{"id":25175,"date":"2026-10-21T15:52:05","date_gmt":"2026-10-21T13:52:05","guid":{"rendered":"https:\/\/norrlandsoperan.se\/hagar-malin-hellkvist-sellen-its-an-exciting-time-for-dance-in-umea\/"},"modified":"2026-10-20T16:00:14","modified_gmt":"2026-10-20T14:00:14","slug":"hagar-malin-hellkvist-sellen-its-an-exciting-time-for-dance-in-umea","status":"publish","type":"post","link":"https:\/\/norrlandsoperan.se\/en\/hagar-malin-hellkvist-sellen-its-an-exciting-time-for-dance-in-umea\/","title":{"rendered":"Hagar Malin Hellkvist Sell\u00e9n: “It’s an exciting time for dance in Ume\u00e5”"},"content":{"rendered":"\n
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If we were to dig through your archive\u2014which of your works would you like to highlight a little more? <\/h4>\n\n\n\n

\u2013 Wow, that\u2019s a tough one! All of my works hold a special place in my heart. I\u2019ve had so many enjoyable creative processes with wonderful teams\u2014and, not least, encounters with the audience. Still, a few works perhaps stand out in that they\u2019ve represented clear steps forward or shifts in my choreographic practice. I\u2019d like to highlight *Dom ger tanken kropp*<\/em> from 2003, which was the first time I worked from a queer perspective. It may also have been the first explicitly queer work in Swedish dance. *Kung Kristina*, a queer work for middle school students, caused quite a stir in 2005. *B\u00e4ttre folk* (2006) took many by storm, and I actually believe that if anyone were to create a \u201cdance canon\u201d for Swedish contemporary choreography, it would be included there. <\/p>\n\n\n\n

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In 2008, Hagar Malin Hellkvist Sell\u00e9n created *Rosa l\u00f6ften*<\/em>, a co-production with the Norrlands Opera. <\/em>A 20-minute excerpt from the work was performed at the Norrlands Opera\u2019s 50th-anniversary celebration in 2024. Photo<\/strong>: \u00c5se Bengtsson-Hellin<\/p>\n\n\n\n

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You\u2019re currently working on your new piece, *Driv Hunger*.<\/em> How has your approach to a project changed over the years?<\/h4>\n\n\n\n

\u2013 In the past, many people probably associated my work with clear themes, but that\u2019s not always the case anymore. I became intrigued by the idea of seeing what happens if I approach the process with a more open mind. I think it\u2019s a sense of security that comes with experience: I no longer feel stressed about the artistic process; I know I\u2019ll see the work through to completion. That gives me more creative freedom\u2014I don\u2019t have to force anything and can trust the process and the craftsmanship that the dancers and I possess. <\/p>\n\n\n\n

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So where does the process begin?<\/h4>\n\n\n\n

\u2013 The title is incredibly important; it has to capture my interest\u2014and hopefully that of the audience as well\u2014and raise questions. I usually say that the title is the first encounter with the work. I think \u201cDriv Hunger\u201d is an exciting title\u2014concrete and mysterious at the same time\u2014and its meaning isn\u2019t immediately obvious. In this case, I didn\u2019t come up with the title myself but borrowed it from a work by graphic designer Lina Nordenstr\u00f6m. <\/p>\n\n\n\n

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“The people I choose to collaborate with\u2014composers, lighting designers, dancers\u2014also set the parameters for what the work will become<\/em>.”<\/p>\n<\/blockquote>\n\n\n\n

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Is there a clear plan?<\/h4>\n\n\n\n

\u2013 I try not to plan too much before I go into the studio with the team. I want the piece to evolve together with the dancers, and I want to be open to wherever the process takes us. The people I choose to collaborate with\u2014composer, lighting designer, dancers\u2014also set the conditions for what the piece will become. For me, the artistic process is about being present and daring to embrace uncertainty. <\/p>\n\n\n\n

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“Driv Hunger<\/em> ” premieres on November 13 at the Norrlandsoperan and will tour with Dansn\u00e4t Sverige in the fall of 2026 and spring of 2027. Photo<\/strong>: Sofia Runarsdotter.<\/p>\n\n\n\n

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Ume\u00e5-based musician and composer Anna Levander\u2014known, among other things, for her work with the band Dolce\u2014is creating the music for *Driv Hunger*. How did this collaboration come about?<\/h4>\n\n\n\n

\u2013 We haven\u2019t met before, so this will be our first collaboration, and I\u2019m really excited about it. I reached out to Anna because I feel a connection with her. The interplay between choreography and music is important, and neither should feel subordinate to the other. It\u2019s a joy to see the two forms of expression emerge together. <\/p>\n\n\n\n

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“Driv Hunger” is the third work you\u2019ve created since you and your company moved back to Ume\u00e5 three years ago, after more than two decades in Stockholm. What\u2019s it like to work as a choreographer in Ume\u00e5 compared to Stockholm? <\/h4>\n\n\n\n

\u2013 In a way, there isn\u2019t much of a difference; the work is done the same way. I\u2019ve also worked regularly in Ume\u00e5 and V\u00e4sterbotten throughout my entire career, so I\u2019ve always had a foothold here. I\u2019ve experienced many positive effects from living here, and I\u2019ve found many great partners here, which is incredibly valuable. The challenge of working here is that I haven\u2019t been able to apply for municipal or regional operational grants for dance, which has meant that the organization I run has been financially weakened by the move here. I want to be able to maintain a high level of artistic quality, so I\u2019m hoping for changes in this area. <\/p>\n\n\n\n

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“Many dance artists are forced to leave the profession, and as a result, expertise and interesting artistic voices disappear from the field<\/em>.”<\/p>\n<\/blockquote>\n\n\n\n

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Do you see any signs of progress there?<\/h4>\n\n\n\n

\u2013 A milestone over the past year has been Hemvisten<\/em> \u2014a workplace for professional dance artists located in the Folkuniversitetet facilities in the heart of town. Many of us have worked hard to make this space a reality. At Hemvisten, those of us who are members of Danscentrum Norr have studio and office space, and having this base makes a huge difference. Hopefully, Hemvisten will become a permanent solution for the professional dance community. <\/p>\n\n\n\n

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Hagar Malin Hellkvist Sell\u00e9n\u2019s *Vi r\u00f6r oss mot slutet* was created <\/em>as a choreographed exhibition for the V\u00e4sterbotten Museum in collaboration with the Norrlandsoperan. Photo<\/strong>: Sofia Runarsdotter.<\/p>\n\n\n\n

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What are the general conditions for working in the field of dance in Sweden?<\/h4>\n\n\n\n

\u2013 These are challenging times for the arts. Many people are feeling the effects of budget cuts as the cost of living rises. Many dance artists are being forced to leave the profession, and as a result, expertise and interesting artistic voices are disappearing from the field\u2014which ultimately affects the audience. At the same time, many of us are persevering and making ends meet as freelancers or within artist-run organizations operating on slim margins. I feel both gratitude and pride in my profession. We need a stronger cultural policy. <\/p>\n\n\n\n

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And from a local Ume\u00e5\/V\u00e4sterbotten perspective?<\/h4>\n\n\n\n

There is much that needs to be done to strengthen the infrastructure for dance in the county and to enhance dance artists\u2019 opportunities to work professionally. The latter is incredibly important because it increases access to dance in the county. At the same time, I feel hopeful. I sense a growing momentum for the art of dance in V\u00e4sterbotten right now. There are many of us who want to work toward change and improved conditions for the art of dance here. It\u2019s an exciting time to be working out of Ume\u00e5. <\/p>\n\n\n\n

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Hagar Malin Hellkvist Sell\u00e9n<\/h2>\n\n\n\n

From:<\/strong> Ume\u00e5<\/p>\n\n\n\n

Occupation:<\/strong> Choreographer <\/p>\n\n\n\n

Current project:<\/strong> Celebrating 25 years as a choreographer with the new work *Driv Hunger*, premiering on November 13<\/p>\n<\/div>\n\n\n\n

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<\/div>\n\n\n\n<\/span>Learn more about Driv Hunger<\/span><\/a>\n\n\n\n
<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n","protected":false},"excerpt":{"rendered":"

After 25 years in the field of choreography and with a repertoire featuring a series of compelling and engaging works, Hellkvist Sell\u00e9n is back with her new piece, *Driv Hunger*. This is the tenth in a series of co-productions with Norrlandsoperan. She has explored a variety of themes, such as working-class heritage, queer life stories, and dance band culture\u2014though in recent years she has worked with a more open-ended approach, prioritizing her interest in movement. Portrait photo: Elin Berge <\/p>\n","protected":false},"author":12,"featured_media":24842,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"blog_color_primary":"","blog_color_secondary":"","footnotes":""},"categories":[78,28,79],"tags":[],"class_list":["post-25175","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-behind-the-scenes","category-intervjuer-en","category-musician"],"yoast_head":"\nHagar Malin Hellkvist Sell\u00e9n: "It's an exciting time for dance in Ume\u00e5" - Norrlandsoperan<\/title>\n<meta name=\"description\" content=\"After 25 years in the field of choreography, Hellkvist Sell\u00e9n is currently presenting her new work, *Driv Hunger*\u2014the tenth in a series of co-productions with the Norrlandsoperan. 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