Venue: Museum of Technology / Kuninkaankartanonsaari, Viikintie 1, Helsinki.
Kaino Wennerstrand makes performances, sound, and texts. She was awarded the Finnish State Prize for Media Art in 2021. Her sophomore album as Kaino Kim Vieno, "European Histories in the Key of E(strogen)" comes out in October via Minna Records.
Murrettumeri is an artist, sound designer, and producer based in Helsinki. A Surrexis member and World Canvas affiliate, Murrettumeri released their newest EP "Back Life" on Spanish label Interior on April 2023.
Azar Saiyar is a Helsinki-based filmmaker and media artist. She often uses archive materials and plays with images and words of collective memory to look towards ways of looking, speaking, remembering and telling stories.
Ajak Majok is a Helsinki based South-Sudanese multidisciplinary artist and a political activist. In her work Majok centres the different intersections of black bodies, voices and experiences.
Kinkeeping; the act of maintaining and strengthening familial ties.
Kins keeper is an excursion to the depths of familial ties of sisters, brothers & kins alike in melanin. The work is a part of a larger project diving into a question as old as time: ‘what if I was free?’ The performance narrates energy in motion between black bodies, kins, as interpretations of freedom with one another are shared, channelling the ancestral knowledge of the past, present & future. Both the performance and the poetry book by the same name are a part of Majok's 3-year Kone foundation funded project "What if I was free?"
DURATION: circa 40 min
Choreography and performance: Ajak Majok
Sound design: Lucian Loven
AGF aka Antye Greie-Ripatti is a sound artist and electronic music producer. Her work inhabits an augmented space where pounding {Berlin} experimental after-techno, spoken word, abstract video art, feminism and radical ecology create a self-sustaining environment. Originally from East Germany, she started to develop a DIY approach early on, while also using her voice to fight against oppression by supporting marginalized communities and calling out injustice, most recently through female:pressure, a support community and promotional platform for female-identified electronic musicians. Currently based in Northern Finland, Antye founded the local arts organization Hai Art in Hailuoto. Since its inception in 2011, Hai Art has been involved in numerous sound-related projects, focusing on working with children. Antye acts as its director, curator and workshop instructor. Active since the early 90's, she has collaborated with strong names in electronic music such as French pioneer Eliane Radigue, German legends Gudrun Gut and Ellen Allien, British avantgardist Kaffe Matthews, Finnish IDM treasure Vladislav Delay and classical composer Craig Armstrong.
poemproducer.com
antyegreie.com
rec-on.org
twitter/insta @poemproducer
For the Drifts festival Forces will make a special set utilizing the early 00s groovebox E-mu Xtreme Lead-1 as a main sound source. The performance will explore the contingencies of the SuperCollider programming language together with the Rave inspired presets of the E-mu synthesizer/drum machine.
The utopian qualities of Rave music will meet the chaos of algorithmically triggered MIDI events. The theme of Ungoverned Lives is reflected aurally; from the collapsing and unstable structures new kinds of possibilities will arise.
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Constantly mutating rhythms and sharp digital textures shape the sound of Forces. Forces is the electronic music project of Finnish interdisciplinary artist Joonas Siren. Different live-coding and processing techniques are used to make dense atomized swirls; electronic and sometimes chaotic abstract oceans of sound.
Forces’ music has been released on mappa, Infinite Machine, Gin & Platonic, Genot Centre, Conditional and Bio Future Laboratory, and has also been played in mixes by experimental producers like Aphex Twin, Daniel Ruane and ZULI. The latest record ”Chimӕras”, exploring the 90s digital synthesizers and modular synthesizers of EMS Stockholm, was released on the Slovakian label mappa on August 10th of 2023.
mappa.bandcamp.com/album/chim-ras
soundcloud.com/forces-music
ffforces.bandcamp.com
joonassiren.fi
Joshua Woolford creates ambient soundscapes whose elements are distorted, layered, and looped. Over the course of the performance sound is translated into words and movement by the body, creating a rhythm that builds to a poetic and critical reflection on the state of the world and our position within it.
Open questions, personal experiences, random thoughts, and popular music references merge, opening up a space to collectively imagine a different world. Through their practice Woolford is developing alternative forms of communication in order to broaden the possibility for new or lost and forgotten narratives to arise.
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Joshua Woolford is a transdisciplinary artist working between performance, painting, sculpture, sound, video, and installation. Woolford's work is rooted in extensive cultural research, drawing from literature, music, and art, as well as personal experiences of being a member of the queer Black Afro-Caribbean diaspora living in London. Woolford embraces reflection, transition and movement as powerful and disruptive states that actively challenge prevailing narratives.
Notable exhibitions include live performances at the Van Abbemuseum in Eindhoven, as well as exhibiting and performing in multiple institutions across London, including HOME by Ronan Mckenzie, Soho House, Somerset House, Black Cultural Archives, Gucci, the V&A and Tate Britain.
„trans-" means through, across, over, beyond.. The performance „trans– “ unites scenarios from autobiographical references of caner teker's personal experience as a German-Turkish person, including the ritual of barbering in Istanbul, the movement research of Zeybek and Horon, two forms of Turkish dance and the playing of the bagpipe "Gaida". In the orange light of sodium vapor lamps, they find a way across rituals and somato-political self- destruction.
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caner teker is a survivor, choreographer and artist. caner's performances embrace parasitic, transformative and autobiographical world-making. through the manipulation of space, time and body, images are created that span personal experiences beyond queerness and post-migrant identity. they graduated from the Kunstakademie Düsseldorf and subsequently at the SNDO - School for New Dance Development, Amsterdam. teker's performances have so far been shown at the Westfälischer Kunstverein, Gessnerallee Zurich, Julia Stoschek Collection, Berlin, tanzhaus nrw, Düsseldorf and HAU - Hebbel am Ufer, Berlin. In 2022 teker was a danceWEB fellow and performed at the Neue Nationalgalerie Berlin, Maxim Gorki Theater, Tanzquartier Wien and Radikal Jung at the Munich Volkstheater. Their work ‚KIRKPINAR‘ has been acquired for the Collection of Museum Ostwall, Dortmund, Germany, and they have been awarded the ars viva price 2024.
Blending predatory ASMR, field recordings and distorted frequencies, Ronce is a crude first hand experience of what’s like to be a young woman constantly subjected to the eyes and the hands of men.
The aim of this musical and performative project is to cause extreme uneasiness in the listener, frequently breaking the threshold of catharsis.
soundcloud.com/itsronce
www.instagram.com/itsronce
In Bl0Wn, Joseph Baan and Luc Häfliger investigate the liberatory potential of performance by wielding a politics and practice of illegibility and incoherence. Social and state grammars generally aim to categorise, organise, and quantify individuals in ways that makes them appear on its grid, at which point individuals are forced or coerced to operate by its logics. To appear as illegible, unrecognisable, or incoherent signals a refusal of and potential escape from these grammars and their logics. Departing from the prism of “training one’s own incoherence” as a methodology, Bl0Wn considers how becoming unrecognisable might offer the possibility of liberation from identitarian markers. By harnessing unrecognizability, illegibility, and incoherence as strategies to question and potentially abolish the constraints one is borne into (i.e. social & economic mobility, categories of citizenship & identity), the piece aims to interrogate and negotiate the limits of our given realities.
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Joseph Baan (also known as Josephine, Jo, or any variation thereof) is interested in the complexities of collectivity and in the possibility of establishing a solidarity that does not homogenise, but affirms difference. They make performances, installations, texts, and scores that explore the spaces and relationships between the flesh and the word; change and preservation; and roles and readings of power and control in relation to affect and gestures of care. Their practice engages in art, education and collaboration as ways to forge creative resurgence and to investigate ways of beings together otherwise.
Originally from Paju South Korea, bela (they/them) is a musician and a performance artist based in Berlin. They are known for electronic music performance merging pungmul - a Korean folk act rooted in agricultural traditions and linked to past social movements - and vocals inspired by extreme metal. bela shapes pungmul into the ritual for queer rage and grief with sub-heavy distortions and cries. Since moving to Berlin in the autumn of 2022, they have been announced as a participant of SHAPE+ Platform 23'-24'. Their releases include [Guidelines](2021), [2020](2021), and [why are you so lost sweetie](2020).
bela has performed in experimental music festivals CTM Festival(DE), Ephemera(PL), Unsound Kraków(PL), and Rewire Festival(NL). They also participated in European art festivals transmediale(DE) and EVA International(IE). bela has supported artists Okkyung Lee, Pharmakon, and Eli Keszler. bela is a co-runner of Sorrow Club: a mixed event series spanning from music to non-music.
Amnesia Scanner is the Berlin-based Finnish duo Ville Haimala and Martti Kalliala. Founded in 2014, the group’s scope encompasses music writing, production, and performance, as well as its creative staging and circulation. Characterized by a deep fascination with system vulnerabilities, informational overload, and sensory excess, Amnesia Scanner carnivalizes the present. At the core of their work is an interest in how the contemporary experience is mediated, including the ways in which listening to music and live performance is evolving as streaming platforms become dominant and the feedback channels between artists and fans become more direct.
Building on their debut mixtape AS Live [][][][][], the duo interlaced a data-rich mesh of grime, trap, and rave with a mechanic narrator for their critically acclaimed 2015 audio play Angels Rig Hook, and Lexachast, their cyberdrone audio-visual project with artist Harm van den Dorpel and Bill Kouligas. Two EPs for Young (AS and AS Truth) followed in 2017, furthering the duo’s imaginative capabilities to project immersive sonic worlds into a dark, rave abyss. In their first LP, Another Life (2018, PAN), as well as in their 2020 full-length encore for the same label, Tearless, avant-EDM tropes are contextualized within the broader discourse of pop formalism, juxtaposing the duo’s harsh, deep-fried, synthetic signature style with canonical structures of pop songs. With STROBE.RIP (PAN 2023), Amnesia Scanner, joined by Freeka Tet, continues to play with the signs and signifiers, abstracting the tropes of their sonic universe.
Amnesia Scanner has performed across a wide range of venues and settings, from the massive Roskilde Festival in Denmark to Berlin’s Berghain to London’s Serpentine Galleries. For their design and visual direction, they collaborate with PWR. Ville Haimala, independently, has also written and produced music for and with David Byrne, FKA Twigs, Holly Herndon and Anne Imhof among other artists. Beyond his work with Amnesia Scanner Martti Kalliala is an architect, cultural critic and co-founder of the creative think tank Nemesis.
The Otolith Group was founded by the artists, curators and theorists Anjalika Sagar and Kodwo Eshun in London in 2002. Since then, The Otolith Group have observed a research based methodology that studies events, archives, movements, compositions, materials, performance, vocality, and space-time in moving and non-moving images, sounds, musics and texts in an age dominated by screens and technocapture. They work by seeing and listening across media, from deep time to the cosmos, opening up human and non-human life to an aesthetics of intertemporality and interscalarity. The poethics of thickening time chronopolitically to make the human and biotic community sensible, audible and visible. The Otolith Group's work has been widely exhibited internationally.
Hydra Decapita (2010) is centred on the work of Detroit-based techno music duo Drexciya. Drexciya, which was active from 1992–2002, consisted of James Stinson and Gerald Donald. In opposition to mainstream musicians of the time, Drexciya rejected the cult of personality and excess that surrounded the techno scene and instead focused on the conceptual and political. Afro-futurist theories were central to their practice and most notably in their album ‘The Quest’ (1997), where it was revealed that Drexciya was a submerged underwater country that was populated by the unborn children of pregnant women who were thrown overboard during the middle passage of slave ships across the Atlantic. In Hydra Decapita, The Otolith Group used this imagined world as a point of departure to explore notions of globalisation, capitalism and climate change, with particular attention to the relationships between finance, death, abstraction and language.
Duration 31 min.
Garden Amidst the Flame is a coming of age story where we guided into the fantasy of a young Minahasan girls in non-linear time structure. The journey began from young protagonist Virsay fills up the the night with shaving her eyebrows with her younger sister in an unemotional display of hypermasculinity of Minahasan culture. Without knowing her younger sister is one of member of the child gang that practises ancient knowledges, she encounters a realm of nowhere with the sudden appearance of a living fossil, the Coelacanth monster, on her bed, Rooster beast dancing in her room when it is beheaded by the child gang, and other fantastical and absurd situation.
Expanding her artistic research in Minahasan cosmology, in this new film work, Garden Amidst the Flame, Tontey will develop a queering approach in understanding one of the main ritual ceremonies in Minahasa society, Karai. Karai is a ritual in which Minahasan warriors are “dressed” with invincible armour to make them invulnerable to tribe war. In contemporary Minahasa, Karai is mostly understood as a hyper-masculine ritual as most of the participants are male tribesmen. However, based on her research and experience, Tontey will explore the potential idea of speculative care in Karai as this ritual is closely connected to the notion of wear, symbols, and clothes. Considering that in the mythology of Minahasan cosmos, the world is not a heteronormative playground, Tontey will observe the possibility of destabilising and reconfiguring the assumption of Karai in relation to the idea of care and invulnerability instead of aggression and masculinity.
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Natasha Tontey is an artist based between Jakarta and Yogyakarta, Indonesia. Her artistic practice predominantly explores the fictional accounts of the history and myths surrounding 'manufactured fear.' In her practice, she observes any possibilities of other futures that are projected not from the perspective of major and established institutions, but a subtle and personal struggle of the outcasted entities and beings.
Her recent exhibitions include a solo show at Auto Italia, London, UK (2022). And selected group shows and screening at 57th Karlovy Vary International Film Fesival (2023), Singapore Biennale (2022); De Stroom Den Haag (2022); GHOST;2565, Bangkok, Thailand (2022); Protozone8 Queer Trust, Zürich, Switzerland (2022); Arko Art Council, Seoul, Korea (2022), Leeum Museum of Art, Seoul, Korea (2022).
http://tontey.org
Taking as its launch point the trading network of the 17th century, this work traces the common commodity of deerskin through hyperconnections transcending time and space. Since European coinage was not popularly accepted in 17th-century Asia, the Dutch East India Company relied on instead of barter, for example trading Indonesian spices for Taiwanese deerskins, and then reselling large quantities of deer skins in Japan for silver, and finally using this silver as capital for further trade.
Deerskin was in high demand in Japan, as Edo-period samurai culture consumed large quantities in armour, accessories, and clothing. Yet after years of overhunting, Taiwan could not keep up with the demand for deerskins in Japan, and as such the Dutch East India Company searched for alternative sources, finally coming to Phnom Penh in Cambodia in an attempt to corner the deerskin market. As a result, they came into conflict with the Cambodian king, who launched a series of naval wars from 1643 to 1644 along the Mekong River to expel the Dutch East India Company, and in the end succeeding in their efforts.
The deerskin trade brought samurai culture, Dutch-Cambodian wars, and Taiwan into a complicated, interconnected relationship, which the artist has brought into the contemporary age. Videos shot in Cambodian and Japan include oral narratives from keepers at the Phnom Penh zoo, aerial footage of the Mekong River at the location where the Dutch and Cambodian armies fought, and modern-day cargo ships carrying gravel, as well as interview and handicraft footage from a Tokyo samurai armour workshop, internet imagery, and Google Maps data — use of the modern-day digital Internet of Things to peer into the colonial Network of Things.
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Graduated from Le Fresnoy - Studio national des arts contemporains, France, Chia-Wei Hsu is an artist, filmmaker, and curator whose work merges the language of contemporary art and film unearthing the complex production mechanisms that are behind the process of image-creation. Through his practice, Hsu weaves together connections between humans, materials, and places that have been overlooked or omitted from conventional historical narratives.
Hsu has had solo exhibitions at A Performance in the Church, Liang Gallery (2021; Taipei, Taiwan), Tung Chung Art Award: Giant Panda, Deer, Malayan Tapir and East India Company, MoNTUE, Museum of National Taipei University of Education (2019; Taiwan), MAM Screen 009: Hsu Chia-Wei, Mori Art Museum (2018; Tokyo, Japan). Industrial Research Institute of Taiwan Governor-General’s Office, Liang Gallery (2017; Taipei, Taiwan), and Huai Mo Village at Hong-Gah Museum (2016; Taipei, Taiwan) that was recognised by the Annual Grand Prize of the 15th Taishin Arts Award. He has participated in group shows such as the Busan Biennial (2022; South Korea), Aichi Triennale (2022; Japan) among many others.
"What is unnatural? What is nature if we don’t ask the previous question? Can we even identify something natural when we confront it? I propose we will test this by tasting stuff. Bizarrely, everything has a taste. Why are humans able to taste rocks?
A taste is a deeply personal experience but it is also extremely sensitive to social influence. Conveying a taste depends on sincere verbalisations and listening. This makes organizing around taste a delicate process, which relies on and amplifies trust in your senses and on others. Decisions and statements which are made in relation to tasting have a stronger impact than dry decision making processes.
On Sunday I will prepare carbonated mineral waters for you. I invite you to put something natural in our mouth, followed by something unnatural and to enjoy the experience. The performance builds on tasting-practices developed by artist Tea Andreoletti. A taste is built up in a process where we compare your own body, its memories, the ambience of the moment to the alien stuff we put in our mouths.
The performance is accompanied by an installation “Our Grand Water Treatment Plant” (2022) composed of ceramics, minerals and pumps. The plant includes samples from natural springs, for example from Куркиеки and Йо́ханнес / Советский. The ceramics are made from wild clay collected with the Nomadic Kiln Group (Monika Czyżyk & Elina Vainio). A ceramic whisk houses a bacterial cellulose membrane which removes oil traces from the water and its development was supervised by artist Alexey Buldakov."
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Eero Yli-Vakkuri is a self-defined recovering survivalist, working to advance sustainable design through artistic community engagements. In the past he made annoying street interventions which made people uncomfortable, presently he is advancing degrowth as a political and cultural movement through campaigns and artistic presentations. He prefers to work in groups and to develop antidisciplinary collaborations with specialists from different fields. The performance has previously been presented at Kiilan äänipäivät 2021 and “Our Grand Water Treatment Plant'' has been presented at “The Surface Holds Depths” -exhibition at Lappeenranta Art Museum.
“Throughout their muted history, they have lived in dreams, silenced bodies, silences, silent rebellions.” -Hélène Cixous-
The Echoes of the Sirens ponders the place of feminine in the world, bringing forth feminine voice, body and space. It is a landscape and a terrain of strange bodies echoing femininity. The work is inspired by Siren creatures, which according to philosopher Adriana Cavarero are "the most dangerous vocal creatures that the west has ever imagined".
The performance opens up an ambivalent space with feminine echoes through whispering, singing, laughing, screaming, panting, humming and wavy bodies that form sounding, vibrating, tactile, spatial and transforming sound fields. The work questions the social, cultural and corporeal place that the patriarchal and phallocentric structure has created for the feminine. Listening to the echoes of often silenced feminine histories, we want to imagine possible feminine futures, as a kind of utopia of unregulated femininity.
The Echoes of the Sirens is part of a working process of a performance The Song of the Sirens, that will be performed during 2024 in an yet unspecified place. Our working group consists of artists with different backgrounds and we have been working with this project since 2022. We want to open up and share our process by spreading it in the open air, as echoes of the phase where we are now.
Working group
Choreographer Heli Keskikallio
Dancers Johanna Karlberg, Ella-Noora Koikkalainen, Taru Koski and Lotta Suomi
Sound designer Miki Brunou
Space designer Bea Tornberg
The work is supported by Kone Foundation and the City of Helsinki.
We’d like to take you to a secret place and show you horrors but also the sweetness of life.
An Tul is a bond, an entity awakening through narratively structured noise-pop performances.
An Tul sound haunts with terror and beauty <> visiting subterrestrial frequencies and flashes of divine desires.
The performance in Drifts will be a gentle move towards the fall that requires us to die again.
hit different
is a session, a playlist with commentary. It is a performative gesture to share personal experiences of/with/through music. It aims to create a space where you can submerge to the same intimate feeling of experience of privacy as well as the collectivity of listening to a song.
hit different is suinners request for revolutionary loitering. Suggestion of a regulated stimuli and sensory rest as active effort and act of care. Dance, cry, sing, sleep if you want to.
step in
step in
can we all sit down?
I feel awkward
when I sit and you are all standing around me.
how are you
nice💐 can i play this song for u
come closer
can we just lay here?
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omg tää biisi uff
whatttt?
niceeee
have you heard this one?
remember this?
no but wait…….now!!!
Can I play this again?
shiiiii kuuntele
Duration: 20 min
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suinner aka Caroline Suinner is a multidisciplinary artist known for projects focused on representation, liberation and joy of marginalized people in performative and visual art projects. In Suinner's dj sets they are interested in sliding from one atmosphere to another and mixing musical cultures that feel like home to them.
OGNI is a Helsinki-based experimental sound artist. He began djing in 2007 alongside producing his own music under different aliases such as Top Jugend 90 and огни. He has dj'ed in many underground clubs in Helsinki and Tallinn, as well performing live at the Helsinki City Museum, Flow Festival, Kontula Electronic, Helsinki Botanic Garden (Music For Plants), Solstice Festival, and Retriitti, sharing the bill with local and international artists. Currently OGNI is the curator of the label SUMRAK as a monthly radio show with the same name on Ida Radio Helsinki. He is also a member of the band Mortar Devotions.
The "9T Antiope” duo consists of Paris-based Iranian musicians "Nima Aghiani" and "Sara Bigdeli Shamloo". The main focus of the band is on experimental music, using layers of acoustic instruments, electronics and combining them with vocals and lyrics, in order to narrate tiny bits or huge landscapes of the chaotic worlds they vision, along with their inhabitants.
They've had releases on multiple labels such as "PTP (Purple Tape Pedigree)", "Eilean Rec.", "Hallow Ground", "Flaming Pines", "Unperceived Records" and an upcoming project on "American Dreams".
The duo frequently creates for theatre, film and performance projects as well, for which they do sound design and composition.
Fallon Mayanja proposes a work in the light of cyberfeminist theories - at the crossroads of questions of race, class and sexuality.
Taking place in electro-organic interstice for transcendent utopias of the present ; This resistance to both predetermined categories and imposition provides the framework for an incredibly generative practice.
How does the apprehension of certain people by a socially dominant external gaze influence ways of being in the world? What impact does this process induce on a daily basis on the modalities of representation/expression of identity(ies)? The artist starts from these questions to sketch new modes of perception and listening practices. The intertwining of sound and visual materials attempts to go beyond the conditioning of the living and perceiving being. The performance thus embraces the political dimension of the glitch by blurring the predetermined categories. A radical attempt to articulate a feminism worthy of the 21st century.
Conception & sound : Fallon Mayanja
Choreography : Alen Nsambu
Performers : Fallon Mayanja & Alen Nsambu
Video : Ndoho Ange & Nicolas Pirus
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Graduated from the Post-Diploma in Sound Arts at the Beaux-Arts in Lisbon and the master's degree at INA GRM (Groupe de Recherches Musicales), Fallon Mayanja's work has been presented in France, Switzerland, Mexico, Italy or in Belgium. Building listening environments is the primary gesture that defines Fallon's practice and research. With a broad understanding of listening that encompasses the porosity of touch, the tangibility of sound and intangibility of sight, Fallon mobilizes different relationships with our environment and social, inter-relational, and self-reflexive ideas. From narratives that have survived Chaos, the artist constructs poetical club landscapes and support systems of queer - black diasporic experience. The Listening zone temporarily deviates from common sense (Kara Keeling) by carving out a sound space as a "committed act of relationship, of interaction, within its ecosystem". Reconfiguring the hierarchies of meaning and feeling, the soundscape opens and announces a collective space of affection, f(r)iction and perception.
Member of the Black(s) to the Future collective.
Nkisi produces intense, powerful sonics influenced by ancient Kongo rhythms, rhythmic noise, our planetary electromagnetic grid, and experimental improvisation. The creative musician and visual artist is one of the co-founders of NON Worldwide. She recently launched her label INITIATION and research platform The Secret Institute, exploring the secrets and mysteries of vibrational rhythm, the ritual as a socio-political tool, invisible gestural sonics, noise tantra, and strategies of trance.
From the Iconic House Of Ninja Dj Coco Ninja, the host of the evening MC Ghepetto Ninja together with our Performers Pixie Ninja and Sasha Ninja will bring you a ballroom spectacle you won't forget.
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Pixie Ninja (she/they) - Pixie has been taking part in ballroom events since 2018. Her main categories are vogue femme and sex siren.
Sasha Ninja (she/her) - Sasha is known in the Finnish fashion scene as a designer and multi-talent. Sasha has designed gala dresses and styled numerous Finnish artists. She goes by the name Sasha Ninja in the ballroom circuits, and she walks in balls worldwide. Her categories are Vogue Fem and Runway.
Mother Coco Ninja (She/Her) - Roza Ahmad aka The Nordic Mother Coco Ninja is a performer, Dj and a Ballroom photographer.
She discovered the ballroom scene in 2010 and join the Iconic House of Ninja in 2012. She has been walking and winning multiple grand prices around the world.
She has also been documenting the European Ballroom scene since 2016 and has had her pictures exhibited in The Finnish Museum of Photography 2023, Kunsthal Rotterdam 2021 and Cultural Centre Caisa 2020.
Roza is the Founder of Elements Ball and Elements Radio. She has been organizing balls and Ballroom related events since 2016. Elements Radio is a monthly ballroom radio airing on Ida Helsinki Radio. It was founded in 2020 together with Aksu Lukkarila, Anneli Kanninen and Saban Ramadani.
Roza has also been Dj'ing since 2018 at various clubs, festivals and Ballroom events. As a Dj Coco is known for her bass heavy ballroom selection, mix matching, genre hopping style of playing music.
MC Ghepetto Ninja - Commentator and Mc Ghepetto Ninja is a ball of energy and excitement that never disappoints. Their catchy chants and quick delivery is why this Mc always gets their 10's.
