Björn Elisson
Aurum

Björn Elisson completed his tour Autumn 2007 with a performance in Umeå 2008 (for more information please see 2007).

Ina C Johannesen/Zero visibility corp
I have a secret to tell you, (please) leave with me

Ina Christel Johannessen founded zero visibility corp. in1996. The company’s characteristic mark is their ambition to create an ambivalent pleasure for the audience. The audience is entertained, but at the same time the image is distorted in an alarming way. Apart from dance does sound play a great part in her performances. Zero visibility corp. work together with some of the most innovative artists within experimental electro-music.

I have a secret to tell you, (please) leave with me describes a dark inner drama. A performance filled with energetic teamwork between gender, lust, restraint and submission, making the audience leave the performance filled with worrying thoughts.

I have a secret to tell you, (please) leave with me was performed in Linköping, Umeå and Gävle.

Cristina Caprioli /ccap
Avtäckning och Very very

ccap is Cristina Caprioli’s choreographic project, which primarily produces stage performances, but also works with films, video- and digital installations, workshops, seminars and other type of pedagogical projects and interdisciplinary science co-operation

Avtäckning.
The performance borrows its form by using the author Aase Berg’s text Sloth as a pretext where the dancer describes discrepancy’s enjoyable laziness.

Avtäckning was performed in Stockholm, Västerås, Vara and Göteborg.

Very Very
Two women are on stage dressed in suites and tights, they are moody, obstinate, obvious and extremely musical and their bodies are chiselled out in detailed. Their movements overleap, flashes and swings in a breakneck speed.

Very Very was performed in Linköping, Gävle, Jönköping and Malmö.

Membros
Raio X

MEMBROS, from Macaé outside Rio de Janeiro, want to make a difference with a mixture of street-dance, capoeira, Brazilian rap, classical music and with a strong social engagement. Convinced that hip hop is a way to integration and social changes they tour their performances, educate master classes, organizes workshops and take part in different projects and festivals. Since their first European tour 2005 countries around the world keep their eyes on MEMBROS.

In their performance Raio X they give their version of life in Brazilian prisons, a world of its own, with a different way of thinking, outbreak of violence and sensitivity. Based on studies and texts written by Brazilian prisoners MEMBROS visualizes a reality unknown to many.

Raio X was performed in Uddevalla, Göteborg, Västerås, Linköping, Halmstad, Vara, Härnösand, Umeå, Jönköping, Malmö and Lund.

Björn Säfsten
Cuatro Estaciones

Björn Säfsten won Dansens Hus choreographic competition in 2007 – the prize was residence and touring with Dansnät Sverige.

Björn Säfsten commented the process with Cuatro estaciones: “I think about space. Can one remain between the objective and the subjective? What is concrete and what is abstract? How abstract can a body become? How big a part of the performed movement is always representative and what conventions makes it possible to read?”

Cuatro Estaciones was performed in Stockholm, Malmö, Varberg, Västerås, Linköping, Sundsvall, Umeå, Jönköping, Gävle and Göteborg.

Lena Josefsson / Kompani Raande-vo
Plutôt la vie

Communications play a significant part in Lena Josefsson’s performance art. Dance is a way of reaching out beyond words.

Plutot la vie is a room for fantasy, where people meet and where anything can happen. Lena Josefsson has for this production handpicked ten artists from different parts of the world. It is important for Lena Josefsson to include dancers from China and the African continent. “It gives a relief towards us in Europe. Meetings between different cultures creates a sense of something else…” This is a serious, amusing work of art, full of sensuality, suffering and passion but also contains a liberating sense of humour.

Plutot la vie was performed in Malmö, Västerås, Jönköping, Kungsbacka, Göteborg, Lund, Härnösand and Gävle.

Rocío Molina
Turquesa como el limon

Turquesa como el limon is two young flamenco dancers meeting with each other and with stereotypes who wish to shut in, press down and sort out humans. On the surface they are each-others contrasts.

Rocio Molina is the brightest glittering star of the new generation of flamenco dancers, technically brilliant and with a personal dance style, combining the flamenco’s powerful explosions with innovation, originality and thoughtfulness. Through her dance Laura Rozalén takes us back a century to the time when the female flamenco’s characteristics were ceremonious, elegant and with flirtatious humour. Together they are united in an unusual flamenco performance filled with warmth and self-irony.

Rocio Molina is the wonder child who has grown up and become the utmost symbol for contemporary flamenco. Superlatives showers down on Rocio and she is described as “a revolution within female flamenco dance” and has been given the prize for “The best Flamenco performer 2007” by the magazine De flamenco, just a year after having been selected by the Spanish body of flamenco critics “Newcomer of the year 2006”. She was joined by the dancer Laura Rozalén and some of flamenco’s foremost musicians.

Turquesa como el limon was performed in Umeå, Kramfors, Linköping, Västerås, Jönköping, Halmstad, Gävle, Göteborg, Kungsbacka and Vara.

Gunilla Witt
Karins Krig

The choreographer and poet Gunilla Witt has become famous for her obstinate solon and duets, where she mixes dance and lyrics. She started in 1987 and became one of the artistic leaders of the Atalante scene, a forum for experimental scenic art in Gothenburg.

The solo dance in Karins Krig portrays the Swedish poet Karin Boyes final hours of life, on a mountain view outside Alingsås a cold April night 1941. The solo number describes the solitude underneath the oak. A tube of sleeping pills and a bottle is watching her in the vacant space. Memories flashes by underneath the dark sky and stars, the intensive time in Berlin 1932 lights up. The music from cabarets and parades brings the poet to stand up. She dances through her memories whilst she removes garment after garment. Isadora Duncan comes into sight and so does Mary Wigman who stamps her Hexentanz.

Karin Boye said once: “My personal ideal is the intelligent dance artist”. That longing has become the score of the piece.

Karins Krig was performed in Uddevalla, Falkenberg, Linköping, Umeå, Malmö and Borås.