In the short film you made for Bolon you can be seen dancing on the flooring. Is it a good surface for ballet or modern dance?
"When we created the film I was quite concerned about the Bolon floor because dancers are usually very picky about what surface they are dancing on. In most opera houses and other dance stages there is a specially laid dance floor. But Bolon actually worked out fine … only a couple of minor falls and bruises! What was quite funny was that we not only danced on the floor but we also made costumes out of it. We actually wore the floor! To be honest, its not the most comfortable piece of clothing I have ever worn... but it was definitely the most comfy floor I have ever worn!”
How did the Silence collaboration with Bolon come about? Bolon and Alexander Ekman share a passion for the unusual and unpredictable with both flooring company and choreographer dealing in traditional crafts but striving to challenge conventions…did these connections make for a helpful and inspirational factor during your collaboration?
“I think that the Eklund sisters were hungry to create something different from the beginning. They contacted me and we spoke about what we could do. I am always open for new challenges and love to try new things. So this seemed like a great and fun project to me. They were very receptive to my ideas and we clicked immediately. I always try to create things outside the box and I reckon Annica and Marie relate to that way of thinking as well.”
Of the two Eklund sisters, who is the best dancer? Annica or Marie?
“Hmmm. Its a tough call, I will have to take them both out dancing and then get back to you on this.”
How did the Silence collection inspire you?
“I wanted to create an entire world of the floor. Also, I wanted to work a lot with rhythm. I was extremely excited when I heard that Johan Söderberg agreed to edit the film. He works extremely and intensely with music and rhythm and he made an amazing edit of our material.”
Why did you decide to call the range Silence?
“The silence concept was given to me from Bolon. I think it definitely relates to the silent communication of movements – the wordless, dialogue-free expression of dance.”
In what way did you contribute to the set design in the film? How did you go about this?
“I worked with a great set designer and costume designer on this project. I basically gave them my general idea and they went wild with their imagination and delivered a fantastic set. We really had a great team on this production making it a lot of fun to create. There was that great ‘lets make this work’ atmosphere in the air. We were always looking for ways to solve everything ... I love it when a team finds that state of being.” As a choreographer, you love to challenge conventional perceptions of dance, often using some very unusual theatrical sets.
Would you ever consider incorporating Bolon into a stage production?
What are you working on right now? “
I am about to set off to India where I will study yoga for a month before I start the biggest production of my life; my own version of Swan Lake for the Norwegian National Ballet premiering at The Oslo Opera House in April 2014. It has a new score by Mikael Karlsson, costumes by Henrik Vibskov ... and a real lake on stage! So, I am heading to Oslo for yet another production meeting ... with a 16 metre pool, filled with 6,000 litres of water, we don’t want anything to go wrong on stage!”