Choreographers and co-founders


Dansbyrån was ran by choreographers Marika Hedemyr, Paula de Hollanda, and Moa Matilda Sahlin.

Marika Hedemyr

Marika Hedemyr (born 1970, Gothenburg, Sweden) is an artist working across choreography and public art, relating bodies and ideas to the use of “our” contemporary urban society. Her work is characterized by mundane situations in a twisted reality, precision, humour and physicality.

Hedemyr’s current focus is to create performative art in public spaces, thereby raising issues on access and democracy. In 2014 Hedemyr graduated with the MFA - Contemporary Performative Art at Gothenburg University with a pilot for the work Guide by Numbers and the thesis Utsagoposition och Språk – En uppgörelse med unkna ideologiers våld. Departing from this research, she started the long-term art project The Event Series that explores Gothenburg Event District, including for example the works Let’s meet in Göteborg (2014), The Gothenburg Magic and the Cannibal (2016), and the article Performative Art in Urban City Centres: Navigating the terrain of art making and value systems in public space (2015).

2000-2014 Hedemyr was the artistic director and choreographer of the dance theatre company Crowd Company. Her artistry holds more than 30 works for stage, public spaces, art venues, theatre stages, film, as well as publications, collaborations across art disciplines and being curator of several international labs for artistic practice. She is also co-founder of Dansbyrån, a Swedish platform for theory, practice and choreographic development. Hedemyr’s latest choreographic commissions were the re-enactment Rubicon Re-Visited at Haga Kyrkoplan (2014), as part of the research project Dance as Critical Heritage, and a new version of the pop-up dance theatre piece Minutes 3.0 (2014) for the dance company WATT (FI).

Paula de Hollanda

Paula de Hollanda is currently working on two parallel tracks. One concerns the body's capacity and gender, how we can look past preconceived ideas of what we are able and what we are not able to do based on our gender, and instead discover our own actual capacity. The second track is samba and what relationship the evolution of the music and the bodies in the carnival samba has to the development of the Brazilian economy.

Recurrent thoughts are about gender, color and power. What privileges associates with different gender and skin color and what is the price we pay for these privileges. Paula has lived and studied in Brazil and experience from there mirrored in a Swedish contemporary art context gives rise to many thoughts that trigger her to articulate her practice.

Moa Matilda Sahlin

Moa Matilda Sahlin (born 1974 in Gävle, Sweden) reactivates the postmodern practice theories through a critical exercise of feminisms development in her own body and societal corporeality. Her dance teaching and choreographic practice insist on art's central role in society. She repetitively invites to the hopeful serpentine roads, towards the ongoing dream of Utopia.

MOA kompani, is a proposal to work through choreographic methods in projects, networks, choreographies and conversations. The most in-depth work so far was done with Dansbyrån and dansbaren where; Funmi Adewole, Inta Balode, Kate Elswit, Åsa Holtz, Rani Nair, Jannine Rivel, Petra Kuppers and others are and have been influential colleagues. With their new perspectives, formal experimentation and bodily updates. The choreography "Nyfiken på gränsen" was made in her master's degree in choreography in 2005 London, Laban, and was part of the Dance Biennale in Gothenburg in 2006.

The clients have since been everything from Gothenburg City Theatre for choreographic support, to the Eurovision Song Contest for the project of a flashmob in Gothenburg with 500 people to Critial Conversations in New York.

"The extended hand gesture" is a work in 2016. A larger group of dancers with expertise in a wide range of performativity practices become part of the MOA kompani, synchronize solidarity movements to newly composed music. It is in the context an extraordinary stage space that creates contemporary witch history, lighting design and artificial clouds.