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The monsters are back in town!

{mosimage}And not, this time we are not talking about Lordi…  Lovers of big cars, roaring engines and spectacular open air shows can feel happy, since Monster Mania, Monster Truck Racing European Championships, arrives near the Olympic Stadium in Helsinki the 16 June to offer tones of entertainment for adults and children.

 

Just only hearing the names of the trucks is enough to imagine the chain of destruction that they will release in the Finnish capital: Bigfoot 17, Lil Devil, Red Dragon, Swamp Thing, Monstrous and Slingshot 2004 are ready to smash all pieces of metal around them. Experienced drivers from United Kingdom will be the ones on charge to keep the “beasts” on four wheels under control inside the stadium.

 

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But Monster Mania show offers much more: for starters, the Free Style MX Czech and Finnish best riders will compete to show who is the most skillful one in a show that includes 22 meters long back flips! Among the participants there are big names as Jussi Seljas, considered as maybe the best practitioner of FMX in Finland. As well, the fans can have the chance to experience almost like in real life how is to drive a real monster truck; the organization has built a special one that looks almost the same like real Monster Truck, but the engine runs on diesel fuel and the seats (10) for the passengers are located on the back of the truck. Resuming, the perfect event to spend a Saturday evening with the whole family.

 

Monster Mania: Monster Truck Racing European Championships and Freestyle MX shows will take place the 16 June near the Olympic Stadium, at Mäntymäen kenttä, Helsinki.

 

Monster Mania 2007
16 June, Mäntymäen kenttä, Helsinki
Tickets from 40 to 12 euro.
More information:

www.monstermania.fi

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Articles Misc

Make mine a half

Remember
in one of my first columns I warned you to enjoy each day at a time and try not
to look too far into the glittering future? Well, here is another wake-up call
for those still snoozing on an airbed floating along the river of Time.
WAKE-UP! It is June, the longest day has you frozen in its headlights and after
that we are back down into the store to get the bag of winter clothes.

After
the half-time whistle is blown in a game of football and the manager has given
his stirring motivational team talk, the players (hopefully) return to the
pitch with a sense of urgency and fight for the remaining 45-minutes before
conceding a last-minute goal like my team usually does. I am your manager
giving you the dressing room talk and am reminding you that the sand in the
hourglass is vanishing one grain at a time – how philosophical.

There
are very few events in life that actually remind you that you are halfway, even
films no longer have an interval. You would probably take – here comes my
favourite subject – sex far more seriously if a buzzer went off when you were
halfway, although for some the buzz would come very, very early…prematurely
early. Ok, the buzzer would get on your nerves, but it would encourage you to
savour each of the remaining seconds with your partner.

Take
a moment to think about what has happened in your life since January. Have you
maintained your resolutions? Have you lost that excess weight? Have you taken
that dream holiday? Have you decorated the kitchen? Have you told the girl at
the local R-Kioski that you love her? Have you even defrosted the freezer or
turned the mattresses this year? Stop procrastinating!

“I’ll
do it tomorrow!” is the scourge reply of mankind and should be consigned to the
language bin of history along with “How old do you think I am, darling?”,
“Trust me, I know what I am doing!” and “Do you love me?” A bit cynical, but
how much good has ever resulted from any of those, plus we don’t have enough
time left in 2007 to have pointless arguments.

I
must hold my hands up and admit that this column was going to be written
yesterday, but I never said that I actually practice what I preach. Anyway,
please try to live each day to the full and satisfy those dreams before it is
too late – at least defrost the freezer because it will save you electricity.
Now I have to go, the buzzer just went off and my wife wants me to concentrate
for the remaining time we have left…

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Articles Misc

The divine divide

For an
English thespian, the so-called graveyard
contracts
still in use in many Finnish theatres are simply beyond their
comprehension. An increasing number work as freelancers, but many theatres
still employ people on a lifetime contract: till death do us part. Sounds very
cushy, yet the reality is often far from it: a very tight schedule of
rehearsals and shows, which would squeeze the juice out of any artist.

The
philosopher Pekka Himanen talks about the Finns being suspicious about anything
new. We Finns say a definite no to anything we are not sure about – just in
case. Everything in Finland grows slowly: potatoes, blueberries, friendships,
and tolerance for anything new and different. That seems to be true of theatre
as well.

Theatre
here tends to be quite traditional: it’s good and well made, as it should be in
the land of Nokia. And it’s reliable, like the granite we stand on. Most of the
time when you go to the theatre you know exactly what you will get.

The
repertory theatres have a simple formula: they must get bums on seats. So the
shows must be accessible. They are custom made to serve busloads of middle-aged
women. There’s nothing wrong with that I suppose, it’s just a bit…blah.

There are
certainly people pushing the boundaries as well. There are companies making
theatre in odd places and others starting international groups: ambitious
enterprises with fierce artistic drive.

Helsingin
Sanomat has been criticised for the limited publicity they give to small-scale
productions. Artists are frustrated with a lack of resources. The system seems
to be stuck in the mud, like in the popular theatre game of the same name. In
the game you need someone to rescue you, so you can carry on playing.

In London,
the National Theatre rescued a financially struggling company that was doing
very experimental shows in the unused tunnels 
of the London underground. The shows still take place in this rough and
exciting location, but now the funding, and the much needed publicity, come
from the National. That way, both the experimental company and the National
reach new audiences. The two divided worlds meet: the margin and the
mainstream. And the benefits are plentiful.

The
National also hosts an outdoor festival every year, where they bring in an
array of international street theatre. Again, the old institution opens up to
the new possibilities.

I yearn for
a time when this kind of open-mindedness will rule in Finland: when the rusty
structures are crushed, and forward-looking theatre practitioners get the
opportunities they deserve. Then I’ll be excited about going to the theatre
again.

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Articles Misc

All our lines are busy…

Why, why,
why? Tell me why! Why do we have to go through this torture every time we call
a customer service number of a big company or institution? If they do not have
enough personnel to attend the incoming calls, why do they not hire more staff?
Is this a worldwide Machiavellian plan to get on our nerves?

My second
favourite experience is when I call customer service numbers and they throw
recorded messages into your ears with a wide range of possibilities in three
different languages (I have to wait to for the English, which follows the
Finnish and Swedish explanations since I still do not have a mastery of this
beautiful Mikael Agricola language. So again, time to prepare coffee…).

 “If you want to consult your account
movements, press 1”. (this doesn’t make sense) “If you want to listen to the
last hockey match, press 2” etc. Most times you have to choose the last option
(“For other Inquiries”) since there is nothing that suits the simple question
you want to make. These are only the first steps of a tortuous ascent that,
usually, leads to the operator not understanding your enquiry, and you end up
being transferred from one department to another like a ping-pong ball.
Meanwhile, you pray that somebody with some common sense will attend to you.

So, my dear
friends, it cannot exactly be said that customer service culture in Finland is
highly developed. I still consider it a huge abuse to pay 2,5 euro in whatever
cafeteria of a city when I have to grab my cup, fill it with coffee, be careful
not to drop the milk jug and hunt for the sugar at the counter, while the
waiter/waitress’s only task is to hand you your bank card receipt to be signed.
Shouldn’t they be paying me for serving myself?

It is the
same when you try to purchase a train ticket at the station. Basically, the
customer service is there to make it more complicated when you want your money
back because you missed the train by a couple of minutes, or you buy a wrong
ticket because you do not understand the instructions in Finnish in the ticket
machine. Is it a part of the same worldwide Machiavellian plot that, with no
variation, half of the staff at the counters of railway stations cannot speak
proper English? No matter if it is in Helsinki, Beijing or Rome, the staff is
carefully selected and placed in customer service positions to make
communication more complicated. It is really a mysterious thing. Maybe Osama
Bin Laden is behind the recruitment processes for customer service positions
all over the world in order to create chaos and destruction.

Maybe, it is
just that I am getting old when I start to miss so many things from the good
old times: simple things such as making a phone call to ask a simple question,
and be greeted on the other end of the line by a real human being!

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Articles Misc

Monkey business

Within the
film or show business in general, actors are often considered a different
breed. They look like normal people but behave differently. Many of them seem
to fast-forward their lives, being greedy to consume marriages and ideologies.
They experiment with social masochism, seeming not to care about other people’s
reactions. The wild, eccentric and unpredictable actors. Drunk, filled with
lust, spontaneously jumping into anything that might provide a new dose of
emotions.

The
stereotype is unjustified, of course. I have friends who act. There is a vast
amount of actors I have worked with – good hard-working and reliable people.
There are intelligent actors. There are actors who live in balance with
themselves and people around them.

But still,
there is something in the profession. I think performing publicly strongly satisfies
one of the most basic human desires, the need to be seen and recognized. Many
actors consider themselves shy, and their choice of forces them towards the
greatest fear: fear of exposure.

The need
for exposure and feeling sick about too much attention is sometimes almost
bulimic.

Pamela
Tola, a very bright and talented young actress and photographer made a book
about acting (Miksi näyttelen – Why do I
act?
). The book contains interviews with other actors and short comments on
the subject. It becomes obvious to the reader that especially for those new in
the profession, life can become really hard. Tearing themselves open publicly,
with the possibility of cruel criticism, can be sometimes too much for a fragile
soul. And we are all fragile souls.

An actor is
a professional who uses himself or herself as a tool – all the fears, hopes and
memories are material to work with. Building a fictitious character is not
(only) about pretending to be someone, one has to actually become someone else. Imagine becoming a serial killer, a victim of
gang rape or Adolf Hitler – starting to see the world through their eyes and
living their lives. It can be psychologically consuming.

This is
obviously true of any storyteller, even a writer, but nobody is as directly and
as completely in the game as an actor. A writer can write happy ends to all of
his life traumas (or kill the ones he loves most), but an actor follows the
lines drawn by the writer like faith itself – ending up in death or misery, or
glory, without being able to influence the course of events. (This is a cliché
but aren’t we all actors on the stage of life?)

Acting is a
challenging profession. I used to think that they were pussies, whining for
nothing and using cheap show tricks to get attention for themselves. Not
anymore. With great admiration I follow those who have the calling and talent
to change themselves – and come back.

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No pain, no gain

Ink on your skin. Long ago, tattoos stopped being a taboo. They are no longer a sign of a criminal, a tough biker or a sailor. This body art went mainstream and nowadays it is common to see a pop teenage girl on the dance floor with a tribal tattoo in her lower back or a computer geek with the Linux penguin on his shoulder.

In Helsinki there are dozens of tattoo parlours and studios. Many of them are located in the areas of Punavuori, Kamppi and Kallio. The selection is diverse and vast, but so is the demand. It can take some weeks to get an appointment with the most popular tattooists, especially in summer. Anton, of Legacy Tattoo believes that “there are too many tattoo artists in Helsinki and that decreases the overall quality”. In his opinion, “some of the tattooists are world class, but people tend to go to the cheapest places, so there are too much mediocre work done”. However, Rosti and Juho of Vida Loca have a very different opinion. “It’s good to have competition”, they say, “it’s good for the business and it forces you to improve”.

Pin-up girls, skulls, flames, hearts… Many tattoo artists are fond of the traditional and colourful designs. Nevertheless, they will make any custom design: tribal, Chinese characters, the silhouette of your idol, the Finnish lion. Anything is possible. Jykä, of Spider’s Tattoo, says that a popular tattoo nowadays is HIM’s heartagram: “there are many girls visiting Helsinki, especially from Germany and Australia, that want to have it”. A peculiar souvenir, indeed.

It is also interesting to see the areas where people want to have tattoos. They range from the traditional tattoo on the arm to the most intimate areas. But sometimes not every centimetre of skin is suitable: “some people have impossible ideas”, Anton explains, “like a tattoo on the sole of the foot. I have to say no then. It’s a stupid place because it will be very painful and the ink will wear off after some months.” Artists prefer to tattoo the usual places: arms, legs, and back. Rosti reckons that some areas are not very pleasant, like the “ribs and chest, which can be a very painful”.

A tattoo must hurt
Pain is a big part of the tattoo culture. Many will argue that there is no tattoo without pain. In the old days the artists would knock the costumer out if they would here some complaints. But nowadays, with tattoos being so popular, everyone wants to suffer as little as possible. Anaesthetic lotions are sold and accepted, which some artists are not so happy about. “I use to tease my costumers about it”, admits Anton, “I’d say that I don’t tattoo anyone who has used the lotion. However, I must say that when I got my tattoo on the back, after 30 hours, I started using the lotion myself.”

The learning process for a tattoo artist is a long and lasts several years. There is no tattoo school, so the artists are usually self-taught and complete their training as an apprentice with an experience tattooist. “I used to practice with pig’s skin”, Jykä recalls, “but that is a little bit different”. For Anton, however, there was no other guinea pig than himself: “the first tattoo I did it was on myself. It was really bad. Then Kristian took me on as an apprentice here at Legacy. It took three or four years of work until I was happy with my tattoos. Still I can improve some details”.

In spite of the bikes and the rock, the life of a tattoo artist is not as glamorous as it might look. Artists recognize that even though they love it, it can be a very demanding job. “I get very anxious before a big project, like sleeves (a tattoo, or a collection of smaller tattoos, that covers a person's entire arm), I can hardly sleep”, Anton says. “Some days, when I get home, my eyes hurt, my hands hurt and I have to start drawing the next design. Luckily this year I will have a one week holiday”.

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An ecological performance

Relativity is a performance that combines three different art disciplines to create something new, unique, improvised and unexpected. Electronic music, video and dance are the ingredients. But Relativity is not just an art experiment: images, sound and movement reflect the relationship between nature and mankind.

Created and performed by Italians Egle Oddo (installation and video) and Giorgio Convertito (dance and choreography), and German Finnish Marko Timlin (sound and music), this show tries to bring the audience’s attention to environmental problems. “Without any political affiliations or intentions”, explains Egle, “we want to stress that the root of the problem is our attitude towards nature. Mankind wants to dominate nature, eliminate its annoyances, destroy it or save it as it pleases. This is an artificial idea. We are part of nature and with our current attitude we are just contaminating the conditions for life.” It is a dark concept that affirms the power of nature to regenerates itself, even mankind: “Nature recycles us perfectly when we are dead”, Egle reminds us.

{mosimage}This idea is the basis for the narrative of the piece. Each artist evolves into a character: Egle is The Reality, Marko is The Wind, and Giorgio, Nature. However, in Relativity there is no dialogue and improvisation is a big part of the show. The performance is presented as an unexplored path: “We know where we start and where we are going to finish. We throw some stones to guide our way, but we don’t know how we will go from one stone to the next”, states the Italian dancer. For Marko, improvisation is the reason why the performance is so exciting: “When everything is planned, one might achieve perfection, but with improvisation one can achieve magic and that is even better than perfection.”

Each discipline complements the others. The electronic music really adds to the live performance. “Sometimes it can be boring to see a guy on stage with a laptop like he would be writing emails”, admits Marko, “but with the addition of dance and video, the experience can be fascinating”. Some of the images that Egle will display have been shot in the junkyard of Ämmässuo in Espoo and show the power of nature to recycle itself.

The trio has worked on Relativity since January. There will be only four performances and the group hopes that the audience not only becomes aware of environmental problems, but that it also starts to be active, so a solution can be reached in the future.

Relativity

24.5 – 27.5

Universum, Perämiehenkatu 13, Helsinki

 

Photos by Ossi Kajas 

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Interviews Misc

Four decades of provocation

You were born in a small countryside town, Somero. How was it to grow up there?
During my first ten years I was often sick, and because of that my mother and I used to visit Helsinki very often. So I got a taste of the big city quite early. About my Somero years, I appreciate mostly my school time. Our headmaster was an exceptional person. He commanded fifteen languages, even though he claimed he could only speak Esperanto and Finnish. And that’s why Esperanto was compulsory in our school. Five years after the headmaster retired, the teaching Esperanto disappeared from Somero schools. It’s a pity because if Somero could have boasted of something, it would have been schoolboys speaking Esperanto. I have even written some songs in Esperanto, but I’m not an Esperantist: they’re so keen on their hobby, and that disturbs me a little bit.
 

At least two other very famous musicians have also come from Somero.

Right. Unto Mononen, the tango composer. I played in his orchestra. I got to know him when I was a student in Helsinki. I started to be interested in Finnish tango and in tangos by Mononen and he was so popular at the time. And the other one is Rauli “Badding” Somerjoki. We started collaborating and he sang on some of my albums. Then he asked me to produce his own rock single, which I did, and a rock album. Two weeks after releasing ‘Fiilaten ja höyläten’, it went to no.1 in the Finnish chart, where it stayed almost a year.

A year of turning point

It seems that 1966 was a very important year; a sort of turning point.
It was the important year of my provocations! At last I succeeded in provoking the whole of Finland by singing those sexual manuals at the Jyväskylä Summer Cultural Festival. This actually helped very much later when I wanted to do something else, and I started to sing classical music. I sang a song by Franz Schubert live on the Finnish TV: a shock. And it was exactly what I meant it to be.
Then I met the poet Markku Into and we started the Suomen Talvisota project. And in October that same year I was at the Turku Youth Festival, singing Wittgenstein’s “Tractatus”. The sixties are quite easy to remember but already the seventies are much more difficult: I was doing so many different things at the same time. Films, music, writing…

What was the common denominator?
The wish to provoke, of course.

So are you still into provoking the audience?
Of course. I provoke in a totally different way than earlier. I provoke my own friends and people my age. In the 60s I provoked old people and in the 21st century I still provoke old people. These are the same people who grew up with my provocations, and are themselves often quite good at provoking too. But then most of them are nowadays quite old fashioned and they think in an old fashioned, conservative way. I can provoke in many ways.

{mosimage}Stories of detectives and drunkards

You wrote two books whose titles sound quite curious: Etsivätoimisto Andrejev & Milton (Detective Agency Andreyev & Milton) and Baarien Mies (The Beer Bar Man).
The first is a detective story. I wrote it with Markku Into and it was ‘built’ in a very strange way: in the epistolary style. We were making fun of detective novels, and our own is very odd indeed. Suffice it to say that there’s no ending whatsoever.
Baarien mies has an interesting origin. In 1984 it was still forbidden to perform pop music during Easter time. I was in Sotkamo and could not perform. I stayed there some days and visited a bar several times. I became interested in this bar and the ‘way of life’ connected to it. I thought I would suggest the subject to a real sociologist. Then I thought he or she would never get enough money to travel around Finland and no scholarship would be available for such a drinking subject, so I chose myself to be the writer. My wife was with me: she was my driver but also my ‘memory’, as from time to time she had to remind me about the place and what had happened the evening before as I had drunk so much.

How are you planning to shock your audiences at the moment?
The first album in collaboration with DJ Sane will be released in May. It took three years as the material is so uncommercial: no dance, no pop, no rock. But it has very strong and heavy rhythms and sounds like it is from the rock and ambient world but not precisely from that. But I’ve other plans: the Swedish novel. And I’m composing a chamber music work about the Swedish domination that finished in 1909. It’s been commissioned for next year, 2008, so that it anticipates the centennial.

For a detailed biography of M.A. Numminen visit www.ma-numminen.net

M.A. Numminen will perform in Helsinki on 22 May at the Design Museum, Korkeavuorenkatu 23, Helsinki

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From the ashes of the lost empire

After following the events concerning a certain bronze Russian soldier, I gave myself the task of developing an observer’s approach to the efforts being made to build a new Estonia, where past and present can live together in peace. With this in mind, I decided to join the MA students of Urban Studies at the Estonian Academic of Arts on a one-day trip to the forgotten city of Paldiski, on the peninsula of Pakri. As a part of their curriculum, the students are doing a project on urban management in Paldiski. The idea is to offer four possible scenarios in which architecture could help in the redevelopment of the area. 

Approximately 50 km from Tallinn, Paldiski is an important Baltic Sea port located in south-western Estonia. Its history goes back 300 years, when the Russian Tsar Peter 1st started construction of a port. Paldiski’s status as a port has since dictated its entire destiny.  

During the 20th century, the Soviets began moving the local population away from the town in order to establish a navel base. 16,000 men of nine different Soviet army units were located in the city and its vicinity. Paldiski’s status as port reached its summit when a training centre for nuclear submarines was opened in 1968. The city then became a no-go area, where the presence of non-soviet military was forbidden. The city remained closed until 30 August 1994, when the last Soviet warship left.  

{mosimage}Welcome to hell
At 9:04 am a small bus left the Estonian Academy of Arts, located in Tallinn’s city centre. Three students, the leader of the project, a bus driver and myself were the participants of the expedition. After one hour of travel, we arrived in Paldiski. On the outskirts of the city some ruins began to appear. Towards the centre, the landscape changed: colourful soviet apartments, which somehow looked out of place for such a small city.
 

Our first point of call was to the northern point of the peninsula, were the limestone cliffs and the lighthouse are located. There the visitor can find about eight windmills that are part of the state’s efforts to produce renewable energy. When returning back to the centre and seeing the town by foot, I realized that the ruins and empty buildings are everywhere. Images of inhabited homes with a ghost neighbour are common. 

We were then led to a meeting room in the City Council House (Linnavalitsus). There, the City Councillor Jaan Möller and another representative were waiting for us. The idea of the meeting was to find out about the specific plans for the area. Councillor Möller, who has been in office for 13 years, constantly mentioned the appeal of the ports, as the most important factor in the development of Paldiski as a integrated city. His objective is to increase the population from 4,000 to 7,000 by attracting immigrants, offering opportunities for work at the port as well, as in the industry.  

With a huge map of Paldiski and the peninsula on the table, he showed the group the plans for attracting the new residents to the city. The allocated areas, far away from the ruins and abandoned buildings, are a clear attempt at remodelling the city. In order to achieve this, the city must attract private funding. However, he Möller was sceptical about the development of Paldiski as a tourist destination. He claimed that business is the future of Paldiski, even though it is a well-know place for hiking due to the cliffs of limestone.  

 

{mosimage} 

 

Estonians and Russians 

In contrast to the recent events, Mr Möller emphasised that in his 13 years of service he has experienced just one case of friction between the Estonian and the Russian population. Apart from that “we haven’t had any problems”, he added.  

Baring this in mind, we went to visit the local police chief, Madis Melzar. He affirmed that the relations between the Estonian and the Russian population are peaceful. And it was noticeable on the streets too that there was no threat, visible or otherwise. 

After being at the Police Station, we went to the south port in order to have a guided tour. Inside the terminal port building one could notice a different atmosphere that made you doubt if you were really in Paldiski at all. From the inside one can look through a big yellow window, which somehow tries to erase the label of a “grey city”. When walking inside, I noticed that a huge cargo ship was just delivering a great quantity of new cars. 

It is clear that everyone has a common goal: the development of a new, economically and socially prosperous Paldiski that escapes the label it has been given. Now it is up to the students to start their investigation, which will hopefully see the rebirth of Paldiski from its ashes.

 

Photos by Mauricio Roa 

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Light and shadows on the silver screen

Regina Linnanheimo (1915-1995) was passionate about movies from the very get-go: as a girl, she spent her every last penny on going to the cinema. She also had her sister to look up to, for Rakel Linnanheimo was an actress as well as the first Finnish professional model. Regina’s own acting career got started at the age of 15, when her sister could not be in two places at once. Rakel was doing a fashion show, so Regina stood in for her as an actress. Soon after, her talent as an actress in her own right was noted and she landed a speaking role in a 1934 Valentin Vaala comedy. It wasn’t long before Regina Linnanheimo became known as the leading lady for many a historical melodrama and screen adaptation.

During the 1930s and 40s Linnanheimo worked for the Finnish studios SF and Suomi-Filmi, and appeared in several box office hits such as Kulkurin valssi (The Vagabond's Waltz, 1941), Kaivopuiston kaunis Regina (The Beautiful Regina of Kaivopuisto, 1941) and Katariina ja Munkkiniemen kreivi (Catherine and the Count of Munkkiniemi, 1943). These are movies that generation after generation of Finns have seen and loved (for their sense of fake nostalgia, if nothing else), and which gained her enormous popularity. With her dimples and great big eyes, Linnanheimo certainly brought to the productions a measure of glamour, romance and beauty. Her acting skills were not inconsiderable either, and she was awarded the Jussi prize, the Finnish equivalent of an Oscar. 

{mosimage}This is how Linnanheimo describes her life in the July 1938 edition of SF News:-Your main hobby, dear Lady? -The cinema, or SF movies, to be exact.-And your other hobbies? This is a very important question, Miss, for its answer gives the readers a true picture of you. -The cinema, dear Mister interviewer, or SF movies, to be exact. My other occupations – hobbies or pastimes, as you will – are books, languages, music and sports of all sorts, the latter including certain walking-tours to the SF studios in Haaga, swimming, cycling, workouts (that is, standing) with seamstresses for hours, etc. One at a time, of course, and taking into account the demands of the seasons, etc. There are times when I do needlework, clean, and sit in cafés. You could be surest of finding me downstairs at Fazer. As you can see, I am a hopelessly ordinary creature, and cannot think of anything to make me interesting to the readers. Except perhaps for the fact that I forget to greet my acquaintances, and run into passers-by, especially if I am turning a part over in my mind…

However in the late 30s Linnanheimo started feeling the limitations of her roles, and as (a graduate of the Helsinki German School) she spoke fluent German, it seemed reasonable enough to look into launching a career in Germany. She visited the UFA studios in Berlin in 1938 and 1942 and chose for herself scenes out of a script called “Nacht ohne Abschied”. The Germans loved her, and the preparations for the making of the movie got well under way: the studio built new sets, and had costumes sewn to her measurements. Linnanheimo returned to Helsinki to wait for the final call, but meanwhile the tide of the Second World War turned against the Nazis, and the movie was left unmade. Even its test reels have never been recovered from the vaults of UFA. 

 
Teuvo Tulio’s lady and writer
After the war Linnanheimo continued her domestic career as the leading lady in Teuvo Tulio's smouldering melodramas, and later also as the screenwriter of his films. Teuvo Tulio (born Theodor Tugai, 1912-2000) was an independent producer/director who today is recognised as one of few true auteurs of Finnish cinema, and who has a cult status amongst film buffs.

Tulio’s movies typically emphasise melodrama at the expense of more psychological “drama”. More important to Tulio than the authenticity of the material or the internal coherence of the plot was the cinematic flow of emotions. With the use of melodramatic devices, such as light, shadows, and camera angles, he sought to create ever greater emotional charges. From the understanding between Tulio and Linnanheimo emerged great works of art: intense, modern movies, which reach beyond mere symbolism to the very edge of lunacy Together, the two constitute the unsurpassed creative duo of Finnish cinema; their interaction has been compared to that between Jean-Paul Sartre and Simone de Beauvoir, and their friendship lasted throughout the years.

The alcoholic melodrama Olet mennyt minun vereeni (You've Invaded My Blood, 1956) was Linnanheimo’s final movie, after which she retired completely from the screen and public life. She had always been one to keep her private life private (we know that she married a Swedish count during the 40s, yet never really lived with him), but with her retirement, she grew even more reclusive. In the end, it was the popular imagination that transformed this leading lady of so many blockbusters in to a myth and a legend. 

 

Photos by Finnish Film Archive 

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Pushing the limits of the human body

“The first incarnation of Circus Mundus Absurdus saw the light of day back in 1999, when I met Antti Kervinen and Eero Auvinen in art school in Tampere. It started off as an experimental circus / art project The early performances mostly consisted of traditional fakir stunts, like walking on broken glass, eating light bulbs, contortionism, the bed-of-nails, fire spitting and eating, plus Eero's juggling routines. Lassi and Jussi joined the group later, bringing with them a lot of piercing know-how and encouraging us to develop the shows further. Over the years, the concept of CMA has evolved considerably both theatrically and aesthetically and includes more demanding stunts like suspensions and hook-play in our shows. So we have gradually grown towards a more intense style of adult circus – not that we intentionally try to be “extreme”: that has never been our aim.”

So how many members do you have nowadays and what are the criteria for joining Circus Mundus Absurdus?
We are five people in the group nowadays. There is no definite “criteria” for joining the group, nor are we recruiting new members As a five-piece, it's still realistic to travel with a relatively small budget, and it's always fun to collaborate with other artists and musicians, so it makes sense not to try and expand too much. It's been a process of natural selection, I would say.
Lately we've been working with a fabulous free jazz trio called Black Motor from Tampere, plus a few guest musicians and performers, so the full-scale CMA show nowadays has a crew of 12. It's much better than just the five of us – you can't beat a live soundtrack – but the five of us can still pull off a full-on performance.

What can people expect when watching your performances?
A lot of black humour and twisted clownery, plus an intense physical performance in the form of an absurd theatre play: stretching skin, scorching flames, dripping blood, wide grins… Full-on entertainment, for sure, as our aim is to put on a really good show. Mostly, very diverse audiences seem to enjoy our shows – but on the other hand, people have also been known to faint or throw up, as they’ve not been able to handle the intensity. So be warned: CMA shows are not suitable for children or especially sensitive individuals.

Do you enjoy indulging in painful activities?
The pain is an integral part of what we do, but it is not the part that we enjoy. The pain is there to enable us to keep in control of what we do. There is so much more to the whole experience of planning and carrying out a show like ours that we do not pay that much attention to the pain, as it is something that we already automatically just deal with. The endorphins triggered by intense physical sensation, though – that is something quite enjoyable! And we sure enjoy doing the Circus Mundus Absurdus shows – it’s a shit load of fun.

Have you had any accidents while performing a show?
Well, for one, all fire-eaters get burned. Nowadays it happens very rarely, but fire is still fire (as in: HOT). So far we've done something like 300 shows, so small scale accidents (like minor cuts and bruises) are bound to happen every now and then. What we do is very physical, but we've never had any serious accidents. We know what we're doing – even though our shows can appear chaotic or out of control, that's all theatre. The stunts are all for real, of course, and yeah, I can admit having cut my foot on broken glass a few times over the years, but it's rare. I've also had a nipple ring ripped off once – a freak accident, I think you’d call it.

{mosimage}You just came back from USA a few days ago. How were the shows there? Was it the first time you performed in America?
The US tour was done under the moniker of The Bloody Tourists, since it was just the three of us (Jussi, Wisa & Lassi) rather than the whole group. It was the first time we had performed in USA. We had three shows and the response everywhere was ecstatic. We were quite surprised with the overwhelming audience reactions ourselves, since there's a lot of very powerful and impressive stuff being done around the US. For example, while suspensions are still quite rare in Finland, and not that common in Europe anyway, in the States a lot of people get suspended on a regular basis -they look at it almost as a hobby, or an art form, and think nothing of getting some hooks on their backs (or elbows, or knees, or chests) every now and then. Which is cool!
We performed in Portland, Oregon with Societas Insomnia & Power Circus and in Las Vegas, Nevada and Albuquerque, New Mexico with the Swing Shift Side Show and the Ascension Suspension Team. The US road trip was a great experience; we got to work with some really great people and will definitely try to get the whole crew over the next time.

I know that Lassi has done some porn also. We had a Finnish porn industry story a couple of months ago actually.
Lassi did a number of porn films as an actor a few years back, and has moved on to producing skin flicks. That is got nothing to do with CMA, though, except that he is got no inhibitions about showing his dick onstage. Or suspending heavy weights from it. Or getting it grinded. Or…

Interesting …  Anyway, any other information you would like to share with us?

Well, I should mention that there is a self-released CMA DVD coming out in May, featuring a 73-minute video documentary of our adventures so far, plus a few extras (including Jussi's 150-meter-high suspension!) -so order it through our website and you'll be supporting Finnish freak circus culture!

For more information, check out their website www. mundusabsurdus.com

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The party of the people at Kaisaniemi Park

The promoter of the festival, Johanna Eurakoski, explains more about what the visitor can find during the weekend: “The whole of Kaisaniemi park is filled with a marvellous cultural programme and everybody can, of course, choose the thing that interests them. Many come just to enjoy the music or the programme for kids, others for the marvellous food or just the laid back picnic atmosphere. At the same time, some 250 NGOs, companies and authorities will be there presenting their activities One can look at what they’re offering or not – it is really a personal choice”.

And certainly is, since the list of participants and artists will cater for all kinds of tastes: Ska Cubano (Cuba/Jamaica), il Murran (Kenia), La Sarita (Peru), Dirty Babylon Breaker (France), Ranferí Aguilar (Guatemala) Olavi Uusivirta with Friends (Finland) or Zarkus Poussa (Finland) are some of the highlights that you will be able to enjoy totally free of charge.

For some of these bands, this is the first visit to Finland. As Carlos from Ska Cubano tells us: “No, we haven't played in Finland before and we are very excited about performing in Helsinki. Our style is a concoction of some of the best rhythms and flavours of the Caribbean, so see you all there!”

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There was also an unexpected change to the performer’s list, as the French Babylon Circus had to be replaced by Dirty Babylon Breaker. Ben Herbiere explained what happened: “We are sad as Babylon Circus were supposed to play. Unfortunately, following a great show, Babylon Circus lead singer David had a serious accident in Moscow and is still unable to play. Dirty Babylon Breaker is a mix of our Clash influences, a little bit of Beastie Boys and Babylon Circus Music” (Five members of Babylon Circus participate in this side project).

So let’s cross our fingers and hope that the sun will bathe the capital of Finland during the festival days and everybody can have tonnes of fun there. FREE! Magazine will also have a stand at the festival. So if you pass by, stop to salute us!

 

World Village Festival will be held in Kaisaniemi Park (Helsinki) on the 26 and 27 May. Entrance and concerts are free of charge.

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Samantha Marie José Sayegh wins Ourvision

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Participating youth – A risk or an opportunity?

Annantalo Arts Centre is a member of the European Network of Art Organisations for Children and Young People (EUnetART) and will be hosting the event in Finland, along with EUnetART and Finnish Aladdin’s Lamp network, which enhances children's art education in Finland. This year’s festival will be held in partnership with the City of Helsinki, Passion2 seminar organized by Annantalo Arts Centre with Pedaali Association and various art institutions from the Capital region.

The conference will be preceded by the SpringLab. This is highlighted by the participation of ISH group from Holland, who will work with groups of Finnish children from Vantaa Mikkola School and have presentations for the results of their project on Saturday, 5th May in Tikkurila lukio hosted by the Cultural Services of Vantaa City.

While it might be true to say that the youth culture today lacks a steady footing, particularly in relation to art, listening to the director of Annantalo Arts Centre, Johanna Lindstedt, during an interview last Friday gave a broader overview of the reality of art and creativity even among children and youth in Helsinki region. It also paved way to recognise other creative activities that are taking place in other towns around Finland.

The Aladdin’s Lamp (Taikalamppu in Finnish) was launched six years ago and has managed to touch upon many aspects of children and art in Finland, and also forms a network that offers funding to pilot projects that target children and youth. So far there are many towns that have inaugurated the Aladdin’s Lamp, among which are Helsinki, Vantaa, Pori, and Hämeenlinna. These form a network that shares and implements ideas that strengthen the growth of children and youth art work in Finland.

My interest had been growing over the weeks regarding arts participation of young people in Helsinki region. Living in Helsinki metropolitan and being witness to the idleness of many youth gives one thoughts of what is not being done to occupy these youths, and what can be done to indulge them in something worthwhile, even useful for their future. This year's EUnetART festival offers an opportunity for participants, personnel of culture and education, along with teachers of children and people, to learn the success of others, adapt new ways of involving youth and children in art and cultural activities and also motivate them into new endeavours of their choice.