Karin has a broad training background encompassing classical ballet, contemporary dance, jazz and Swedish folk dance. In early dance, she has primarily studied at the University College of Dance in Stockholm, with Irène Ginger and Béatrice Massin in Paris, and with Marie-Geneviève Massé and Françoise Denieau in Sablé-sur-Sarthe, France. She has also studied commedia with Barry Grantham and Gino Samil, mime with Ika Nord and Ivan Bacciocchi, acting with Jean-Luc Galmiche, as well as musicology, dance and theatre science at Stockholm University.
Dancer and Choreographer
Karin has performed in productions in France, Germany, Belgium, the Netherlands, Scandinavia, Poland, Turkey, Italy, South Korea and the US. She has worked with choreographers such as Deda Cristina Colonna (Nordic Baroque Dancers, dancer and rehearsal director – Armide 2015-2017), Sigrid T’Hooft (Corpo Barocco – Radamisto 2009-2010, Amadigi 2011, Odeo 2012, Imeneo 2016), Caroline Copeland and Carlos Fittante (Boston Early Music Festival Dance Ensemble – Niobe 2011 and Almira 2013), Irène Ginger (Le Destin du Nouveau Siècle 2017-2018), Marie-Geneviève Massé (Compagnie l’Eventail – Don Juan and Les Ballets de Noverre 2011 and 2012), Françoise Denieau (L’Egisto 2011), Lieven Baert (Hieronymus Bosch 2009 and concerts with La Cetra d’Orfeo 2012 and 2014), Guillaume Jablonka (Compagnie Divertimenty – Les Coulisses du Ballet Vénitien 2015), Steve Player (Dido and Aeneas 2012) and Kaj Sylegård (The Dancing Master’s Visit 2006 and 2008, Beautiful Dance 2007 and Carl von Linné 2007), at venues such as the Opéra Royal de Versailles, the Opéra Comique de Paris, Drottningholm Court Theatre, Badisches Staatstheater in Karlsruhe, Warszawska Opera Kameralna, as well as at the Innsbrucker Festwochen, the Boston Early Music Festival, the Göttingen International Handel Festival, Musikfestspiele Potsdam Sanssouci and the Stockholm Early Music Festival.
Karin’s work as a choreographer comprises collaborations with Vadstena-Akademien (Solen och Nordstjärnan 2018, Les Grandes Nuits 2015), Östgötateatern (The Misanthrope 2016), Northern Movement Dance Company (The City 2014), Trollhättans Musikdagar (L’Orfeo 2017), Operabyrån (Love and the Courtesan 2013-2014), Suzanne Persson/Completely Baroque (Henry and the Magic Passacaglia 2010) and the Swedish Royal Dramatic Theatre (Valpen 2007). She has also choreographed for Nordic Baroque Dancers: Récréation together with Noah Hellwig 2017, Queen Christina 2015 and Pygmalion/Anacréon with Les Paladins at the Stockholm Early Music Festival in 2007. In 2010, she created the solo performance Le Visage Humain, on music by de Visée and Hurel, in collaboration with lutenist Magnus Andersson.
Both as a dancer and choreographer, Karin has a penchant for dance theatre, taking her general starting point from baroque or renaissance movement material.
Pedagogue and Lecturer
After completing the post-graduate pedagogy programme at the University of Dance and Circus in 2006, Karin gave regular classes in baroque dance at the Ballet Academy of Stockholm and in early dance at the Stockholm School of the Arts until 2011. Since then, she has been a regular guest teacher at the University College of Opera, and has also been invited to teach at the University College of Dance, at the Royal College of Music in Stockholm, the international festival of early dance in Moscow, and at the professional dance education programme in Gothenburg. In 2014 she launched the International Summer Academy of Baroque Dance in collaboration with Löftadalen Conservatory, and is since then both organizer and one of the main teachers. She has also taught masterclasses in France in connection with baroque dance productions by Compagnie l’Eventail and Ensemble La Tempesta.
In addition, Karin has appeared in productions for Swedish radio and TV, French tv series, and given lecture demonstrations at the baroque dance seminar in Rothenfels am Main, at the Stockholm City Archives, and at the international symposium La Sallé, held at the 18th-century court theatre Confidencen. In October 2010, she lectured together with Irène Ginger at Colloque Noverre, a research conference held at the Sorbonne in Paris, and in December 2012 she again lectured with Irène Ginger at a dance research symposium at the Centre de Musique Baroque de Versailles.
Grants and Awards
In 2017, Karin received grants from the Swedish Arts Grants Comittee and the International Dance Programme for creating and curating the production Dialects/Dialogues. In 2012, she was awarded a grant from the Friends of the Drottningholm Palace Theatre, and was selected to receive The Swedish Early Music Award. In previous years, she received grants from the Swedish Arts Grants Committee, Nordic Culture Point, the Carina Ari Foundations, and the friends of the University of Dance in Stockholm.