Biennale programme 2022

The performance is interactive and both the audience and dancers receive verbal instructions from a recorded voice, but who is actually in charge? Through abstract choreography and concrete stories, the audience is taken through an emotional and thought-provoking journey. How does group pressure affect us? Who is an authority? Why do we all do as he says? And what happens if we don’t or if we say no?

Häxor are in our midst and have been around for hundreds of years, but how do you recognize a witch? How do you know it's not a witch sitting opposite you on the bus, who's your teacher, or who's your married aunt? Welcome to the magic meeting of witches!

With a strong presence, Fanny Kivimäki gives a performance about life, dreams and remorse. Depicted through a combination of expressive music, dreamy video art and with expressive dance in focus. In Into The Roots, Fanny Kivimäki starts from her own and others' homesickness and what we for better or worse associate with our roots.

The Choreography is based on audience participation. Everyone in the audience gets a pair of headphones through which they will hear a voice telling them how to move, how to relate to one’s body and how to relate to one another. In other words, there are no dancers in the performance, but it is instead the audience members who create The Choreography together.

Claire Parsons' performance Lilla Svansjön was created in collaboration with Unga Dramaten in Stockholm. Instead of the graceful swans that the visitor expects, three figures appear on stage trying out flights, tackling a silver lake and finding the best steps for groups in groups. When it comes to who can take a seat and the expectations of how things should be done. It is a great classic in a new version that is about taking other steps than expected.

Moln is a circus performance imbued with music and inspired by the life and work of legendary Swedish poet Karin Boye. Its framework is the tale of a collection of individuals living at each other’s mercy in a sort of vacuum between childhood and adolescence. This performance is a “dream play” that with a light and poetic touch casts itself between the dark existential abyss and the bright, light clouds that coexist inside all of us, particularly on the brink between childhood and adulthood.

A dance piece where the choreographer Ola Stinnerbom has developed an acrobatic dance technique on constantly staying and dancing upside down. In the older Saami Culture, the Kingdome of death was a mirror world directly beneath us.

The snow creaks and squeaks. The ice is cracking. The animals move across the landscape. Nature is self-evident, eternal and unadulterated. A source of energy and reflection. The Sami language has 200 words for snow: Melted snow, flying snow, sticky snow, hard snow, icy snow and more.