Alina Sakko (she/her) is a Finnish dance artist. In her work she researches the accessibility of contemporary dance especially on experiential and conceptual levels. Through choreography, artistic process and the themes of the work, she explores ways to reach different audiences. Alina is a founding member of MOŸ MOŸ collective, an international artistic support network formed in London and a board member of Reality Research Centre. Her work has been presented for example at Art Ii Biennial (Ii, FI), Kontula Senior Center (Helsinki, FI), Yötön Nattlös Festival (Haparanda, SWE) and Resolution Festival (London, UK).
After starting her career by dancing for various ballet companies, Sakko went on to continue studying at London Contemporary Dance School, where she graduated with 1st class BA (Hons) in contemporary dance. As a performer she's been lately working with Routa Company, MimoArt Company, Taneli Törmä / Location X and Vilma Tihilä.
'In my choreographic work my deepest interest lies in sharing the bodily experience of the performer with the audience. I combine that with clear visuality, to dance between concrete and abstract. I play with recognisable imagery and elements of spectacle. These familiar components are used as a pathway for the audience to get on a journey with the performer, in order to then share more abstract movement and experiences with them. I'm interested in kinesthetic empathy as a tool to research dialogue'.
After starting her career by dancing for various ballet companies, Sakko went on to continue studying at London Contemporary Dance School, where she graduated with 1st class BA (Hons) in contemporary dance. As a performer she's been lately working with Routa Company, MimoArt Company, Taneli Törmä / Location X and Vilma Tihilä.
'In my choreographic work my deepest interest lies in sharing the bodily experience of the performer with the audience. I combine that with clear visuality, to dance between concrete and abstract. I play with recognisable imagery and elements of spectacle. These familiar components are used as a pathway for the audience to get on a journey with the performer, in order to then share more abstract movement and experiences with them. I'm interested in kinesthetic empathy as a tool to research dialogue'.
