{"id":18045,"date":"2025-11-24T17:03:05","date_gmt":"2025-11-24T15:03:05","guid":{"rendered":"https:\/\/dance.lt\/new\/?p=18045"},"modified":"2025-11-24T17:03:21","modified_gmt":"2025-11-24T15:03:21","slug":"estonian-artist-the-history-of-the-baltic-states-has-shaped-my-contemporary-movement","status":"publish","type":"post","link":"https:\/\/dance.lt\/new\/en\/2025\/11\/24\/estonian-artist-the-history-of-the-baltic-states-has-shaped-my-contemporary-movement\/","title":{"rendered":"Estonian artist: The history of the Baltic states has shaped my contemporary movement"},"content":{"rendered":"

Estonian dance artists and choreographers K\u00fclli Roosna and Kenneth Flak (Roosna and Flak) visited Vilnius in August, where during the educational event Summer Dance Intensive Vilnius\u201925<\/em>, within the framework of the Baltic Dance Network, they led a practical workshop and invited participants to explore the idea of the responsive body. Their movement practice includes exercises that encourage responding to a constantly changing environment while also fostering flexibility and creativity.<\/strong><\/p>\n

How did you develop your teaching method \u201cResponsive Body\u201d? What is its essence?<\/strong><\/p>\n

K\u00fclli:<\/strong> Responsive Body<\/em> was born out of our collaboration, which began in 2008. A few years later we started teaching, based on what we felt dancers \u2014 and ourselves \u2014 needed the most. The method is built on four main principles that together form a flexible practice balancing endurance, sensitivity, creativity, and playfulness.<\/p>\n

The first is physical training, which develops stamina, cardiovascular capacity, strength, coordination, and sensitivity to space, time, and musicality. The second principle is improvisation, which is about creating responses to stimuli perceived through the senses \u2014 touch, vision, sound. The third is working with movement sensors, exploring how movement generates sound. Since 2014, we have been experimenting with small accelerometers attached to the body that transform movement into sound. The fourth principle is the technological aspect, where programming plays an important role. We teach students to use accessible tools \u2014 mobile phones and computers \u2014 to connect movement with sound.<\/p>\n

\"\"<\/a>K\u00fclli Roosna and Kenneth Flak, photo by Dainius Putinas.<\/em><\/p>\n

What did you explore in the workshop in Vilnius?<\/strong><\/p>\n

Kenneth:<\/strong> In Vilnius, with the participants, we touched only upon the first two principles. We devoted a lot of attention to a new way of touching, focused on the surface of the body. We tried to sense the connective tissue inside ourselves and to transmit that sensation to a partner and to the group. It was fascinating to observe how touch, combined with bodily awareness and imagination, can connect people and allow movement to flow beyond the boundaries of individuality. It was also exciting to see how this idea naturally expanded from pairs to the whole group.<\/p>\n

You have been on stage for more than 15 years. What changes do you notice in the Baltic contemporary dance scene?<\/strong><\/p>\n

Kenneth:<\/strong> The main change is that from a few very strong personalities and groups, the field has shifted toward a much more diverse environment with many different creators. Everyone is doing different things in various contexts. It is no longer so clear who the main \u201cpillars\u201d or reference points of the dance scene are. There are more voices, more differences.<\/p>\n

K\u00fclli:<\/strong> At first there was a weird separation between movement-based and conceptual dance. I am very glad that such a separation has now come to an end. It always seemed somewhat artificial to me to think that in movement-based dance, conceptuality was not necessary.<\/p>\n

Kenneth:<\/strong> I think when I first came to Estonia from Norway about 15 years ago, one of the pressing questions was: what does it mean to be Estonian? It seems to me this question is no longer as urgent.<\/p>\n

One of the themes of the Baltic Dance Network program is \u201cdance in the face of change.\u201d Do you respond to the changes happening in our region in your creative process? If so, how?<\/strong><\/p>\n

Kenneth:<\/strong> I think, in a way, dance is change itself. Movement is a constant transition from one state to another. Dance can offer unique insights into how to relate to change in a way that doesn\u2019t destroy us. The moment we try to stop or \u201ctrap\u201d something, we break it, we ruin it.<\/p>\n

Dance teaches us to accept change so that it doesn\u2019t become destructive. How do we accept a constantly shifting environment? How do we allow change to exist, to affect us, without turning it into rigidity?<\/p>\n

Of course, in life we need both strength and flexibility \u2014 a balance of both. But everything is constantly changing. Therefore, any practice that fails to recognize this as an essential given will sooner or later face difficulties.<\/p>\n

\"\"<\/a>K\u00fclli Roosna and Kenneth Flak, photo by Dainius Putinas.<\/em><\/p>\n

K\u00fclli:<\/strong> Our latest work was \u201cShelter Ouroboros,\u201d in which we spent a lot of time reflecting on change. We eventually arrived at the idea that the true shelter in this ever-changing world is change itself. Perhaps the most important thing is to learn to surrender to this fact, to allow old \u201cskins\u201d to peel away, and in a sense, to begin anew. After all, we live in cycles every day, and every moment offers the chance to start over.<\/p>\n

I remember the last exercise we did with students in Vilnius. We began in pairs \u2014 they naturally understood how to work together as duos. Later, we invited them to notice whether they could feel a visual impulse from the other person. Then they were allowed to leave their partner. After the exercise, it was interesting to hear their comments \u2014 some still felt care for their first partner.<\/p>\n

So the question arises: how do we allow change to happen? I participated in the exercise myself and found shelter in the change itself. Curiosity guided me forward because I allowed myself not to get stuck in one place. I didn\u2019t feel I was hurting anyone because everything was determined by the rules.<\/p>\n

It seems to me that it is important to maintain both flexibility and clarity at the same time \u2014 to know what we are doing, what is okay, and what perhaps no longer is. Where is the limit? Where is the balance? Perhaps the structure itself can accommodate both options: some can stay with their partner, while others can choose change. But in all cases, the responsibility remains \u2014 to be with another person.<\/p>\n

What do you think about a Baltic dance identity? Does it exist, and if so, how would you describe it?<\/strong><\/p>\n

K\u00fclli: <\/strong>One of the first works I created with Kenneth, \u201cThe Wolf Project,\u201d was about deportations to Siberia and drew on my grandmother\u2019s personal memories. While preparing this piece, we collected 20\u201330 pages of her recollections, which, for example, described the train cars in which Estonians were transported to Siberia.<\/p>\n

These stories stay with me \u2014 they evoke strong emotions and sometimes even influence my abstract movements. Therefore, I believe that the shared history of the Baltic countries \u2014 the freedom we gained in 1991 and the traumas accompanying the long periods of oppression \u2014 truly shapes the identity of our contemporary dance, our way of moving.<\/p>\n

Kenneth:<\/strong> It would be difficult for me to generalize what a Baltic dance identity is, because there is an extremely broad spectrum of approaches. I am sure there are strong institutions that have managed to leave a mark on at least part of the active community. At the same time, many people went abroad, absorbed new impulses there, and returned to the Baltic countries with new ideas.<\/p>\n

Although I am originally from Norway, I remember when Russia attacked Ukraine \u2014 at that time, we were working in Tallinn on our piece \u201cSingularity.\u201d I remember being overwhelmed by a terrible feeling of fear and sadness, intertwined with a shared sensitivity. Freedom suddenly took on a new meaning for me, a real awareness of how fragile it is. Questions also arose: what does it mean to be free? The texts that emerged from these questions \u2014 abstract poems \u2014 were incorporated into the work we were creating at the time.<\/p>\n

\"\"<\/a>K\u00fclli Roosna and Kenneth Flak, photo by Dainius Putinas.<\/em><\/p>\n

Do you think contemporary dance artists in the Baltic countries should strengthen their connections with one another? If so, how?<\/strong><\/p>\n

K\u00fclli:<\/strong> I think identity is not necessarily defined by place or nationality \u2014 it arises more from the connections between artists. Therefore, in my view, it is extremely important to build and strengthen these connections, as they open the way for joint projects and works. After all, what artists fundamentally need are opportunities to create and perform.<\/p>\n

Personal connections are facilitated by initiatives such as the Baltic Dance Network or residency programs \u2014 both short-term and long-term. It doesn\u2019t matter whether they last five days or just one \u2014 what matters is meeting and working together. In Estonia, for example, we have a summer festival in Viljandi. It runs for a single week, but after it, participants form very close connections.<\/p>\n

When seeking potential collaborations, it\u2019s important to ask each other: \u201cDo you like to move? What kind of movement is close to you? Do you enjoy exploring movement, or do you work more technically? Or maybe you don\u2019t like moving at all? Is it enough for you to cross the stage once?\u201d In one country, there may be more people resonating with me, in another fewer \u2014 so I find it very interesting to discover similar people in Lithuania.<\/p>\n

\u2014<\/p>\n

Baltic Dance<\/strong>\u00a0Network<\/strong>\u00a0is a new joint initiative led by partners from Lithuania, Latvia & Estonia. It aims to create a safe space for Baltic contemporary dance artists to connect and analyse their shared past, explore Baltic dance identity, as well as understand each Baltic country\u2019s context and uniqueness. Together we aim to recognize and express historical legacies, enhancing confidence in the international dance field, and empowering artists to reflect current political or other challenges through their art.<\/p>\n

The Network consists of six approved partners<\/strong>: Lithuanian Dance Information Centre (the leader of the project), Contemporary Dance Association (Lithuania), Latvian Dance Information Centre, The Association of Choreographers (Latvia), S\u00f5ltumatu Tantsu Lava (Estonia), Estonian Dance Art and Dance Education Union.<\/p>\n

In 2025-2026, the Network will host a series of activities across the Baltic region<\/strong>, including Professional Meetings, Workshops, and a Visiting Programme for dance artists. Additionally, there will be Online Discussions and Workshops, Short-term Residencies (small and extended), and a Dance Congress at the Baltic Dance Platform.<\/p>\n

The Network has received Long-term Network funding from the Nordic-Baltic Mobility Programme for Culture<\/strong>\u00a0to establish the project \u201cBaltic Dance Network: Navigating Identity in the Face of Changes\u201d.<\/p>\n","protected":false},"excerpt":{"rendered":"

Estonian dance artists and choreographers K\u00fclli Roosna and Kenneth Flak (Roosna and Flak) visited Vilnius in August, where during the …<\/p>\n","protected":false},"author":2,"featured_media":17792,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[21],"tags":[],"yoast_head":"\nEstonian artist: The history of the Baltic states has shaped my contemporary movement - Lithuanian Dance Centre<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/dance.lt\/new\/en\/2025\/11\/24\/estonian-artist-the-history-of-the-baltic-states-has-shaped-my-contemporary-movement\/\" \/>\n<meta property=\"og:locale\" content=\"lt_LT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Estonian artist: The history of the Baltic states has shaped my contemporary movement - Lithuanian Dance Centre\" \/>\n<meta property=\"og:description\" content=\"Estonian dance artists and choreographers K\u00fclli Roosna and Kenneth Flak (Roosna and Flak) visited Vilnius in August, where during the ...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/dance.lt\/new\/en\/2025\/11\/24\/estonian-artist-the-history-of-the-baltic-states-has-shaped-my-contemporary-movement\/\" \/>\n<meta property=\"og:site_name\" content=\"Lithuanian Dance Centre\" \/>\n<meta property=\"article:published_time\" content=\"2025-11-24T15:03:05+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2025-11-24T15:03:21+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/dance.lt\/new\/wp-content\/uploads\/2025\/10\/Inttensive1-113-scaled.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"2560\" \/>\n\t<meta property=\"og:image:height\" content=\"1703\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"dance\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"8 minut\u0117s\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebSite\",\"@id\":\"https:\/\/dance.lt\/new\/#website\",\"url\":\"https:\/\/dance.lt\/new\/\",\"name\":\"Lithuanian Dance Centre\",\"description\":\"LDC\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/dance.lt\/new\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"lt-LT\"},{\"@type\":\"ImageObject\",\"@id\":\"https:\/\/dance.lt\/new\/en\/2025\/11\/24\/estonian-artist-the-history-of-the-baltic-states-has-shaped-my-contemporary-movement\/#primaryimage\",\"inLanguage\":\"lt-LT\",\"url\":\"https:\/\/dance.lt\/new\/wp-content\/uploads\/2025\/10\/Inttensive1-113-scaled.jpg\",\"contentUrl\":\"https:\/\/dance.lt\/new\/wp-content\/uploads\/2025\/10\/Inttensive1-113-scaled.jpg\",\"width\":2560,\"height\":1703},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/dance.lt\/new\/en\/2025\/11\/24\/estonian-artist-the-history-of-the-baltic-states-has-shaped-my-contemporary-movement\/#webpage\",\"url\":\"https:\/\/dance.lt\/new\/en\/2025\/11\/24\/estonian-artist-the-history-of-the-baltic-states-has-shaped-my-contemporary-movement\/\",\"name\":\"Estonian artist: The history of the Baltic states has shaped my contemporary movement - 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