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Illustrasjon Inga Saetre

Bøler Samvirkelag is made up of Ingeleiv Berstad, Ida Gudbrandsen, Marie Bergby Handeland, Kristin Helgebostad, Pernille Holden, Marianne Kjærsund, Sigrid Kopperdal and Venke Sortland. As freelance artists, they have worked together and separately in numerous different constellations and projects over the last 10–20 years, both as creators and performing dance artists. Bøler Samvirkelag came about through a shared and jointly operated studio in Bøler Hovedgård in Oslo, and through a shared interest in artist-run processes, self-organisation, the relationship between practice and theory, and power structures. As Bøler Samvirkelag + they are a performer-run company, with the motivation of immersing themselves in the performer-run work. One important tenet is that they are the ones who invite choreographers to work with them – not the other way around. Their first production, Granddaughters, premièred in 2022, and was created in collaboration with the choreographers Eliisa Erävalo and Halla Ólafsdóttir.&nbsp; Jonathan Burrows&nbsp;danced for 13 years as a soloist with the Royal Ballet in London, where he also performed for the experimental choreographer Rosemary Butcher. He has since created numerous acclaimed works, including&nbsp;The Stop Quartet&nbsp;(1996) and&nbsp;Weak Dance Strong Questions&nbsp;(with Jan Ritsema 2001), and for many years has been collaborating with the composer Matteo Fargion, creating works such as Both Sitting Duet&nbsp;(2002),&nbsp;The Quiet Dance&nbsp;(2005),&nbsp;Speaking Dance&nbsp;(2006),&nbsp;Cheap Lecture&nbsp;(2009),&nbsp;The Cow Piece&nbsp;(2009),&nbsp;Body Not Fit For Purpose&nbsp;(2014) and&nbsp;Rewriting&nbsp;(2021). Burrows taught at P.A.R.T.S. in Brussels for many years, and has been a visiting professor at universities in Berlin, Ghent, Giessen, Hamburg and London.&nbsp;He has written&nbsp;A Choreographer's Handbook&nbsp;(Routledge 2010) and&nbsp;Writing Dance&nbsp;(Varamo Press 2022).&nbsp;Burrows is currently Associate Professor at the Centre for Dance Research, Coventry University. Matteo Fargion&nbsp;studied music composition with the composers Kevin Volans and Howard Skempton. As well as his close collaboration with Burrows, he has written a great deal of music for other choreographers, such as Siobhan Davies and the Norwegian Mette Edvardsen in her acclaimed pieces&nbsp;Oslo&nbsp;(2017) and Penelope Sleeps&nbsp;(2019).&nbsp;Fargion has also written music for Claire Croizé’s&nbsp;Flowers (We Are)&nbsp;(2019) and Andrea Spreafico’s&nbsp;We have to dress gorgeously&nbsp;(2019) and&nbsp;Bad Dante, Bad English, Bad Opera&nbsp;(2021/2023). In 2019 he and Burrows&nbsp;created Let Us Stop This Mad Rush Towards The End&nbsp;for the London Contemporary Music Festival, which was a production for a solo vocalist, an orchestra and a dancer.&nbsp;Fargion has been a visiting guest teacher at major international dance institutions including P.A.R.T.S. in Brussels, SEAD in Salzburg and Cndc in Angers, and has used his extensive experience in contemporary dance to develop a composition workshop for dancers, which he teaches internationally.

Bøler Samvirkelag Music

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Workshop: Sigrid Kopperdal x PRODA