsens arbete, Something Some things Something else (2019). Peeters är för tillfället forskardocent vid Hasselt University, Faculty of Architecture and Arts, och vid PXL-MAD School of Arts.
Jessie McLaughlin är författare, konstnär och forskare från London. Hen har varit producent på MDT sedan 2020.
Joanna Perez Nordahl is a Swedish award-winning director, dividing her time between London and Stockholm. Her music videos, short films, documentaries and commercials, as well as live performance pieces, have garnered her international recognition both, as a director and a visual artist. In 2016, Joanna received a double Swedish Grammy nomination for Music Video of the Year, and took home the grand prize for writing /directing the short film “Nothing But a Heartbeat”, a collaboration with pop act Say Lou Lou. Between 2013-2015, Joanna initiated and directed One Wish, an eight-episode documentary series for Swedish National Television, SVT.
For several years, Joanna has been also in tight collaboration with Norwegian choreographer Ludvig Daae, creating cinematic and interactive visuals for live performances. Their debut show, the virtual duet “MM” (2011) has toured in eleven countries. In the duo’s latest piece, “HYPERFRUIT” (2015), both Joanna and Ludvig are on stage as performers. The highly visual show deals with the Internet as an emotional tool and necessary evil in intimate communication and long distance relationships. HYPERFRUIT is currently touring internationally to great acclaim.
Joanna’s work has been shown/featured at: San Francisco International Dance Film Festival, Gothenburg International Film Festival, Moderna Museet, Tempo Documentary Festival, Amnesty International Short Film Festival, Music DOC New York, Novemberfestivalen, TranScreen: Amsterdam Transgender Film Festival, Roygalan, GuiDance Festival, The Place London, Riksteatern Norway, Dansens Hus Oslo, Black Box Oslo, MDT Stockholm, Gessnerallé Zurich, Mousonturm Frankfurt, DanseHaus Di Milano, SVT, Bukowskis, Lunds Konsthall.
Johanna Karlberg is a Helsinki-based dance artist and instructor in free-time activities for people with intellectual disabilities. Her artistic practice focuses on questions around the phenomena performer and performing and on finding ways for the periphery to redefine what is in the center.
John-Paul Zaccarini is Professor of Performing Arts at the Research Centre at SKH. He has been a practitioner in theatre, dance, mime and circus with a focus on poetry and the spoken word as both performer and director/dramaturge and choreographer for 32 years. He is currently researching the intersections between art, therapy and activism in the project FutureBrownSpace where he runs the Black Study as Creative Process course at the Dance Department, and is the curator of the Seminar Series Season of Black Study.
Johnson & Bergsmark are a producer-duo working within the performing arts. Terry Johnson and Sara Bergsmark have worked professionally as producers with institutions throughout Sweden and in various freelance constellations over the past ten years. Now they have joined forces to create a space for long term processes as well as specific projects within our own company structure. Together Johnson & Bergsmark produce, programme, curate and care for the work that they do, the people they do it alongside and the ecology of the field.
Jonatan Winbo tog examen från Konsthögskolan Valand i Göteborg 2009. I sitt arbete han utforskar estetik och verklighetsbegrepp. Må det vara förstärkt verklighet, fantasmisk verklighet eller förvrängd verklighet. Han har arbetat som ljusdesigner inom områdena dans, film, teater, konst, samtidscirkus, musik och performance i samarbete med Jefta van Dinther, Josefin Hinders, Tove Sahlin, Eleanor Bauer, Cristina Caprioli, Martin Forsberg, Thiago Granato, Martin Falck, Fever Ray, Louise Dahl & Hana Erdman, Yung Lean, KIKI, Privat, Tuvalisa Rangström, My Wild Flag, Sailor & I, Cullbergbaletten, Silver Films, Mint, Michele Masucci, ccap, c.off, Kulturhuset Stadsteatern, Corpus - Det KGL. Teater, Norrdans, Strindbergs Intima, Teater Brunnsgatan 4, Riksteatern, Riksteatret, Backa Teater, Lafayette Anticipations, Teater Galeasen, TinCanCompany, Östgötateatern, Marionetteatern och Teater Tribunalen.
Born in Puerto Rico, her training in dance has been enriched by influences from a wide range of teachers assimilating contemporary dance, classical dance and classical Spanish dance. She has been active in flamenco companies in Spain, Mexico, Puerto Rico, Turkey and the US. Her most important piece “La Gallina Pollona” was created during this time where she fusions flamenco rhythms with her Puerto Rican history and musical roots exploring their similarities and connections.
Since 2019 Reilly is based in Malmö, teaching flamenco dance locally and abroad while deepening into the artform of traditional flamenco. She has worked as a guest teacher with Cullberg and leads “Tablao Flamenco Malmö” and Flamenco Live show along with musician Stephan Jarl.
JUCK works with its technical roots in streetdance to expand the approach to femininity and sexuality in the field of contemporary performance.
JUCK is a movement, JUCK is sexuality, JUCK is power, JUCK is,
JUCK is about expanding perspectives on femininity and sexuality.
JUCK is a strong voice in the contemporary debates about gender and power structures.
JUCK was initiated in 2012 and has since then been touring theatres, claiming public spaces and social contexts with great success. In 2013 they created the short film “JUCK” that became a viral hit on Youtube. Since 2015 JUCK has performed their full length performance “JUCK” all over Sweden. The short-film documentary “JUCK -Thrust” premiered in 2018 and has toured around the world being presented at different film festivals. You can watch it now on SVT play.
Jukka Rintamäki composes music for plays, theatre, modern dance and works as a producer in various performing arts contexts. One of the projects he worked on was as a composer and creative producer for the performance music concert "Dice at the Opera" at the Royal Opera in Stockholm 2022. A multimedia concert involved the Royal Opera's orchestra where Rintamäki together with his colleague Johan Skugge played live on stage. Other composers on the concert included, among others, Hildur Guðnadóttir & Sam Slater, Mikael Karlsson and Solar Fields. He has also collaborated with the band Kite on their shows at the Royal Opera House and Dalhalla, as part of the production team and by playing live on stage. Jukka Rintamäki has produced music for several dance works by choreographers such as Helena Franzén, Kenneth Kvarnström, Zvi Gotheiner and Virpi Pahkinen in theaters around Europe and the USA.
He has composed music for several major video games, including Battlefield 3 and Battlefield 4, for game developers such as DICE, Avalanche and Remedy Entertainment.
He also composes music for feature films, documentaries and art projects. For theatre, Rintamäki most recently composed music for the play Girls that disappear by playwright and director Malin Axelsson, which was performed throughout Sweden on tour with the Riksteatern and at Målarsalen at Dramaten in 2023-2024. In 2024, he is current with music for the work Tria, by the choreographer Helena Franzén, which will be performed at Theater X in Tokyo in June. Rintamäki has his musical roots with the Gothenburg-based band Silverbullit, where he wrote songs and toured around the world.
Over the years, he has collaborated with a number of Swedish artists such as El Perro Del Mar, Karin Dreijer, Freddie Wadling, Olle Ljungström, I Break Horses and more. Jukka Rintamäki produces music in his studio in Stockholm and releases music on his own label Korp Kord.
Juli Apponen is an artist who works in several different configurations as a performer, choreographer and director. Based on the autobiographical, she has previously created acclaimed performances as: Life is hard and then you die – part 3, a text-based performance lecture and in a duo collaboration JULI/JON a choreography Everything Remains.
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.
As a member of Kem Collective, I have been co-creating Kem School for the past four years. I focus on well-being aspects, providing tools that support long-term, sustainable action. I also work as a trainer and facilitator focusing on wellbeing and burnout prevention in social movements.
Julia Giertz is a sound artist with a background in choreography as well as engineering. She lives in Stockholm and is working with sound in relation to people, objects and electronics. She has presented works at the Venice Biennale, Unsound, Intonal, Tensta Konsthall, Kunsthal Charlottenborg, MDT, Kampnagel K3 and Norrlandsoperan amongst others. Some of her artistic collaborations include Marie Topp, Zosia Hołubowska, k.ö.k. and Tarek Atoui. She gives lectures in immersive audio and synthesisers at Malmö Arts Academy and Elektronmusikstudion (EMS). As an audio engineer she has been supervising the development of the multichannel dome at the Royal Institute of Arts in Stockholm.
Julian Owusu is a dance artist and dance teacher who’s artistic core lies in community building practices, pedagogy, Hip Hop, decolonial practices and reimagining. His workfield stretches from working with youth on the grassroot level to work in governmental positions and on boards.
Julie Hrncirova is a photographer.
Jussi Matikainen (MA) is a Helsinki based sound designer, musician and performer. In his artistic work, Matikainen is trying to open up spaces where the thick and complex entanglements with our environments could be met and recognized.
Kajsa Wadhia works artistically and curatorially between the fields of performance and choreography and has an MA in New Performative Practices from Stockholm University of the Arts, 2015. Her current artistic research area can be summarized as speculative feminism, with interest in sci-fi, magic formulas, vocal choreography and home-built instruments. She prefers to work in collective processes and is part of several artistic collaborations, including the duo The Disengaged Free Jazz Orchestra and the collective Spekulativa Juntan. Since 2016, she leads together with the artist Tove Salmgren, Köttinspektionen Dans, an artist-driven platform and place for experimental dance and choreography in Uppsala.
www.kajsawadhia.com
Karina Sarkissova is an independent curator and dramaturge based in Uppsala and Stockholm. She graduated in 2012 at the School for New Dance Development in Amsterdam (SNDO) and in 2019 at Dutch Art Institute (DAI). Karina is together with Kajsa Wadhia artistic directors of the space Köttinspektionen in Uppsala. Karinas practice is dramaturgical, choreographic and curatorial; she is regularly working with other artists’ work, mentoring, teaching and developing choreographic contexts.
The Oslo based artist duo Bruce & Lund consisting of Veronica Molin Bruce and Karoline Bakken Lund is a cross disciplinary exchange. Bakken Lund has a strong foundation in textiles - sculptural, scenographic and on the body in performative narratives. Bruce has a background in conceptual art, contemporary dance and choreography - fluent between roles and formats. Both mainly have the body as a starting point, and they explore a shift to the body's presence or consequence into sculptural works with a focus on studies in materiality, structure and movement. Together, they have an inherent curiosity for materials, the touch of the body and care for the creative. They have exhibited and shown works such as ULTRA at Interstate Projects in New York, The Tomb at Nada Miami in collaboration with Interstate Projects (Miami 2020), Ultra at Eidsberg Kunstforening (Mysen, 2020), The Fool at Palmera (Bergen 2020), Life Killed Chihuahua at Galerie Thaddaeus Ropac (London, 2019) and Silicone Era at Destiny’s Atelier (Oslo, 2017).
Katalin Ladik (b. 1942, Novi Sad) is a foundational voice in histories of art, literature, and performance in Central and Eastern Europe. Her radical approach to poetry and performance expands how language can manifest: on the page and through the body, visual and written, heard and felt.
Katarina Eriksson has been active as a dancer and choreographer in Stockholm since 1990. In the spring of 2021, she graduated from the master's program in choreography with a focus on performative practices at the Stockholm University of the Arts. Among the choreographers Katarina has worked with are Susanne Jaresand, Cristina Caprioli, Lotta Melin and Örjan Andersson. She has for a long time collaborated with the choreographers Björn Elisson and Helena Franzén in several productions. In her artistic practice, recurring themes are; meetings, time, change, nature, the complex and the body's relationship to its surroundings. Since 1997, she runs the dance collective Räserbyrån together with Per Sacklén and Håkan Mayer. Räserbyrån's specific knowledge lies in a listening method where the movement's ability to communicate and work with empathy and a relational approach is consistent in performances and other projects.
Kate McIntosh is an artist practicing across the boundaries of performance, theatre and installation. Her works often focus on the physicality of performer and audience, the manipulation of objects and materials, and how relationships with and between audience members develop over the time and space of a performance. Guided by her ongoing fascination with the mis-use of objects, McIntosh’s practice can be characterised by a playfulness with audience, a love of theatrical images and off-beat humour. Originally from Aotearoa, New Zealand and trained in dance, McIntosh has developed an internationally recognised body of stage and trans-disciplinary work which tours extensively in Europe as well as to Asia, Oceania, and the Americas. Her stage works include the performance solos All Natural (2004),Loose Promise (2007), and All Ears (2013) and the group performances Hair From the Throat (2006), Dark Matter (2009), Untried Untested (2012), In Stereo (2015 with Bree Van Reyk) and To Speak Light Pours Out (2020). Her installation works include the video-installation De-Placed (2008 with Eva Meyer-Keller), and the interactive-installations Worktable (2011), In Many Hands (2016) and Lake Life (2023). Within these creations she has invited collaborators such as Tim Etchells, Eva Meyer-Keller, Jo Randerson, Arantxa Martinez, Eduardo Abdala, Lilia Mestre, Charo Calvo, Minna Tiikkainen, Mikko Hynninen, John Avery, Bree Van Reyk, Josh Rutter and many more.
A founding member of the Belgian performance collective and punkrock band Poni, McIntosh has collaborated as a performer with many directors including Tim Etchells (UK), Wendy Houstoun (UK), Simone Aughterlony (NZ/CH), Antonia Baehr (DE), and Meryl Tankard Australian Dance Theatre. McIntosh holds an MRes in Performance and Creative Research from Roehampton University (UK) and regularly teaches performance practice within various university courses.
McIntosh is also a co-director and founding member of SPIN - an artist-initiated production and research platform in Brussels, which also organises public gatherings for knowledge exchange.
Katie Vickers is an American artist (dancer/choreographer) who lives in Brussels, Belgium. After receiving her BFA in performing arts at The Ohio State University (2010), she moved to Europe to further study dance and graduated from P.A.R.T.S (2010-2014). Throughout her studies, Katie organized jams and taught numerous classes and workshops throughout the US and Europe. Alongside Albert Quesada, Katie co-directs the Mercersburg Academy Summer Program for Dance and Theatre and Practicing Performance: International Dance Festival at The Ohio State University. In 2012, Katie created her solo Ode To That Dance, which performed in Belgium, Germany, and the United States. Since 2013, she’s been collaborating with Benjamin Pohlig in their creations Techno-Tarantella-Novella (2013) and 5 Seasons (2016), as well as Inga Huld Hákonardóttir with their creation Slogan For Modern Times (2014). She has also worked with and for Benjamin Vandewalle (BE), Vera Tussing (GE), Martin Nachbar (GE), Daniel Linehan (USA), Kendell Geers (RSA) and Janine Harrington (UK) and was recently a guest artist for the Cullberg Ballet in ‘Figure a Sea’ choreographed by Deborah Hay. She is on tour with Slogan For Modern Times, 5 Seasons, and her most recent collaboration with Inga Hákonardóttir and Rebecka Stillman, We Will Have Had Darker Futures.
Kem is a Warsaw-based queer feminist collective focused on choreography, performance and sound at the interface with social practice. Through experimental formats and community building, Kem engages in critical intimacy and queer pleasure.
Our projects are characterised by hybridity and fluidity, blurring the boundaries between art, curating, education, activism, clubbing and community-making practices. It is a community created in the process of collaboration and engagement with the politics of embodiment, feeling and subjectivity in relation to collectivity. Kem experiments with formats and strengthens queer, feminist and anti-racist artistic practices and discourses.
Kim Hiorthøy is a graphic designer, artist and musician from Norway. He was educated at The Art Academy in Trondheim, The Royal Danish Academy of Fine Art, and School of Visual Arts in New York. During 2010–2011 he took a master’s degree in choreography at the Schoolof Dance and Circus in Stockholm (DOCH). Hiorthøy has written music for dance as well as released records of his own music. His first feature film “The Rules of Everything” premiered in 2017.
The queer feminist art group Ful performs, exhibits, creates publications, and curates talks and meetings through an intersectional understanding of the art event. Ful has worked in Sweden and internationally since 2008 with, among other things, the art magazine Ful and acclaimed and award-winning performances such as Europa Europa and Mödrars Manifest. The project Baba Karam is closely associated with Ful’s new dance initiative Finding Sisterhood which is a decolonizing and queer survey of contemporary dance and performance.
Nasim Aghili (b. 1980) is a Swedish-Iranian artist, director, writer and performer. Nasim works in the field of performing and visual arts and their participatory performances, theatre installations and art in the public space often deal with the experience of existing and living in different forms of exile and take the form of healing rituals. Nasim Aghili’s plays have been translated to different languages such as English, Spanish and Arabic and their work has been performed or presented in countries such as Puerto Rico, England, Mexico, US, Holland, Estonia and Sápmi.
Malin Holgersson (b. 1974) is an artist, dramaturge, podcaster and editor that works mostly within performing arts and audio drama. Their work is interdisciplinary and combines text, sound, voice and body/ies. With a background as a cultural journalist and radio producer, they often use journalistic methods and stage documentary stories.
Rani Nair dancer and choreographer, whose works have been programmed at the Centre National de la Dance Paris, ImpulsTanz Vienna, Spielart festival Munich, Ignite! Festival of contemporary dance Delhi, Singapore International Festival of Arts. Represented at the Performing arts museum, Dance museum in Stockholm and in the book Oxford Dictionary of Dance and Re-enactment.
Konstmusiksystrar is an association for composers and sound artists who define themselves as women and transgender. It was founded in 2014 by Lo Kristenson and Marta Forsberg, who were studying composition at the Royal College of Music in Stockholm. Today, Konstmusiksystrar has 270 composers associated with it, all of whom are represented on the organisation's website.
Kris Lee (she/they) is a New York based dancer, performer and home chef.
Kristallmatrixen – Malin Kent & Indra Linderoth. We are formgivers, craftspeople, maintainers and cleaners and we always come in groups. We believe that simplicity creates stereotypes and limitations. We believe that this simplicity also shapes our common spaces. We want to broaden the horizon for what behaviour and which bodies takes space in a room and we do this by not simplifying. We are are not afraid of being contradictory, instead we embrace ambiguity. We want rooms that changes depending on what you bring to it rather than fixing you to the expected. Nothing we do is stylish and clean. In our rooms you can always wear dirty trousers.
Kristin Nango [NO] is a Norwegian/Sami performance maker, choreographer, poetic mover and walker based in Nesodden, Norway. She is currently questioning human listening and being with land, plants and animal life – with a special concern of time and temporalities. She creates within the artistic media of sound, listening-walks, poetry and choreography. Her latest work Being With: Deeper Softs was investigating Wik forest. Being With is her artistic practice developed in collaboration with land, deeply inspired by indigenous perspectives.
Krõõt Juurak is an Estonian artist living in Vienna. She studied choreography and visual arts at the ArteZ, Arnhem and Sandberg Institute, Amsterdam. She has been developing projects at the interface of choreography and performance since 2003. She has presented her works at institutions and festivals internationally, among them the Contemporary Art Center (CAC) Vilnius, Contemporary Art Center (CAC) Geneva, ImPulsTanz Vienna, de Appel Amsterdam, CIAP Hasselt, Kunsthalle Vienna, Tallinn Art Hall and deSingel Antwerpen. She has for a number of years been artistically concerned with the pet, and together with Alex Bailey developed “Performances for Pets” – performances created especially for pets. Her works are represented by Galerie International.
Krzysztof Bagiński is a Warsaw-based artist, filmmaker and music producer working across film, sound and performance. He studied at the Academy of Fine Arts Warsaw and at the Dutch Art Institute. Baginski is a co-founder and member of Kem collective, where he is responsible for organizing parties and musical events. He also co-curates "W Brzask" (At Dawn), a series of experimental music concerts in the gardens of Xawery Dunikowski Museum of Sculpture in Warsaw.
La Chachi has earned her place in the tradition of breaking down and reassessing flamenco, following the path of other outsiders like El Niño de Elche, Israel Galván and Rocío Molina. An actress and dancer, she graduated in both disciplines in Málaga, her hometown. After specialising in flamenco with dancer La Lupi, training in physical theatre, new dramaturgy and contemporary dance, she discovered her true passion: the union of all these disciplines. María del Mar Suárez/La Chachi, is no new arrival, because she has been twisting the traditional flamenco language since 2008 to fit it to her unique style, where hybridisation is the norm. She made her first piece in 2017, La gramática de los mamíferos (The Grammar of Mammals), which received several nominations and awards. Her second work La Esperareceived support from Teatros del Canal (Madrid) and was programmed at the Teatro Central in Sevilla. Los inescalables Alpes, buscando a Currito (The Unclimbable Alps, Looking for Currito) was presented at Festival de Otoño of Madrid and in 2022 received the Godot Dance Award.
Lasse Passage is a sound designer.
Laura Cemin (b. 1992) is an Italian visual artist and choreographer based in Helsinki. Her work delves into the choreographic power of language, examining how language influences movement and physical interactions. In addition to her artistic practice as an author, Laura works as a dance dramaturg and guest lecturer at various international institutions.
Leah’s practice spans performance, choreography, dramaturgy, mentorship and support for other artists. Choreographic commissions include Pre-Professional Year, Sydney Dance Company (2019), London Contemporary Dance School Graduating Season (2020), Mass Hysteria Collective (2020) and Matilde Cerruti Quara, Jupiter Woods (2020).
Leah collaborates regularly with Colette Sadler and has worked and performed for visual artists, companies and choreographers; Ola Maciejewska, Theo Clinkard, Jefta Van Dinther, Megan Rooney, Paulina Olowska, Emmilou Rößling, Sarah Browne, Sam Williams, Holly Blakey, Candoco Dance Company, Joe Moran among others. In 2019 Leah created ‘The Elsewhen Series’ in collaboration with choreographer Theo Clinkard as well as collaborating on the creations of commissioned works for Tanztheater Wuppertal Pina Bausch (2015), Danza Contemporanea de Cuba (2016) & Candoco Dance Company (2019) among others.
Lena Ylipää resides in Lainio, in the eastern part of the municipality of Kiruna. She moved back after she finished her studies at Konstfack (Stockholm) in 1996 and has been active in the region since then. The themes in her artistic work are close to her everyday life in northern Tornedalen and she engages with a variety of techniques and materials. Lately Ylipää has focused on drawing, where spacial design and interaction with the spectator are central to the works.
Ylipää has a great interest in societal structures, especially the processes of transformation and development that are currently happening in the north. Right now she is extra interested in norms and attitudes that touch on peripheral concepts as well as regional and cultural borders. And pine.
Ligia Lewis works as a choreographer and dancer. Lewis’s works, often marked by expressions of physical intensity and humor, seek to animate subjects through physical forms of expression that disrupt normative conceptions of the body while negotiating the ghostly traces of history, memory, and the unknown. Through choreography, she develops expressive concepts that give form to movements, speech, affects, thoughts, relations, utterances, and the bodies that hold them. Utilizing affect, empathy, and the sensate, her work continues to evoke the nuances of embodiment. Lewis recently finished works including: “A Plot / A Scandal” (2022), “Still Not Still” (2021), “deader than dead” (film and live performance) (2020), the trilogy including: “Water Will (in Melody)” (2018), “minor matter” (2016), and “Sorrow Swag” (2014).
Her other works include: “Sensation 1/This Interior” (High Line Commission, 2019); “so something happened, get over it; no, nothing happened, get with it” (Jaou Tunis, 2018); “Melancholy: A White Mellow Drama” (Flax Fahrenheit, Palais de Tokyo, 2015); $$$ (Tanz im August, 2012); and “Sensation 1” (sommer.bar, Tanz im August, 2011 and Basel Liste, 2014). Her work was presented in multiple venues across Europe and the US such as HAU Hebbel am Ufer, Berlin; Tanzquartier, Vienna; MCA Museum of Contemporary Art, Chicago; Hammer Museum, Los Angeles ; Walker Art Center, Minneapolis; Kaaitheater, Brussels ; Arsenic, Lausanne ; High Line Art, New York; Performance Space, New York (2019); OGR Torino; Stedelijk, Amsterdam ; TATE Modern, London. Her work has also been presented at festivals and biennials such as the Ruhrtriennale, Bochum, Germany; Tanzplattform, Germany; Politik im Freien Theater Festival, Frankfurt; Liverpool Biennial; the Side Step Festival, Helsinki ; Biennale of Moving Images / Centre D’Art Contemporain, Geneva; Diver Festival, Tel Aviv ; American Realness, New York; The Donaufestival, Krems, Austria and Julidans, Amsterdam. Lewis is the recipient of the Tabori Award in the category of Distinction (2021); a Foundation for Contemporary Arts Grants Award (2018); a Bessie Award for Outstanding Production for minor matter (2017); a Factory Artist residency at tanzhaus nrw (2017-19); and a Prix Jardin d’ Europe from ImPulsTanz for Sorrow Swag (2015).
Lilian Steiner (she/her, 1990), presently part of the Stockholm-based dance company Cullberg, is an Australian dancer and choreographer, who questions the nature of embodiment and the complexities of human intelligence through her practice. She earned a Bachelor of Dance from the Victorian College of the Arts in Melbourne, after which she has been touring both independently and on behalf of dance companies, such as Lucy Guerin Inc., as a performer and collaborator. While her pursuits range across dance, performance, visual arts, and experimental sound, she consistently returns to the essence of the body and its deeper implications. Steiner's individual choreographic work has been presented throughout Australia and beyond, prompting her to receive awards such as, among others, the Green Room Award for Best Performer (2023), Best Female Dancer (2017 and 2018), and Green Room Award for Concept and Realisation (2015).
Linda Blomqvist, born in Stockholm 1985, is a choreographer and dancer. Her work aims to expand the notion of choreography with a focus on alternative modes of production, process and practice from a speculative viewpoint, taking various forms and expressions. Linda studied dance at The Royal Swedish Ballet School 1995-2004 and at P.A.R.T.S 2008-2010. She’s been working with artists such as Anne Teresa De Keersmaeker, Mårten Spångberg, Eva Lundqvist and Florentina Holtzinger. Together with Emma Daniel, Anna Gaiotti and Adriano Wilfert Jensen she’s been running the artist platform Indigo Dance. Alongside her artistic work she also practices as a Doula/birth worker.
Linnéa Sundling is a dancer originally from Umeå and with her Sámi roots from Västerbotten, Sápmi. She is also one of the initiators of the project Weaving Stories/Mojhtesh Gurredh together with Marit Shirin Carolasdotter. Her artistic practice involves dance as a transformative embodiment - each initiation of movement varies depending on her surroundings; energies, people and connection to spaces and land.
Lisa Janbell (she) is a dancer and choreographer. Her practice and choreographic work specialize in ritualistic performance and ceremonial practices. With an education in Cuban folk dance from el Instituto Superior de Arte, Cuba, and a dance education from Brazil, as well as anthropology studies at Stockholm University, her research lies in the relationship between the collective body, affinity, and the subconscious mind, tuning into spirits and spirituality. The work is developed through proposals, aiming to share and find an opening to the transcendental. Through a feminist and intersectional perspective, elevating emotional work and soft values, Lisa’s work guides the audience into a caring space in which performers embody non-western witchcraft practices. This artistic strategy is manifested in warm and welcoming spaces where the audience can rest and recover while experiencing detailed textures and carefully elaborated dance works.
Lisa’s desire is to propose collective utopias as a form of critical practice, and so far it has manifested in works such as Trans[e]ición (2015), Trans[e]ición C edition (2016), Studio Barnhus A/V show (2018), KONTAKT (2020), Lead us (2021), SEARCH (2022), SWEET & STICKY (2023), and Another spell (2024). Since 2010 and 2012, respectively, Lisa has been part of the performance duo Dos Oké in collaboration with Camilla Sivam, as well as the artistic director of the Swedish-Cuban dance collective SOMOS. Lisa’s work has toured extensively through Sweden, Europe, and Cuba, at places like Inkonst, MDT, Norbergfestival, Augenblick Mal festival-Berlin, and Teatro Raquel Revuelta-Havanna. Lisa has also developed commissioned works, for instance, as choreographer for the Studio Barnhus A/V show that played at Sonár (Barcelona), Way Out West (Gothenburg), and Cirkus (Stockholm).
Lisa Östberg makes projects for both stage and screen. She was educated at the Royal Swedish Ballet School and Stockholm Academy of Dramatic Arts and has worked with contemporary dance, musicals and theatre as well as with film and television, both as performer and creator. Östberg wrote the screenplay for the award-winning film Certain people and is currently showing her short film Meaningless Conversations in Beautiful Environments around the world. This fall Lisa is attending a masters program for New Performative Practices at the University of the Arts in Stockholm.
Curious toward correspondences between theory and practice, Lisa Schåman approaches various projects, mainly artistic process and performance as a dancer.
After receiving a BA degree in dance (Uniarts Stockholm 2015) she’s been working with choreographers such as Malin Elgán, Peter Mills, Ellen Söderhult, Carima Neusser, Leah Landau and Oda Brekke, among others.The base of Lisa’s work is in Stockholm where she is a member of höjden - artist syndicate in Östberga.
Lisa Vereertbrugghen (b. 1986 Belgium) studied history in Leuven, dance in Berlin and choreography in the School for New Dance Development in Amsterdam. Currently she is based in Brussels where she makes performances, installations and publications bordering the field of choreography.
Her work has been shown in Playground Festival (Leuven), BUDA (Kortrijk), Uferstudio’s (Berlin), Showroom Mama (Rotterdam), Friends With Benefits (Brussels) and Veem (Amsterdam) amongst others. Since 2016 she is part of APAP, advancing performing arts project.
Dancer and dance maker Lisen Ellard works through different notions of togetherness and femininities in relation to slowness, sleep and death.
Lisen Pousette (SE) is graduated from the BA in Dance at ArtEZ, Arnhem (2016) and the MA in Choreography at DOCH (2019). In both her own and others’ work she explores voice-body practices through the most subtle to the most extreme vocal forms. Her latest engagement was in the queer opera performance Dryppende Stof at Glyptoteket, choreographed by Jules Fischer, composed by Matilde Böcher and libretto from poet Mette Moestrup’s new translation of Sappho’s fragments. She is co-initiator of P0$$E a dance and reading group: an open-ended study circle for practitioners within contemporary dance and other curious ones, which engages with critical practices and with generating discourse through doing. PO$$E started in Stockholm and now have satellite groups now in Copenhagen, Melbourne and possibly soon Montreal.
Together with Olivia, Lisen has presented her work at venues such as Les Urbaines (Lausanne), Vega and Dansehallerne (Copenhagen), Inkonst (Malmö), Østre (Bergen), Fylkingen and Weld (Stockholm).
Lisen Rosell is an actor and director. Coming out of the ÖFA collective, today Rosell works both on her own as well as part of collective processes.
Liz Kinoshita is a Canadian/Belgian choreographer, performer, pedagogue and dance advocate. She has worked with ZOO/Thomas Hauert, Tino Sehgal, among others, and created her own work with collaborators such as Clinton Stringer, Justin F. Kennedy and Salka Ardal Rosengren. Her practices focus on musicality in dance, working with live performances shared (inter)nationally, striving to create work that is reflective, surprising, and energising. Her creations include VOLCANO (2014), Radical Empathy (2017), You Can't Take It With You (2017), 11 O’clock (2021), Saga Saga (2024). Liz was Artistic Associate with Rosas for West Side Story (2020) on Broadway (NYC). She created Midnight Oil (2024) for and with Norrdans, with original composition by Twin Shadow AKA George Lewis Jr. Liz presently organises höjden nights presenting multidisciplinary artists within a convivial context at höjden studios in Stockholm.
Lola Dolores is a singer and actress, born in Puente Genil, Córdoba, but living in Málaga since 1988. Her family passed on to her a passion for flamenco, which is why she began singing and respecting this discipline from a young age. She also trained herself in different musical styles such as soul, pop, R&B, and rock. She worked with La Mala Rodríguez, among others, touring the national and international territory between 2007 and 2010. Later, she studied acting at the Escuela Superior de Arte Dramático de Málaga (ESAD) and has worked in various plays of various genres and artists. She is currently researching new musical projects and actively collaborates with the companies of María Del Mar Suárez/La Chachi and La Phàrmaco de Luz Arcas.
Lorea Alfaro is an artist. In 2014 she launched LA. A hollow brand, LA (3l3a), as a way to create a protected environment to generate image. Her work is characterized by allowing a calm, naked and direct beauty appear. Some of her recent projects are do mess with me, Artium (Vitoria, 2021); NLB, Museo de Navarra (Pamplona, 2021); No lo banalices, Galería CarrerasMugica (Bilbao, 2018); <3 S P S <3, Tabakalera (San Sebastián, 2017); Tú, Fundación Museo Jorge Oteiza (Alzuza, 2017) or the works in collaboration with the artist Jon Otamendi: 2020, Fundació Joan Miró (Barcelona, 2021); Ven a mi cara, Galería CarrerasMugica (Bilbao, 2020); and El mundo o nada, Galería Moisés Pérez de Albéniz (Madrid, 2017).
Lasse Ståle has explored sound and melody for over 30 years and debuted as a solo artist in 2020 alongside membership in The Cardigans, Brothers of End, Jaen Haven and the explorative collective and label Malmö Inre. Ståle’s alter ego Lost Johansson traverses wilderness and the pastoral, searching for endangered fauna returning to our biotope. The self-titled debut album soundtracks the cancellation of upward social mobility, touching upon themes of melancholic acid, Finnish boogie and melting permafrost.
Louis Schou-Hansen (b. 1992, Aarhus, DK) is an interdisciplinary artist and performer employing choreography, theory, text and installation to situate the body as a domain of fiction. From here, its work dives into assemblages of dissident subjects, re-animations of history, and the production of desire. Louis holds an MA from The Dutch Art Institute (DAI) and a BA from Oslo National Academy of Dance (KHIO). Their works have recently been presented by venues including the ICA - Institute of Contemporary Arts (London), NADA – New Art Dealers Alliance (New York), Dansens Hus (Oslo), Black Box Theater (Oslo), Copenhagen Contemporary, Suprainfinit Gallery (Bucharest), Dansehallerne (Copenhagen), My Wild Flag (Stockholm), and The Munch Museum (Oslo). In 2023, they were shortlisted for the Sandefjord Kunstforening’s art prize together with Harald Beharie. Since 2024, they initiate and curate MIND EATER Festival, together with Runa Borch Skolseg.
Louise Dahl is working within the field of dance and choreography with Stockholm as her base. She works as a dancer in collaboration with other artists as well as authoring her own creations. She has been working together with, among others, Margrét Sara Gudjónsdóttir, Frédéric Gies, Cristina Caprioli, Mårten Spångberg, Antonija Livingstone, Miro Guido and Mette Ingvartsen. She completed her studies at DOCH, in the context of the BA program Contemporary Dance and Performance.
Lucie Maisha N’Duhirahe is a circus performer, Workshop leader and maker based in London. In circus she specialises in aerial catching and partner acrobatics and create devised pieces combining multiple art forms and circus discipline. Lucie graduated from the National Centre for Circus Arts in 2009, alongside her performance partner Tay Lane. Collectif and then... is an award winning and received ecognitions such as the Oxford Samuel Beckett Award in 2016 for their show 'The Machine' which premiered at the Barbican.
Since 2013 Lucie works alongside her two sisters on the project "MUD-a chromatic research" a project combining their practice of predilection, sculpture, video, live art and circus. For this ongoing research the sisters explore their relationship to their Congolese and Swiss heritage, their blackness and their bodies. Since 2020 Lucie has joined Future Brown Space where she, alongside fellow Black and Brown artists, thinkers and makers devise performances, discussion and create space for and by afro descent people.
Ludvig Daae is a Norwegian choreographer and dancer, educated at the Royal Swedish Ballet School in Stockholm and P.A.R.T.S. in Brussels.
December 2017 Ludvig choreographed the piece Donna Winter for Cullbergbaletten’s appearance at the Nobel Banquet in Stockholm City Hall. He is currently touring his latest pieces Dance To Dance To and HYPERFRUIT. HYPERFRUIT, as well as his new piece The Viral Dance, is a part of his long term project Daae/Nordahl, a collaboration between himself and film maker Joanna Nordahl. Ludvig is also dancing in several shows by other choreographers.
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 all over Europe at places like Oslo Opera House (NO), MDT (SE), Vooruit (BE), The Place (GB), Kampnagel (DE), Moderna Museet (SE), InterPlay (IT), Brut (AT), Rencontres chorégraphiques Internationales de Seine-Saint-Denis (FR), GUIdance (PT), Gessnerallee (CH), Kinitiras (GR), Quarter Block Party (IE), Zodiak (FI), Dansens Hus (NO) and Sophiensæle (DE).
Lydia Östberg Diakité is a dancer, choreographer and union organizer who since 2013 is based in Copenhagen. Ö. Diakité is inspired by and refers in its work to popular cultural phenomena, hyper-performativity, contemporary criticism and tenderness. These themes and concepts are embodied in the works EMBRACE and CRY BABY. Ö. Diakité works with an intersectional feminist approach in artistic processes and practices decolonization of art production and sees a value in shaping new collective realities. Ö. Diakité laid the foundation for Dance Cooperative and runs it together with 15 artists in Copenhagen. Since 2019, Ö. Diakité is on the board of The Union, a workers union that works towards the elimination of racism on the culture and art scene in Denmark.
Maele: dansare, koreograf och DJ. Tidigare aktuell med föreställningen Festen, Bach in the Street och mer.
Maele "CHEZA" Sabuni is a dancer and DJ that has been dancing since childhood and started taking classes in 2002 in different Street Dance styles.
He has a long background as a participant in various competitions/battles and over the years has won titles such as Juste Debout Nordic (Nordic championship), Baltic Session (Estonia), The Abyss Housedance experience (USA) etc. Alongside this he also studied two years at Åsa Folkhögskola.
Today he freelances as a dancer/choreographer in various contexts, TV, artists, performances and out on tours. Melodifestivalen, Polar Prize, toured with Riksteatern, Dansnät, Scenkonst Sörmland and co-creates/participates with other choreographers in various productions.Performed a dance solo at the Nobel Peace Prize ceremony in Oslo with the Philharmonic Orchestra (NRKTV).
Currently currently on tour with the self-choreographed award-winning performance Bach In The Street as well as touring with FESTEN and choreographing THE MIND EXPERIMENT.
Magnus Pettersson has worked with light design in culture mainly in Stockholm since 1991. Permanent employee at Dramaten since +20 years, where he sets lighting and is lighting/video technician. Studied at the Dramatic Institute 1995-96. (Current STDH). In parallel, during these years, I have done several lightings in theater and dance at several different theaters, dances and projects. Recurring performances at Teater Tre since 2009. Alias Teatern, Moderna DansTeatern, Dansens Hus, Helena Franzen, Boulevard Teatern, Borås Stadsteater, Binta Coker, Uppsala Stadsteater, Teater Galeasen, Virpi Pahkinen, Dansmuseet, Teater Tribunalen, Riksteatern are a few I worked. And various foreign tours over the years, mainly with dance. eg in Japan, Mexico, Ecuador, Bali. Most recently, he worked with a touring children's show at Dramaten "Tween Spirit" and "Windlaboratoriet" at Teater Tre.
Maja Zimmermann works as a dramaturge and curator in the field of contemporary dance and performance. Currently part of the program team at PACT Zollverein in Essen, Germany, she has collaborated with various artists and choreographers, as well as festivals. With an academic background in Fine Arts and Dance Studies, she developed seminars, workshops, and performative exhibitions, exploring themes of relationality, care, and touch.
Malik Nashad Sharpe (they/him) is an award-winning choreographer and movement director known for his provocative and formally engaging performance works that address themes of violence, alienation, horror, melancholia, and the horizon. He frequently choreographs under his alias, Marikiscrycrycry. He has received commissions and shown his work at venues and festivals across theU.K., Europe, and Canada, and is currently an Associate Artist at The Place and a studio resident of Somerset House Studios. He has held artistic residencies at Sadlers Wells, Barbican, Performance Situation Room, Dance4, Duckie, and Tate Modern.
He holds a BA in Experimental Dance with highest honours from Williams College and a certificate in Contemporary Dance from Trinity Laban Conservatoire for Music and Dance, where he won the Simone Michele Prize for Outstanding Choreography. In 2019, he was named a Rising Star in Dance by Attitude Magazine and in 2022, he was featured on the Forbes 30 under 30 list for his unique and pervasive choreographic achievements. He currently lives in London and is a guest professor in dance and performance at the Stockholm University of Arts in Sweden.
Malin Elgán is a choreographer and artist, based in Stockholm and active internationally. Elgán takes an interest in art beyond the genre-specific and operates through an expanded choreographic practice – through various expressions, formats and media. She does not let dance be limited to certain movements and places. Rather she takes dance out of its usual contexts to enable new meanings.
At MDT, her most recent works include "Läst till hälften" [“Half Read”] (2022) and ["The Child Shape"] (2021).
Her ongoing series “Delar” has been shown at Ställbergs gruva in Bergslagen, Hägerstensåsens medborgarhus and Hallen in Farsta.
Previously, her work has been presented on stages such as Dansens Hus and Kulturhuset in Stockholm, Moderna Museet, Nationalmuseum and Bonniers Konsthall, as well as at Göteborgs Konsthall, Nasjonalmuseet and Kunstnernes Hus in Oslo, Poppositions in Brussels, Ausland in Berlin and the Museum of Contemporary Art in Zagreb.
Elgán has also been a guest editor for a special edition of the art magazine Paletten, which was temporarily renamed Baletten, and her choreographic practice has been awarded the Birgit Cullberg grant.
Manuela Eichner was born in Arroio to Tigre in 1984, lives and works in São Paulo since 2009. The artist graduated from the UFRGS BFA in Sculpture.
Multifaceted visual artist her practice ranges from videos to performances, collaborative workshops, public murals, installations, and more. On these different fronts, Manuela often departs from the mass media images, and systematically resorts to the principles of collage and rupture, by shuffling of the spatial, contextual, and semantic unit of images from various sources. Manuela has participated in a variety of programs worldwide such as RUMOS Itaú Cultural in São Paulo (BR), Utropic in Poznań (PL), ZK/U in Berlin (DE), AnnexB in New York (USA), Fikra Graphic Design Biennial in Sharjah (UAE), IASPIS Residency in Malmö (SE), Centre National de la Danse in Paris (FR), Casa Líquida in São Paulo (BR), Alarm Theather in Bielefeld, (DE) and Printed Matter, New York (USA).
Markus B. Almqvist is a composer and dancer with a background in hip hop, electronic and contemporary art music as well as street dance and modern dance. Markus deepens his own creation by working cross-disciplinarily across practice and performance, exploring and creating new expressions for live art. Since 2011, Markus has written music for stage and film in Sweden and abroad. He studied at Gotland's composer school and is currently studying composition at the Royal Academy of Music in Stockholm.
Marcus Baldemar is a dancer and choreographer originally from Kiruna in the north of Sweden. After many years in Brussels, Belgium he is now based in Stockholm where he makes work, dances in other people’s work as well as teaches dance and choreography.
Marcus’ work wants to communicate a non-hierarchy between the emotional, the physical and the intellectual. One recurring interest is to find and/or create connections between a poetic/political language and a poetic/political body. This as an open, ever changing, question that accompanies him in the work. Author Leslie Feinberg once said “gender is the poetry we make of the language we are taught". In Marcus’ work he also sees movement and body as the poetry we make of the language we learn. He often works with text but in the end the dancing body is the main communicator.
His starting point is often queer history and storytelling as well as the ambition to queer history and storytelling.
In his solo GALDR (2019) he looked at nordic mythology through a queer lens and danced/told an alternative story based on the Norse god Odin. With Polari Speaking Sex (2021) Marcus was inspired by a secretive language spoken amongst homosexual men in England from the beginning of the 20th century until the mid 1960s. Together with his collaborators they worked on the idea of a secret mode for communication that made possible to safely live and share queer joy, pleasure and intimacy in public. In the same year, together with Finnish dancer/choreographer Eliisa Erävalo, he created his first ever piece for children (ages 4-7). The work is bilingual (Finnish and Swedish) and is called Markus Lär Sig Finska (Markus Learns Finnish). Finally Fantastic (2022) shows a togetherness that leads all the way to death. How dying coexists with the imaginative, the joyful and the intimate. The piece can be seen as a meeting place and communal burial ground where a collection of people of different generations do and die together.
Marcus Doverud is working as a dancer, choreographer and teacher and is an active part of the performance related arts internationally with base in Stockholm.
Marga Alfeirão (Lisbon,1994) uses media to carve safe-spaces for the exploration of intimacy and sexuality through dance and performance. Heavily influenced by dance-genres and sound textures from the african diaspora disseminated through Lisbon’s social tissue, she attempts an active claim of womanhood, making room for lesbian sensualities.
LOUNGE was awarded the Young Choreographers Prize in 2023, Impulstanz. Currently she is developing her new work on cheesiness, geographies and heartbreak with dancers Myriam Lucas, Mariana Benengue and herself, dj's Vanyfox and Shaka Lion and writers Filipa da Rocha Nunes and Candice Nembhard to premiere in December.
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.
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.
Maria Oliver holds a PhD in French philology and has worked as university lecturer, translator and sporadic poet. She has been an activist since 12 years ago, when her uncertainty led her to live with functional diversity and to see the other side of the mirror. Oliver is member of the OVI-Office of Independent Living in Barcelona. Furthermore, she has participated in various cultural projects linked to functional diversity such as "Trèvols de 4 fulles", "Vivir i altres ficcions", "Yes, we fuck", "Nexos", and sexual assistance - "Tus manos, mis manos".
Maria w Horn is a composer hailing from the north of Sweden, based in Stockholm since 2011. Maria w Horn is interested in the manipulation of time and space through sonic extremes – oscillating between minimalist structures and piercing power electronics utilizing both digital and analog synthesis as well as acoustic instruments and audiovisual components.
Her work examines aspects of human perception – how audiovisuality and overload/loss of perceptual stimuli can conspire to transcend everyday life and invoke alternate mental states. She is a part of Sthlm Drone Society – an association working to promote slow and gradually evolving timbral music, and co-operates the label XKatedral.
Previous commissions include an audiovisual piece for the Swedish Radio, a sound and light environment for The Swedish Museum of Performing Arts, a string quartet with electronics for Malvakvartetten and multichannel electronic music for Audiorama.
Formal studies include electroacoustic composition at the Royal College of Music in Stockholm and Universität der Kunste in Berlin.
Using the body as a point of departure, Maria Westmar explores how seemingly solid materials and rigid entities can be ascribed movement and change by understanding them relationally. The materials play a meaning-bearing role in her artistic process which, together with the idea, leads the process forward. In working with the stone, the textile, the sand and the foam rubber, she asks herself if they are in motion. Whether the materials are alive or dead and whether they have agency. Through sculpture, installation, text, image and in collaborative projects, Maria Westmar processes and investigates questions related to the body, materiality, life, origins and the sensuous.
Maria Westmar (b. 1983) lives and works in Malmö. She holds a MFA from Konstfack University of Arts, Crafts and Design. Westmar has made exhibitions and collaborative works that have been shown on, amongst other places, Konstepidemin, Göteborg (2024), Sjöbo Konsthall, Sjöbo (2023), Inter Art Center, Malmö (2022) and Krognoshuset, Lund (2019). Her work has been awarded several grants including working grants from the Swedish Arts Grants Committee, Ester Lindahl's travel grant and grants from Malmö Art Museum as well as The Royal Art Academy.
Dancer, choreographer and designer, Mariana Benenge (CG/FR) is a free spirit in the Parisian queer community. The young entrepreneur has co-founded P3, an exclusive FLINTA party that celebrates and encourages BIPOC queers lesbian to celebrate their sensuality and to nurture spaces without non-male gaze domination. As a designer, Mariana carries along her Congolese heritage, in close dialogue with colour and texture, she brings forward audacity and unapologetism in her clothing, representing her womanhood. She has collaborated as a movement director for several music artists, fashion designers such as Clara Dagin and brands such as Channel.
She initiated her education in traditional Congolese dances, in Congo, and later, in Paris, she became a Waacker and an active member on the street dance scene and Ballroom scene, where she has competed, judged and organised hosting formats. Mariana is currently developing her second fashion collection released by her brand, Tantine de Paris.
Mariana My Suikkanen Gomes is an artist, performer and curator based in Stockholm. She currently works as co-curator and coordinator at MDT, and as a producer with choreographer and performer Harald Beharie. Mariana is also a member of the collectives GLQ and Spekulativa Juntan while nurturing a multitude of loving collaborations, as well as an ongoing solo project entitled TENDER PROTEST SERIES.
Choreographer and performer, she situates her practice in the field of dance from a transdisciplinary perspective: visual arts, scenography, documentation and writing articulate fictional realities in her creative processes. She maintains a very plastic approach in her creations, regularly working with materials such as blocks of ice, cement, clay, powder, etc. Now she is a bit obsessed by gray mountains and volcanos landscapes.
Born in Belo Horizonte, Brazil, she lived for a long time in Lisbon and, since 2019, she has lived and worked in Montpellier, where she dedicates herself, through the choreographic platform LAB-L, to collectively creating fertile conditions for artistic research. https://marianaviana.com
Mariê Mazer [BR/SE] (they/them) currently works with a weird and authentic mix of ass-shaking, drag-kinging and hardcore thrash metal. Their work is focused on queering urban subcultures both from an autobiographical and a collective position.
Marie Topp is a choreographer and a dancer. She graduated from The National School of Performing Arts in Denmark in 2009. She works within the independent, international field of contemporary dance and has collaborated with a number of art-institutions in Denmark, Sweden and Germany, ie. Atalante, MDT, Kampnagel, Bora Bora, Reykjavik Dance Festival, Dansehallerne, Teater Momentum, Dansstationen and Inkonst. Topp recently premiered “Hail to the Good Listener”, an ensemble work commissioned by Danish Dance Theatre. Besides her choreographic practice Topp has also experience as teacher (DOCH, DDSKS, AFUK) and curator (daily training at Dansehallerne). From 2016-2019 she was a part of the Artistic Advisory Board at Dansehallerne, Copenhagen.
Marie Ursin is a Norwegian dancer and choreographer. She graduated from DOCH in 2013 and is based in Berlin and Oslo. Since then she has been collaborating with Alexandra Tveit, Tamara Alegre, Nikima Jagudajev, Cecilé Bally, Marie Nikazm Bakken, Fredrik Floen and Runa Borch Skolseg amongst others. Ursin, together with Tveit, is the artistic director of Scene:Bluss an annual experimental performing arts platform in Porsgrunn where they make residences, performances, workshops and everything in between. Currently she is in residency at Kanuti Gildi Saal together with Tveit preparing for this years Scene:Bluss Bedbug edition.
Marika Peura (b. 1987) is a choreographer, dancer, and performer based in Helsinki. She works in multidisciplinary ways in the fields of dance and performance. Peura is interested in the emotional, poetic, and political nature that unfolds from the experientiality of the body. Her ongoing practice is centred around the intimacy of the dancing body; it dwells in emotional, sensual, and social energies at the intersections of club/rave dance and culture, and contemporary choreography.
Malik Nashad Sharpe is an artist working with choreography. Creating primarily underneath the aliases Marikiscrycrycry and DarkMarik, he creates performances that are formally engaged with the construction of atmosphere, affect, and dramaturgy.
His works have been presented internationally and across contexts including Battersea Arts Centre (UK), ICA (UK), Gessnerallee (CH), The Yard (UK), Betty Nansen (DK), The Place (UK), Schauspielhaus (AT), Kampnagel (DE), Dansehallerne (DK), MAI (CA), Theatre La Chapelle (CA), Rich Mix (UK), Tramway (UK), Theatre in the Mill (UK), Nottingham Contemporary (UK), Quarterhouse Folkestone (UK), Beursshcouwburg (BE), Attenborough Centre for Creative Arts (UK), Cambridge Junction (UK), EWerk (DE), Centre for Human Rights in the Arts (USA), CCA Glasgow (UK), amongst others. His newest work High Bed Lower Castle with Ellen Furey premiered at FTA (CA) in 2022. As a movement director, he has worked on the creative teams of Fairview (Young Vic), The Glow (Royal Court), Two-Character Play (Hampstead Theatre), Effigies of Wickedness (Gate/English National Opera), Scandaltown (Lyric Hammersmith), Closer (Lyric Hammersmith), with an upcoming production of Henry V (Shakespeare’s Globe), and he has held artistic residencies at Sadler’s Wells (UK), Barbican Open Labs (UK), Primary (UK), and CCN Caen (FR).
He has performed and modeled for Telfar SS18 (UK), Charles Jeffrey at London Fashion Week 20 (UK), Vivienne Westwood at Paris Fashion Week AW21-22 (FR), and has been featured in publications including British Vogue, American Vogue, Vogue Polska, Dazed, Dazed Beauty, Crack Magazine, Howlround Theatre Commons, i-D, Nowness, Love Magazine, Bricks, amongst others. He was named by Attitude Magazine as a Rising Star in Dance in 2019, and on the Forbes 30 Under 30 List for his leading contribution to the arts and culture in Europe.
He graduated with a BA in Dance (Highest Honours) from Williams College in 2014, and holds a Diploma in Contemporary Dance from Trinity Laban, where he won the Simone Michelle Award for Outstanding Choreography in 2013. He is currently an Associate Artist at The Place, and a studio resident of Somerset House Studios. He lives in London, UK.
Marion Darova is a choreographer and performer from Sofia. Her interests include philosophy, psychoanalysis, social issues, and gender. Her works are characterized by minimalism and repetition of movement. Marion explores the inclusion of the body in the question of identity and the problematization of the natural-social relationship. In her latest dance performances WO MAN and FREEFALL, Marion engages with Judith Butler and Jacques Lacan's ideas on gender. For both performances, she received an ICAR nomination and an award respectively.
Marit Shirin Carolasdotter is a choreographer, dancer and founder of the network-organisation Humans & Soil. Her roots are in Kurdistan, Iraq and Frostviken/Hotagen in Sápmi. Her artistry is based upon merging writing together with various dance practices that derives from her embodied experiences of indigeneity. She is constantly exploring, experimenting and challenging the view on the Indigenous body and her in-between identity, seeking her own rituals with dance and choreographic practice.
Markus B. Almqvist is a composer and dancer with a background in hip hop, electronic and contemporary art music as well as street dance and modern dance. Markus deepens his own creation by working cross-disciplinarily across practice and performance, exploring and creating new expressions for live art. Since 2011, Markus has written music for stage and film in Sweden and abroad. He studied at Gotland's composer school and is currently studying composition at the Royal Academy of Music in Stockholm.
Markus Öhrn is a Swedish visual artist, born 1972. He graduated from the Masters of Fine Arts programme at Konstfack in Stockholm in 2008.
Markus Öhrn works with video, sound installations and performances. His installations have been presented both in Sweden and internationally in places like Museum of Modern Art, Stockholm, Kunstenfestivaldesarts, Brussels, Volksbühne am Rosa-Luxemburg-Platz and Arsenal in Berlin.
In 2010, he directed his first theatre performance Conte d’Amour that was awarded the winner price at the Impulse Festival 2011 in Germany. Conte d’Amour was the first part of a trilogy that was followed by the performances We Love Africa and Africa Loves Us (2012), and Bis zum Tod (2014). The performances of this trilogy have been shown at festivals around the world like Theatertreffen Berlin, Wiener Festwochen, Festival d’Avignon, Festival Transamerique, Montreal and Theater Der Welt.
In 2015, Markus started to work with site specific performances in series. The first piece in this format was the Azdora project that he created for Santarcangelo Festival in Italy, where he formed a Black Metal/Noise band with housewives that performed for ten days in a row. Since then he has made an advent calendar for Volksbühne am Rosa – Luxemburg – Platz in Berlin, 24 different performances in 24 days in December 2015, and then the following up eleven day performance Wir sind die Guten, also at Volksbühne am Rosa-Luxemburg- Platz (2017). With Häusliche Gewalt, premiere at Wiener Festwochen in 2018, he was nominated for the category Spezialpreis at Austria’s theatre price Nestroy in November 2018.
Markus Öhrn has moved back to Sweden after 10 years in Berlin, and is now the artistic director of the Swedish group Institutet, he lives and works in Färila and Vitsaniemi.
Marlene Monteiro Freitas was born in Cabo Verde where she was co-founder and member of the dance group Compass. She studied at P.A.R.T.S. (Brussels), at E.S.D. and at Fundação Calouste Gulbenkian (Lisbon). She worked with Emmanuelle Huynn, Loic Touzé, Tânia Carvalho, Boris Charmatz, among others. Her creations include: Jaguar in collaboration with Andreas Merk (2015), Of ivory and flesh – statues also suffer (2014), Paradise – private collection (2012-13), (M)imosa with Trajal Harell, François Chaignaud and Cecilia Bengolea (2011), Guintche (2010), A Seriedade do Animal (2009-10), Uns e Outros (2008), A Improbabilidade da Certeza (2006), Larvar (2006), Primeira Impressão (2005). The common denominator of these works is openness, impurity and intensity. She is the co-founder of P.OR.K, structure of production based in Lisbon.
Marquis Bey (they/them pronouns, or any pronouns) is Professor of Black Studies and Gender & Sexuality Studies, with an appointment in Critical Theory, at Northwestern University. They write and think at the intersections of blackness, trans and nonbinary genders, abolition, and theory. Most recently, Bey is the author of Black Trans Feminism as well as Cistem Failure: Essays on Blackness and Cisgender.
Mårten K. Axelsson graduated as a lighting designer from The Danish National School of Performing Arts in 2009 and has made the light for over 40 productions and set design for 6 productions. Among theaters Mårten has guested can The Royal Danish Theatre (DK), Schauspiel Frankfurt (DE), Kampnagel (DE), The Joyce Theatre (USA), Jacob’s Pillow Dance Festival (USA), Aarhus Theatre (DK), Den Jyske Opera (DK), Aalborg Theatre (DK), Odense Theatre (DK), Malmö City Theatre (SE), Norrdans (SE), and Ballet Jovem Palácio das Artes (BR) be mentioned.
Mårten Spångberg (b. 1968) is a choreographer living and working in Brussels and Stockholm. His interest concerns dance in an expanded field, something he has approached through experimental practice in a multiplicity of formats and expressions. He has been active on stage as a performer and creator since 1994, and since 1999 has been creating his own choreographies, from solos to larger scale works, which have toured internationally. Under the label International Festival, Spångberg collaborated with architect Tor Lindstrand and engaged in social and expanded choreography. From 1996-2005 he organised and curated festivals in Sweden and internationally, and in 2006 initiated the network organisation INPEX. He has considerable experience in teaching both theory and practice. From 2008-2012, he directed the MA pro- gramme in choreography at the University of Dance in Stockholm. In 2011, his first book, Spangbergianism, was published. Mårten Spångberg is professor in dramaturgy and choreography at Oslo National Academy of The Arts, departments of dance and theatre. Mårten Spångberg is associated artist at Black Box teater Oslo, 2017-2018. His more recent works La Substance, but in English, The Internet, Natten and Gerhard Richter, une pièce pour le théâtre has gained extensive international recognition.
Martina Apostolova is a Bulgarian theatre and film actress, known for her work in the underground and independent art fields and cinema. She graduated in contemporary performing arts and drama theatre in 2013 and since then she is a huge part of the film and theatre stage in Bulgaria. In 2020 she received numerous awards for her first leading role in the film “Irina” (dir. Nadejda Koseva), among which the European Shooting Stars in Berlinale Film Festival. Her collaboration with Marion Darova started in 2017 when they collaborated as director-actor duo in “Hating Machine”. Since then they have been working together in each following project of the choreographer.
Max Wallenhorst is currently studying at Institute for Applied Theatre Studies in Gießen. He is working on theoretical and practical writing between auto-fiction and essay-performance. Next to his work for various newspapers and magazines he is embedded in CHANGE – Fake News From a Better Future, a collaborative and interdisciplinary attempt to create a contemporary science-fiction of the 2010s.
The Youth Board supports the curatorial programming and development of MDT.
It started as a pilot programme in late 2024, through an open call for people aged 16-18 in the Stockholm region, the board is involved in workshops on dance and movement, light, sound, and more.
Meera Shakti Osborne is an artist and youth worker from London working across multiple disciplines with a focus on collective healing through creative self-expression. Their practice engages with accessibility and confidence building with marginalised people in both formal education settings and casual encounters. Meera is interested in the use of art as a tool to come together, creating small worlds of protection and openness. They believe art's use lies in recording feelings and the in-between stuff that often gets left out of history making. They work in zines, oil paint, audio, digital media, textile, breathing, talking, dancing, glitching and love. Shakti Osborne is a Studio Voltaire Resident and was a research associate at Iniva in 2024 and has worked with Peer Gallery, Cubitt Artists, Drawing Room, Focal Point Gallery, The GAP Arts Project, Glasgow Zine Library, iniva, New Town Cultures, Newbridge Project, Nottingham Contemporary, Peckham Platform, Reprezent FM and is a visiting lecturer at UAL.
Meleat Fredriksson is a choreographer and dancer based in Copenhagen. She holds a BA in dance and choreography from The Danish National School of Performing Arts.
Meleat’s processes are carried by intuition and curiosity. In her work she creates embodied situations where multi-layered meaning and emotions emerge. Her experience ranges from creating and performing in pieces for stage, schools, and exhibition halls to teaching workshops and organizing events.
Meleat’s work has been shown at festivals such as My Wild Flag (SE), Gothenburg Dance and Theatre Festival (SE), TheCarrierBag Festival (DK), New Sh*t (DK), Dubrovnik Summer Festival (HR) and Hong Kong International Choreography Festival (HK). Meleat has been creating and performing for, or together with Noé Soulier, Ligia Lewis, Andros Zins Browne, Lydia Östberg Diakité, Adam Seid Tahir, danseatelier and Francesco Scavetta amongst others. She was also part of founding danseatelier; a self-organized studio space and a group of 11 performance artists in Copenhagen.
The work of Mette Edvardsen (b. 1970 is situated within the performing arts field as a choreographer and performer. Although some of her works explore other media or formats, such as video, books, and writing, her interest is always in their relationship to the performing arts as a practice and a situation.
Since 1994, Mette Edvardsen has worked as a dancer and performer for a number of companies and projects, and has been developing her own work since 2002. She presents her works internationally and continues to develop projects with other artists, both as a collaborator and as a performer.
A retrospective of her work was presented at Black Box teater in Oslo in 2015 and the focus program Idiorritmias at MACBA in Barcelona in 2018. Her project, Time has fallen asleep in the afternoon sunshine, has been ongoing since 2010, presented twice at Kunstenfestivaldesarts in Brussels in 2013 & 2017, Sydney Biennale in 2016, Index Foundation in Stockholm in 2019, Oslobiennalen First Edition in 2019-2020, Trust & Confusion at Tai Kwun Arts in Hong Kong in 2021, and Sao Paulo Biennale 2021. She presented works and a performative exhibition, Suppose a Room at Amant in New York in 2022, and developed a project in long-term residency at Les Laboratoires d'Aubervilliers in Paris 2022/2023.
Mette Edvardsen is structurally supported by Norsk Kulturråd (2022-2026). She is finalizing her research as a Ph.D. candidate at the Department of Dance at the Oslo National Academy of the Arts.
Mette Ingvartsen is a Danish choreographer and dancer. From 1999 she studied in Amsterdam and Brussels where she in 2004 graduated from P.A.R.T.S. Her first performance “Manual Focus”(2003) was made while she was still studying. Since then she has initiated several research projects and made numerous performances, among others “50/50” (2004), “to come” (2005), “Why We Love Action” (2006), “It’s in The Air” (2008) “GIANT CITY” (2009) and “All the way out there…”(2011).
Questions of kinesthesia, perception, affect and sensation have been crucial to most of her work. Recently her interest has turned towards thinking choreography as an extended practice.
In 2014 she started a new cycle of work entitled “The Red Pieces”. “69 positions” opened this series and questioned the borders between private and public space, by literally placing the naked body in the middle of the theater public. In the second piece, “7 pleasures”, a group of 12 performers confronted notions of nudity, body politics and sexual practice.
Besides her performance work she is engaged in research. Her practice involves writing, making, performing and documenting work. She teaches and gives workshops often related to developing methodologies within choreographic practices.
Mette Ingvartsen is finishing a PhD in choreography at UNIARTS in Sweden. She is in this context researching the relationship between artist writing and artistic practice, using her own work and writing as a way to experiment with these relations. She has worked as a performer in projects of Jan Ritsema / Bojana Cvejic, Xavier Le Roy and Boris Charmatz. www.metteingvartsen.net
Mia has worked with dance for many years, in many ways. Current as a producer, cultural coordinator and
project manager mainly in dance, music and film.
Michael S. Bekele (1988) is a writer, director and artist with desks both in Berlin and Stockholm. His practice is concerned with embodied language. Moreover he is active as the chairperson of Black Archives Sweden in Malmö and the co-founder of Munnen in Stockholm.
Mikko Niemistö (b. 1984) is a choreographer from Helsinki whose work explores the formulation of the self through silent knowledge and the accumulation of bodily memories. Niemistö’s interests lie in the shattered realities of contemporary culture, and the things that linger in the background, like noise and the flow of consciousness. He currently focuses on the shadow zones of everyday reality, like dreams, psychedelia, and the supernatural. His works have been shown recently at Moving in November, Helsinki, ImPulsTanz, Vienna, Zodiak – The Center for New Dance, Helsinkiand Inkonst, Malmö.
Min Li is a costume designer.
MIND EATER is an Oslo-based, artist-run, non-institutionalized festival that is interested in new artists and performative practices organized by Runa Borch Skolseg and Louis Schou-Hansen.
Mira Mutka jobbar inom dans och koreografi genom att initiera, samtala, producera och dela publika verk, performativa praktiker samt via undervisning knuten till sin konstnärliga praktik. Långvariga intressen och referenspunkter är långsamhet, promenader, svarta hål och strukturella skeenden. Samarbeten genom åren med fri; verksamma som Hagar Malin Hellkvist Sellén, Lisen Ellard, pavleheidler, Jannine Rivel, S6na Nyström och Uncover Choreography, och institutioner så som Scenkonst Sörmland, Cullberg och Riksteatern. Mira har en masterexamen i koreografi från Performativa Praktiker/SKH.
Mmabatho Thobejane is a South African cultural worker and ngaka ya setso (traditional healer) based in Stockholm, Sweden. She is a producer at MDT Moderna Dansteatern and also works as a freelance curator, researcher and writer.
Mohamed Y. Shika
Mohamed Saleh (b. 1989), Shika "Mohamed Saleh, known as Shika, is an Egyptian contemporary dancer of Nubian origin. His dance journey blends influences from Nubian folk dances, martial arts, house, and Afro-traditional and contemporary dances studied at Senegal's Ecole des Sables. Inhabiting various worlds and identities intersect, Shika's artistic sensibilities thrive in the fusion of these diverse experiences.
Shika's interest extends beyond dance to different art mediums, such as painting and photography, influenced by the dynamism of his movement. In 2017, Shika was awarded the Pina Bausch fellowship following the work of Nora Chipaumire, where their close collaboration continues to evolve to date. Shika has been dancing with Cullberg since 2018.
Shika's invitation to the Within Practice festival ignited his interest in exploring, through the lens of his own experience, how dancers' roles within companies like Cullberg shape and inform the utilization of the various tools and practices they have developed or been exposed to. Specifically, he's intrigued by the intersection of dance practices and long-term approaches.
Mona Namér is a dancer and choreographer from Gothenburg, based in Stockholm. She trained at Broadway Dance Center in New York with a focus on hip hop and modern dance, and has since traveled and worked between Paris, New York, London and Johannesburg. Namér is active in stage and film productions, various art projects and as an educator, and in her practice she explores how movement can act as an alternative language for communication and reflect our contemporary world. The focus of Mona's artistic work in recent years has been on themes such as surrealism, ritual and identity.
In 2023, Mona premiered the performance Birth Liquid at MDT, which is an extension of the dance film A Bath In My Mother's Womb that she directed in 2021. The film premiered at the Gothenburg Film Festival, was shown on SVT Play and has won several awards including Best Experimental Short Film at the Next Generation Indie Film Awards in Los Angeles.
Her credits include choreographic collaborations with Little Dragon, Tate Modern, Fotografiska, Milano Design Week, IKEA, AFROPUNK Festival Brooklyn, Way Out West and Live Art Festival at Kampnagel in Hamburg.
Previous participations in: Sweet & Sticky by Lisa Janbell (2023), SEARCH by Lisa Janbell (2022), Skiftet by Johanna Fröjd at Dansens Hus and Dansstationen Malmö (2021), Untitled (Entitled) by Jacqueline Hoàng Nguyễn at Bonniers Konsthall (2021), The Dress/La Robe by Carmel Loanga at La Villette in Paris and KVS in Brussels (2019-2020), 5 Degrees by Twisted Feet Dance Company at Stora Teatern (2015), VOLVO Trucks Launch by Twisted Feet in Gothenburg and Seoul, South Korea (2014), Festival de Danza Querétaro by Twisted Feet in Mexico (2013), Wallstreet by Twisted Feet at Göteborgsoperan (2012)
Moving in November is a contemporary dance festival organised yearly in the Helsinki area. The festival is an invitation to come together. To experience artistic works from the local scene and abroad. Artistic voicing their critical thinking, their vision, their experiences, their dreams, opening small windows to the world we are living in.
Myriam Lucas is a dancer, teaching artist and choreographer from San Diego, California.
She began her dancing as a freestyle Hip-Hop dancer and has since moved into other urban dance forms and various contemporary movement techniques. Choreographers Prize, ‘Audience Favorite’, for her pieceTwo Fridas in 2014. She created Callous in 2014, her frst full-length show inspired by the Frida Kahlo’s paintings. In 2018 she completed her 3-year length BA in Dance, Context and Choreography at HTZ Berlin. She is interested in telling women’s stories through an urbanistic movement lens and approach. Most importantly, she aspires to spread the knowledge about the inner workings of urban dance methodologies in artistic and practical ways.
Nadia Maghder works with film, text and installation. She moves freely between the different media and often in combinations. Her works examine how identity is created through the way we name. It can be about objects, experiences, linguistics which in Nadia's works are subjected to re-readings and put in new contexts. Text is constantly present in her works as a supporting element. Sometimes as an undercurrent and sometimes as something that acts in the works and can speak directly to us.
She has studied Literary composition at HDK-Valand and a master degree in fine art from Konstfack.
Nadja Hjorton is a Swedish choreographer and dancer based in Stockholm. She did the MA program in Choreography at DOCH from 2010-2012. Nadja is interested in thinking choreography through different contexts and formats and she is working with dance and choreography, seeking to challenge norms and notions of what choreography and dance is and can be. Her works deal with issues like power, body politics, sexuality, humor and desire and she is always busy with finding different ways and spaces for people to spend time together – the theatre room being one space full of potential for this activity.
Nadja has made numerous independent and collaborative works over the years. Her works MILF, Cuteness overload (with Lisen Rosell and Anna Efraimsson) and Grottbjörnens folk (with Lisen Rosell and Amanda Apetrea), are moving around thematics like motherhood, cute aggression, object/subject, gaze and sexual desire. Her latest work,TAKEOVER, takes off in sisterhood, and is a dance performance where a group of sport engaged teenage girls between 16-18 years old, physically and emotionally take over a sports hall and where the passion and physicality of the sports informs the choreography. Nadja’s works have been presented at several venues and festivals around Europe.
Nadja is part of Samlingen and ÖFA-kollektivet.
An avid participant on the Swedish jazz scene of the last decade, the Japanese pianist Naoko Sakata made solo debut in the spring of 2021. “Dancing Spirits”, released on Anna von Hausswolff’s Pomperipossa Records, consists of seven improvisations performed on a Steinway piano in Annedalskyrkan, Gothenburg in august 2020. The album does not provide an ordinary listening experience and is almost impossible to classify according to genre or field. Rather, it results from a genuinely experimental musical approach, where every note follows the last without any principle other than total freedom.
nasa4nasa is a dance collective based in Cairo. It was co-founded by dancers Noura Seif Hassanein and Salma Abdel Salam in October 2016. nasa4nasa uses static imagery to research notions of form, aesthetic and value. nasa4nasa uses chance, and repetition to examine failure, affect, vanity, boredom. nasa4nasa seeks to foreshadow alternative spaces as occupied stages. nasa4nasa is housed in social media, to actively interact with and sometimes interject with daily virtual mass consumption. nasa4nasa can be taken lightly or seriously, it is meant to do both. nasa4nasa does not seek to find meaning in everything it does. nasa4nasa fucks with dance.
Nat Marcus is a Berlin-based writer and designer. Along with Zoe Darsee, she is co-editor of TABLOID Press, an imprint for poetry and art-books founded in 2014. The publishing house maintains a focus on the public space of a poem and the poetics of a social body. In conjunction with the activities of the press, Marcus holds a broadcasting residency at Refuge Worldwide Radio, called TABLOID Soundsystem. Her poetry, art criticism and lyric journalism have recently been published in Arts of the Working Class, The Ransom Note, and Edit.
Curated by Natalia Piñuel Martin - Art historian, cultural researcher and curator. Co-founder by the platform Playtime Audiovisuales based on Madrid and curator (music and activities) by the Festival She Makes Noise at La Casa Encendida in Madrid since 2015. A multidisciplinary event about electronic music make by women and non- binary people & contemporary audiovisual.
Develops projects for several museums and art & cultural spaces (MUSAC, Espacio Fundación Telefónica, DA2, TBK, Centro de arte 2 de mayo, Instituto Cervantes, AECID) Natalia Piñuel also writes regularly for the media and host the podcast Derivas since 2021 while pursuings her doctoral studies about electronic music and performance.
Natália Rebelo is a visual artist based in Stockholm. She works in various media including performance, sculpture, text and moving image. Her work has been shown at Sormlands Museum, Kulturhuset Stadsteatern, Galleri Brucebo, Konstakademien, Galleri Mejan, Uttran, Mossutställningar, and Index Foundation, Stockholm; Nya Småland, Tranås; Chart Emerging, Kunsthal Charlottenborg, Copenhagen; Work hard! Play hard!, Minsk; W139, Amsterdam, Z/KU (Zentrum für Kunst und Urbanistik), Berlin and Biquini Wax EPS, Mexico City. Recent residencies include Brucebo in Gotland, Fondazione Ratti in Italy, and Biquini Wax EPS in Mexico. She holds a BFA from the Gerrit Rietveld Academie in Amsterdam and MFA from Kungl. Konsthögskolan in Stockholm.
Natașa Baykal is a dancer and musician that has been involved in dance and music since childhood. She’s educated in the street dance line at Åsa Folkhögskola and participated in jams, battles and workshops over the years. The styles she moves between are popping, hip-hop and house. Natașa has also studied music at the Academy of Music in Stockholm and has been involved in various productions in music and dance. Today she is a freelancer in both art forms and also works as a music and singing teacher.
Natascha Moschini (she/her) studied contemporary dance in Antwerp, Performance Studies in Hamburg, and Contemporary Arts Practice in Bern. She is interested in the ethics, aesthetics, and politics of the human body. In her choreographic and visual works, she addresses social power structures and exposes relationships of dependency. Natascha was part of the Danse & Dramaturgie funding program 2019/2020 and the laboratory 'Handle with Care' in the national network of Swiss theaters. In 2022, she received the research grant from Fachausschuss Darstellende Künste BS/BL in order to research dramaturgies of fear. She accompanies other artists dramaturgically and engages in intensive artistic dialogue with them. As a performer, Natascha Moschini has appeared and performed with Tino Sehgal, Isabel Lewis, Boris Nikitin.
Motörhead presents “Metropolis” 12/03/1988 in Athens-few days after Nefeli is born. Dancer/ performer choreographer from Greece, based in Sweden, she has spend her last years in Stockholm dancing, looking, criticising, finding new ways, and potentialities for an upcoming movement ideology. After studying Dance (MoC) and Design (UoA), she has completed her Master of Choreography at DOCH and the interdisciplinary course Organizing Discourse at Konstfack University. She curated Pracrising Transitions Festival in Wip Konsthall in Årstaberg and Rhymes mini-festival in Weld, which invited many artists with performances, open discussions, exhibitions, screenings and workshops. Lately she presented her own work ‘Rhymes of Pleasure’ that premiered at Weld and working on her new project ‘The Art of Laboring’. She is a partner in the duet ‘D ANCER’ by Sebastian Lingserius that premiered here in MDT and now continuing this collaboration in POLY. With more than 8 years of experience, she engages in performing practices to intensify the body as a place for constant transformation and renegotiation, which can facilitate philosophical speculations across a broad spectrum.
Niki Awandee is a spiritual explorer and artistic alchemist that found a guiding light in dance, rhythm and music at a very young age. Her artistic expression and unique touch has brought her global resonance within the HipHop dance community. She is regularly seen flying out from her residence in Stockholm - Sweden to perform, teach, judge and host events and battles around the globe. In 2024 she reached an amazing and astonishing 54 countries, of whom many she has visited multiple times. Niki is a pioneering force questing for freedom and self expression through the practice of freestyle, rhythm, playfulness and intuition training. She has a deep interest in sharing these practices and methods with the aim to contribute to a global growth in creativity, personal resonance, heightened sensibility, genuine expressions and artistic/movement refinement.
Niki is well known in the established global Hip Hop community through her various achievements related to her dance practice, winning many of the worlds most prestigious titles but foremost inspiring a world through her unique craft and powerful presence on and off stage. In recent years she has also made a name for herself creating and choreographing her own stage productions. “Head Peace” (2022) and “Raised on rhythm” (2023).
Nina Sandino (She/they) born in Bilwi ["snake in the leaf" in the Mayangna language] on the Nicaraguan Caribbean Coast, a reservoir of diverse cultures, indigenous peoples and ethnic communities.
Nina is an architect and movement artivist, working independently as an eco social designer, choreographer/performer and dance facilitator. Their practice focuses on Afro indigenous queer futurism and ancestral communal knowledge. Nina's work is moved by the urgency of artistic expression as a political action, and is interested in holistic practices, where rest, pleasure and joy work as radical tools for personal and collective empowerment. Their artistic practice is a joyful rebellion for self-preservation.
Ninos Josef, born in 1989 and raised in Norrköping, is educated at the Royal Swedish Ballet School in Stockholm. After completing his education, he has been active internationally at several dance companies and opera houses such as Dansgroep Amsterdam, Introdans, Dansk Danseteater and Bern Ballet and danced in several projects with Alexander Ekman. During his career he has worked with and danced in works by choreographers such as Jiří Kylián, Nacho Duato, Hans van Manen, Club Guy&Roni, Johan Inger, Itzik Galili, Joseph Sturdy and Regina van Berkel. Since 2016, Ninos has returned to Stockholm where he has worked with Örjan Andersson, Arsen Mehrabyan and Paloma Madrid and has been involved with the Royal Ballet. In 2017, he debuted as a choreographer with his own solo LILHJA.
Melika Ngombe Kolongo, AKA Nkisi, lives and works in London. Nkisi was born in Kinshasa but grew up in Belgium and studied at Narafi Arts Schools in Brussels and Birkbeck University in London. Over the years, Nkisi has championed exploring music and sound within a decolonial context. As cofounder of NON Worldwide, whose raison d’etre is described as “a collective of African artists and of the diaspora, using sound as their primary media, to articulate the visible and invisible structures that create binaries in society, and in turn distribute power”, Nkisi’s ethos and music is imbued with a certain punk sensibility along with a political push back against conformity. A recent example is Nkisi’s night of concerts and DJ sets titled “Same Same Night II” that she organized at Kunstencentrum Vooruit in Gent, a festival that examined Belgium’s history and its contemporary inscription within a global postcolonial network. Nkisi’s debut EP, Kill (2017) received critical acclaim from Pitchfork, Tiny Mixtapes, and FACT. Her latest solo album, 7 Directions, was released in January 2019.
Nova’s songs roam through a myriad of sounds, ranging from techno, soul and experimentalism. Weaving together percussion, samples, live-instruments and vocals through a disparate collage of electronic production. In this visceral practice, Nova unravels their own experiences to ultimately unite the fragmented pieces of themselves— communicating their own duality and creating meaning to a state that once felt meaningless. “It’s my love for both the abnormal and the classic, a seeking towards an ephemeral state relieved of all expectations,” says Nova.
Nunu Flashdem is an Afro Swiss dancer and plus-size model living in Zurich and moving to London in 2020. She is a professional Dancehall dancer and teacher. Performing at different events and concerts, for example for Kranium, Charly Black, Cali P… and video shoots all over Europe. In 2018, Nunu created Flashdem Entertainment together with Sunny Flashdem.
Nya Buerki / Graue Kreide (they/them) is an artist in the fields of sound, music, and installation art. They are trained in audio engineering, electronic music composition and listening. Since 2001, they maintain a Dj career, currently running άτλας, a bi-monthly radio show on Radio Bollwerk. They are currently working as technical director at Kunsthalle Bern. Under their dj alias graue kreide they are selecting sound by focusing on what resonates within, attuning to that which triggers emotional responses. Sounds' peculiar capacity to mingle with one's emotional state is what guides their dj sets.
Oda Brekke is a dance artist based in Stockholm, working internationally as a choreographer, writer and performer. Her work is characterised by a material approach to perception, favoring detail to total overview. She is curious of dwelling with rooms and the things inhabiting them– tricking the sense of linear time and utilitarian relationships to objects. Her work ‘When there’s only surface left’ premiered at Weld in Stockholm 2021 and has been presented at the festival IMPROSPEKCIJE at Zagreb Museum of Contemporary Art, Bergen Kjøtt, Dance Cooperative in Copenhagen and höjden studios in Stockholm.
She is interested in discursive formats that gathers us to think collectively and has organized the conversation series ‘in the seams’ with Ar Utke Acs (for Interim kultur 2020), the artistic laboratory ‘Performance records’ (Weld 2023) and ‘drift dialogues’ with Scott Cazan (höjden studios 2024). She was part of the editorial team behind the publication ‘Art as Object|Art as Practice’ with Anders Paulin, Emilia Gasiorek and Runa Borch Skolseg published by the venue Skogen (Gothenburg 2020).
Oda is a co-founder of the collective studio space höjden in Stockholm, a collegial platform and common resource for autonomous production and artistic exchange since 2019. She received a BA in Dance Performance at DOCH/Stockholm University of the Arts (2017).
Oda Olivia (b. 1995) is a performer and dance maker from Nesodden, Norway with an MA in dance from Oslo National Academy of the Arts (2023). Her work as an artist is characterized by a willingness towards naivety to access spectrums of patience and suddenness. Her amazement with the body’s subtle information and multifaceted expressions ignites a current interest in observing movement. Using underlying and autonomous movement as a tool for dancing, she searches for unexpectedly recognizable situations and feelings to create from, both in her own work and in collaborations with others
Ofelia Jarl Ortega (b. 1990) is a Chilean-Swedish choreographer and performer based in Stockholm. Her work centers around vulnerability and femininity, often with a suggestive erotic aesthetic; where questions around power and group dynamics are at the core for her investigations. She holds a diploma from The Royal Swedish Ballet School (2010) and a MA in Choreography from Stockholms Konstnärliga Högskola (2014). Her works have been shown at venues such as ImPulsTanz (Vienna), MDT (Stockholm), Inkonst (Malmö), Arsenic (Lausanne), and Moving in November (Helsinki). www.ofeliajarlortega.com
"Composer and music producer from 2010 to 2018 in my previous duo Lcc, and from 2017 to the present, also under a new moniker, Okkre. In recent years, released my work on Editions MEGO, MOM or Eotrax, playing at festivals as Berlin Atonal, Sónar, Mutek Mx or LEV Festival. And I've been featured in publications and soundtracks with artists such as Ryuichi Sakamoto, Arca, Fennesz and Pita, among others.
After college, my passion for music led me to Iceland where I lived a few years. There, I started to produce music through software and field recordings. Since then, I've been producing electronic music for A/V shows, dance performance, theater, movies, documentaries and occasionally for advertising. Thankfully, some of these projects have been awarded in prestigious film festivals - such as Málaga Festival, San Sebastián International Film Festival, IBAFF, Goya Awards or the Performing Arts Awards."
After slowly becoming a key voice in the leftfield club sphere and appearing in compilations on leading experimental music outfits PAN and Posh Isolation, Oli XL vastly expanded the world of his already distinguished sound with the critically acclaimed debut album “Rogue Intruder, Soul Enhancer”, released in 2019 on Stockholm record label Year0001. With a dissected free-hand approach to the rhythms of the UK rave continuum, he pairs fragmented sampling techniques with personal field recordings & processed vocals—resulting in a bizarre but emotionally rich musical universe recalling the playfulness of Basement Jaxx as much as humourless glitch.
Following a small set of vocal-driven live shows diving deeper into the album’s pop sensibility, Oli has as the first-ever Swedish artist spent the last year carefully crafting a new collection of music for the seminal Warp Records.
Olivia Rivière (SE) is a choreographer and dancer based in Copenhagen. In her practice she works with the sonorous body and alternative vocal-techniques exploring the materiality of emotions, our private things and their sensorial influence. This has been played out in solo and co-works like Might Seem Vacant (2016) In sync – sung (2017), Ever Losing (2019), DUNKEL and Shriller (2022).
Since graduating from the Danish School of Performing Arts (2015) Olivia has run the space DANSEatelier together with a group of eleven choreographers and dancers. DANSEatelier works critically towards alternative modes of production and togetherness in the field of dance. Their work moves from large-scale to DIY, shapeshifting between festivals, performance evenings, study-groups and individual practice. At the moment they collaborate with institutions such as Den Frie Udstillingsbygning and Inkonst in their collective performance format TRIPTYKON.
As dancer and co-choreographer Olivia has worked with choreographers/visual artists such as Sara Gebran, Marie Topp, Jules Fisher, Robin Johnsson and Anna Moderato and together with choreographer/musician Karis Zidore, Olivia teaches choreographic sound compositions at The Royal Danish Academy of Fine Art School of Architecture and the Rhythmic Music Conservatory.
OR/ELLER is a we-formation, consisting of two voices, operating within a constructed subject. The name OR/ELLER is a reminder of the inherent ambiguity of dance and a hint towards their artistry pointing in several different directions concurrently. Since 2018, Anja Arnquist and Madeleine Lindh are running OR/ELLER, consistently insisting on keeping one foot in the room for performing arts for children and young people, and one foot in the room for performing arts for an adult audience.
OR/ELLER works with a signature of optimism, femininity and an unceasing interest in the craft of dancing. Through their long term movement-research, they allow a specific and multi-articulated physicality to fuel their linguistics and their aesthetic approach. In the exploration of what movement is able to convey, they construct their concepts, where choreography and scenography often emerge as interwoven traces. In their interactive performance WEB, they let the dance move into a motorized colossal scenography in which children and adults climbed around in a giant net together with Anja and Madeleine. In V, the audience could experience, on a distance, how the duo let bodies transform that very same spatiality into a projection surface for a futuristic dance epic. In NET, three dancers display an elastic rubber band net's ability to bring the audience together as a democratic body of society, that during two years, have met several hundreds of children in gymnasiums across Sweden and Denmark. In Terrarium, for the dance company Norrdans, a stage in the shape of a stylized terrarium was put on display like a theater inside of the theater, for the dancers to, in a simulated fauna, be able to both be each other's environment and become each other's landscapes.
Central to their artistic work is the power of transformation, and how dance in its smallest component, for example via a shifting of weight, can change our entire reading of body and constitution.
So far, the duo has collaborated with and presented their work at stages such as Dansens Hus in Stockholm, Dansinitiativet, Stadsteatern Skärholmen, on tour with Norrdans, Cinars in Montreal, Dalateatern, Saga Kulturhus, NorrlandsOperan, Dansehallerne/KORA (DK) and now MDT with the performance Dolly.
Pablo Esbert Lilienfeld (Madrid, 1981) is a musician and choreographer. He holds a BA in Audiovisual Communication from UCM Madrid, a degree in Contemporary Dance from the RCPD Madrid and a diploma from Research Studios at P.A.R.T.S., Brussels. He often collaborates as a musician, performer and assistant with Alessandro Sciarroni.
Paloma Madrid, born in 1974 and raised in Fisksätra outside Stockholm, began her dance career at the age of five and has since explored different dance styles. From ballet as a child to contemporary and modern jazz as a teenager, before finally choosing to become a flamenco dancer. Now she keeps her practice alive in clubs and is active as a choreographer, artist and teacher. As a prominent artist, she has come to describe herself as an "investigator of the poetic body", and her work continuously explores collaborative art forms and the borderland between choreography and art. Madrid's work constantly seeks new opportunities for the mind and body to redefine dance and choreography.
PAM is a nomadic, curatorial platform for experimental publishing, art, and movement-based practices. PAM operates in different locations, spaces, and constellations – as a library, publisher, and organizer. Through cross-disciplinary projects, publications, workshops, readings and other artistic and discursive program formats, PAM strives to nurture alternative modes of disseminating movement-based art practices.
PAM is run by curator Izabella Borzecka, based in Stockholm.
Paolo de Venecia Gile (b. 1994, they/he) is a Swedish-Filipino artist residing in Copenhagen. They hold a degree in dance and choreography from Scenekunstskolen and are active in Dance Cooperative, a platform and workspace in Copenhagen for intersectional feminist and choreographic practice. They work promiscuously as performer in works signed by Ofelia Jarl Ortega, Adriano Wilfert Jensen, Emilie Gregersen, Jules Fischer among others. Their primary interest focuses on the migration, translation and transformation of dance(s) across circumstances. http://lavapaolo.wordpress.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.
Paul Maheke lives and works in London. In 2011 he completed a MA in Art Practice at l’École Nationale Supérieure d’Arts de Paris-Cergy and in 2015 a programme of study at Open School East, London. His practice is grounded in emancipatory and decolonial thought with an emphasis on cultural identities and new subjectivities. His current research focuses – through video, installation, sculpture and furtive interventions – on the body as both an archive and a territory, as a utopia to be reimagined through different strategies of resistance. His recent projects include: Performa 19, Abrons Art Center, New York and ‘Elements of Vogue!’, Chopo Museum, Mexico City, ‘OOLOI', Triangle France-Astérides, Marseille, 'The Distance is Nowhere' (in collab. with Sophie Mallett), ICA Miami, Miami (2019), ‘Sènsa', (in collab. with Nkisi), Blockuniverse, London, (2019), Meetings on Art, performance art program at 58th Venice Biennale, ‘Letter to a Barn Owl’, Kevin Space, Vienna (2018, solo); ‘A cris ouverts’, Biennale de Rennes (2018). ‘Give Up the Ghost’, Baltic Triennial 13, Tallinn (2018); ‘Move’, Centre Pompidou, Paris (2018); ‘A fire circle for a public hearing’, Chisenhale Gallery, London (2018, solo show).
Paula Chaves Bonilla is a Colombian director, choreographer, performer and activist based in Amsterdam. In The Netherlands she made: Paraart, Against The Wall, Down is Up and Omni Toxica while joining Amanda Piña’s long-term project Endangered Human Movements as a dancer and assistant choreographer. Chaves Bonilla’s artistic research studies the relation between art, propaganda and neoliberalism to map and expose how the commodification of art -aka ‘artwashing’- operates as a neocolonial technology of distraction, control and discipline. Her works have been shown in festivals such as: Moving Futures (Amsterdam), Theater Aan Zee (Oostende), CALA Festival (Cori) & Welcome to our guest house (Rotterdam).
www.paulachaves.net
pavleheidler (b. 1989, HR) (they/them) (ADHD-autism) is a movement-and-word artist and activist, an educator, and a queer critical thinker specialised in developing and making room for research-oriented performative practices within expanding fields of dance and choreography. as a dancer serving the field in various capacities, they are committed to intentionally employing dancerly skills–e.g., non-verbal communication, embodied knowing, dancing-as-evidencing–where and when “we” may not “think" there’s room for anything other than “reasonable behaviour”.
"Dancing for me remains a matter of life and death. A heart matter, if you will, without which I’d not have made it this far.”
— pav via instagram
pav is one of the curators of LACE Symposium for Dance and Other Contemporary Practices, and a registered Somatic Movement Educator of Body-Mind Centering®.
@pavleheidler
Paz Rojo is a choreographer, dancer and researcher. Her work unfolds at the interface of artistic practices, choreography and philosophy. The practices, tools and concepts that form the backbone of her research have unfolded in different formats: meetings, research contexts, her doctoral dissertation (the artistic research PhD at Stockholm University of the Arts titled “The decline of choreography and its movement: a body’s (path)way”), curatorships — such as “¿Qué puede un cuerpo?” at La Casa Encendida (2014 and 2015), collective choreographic experiments, video-essays, a book titled “To Dance in the Age of No-Future,” and stage creations such as her latest work, “ECLIPSE : MUNDO.”
Produced in 2019, “ECLIPSE : MUNDO” approaches dance and the stage apparatus through the concept of a “plane of destituting perception,” something Paz develops in her research and links to the possibility of contemplating the not-yet-produced. In “ECLIPSE : MUNDO,” she experiments with a practice of movement as aesthetic experience, and with the possibility of letting this practice continue to be a practice despite its scenic context. It is a piece that brings together — and in a way ties up, albeit provisionally — notions in which she had been delving into since her solo “Lo que sea moviéndose así.” whose principles ended up being the genesis of the practices that have informed the long-term research in which she was immersed from 2011 to 2020. With Lo que baila (That which dances) Rojo starts a new research period.
PETER is a choreographer, a dance maker, a dance dance dance… maker, a dance, a dancer, a person, a bodies, a community, an aerobics instructor, an activist, an anarchist, an artist, art, a child, a cleaner, a candidate, a biography, a list, a ex-, a non-ex-, a title, a name, a document, a history, a challenge, an author, a moment, a smart ass, an annoyance, a liar, not peter, alive, another, a promise, practice, problem, performance, place, position, parameter, predictable, pest, pretense, plan, pipe, pop, pfff…
Peter Mills is a dancer, performer, choreographer, artist, activist, researcher, teacher, mentor and YMCA certificated aerobics instructor. Peter has a MA in choreography from Dans och Cirkushögskolan.
PETER is a choreographer, a dance maker, a dance dance dance… maker, a dance, a dancer, a person, a bodies, a community, an aerobics instructor, an activist, an anarchist, an artist, art, a child, a cleaner, a candidate, a biography, a list, a ex-, a non-ex-, a title, a name, a document, a history, a challenge, an author, a moment, a smart ass, an annoyance, a liar, not peter, alive, another, a promise, practice, problem, performance, place, position, parameter, predictable, pest, pretense, plan, pipe, pop, pfff…
Peter Mills is a dancer, performer, choreographer, artist, activist, researcher, teacher, mentor and YMCA certificated aerobics instructor. Peter has a MA in choreography from Dans och Cirkushögskolan. Whilst continuously focusing on his own research and experimental choreography, Peter works with supervising the BA and MFA students at DOCH, Bodies of evidence with Sandra Noeth, the assimilation project with Robin Dingelmans, the Great Beyond with Emma Tolander, Sensescapes with Dalija Acin Thelander, Bad girls practices: un-writing dance, the body and the choir with Frédéric Gies, sit_catris with Pontus Petterson, Treasure Hunting with Charlotta Ruth, Operation Infinity with Simon Vincenzi.
Peter Rehberg (b. 1968) is an author and performer of electronic audio works based in Vienna, Austria. Rehberg has given live performances both solo and collaborative throughout Europe, North & South America, Japan and Australia. One of the first batch of artists that turned to mobile computing devices for presentation of live audio performances in mid-1990’s. He has collaborated live and in the studio with, amongst others, Jim O’Rourke and Christian Fennesz (as Fenn O’Berg), Stephen O’Malley (as KTL), Gisele Vienne/DACM, Peterlicker, Z’EV Russell Haswell, Florian Hecker, Meg Stuart, Chris Haring, Marcus Schmickler, Jade, SUNNO))), as well as being a member of MIMEO. He also operates the Editions Mego (www.editionsmego.com) label since 2006, and was co-leader of the original Mego label since 1995. His collaboration with Gisèle Vienne involved creating the music for I Apologize (2004) and Une belle enfant blonde / A Young Beautiful Blond Girl (2006), Kindertotenlieder (2007) and This is how you will disappear (2010) in collaboration with Stephen O’Malley with whom he formed the band KTL, Jerk a radio-play, Jerk solo for a puppeteer as well as for two other shows by Etienne Bideau- Rey & Gisèle Vienne: Showroomdummies (2001 & remade in 2009) and Stereotypie (2003). He also collaborated on the music for Highway 101, a show choreographed by Meg Stuart, and for Fremdkörper by Chris Haring, as well as taking part in the 2nd Göteborg Art Biennale (Against All Evens) curated by CM von Hausswolff in 2003.
Philip Berlin was born in 1991 and grew up in Asköviken-Tidö outside Västerås. He now lives in Stockholm and works in the field of dance and choreography in Sweden and internationally. Berlin has previously presented choreographic works at venues such as Théâtre de la Ville, the Museum of Performing Arts, Dansens Hus, and Moderna Museet and MDT – Moderna Dansteatern, in collaboration with Louise Dahl.
Berlin has worked with ccap/Cristina Caprioli, Björn Säfsten, Frédéric Gies, Anja Arnquist, Norrdans, Mats Ek, Mårten Spångberg, and Cullberg/Riksteatern, among others. Berlin has also worked for CCN Ballet de Lorraine in France, dancing in works by Merce Cunningham, Mathilde Monnier, William Forsythe, Tero Saarinen, Faustin Linyekula, and Maria La Ribot. Additionally, Berlin has collaborated with Gisèle Vienne (FR), touring internationally with the performance Crowd.
From 2014 to 2019, he initiated the project SUNDAY RUN UP with Ulrika Berg, Cristina Caprioli, and Anna Grip – a platform that brought together artists working in literature, choreography, music, and visual art. This project was founded on a desire to create space for artistic practices and social processes. Due to his interest in these processes, he has also participated in numerous symposia on contemporary political theory and artistic practice, such as at NYU Tisch School of the Arts.
Phyllis Akinyi (she/her) is a Danish-Kenyan dancer, choreographer, performance artist, and dance researcher based between Madrid and Copenhagen. She works within the realm of flamenco and has spent many years researching and highlighting its African and diasporic expressions. Her artistic practice centres a continuous investigation of the ‘betwixt and between’ – researching entanglements of movement, culture, and identity, from an anthropological lens of bodies caught in cultural ‘in-betweens’.
Akinyi plays with stretching the (imagined) limitations of flamenco, both in time, space, sound and movement, often taking flamenco on a journey away from the traditional stage and into a site-specific and/or durational performance frame - a frame she calls Spatial Listening, where flamenco meets performance art, Africanist Spirituality, and sonic movement. In her recent work she examines clichéd contradictions, freedom in the in-between, ‘invisiblised’ African flamenco roots, folkloric futurism, communities and solitude, and an eternal struggle to claim space and oneself.
Pontus Pettersson is a Swedish artist and choreographer based in Stockholm. He works within the expanded fields of choreography, art, and contemporary dance. His artistic practice is a blend of various disciplines and genres, where text, objects, sculptures, and choreographic instructions are interconnected. By applying choreography to everything he does, his work ranges from installations, poetry, and fountains to objects, cat practice, and dance. Pontus received his dance education at the Danish National School of Performing Arts and holds a master's degree in choreography from Stockholm University of the Arts and another in fine arts from Konstfack. In addition to his own artistic work, he collaborates on the participatory and movement-based platform Delta with Izabella Borzecka and the dance and performance festival My Wild Flag with Karina Sarkissova.
Linn Hilda Lamberg is the artistic director of Poste Restante (together with Stefan Åkesson 2007-2015 and Erik Berg 2010-2015). Since Poste Restante was formed in 2007, the performance company has paved the way for new relations between performance works and it’s audiences. In their peculiar performances they aim to create space for each visitor to explore complex questions and dilemmas in a concrete way. The performances are interactive and immersive and take the form of unexpected but honest running activities, such as a telephone help-line for the politically downhearted (Closing Time) or a secret society that aims to create a new, egalitarian order. Since the start Poste Restante has often returned to questions related to co-existence, shame and acceptance. The individual visitor holds the position of being the main character as well as the final receiver. By making space for the individual traits of each visitor, attribute each experience equal authority and hand over the precedence of interpretation of the problem (and possible solution) of the performance, Poste Restante aims to work for a norm critical and intersectional view of audience work, representation and performance art. Linn Hilda is admitted to Stockholm University of the Arts to do her PhD spring 2019.
Benjamin Quingley is a maker and performer of music, theatre and performance based in Stockholm. He studied BA in music at Malmö College of Music and MA in post-dramatic theatre at Stockholm Academy of Dramatic Arts. His practice consists in experimenting on himself – and sometimes on other people – in order to find relations between artistic ideas and audiences that differ from the ones we already know. He spent many years touring extensively worldwide with his artpunk-band DELTAHEAD as well as other experimental music acts. As a maker, he has created a number of works with the collective GLQ (GomesLechQuigley). As a performer, Quigley has worked with Reich/Szyber, Lundahl & Seitl, Marina Abramovic and many others. And – for quite a few years now – he has performed in the works of Poste Restante.
The performance-duo QUARTO consists of Anna af Sillén de Mesquita and Leandro Zappala. They are developing bodies of work that are emerging in series of long-term interdisciplinary research. Since 2003 they have created 3 series in 3 parts: "WIP", "BEAUTY" and "ROPE".
Anna and Leandro live and work between two different cultures, the Brazilian and the Swedish. The life between two distinct continents characterizes their work and provides constant challenges. Their work has been shown internationally at museums, in different venues and galleries throughout the world.
Quim Bigas is an artist working within the fields of choreography, dramaturgy and information procedures. Since 2018, Quim is an associate professor at Den Danske Scenekunstskolen in Copenhagen. Within that umbrella, Quim is beneficiary of the Kunstnerisk Udviklingsvirksomhed Funds 2024-2026: “Scores in the library: composition and sense-making among books”.
Living between Barcelona and Copenhagen, during the last years, Quim has created several stage works and site-specific creations across Europe. In 2025, Quim is premiering “D’ENÇÀ” a piece for five dancers in unison as a vehicle to open a reflection on agreement.
As a dramaturge, Quim has an ongoing collaboration with Aina Alegre- Studio Fictif and has collaborated with Sophia Mage, Georgia Vardarou, Julia Rubies or Ofelia Jarl Ortega, just to name the latests. In 2025, Quim is part of the dramaturgical and research team of Marco Layera and Marina Mascarell for Danish Dance Theater.
Rachel Tess is an American choreographer and dancer living and working in Sweden. She is the director of Milvus Artistic Research Center (MARC) in Kivik and Knislinge (SE) and associate curator for live-art at Wanås Konst. She received a BFA in 2004 from The Juilliard School in New York City. While attending Juilliard, Tess received a Princess Grace Award (2002), performed as a member of the Lar Lubovitch Dance Company, and was presented with the Martha Hill Dance Award by the faculty.
Rado Ištok (b. 1989, Slovakia) is a curator, writer and editor based in Stockholm. He is the co-curator of the upcoming 2nd edition of the Matter of Art biennale in Prague, the Czech Republic (2022) and the project leader of Spaces of Care, Disobedience and Desire (2018-2022), a discursive research platform in collaboration with Marie-Louise Richards and Natália Rebelo, supported by the artistic research funding of the Royal Institute of Art in Stockholm. Recent curated exhibitions include Ala Younis: High Dam: Modern Pyramid (2020) at VIPER Gallery in Prague, Czech Republic; The Spectral Forest (2020) at Nida Art Colony, Lithuania; Jacqueline Hoàng Nguyễn: Black Atlas (2019) at Július Koller Society in Bratislava, Slovakia; and Liquid Horizons (2019) at tranzit in Bratislava, Slovakia. His editorial work includes Decolonising Museums – a thematic issue of the Slovak magazine Kapitál (2021), the exhibition catalogue The Spectral Forest (2021) and the e-publication Dwelling on the Threshold (Nida Art Colony, 2020). Together with Jacqueline Hoàng Nguyễn he co-edited the book Crating the World (Athénée Press, 2019), and with L’Internationale he co-edited the e-publication Decolonising Archives (L’Internationale Online, 2016). He contributes to Artforum, among other magazines.
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.
Rani Nair work with dance and choreography. Memory and archive is recurring thematic in her work. Her choreographies have been programmed at the Centre National de la Dance Paris, ImpulsTanz Vienna, Spielart Festival in Munich, Ignite! Festival of contemporary dance in Delhi, Singapore International Festival of Arts, Gothenburg Dance and Theatre Festival, Spielart festival and at the The Swedish Biennial for Performing Arts. Nair´s work is also represented at the Performing Arts museum, Dansmuseet in Stockholm and in the book Oxford Dictionary of Dance and Re-enactment.
R A V E L
An online publication for choreographic reviews.
Initiated by Amalia Kasakove
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Ravel began from a wish to gather within the field of dance and choreography around writing with and alongside works—as ways of accompanying them and their makers. The project reflects on the fixity that traditions of (e)valuation in review writing can impose, and in turn proposes review writing as an artistic or choreographic format in itself. Ravel traces, tails, and inches closer to the processes of languaging that unfold alongside dance. It dives into thinking what the gesture of writing with dance might convey or make present, and how the act of writing can extend the thinking that the work is already doing.
The word ravel is a contronym, holding two opposing meanings at once: to knit together or to unknit, to entangle or to untangle—to unravel, involve, puzzle out, confuse, complicate, cluster, or knot. I see this as a starting point for Ravel, a platform that accompanies, follows, thinks through, and engages with a work and/or its process. The publication is an ode to how we are alongside and with choreographic work.
The choreographic reviews, or reviews on choreography, could take the form of letters, poems, recipes, fan fiction, short stories, scores, fantasy, fables, footnotes, epilogues, essays, toasts, maps, voice memos and beyond.
Ravel is initiated by Amalia Kasakove, a Sweden based artist working in the gutter between animation and choreography, with works that bend into the forms of performances, stop-motion animation, comics and curatorial proposals. Ravel has collaborated with sites such as MDT, Weld, Within Practice, Köttinspektionen and Stockholm University of the Arts.
The project is supported by MDT in 2025.
Rayo is a Stockholm-based music producer, DJ, and composer whose work traverses the realms of underground club culture, contemporary dance, and cinematic sound design. Emerging from Stockholm’s club scene, Rayo has graced stages at festivals such as Norberg and PLX, and collaborated with Swedish artists. Expanding their artistic horizons, Rayo has composed music for contemporary dance productions showcased at venues including Moderna Dansteatern, Värmeverket, and Weld. Drawing inspiration from cinematic soundscapes, Rayo's recent projects delve into immersive sound design, blending the familiar with the unexpected. Beyond their performances, Rayo is dedicated to fostering inclusivity within the music industry, actively supporting emerging artists and promoting diverse voices in the club and music scene.
Rayo Zevallos is a music and sound designer.
Rebecka Stillman works in different formats but always within the realm of the choreographic. She is based in Stockholm but probably spends more work time elsewhere. She has initiated performance projects in collaborations and collectives and done commissioned work, as in her long term collaboration with Swedish initiative the Weld Company. She has also administered local initiatives, written for publications and worked as a dancer (e.g. with Eleanor Bauer, Mårten Spångberg, Stina Nyberg and Dalija Acin Thelander). She has an MA in choreography from DOCH in Stockholm, and has previously attended SEAD in Austria and The Royal Swedish Ballet School. The projects she initiates have in common a quest for the middle ground and the unfamiliar in the familiar, often through a protocolized procedure aimed at getting there. Lately she has taken a special interest in experiences of time such as déjà vu and anticipation, and has an affinity towards knitting and mermaids. A constant struggle of hers is how to build what one wants to be part of, for example a fluid and supportive, open and specific, brave and care-taking art scene.
Regan McEnroe is engaged in questions concerning indigenous rights, environmental justice and stopping shortsighted exploitation of nature. She is a board member of Fältbiologerna’s national board.
Reza Mirabi (Iran/Germany) is a visual artist, choreographer, dancer, and seed keeper with a background in ecological, social, and political projects in Kurdistan, Iran, India, and Portugal. Mirabi believes that everything - every place, every being, every material - is always already telling a story. Instead of overwriting these stories, Mirabi looks for different ways of listening to re-write ourselves into these more-than-human narratives. Listening for him becomes as much a choreographic as a political practice. A process to tap into archives that live in and around us but that have been rendered invisible - confronting both - personal and collective - forms of loss.
Reza Mirabi studied Fine Arts at the University of Mumbai (2012) and graduated from DAS Choreography, Master program at the University of the Arts, Amsterdam (2021).
Riikka Lakea is a Helsinki-based dance artist and performing arts producer. Performer- and process-oriented and site-specific practices are at the core of Lakea’s artistic work, alongside an ongoing research on more sustainable and inclusive working methods.
RING VAN MÖBIUS are a retro-prog band from Karmøy, Norway. They describe themselves as ''Progressive rock straight from 1971, but made today''. Their music is almost a form of space rock that takes you on long excursions into an old prog rock universe. It’s heavy, fierce, pompous and above all imaginative where the compositions dynamically enter different phases.The core of the band consists of Thor Erik Helgesen(keys), Håvard Rasmussen (bass) and Dag Olav Husås(drums).
Robert Jacobsson is a social worker, sexologist, and PhD candidate in Gender Studies at Södertörn University. As a sexologist, he has appeared in Ligga med P3 and SVT's documentary Anal Extas. His research explores queer men's bodies—what a body can do, what a body does—desire, and pleasure, particularly in relation to anal sex.
Robert Malmborg (born 1987) is a dancer and on occasion choreographer from Stockholm Sweden.
Working with dance and voice, he is interested in the function and expression of these crafts in regards to the current work situation. Malmborg is approaching his working context as choreographic material and a source of meaning. His dancing often surfaces qualities of isolation, embodiments of creatures, glides, footwork and displacement of rhythms and melodies.
Robert holds an MA in Choreography - New Performative Practices from SKH 2021-2023. He has worked with, a.o; Pontus Pettersson, Ohad Naharin, Stina Nyberg, Erik Berg, Lito Walkey, Adam Linder, Sharon Eyal & Gai Behar.
Robin Haghi and Anika Edström Kawaji are dancers and choreographers from Stockholm and have been active as dance artists since studying at P.A.R.T.S. (Brussels, 2013 - 2016). They have worked together as dancers in the company Rosas/Anne Teresa de Keersmaeker (BE) between 2016 - 2021 i.a. Rosas Danst Rosas, Rain, Drumming, Achterland, Bartók/Beethoven/Schönberg, The Dark Red Research Project, A Love Supreme, Zeitigung, The Six Brandenburg Concertos and the dance installations: Work/Travail/Arbeid (Tate Modern, London) Brancusi ( Bozar, Brussels) and Dark Red (Kolumba, Cologne). Individually, they have collaborated with i.a. Louis Nam Le Van Ho (FR), Fieldworks - Heine Avdal & Yukiko Shinozaki (NO/JP), Robin Jonsson (SE), Wee/Francesco Scavetta (NO/IT) and Tilman O'Donnell (DE/US). They are also co-founders of the Brussels-based platform YOUNGSTERS, which arranges and creates spaces for meetings between artists and young people in Brussels.
Robin Jonsson is a choreographer, producer and sound-artist. He’s been creating and touring dance productions since 2006, in Europe and the world. He was based in Brussels from 2004 to 2015 where he studied at the well known dance school P.A.R.T.S, led by Anne Teresa de Keersmaeker, leader of the dance-company ROSAS. He is currently based in Stockholm.
Roger Sala Reyner (he-him) is a Catalan-Spanish-Berlin-based artist with a bachelor's in physical theater and another in dance. He’s been working for more than 15 years in the contemporary European freelancing dance field as a dancer/performer/choreographer and has had the chance to explore the edges of dance, theatre, music/sound-making, and visual arts.
He studied a varied amount of disciplines from physical theatre, postmodern dance, somatic practices, and choreographic studies as well as voice and singing. Sala Reyner works by shaping intangible materiality in his body/mind by means of weaving shared and collaborative strategies for creativity, improvisation, intuition, and free association.
He has collaborated with Meg Stuart, Jefta van Dinther, Cosima Grand, Philippe Blanchard, Adam Linder, Simone Truong, Steve Paxton, Christopher Leuenberger, Guillaume Marie a.o
Currently, he is on the path to become a Feldenkrais Method practitioner.
Rolf “Butcherqueen” Backman is a Costume Designer.
Rósa Ómarsdóttir is an Icelandic choreographer based in Brussels. She studied dance and choreography at the Icelandic Academy of the Arts and in P.A.R.T.S. in Brussels from where she graduated in 2014. She has made several performances with Inga Huld Hákonardóttir: Wilhelm Scream (2014) and The Valley (2015) for which they received the Icelandic Theatre Awards for ‘Choreography of the Year’, and Da Da Dans (2016) a production for the Icelandic Dance Company, celebrating the 100 year anniversary of the dada movement. In their work they investigate the relationship between sound and movements with a special focus on ambiguity and the concept of the uncanny valley. In her new work she continues to investigate the relationship between bodies and sound as well as costumes, fabrics and scenography.
Rósa has also been leading a research project called Secondhand Knowledge, with Ásrún Magnúsdóttir and Alexander Roberts, focusing on peripheral dance communities and their relation to dance history and the notion of secondhand knowledge.
Rosalind Goldberg (NO/SE) is a choreographer based in Oslo. She holds a PhD in artistic research from the Oslo National Academy of the Arts in Oslo, with the title: Choreography as a meaning-generating aggregate.
Rosalind’s work explores processes of change and is characterized by a physical and conceptual approach to choreography, where the entanglement of the two directs the process. Central in her work is the question of what we can expect from the body - to what extent the body can change, and what sides of the body we hide away from. She is interested in the unknown, uncomfortable, leaking, fantastic sides of bodily life and explores the murky water where biology and notions of the body are rubbing against each other. Drawing on inspiration from neurobiology, philosophy on plasticity, new materialism, and notions around the unknown, she creates practices to challenge the habitual in the dancer as a method to stir around with the body’s representation on stage.
Rosalind's latest productions are DARK DYNAMITE (2022), TheField (2020), Rut (2018), Immunsystemet (2017), Jump with me! (2016), MIT (2013), Fake Somatic Practice (2011).
Rosalind’s work has recently been performed at Impulstanz Festival in Vienna, Tanz Im August in Berlin, Schauspielhaus Bochum, Sophiensaele in Berlin, Schauspielhaus Chemnitz, Uferstudios in Berlin, TanzFabrik Berlin, Dansens Hus in Stockholm, Inkonst in Malmö, Dansens Hus in Oslo, Weld in Stockholm, Skogen in Gothenburg, BIT-Teatergarasjen in Bergen, Henie Onstad Art Center, Rosendal Teater in Trondheim, RAS – Regional Arean for Samtidsdans, Black Box Teater in Oslo, et al.
Runa Borch Skolseg is a playwright, writer,curator and critic. She has a master's degree from Oslo National Academy of the Arts and runs Dionysian Corporation, a global concern consisting of a fashion and publishing house with costume designer Fredrik Floen.
Sal Reis Trouxa is a plant-based chef working with sustainability, zero-waste and fermentation. They are especially interested in the politics and social aspects around food and culture. Growing up in a self-sustaining community made by their grandparents in rural Portugal, Sal’s roots continuously inspire them to work with food both as a necessity and as a point of connection and togetherness. In the recent years they have worked as an assistant cook for artist Mirna Bamieh in her project Palestine Hosting Society and choreographer Samah Hijawi. Whilst working professionally as a chef, they have also done catering for multiple artist projects and festivals. Meanwhile they are developing their own ferments from grains sustainably produced in Scandinavia.
Samira Elagoz is a Finnish/Egyptian artist based in Amsterdam. She graduated at the SNDO as a Choreography BA from the Academy of Theatre and Dance / Amsterdam University of the Arts in 2016. Educated in performative arts, she incorporates aspects of this medium with that of video and film, creating her own brand of “docu-fiction”. In 2014 Samira won the Blooom Award in Cologne out of 1200 applicants, with her first short Four Kings. Her first feature film will premiere at IDFA this Fall. Samira is awarded the André Veltkamp Award on 28 October 2016.
Samlingen means the collection or the assembly, and is a choreographic project that facilitates a common interest in choreography and feminism intertwined with dance history. We, Amanda Apetrea (SE), Nadja Hjorton (SE), Halla Ólafsdóttir (IS), Stina Nyberg (SE) and Zoë Poluch (CA) initiated Samlingen in Sweden in 2013. In Sweden, Samlingen has collaborated with the Cullberg Ballet, Kulturhuset Stockholm, Post Dance Conference and publication, and internationally participated in Works at Work-festival (DK), Batard festival and publication (BE), and Danske Dansehistorier (Danish Dance Histories, DK). Samlingen is currently working on a tour with the National touring theatre of Sweden that will lead them to four different places in Sweden where they will choreograph durational pieces with local artists.
Sandra, based in malmö, works with lights at Malmö Stadsteater on a daily basis. After studying Light design at Jönköping School of Engineering (2009-2011), Sandra been working at venues for music such as Liseberg and Pustervik (Gbg, Sweden) and been on tour with Cirkus Cirkör (shows: Wear it like a Crown and Underart) and Rebecka Karijord (mother tongue). She’s been in house technician at Folkteatern Göteborg, Atalante (Gbg) Malmö Folkets Park, and done several gigs thru IMULTO (Malmö). Festival shows and design for El Pedro Del Mar, light design for Tanja Andersson (Gbg), Slip of the Lip (Gbg) , Eva Svaneblom (Tromsø), HORSE (Malmö) and Alma Söderberg (Malmö). An interest for the body in movement vs the spacial circumstances has grown overtime and is now the main light design interest. Shadows and colors. Sandra Liscano, ljusdesigner and tech (Malmö,Sverige).
Sandra Medina is an actor, dancer and choreographer. She is one of the driving forces behind Bastard production and since the start in 2004 has initiated and created a series of co-creative projects with other artists.
Sanna Blennow (b. 1988, SE) is a choreographer, performer, and educator, based in Copenhagen, always curious to challenge formats and crossbreed artistic processes. Blennow’s practice investigates time, memory and the in-between, positioning her practice in the grey zone between the black box and the white cube, set choreography & improvisation, a sanctuary & a rupture. In these liminal spaces, the body enters an undefined zone, where anything can happen for a set time, where the monsters come out, and intuition guides.
Blennow’s practice is one of time travel. She revisits past works, trying to dance all the different versions of oneself. Each past choreography marks a specific moment in time, a different context and version of herself. By remembering each at once, she allows one score to lead into another, layering time together and re-composing live to see process and presentation as one in the same.
Sanna Levo is a Helsinki-based costumedesigner and setdesigner who has worked in Finnish National Theatre, Tampereen työväen teatteri, Turun kaupunginteatteri and various independent groups. She is part of 00100ENSEMBLE that creates immersive performances.
Sara Kaaman is a graphic designer and artist studying how publishing meets performance, and how language meets human and more-than-human bodies. Her ways of working include writing, printmaking, drawing and publishing by paper and and voice. She is currently establishing MUNNEN, a project space for language-based practices and art in Bagarmossen, Stockholm. She holds a BA in Graphic Design from Gerrit Rietveld Academie in Amsterdam, and an MFA in Choreography (New Performative Practices) from Stockholm University of the Arts.
www.sarakaaman.com
www.munnen.ooo
Sarah Vanhee is an artist, performer and author. Her interdisciplinary work travels in between civil space and institutional art field. She worked in open fields, prisons, private living rooms, theatres, on public canvases, in corporate meeting rooms, etc. Recent works include amongst others “undercurrents” (intervention), “collected screams” (lecture-performance), “Unforetold” (stage performance), “The Making of Justice” (film), “Oblivion” (stage performance), “Untitled” (meetings in private houses), “Lecture For Every One” (series of intrusions), “The C-Project” (artist novel and work in public space).
While strongly embedded locally, Vanhee’s work has been presented widely internationally in diverse contexts such as Wiener Festwochen (AT), Museo Reina Sofia (Madrid), Kunstenfestivaldesarts (Brussels), FTA (Montreal), Festival Actoral (Marseille), PuSh Festival (Vancouver), Jihlavava IDFF, Van Abbe Museum (Eindhoven), Centre Pompidou (Metz), Short Theatre (Rome), iDans (Istanbul), Printemps de Septembre (Toulouse), Forum Alpbach, Noorderzon (Groningen) etc. She co-published “Untranslatables” and wrote “The Miraculous Life of Claire C” and “TT”, as well as other texts. She regularly collaborates with CAMPO (Ghent) and is founding member of Manyone vzw. Sarah Vanhee is supported by Buda Art Centre for the period 2017- 2021, as well as by the APAP network (Creative Europe Programme of the European Union). From September 2018 on, she is a doctoral student at the Antwerp School of Arts, in collaboration with the Antwerp Research Institute for the Arts. She was awarded a mandate for her research project “bodies of knowledge – the public space as a forum for the exchange of repressed or underexposed knowledge.”
Sarasvati Shrestha is an artist and horticulturist working at the intersection between art, design and horticulture. Through intermedial works, gardens and farm work, sculptures, installations, education, social and performative practices, the work is often driven by issues around value systems, food, circularity, access to land and health. Through cultivation and primary production of vegetables, she has expanded her work to collaborate with social movements, artists, activists, farmers, friends and family, by raising questions around working conditions, ownership, geopolitical conflicts and accountability. Guided by queer ecologies and strategies that resist colonial and binary logics, her work centers around tracing routes to nurture a societal transition towards food sovereignty, agroecology and solidarity.
Saskia Holmkvist´s work is concerned with exploring the limits of translation drawing from ways of practice within the domain of translation and how it shapes and forms relations and historical trajectories, in particular the impact on agency. The work combines aspects of ethnography and theatre to create films and performance that relate through past artworks, language, and contested history. Zooming in on gestures, fragments and distorting information so as to reconfigure histories, layered entanglements with performative translations is part of the aesthetic and theoretical fabric of her practice.
The practice builds on long-term research, where the art-making always comes out of working with a diverse array of people from a variety of backgrounds over long periods. Holmkvist considers these people, who often become friends, the main agents of the transformative potential in her work, creating non-linear narratives, suggesting alternative readings or possibilities, juxtaposing documentary with fiction and storytelling. She works in a circular mode of connectivity, bringing together themes of historic erasure and limits of translation through critical listening, oral speculation, repetitions into works of performance and film installation. Examples of this can be seen in works such as Margaret (Back Translation), Blind Understanding – New Commentary (2009-2019), Procession Action Tour (2018), as well in earlier video works such as System (2001) and Interview with Saskia Holmkvist (2005).
Scented Rooms is a 2023 film by Shauheen Daneshfar.
In 1979, during and after the Islamic Revolution of Iran, a vast number of cinema and theatre halls were set on fire by extremist revolutionaries or closed forever. Consequently, many artists and workers were forced to give up their professions. The phenomenon in question can be considered an effort of the government to further change the country’s cultural identity. One of the closed-down theatres was Tamashakhaneh Tehran, the country’s oldest modern theatre built in 1915. By revisiting the theatre, the film aims to draw attention to a suffocated social culture. Through patient observations and metaphoric statements, the filmmaker brings this omitted subject to the centre of attention.
Besides referencing history and factual events through the use of archive materials, interviews, and, the artist utilises poetic text and imagery besides choreographed pieces to uncover the abstract collective memory of this theatre and the era. The intention is to invite the audience to witness something silent for a long time gain expression again.
Scented Rooms narrates the story utilising poetic and metaphoric language, revisiting the theatre’s interior architecture, and skims through archive materials and historical events. The film observes ruined objects that have remained in the building. It shows original recordings from the past besides re-enactment pieces that are filmed in a theatrical space in Stockholm, representing the actors who had been oppressed and banned from working. Additionally, leaning into interviews with people, past events are being reviewed. The film avoids being merely descriptive and elevates factual references through its dedication to metaphoric language.
By using 35mm film, the film aims to reach a specific aesthetic which can convey the memory of the era. As the celluloid film on which the footage is captured has gone through a decay process, it can be considered an agent in the creation of the image and in reaching the memory of the theatre thereof.
Languages: Persian
Subtitles: English
Duration: 30:00 min
Year: 2023
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.
Born in 1993 in Seoul, Sehyoung Lee lives and works in Paris. He currently studies at École nationale supérieure des beaux-arts de Paris. His work focuses on the schematization between the world and himself and also he questions the complementarity that surrounds him. He has appeared as a performer in various works including “Happening tempête” by Boris Charmatz at Grand palais in Paris (2021) and presented his creation at “Perma-” (sculpture) for group exhibition Plant B curated by Noelia Portela at jardin du directeur Beaux-arts de Paris (2021) and “(Ici)divague” (performance, sculpture and sounds) for graduation show at Beaux-arts de Paris and for group exhibition “No no fest” curated by Thomas Conchou at Maison populaire in Paris (2021).
SERAFINE1369 (previously Last Yearz Interesting Negro) is the London based artist and dancer Jamila Johnson-Small. SERAFINE1369 works with dancing as a philosophical undertaking, a political project with ethical psycho-spiritual ramifications for being-in-the-world; dancing as intimate technology.
Their work is informed by research into movement and dance as a tool for divination, decoding messages from an oracular body – on personal/structural/symptomatic/somatic/psychic levels – to be processed through the medium of choreography. Always thinking about the metabolic – impact and exchange through/in/as movement. Their shows are stage/dreamspace/battleground, decompositions, atmospheric landscapes created through the live unfolding of the tensions between things that produce meaning.
SERAFINE1369 has a relational, cumulative and often collaborative practice, gathering and transmitting information through working in various constellations, at different scales and in different roles to build spaces for communing/attuning/communicating through dancing, performance, listening and conversation; spaces that might hold the complex, multiple and contradictory, spaces that consider movement and transformation as inevitable, working to be unsettling situations of non-dominance.
Luso-Brazilian DJ Shaka Lion is the perfect demonstration of an outside look at the internationalism of dub - outernationalism - a Brazilian who grew up in Barreiro. The itinerary of his sets is always pinpointed with classic references, reframed in comtemporary edits or remixes. In addition to his dub way, we hear emotional soul, hip hop, stargazing jazz brazilian grooves and global club beats. He connects musical worlds from his ancestry and upbringing with cities like Paris, London and Berlin.
Born in Tehran, Iran in 1988, Shauheen Daneshfar is an artist, filmmaker and photographer based between Stockholm and Tehran. Working with analogue material, his works investigate memory, poetic imagery, film and still image and their intersections. His works utilize different materials and tools such as celluloid films, alternative chemical processes or other types of technological devices to achieve a poetic and melancholic aesthetic. He studied photography before joining the Iranian Youth Cinema Society (IYCS) to learn the ins and outs of filmmaking, adding to his knowledge through a cinematography bachelor’s degree at the University of Art in Tehran, he has a master’s degree in Film and Media from Stockholm University of the Arts. He co-founded the independent film company Rum Film, based in Stockholm.
Shirley Harthey Ubilla (b.1986) is a Chilean-Swedish performer and choreographer based in Estocolmo. Their choreographic work focuses on dyke desires, latinidad, warping structures of power, and queer realness. As a nonbinary butch dyke of color, they are highly aware of the fact that bodies matter, and this is something that drives all of their artistic work.
Abjection, exaggeration, erotica, and humor are cornerstones found in their work. Shirley's interest in exploring the in-between state; when something is on the verge of being transformed into something else, is ongoing. They believe that this space has the potential to make us question what boundaries are and what happens when they are about to dissolve. A common thread in their work has been to seek and develop practices that speak of resistance with emancipatory possibilities. They constantly aim to decolonize gender. Shirley strongly believes that making art is a fragile, fierce, and badass way of figuring out how to live in the world!
Sicherheit is a 2017 film by Saskia Holmkvist, Ellen Nyman and Oprea Corina.
Per capita Sweden is one of the world’s largest weapon exporters in parallel with the self-promotion of a peace-making nation worldwide. Intertwined in the narrative presented in the film, the authors are building a replica of one of Sweden´s most sold hand held weapons. The film Sicherheit (German for “Security”) made collaboratively by Saskia Holmkvist, Ellen Nyman & Corina Oprea stresses the construction of colonial modernity in the Swedish imaginary. Through a research process the authors seek to endow the image of Swedish weapon industry with a contextual agency. By linking it to people, places of importance to the production of weapons as Karlskoga, Luleå and Göteborg and events whose intersection within a wide variety of imagery gives rise to linking western security with paths of migration, the film tests History in terms of the present. The resulting trajectories effectively link established discourses, proposing transcultural and political re-readings.
The film’s title refers to the term Sicherheit used by the sociologist Zygmunt Bauman to describe how security solutions are built on a false sense of security, – which can only be compensated for with more security, since they create more fear out of which an escalation of conflict follows. In the work with the film connections are drawn between questions of security, migration and weapon export in order to approach a self-image of a country like Sweden.
Languages: Swedish & English & Serbian & Arabic
Subtitles: English
Duration: 21:57 min
Year: 2017
Siegmar Zacharias is a performance artist and theorist. Her works produce situations of embodied dirty thinking together through matters and matter. They develop formats of performances, installations, discursive encounters and curation/invitation dealing with questions of agency, ecology of artistic practice. Recent works include: The Cloud: a cosmo-choreography made by animals, vegetables, minerals, humans, concepts and emotions.; Dirty thinking; invasive hospitality; Dirty Talk. Upcoming: Slime DynamicsSiegmar studied philosophy und comparative literature in Berlin (FU) and London (UCL) and Performance Art at DasArts Amsterdam.She teaches internationally and is a regular guest teacher at DOCH / Uniarts Stockholm, HZT /UdK Berlin, DAS Theatre/ DAS Graduate School Amsterdam.
Simon Fleury (no pronouns) lives in Zürich and works as a dancer, choreographer, and masseur. Simon has an MA in mechanical engineering but decided to proceed the life journey through continuous learning into dance and various movement practices. The experience at les Ateliers Alain Platel / Les Ballets C de la B in Gent, Belgium, was a foundation to Simon’s chorographical approach. Simon created works at Rote Fabrik and Tanzhaus Zürich. Simon was part of the compagnie Mann Tanzt, directed by Tina Mantel, in Zürich, and has performed in projects by Luke George, Tim Darbyshire, Claudia Comte, Emila Giudicelli, Gisa Frank, Kathrin Doppler, Fabrizia Flühler.
Simone Gisela Weber is a dancer and choreographer based in Berlin, Germany. Her choreographic works unfold on the intersection of Performance, Installation and Sculpture. She holds a BA in Dance, Context, Choreography from HZT Berlin (2019), a MFA in Time & Space Arts (2022, Academy of Fine Arts Helsinki) and a MA in Choreography from DAS Choreography (2023, Academy of Theater & Dance). She is a grant holder of the Dance Praxis Scholarship “Emerging Artist” from Senate Department for Culture and Europe Berlin.
For her graduation work “reverberation” which was presented in the frame of KUVAN KEVÄT 2022 in Helsinki she received the Anita Snellman Prize “A work of art which needed to be made” and the Graduation Grant from the Academy of Fine Arts Helsinki. Furthermore, she has received the ATLAS Scholarship for participating in the Choreographic Training Program in the frame of ImpulsTanzFestival- International Dance Festival Vienna in 2024.
Her artistic practice is a permanent attempt of reflecting her family’s working class background which she interlaces with questions about power, emotionality and visibility. She explores with an enquiring gaze through different media and the use of various materials the collaborative dynamics within human & other-than-human bodies and asks, how choreographic strategies can enable a decentralizing of the human perception and form. She has shown her works nationally and internationally in Uferstudios Berlin, Theaterhaus G7 Mannheim, Milchhof Gallery Berlin, KUVA/TILA Gallery and Ringtheater Berlin, Performática Mexico and Studio Verlin, Theater Strahl Berlin and Tanzhaus NRW. Simone has worked as a performer, artistic collaborator and artistic adviser together with Anna Till (DE), deufert&plischke (DE), Arneout Mik (NL), Sanna Blennow (SE), Amparo González Sola (NL), Zander Porter (DE), Mikko Niemistö (FI), Anna Aristarkhova (DE), Ellinor Ljungkvist (DE), Jan Rozman (DE), Nile Koetting (DE) and Boris Charmatz (DE/FR), whose works were shown in Sophiensaele Berlin, Hebbel am Ufer Berlin, Volksbühne Berlin, Schirn Kunsthalle Frankfurt am Main, Kampnagel Hamburg, Residenz at Schauspiel Leipzig, HELLERAU-European Centre of the Arts Dresden, Zodiak Centre for New Dance Helsinki.
Sindri Runudde is a dancer and choreographer based in Sweden. Their work is characterized by a multi-sensorial approach to the body as a living archive. Sindri invites artists and creators to their process to examine and problematize how we experience the world around us through our senses and our perception. A musical and auditive method and perspective is central. Sindris work spans over several fields and includes sound art, visual art and performance. They are educated in contemporary circus and dance, and have worked with companies and institutions as well as toured their own works both in Sweden and internationally.
Siri Jennefelt är ljuddesigner och kompositör bosatt i Stockholm. Hon arbetar med olika former av scenkonst och har bl.a. gjort föreställningar på Dramaten och MDT. Hon är medlem i banden Saigon, Ease och har soloprojektet Nev Lilit.
Siru Kosonen is a performance and visual artist living in Helsinki.
She works in a recycling-oriented way, trusting her intuition, focusing on the study of corporeality and the eternal play of materiality.
Sofia Jernberg, born in Ethiopia and brought up in Ethiopia, Vietnam and Sweden, is a singer and composer. Central to her work are unconventional techniques and sounds with focus on the human acoustic voice. Touching themes like identity, internationality, origin, belonging as well as a strong belief in communion and collaboration. Music theatre and contemporary opera play a significant part in her artistic oeuvre. She has received several commissions as a composer and collaborates with choreographers, visual artists and film makers.
Sonia is currently Associate Artist to Festspillene i Nord-Norge in Harstad. Previously she collaborated with Quarantine as writer, performer, co-creator including their award-winning Susan & Darren and Wallflower. She also wrote Jeremy Deller’s MIF17 opening event, What is the City, but the People? She has been doing this art shbizzle for over 20 years only now becoming an artist in her own right. What do we want?!... Is a poster exhibition of people’s desires for a proximate Utopia, made for the Great Exhibition of the North with Lisa Mattocks. Jo Fong and Sonia’s project Neither Here Nor There delves into where people live, what makes them cross, what they can do and in the end what really matters. Essentially a series of questions and conversations between the Audience. These two works and IAFR mark out new territories Sonia is interested in – addressing the complexity of big ideas but close up with an active co-creative audience.
Sonja Jokiniemi works as a choreographer, performer and artist. Jokiniemi is based in Helsinki, Finland and Lausanne, Switzerland. She graduated from the Performing Arts programme at DAS Theatre in Amsterdam 2013 and with a BA degree in Contemporary Dance at Laban Centre in London 2006. Additionally she has completed a study in Expressive Arts therapy from Inartes Institute in Helsinki 2020.
In her work, Jokiniemi engages the practice of drawing, human and non-human actors, textile making, questions of language and communication and exploration of bodies and sensations as a way to think around networks of things and beings, their ordinary and uncanny relationships. She is interested in alternative modes of storytelling, of objects and processes traditionally located as women´s craft. She engages in a quest for manual labor, haptic relationship to the surrounding world and aesthetics of intimate resistances.
Sonja’s work has been supported by many performing arts venues such as STUK-A House for Dance, music and Image (BE), Zodiak Centre for Dance, Moving in November festival and Kiasma Contemporary Art Museum (FI), MDT (SWE), BUDA Kunstzentrum (BE). She has recently exhibited at Den Frie Centre for Contemporary Art in Copenhagen and Dr.Guislaan Museum in Ghent. Jokiniemi has been awarded three grants by The National Arts Promotion Centre Finland (Taike): a one-year artist grant for 2017, a three-year artist grant for 2018-20 and a five-year artist grant for 2021-2025.
Sonya Lindfors is a Cameroonian-Finnish choreographer, facilitator and educator. She is the founding member and artistic director of UrbanApa, an antiracist and counterhegemonic arts community based in Helsinki. She received a MA in choreography from the University of the Arts Helsinki in 2013. In the core of her work is the practice of shaking and challenging existing power structures and empowering communities. Right now she is busy with speculative practices and decolonial dreaming.
STEAM ROOM (Macedonia, Bulgaria, Spain, Sweden) is an artistic team working within the field of choreography and dance. The team is formed by Aleksandar Georgiev, Zhana Pencheva and Darío Barreto Damas, three choreographers/dancers actively operating locally and internationally. STEAM ROOM was formed in 2018 and works simultaneously in two directions, the choreographic trilogy dragON and the project institution ICC (Imaginative Choreographic Center).
Stephen Thompson, originally from Calgary, Alberta is an inter-disciplinary artist working between Canada, USA and Europe. Stephen’s introduction to movement and performing was through competitive figure skating. He received a Bachelor of Kinesiology (art and science of movement) and Dance from the University of Calgary. In 2015 at the World “Figure” Championships in Lake Placid, Stephen received the bronze medal. In 2016 he received a Victor Martin-Lynch award from the Canada Council for the Arts. Past choreographic work and collaborations: 2012 Bessie award winning Antigone Sr. (Large), The Ghost of Montpellier and the Samurai (2014) with Trajal Harell, Culture Administration & Trembling (2014), Les Etudes (2017), Chaud (2020); Jennifer Lacey, Antonija Livingstone, Dominique Pétrin, whatwearesaying (2014); Public Recordings (2 Dora Mavor awards Toronto), numerous projects with Benoit Lachambre, Relative Collider (2015); Liz Santoro and Pierre Godard, Service #5: Try to keep kids off naturalism and Kein Paradiso with Adam Linder recipient of the Mohn Prize at the L.A. Bienniale, Stitchomythia with Nadia Lauro and Zeena Parkins, Dramaturge for Such Sweet Thunder (2019) recipient of 8tensions Impulstanz, Compulsory Figures (2019) co-signed with French visual artist Xavier Veilhan.
Stina Ehn works with dance and choreography based in Stockholm. With an interest in the relations and problems between image and materiality, her work experiments with methods where action and analysis inform one another. She often works in close collaboration with other artists and shares ongoing practices with Denise Lim, Antonia Harke, Andreas Haglund, Oda Brekke, Molly Engblom, Jennie Bergsli and Sophie Germanier. Her choreographic work has been presented at Weld in Stockholm, Dance Nucleus Singapore, Kiezkapelle Berlin, HAUT and Dance Cooperative in Copenhagen, Köttinspektionen in Uppsala and Danserom Bergen.
As a dancer, Stina has performed in works by choreographers such as Stina Nyberg, Malin Elgán, Sebastian Lingserius, Ellen Söderhult, Alix Eynaudi and with Weld Company Extended.
Together with Jennie Bergsli and Lisen Pousette, she’s organizing Kafé Mix, a series of performance evenings at höjden studios in Stockholm. Stina holds a BFA in Dance and Choreography from the Danish National School of Performing Arts 2020.
Stina Fors is a choreographer, performance artist, drummer and singer, born in Sweden and based in Vienna. Fors has toured with her one-woman punk band at several music, dance and theater festivals around Europe as well as in the USA. Through a repertoire of solo performances, Fors explores what a "sounding body" can be. She was part of the improvisational goth jazz duo SEKT (NL) and collaborates as a drummer, performer and singer in the works of other artists around Europe.
Stina Nyberg is a choreographer and dancer with a practice oscillating between sensation, articulation and representation. In her processes she crafts alternate systems of logic in order to construct the world differently, and act accordingly. Often working in collaboration with others she aims to include how to work into what we work with.
Stina works both independently and collectively, in temporary collaborations with theatres, institutions and other animals. She has made works on commission from Cullberg, Norrdans and Statens konstråd, as well as series of independent works dealing with questions of power, gender, interdependence and magic. She is a member of the artist run organisations höjden, Fylkingen and Interim kultur and currently part of the artistic cohort of Rose Choreographic School based at Sadler’s Wells in London.
Stavanger born, Berlin based vocalist Stine Janvin works with experimental music, sound and audiovisual performance. Through a diversity of projects such as the live radio play In Labour, the performative installation The Subjective Frequency Transducer, field recording adaptations duo Native Instrument, alter ego Stine II and her latest solo project Fake Synthetic Music, she explores and challenges the physical features of the voice, the acoustics of her external/internal surroundings, and new performance strategies.
Alongside her own work, Janvin is a performer of contemporary music, and contributes as a composer and performer in a number of interdisciplinary projects, such as the performance Prelude (Janvin Motland/Sickle/Leguay). Her interest in the ambiguous and unrecognizable qualities of the voice pushes her to constantly search for new ways to expand her vocal repertoire. Her recent work significantly involves imitation and abstract storytelling through sound collages inspired by a variety of genres and traditions of electronic music, sound poetry, folk music and languages of various peoples, birds and animals. Recent presentation of works include Berlin Atonal, Météo Festival, Mulhouse; NMASS, Austin TX; Rokolectiv, Bucharest, CTM festival, Berlin, Issue Project Room, NYC.
Website: www.stinesthetics.com
Suelem de Oliveira da Silva is a costume designer and stylist with a background in both fashion and dance. Da Silva graduated from a Fashion Design and Pattern Making course at Stockholm’s Tillskärarakademi. This is complemented by a rich professional background that bridges fashion, performance, and music.
Da Silva’s artistic journey began at the Deborah Colker Movement Center in Rio de Janeiro (2008), followed by education in Brussels at PARTS (2016) and as a dancer at Cullberg in Stockholm where they worked for 5 years. This dance background significantly influences their work, shaping their understanding of movement and form within the context of costume and styling.
As a Costume Designer, da Silva has collaborated with artists such as South African choreographer Maipelo Gabang, the Swedish music producer Olof Dreijer, and most recently for Guerrilla by Renan Martins for Cullberg. Their role as a stylist further exemplifies their eye for detail and innovative approach to styling, bringing more color and culture into their projects while also playing with how gender can be represented.
S U N is musician Sunna Ardal & Yoann Durant. The duo composes melodic pop/jazz/electronic music in a deep airy sound setting. Voice and Saxophone blend.
Suutoo is a London based Swedish multidisciplinary artist with a focus on world-building through a praxis of myth-making, deeply invested in strategies of refusal and emancipation. Their play with sonics, visuals, poetry and performance animates dense fragments of alternative being, catalyzing moments of undoing and becoming beyond the impossible.
All Suutoo wants to be is free.
SXS Enterprise is an international group of artist. Next to their individual practices in film/video/music/performance /theory they occasionally come together to work within the field of performance as a possibility of aesthetic reflection and experience. They have explored different genres such as live film, story telling, rock opera, musical, lecture performance and now choreography. In a conscious reduction to DIY tools they engage in a critical practice while fully devoting themselves to the magic of theatre. http://sxsenterprise.com Steve Heather is a freelance musician (drums, percussion, electronics) and composer. AUS/D. https://soundcloud.com/steve-heather Xander de Boer is a videoartist/ documentary filmmaker. NL. http://www.xanderdeboer.nl Siegmar Zacharias is a performance artist and researcher. RO/D. https://siegmarzacharias.com Plants & Empire are the musicians Christina Ertl and Derek Shirley. http://plantsandempire.tumblr.com
Sybrig Dokter är koreograf och performer utbildad vid Codarts, Rotterdam och arbetar med fysiska praktiker relaterade till synkronisitet, spegel-neuroner och närhet. Dokter jobbar främst med den koreograferade kroppen i gränssnittet av olika discipliner. 1997 grundade hon Lava-Dansproduktion tillsammans med Benno Voorham. Hon har initierat projekt i bland annat Ukraina, Belarus och Serbien. Sybrig har arbetat med och för Alva Willemark, Aitana Cordero Vico, Anna Koch, Peter Stamer, Litó Walkey, Marie Fahlin, Frédéric Gies och Pontus Pettersson. Sybrig är medlem i Weld sedan 2013.
Tamara Alegre (IC/CH)
she/they
Tamara Alegre works with dance and choreography. Born in Gran Canaria, they studied European Business and Psychology and worked as an underground music curator, dj and tour manager until 2016.
In 2018, she obtained an MA in Choreography at DOCH, Stockholm and premiered FIEBRE, co-signed since 2019, with Lydia Östberg Diakité, Marie Ursin, Nunu Flashdem and Célia Lutangu. The work has been presented in several venues in Europe and won the Young Choreographer's Award in 2021.Their research revolves around sensual embodiments, fictions on sexuality/sexual organs and liminal physical states as choreographic tools. Her works are embodied and charged with resistance, intensity, self-pleasure and the power of dancing together.
Tamara has a growing passion for Dancehall and questions how to position themselves as a white person having access to black culture. As well as how to navigate between their work and Dancehall. The combination of working as a dancer, making work, hosting workshops and being involved in collaborative practices is essential for her.
Tanja Andersson has been working in Gothenburg since 2017. Partly educated in Norrbotten, Finland and New York. Freelancing as performer, dancer, choreographer and teaching in contemporary dance and improvisation. Previous background in sound design and music production and today running the performing arts duo Slip of the Lip with performance artist Emelié Sterner. The duo is working in an interdisciplinary mode in various collective constellations, active on Scen46 in Gothenburg. Lately, Tanja has collaborated with Eva Svaneblom in the work Other Tongue, worked as dances for Karolin Kent, toured with Dansinitiativet, played in Ett eget rum by Teater Nu, collaborated with musician Tobias Karlehag, and choreographed for Abnorm Scenkonst, Teater Smuts and New Opera CO.
Tejus Menon (he/him) is a performer and theatre maker from New Delhi, India, based in Bern, Switzerland. In New Delhi he worked with CROW - an experience design and participatory theatre company. He has trained Butoh, somatic and manual therapy such as 'body resonance' massage and Japanese foot reflexology. He is creating works for public space and for the stage, with a focus on post-colonial stereotypes. He has shown work at the Zürcher Theater Spektakel, far° festival Nyon, Tanzhaus Zürich, Serendipity Arts Goa and the India Art Fair. He has also worked as a performer for Nayantara Kotian, The Tadpole Repertory, Anirudh Nair, Momo Ghosh, Anna Kushnerova and Material für die nächste Schicht. He is also engaged with the artistic collective Spazio 500 in Italy as a host, performer, chef and gardener.
Terry Johnson is a producer based in Stockholm, Sweden. Her work is primarily in the field of choreography and performance. Terry has worked at companies such as Dansstationen, in Malmö, and Stockholm City Theatre and has taken on commissions for organisations such as Scensverige and Göteborg Dance and Theatre Festival.
Terry holds an MA in International Performing Arts from Stockholm Academy of Dramatic Arts. Since 2021, she runs the Johnson & Bergsmark platform together with Sara Bergsmark, within which they both produce, curate and teach in the performing arts.
Thais Di Marco is from the City of São Paulo, Brazil, currently based in Amsterdam. She is performer, theater director, teacher, choreographer and project coordinator with 12 years of professional career working mostly in contexts such as creative platforms, social movements and independent spaces focused on critical thinking, LGBTQ+ communities and anti-capitalist struggle. One of her most important works was the development of Power Practices counter-training, a practice to face police violence turning performing arts into a survival auxiliary technology to populations under extreme conditions of state violence. This work was lately shared in: México, Benin, Iran, Germany and The Netherlands.
www.thaisdimarco.com.br
Born in February 1987 in Rio de Janeiro, Brazil, Thais grew up in the favela of Vigário Geral. Her work with lighting design was ignited during her formative years, as she engaged in cultural programs at Lona Cultural Joao Bosco and Lona Cultural Jacob do Bandolim. These early experiences planted the seeds of her artistic pursuits, setting the stage for a career defined by innovation and passion. Since 2002, Thais has been an integral part of the cultural landscape within marginalized communities.
Her dedication as a light designer has brought a unique work to a range of productions. Her designs for "evening.haiku" and "Lounge" resonated with audiences at the ImpulsTanz festival in Vienna, captivating spectators in both 2022 and 2023. Moreover, Thais's contributions as a light designer extended to the performance "Tirana". This production graced prestigious venues including the Museu Serralves in Porto, Portugal, and at Radialsystem in Berlin. Her creative journey, from her roots in Rio de Janeiro to her current prominence in the global arts scene, serves as an inspiring testament to the boundless possibilities of social programs at the periphery.
T/U/A is a publishing company that publishes performance texts, plays seeking new forms, choreography annotations, essays focusing on performing arts, and other kinds of texts related to and from the stage in Finland and abroad. T/U/A is based on the desire to create an actor in the Finnish publishing industry that increases the reading of performing arts’ texts, and generates (performing arts) discussions.
Thibault Lac (b. 1987, Bordeaux) is a performer and choreographer based in Paris. He studied architecture before his contemporary dance training at P.A.R.T.S in Bruxelles, where he started working with Jérome Bel et Tino Sehgal. He is a recurring presence throughout the work of American choreographer Trajal Harell and has performed with Ligia Lewis, Noé Soulier, Daniel Linehan, Mathilde Monnier, Alexandra Bachzetsis and Price among others. Since 2022, his interest in burlesque forms of performance has led him to create several acts for the traveling Cabaret Les Moches. He also performed as the gogo-boy in “Untitled” (Go-go dancing platform) by Félix Gonzalez-Torres during his retrospective at the Bourse de Commerce (Paris).
Lac also authors choreographic projects in collaboration with artists from various discipline : Blue Roses (2024), If Then Castle (2023), Fool’s Gold (2021, co-authored with composer Tobias Koch) and Such Sweet Thunder (2019, co-authored with composer Tobias Koch and visual artist Tore Wallert, awarded Young Choreographers Prize at Festival Impulstanz). As part of the “Artiste accompagné” program of CN D - centre national de la danse in Pantin from 2021 to 2023, he developed the performance Knight-Night with Bryana Fritz (2022). Pursuing their joint research, Lac and Fritz are currently working on a new creation.
Thomas Bîrzan is a Franco-Romanian dance artist based in Brussels. After working as a performer for various companies in the South of France, he joined the P.A.R.T.S. Research Cycle 17-18. In parallel, Thomas is pursuing academic research on the relationship between text, dance and painting in contemporary francophone poetry. He holds a Bachelor of Arts in Literature (McGill University, Montreal) and a Master 1 in Philosophy of Art (Université Paul-Valéry). He is currently completing his Master 2 in Modern and Contemporary Literature (Université Sorbonne-Nouvelle).
A Journey Through Light, Sound, Video and Heavy Trucks. I’m Tim Wouters, and I’ve had the pleasure of navigating the world of theatres and performances for two decades. My journey began in 2003 with theatre company De Onderneming for touring the notebook and the proof. After that, in 2005 I joined tg STAN for nearly 15 years, where I wore many hats. From truck driver to light designer, and from sound engineer to video technician, my experiences have shaped me into the versatile technician/designer I am today. As a light designer, my goal is to illuminate the stage in a way that not only captures the essence of the event but also sparks joy in the audience. Now, I’m thrilled to be serving as the Technical Coordinator at wpZimmer, where I get to bring all my skills together. I believe that the best outcomes arise from teamwork, and I strive to cultivate an environment where creativity and camaraderie thrive.
Tiran Willemse is a dancer, choreographer and researcher from South-Africa based in Zurich and Berlin. His performance based practice is rooted in a careful attention to space, imagination, gesture and sound, focusing on how they relate to the ways in which construction of race and gender are performed, communicated and challenged.
He worked and collaborated with Trajal Harrell, Meg Stuart, Jerome Bel, Ligia Lewis, Eszter Salamon, Susanne Linke, Andros Zins-Browne and with Cullberg Ballet under Deborah Hay and Jeftha Van Dither. His work has been shown in Arsenic Lausanne, Impulstanz Vienna, Tanzquartier Wien, Gessnerallee Zurich, Sophiensaele Berlin, Palais de Tokyo Paris, Santarcanagelo festival and MCBA in Lausanne and continues touring internationally.
Tone Johannessen [NO/SE] is based in Stockholm where she is working with dance and choreography. She holds a BA in Dance Performance from Stockholm University of the Arts. She is interested in different themes in her work such as folkloric music and dance, questions around sustainability and the art of drag. She is also active in Rhizome collective.
Toni Tora Botwid is a scenographer & costume designer for theatre, dance and film.
Tony Sikström is a Helsinki-based sound designer, composer and conductor. He has worked for example in Tampere workers theatre, Svenska teatern, The Finnish National theatre, Vaasa City theatre and Pori theatre. He also studies sound design in the University of the Arts in Helsinki.
Tor Lennart Tourda is a photographer and activist. His works explore entangled bonds between humans and nature, often through notions of beauty as it potentially makes humans more humble for nature, and even feel more obligated to take care of it. He is based in the Kvikkjokk area and has a strong belonging to the land, the mountains and the forest. Tor administrates Gruvfritt Jokkmokk, and since 2013 he has organised activist actions to protect Gállok and its surrounding, from the short minded ambition of Beowulf Inc. to establish an iron mine in the area.
Toubab Holmes is a multidisciplinary artist, researcher and educator at the Stockholm University of the Arts. He has a Masters of Fine Arts degree in Choreography specialized in Contemporary Circus Practices.
With over twenty years of experience, he has performed internationally as a circus artist, and dancer as well as acting as an outside eye to other productions. When not teaching or performing, Toubab is to be found in his perfumery studio where he currently researching how his practice as an apprentice perfumer/olfactory artist intersects with the practice of performing arts.
Tova Gerge is a writer, performer and project manager. She explores questions of power, body politics and subversive intimacy, and is influenced by activist culture, contemporary dance and game design in her methods. She often works with the collective Nyxxx and the artist-run production plattform Skogen. Recent works that tie in with the themes of the conversation are the novel Pojken (2018) and the cooperations with Britta Kiessling, Someone You Trust and Passivity Rules/Memories of Being Hanged.
Tove Dreiman works with art and set design based in Stockholm. In collaborative and independent projects within various contexts and disciplines her work moves between installation, painting, ceramics, textile and video. With a background in image making and a fondness for fake she often return to explore the verge of the two- and three dimensional and strive for a space where imitations and illusions can flourish. Within the field of dance Tove has collaborated with coreographers Ellen Söderhult, Klara Utke Acs, Lisen Pousette and Stina Nyberg. In Sweden her works have been presented at Marabouparkens Konsthall, Gärden Subway station, Norbergfestivalen, Bångska Våningen, Crum Heaven, MDT among others and Art Lab Akiba and Midori.so2 in Tokyo. Parts of these projects can be seen at tovedreiman.se
Tove Salmgren works as a dancer, choreographer, curator and educator. She has an MA in choreography from the Stockholm School of the Arts, and since 2016 she leads together with the artist Kajsa Wadhia, Köttinspektionen Dans, an artist-driven platform and place for experimental dance and choreography in Uppsala. For the past few decades, Tove has worked as a freelance dancer in a number of choreographic works nationally and internationally, and in recent years she has been employed as a lecturer in choreography with a focus on performative practice at SKH, Stockholm. As a choreographer she explores displaced perspectives and reality, often through small and relatively unassuming ones means, based on the interest in negotiating how art (and non-art) can constitute a performative interpersonal arena for freedom and transformation.
www.tovesalmgren.se
Tusen Tungor is a treble choir based in Stockholm, consisting of 30 choristers between 23 and 41 years old under the direction of Linnea Landström, conductor and artistic director. The choir moves between contemporary art music, 4th century prayers and folk music with a constant curiosity for expression and sound formation. The choir took shape in the spring of 2024 based on an observed need - to gather experienced vocalists who are not necessarily classically trained or can read music, but who want to make music with like-minded people in a permissive climate with a high level of ambition. Thanks to the choristers' different musical backgrounds, an interesting sound is created and a fine sensitivity to choir as an art form.
Since the start, the choir has had sold-out concerts at Teater Tribunalen, Hägerstensåsens Medborgarhus and Marabouparkens Konsthall. In September 2024, they participated in the acclaimed performance Stockholm City Blues with the work “Lower my rent and love me forever”, with lyrics by Lina Rydén Reynols and music by Linnea Landström.
In the spring of 2025, Tusen Tungor performs in the Eric Ericson hall together with Konstmusiksystrar and Moderna Dansteatern, where “DUNKA DUNKA” by choreographer Ellen Söderhulth and newly written choral music are tied together in a melting dance concert.
Tuuli Vahtola is a dance and performance artist based in Helsinki. She works as a performer, choreographer and sometimes as a dramaturgical conversation partner. Her interest lies in the scattered spaces, logics and threads performances might generate. She is intrigued by intimacy and choreographed touch and has worked with them both artistically as well as within the frame of her studies in gender studies/social sciences.
As a performer Tuuli currently and recently has worked with choreographers Oda Brekke and Sonja Jokiniemi, as well as in her own projects. Her work Here, there, somewhere was shown at New Performance Turku Biennale, 2023, and intimate expectations, co-choreographed and performed with Ella Skoikka, at Contemporary Art Space Kutomo, Turku in 2023. Tuuli holds a BA in Dance Performance from DOCH/Stockholm University of the Arts (2017).
two-women-machine-show refers to the award-winning collaboration between the Danish choreographers Ida-Elisabeth Larsen and Marie-Louise Stentebjerg. Together they belong to a group of Danish choreographers, whose critical thinking and uncompromising approach to the ‘experiment’ challenges conventions and opens up new avenues for dance. Their choreographic thinking draws on a practice-based approach to theory, an in-depth experimentation with transcendental techniques as well as text-based performance.
Tyra Wigg (they/them) is a choreographer, performer and massage therapist from Stockholm, Sweden, living in Basel, Switzerland since 2020. They are interested in how artistic practices can expand cultural and personal perceptions of the body.
Tyra's work has been presented at Schinkel Pavillon Berlin, ROXY Birsfelden, Les Urbaines, Kunsthalle Basel, Kunsthaus Baselland, Weld Stockholm, BONE festival Bern, festival far°, Shedhalle Zürich, depARTures München, YUP Osnabrück, Black Forest Institute of Art, and SITE.
Tyra has worked as a dancer and performer for Gisèle Vienne, Heiner Goebbels, Shu Lea Cheang, Inga Gerner Nielsen, Ernestyna Orlowska, Pontus Petterson, Marina Abramovic, Alexandra Pirici, Marie Fahlin, Virpi Pahkinen, and others.
Tyra holds an MA in Expanded Theatre from the Bern University of the Arts, HKB. Since 2022 they are a driving member in the nomadic queer feminist reading collective Blasphemic Reading Soirees. 2023-24 they are "LAB-artist in residence” at Kaserne Basel. 2021 Tyra participated in DanceWeb at Impulstanz with Anne Juren and Frédéric Gies as mentors.
www.tyrawigg.com
With a specific interest in alternatives to the canon of contemporary dance, Brussel based choreographer and performer Ula Sickle (Po/Ca) investigates in other ways to embody movement histories. The collaboration with vocalist Stine Janvin Motland (Prelude (2014) is one example. Here, the physical approach stems from Sickle’s interest in Body-Mind Centering practices, combined with visualization techniques and movement tasks that connect the body to other bodies and to the surrounding space. Ula Sickle has a background in contemporary dance and was educated at the University of Toronto, Paris VIII and P.A.R.T.S. Works across disciplines and in collaboration with artists from other domains such as the visual arts, contemporary music or architecture. While her work takes many forms, from film to installation to live performance, she focuses on a choreographic approach to movement and a work on perception and reception, specific to the live arts. Supported by the Canada Council for the Arts and the Flemish Community.
Website: www.ulasickle.com
Ulrika Flink is a curator based in Stockholm, Sweden, currently working as artistic director at Konsthall C as well holding a post as curator at SETTINGS and Konstfrämjandet Stockholm. She completed the MA Curating Contemporary Art (CCA) program at the Royal College of Art in London and has also held roles as curator of Momentum 9 – Nordic Biennial of Contemporary Art, Moss, Norway, and producer at Tensta Konsthall, Stockholm. She is the co-founder of the curatorial collective Parallelogram.
Unn Faleide (she/her) is a dance artist and curator working in Stockholm. Her interests lie at the intersection of dance and performance, the sculpted and the written; meaning, she is concerned with art that is simultaneously dealing with permanence and inscription and at the same time works with live-ness and what happens in the moment. She got her BA in dance at The Amsterdam School of Arts (2013) and proceeded to work as a dancer who occasionally studied philosophy.
After ten years working for Cullberg, she decided to do a masters in curation of art at Stockholm University (2023-2025) and is currently doing her internship at MDT and Moderna Museet.
Uyarakq won a Koda Award in 2015 for his solo album Raatiu Nukik (2014) and was nominated for Nordic Councils Music Prize in 2016 for the collaborative work Kunngiitsuuffik (2015) alongside the Greenlandic rapper Peand-eL. He is based in Ottawa, Canada.
The Oslo based artist duo Bruce & Lund consisting of Veronica Molin Bruce and Karoline Bakken Lund is a cross disciplinary exchange. Bakken Lund has a strong foundation in textiles - sculptural, scenographic and on the body in performative narratives. Bruce has a background in conceptual art, contemporary dance and choreography - fluent between roles and formats. Both mainly have the body as a starting point, and they explore a shift to the body's presence or consequence into sculptural works with a focus on studies in materiality, structure and movement. Together, they have an inherent curiosity for materials, the touch of the body and care for the creative. They have exhibited and shown works such as ULTRA at Interstate Projects in New York, The Tomb at Nada Miami in collaboration with Interstate Projects (Miami 2020), Ultra at Eidsberg Kunstforening (Mysen, 2020), The Fool at Palmera (Bergen 2020), Life Killed Chihuahua at Galerie Thaddaeus Ropac (London, 2019) and Silicone Era at Destiny’s Atelier (Oslo, 2017).
Veronica Valentini is a curator working in the fields of visual arts, education and social context. She is Head of International Residencies and Networks at Hangar (Barcelona), founder director at BAR project, E.M.M.A., and mediator for Concomitentes, a Citizen Art program supported by Carasso Foundation. In this position, she has developed, together with functional diversity activists, a civic art commission entitled "Diversorium. Live arts and a space for coexistence".
Victor Pérez Armero is an accomplished artist within the field of dance and choreography. Victor currently freelances between Barcelona and Scandinavia. He has been a member of the companies Hiatus/Daniel Linehan and Cullberg, and received the distinction for Best Dancer by the Catalan Critics Awards in 2020. He was introduced to dance at a young age through popular culture and completed his studies in contemporary dance and performing arts at P.A.R.T.S. and SEAD in 2012. As a performer he has collaborated with Renan Martins, Albert Quesada, Pere Faura, Eleanor Bauer, Alma Söderberg, Deborah Hay, Jeanine Durning, Sindri Runudde, and Quim Bigas, among others. His latest choreographic work —Rel i Grapa— premiered in 2023.
Viktoria was born and raised in Umeå but is based in Stockholm. She works as a dancer and actress. She was a member of the french company Kubilai Kahn for a number of years but has also worked with choreographers such as Ludvig Daae, Marcus Baldemar, Nicole Neidert and Dani Brown. Viktoria played the part of Atreyu in Nina Wester’s production of The Never Ending Story at Malmö City Theatre.
Vincent Riebeek started dancing hip-hop and street dance in his pre-teens. While finishing his high school education he went to the pre-education dance program at the AHK Amsterdam where he graduated from the School for New Dance Development in 2013. The first work he presented internationally was made in collaboration with Florentina Holzinger during their studies and is touring international stages since 2010. After their debut ‘Kein Applaus fur Scheisse’ the duo went on to make two more performances called ‘Sprit’ (2012) and ‘Wellness’ (2013) and are currently toured and handled by Campo (Ghent). ‘Dust’ (2011), in collaboration with Michele Rizzo, ‘The show show’ in collaboration with Ligia Lewis and ‘Come Clean’ a solo performed by himself where all presented both in gallery spaces and theatres in Europe and abroad (New Zealand, Brazil).
Within Practice is a festival for contemporary dance practices. The festival showcases the work of dancers and choreographers through various formats such as workshops, an evening of practice-sharing, conversations, panel discussions, and practice presentations. Join us and immerse yourself in the "whys" and "hows" - in the essence of dance-making!
Brussels based artist Yann Leguay focuses on the notions of dematerialization, the use of interfaces and everything about the materiality of memory. In his sound practice he was defined as a “media saboteur” by the Consumer Waste label, seeking to fold the sound materiality in on itself using basic means in the form of objects, videos and performances. He has presented his work in many places and festivals all around Europe and further such as Kunstenfestivaldesarts, Club Transmediale, Centre Pompidou, Ex-Teresa Arte Actual. Since 2007, he’s also producing installations, sculptures and editions that integrates a critical approach to the meaning of the technological evolution. In concerts he pushes the boundaries of accepted norms of audio behavior, using uncommon machineries for the playback of audio media: opened hard-drives as turntables, an angle grinder as a microphone, the sound of the electricity and so on… His records release activity is equally unusual, releasing readable silkscreen records, a 7” single without a central hole, or a record composed from recordings of vinyl being scratched by scalpel. His Phonotopy label proposes a conceptual approach to recording media and he curates the DRIFT series on the Artkillart label. He is also involved in different collective projects as sound and music curator, and participates to graphical designs for books and revues.
Yared Tilahun Cederlund is a dancer, choreographer, DJ and music producer. Currently in the performance [...it is contained in…] Land Before Time 2022, Raised on Rythm 2023 and more.
Yixuan Xiao (they/them) is an artist and performer from China, currently living and working in Paris. Utilizing a mixture of objects, photography, film, poetry, somatic tools, dance, and performance, they are interested in the investigation and reflection apropos of nonconformist sex/gender/sexuality and on the possibility of empowering through the deviances.
As a performer, Yixuan danced and performed for Jocelyn Cottencin, Boris Charmatz, Lenio Kaklea and Emmanuelle Huynh. After two years of research in residency at L’École nationale supérieure de la photographie (Arles, Fr), they are currently enrolled in a master’s degree at Beaux-Arts de Paris in Emmanuelle Huynh’s studio. Yixuan learnt massage by practicing with family and friends.
Yoann Durant is composer and improviser. He plays the saxophone (soprano & alto), custom-built washing-machine tube and garden hose, acoustic and electrified.
He owns a Master’s degree from the jazz and improvised music class of the Conservatoire National Supérieur de Musique et de Danse de Paris, a state certificate of jazz teacher and several certificates of musical studies and classical, contemporary and jazz music. He also studied contemporary music and Northern Indian music.
Yoann Durant practices a double reading of sound in his compositions. He considers both a sound in itself, in its solitude, as well as its inherent articulation in relation to other sounds, to space, to body, and to breath. He created performances as the solo seul and the group performance sousentendu. He is touring internationally with bands like OO, Rétroviseur and Irène and artists like Marten Spangberg, Andrea Neumann, Tim Berne, Perrine Bailleux, …
Yoav Admoni, 1983, Tel-Aviv (Berlin)
Admoni is an interdisciplinary artist working with sculpture, dance and performance. His solo works move between site-responsive, socio-political performance and sculptures or installations focused on the end of nature and it’s production. Admoni’s collaborative projects include set-design, dramaturgy, curating and experimental social happenings such as the ‘Sand Castle’ monthly performance event (2010-2012) and the ‘betOnest’ artist residency (2016-2018). He has been involved with Ponderosa, an international art space, since 2014 and has been collaborating with Stephanie Maher and others in teaching and facilitating artistic explorations.
Yukiko Shinozaki (Japan) studied classical ballet in Tokyo from age 6 to 18. After high school, she moved to the US to study contemporary dance and psychology at Portland State University. From 1993 to 1997 she lived in NYC, where she presented her own work at venues including the Judson Church, St Mark’s Church, and the Merce Cunningham Studio. She also danced in productions by Yasemeen Godder, Raimund Hoghe, Meg stuart, and many others. Since moving to Brussels in 1997, Yukiko Shinozaki created “Breaking through the roof of its house” (2005) and “Inner Horizon” (2005) together with French Visual artist Christelle Fillod, and “hibi” (2007) with Japanese choreographer Un Yamada. For over 20 years Shinozaki has been collaborating with Heine Avdal on several productions.
Shinozaki’s work focuses on internal complexities and contradictions of the body. The process of transformation takes an important role in her movement vocabulary: through subtle shifts and manipulations, familiar actions slowly transform into an unfamiliar realm/landscape. She considers artistic collaborations as an important factor in her work and she consciously integrates coincidental elements that arrive in encounters with different artists and situations. She often works in an intuitive way, yet she is also fascinated by something beyond her imagination.
Zhana Pencheva is a dancer and choreographer based in Bulgaria. She holds a Bachelor and Masters degreee in Dance and Theatre from New Bulgarian University, Sofia. With strong interests around body and movement, Pencheva continued her education through a series of workshops and non-formal programmes such as Nomad Dance Academy and DanceWeb. She is co-founder of Garage Collective, Sofia, a member of Nomad Dance Academy – Bulgaria and member of the board of Hamalogika, Burgas. As a performer, she is actively collaborating with Dune Dance Company, Bulgaria. She works pedagogically with groups of different constellations and needs, focusing her teaching around dance technique and choreographic structures. Artistically she is interested in the potential of the body as a moving structure and the role emotions play within it. In her last solo work, “Six love songs”, (prized by Tri3avisim 2018, Bulgaria, and nominated for IKAR prize 2020 in the category “Contemporary dance and performance”, Bulgaria), she explores pop figures in contemporary culture and the identification of self in performative contexts. Her latest fascination is pole dancing.
Zoë Poluch’s artistic practice puts into motion different mediums and takes shape in different rooms. Her relationship with the “contemporary dance” scene is based on a long term and practice-based interest in the politics and poetics of moving and sensing. She looks forward to the far future, perhaps 2070, when she will inaugurate a dance company for dancing people over 70 years old and tour on a solar airplane. In the past, she studied and worked in Canada and Belgium and could be found dancing and performing with established and emerging choreographers, mostly in Europe and North America. Since 2010 she is based in Stockholm, Sweden and works as Assistant Professor and Head of the Bachelor Programme in Dance Performance at Stockholm University of the Arts. She is currently on parental leave.
