Nowhere Like Here deals with our emotional responses to the connotation of “home” as a metaphor for identity, of domestic bliss, a place of warmth, comfort and affection, but also conflicts and routines. The place where to welcome and where to close the door and be by ourselves. Where we feel safe and where dishes can pile up. The utopian emotional location we recollect with nostalgia: it’s not a case that when talking about home, we often regress to childhood and refer to the place we grew up.

The dancing body is not one that grows solo. It feeds off those around it, consciously and subconsciously, in a pinpoint moment in time and across expanded duration. Both through and without language, learnings accumulate within the body, within the spaces it occupies and in the archive of memory.

... and the dancing body is a tool acquired by Dance itself. Dance wears us, like a costume.

Nowhere Like Here deals with our emotional responses to the connotation of “home” as a metaphor for identity, of domestic bliss, a place of warmth, comfort and affection, but also conflicts and routines. The place where to welcome and where to close the door and be by ourselves. Where we feel safe and where dishes can pile up. The utopian emotional location we recollect with nostalgia: it’s not a case that when talking about home, we often regress to childhood and refer to the place we grew up.

The expression “troca o passo” (literally “change the step/pace”) is used to refer to the second part of a date without a specific year (…the 1600s and “change the step”). The expression can also be used literally to mean changing foot, in order to align or misalign your step with someone else’s.

After Trolaró, Troca o Passo is the second duet that Ana Rita Teodoro and João dos Santos Martins develop as a pretext to research and reinvent themselves as artist-dancers detached from the idea of a specific project.

Walking is the present trace of a story that has already begun, the unfolding and fading of a form in progress. Is it possible to move forward while maintaining a relationship with the black holes of history? The elliptical curves of the world pull us into archaeological records. We advance and retreat, we align our steps and fall behind, we run and we are ahead, we stop but we continue moving.

Cullberg works for the very first time with Brazilian choreographer and dancer Renan Martins. In this new immersive dance performance, he collaborates with Olof Dreijer, Swedish DJ, musician and founding member of the electronic pop group The Knife. It becomes a journey that challenges the conventional separation between dancers and the audience.

“I am very romantic about dance. I love it, I think it is important. I think it will save us from many things.” – Renan Martins

All Those Things Left Behind, For Now proposes a shift of attention, from a forward-oriented gaze to a backward-oriented embrace. Rooted in relationality, backspaces, and the fragility and resilience of our porous bodies, this dance performance engages with its paradox: a solo where multiple bodies occur in one.

It tends to the ever-changing reality of today, allowing movements to become voices to become space. With an intimate presence, she, the performer, a vessel of experiences, moves from behind and around. Dances become cast and suspended as she invites the audience to hold hands with our future past.

A dance solo by Francisco Thiago Cavalcanti, based on the existence of a blue whale called 52Blue. This species, unique in the world, has an anomaly that is still unexplained by science; its sound frequency reaches 52 hertz. An ordinary whale has a frequency of 15 to 20 hertz. Because of this, 52 Blue cannot live with others of its species, as it would be unbearable. Based on this fact, Francisco creates a narrative full of ghosts, loneliness, pain, sadness, illusion, play, enchantment

and imagination. The work is based on: the author's personal archives, dances he has already danced, soundscapes, discursive desires he has not yet experienced, as well as the poetic translation of his neurodivergent condition. Francisco is autistic and Francisco is also a blue whale with very particular frequencies.

What is a groove? Perhaps a shared pulse, a rebellion, or simply a fleeting moment of joy. 

Suspiciously Groovy tries to answer this question by approaching groove not as a fixed concept, but as a question in motion. The performance challenges the body by experimenting with movements that are intentionally inorganic, awkward, and feel difficult to perform. From this sense of discomfort, something contagious begins to take shape. The dancers of NoXsense welcome you into a lively, playful choreography that invites you to feel the rhythm—and perhaps wiggle right out of your seat.

Created and performed entirely by queer artists, Suspiciously Groovy embraces feelings of unease at the heart of its exploration. The work defies mainstream values by celebrating strangeness and imperfection within a shared rhythm. For the choreographer and the group, the work reflects themes of deviation, self-expression, and community — core experiences within queer lives. In doing so, the piece invites audiences to reconsider not just how we groove as a society, but who gets to define what groove can be.

Some people wish the Middle Ages would never end. In her latest production DANTE Gunilla Heilborn takes an unsuccessful trip to Florence as her starting point, where, on her quest to find Dante, she gets lost, not in a dark forest, but amid all the tourists – who, just like her, shuffle along the winding streets of Florence in pursuit of a bygone time. Heilborn takes on the tides of history where everything seeps through and might get lost. Which path should you take again, at that crossroads…  

Past and present meet in a highly speculative reading of Dante's eternal questions in a brand new work for three lost souls. Wandering in a constant fog of uncertainty, they find no answers but numerous questions, alternating typical Heilborn humor with seriousness.  

DANTE is a piece about indecision and perpetual misadventures. A string of songs, text fragments, sparse dance, and unreliable guides. Like all comedies, DANTE starts very badly but ends well.

In the winter of 2025, Gerlesborg School Bohuslän and the ambitious multicultural music festival Minga began a collaboration that resulted in a cracking concert evening with musicians from Iran, India and Senegal in the middle of the February darkness. Now Mingafestivalen and Gerlesborgsskolan Bohuslän take the next step forward and create a mini Minga pop-up festival at HERE25 in collaboration with Vitlycke CoPA. 

Now Minga Festival and Gerlesborg School Bohuslän take the next step forward and bring this unique collaboration to Vitlycke - CPA, offering a mini Minga pop-up festival within the program of HERE:2025.

Liz Kinoshita presents an improvised dance performance created specifically for Vrångsholmen – a rustic, repurposed building that now serves as a vibrant space for artistic exploration. Drawing on a range of improvisation techniques, she responds in real time to the architecture, atmosphere, and presence of the audience as the performance unfolds.

“Simulacro” is an exercise in intimacy, repetition, and resistance.

Two bodies in continuous motion explore the limits of their proximity through the degenerative nature of gesture. A blurred space emerges between the real and the staged, between the public and the private, amplifying states of vulnerability, anticipation and tension.

“Simulacro” draws from a set of actions and gestures rooted in the performers’ daily lives, interwoven with fragments of shared memories, in a slow and deliberate transformation of their bodies and pulses.

On the final day of Dance Communication Lab (DCL) workshop, six participants from across Europe - representing Sweden, Croatia, Poland, Hungary, Slovenia and Romania - come together to share the work they have developed with choreographer Liz Kinoshita (CA/BE). This improvised public showing takes place at Vrångsholmen, a historic building now transformed into a creative space. Join us to experience improvisation, movement and artistic ideas born from three days of collaboration and exploration.

Some people wish the Middle Ages would never end. In her latest production DANTE Gunilla Heilborn takes an unsuccessful trip to Florence as her starting point, where, on her quest to find Dante, she gets lost, not in a dark forest, but amid all the tourists – who, just like her, shuffle along the winding streets of Florence in pursuit of a bygone time. Heilborn takes on the tides of history where everything seeps through and might get lost. Which path should you take again, at that crossroads…  

Past and present meet in a highly speculative reading of Dante's eternal questions in a brand new work for three lost souls. Wandering in a constant fog of uncertainty, they find no answers but numerous questions, alternating typical Heilborn humor with seriousness.  

DANTE is a piece about indecision and perpetual misadventures. A string of songs, text fragments, sparse dance, and unreliable guides. Like all comedies, DANTE starts very badly but ends well.

Some people wish the Middle Ages would never end. In her latest production DANTE Gunilla Heilborn takes an unsuccessful trip to Florence as her starting point, where, on her quest to find Dante, she gets lost, not in a dark forest, but amid all the tourists – who, just like her, shuffle along the winding streets of Florence in pursuit of a bygone time. Heilborn takes on the tides of history where everything seeps through and might get lost. Which path should you take again, at that crossroads…  

Past and present meet in a highly speculative reading of Dante's eternal questions in a brand new work for three lost souls. Wandering in a constant fog of uncertainty, they find no answers but numerous questions, alternating typical Heilborn humor with seriousness.  

DANTE is a piece about indecision and perpetual misadventures. A string of songs, text fragments, sparse dance, and unreliable guides. Like all comedies, DANTE starts very badly but ends well.