Gabrielle Johansson’s sources of inspiration

The magic of Swedish folklore

As a child, I loved reading Sagovärld, a storybook by John Bauer. The illustrations and stories from that book continue to inspire me to this day.

Stories give people direction, but their meaning shifts over the years. My current performance Skogsekon, literally ‘echoes of the forest’, is based on one of the stories from Bauer’s book. The particular tale is about a princess who wants to live in the forest and meets various forest creatures. The way you interpret such a story can change over time, and it is precisely those different meanings that I find utterly fascinating.

I also draw inspiration from the characters found in Swedish folklore. For instance, I named my collective after the Vittra: nature spirits who, according to the stories, protect nature and livestock.

Myths and legends have always fascinated me. Not just the story itself, but especially the underlying symbolism and the different ways in which people can interpret it. What I love so much about folklore is that it offers a different perspective. In theatre and dance, Greek mythology is often used, for example, whilst Swedish folklore opens up a lesser-known but equally rich universe of stories.

Where folk dance and pole dance meet each other

For Skogsekon, I drew inspiration from folk dance. This dance form helped me to bring the atmosphere of the forest and the various figures within it to life and to create a magical world.

I particularly try to incorporate elements of folk dance in the pieces where there is dancing between the poles. It’s a completely different way of moving from what you usually see in pole dancing, and it’s precisely that different movement pattern that makes it so unique to me.

Besides, folk dance is simply very close to my heart. Dancing together brings people closer. For me, it’s also a way to stay connected to my Swedish roots, and there’s a personal story behind it too: my parents actually met through folk dance.

Echoes of ballet

I danced ballet for seventeen years, so that style will always remain a part of me. Even today, I still draw a great deal of inspiration from it, which I incorporate into my projects. What fascinates me most about ballet is not so much the solos, but rather the group dances in which many dancers come together to form an organic whole.

I sometimes missed that sense of collective movement in pole dancing. That’s why I’m now trying to create it myself by alternating moments of synchronised movement with passages in which dancers move through one another, thus forming a single dynamic whole.

Moreover, circles play an important role in both ballet and folk dance, and I myself enjoy playing with such organic movements. Circles can evoke very different atmospheres: they can be playful and cheerful, but just as easily mysterious or even menacing, as in ritual dances. I try to reflect that versatility in my own work.

Furthermore, ballet often revolves around telling a story. I also want to incorporate that narrative element into my performance. I want to take the audience on a journey through the story of various characters who come together in the forest.

Nature as a feeding ground for inspiration

Nature plays a very important role in my work, now more than ever. At a time when artificial intelligence is becoming increasingly popular, we sometimes give too little thought to its consequences. Not only are creative professions coming under pressure, but the impact on our planet is also often underestimated.

With Skogsekon, I therefore want to convey a clear message: people are allowed to use nature, but they must do so in a conscious and respectful manner. There must be a balanced interaction between the two.

The story of the performance is set in a forest and revolves around the power of nature. That is why I think it is important that the context and the design also reflect this. For instance, we will be performing at the Verbeke Foundation, a place where there is a lot of biological art to be found. Moreover, the performance will be staged outdoors, although we will of course provide a canopy in case it rains. After all, this is Belgium!

In the practical execution too, we try to stay as close as possible to that natural feel. We make the costumes entirely ourselves, and for the visuals I’m working with a friend. For me, it’s important that the whole picture comes together.