”I am a space person.”

This is a statement that I hear myself repeating quite regularly. Perhaps because I often work with “sound persons”, who connect to space through other means, and to whom I feel the need to justify my behaviour.
Connecting to the performance space is an essential aspect of our profession as dancers and choreographers. We move in it, we look at it, we breathe in it, we feel it and we explore it in all sorts of ways. That is why it is so important to have lots of time in any new performance space, to get to create the physical connection with our bodies. And that is why I personally like to take my pre-performance power nap in the theatre, if possible in the audience part of the house.
Last year I was fortunate enough to create relationships with some of my dream spaces: the Confidencen court theatre in Stockholm, the Hall of Mirrors in Versailles and the Teatro Olimpico in Vicenza. However, performing in these spaces wouldn't have been meaningful without the people that I got to share them with, and other less remarkable spaces were heightened by the people populating them.

Thank you 2019 for the dance! It was intense, inspiring, and absolutely wonderful. But most of all thank you dear colleagues, audiences and students with whom I got to share the space! With this playful drawing from 1626 I wish you all a happy, healthy and inspiring 2020.

Karin Modigh
Artistic Director
Entrée des Glisseurs by Daniel Rabel from le Grand Bal de la douairière de Billebahaut, 1626.
Nordic Baroque Dancers is a Sweden-based company directed by Karin Modigh, herself living in Paris. We work with different choreographers and project-based teams in a variety of contexts. Our vision is to nurture and broaden the view of baroque dance.

International Summer Academy 2020


Welcome to our 7th year, focusing on the magic of theatrical dancing! The brochure is available on our website and we have now opened for registrations. Looking forward to seeing you in Sweden this summer!
Main courses in baroque dance, morning yoga, dance conditioning, commedia training, Lambranzi scenes, acting, Cramér repertoire, music forms and Feuillet notation, stretching.
Teachers: Charlotte Bell, Deda Cristina Colonna, Karin Modigh, Lena Cederwall Broberg, Ottilia Bergström.

Main courses in baroque dance, morning yoga, dance conditioning, dramatic repertoire, comical dance, mask technique, Cramér repertoire, music forms and Feuillet notation, stretching.
Teachers: Hubert Hazebroucq, Marie-Geneviève Massé, Karin Modigh, Lena Cederwall Broberg, Ottilia Bergström.

”Baroque dance with sea view”

The Swedish early music magazine Tidig Musik published an article on the 2019 edition of the International Summer Academy of Baroque Dance.
"Barockdans med havsutsikt"



dancer | performer | choreographer | stage director | teacher | creator


Last summer, the research project Performing Premodernity, which is connected to the Stockholm University and which aims to reassess the aesthetics and performance ideals of the Late Enlightenment, put up a new production of Jean-Jacques Rousseau's one-act opera Le Devin du Village from 1752. It was performed at the 1753 court theater Confidencen in Stockholm and Karin's choreographies were highly acclaimed by both critics and audiences.
Choreographer: Karin Modigh
Musical director: Mark Tatlow
Costumes: Anna Kjellsdotter
Dancers: Andrew Erickson, Matilda Larsson, Adrian Navarro, Mathias Terwander Stintzing

“Karin Modigh's humorous choreography creates vitality and motion in the deep perspective of the rococo theatre“
- Dagens Nyheter


fewo_2019_merope_(c)Innsbrucker Festwochen_Rupert Larl (3)
In July and August, Karin assisted Sigrid T'Hooft and danced with her company Corpo Barocco in the opera production Merope (Riccardo Broschi, 1732) at the Innsbrucker Festwochen der Alten Musik.
Musical direction: Alessandro De Marchi
Stage direction, choreography: Sigrid T’Hooft
Costumes, scenography: Stephan Dietrich

Singers: David Hansen, Anna Bonitatibus, Arianna Vendittelli, Vivica Genaux, Filippo Mineccia, Hagen Matzeit, Carlo Allemano

Dancers: Mojca Gal, Robert Le Nuz, Edgar Lewandowski, Karin Modigh, Aleksandra Pawluczuk, Antonin Pinget


Budapest Festival Orchestra, credit: Judit Horváth
In September and October, Karin assisted Sigrid T'Hooft and danced in her choreography for Monteverdi's La Favola d'Orfeo, a production by the Iván Fischer Opera Company and the Budapest Festival Orchestra.
Singers: Emőke Baráth, Valerio Contaldo, Michal Czerniawski, Cyril Auvity, Francisco Fernández-Rueda, Peter Harvey, Nuria Rial, Luciana Mancini, Antonio Abete
Dancers: Ferenc Adamovich, Zsolt Bácskai, Jusztina Bakonyi, Dávid Benkö, Csaba Fekete, Matilda Larsson, Viktória Lukács, Kornélia Mangi, Karin Modigh, Mónika Molnár, Eszter Mórócz, Tamás Papp, Alexandra Szücs
Budapest Festival Orchestra, credit: Judit Horváth


19-26 July, Löftadalen Conservatory, Åsa, Sweden
International Summer Academy of Baroque Dance
Beginners and intermediate level, main teachers Charlotte Bell and Deda Cristina Colonna

9-16 August, Löftadalen Conservatory, Åsa, Sweden
International Summer Academy of Baroque Dance
Advanced and professional level, main teachers Hubert Hazebroucq and Marie-Geneviève Massé


24 January, Conservatoire National de Musique et de Danse de Paris, France
Master class for singers and instrumentalists

28 February - 3 March, Opera Kameralna, Warsaw, Poland
Armide, rehearsal director

21-24 March, Opera Kameralna, Warsaw, Poland
Castor et Pollux, assistant choreographer/rehearsal director

7 June, Centre Culturel de l’Odyssée, Valenciennes, France
Le Ballet des Noctambules, dancer
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