6.11.2024

Tero Saarinen Paves the Way for Future Generations of Dance Through Tireless Efforts

Dancer, choreographer, and artistic director Tero Saarinen receives the Alfred Kordelin Prize for advancing Finnish contemporary dance and bringing it to international stages. Through his work, Saarinen is paving the way for the next generations of dance.

 

Dancer, choreographer, and artistic director of his namesake dance company, Tero Saarinen is one of the most internationally recognized Finnish artists. Saarinen has performed on international stages for nearly 40 years and, as a choreographer, has been invited to collaborate with several top companies worldwide, including in the Netherlands and France.

Throughout his career, he has worked tirelessly to advance the field of dance and the art form itself for future generations. For this work, he is awarded the Alfred Kordelin Prize.

“The award certainly shows that dance has a place in society. It’s recognition for the work done and for the entire field. I believe dance is a part of our DNA,” Saarinen shares.

Work and Employment in a Non-Commercial Field

Saarinen aims to broaden the understanding of what dance can be. He is known for his performances that integrate multiple art forms, offering audiences various ways to engage with art.

Saarinen is intrigued by diverse thinkers and art forms, as well as the full spectrum of possibilities in theater. At best, people interested in contemporary media, visual arts, or sound design might be drawn to the world of live art and dance.

Collaborating in Saarinen’s philosophy goes beyond blending art forms. For decades, he has created jobs for dancers as well as arts and production professionals alike. Tero Saarinen Company, founded by Saarinen, employs approximately 80 people each year, with over ten employees working on a monthly salary.

The dance company has toured 40 countries and collaborated with world-renowned orchestras, such as the Los Angeles Philharmonic and the French Ensemble Intercontemporain.

“I’ve found it fascinating to explore whether we can create a foundation and an organization that would employ the next generations and innovators in the field.”

Saarinen emphasizes that dance performances are never created by individuals. Successful productions require the contributions of many professionals from various fields, including theater technology, marketing, audience engagement, as well as costume, lighting, and sound design.

Tero Saarinen Company has built a dance space at the Cable Factory, TSC Studio. From the very beginning, the idea was to develop residency activities and share the space with other dance practitioners and representatives of the arts. Collaboration with Finnish speaker manufacturer Genelec has made it possible, for example, to host an annual residency period for sound designers.

Saarinen also speaks enthusiastically about Dance House Helsinki, which opened in spring 2022. Dance House Helsinki provides a real home for the art form that previously had to search for and rent spaces from places like the Finnish National Opera and the Finnish National Theatre.

“Dance House Helsinki is an incredible identity booster for future generations, as it solidifies dance’s position. Until now, we’ve been nomads. Dance House Helsinki centralizes, emphasizes, and focuses activities, serving as a focal point for visits by international dance companies,” Saarinen explains.

In October, Saarinen hosted the German dance company Gauthier Dance//Dance Company Theaterhaus Stuttgart at Dance House Helsinki. The group performed The Seven Sins, in which seven top choreographers transformed the seven deadly sins into dance pieces.

“All three performances of the piece sold out, with 700 spectators per show. That’s not something to take for granted,” Saarinen rejoices.

Dance Has Much to Offer to Society

Throughout his career, Saarinen has spread the message of dance and increased the visibility of contemporary dance in society. He sees tremendous potential to positively impact people, both in dance performances and in dance classes.

“Dance structures our humanity, enhances our understanding of ourselves, and offers opportunities to sense, question, or reflect on our existence in a new way. This kind of recalibration or search for a space of multi-dimensional existence is valuable in itself.”

In Saarinen’s view, dance has much to offer society, even beyond the arts sector:

“By investing in and diversifying dance education, we can remain competitive in increasingly tough international markets, offer those entering the field a broader range of opportunities, and, in doing so, positively impact society and its well-being.”

In countries like France, Germany, and England, dance is used to integrate individuals from diverse cultural backgrounds and traditions. Moving together fosters a sense of belonging, tolerance, and understanding. According to Saarinen, dance could also play a larger role, for instance, in physical education in schools.

“I see the mission of developing dance art and raising its societal appreciation as a form of soft politics. It’s about sharing values, ethos, and one’s own working methods.”

Around the world, Saarinen has witnessed how much more is invested in dance when it’s a part of a country’s whole brand.

“It’s been wonderful to see how colleagues’ countries proudly send their dance companies abroad. Why couldn’t we do the same?”

Sparking political interest has required tireless lobbying from the entire Tero Saarinen Group’s staff: sometimes even personally bringing people to watch performances.

“Many times, a first-timer has come up to ne afterward to say, ‘Wow, I didn’t know something like this even existed – I’ll definitely come again!’” Saarinen says.

Standing on the Shoulders of Predecessors, Paving the Way for Future Generations

Saarinen considers himself to be standing on the shoulders of his predecessors. He names as his inspirations figures like Jorma Uotinen, choreographers Tommi Kitti and Marjo Kuusela, American dancer and choreographer Carolyn Carlson, and Japanese butoh dancer Kazuo Ōno.

The movement language of Saarinen’s works is based on his developed technique, TERO Technique, which has spread widely as a teaching method, from annual courses at the Ballet School of the Finnish National Ballet to international workshops.

In recent years, Saarinen has mentored not only contemporary dance choreographers and dancers but also young creators in circus, street dance, and theater.

Having recently turned 60, Saarinen plans to continue ensuring that dance is accessible to more and more people.

“There’s nothing to lose from passing on what I’ve learned,” Saarinen concludes.

Photos: Vilja Pursiainen