Because of fragile structures, Finnish dance companies tend to remain small and large-scale works are rarely produced. Tero Saarinen Company is seeking to change that with the help of private development funding.
Text: Emma Vainio
Founded in 1996 by dancer–choreographer Tero Saarinen, then already known for his international solo career, Tero Saarinen Company (TSC) has become synonymous with large-scale productions. Today the company receives state support and has toured in 40 countries.
For several years, TSC has been considering how to manage a generational shift as Saarinen and Executive Director Iiris Autio—who joined the company in 2001—begin to step back.
“A succession like this needs careful and timely planning,” says Autio. “That way, an activity built with passion can benefit future generations while still enabling renewal.”
The company has secured a major four-year development grant from the Jane and Aatos Erkko Foundation. The project is designed to strengthen TSC’s organisational structures and continuity to a level comparable with major international companies.
Structural weaknesses in the Finnish dance scene
Alongside its own annual programme at Dance House Helsinki, TSC also curates guest performances by foreign companies. In September 2025, for example, the Spanish collective Kor’sia will perform its work Mont Ventoux in the large Erkko Hall.
Autio calls Dance House Helsinki “a magnificent achievement,” the result of years of collective lobbying within the dance field. Opened in 2022, the venue finally gave Finnish dance a state-of-the-art stage. Guest performances there have brought world-class contemporary dance to Helsinki audiences and fostered fruitful international exchange.
At the same time, they have thrown into sharp relief the weaknesses of Finland’s dance infrastructure.
“Although Finland has truly innovative and talented dance artists in many genres, we’re still far behind other European countries and even our Nordic neighbours,” Autio says. In her view, Finland lacks companies that can regularly employ a larger number of dancers—something essential for creating larger works.
“Just in Sweden there are three major companies—Cullberg, Skånes Dansteater and GöteborgsOperans Danskompani—with 20 to 43 dancers on staff. Even Norrdans, which tours the northern regions, has nine dancers,” she notes.
Some Finnish groups do employ dancers on longer contracts, including monthly salaries, but the scale is modest compared with the international field. Helsinki Dance Company, for instance, has seven permanent dancers at its core. “I’ve seen throughout my career how working with the same people over time deepens artistic practice and simply makes the work easier,” says dancer–choreographer Valtteri Raekallio, leading the company.
Large stages left in the shadows
According to Autio, small-scale and experimental work has become the mainstream for young dance artists in Finland, while dance for large stages has remained marginal. Funding and enabling structures are still fragile compared with other Nordic countries.
Grants and fragmented freelance work don’t allow structures and productions to develop to international scale—they’re enough only to survive” – Tero Saarinen
“Because TSC has always been oriented toward large stages, we began to think about how to develop our operations and raise our structures to an international level,” Autio explains. “We decided to pursue growth through a development project.”
Artistic Director Tero Saarinen points out that even being able to offer monthly salaries to six dancers is a major step in Finland, where permanent positions are rare.
“Grants and fragmented freelance work don’t allow structures and productions to develop to international scale—they’re enough only to survive,” he says.
TSC also trains its salaried dancers to teach the Tero Technique, Saarinen’s own movement method blending elements of ballet, contemporary dance and Asian traditions such as butoh.
“As our artistic staff has grown, we’ve also been able to launch regular morning training and teaching activities. These morning classes are open to all dance professionals,” Autio notes.
Major companies nurture the next generation
“We hope this project will help show that our field can operate more through employment, not just grants. Finland needs to make big developmental leaps to get closer to the structures of the international dance world,” Autio says.
Abroad, large companies also play a crucial role in training and launching new generations of choreographers.
“If you look at choreographers who succeed internationally, they don’t emerge directly from school—they often come out of companies,” Autio points out. “That way they’ve been able to observe different choreographers up close and learn how choreography is built. This career pathway also needs strengthening in Finland.”
And how will audiences experience the effects of TSC’s development project?
“Alongside our salaried staff, the project will allow us to hire even more freelancers for large-stage productions in the future,” says Saarinen. “We’re certainly not turning inward—quite the opposite. Guest choreographers, both Finnish and international, will bring their own perspectives and networks. All of this will already be visible in our programme for 2026, when we celebrate our 30th anniversary.”