Tero Saarinen

“My movement style is clearly an outcome of my experiences as a dancer. When I teach, I wish to transfer the knowledge I’ve collected during my 20-year career.

My goal is to make full use of my students’ already learned techniques and find, liberate and further nourish the potential capacity of each individual.

To transmit and further develop my own style of movement I have created “alphabets” that I teach in my technique classes. I try to encourage my dancers to be alert, aware and awake of all the endless possibilities that lie in their own physical existence.

Technically speaking I pay a lot of attention to the feet, fingers, eyes and skin. I focus on acknowledging the weight of the body and activating the extremities of the body – all the nerve endings. When dancers are truly alert and awake in a 360-degree fashion, they become authentic, open and versatile. My goal is to reach a state of awareness where even the skin is curious and sensitive. All this leads in to a dance that is constantly alive and surprising, like our flora and fauna.”

David Scarantino

David Scarantino, New Yorker by origin, has danced with TSC since 2013. He is remembered from creations such as Morphed, Could you…, Zimmermann Trio and the part of Kimmo in Kullervo. On top of his work as a dancer, David is TSC’s Training Activities Coordinator and teaches TERO technique regularly, in Finland and abroad. 

“As a teacher I enjoy being active, curious, and present. This student-like behaviour creates an atmosphere where we can all continue to learn and adapt – just as the dance world is doing. I am interested in nurturing an individual’s “voice” as an artist by listening, promoting, and giving tools for them to find out how they want to communicate with the world. 

As dancers we must constantly experience new art, ask questions, and compare where the art world is at and where will it be in the future. This emphasizes the need for balance between technical skill and theoretical ideas. As a teacher I like to use different approaches in both the anatomic and the visceral planes, to reach out to the students. To me, this line between form and function is what creates a full bodied and 360 degree dancer.

TERO technique inspired me from the moment I walked into the first class. The use of the focus, feet, and upper body allow for one to become a vessel of communication: one where we can stand tall in ourselves and say “Hello World! Here I am!” I am passionate about promoting each dancer to fully unlock their own potential, to allow them to shine in their uniqueness.” 

Henrikki Heikkilä

Henrikki Heikkilä has had an exceptionally long and remarkable career as a dance artist. Heikkilä completed his training at the Finnish National Opera Ballet School in 1983 and danced for the Finnish National Ballet in 1985–1986. Heikkilä is one of the founding members of Tero Saarinen Company and has danced in several of Saarinen’s masterpieces. Today, he is the Company’s Rehearsal Director, and has worked as Choreographer’s Assistant in Saarinen’s productions. He teaches TERO Workshops regularly and focuses especially on repertoire exercises.

Sini Länsivuori

Finland Prize awarded dancer and pedagogue Sini Länsivuori began her career at the Finnish National Ballet. She has worked with Tero Saarinen Company as Dancer and Choreographer’s Assistant since 1998. Länsivuori, who also holds a degree in dance pedagogy, has played a significant role in the development of TERO Technique. She is currently on leave of absence from Tero Saarinen Company.

“My main goal is helping my students improve the quality of their movement by being aware of not only the movement of the body but also of the person inside.

I don’t believe in just learning the steps. I believe in transmitting meaning and content, communicating through the language of dance.

As a teacher I think it is first of all crucial to be able create a positive and supporting atmosphere. I believe that a learning environment like this helps students reach their full capacity and find their own interpretation.

Tero and I both try to help our students by providing them with tools instead of answers. A tool can be, for example, the creation of mental images that help in reaching a particular type of movement. I also try to share my personal experience of Tero’s movement vocabulary on a concrete level by “translating” his mental images and analysing them with the students – for example by giving them concrete physical or anatomical tips.”