raido's blog


More than half a year has passed since I wrote my last blog entry. With reason. I’ve managed to pile up such a mouthful of captivating challenges that in the non-stop adrenaline rush it has proved quite difficult to find some quiet time to calmly gather thoughts for a decent entry for the blog.

Zick is doing just fine. Unnoticeably and quite naturally our brand has gather behind it / pulled together or surrounded itself with new people. Some of them probably just stop by for a little while, others have come to stay for a bit longer. Time will tell and as Zick is still a dance theatre, the easiest way to keep an eye on these changes is to come and see our performances. „The Story Miia-Milla-Manda" will be performed again in the end of May – in the beginning of June and also a new performance is being created. We’ll start working on it in summer and show it in autumn. But I’d rather not go to the details yet. It’s nice to be with Zick in a place, where there’s no rush, stories have time to settle in and when everything is just right, we’ll do it. In the studio we also have a new teacher. Liis Ilula. I’ve had some longer breaks from teaching before and as time unfolds, we’ll see if I’m having a pause at the moment or we’re dealing with something else. Liis has become quite a permanent member of Zick – she danced in "You and Me" and in "The Story Miia-Milla-Manda". Once upon a time, before she went to study dance in the Viljandi Culture Academy, she herself attended the dance classes of Zick Studio. All the more joy for us to have her involved in the different activities of Zick. And to see that the brand named Dance Theater Zick with the dance artists behind it has gone trough some circles during its development. Despite that, of course, every new day brings the feeling that everything starts again from the beginning.

My everyday activities are related to Estonian Dance Agency, where I work since summer and The Union of Estonian Dance Artists, where I am engaged as head of the management board and which managed to organize and carry through kedjaTallinn this September. Challenges and responsibilities are huge, I’ve no fear of exhaustion yet and the desire to influence in a positive way the long – term developments is greater than ever. I’m happy to be able to state that in both organizations I have spectacular teams, without whom no organization would achieve anything. I can be nothing less than proud over each team and I’m grateful that I’ve been accepted so well in both of them. Thus, this season I’m a bigger office rat than ever before, but at the same time I don’t think I’ve been so overwhelmingly engaged with dance on daily basis ever before.

Still, I’m teaching one class this season. From January I’ll be giving classes in Oslo to a local folk dance group for women. And that’s also quite a challenge. I have never taught folk dance, let alone only women. So (for Kersti’s relief) – my teaching skills will not go that rusty.

C ya!


Today is premiere day. And a free morning. Well, more or less free. There's at least no need to be somewhere for a certain time.

I feel kinda exited. In a good way. The performance is not completely perfect, but I stand by my belief that there are exactly as many hopes and presumptions as there are spectators in the audience, and thus it's quite impossible to please everyone anyway. One must rely on one's own feeling. We'll make some small adjustments today before the performance, though. We'll cut shorter the swimming scene. And we'll modify the end a bit. I think it's okay the way it is, but as the majority is on the opinion that it should be changed, we'll change it. Yesterday we had the grand - rehearsal with our friends and families watching and got a lot of feedback from them. I have some tasks not related to the performance to complete aswell - for example hiding wires (there's always someone who sees the equipment rather than the performance) and figuring out what to do with those who hang on the fence and try to peek in (because it is interesting to find out what's going on on the other side) and so on.

I tend to feel a bit tired and ennuied before the premiere. The energy seems to flow in just one direction, but behind the stage there are far too many distractions, that prevent going along with this energy flow. Thus I am a bit tired. When taking a too close view, then in the shadow of successes there are also many mishaps that require attention and need to be dealt with.

The playsheets will be simple. I'll have to complete them today. And they will have one very important text on them. Those, who'll come to see us, should already take a look at it:

Oled kuulnud ühest majast –
nimeks Miia - Milla - Manda?
Sellist nime ilmaaegu
juba majale ei panda!

Kohe hommikul on tunda
õhus ootusärevust:
keegi piilub aknast välja,
keegi katsub õueust.

Ahjus küpseb pumpernikkel –
niki - näki koogike.
Pliidil aurab väikses kannus

Ukse tagant juba kostab
siginat ja saginat,
saapatümpse, kontsaklõpse,
laste naerulaginat.

Miia - Milla - Manda maja
ootab lapsi, peresid,
särasilmi, vallatusi,
ootab rõõmsaid teresid!

Tulge sisse! Läheb lahti!
Maja täis on laste kära.
Emad - isad samal ajal
kohvikus sõid koogid ära.

„Pole hullu, teeme uued!“
hüüab pagar Trilla - Tralla.
Rullib tainast, määrib moosi,
paneb pilpaid pliidi alla.

Kadrioru pargi veeres
Miia - Milla - Manda majast
juba kaugelt - kaugelt kostab
lakkamatu naerukaja.

Selles loos nii saidki kokku
minevik ja olevik.
Elu ongi ilmaime –
imeline silmapilk.

Miia - Milla - Manda lugu
läheb ikka edasi.
Aga vahel päris vahva
vaadata on tagasi!

As a producer I have a world of gratitude to share with those, who for more than a year have been in some way a part of the Story of Miia - Milla - Manda: related to dance are Tiina, Helen, Liis, Simo and of course Külli, Kenneth and Joonas; Tanel, without whom this performance would not have been created at all; Maike, who does everything no - one else does and loads more; Liis, Einar and again Tanel, who gave to the performance fab costumes, cool requisites and sound; Jaanus, who wrote texts we used as source material and also excerpts of this text will be heard in the performance; Ivar, whom I haven't met yet, but whose endeavors were cherries on top of a cake; Kerli, Jaak, Märt, the people of Tallinn City Museum, the Park of Kadriorg, Cultural Endowment of Estonia and STÜ, who have helped out more or less and without whom we might have had to stop befor the finishline; and last but not least - the staff of Museum Miia - Milla - Manda, for whom in a way this performance is meant for.

See ya at the dance performance!

About me and the agency

Kaja Kann wrote in the beginning of this year in one of her entries to the Zuga blog about her thoughts and standings related to the development of Estonian dance scenery. Among other things she brings out her correspondence with Triinu Aron, head of STÜ (Independent Association of Dance) and there’s one thought that prevails - that the State should support at least 10 premieres per year through agencies. Kaja has questions about it, Triinu doesn’t seem to understand these questions (you can read in more detail from the Zuga blog).

10 premieres per year. Through agencies.

Aren’t there really more of us, more dance artists and contemporary dance organizers that act in the third sector without State support? Indeed there are!

Contemporary dance is a fascinating field in organizational sense. In this field both State supported so called dance agencies, individuals and creative unions act on equal grounds hand in hand. None of them has more importance than the others. What’s important is their impact and necessity in the society, in the dance scenery. Not less important is the personal development of each artist. One can’t take one component without breaking the whole balance. All, who are engaged in this field have their say in these matters, be they NGO-s, foundations, self-employed or freelancers. They all act in this field and have their impact.

Zick is a member of STÜ. Founding member. Our input during the founding of STÜ was foremost putting a signature on the documentation. STÜ needed us more than we needed STÜ. Sadly this remains true until today. Despite the fact that Zick has changed. I have changed. The society has changed. From the 10-11 productions Zick has carried through, STÜ has had a bigger input in 2-3 productions. Maybe it’s related to the fact that I used to work for STÜ during that time? Indeed there were many other projects during that time that STÜ really did support all the way from beginning ‘til the end. Okay, economic crises had its impact and forced STÜ to modify and correct its actions. Nevertheless, none of Zick’s productions would have been cancelled if STÜ hadn’t joined in.

Today STÜ’s main goals are related to the development of the contemporary dance field. Finding a studio, a stage, participating in international programs… a couple of premieres per year. All the while the role of the artist in the production is getting more and more important. In a way this is good. There’s no doubt that the artist’s awareness of what and for what (s)he is doing, has to grow. But the agency was founded with the aim to provide administrative support to artists, so that an artist could focus on creating art, and the importance of this aim is continuously diminishing.

I am very pleased that STÜ is advancing successfully in regard to finding a dance hall and in regard to international relations. I truly am. On the other hand I can’t help wondering how this all is related to me, to my activities? In the end I still am the one who has to produce. I can name several artist who have recently learned how to produce themselves, because otherwise they can’t carry on. And all the while the field is developing, internationally. Towards those few, who can have a market outside. It feels a bit odd to criticize that. After all, we have long desired and searched for markets. We still desire and search for, and with the help of Theatre Agency we are taking big steps toward it at the moment. We’re trying to systematically find a market, not only through personal connections. And this all is great! Just that not all artist go to foreign countries. At least not so often, that it would enable them to work on their field of expertise.

Thus in the end of the day we stand in the same place where we stood a few years ago when we founded STÜ - we have something to offer for accomplished artists and we have something for those who are standing in the beginning of the road. But we don’t seem to have anything for that critical bulk, who keep the field alive on daily basis… they still have to manage on their own.

I may certainly be overreacting, or as Kaja put it, I see a ghost. The reality is that STÜ is supporting the newest Zick production with media relations. Everything else I manage with the artists (no - money is not the most important thing, but I don’t get paid for producing besides dancing). And nothing bad would happen, if STÜ wouldn’t help. I don’t know why they decided to help. Maybe they’re bored and have nothing else to do. Maybe they didn’t have anyone else to support. For STÜ this project is safe and sound - nothing much can go wrong, the STÜ´s team is paid small money by the State, so let them do it. There’s no responsibility. In the end of the year Zick will provide STÜ with spectator statistics. The State evaluates everything mostly according to statistics. Maybe there would be more to gain for myself, if my statistics wouldn’t go to STÜ, then the State may notice that Zick also does something. At the moment it seems that only STÜ does. And later asks production money (they already get the administrative money, the two agencies, I mean) from the State for itself.

Thus basically everything is in sound order. The field is developing. I’m developing (hopefully). So is there any need for STÜ as producers anymore (they don´t have one at the moment anyway)? Maybe we should look over the premises and expectations. After all, I produce on my own already. So do many others. The State thinks that the agencies are producing because that’s what the annual theatre statistics shows.

In a couple of weeks time, the general meeting of STÜ takes place. Maybe it’s time to start discussing on these issues. They’re in the air already anyway.

It´s Autumn

In celebration of the beginning of the eleventh season it is about time to sum up the summer.

In May it seemed that the summer ahead will be quiet and peaceful giving me an opportunity to concentrate on writing my master’s thesis in Amsterdam. But against all odds it turned out that I was still more than enough engaged with dance all through summer.

During Tallinn Maritime Days we danced with Liisi three performances of “You and Me”. During the first day performing on the main stage it became clear that a performance intended for the cozy environment of MMMM doesn’t work at all in its original form in open-air. Thus the next day we gathered a few hours before the performance and edited the performance the best we could to make it work. As a result of the editing, we had a shorter performance. Funny, though, how some parts of the performance did not work in the open air and in long distance. For example, we had to cut out large parts of the animals which is an unquestionable hit in inner rooms. There just was no point in impersonating a pig on a stage behind the monitors, where it wasn’t visible. So in conclusion the performance on the second day was a lot better. Third day introduced us with new difficulties. A few hours before the performance (while we were preparing for the BodyLounge performance in the administrative building of Tallinn harbor), it turned out that the children’s program was scattered all over Tallinn as the main stage had to be prepared for the water party that was due in the evening and the preparations took a lot longer than initially planned. We had to choose between performing later in the evening or on time on the lawn in front of the stage. We chose the latter. And performed the edited version. In the end it was a good choice, as we were due to perform in the end of August in Oslo also on the lawn in open-air, and it was a good rehearsal for that. On the stage behind us, the team continued to prepare the stage for water party even during our performance, so the audience had the opportunity to observe multiple actions simultaneously… but it seemed that the children and their parents enjoyed the show. At least there were dozens of glowing and happy eyes staring at us during the performance.

In the beginning of July we decided with Saskia and Ina that we will make the dance film in a shorter version in the end of August in Holland despite the fact that we didn’t get enough funds for it. It was sad that we couldn’t film it in MMMM but we hope that in the future we’ll have the opportunity to do that in some other occasion. So in the end of July and in the beginning of August we prepared for filming.

In the middle of August began the project “Cubes to Oslo”. I sincerely recommend Norwegians to join the European Union. Now, while I’m writing this blog entry, the cubes have arrived to Norwegian custom and should begin their journey back home, but the paperwork, the bills, the confusion, the uncertainty how to send stuff to Norway and back to Estonia… is quite a headache. Luckily the people who received the cubes are nice and we finally managed to get everything done, but at some point I was really fed up with it all and it seemed that everyone that saw or heard of the cubes in Norway wanted to bill Dance Theatre Zick for it. Even the company that was responsible for the delivery couldn’t explain why the bills are still coming. I really feel that I could open up a small transport company that would deliver goods outside the EU. I would be definitely a lot wiser and more experienced than the Estonian Tax and Customs Board information and help hotline… to bring just one example.

The Norway trip in itself was much fun though… and a unique experience in performance-wise also. The reception was awesome! And Norway is beautiful! To perform outside in a tent on the lawn in heavy rain is an experience on its own. I don’t ask myself very often why and what am I doing here, when I’m somewhere. But a few hours before that performance I did question myself whether it was the right thing or not…but we did it! In the end, when the children started to smile in the very beginning already and even the faces of grown-ups lit up, all the worry faded. I and Kaja were muddy and happy. Later in the evening we had a grill party in ambassadors of Estonia house where Birgit Õigemeel and Uku Suviste performed.

From Oslo I flew straight to Amsterdam, Kaja flew back to Tallinn with Tanel, who helped us in Oslo. Kaja joined me in Amsterdam a few days later. A week full of filming in Amsterdam was both exhausting and exiting. We were all sick also- at first Ina, then Kaja and finally I as well… It was very interesting. And it was intriguing to rearrange the performance that was intended to be performed on cubes so that it would be fit to be performed on rice bags..all the improvisation and observing how it all looks in the camera. Co-operation with Saskia, who is the co-author of the film with Ina and who’s editing the film material at the moment, was simply marvelous. Even though we had done a lot of preparations, there was still a lot to be figured out on the set and nether I, Kaja nor Ina had any previous experience with filming. I am really proud of our little team and everyone else that helped to prepare the filming almost for a year! Thank you all! Despite the fact that we had to make a much shorter version of the film, we still managed to make it with the people we wanted. Unfortunately the material filmed in MMMM with children cannot be used in the film, as the different quality simply doesn’t allow that, but we’ll find another use for that material. Thank you, Ina, Kaja, Saskia, Chris, but also Maike, Tanel and Coordt, for your input in the making the film. Now there’s just a month of editing left and then it’s done!

So these were the engagements during the summer. We are already preparing for next summer, but we won’t publicize these plans before the budgets are in place and plans certain. What is definite, though, is the fact that Zick Studio began its new season in Tallinn Dance Academy and this season the students will be taught by Tiina Mölder as I’m studying in Sibelius Academy in Helsinki in the fall semester. And also the Elamusmuuseum Dance Studio began its work in MMMM.

See ya!

It´s spring

Finally spring has arrived. I got really fed up with winter and cold this year. Now I can sit on the lawn and chill about without wind and breezing degrees blowing me away. Cool.

On Wednesday next week I’ll take off to Amsterdam where I will stay til about mid-July. Then I’ll come back home, then I’ll be in Helsinki and Oslo for a while and then back to Amsterdam from where I’ll finally return in the beginning of September. I got accepted to Sibelius Academy ´s an exchange student, so there are not that many days left for me to spend in Estonia this year.

Last summer I understood that I’d wondered completely off track. I took some time and came up with a plan to set new goals and to go to school. A year has passed and I must admit that it was a good plan. My head is full of new ideas, I’ve overcome the fatigue and I’m looking forward to writing my master’s thesis this summer. I even don’t have that feeling that I’m in such a terrible hurry and if I don’t get things done straight away, I won’t get them done at all. For the first time, I’ve got time.

Last weekend I danced a few dances on the 30th anniversary of Lee. It was fun to be there again. I’ve been away for quite a while from this ethno-romantic (Maria so splendidly coined this term) dance (Uppsar is not quite the same thing) and thus it was a bit odd at first in the rehearsal where we rehearsed with Maido the first steps of „Kuu“ by Kait Tamra. But this oddness passed and all in all it was fun. I’ll be having the last performance with Uppsar also this week before a longer break. Who knows when I’ll be back in Estonia for such a certain time that it’s safe to put me in performing schedules again.

Big news is also the fact that Liis Ilula is dancing the part of Kaja in „You and Me“ performance. Kaja will definitely not leave the performance (Kaja will perform in Oslo), but Liis will perform a lot this year as Kaja is occupied with her new performance. First performances with Liis are already done and even though Liis is not Kaja and Kaja is not Liis the performance is as good as ever. Last week we got only the best feedback from great kindergarten toddlers and their teachers in Viimsi.

I’ve also set a sports goal for myself. I will run in autumn the Berlin, Helsinki or Amsterdam marathon. First training from the 16-week training cycle is already done.

Self-made, well made

I was in a lecture in Tartu the weekend before, when I received a SMS message saying that the constructor, who had promised to build the cubes decided not to build them after all. He was already in delay for couple of days and we had to be in Haapsalu with new cubes in four days. I couldn’t leave the lecture room, so I wrote to Tanel via MSN, that he must contact Jaak to see if he could help, because of this huge mess. Half an hour later I received an answer that they will sort this problem out.

This seemingly simple story began about a year ago, when Ina began rehearsals with Kaja and Jaan in Museum Miia-Milla-Manda. I presumed that the audience will be seated on the two three-storeyed cubehills and the performance will be made to be performed on the floor. In one rehearsal I found out that on the contrary- dancers will perform on cubes and the audience will watch from the floor. I concluded that I shouldn’t mess with presumptions. Program was set for a time and touring was not in sight before autumn 2011. I noted with calm that later we should make our own cubes.

Our own cubes were meant to be completed by the end of this summer, but in December the performance was elected in the program of the Estonian Contemporary Dance Platform held in Haapsalu, thus the knock up of our cubes had to be rescheduled to an earlier time.

My order was: cubes have to fit in a car with three people, driver included, inside; they have to be light, esthetic, safe and easily movable. In February the potential constructor came to see the cubes in the Museum, we made a deal that he will deliver the cubes by April 1. Sketches were already made, we discussed technical details and the cubes had to be considerably smaller than the originals…

Anyway, Tanel and Jaak began to build them on Sunday morning and worked ‘til late afternoon to continue on Tuesday. On Tuesday evening I went to help them out with polishing and painting with Maike. We managed to paint only one layer and we couldn’t paint the capital letters on the cubes. The outcome was much as I had imagined but what can you expect if you haven’t had any previous experience with plywood before- they were much much heavier than I thought they’d be. Plus they didn’t fit inside each other as smoothly as we had planned at first.

I, Kaja and Maike were driven to Haapsalu and back by Maike’s dad, who’s car was the biggest available at such a short notice. Wednesday evening after the rehearsal in Ilon Imedemaa I painted few capital letters on cubes with Maike and we decided to continue on Thursday. We had the colors and templates with us. I was a bit concerned about the smaller cubehill, as it tended to slide on the Imedemaa cinema hall’s floor. We jump on the cubes with quite a force during the performance, thus I was concerned that it all could end up with an accident. On Thursday we bought rubber widgets from a local construction store, which were supposed to prevent sliding and painted the rest of the capital letters on the cubes. During the performance in the morning the small cubehill slid off despite everything, for the second performance we placed the rubber widgets a bit differently, so it didn’t move under our feet…

Festival itself was much fun, as most of the Estonian dance-related people were together in the same space-time. Still Tantsuliit has to put considerably more effort in organizing this in the future. All in all, the performances took place, though some of them at different time than announced at first.

The audience was warm and the fear before the new and different cubes faded off during the performance. For two performances performed we had only 5 children and a score of dance-related adults in the audience, so in this regard there should be more consideration in the future, how to market the performances, especially if they take place on Friday morning and in Haapsalu. But enough of that. Kaja relaxed on the couches of Wonderland for hour and a half between the two performances from the fatigue acquired from the Banana-performance and Festival club from last night… Even Jaan came to see the second performance. I didn’t manage to talk with him after the performance, but it was great that he came. Anyway, there’s good reason to go back to Haapsalu, I believe there is more than enough audience, if one searches for them and sends out some information.

On Friday evening I finally saw ZUGA’s performance “Kohe näha, et vanad sõbrad”. I felt compelled to say “thank you” to the performers. I had the chance to thank some of them. To those, whom I didn’t manage to thank there, I’d like to pass my gratitude here :) sort of unformal and fab “thank you”!

Anyway, during the last week I was convinced again, that the Estonian dance artist is quite a superman- builds cubes, carries them, paints, adapts with constantly changing festival organizing and endures bravely all the obstacles on the way. And people around them get pulled along. And performances take place. Thanks to all who supported the making of these performances!

Now, when the fatigue starts to wear off, it seems this gathering was rather much fun.

Spring quietude

This blog entry was driven first and foremost from the fact that it’s been about two months since the last entry.

The big rush is over, it took two months to put together all the applications for the film, at the moment there isn’t even much schoolwork to do. Silence before the storm?

Writing applications for the film was different this time. Until now there have been occasions where I’ve written applications in an hour, I’ve even joked about it. In that sense I’m really proud of those last international applications. Even in my age I managed to do things differently, held meetings, emended and corrected the wording, thought through and chose the right ideas and all this in a very comprehensive way. I will get the answers next month and if all goes well, it’ll be a much larger project than just making one film. We’ll see. Even if we won’t receive funding this time, the contacts made and the experience gained are extremely valuable for the future.

Last week we had eight “You and Me” performances in four days in the museum. First day ended with a tremendous fatigue, on the second day we messed up one performance, Thursday was poor and on Friday we had really cool performances. It was weird this week not to have to be doing warm up at 9 am and doing the first performance at 10 am. I’d rather not do this sort of marathons very often, it’s pretty tiresome. Thus- I’m happy we did it, but relieved it’s done.

Next week the new cubes will be finished- the week after there will be performances of Estonian contemporary dance platform in Haapsalu waiting.

I’m preparing for summer. I intend to spend a bit more than three months in Amsterdam and Paris.

Zick´s birthday

Anu Ruusmaa´s dance performance 2005

In relation to the unexpectedly arrived 10th birthday of Zick, it seems appropriate to tell how it all began.

It began in the end of 2000 or the beginning of 2001. Terje Treimann’s Dance Studio offered a dancehall for rent. I, at the time, was a freshman dance student in Viljandi and for some reason I felt compelled to rent that hall. I didn’t really know what do with the hall and I hadn’t given any dance lessons before.

I asked my classmate Cristina for help as she’d already taught people to dance. I asked her to give the first lessons and she joined in.

In the first classes we had two-three students, can’t recall the exact number really.

In the first class given by me we spent most of the hour and a half on the floor stretching and doing splits. Now I just laugh at it and I feel pleased when I think of the road I myself have walked as a teacher through these ten years.

Stella, who later became one of the key figures of Zick, was a student in our studio. Cristina left in spring as giving classes on Fridays and Sundays beside university engagements got too burdening. Stella started to study dance in (now) Tallinn University in summer and it was only natural for her to start giving dance lessons.

People have asked me oftentimes with a touch of awe and amaze, that your own dance theatre, wow, how did you accomplish and so on? I usually don’t know what to answer, but to advise to pull oneself together and just do it. It is much harder to keep doing what you’re doing while being constantly criticized by yourself and others than to start doing it. Anyway, in the summer of 2001 while watching a documental from TV, I decided that we should produce dance performances.

The same summer we came up with the name Dance Theatre Zick. Then we thought of the name as a combination of chic and sic! But we never used it as an official explanation or a story for the name, as actually there was no story behind the name. We thought of changing the name a year later, but the idea was strongly opposed by our students and so we dropped the idea. The main reason for opposing the change of name was that Zick was such an unusual name and thus easy to remember. So that’s why, whenever anyone asks what the name means, I reply that it’s simply a name and that’s that. Dance Theatre Zick is Dance Theatre Zick.

The first five years were filled with productions performed by our students. The know-how and experience in dance grew and looking back the premiere of “Solitude, It Doesn’t Matter At All” by choreographer Anu Ruusmaa in the autumn of 2005 was a natural result of it all.

Professional dance theatre was born and dance studio activities were moved under the brand Zick Studio.

In general the activities of Zick in these ten years can be divided into two periods of equal length. In the first period Zick was fully engaged with amateur dancers and in the other with professional dance theatre with studio acting beside the theatre.

I also have grown with Zick. We have done things the hard way, but we’ve never stopped, we’ve always moved on, motion is programmed into us. And it’s good!

Birthday invitation


In January 2001 under the guidance of Raido Bergstein, the freshman dance student of Culture Academy of Viljandi, began its work a studio which half a year later (when Stella Suitso was about to get engaged with her dance studies in soon to be University of Tallinn) was named Dance Theatre Zick (to all those who wonder or have asked in the past ten years- it’s just a name and doesn’t mean anything more!).

Young and unashamed, we brought to life several great projects. With our second project we landed already in the just opened Kanuti Gildi SAAL. Work with young amateur dancers, who haven’t had much previous experience with dance, continues under the brand Zick Studio to this day. The number of students who have attended the studio is so big that no one even counts anymore :)

In early autumn of 2005 premiered in (also brand new) Theatre NO99 dance performance “Üksindus, see polegi tähtis” by Anu Ruusmaa, which marked the beginning of the Dance Theatre Zick we know today. A professional dance company. From that moment on very many performances, choreographed by (again let’s start from the beginning) Anu Ruusmaa, Dmitri Harchenko, Jaan Ulst, Jenni Kivelä and Ina Stockem, have premiered in a row. Each of them a truly valuable and great endeavor in their own time and place.

Thus Dance Theatre Zick is engaged with its 11th season already! Not even the founders dared to believe that the frozen dance hall at Kopli 4 street would be the starting point of a dance brand, that operates boldly to this day. From the inside, there are no signs of weariness. We’re always up to something, even if it can’t be seen from the outside.

In celebration of everything that has been done and accomplished (and sometimes planned but cancelled before bringing before the audience)in 10 years and 11 seasons we are pleased to invite those who have contributed to the undertakings of Dance Theatre Zick (including professional dance artists and super cool dance students) on Saturday, 15 of January, from 15 to 18 o’clock to Museum Miia-Milla-Manda in Kadriorg to eat and drink some birthday cake and juice.

Stella and Raido have busily reminded themselves all the fabulous people, who have been engaged with Dance Theatre Zick and those, who have been involved will find an invitation from their mailbox.

All you, who for some reason are not able to attend the birthday party and all you, who haven’t yet rolled with us in the same dance hall, may leave your best birthday wishes here =) We are very happy and delighted to accept them!

And we are grateful to all, who have followed us through the years!

*Tantsuteater Zick*
Stella Suitso
Raido Bergstein


Zick is going to make a dance film. Already for three-four years I have quietly carried in myself this thought that I should take it up, but ‘til now it didn’t feel like it’s the right time for it. In summer I opened my mouth and discussed this idea with Ina. Well, and by now we have put together a great international team to make this film. Ina is the choreographer. Saskia is the person one may call the filmmaker. She will put together the storyboard and also she will edit the material in the end. Then we hope that Chris will give us a hand with filming with his steady cam. He said he’d be happy to work with Ina and Raido. He already has worked with Saskia. The main concern is that he’s always on the run (at the moment presumably in Philadelphia) and it’s fairly complicated to make plans with him. Especially when we have the team ready to rock! Coordt will do the sound score for the film in the end. Kaja and Raido will dance in the film.

The idea of the film is, that we’ll take “You and Me” performance with its friendship theme and elaborate on it. So this will not be simply filming the performance. The starting point is “You and Me”. Where the finish is we yet don’t know. Filming will of course take place in the Museum Miia-Milla-Manda.

There are of course still more than enough loose ends. As we are at the moment in the very beginning of things, it is absolutely normal. It’s a bit intimidating also- will we manage all this. As I’ve created such a cool picture of it in my head already.

As for final remarks, here are some videoclips which Ina sent me from Amsterdam Cinedans festival

´til next dance!