Ten Years of In2IT – A Journey of Movement, Belonging, and Vision

Interview with artistic director Tendai Makurumbandi

Could you share the artistic vision behind this year’s In2IT Festival — what

ideas or feelings did you want the festival to evoke this year?

This year’s theme, “Tusen skritt, et sted,” is about the many invisible steps that shape a

journey — the quiet beginnings, the persistence, the moments of doubt and renewal. When I look back at how In2IT began, I see not just a festival, but a process of becoming — both personally and collectively.

When I moved to Kristiansund, I came from a big dance world in Sweden where everything was alive and in motion. Suddenly, it was quiet. That silence could have been an ending, but it became a beginning. I decided to stay and see what could grow if I rooted myself here — if I could build something with the community rather than waiting for something to happen to it.

Tusen skritt, ett sted is about that act of staying — of walking slowly toward something

meaningful. It’s about trust: in process, in people, in time. Ten years later, In2IT has become more than a festival — it’s a symbol of what is possible when art meets endurance, when imagination is shared, and when a place allows itself to be transformed through movement.

What I wanted to evoke this year was that sense of journey — the feeling that every step, even the uncertain ones, has carried us somewhere we could not have imagined at the start.

Is there a theme or a particular thread connecting this year’s performances? How did you select the artists and works that make up the program?

Each performance in this year’s festival carries a sense of journey — of moving toward

something, of transforming through movement itself. The theme “Tusen skritt, ett sted”

became a lens for me to reflect on what it means to arrive, to belong, or simply to keep walking. I wanted to curate a programme that traces these many paths — physical, emotional, and spiritual.

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

In2IT doesn’t stage performances — it sets dialogue in motion. It’s not about the beauty of aesthetics, but about art that speaks from the heart and to the souls of those walking among us. The works I choose are not only performances; they are invitations — to feel, to listen, to reflect. I always ask myself: what conversation does this work open?

In2IT has never been about presenting the same aesthetic or representing diversity as a

concept — it’s about living it. The programme 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 between artists from different cultures shaping the festival’s identity?

The meeting between artists from different cultures is not just part of In2IT — it is In2IT. It’s where the heartbeat of the festival lives. When artists from different parts of the world share space, something happens that can’t be planned or staged — a dialogue that moves beyond language, technique, and background.

From the beginning, I have questioned the word diversity — how it can easily become a

checkbox, a surface gesture. I’ve never been interested in showing diversity; I want to practice it.

For me, diversity is not an image — it’s a lived reality, a way of being together in difference. It means creating space where artists meet as equals, where stories intertwine, where empathy becomes the foundation for creation.

This approach has shaped the festival’s identity from the start. In2IT is not about

representation — it’s about relation. We build cultural bridges not to prove something, but to make space for shared humanity. When an artist from Zimbabwe moves alongside a dancer from Norway, or a musician from Azerbaijan collaborates with a performer from Møre og Romsdal, something opens — a window into understanding, into seeing ourselves in each other. That is where transformation begins.

First edition of In2IT International Dance Festival in Sunndal.

Being based in Kristiansund gives In2IT a unique position. How does the community here influence the art and the atmosphere of the festival?

Kristiansund is more than the home of In2IT — it’s the ground it grows from. When I first moved here, I tried to establish a festival, but Kristiansund was not ready yet. I met

challenges, and the timing wasn’t right. Later, when I moved to Sunndalsøra, something

shifted. The engagement and enthusiasm there were high — even though the idea of creating an international dance festival in a small place seemed unrealistic. Sunndal believed. The community believed in me, in the vision, and in the possibility of building something together. Their support created the foundation of what became In2IT.

Over the years, the festival kept growing, step by step. It became clear that it needed more space and resources to continue developing. In 2019, I took leave from my position as a dance teacher in Sunndalsøra Kulturskole — my employer was Operaen i Kristiansund — to study for a Master’s in Choreography at Oslo National Academy of the Arts. After completing my studies, I decided to return to Kristiansund, because I saw how the Opera was taking an active interest in building a professional dance environment.

When the idea of establishing a competence center for dance began to take form, I was asked to contribute, develop, and lead it — and I said yes, of course. That’s how Dansekraft was born. Kristiansund was now ready — ready to embrace both Dansekraft and the In2IT Festival.

So, in 2021, I moved In2IT from Sunndal to Kristiansund and began collaborating closely

with Operaen i Kristiansund. This partnership elevated the festival’s foundation and quality. Suddenly, the space, the infrastructure, and the resources we had long needed were within reach. It felt like a natural transition — a shared step toward establishing Kristiansund as a center for dance in the region.

Now, with In2IT and Dansekraft based in Normoria, the new cultural house, this vision

continues to grow. Normoria gives us the space and visibility to expand our artistic ambitions while staying rooted in community. Today, the festival carries the rhythm of both places — the belief of Sunndal and the grounding of Kristiansund. In2IT didn’t arrive here; it grew here. Its pulse is carried by the people who have walked with us from the very beginning.

How has the festival developed since its beginning? What do you think has changed the most — in the festival, in the audience, or in yourself as an artistic leader?

Looking back, it’s incredible to see how much has changed — in the festival, in the audience, and in myself. In2IT started as a fragile dream, something uncertain yet full of belief. 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 all create together.

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

And as for me — I’ve grown from being a dancer and choreographer driven by vision, into a leader guided by trust. I’ve learned that leadership is not about control, but about care. It’s about listening, inviting, and allowing others to step forward.

After ten years, I see that In2IT has become more than a festival. It’s a living journey — a thousand steps shared with others. Each year has taught me something about patience, resilience, and community. The transformation of the festival mirrors my own: it began as an act of survival, but has become an act of belonging.

Tendai in front of Sunndal Kulturhus- first edition of In2IT

This 10-year anniversary is not a conclusion, but a threshold. It marks a new beginning — a moment where the festival stands ready to take its next steps with more awareness, more maturity, and deeper roots in the place that shaped it.

You are also the daily leader of Dansekraft. How does the work Dansekraft does throughout the year feed into what we see on stage during In2IT?

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

Through Dansekraft, we build an ecosystem rather than isolated projects. We create

opportunities for professional growth, open platforms for sharing and showing work, and foster dialogue between artists, institutions, and audiences. It’s a place where knowledge, artistry, and community meet.

What people see on stage during In2IT is the flowering of that work. Beneath every

performance lies a network of residencies, workshops, and collaborations that take place throughout the year. Dansekraft gives artists a home base — a reason to stay, to create, and to connect. It creates continuity where before there were only fragments.

In2IT and Dansekraft are two sides of the same vision. Dansekraft builds the foundation — the professional infrastructure and daily practice — while In2IT opens that 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 — ensuring that dance in Møre og Romsdal grows from within, while remaining in dialogue with the wider world.

Now, with both Dansekraft and In2IT based in Normoria, this synergy has become even

stronger. Under one roof, we can connect creation, presentation, research, and public

engagement. It allows us to think holistically — to grow dance as an art form, a field, and a community.

What role does the festival play in strengthening the dance field on the West Coast of Norway? Do you see it as a platform for local artists as well as international ones?

In2IT plays an important role in shaping the identity of dance on the West Coast of Norway. It acts as both a platform and a bridge — a space where local artists meet the international stage, and where international artists discover the depth and uniqueness of our region. From the beginning, I wanted the festival to make visible the dance voices that already existed here — to show that important art can grow from small places. In2IT gives local artists the opportunity to share space with international colleagues, to be seen, challenged, and inspired. And for the international guests, it opens a window into the culture, rhythm, and resilience of this coast.

Over time, the festival has become a reference point for dance in Møre og Romsdal — a

living platform for collaboration and exchange. It has helped connect a region that was once fragmented, bringing artists together across distances and disciplines. The ripple effect is clear: more collaborations, more visibility, and a stronger professional community.

We are part of both the national and international dance scene. Our contribution — no matter how small — matters. That’s the beauty of movement: the dynamic, the connections, the stories carried through each step. Every artist, every collaboration, adds to a larger choreography — a journey, a process, a network, a never-ending cycle of exchange and renewal.

We are also deeply excited that Dansekraft has now been included in the Norwegian state budget for the first time. It’s a powerful testimony — and a confirmation of the work we have been doing for years to build sustainable structures for dance in Møre og Romsdal. It shows that our efforts are being seen, valued, and supported at a national level.

With Dansekraft and In2IT now rooted in Normoria, the region has become a visible and

vital part of this larger ecosystem. Together, we are building not only a platform for dance, but a movement that connects the local to the global — showing that art from the periphery can influence the center just as much as the other way around.

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

Every year, there’s a moment when everything comes together — when the planning, the stress, and the structure fall away, and what’s left is something alive and deeply human. That moment, for me, is the essence of In2IT. It’s when I see people connecting across cultures, generations, and disciplines — when movement becomes dialogue and community takes shape through art.

This year, one of those moments was seeing the younger generation of dancers from our region share the stage with international artists. Watching them move side by side, I could feel the years of work — the seeds planted long ago in Sunndal — taking root and blooming in a new generation. It was emotional, because it reminded me why I started this journey: to create pathways, to make it possible for others to stay, to grow, and to believe that their art belongs here.

There are also moments behind the scenes — quiet, powerful ones — when a volunteer’s smile, an artist’s gratitude, or a conversation after a performance reveals what this festival really means. It’s in those 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 hold us together. The festival exists because of the people who believe in it, work for it, and carry it with love. I am deeply grateful to the Dansekraft team, to Operaen i Kristiansund, and to the community at Normoria for walking this journey with me. Their dedication, energy, and belief 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 comes with its own challenges — that’s part of the nature of creating something living. For me, the biggest challenge has always been finding balance: between ambition and sustainability, vision and reality, 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

needed. 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 continually surprises me is how much strength there is in this community — how

people show up, how artists give their all, how partners trust and support the vision. The festival has grown beyond me. It now belongs to everyone who contributes to it, 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 are not walking 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 it.

Looking back over ten years, I can see how the challenges have shaped the identity of In2IT. They’ve taught us endurance, patience, and faith in the process. Each obstacle has become a step — one of those tusen skritt — that has strengthened the foundation. The beauty is that we continue to grow, not in spite of the challenges, but because of them.

What do you hope the audience will take with them after experiencing this year’s festival?

What I hope the audience takes with them is not just a memory of what they saw, but

something that stays in the body — a rhythm, a breath, a vibration that lingers. I hope they leave feeling more connected, more awake to the beauty and complexity of being human.

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

If someone walks away feeling changed, or simply more curious about the world and the people around them, then the festival has done its work. That’s what Tusen skritt, ett sted is about — the shared journey of being moved, together.

Ultimately, In2IT is about building bridges — between cultures, generations, and hearts.

Movement becomes a language of understanding, a way of remembering that no matter where we come from, we all 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 keep growing — not just in size, but in depth and purpose. To continue building structures that allow artists to thrive, and to keep dance visible, valued, and vital in the region and beyond.

For In2IT, I want the festival to remain a meeting place where art, people, and ideas cross paths — where curiosity leads to connection. For Dansekraft, I hope we continue to strengthen the professional field, weaving dance into education, health, and community life.

Together, they form one vision — a living ecosystem where creation, research, and

collaboration move together in rhythm.

In a few words: to keep building bridges, shaping 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 speak back to it. It’s how I remember where I come from and imagine where we can go.

Right now, dance feels like breath — essential, grounding, alive. It’s the pulse that carries me through uncertainty, the rhythm that connects.