{"id":1935,"date":"2026-01-15T14:34:06","date_gmt":"2026-01-15T12:34:06","guid":{"rendered":"https:\/\/ibchelsinki.fi\/?page_id=1935"},"modified":"2026-02-18T09:53:42","modified_gmt":"2026-02-18T07:53:42","slug":"the-history-of-hibc","status":"publish","type":"page","link":"https:\/\/ibchelsinki.fi\/en\/history\/the-history-of-hibc\/","title":{"rendered":"The History of HIBC"},"content":{"rendered":"
\n
<\/div>\n
<\/div>\n
\n

\n History\n <\/p>\n

The History of HIBC<\/h1>\n <\/div>\n
\n 27.5.\u20135.6.2026\n <\/div>\n <\/section>\n\n\n
\n
\n
\n

The Helsinki International Ballet Competition began more than 40 years ago. What all has taken place in the competition\u2019s history?<\/p>\n

Timo Sokura<\/strong>, a long-standing dance professional and a board member of the Helsinki International Ballet Competition Association, talks about the competition over the decades.<\/p>\n\n <\/div>\n

<\/div>\n <\/div>\n <\/section>\n\n\n
\n
\n
\n
In this history, I attempt to tell something about the competitions and their arrangements over the years and decades. I have had the pleasure of being involved in all but one of the competitions in various roles.<\/span><\/div>\n

<\/p>\n

<\/div>\n
For the purpose of these recollections, I have reviewed the minutes and other materials of the dance section of the Finnish Centre of the International Theatre Institute (ITI) at the Theatre Museum, and the minutes and other archive materials of the Helsinki International Ballet Competition Association at the Alexander Theatre, where the association has maintained a small office room. I have been in contact with the general secretaries and competition directors of all the competitions and asked them for comments on the competitions. Quotes are included from the ballet competition programs. I also contacted all the Grand Prix winners I could find and asked them for comments on the competition and its significance in their professional careers. Additionally, I interviewed Riitta Sepp\u00e4l\u00e4, director of the Finnish Centre of the ITI, and Liisa H\u00e4r\u00f6, assistant to many directors of the National Ballet, both of whom have significantly influenced the competition and its success. I requested greetings from the chairs of the Helsinki International Ballet Competition Association.<\/div>\n

<\/p>\n

<\/div>\n
And I cannot help but share personal experiences of the colorful stages of the competitions. At the same time, it will be revealed how the Second World War relates to ballet competitions, or why one should be careful near wind orchestras and how the ballet competition relates to the Finnish Christmas tradition.<\/div>\n

<\/p>\n

<\/div>\n
\n
Prologue<\/b><\/div>\n
<\/div>\n

<\/p>\n

What was the world like when the first competition began to be planned in the early 80s? It had been over 30 years since the Second World War and Europe was divided in two, Berlin even by a wall. The different sides, the Eastern and Western blocs, had diverged and isolated themselves far from each other. Cultural exchange, studying abroad, traveling, and many other things taken for granted today were significantly more difficult then. <\/span>An example could be my own place of study, the MUDRA school in Brussels at the turn of the 70s and 80s: 49 students from 19 different countries were accepted for the first year, but only one was from the Eastern Bloc, from former Czechoslovakia.<\/div>\n
<\/div>\n

<\/p>\n

UNESCO (United Nations Educational, Scientific and Cultural Organization) was founded immediately after the war in 1945, and several organizations for different areas of culture were also established under it. One of these was the ITI, International Theatre Institute (founded in 1948), to facilitate cultural exchange and artist visits, among other things. Each of the 92 member countries of the ITI has its own ITI center, and the organization was structurally divided into different committees, such as the Music Theatre, Playwright, and Dance Committees, one of whose tasks was to help international ballet competitions regarding travel restrictions, so that the competitions would be truly international.<\/span><\/div>\n
<\/div>\n

<\/p>\n

International ballet competitions had been organized much earlier, the first competitions in Varna, Bulgaria, as early as 1964. The basis for the first Helsinki competition was also the National Ballet Competition held at the Kuopio Dance Festival in 1978 and the Nordic Competition for Young Dancers in 1982. At that time, the artistic director of the Kuopio festival was Doris Laine.<\/span><\/div>\n
<\/div>\n

<\/p>\n

Main Roles<\/b><\/div>\n
<\/div>\n

<\/p>\n

How does the competition progress from the dancer’s perspective? Of course, the number one thing is the decision to enter the competition, finding a coach\/rehearsal assistant, choosing variations and contemporary dance numbers, searching for music, practicing, acquiring performance costumes, and securing performance permits for music and choreographies, long before the start of the competition. The competition application requires a report on education, competition repertoire, a headshot, and (nowadays) a video recording of a variation. With the help of these videos, a pre-selection jury consisting of dance professionals selects the competitors who are accepted into the competition. After that, the music for all performances is delivered to the competition office.<\/span><\/div>\n

<\/p>\n

<\/div>\n
When the competition begins, the dancer registers at the competition office, located either in the competitors’ hotel or at the Opera. At the same time, the repertoire announced in advance for the competition is checked. All competitors are accommodated by the competition in a hotel for the entire duration of the competition. Thus, even eliminated dancers can attend the competition’s training classes and watch the performances of others.<\/span>