About kirstine

I've always had a bit of an obsession with organising all kinds of things, movements just one among other things. As soon as I could verbalise my ideas, negotiate and persuade, I tried to share my fascination of this kind of organising with others..... Sometimes successful and other times really disastrous. Generally my cats were not fans of choreography, but my horse on the other hand had great potential and seemed really eager to collaborate at that early stage of my choreographic endeavours. Later I moved onto including my classmates in elementary school or the entire school, friends and parents etc. I clearly remember the moment I realised what great impact movements can have on a viewer; I was looking out the window in my childhood room overlooking a huge very lush green grass field with a huge herd of cows wandering about. The regular black and white kind, doing their thing. Me; just observing. A little bored perhaps. Letting the thoughts fly around. And all of a sudden I noticed a big chunk of the herd had kind of turned their arses towards me, and out of nowhere unison hit their tail movements..... For a long while they were swinging in perfect and amazing unison - and somehow it changed something in me! Since then I continued growing up in the countryside doing all kinds of movement-organising experiments as well as playing music on various instruments; drums, violin, recorder, guitar - but not really sticking to any of them like my organising-obsession. At the age of 18 while working at a hotel in London, I all of a sudden decided to become a dancer and since then graduated with some more established choreographic skills from SNDO in Amsterdam (2004). In 2004 I also founded the group/band/company/ensemble WE GO in collaboration with guitar player and composer Niels Bjerg.

Kirstine Kyhl

Welcome to this really quick made first draft of the blog!
Updates will follow.


Since 2004 I’ve worked in close collaboration with Niels Bjerg and our ensemble/group/company/band or whatever label fits best in a given situation. Niels and I also share our life outside of work and have a child. The reality of work for me, besides the actual choreographing and developing ideas-bit, is that I also take on all other necessary roles. I guess that’s a pretty common way of dealing with the practicalities of realising your artitic ideas. It’s been going really well so far, but feel a little less reckless as I age.

Here’s a super short text that we sometimes use to describe WE GO:
WE GO is a band and dance company founded in 2004 by choreographer/dancer Kirstine Kyhl Andersen and composer/guitarist Niels Bjerg with an international ensemble of seven musicians and dancers. They investigate possibilities of embodying musical functions and transform them into unique experiences of choreographed concert-performances. Their dancing concerts have been presented at both theatres and music venues in Europe and North America.

Don’t know if I like this description, really – but at least it’s a fairly precise way of describing our main- and common interest.

I envy music. I envy it’s ability to affect the listener.
Like I said I suffer from organising, and of course that also influences (or even dictates) my artistic practise and a systematic approach is always present in my work with WE GO. I have neatly organised and categorized notebooks covering the past ten years of our work. I will document them soon and share them with you, so you can see the degree of my organising habit.

We started out by wanting to merge music and movements in the same score, making them of equal importance… A simple and naive way to begin. It led us to focus on the two co-relating or depending on each others actions in order to move forward in a predetermined structure, agreement or system. Then came the time for dissecting musical scores and litterally making each note or sequence visible to the viewer by letting each movement create a sound. Now we’re at the start of a new research where the live musician doesn’t participate. We work with choreographing the movements of an electro acoustic score, where individual sounds or sequences can move between speakers in the space. The musical structures will be fixed and solely played through (a large number of) speakers in a room to be determined. The dancers role will be to produce a live element in the played music by manipulating the speakers in the space in various ways. We’re super exited!

IMG_6105At the moment we’re developing this idea as artists in residence at Københavns Musikteater – and we’re super exited about that as well! Experimenting with these good looking speakers, generously lend to us by by Audiocase.
Sometime in the near future you can read more about this project here: hello?


Sound is not weightless. It is not bodiless, not ethereal, it is not immaterial. The opposite is true… Sound is thoroughly material, it is a vibration: a disturbance that moves through elastic materials. All molecules in motion are reverbed and remixed – an airquake, a stonequake: a trembling and quaking of bodies and beings. –  Prof. Dr. Holger Schulz



Some of  my other work:
My main training is Kitt Johnsons Open Training, where I also teach (you should come).
Check it out here.

I’m part of the board and chairman of Brancherådet for Scenedans i Danmark and as a boardmember of De Frie Koreografer.

necessaryNECESSARY FAILURE is a duo in progress in collaboration with the Danish, but Dutch residing Leela May Stokholm.



RetroactionI worked with Marie Kølbæk Iversen on some occasions. Here’s an image from Retroaction VI – Nikolaj Kunsthal.



estherRecently worked with Esther Wrobel on her project MODVÆGT / Taking Space#4