A dance music performance about the senses directed by choreographer Jannine Rivel. Produced by Scenkost Sörmland.

How does an orange sound?
How does a dance step smell?
How does the velvet taste?
How does a melody feel to the skin?

What happens if we dance with all our senses?
If we dance with taste and feel with sight?

What is the place of the minds in society? Are mental impressions distracting or are they slightly elevated, which can and should be refined? Choreographer Jannine Rivel examines this together with five dancers and two musicians in the dance performance Verkningar.

Idea & choreography: Jannine Rivel
Dance: Jannine Rivel, Emilia Wärff, Stine Marcinkowski Pettersson, Nasreen Aljanabi Larsson, Moa M Sahlin.
Composition, song, piano: Xenia Kriisin
Oboist: Anette Kumlin
Costume & braids: Johanna Lovén
Lighting design: Åsa Holtz
Photo & film: José Figueroa

The Cultural Man is a humoristic performance about two men's journey and quest for finding their true identity through a bodily, moving-and-sounding scenic universe, where we work across boundaries - of scenic expression and gender, as social, cultural and biological construction. We witness a relationship between two men, and how they experience that relationship through movement when engaging with competition, companionship, comparison, combat and compassion.

Two female singers accompany the men by improvising with their voices in dialogue with the men’s quest. They assist them in the timing of their explorations, and keep them safe, while accepting, encouraging and directing their play.

Choreographer/director: Stine Marcinkowski Pettersson
Male performers: Magnus Marcinkowski Pettersson and David Sperling Bolander
Female singers: Harriet Ohlsson and Ida Görsch

While we are waiting to depart was a solo about waiting. Waiting for the helicopter to arrive, waiting for a whale to come in or for the fish to bite, waiting for someone to open the door or waiting to leave this earth, while questioning what we do with the time we have available to us. Does it bring us pleasure or pain and do we live in the past, present or future?

While we are waiting to depart was a free interpreted journey into the imaginative world of an Inuits mind through play, curiosity, sadness, grief, desperation, frustration, surrendering, satisfaction, patience and letting go.

The performance was situated near the old Helicopter landing spot in Qaanaaq, Greenland by the little yellow hut. Approximately 15 years ago this hut was used for the helicopter crew and passengers that flew in and out of the village. But today it has more or less been abandoned.

Choreography and performance: Stine Marcinkowski
Choreographic assistant: Astrid Oberborbeck Andersen
Photography and film: Astrid Oberborbeck Andersen
Film editor: Anna Björemark
Produced by Making Art Worlds (www.facebook.com/makingartworlds/)

SILA - a community dance theatre project by Making Art Worlds, carried out in Qaanaaq, North Greenland spring 2016 in collaboration with Avanersuup Atuarfia (Qaanaaq school).

Choreographer and project director: Stine Marcinkowski
Participating artists: Lana Hansen, Heidi Saikkonen and Astrid Oberborbeck Andersen.
Collaborators in Qaanaaq: Birthe Pedersen, Magdalene Andersen and Per Andersen.

For more about SILA see our FB page: (www.facebook.com/makingartworlds/) and instgram: makingartworlds

Trance for a Change was a dance event and ceremony in which we, by dancing together tried to change ones fear of the unknown to openness and curiosity towards the unknown. When dancing together and going into a trance, one produces a natural hormone in the body called oxytocin. This hormone has many good effects, some of them are that they reduce fear and create confidence and generosity towards others.

In the ceremony Trance for a Change we aimed to let both personal and global fears and aggressions transform into more open minded and embracing ones.

We danced for more openness, we danced for welcoming refugees, and we danced for those in need of inclusion.

In Trance for a Change, we made use of ideas from traditional ceremonies in which dance is used as tool to change or effect a situation. We believe that dance has this power.

Concept and creators: Good Work Productions (DK) (www.ninawengel.com) and Making Art Worlds (DK) in collaboration with the Gothenburg-based Dance Club Wonderland (SE).
Dancers: Linda Wardal (SE), Nina Wengel (DK) and Stine Marcinkowski (SE/DK)
DJ: Lovisa Silfverberg
Photographer: Saman Nazari
Filmmaker: Ahmad Aldurra

Savannah Moving Art Projects event on Friday the 18th of December 2015 at 5 pm at the Anti-Migraine Company, Savannah, USA. For more information: (m.facebook.com/Savannah-Moving-Art-Projects-262199307310576/) and (www.labaninternational.org/SMAP/)

Skrattets Anatomi (The Anatomy of Laughter) was a community dance project, where I as the choreographer together with a group of youths explored laughter as a choreographic tool.

The interrogations behind the work were investigating why we laugh, what it is that makes us laugh and how much laughter depends on a shared sense of humor? Can laughter be a form of human survival? Why is it a taboo to laugh in certain social contexts and public spaces? And why do some people laugh lighter, freer, and more often than others? How can laughter bring people together regardless of different cultures and backgrounds or alienate them from each other? And what is it that makes this force of nature both infectious and liberating, calming, threatening, inexplicable and overwhelming at once?

These are some of the questions that we examined. To create movement, we asked how we in a diverse group could find our own unique laughter as an integral expression - both individually and collectively and how that would generate group movement collaboration. .

For more information please visit: (www.facebook.com/Skrattetsanatomi?ref=hl)

Photographer: Lars Dyrendom (www.dyrendom.com)

When did man become a burden rather than an asset? The company Theatre Tamauer celebrated their 20 years anniversary with the performance Exkluderad. Instead of being nostalgic, they focused on the current social climate. In three acts they told different stories about being excluded from the society, school and the working life. With humor, horror and political reasoning the company painted a picture of Sweden today.
Choreography (second act) by Stine Marcinkowski.

For more information: (www.hagateatern.se/teater-tamauer/tidigare-på-teater-tamauer-1833043)

With contemporary music, humor and choreography Theatre Tamauer tells a story of a young girl who ends up in the middle of the thriving house cleaning industry. Lina is moving to Gothenburg and needs a job. She starts working at a cleaning company, which exists thanks to the “Rut” deduction scheme in Sweden. This is the prelude to a story about the tax-subsidized home working role in the “new” Sweden.
Choreography by Stine Marcinkowski.
For more information: (www.hagateatern.se/teater-tamauer/tidigare-på-teater-tamauer-1833043)

This was an interdisciplinary project and interplay between photography and dance in collaboration with artist Katharina Gahlert (DE). The location was the fishing factory MøreNot Hammerfest AS, North Norway on a bright, northern lights, summers night with no audience apart from seagulls flying by. The aim was to have an open dialogue between us and the result became a series of bizarre, fun and playful photographs.

Photographer: Katharina Gahlert, (www.katharinagahlert.de)

Global Water Dances Hammerfest - International water dance
Global Water Dances is a worldwide biannual dance performance event where thousands of people are doing a choreographed dance piece all over the world at 1700 hours in various time zones on one particular day. In 2011 I was the choreographer for the project that took place on June 25th 2011in Ytre Forsol Beach, Hammerfest, North Norway. The local part of choreography concept was created in collaboration with musician Marianne Halmrast (N), dancer Eirihn Keuer (N) and four young dance students from Hammerfest Arts Centre School. The global part of the choreography concept was created by an international team of choreographers and instructed by Stine Marcinkowski to the youths and local people from Hammerfest and the audience during the live event. The aim with the dance performance was to make the communities and society in general aware of environmental issues related to water.
Read more on: (www.globalwaterdances.org)

Photographer: Susanne Næss Nielsen

Site-specific performance at the opening exhibition
by visual artist Nina Wengel (DK). The performance took place at the preview of the exhibition I Might As Well Have Been A Ball, Copenhagen, April 2011 at ApArt, Hotel Kong Arthur, the exhibition was held in a hotel flat and based on the concept of private viewing. The performative theme demonstrated how it might feel to be a private visitor in this place and how one should act in a social environment - by moving through a transformation of being extremely shy to very outgoing. For more information please visit: (www.tijanamiskovic.com/opening-today-nina-wengel-at-apart) and (www.ninawengel.com)

Photographer: Tijana Miskovic

The nordic research project Juanita investigated methods that enabled a production designer and a director to lay the foundation for the theatre play where the visual expression was an integral part of the the construction of performance. This was a nontraditional approach and required time to fulfill. The work used visual theatre and devising. A devised process builds on exploration and experimentation of the performance's content over an extended period of time. The Juanita project created time and space for research within defined limits.
The project was Initiated by Anna Leyman (SE) and Camilla Lilleengen (N). Oulu, Finland. Performers: Antti Kaarlela, Antti Kairakari, Paivi Soini and Stine Marcinkowski.

In collaboration with artist/writer Gerd Laugesen (DK).
The Body and the Words consider themselves unattainable. They live in their personal universe, but in fact they are part of the same human being.
Stemmer is an installation performance between a dancer and her opponent, the writer, who is tied to her chair unable to move. They each share a goal of having their say in things but in reality they are unsure of who is controlling whom.
Stemmer premiered at Stockholm Fringe Festival in 2010 and toured in Norway and Denmark.

Photographer: Astrid Oberborbeck Andersen