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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 

“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

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.

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.