At the start of the 21st century, Saarinen came across The Boston Camerata album Simple Gifts. The music’s manic repetition touched him deeply and the idea of a new work began fermenting in his mind. In 2002, he contacted Joel Cohen, then Artistic Director of The Boston Camerata, about the possibility of a joint production.
The co-creative process with The Boston Camerata began with Cohen humming melodies to Saarinen. The selection of 20 Shaker songs was made from an archive of hundreds – some never published before. Saarinen and Cohen met several times in Europe and the U.S., and also travelled to the Sabbathday Lake Community in Maine to meet the four remaining Shakers still alive at that time.
It took eighteen months of hard work for Saarinen and his collaborators to finalise the choreography and the visual form of Borrowed Light. The work is named after the architectural practice, common for the Shakers, of building windows into interior rooms, thus maximising daylight and productivity. Saarinen and his trusted collaborators, Lighting and Set Designer Mikki Kunttu and Costume Designer Erika Turunen, approached light as a religious metaphor. The visual appearance of the work is rooted in the aesthetic of frugality and the accentuation of opposites. The costumes combine heavy felting with airy, transparent fabrics. The lighting design emphasises the opposite worlds of mystical shadows and piercingly bright light.
Even though the entire production team did not meet in one place until a week before the premiere, the xtended working period and the devotion of all the artists involved allowed these teo ensembles to be seamlessly integrated into each other, into one performance.
Despite the strong influences of the Shakers, Borrowed Light addresses the themes of communitarian society on a general level: “My main source of inspiration was the Shakers and I ended up using only original Shaker music, but this work is not about Shakerism. It is about community and devotion. To me the nature of total commitment – whether religious, artistic or political – is fundamentally the same.”
”Best of 2006” (10 Best List)
- The New York Times, December 24, 2006 (USA)
”Important production (2006)” ”Prominent choreographer (2006)” ”Remarkable group (2006)”
– Ballett-Tanz, Das Jahrbuch 2006, listings by critics Michael Crabb (Canada), Ora Brafman (Israel) and Akiko Tachiki (Japan)
”The Best Contemporary Premiere (2004/2005)” ”Most Outstanding Performance (2004/2005)”
– Dance Europe, Critics’ Choice, October 2005 (UK)
– The Australian, March 3, 2008 (Australia)
”Powerful, elemental and unforgettable”
- The Boston Globe, 31 December, 2006 (USA)