Review: Riemukupla

TENSIONS ON THE SURFACE OF THE BUBBLE

Due to illness and the resulting modifications, the premiere of Helsinki Dance Company’s Bubble of Joy was postponed by a week. However, the quickly practiced patches were not visible in the dancers’ work, and the work was once again of high quality.
As a whole, the book is a bit problematic. It is a compilation of six different choreographies that are very loosely connected to each other. The name Riemukupla itself raises questions, as it does not seem to cover all the miniature works, not even through an ironic twist. The compilation does not create a coherent whole, but there are some very impressive sub-works within it.
The work begins with a prologue, the cariography of which – not the choreography! – answered by the dance group and Kari Heiskanen. This “Part of the Masterpiece The Postman” is a bubble of joy straight out of Bollywood films. The group makes a wonderful mockery of the Bollywood vibe, and analytical (over)interpretations of dance performances also get their share.
The atmosphere changes with Teemu Kyytinen’s choreography Urges. In it, four dancers bring out the desires and needs that arise unexpectedly, while Kaisa Torkkeli observes the events in seclusion. Kyytinen’s vision reveals quick impulses that carry out the line from the inside of the mind to the movements of the body seamlessly.

The name of Inka Tiitinen’s choreography is funny. Two parts, the first of which is shown, make the viewer think about the continuation of the story and also think about the second part, which exists or doesn’t exist somewhere. The work is a short relationship story in which Kai Lähdesmäki talks about the events of one evening while Tiitinen dances them.

From one side to the other

The most impressive miniature work of the evening is Harri Kuorelahti’s Act of Unknown – Deeds from the Unknown. It is a great work visually, sonically and movement-wise, in which the dancers also convince with their wild devotion. Valtteri Raekallio’s male character meets Mikko Lampinen, Sofia Hill and Jenni-Elina Lehto one at a time.
In these scenes, the movement material is largely the same, but it seems to change into something new with the performer. The masculine physicality of Raekallio and Lampinen brings out completely different traits than the wonderfully fierce and angstic movement of Hill.
On the one hand, the evening is also Sofia Hill’s evening, as in Eeva Muilu’s next work, she will once again do an unbelievably fine role. Muilu’s Teos of What Is makes the audience laugh with tears in their eyes as Hill and Torkkeli bounce around and mess around on stage.
Muilu’s part deals with nothing less than life itself. And life is, for example, lists of different soft drinks or car brands, giggles and grimaces, suddenly stopping to stand on your toes or pointing your butt with your finger. In the blink of an eye, Hilli and Torkkel transform into all kinds of characters and into all kinds of poses and gestures. The hilarity of Muilu is irrefutable.
The work ends with Mammu Rankanen’s Kajo, which takes the mood in the direction of Ashtanga yoga and Eastern mysticism. The work, performed by five dancers, contains fine sculptural arrangements. The work is convincing with its serenity, which is also powerful.
One of the most impressive points of reference for the jubilee performance is its soundscape, which is designed by Harri Ahponen and who has also composed music for most of the works. In addition to Ahponen’s excellent contribution, Riitta Röpelinen’s costumes are excellently successful throughout.