Ten years of IN2IT – a journey in movement, belonging and vision

Interview with Tendai Makurumbandi

Artistic director of the IN2IT International Dance Festival

Can you share the artistic vision behind this year's IN2IT festival – what ideas or emotions did you want the festival to evoke this year?

This year's theme, "A Thousand Steps, One Place," is about the many invisible steps that shape a journey — the quiet beginnings, the perseverance, the moments of doubt and renewal. When I look back at how IN2IT began, I see not just a festival, but a process in constant development — both personally and collectively.

When I moved to Kristiansund, I came from a large dance community in Sweden where everything was alive and moving. Suddenly it was quiet. That quiet could have been an end, but it became a beginning. I chose to stay — and to see what could grow if I put down roots here. If it was possible to build something together with the community, instead of waiting for something to happen by itself.

“A Thousand Steps, One Place” is about staying—about slowly moving toward something meaningful. It’s about trust: in the process, in the people, in time. Ten years later, IN2IT is more than a festival—it’s a symbol of what’s possible when art meets perseverance, when imagination is shared, and when a place can be transformed through movement.

What I wanted to awaken this year is precisely this feeling of journey — a realization that every step, even the uncertain ones, has taken us somewhere we could not have imagined when we began.

Is there a theme or a particular common thread that ties together this year's performances? How did you choose the artists and works that make up the program?

Every performance in this year’s festival carries a sense of journey — of moving towards something, of being transformed through the very movement. The theme “A Thousand Steps, One Place” became a perspective for me to reflect on what it means to arrive, to belong, or simply to keep walking. I wanted to curate a program that follows these many paths — physical, emotional, and spiritual.

When I choose artists, I don't look for names or styles. I look for intention — and for necessity. I am drawn to artists who move with honesty and an inner drive, who bring their stories, their wounds, and their questions into the space. I seek works that reflect the world and society we live in — art that does not escape reality, but engages with it, challenges it, and transforms it.

IN2IT doesn’t just put on performances — it sets dialogue in motion. It’s not about aesthetic beauty, but about art that speaks from the heart and to the souls of those who walk among us. The works I choose are not just performances; they are invitations — to feel, to listen, to reflect. I always ask myself: What conversation does this work open up?

IN2IT has never been about presenting one particular aesthetic or representing diversity as a concept — it’s about living it. The program becomes a dialogue between different ways of moving, thinking, and existing. Together, these voices shape the rhythm of the festival — a rhythm that reminds us that movement is not just art, but a way of understanding ourselves and the world we share.

IN2IT has always celebrated international and local collaboration. How do you see the meeting of artists from different cultures shaping the festival's identity?

The meeting of artists from different cultures is not just part of IN2IT — it is IN2IT. It is where the heart of the festival beats. When artists from different parts of the world share a space, something happens that cannot be planned or staged — a dialogue that moves beyond language, technique and background.

From the very beginning, I have questioned the word diversity — how it can easily become a checkbox, a superficial gesture. I have never been interested in showcasing diversity; I want to practice it.

For me, diversity is not an image — it is a lived reality, a way of being together in diversity. It is about creating spaces where artists meet as equals, where stories intertwine, and where empathy becomes the basis for creation.

This approach has shaped the festival's identity from the very beginning. IN2IT is not about representation — it's about relationship. We build cultural bridges not to prove anything, but to create space for a shared humanity.

When an artist from Zimbabwe moves side by side with a dancer from Norway, or a musician from Azerbaijan collaborates with a performer from Møre og Romsdal, something opens up — a window towards understanding, towards seeing ourselves in each other. That is where the transformation begins.

First edition of In2IT International Dance Festival in Sunndal.

Being based in Kristiansund gives IN2IT a unique position. How does the local community here influence the art and atmosphere during the festival?

Kristiansund is more than the home of IN2IT — it is the soil the festival grows from. When I first moved here, I tried to establish a festival, but Kristiansund wasn’t ready yet. I met resistance, and the timing wasn’t right. Later, when I moved to Sunndalsøra, something happened. The commitment and enthusiasm there was great — even though the idea of creating an international dance festival in a small place might seem unrealistic. Sunndal believed. The local community believed in me, in the vision, and in the opportunity to build something together. Their support laid the foundation for what became IN2IT.

Over the years, the festival continued to grow, step by step. It became clear that it needed more space and more resources to be able to develop further. In 2019, I took a leave of absence from my position as a dance teacher at Sunndalsøra Cultural School — my employer was the Opera in Kristiansund — to pursue a master's degree in choreography at the Oslo National Academy of the Arts. After graduating, I chose to return to Kristiansund, because I saw how the Opera actively wanted to build a professional dance environment.

When the idea of establishing a competence center for dance began to take shape, I was asked to contribute, develop and lead it — and of course I said yes. Thus Dansekraft was born. Kristiansund was now ready — ready to embrace both Dansekraft and the IN2IT festival.

In 2021, I therefore moved IN2IT from Sunndal to Kristiansund and started a close collaboration with the Opera in Kristiansund. This partnership raised the foundation and quality of the festival. Suddenly we had access to the space, infrastructure and resources we had long needed. It felt like a natural transition — a joint step towards establishing Kristiansund as a regional center for dance.

Now, with IN2IT and Dansekraft anchored in Normoria, the new cultural center, this vision continues to grow. Normoria gives us the space and visibility to expand our artistic ambitions, while remaining rooted in the community. Today, the festival carries the rhythm of both places — the faith from Sunndal and the roots in Kristiansund. IN2IT did not arrive here; it grew here. The pulse is carried by the people who have been with us from the very beginning.

How has the festival evolved since its inception? What do you think has changed the most — in the festival, in the audience, or in yourself as artistic director?

Looking back, it's amazing to see how much has changed — in the festival, in the audience, and in myself. IN2IT started as a vulnerable dream, somewhat uncertain, but full of faith. Over time, it has grown into a cultural movement that connects people across borders and generations. It's no longer just a festival I created — it's something we create together.

The audience has also changed. In the beginning, people came out of curiosity — to see what “contemporary dance” really was. Now they come with expectation and ownership. They come to feel, experience, and participate. The dialogue between stage and audience has become deeper and more reciprocal.

And as for myself — I have grown from being a dancer and choreographer driven by vision, to becoming a leader driven by trust. I have learned that leadership is not about control, but about caring. It is about listening, inviting, and making space for others to come forward.

After ten years, I see that IN2IT has become more than a festival. It is a living journey — a thousand steps shared with others. Each year has taught me something about patience, resilience, and community. The festival’s transformation mirrors my own: it began as an act of survival, but has become an act of belonging.

Tendai foran Sunndal Kulturhus- første utgave av In2IT

This 10th anniversary is not an ending, but a threshold. It marks a new beginning — a moment when the festival stands ready to take its next steps with greater awareness, greater maturity, and deeper roots in the place that has shaped it.

You are also the general manager of Dansekraft. How does the work Dansekraft does throughout the year influence what we see on stage during IN2IT?

Dansekraft is the infrastructure that supports the development of dance in Møre og Romsdal — through dissemination, presentation, competence building and research. It is a competence center established to strengthen the professional dance field, connect artists together and build lasting structures where dance can grow and develop.

Through Dansekraft, we build an ecosystem rather than individual projects. We create opportunities for professional development, open platforms for sharing and showcasing work, and facilitate dialogue between artists, institutions, and the public. It is a place where knowledge, artistry, and community meet.

What the audience sees on stage during IN2IT is the flowering of this work. Beneath each performance lies a network of residencies, workshops and collaborations that take place throughout the year. Dance power gives artists a base — a reason to stay, create and connect. It creates continuity where previously there were only fragments.

IN2IT and Dansekraft are two sides of the same vision. Dansekraft builds the foundation — the professional infrastructure and the daily practice — while IN2IT opens this foundation to the world. One cultivates depth; the other creates visibility. Together they form a living cycle that nourishes both the local and the global — and ensures that dance in Møre og Romsdal grows from within, while at the same time being in dialogue with the outside world.

Now, with both Dansekraft and IN2IT anchored in Normoria, this synergy has become even stronger. Under one roof, we can connect creation, presentation, research and audience engagement. This gives us the opportunity to think holistically — to develop dance as an art form, as a discipline and as a community.

What role does the festival play in strengthening the dance scene in Western Norway? Do you see it as a platform for both local and international artists?

IN2IT plays an important role in shaping the identity of the dance scene in Western Norway. The festival serves as both a platform and a bridge — a place where local artists meet the international scene, and where international artists can discover the depth and uniqueness of our region. From the very beginning, I wanted to highlight the voices that already existed here — to show that significant art can grow from small places. IN2IT gives local artists the opportunity to share space with international colleagues, to be seen, challenged and inspired. For the international guests, the festival opens a window into the culture, rhythm and resilience along this coast.

Over time, the festival has become a reference point for dance in Møre og Romsdal — a vibrant platform for collaboration and exchange. It has helped to connect a region that was previously fragmented, bringing together artists across distances and disciplines. The ripple effects are clear: more collaborations, greater visibility and a stronger professional community.

We are part of both the national and international dance scene. Our contribution — no matter how small it may seem — matters. That is the beauty of movement: the dynamics, the connections, the stories carried in every step. Each artist, each collaboration, becomes part of a larger choreography — a journey, a process, a network, a continuous cycle of exchange and renewal.

We are also very pleased that Dansekraft is now included in the state budget for the first time. It is a strong testimony and confirmation of the work we have done over many years to build sustainable structures for dance in Møre og Romsdal. It shows that our efforts are seen, appreciated and supported at a national level.

With Dansekraft and IN2IT anchored in Normoria, the region has become a visible and vital part of this larger ecosystem. Together, we are building not just a platform for dance, but a movement that connects the local to the global — and shows that art from the periphery can influence the center just as much as the other way around.

Behind every festival is a team and a community. Is there a moment, a collaboration or a person this year that has meant something special to you?

Every year there is a moment when everything falls into place — when the planning, the stress and the structures fade into the background, and what remains is something alive and deeply human. For me, that is the very essence of IN2IT. It is when I see people connecting across cultures, generations and disciplines — when movement becomes dialogue, and community takes shape through art.

This year was such a moment when I saw the younger generation of dancers from our region share the stage with international artists. Watching them move side by side made me feel that the years of work — the seeds sown in Sunndal long ago — have now taken root and are blossoming in a new generation. It was powerful, because it reminded me why I started this journey: to create paths, to enable others to stay, to grow, and to believe that their art belongs here.

There are also moments behind the scenes — quiet but powerful — when a volunteer's smile, an artist's gratitude, or a conversation after a performance reveal what this festival really means. It is in these small gestures that I see the spirit of IN2IT: generosity, trust, and togetherness.

At its core, IN2IT has always been about relationships — the invisible threads that bind us together. The festival exists because people believe in it, work for it, and carry it with love. I am deeply grateful to the Dansekraft team, to the Opera in Kristiansund, and to the community in Normoria who are walking this journey with me. Their commitment, energy, and faith make everything possible. Together we move.

What has been the biggest challenge in curating or producing this edition — and what has surprised you most along the way?

Every year has its own challenges — it’s part of creating something alive. For me, the biggest challenge has always been finding the balance: between ambition and sustainability, between vision and reality, between dreaming big and building slowly. We work with limited resources, but we dream without limits.

Running a festival like IN2IT is a constant dance between what is possible and what is necessary. Funding, logistics, time — these are practical challenges, yes, but they also shape the artistic process. They teach us to be creative in how we organize, how we collaborate, and how we use what we have.

What continues to amaze me is how much strength there is in this community — how people come together, how artists give their all, and how partners show trust and support for the vision. The festival has grown beyond me. It now belongs to everyone who contributes, believes in it, and keeps it alive.

That sense of shared ownership is incredibly moving. It reminds me that even when the road feels long, we don’t walk it alone. Every year, despite the challenges, something new emerges — a new connection, a new understanding, a new step forward. The surprises often come in small, human moments — when something unexpected touches someone deeply, and I realize: this is why we do this.

Looking back on ten years, I can see how the challenges have shaped IN2IT’s identity. They have taught us perseverance, patience, and faith in the process. Every obstacle has become a step — one of those thousand steps — that has strengthened the foundation. The beautiful thing is that we continue to grow, not despite the challenges, but because of them.

What do you hope the audience takes away from experiencing this year's festival?

What I hope the audience takes away is not just a memory of what they've seen, but something that stays in their bodies — a rhythm, a breath, a vibration that lingers. I hope they leave here with a stronger sense of connection, more open to the beauty and complexity of being human.

Dance has that power — it doesn't tell us what to think, but reminds us how to feel. It can open spaces within us that words can't reach. For me, the festival isn't about entertainment; it's about encounter. About the moments when something on stage mirrors something in the audience — when empathy moves between bodies, and we suddenly see each other a little more clearly.

If anyone leaves here feeling changed, or just more curious about the world and the people around them, then the festival has done its job. That's what "A Thousand Steps, One Place" is about — the shared journey of being touched, together.

Ultimately, IN2IT is about building bridges — between cultures, generations, and hearts. Movement becomes a language of understanding, a way to remember that no matter where we come from, we share the same ground.

If you could describe your hopes for the future of IN2IT and Dansekraft in just a few words, what would they be?

My hope for the future is to continue to grow — not just in size, but in depth and direction. To further develop structures that allow artists to flourish, and to keep dance visible, valued, and alive in the region and beyond.

For IN2IT, I want the festival to remain a meeting place where art, people and ideas intersect — where curiosity leads to connection. For Dansekraft, I hope we continue to strengthen the professional field, and weave dance into education, health and community life.

Together they form one vision — a living ecosystem where creation, research and collaboration move in the same rhythm.

In a few words: to continue building bridges, forming belonging, and growing through movement.

Finally — what does dance mean to you right now, in this moment?

Dance, for me, is everything — language, memory, resistance, and prayer. It's how I listen to the world and how I respond to it. It's how I remember where I come from and imagine where we can go.

Right now, dance feels like breathing — vital, anchoring, alive. It is the pulse that carries me through uncertainty, the rhythm that connects.