Community

KYMA Collective is a new artists’ collective dedicated to fostering community, co-creation and artistic curiosity, drawing on the classical music tradition. We develop projects and formats that bring this tradition to life and give it meaning in a contemporary context.

RUM is KYMA Collective’s cross-artistic autumn tour 2026, a sensory concert experience where classical chamber music meets dance, poetry, costumes and visual elements in a unified dramaturgical whole. With chamber music at its heart, the project explores how sound, body and space can merge and illuminate the works from multiple angles. RUM has been created with the aim of making the classical concert more accessible and relevant to a younger audience. Through a visual and physical approach, new listeners are invited into the music without prior knowledge and without compromising on quality. The format breaks with familiar concert conventions and creates an intimate space for immersion, reflection and shared experience.

Presently, music is primarily consumed in a fast-paced and fragmented manner. This project explores what happens when music gets the same attention as visual art or film.

The project is a curated listening format in which music is presented as an independent work of art. In an aesthetic setting and with high-quality sound, the audience gathers for focused sessions where an album, an artist or a period is explored through context, storytelling and shared immersion.

Solani is not a concert or background noise. It is deep listening.

Each session is staged with an awareness of space, sound, atmosphere and presentation. The audience is invited to experience the music in its entirety — as a work with historical, cultural and emotional depth.

The ambition is to restore respect for the profound listening experience and create a space where music can be experienced as an artform that deserves time and attention.

Cold Country is a two-day emerging artists’ festival in Nr. Vorupør, a small town on the far west coast of Thys. The festival showcases new acts specialising in folk, country and Americana. These might be indie-influenced, country-sounding bands, or quiet singer-songwriter concerts offering space for contemplation and reflection – and much more besides. It's about creating a space for up-and-coming musicians who, in one way or another, are connected to the genre. We want to broaden the audience’s understanding of this type of music and expand their horizons, whilst creating a stepping stone for the next generation.

The music genres of country, folk and Americana have seen a rise in popularity among both audiences and performing musicians in recent years. In the wake of this development, Cold Country emerged as a place where one could discover new Danish and Nordic artists within these genres. The festival’s inaugural year was 2024, and 2026 will thus mark its third consecutive year. A recurring theme has been to invite up-and-coming Norwegian bands to the festival, and it is our clear aim to forge closer ties between Norway and Denmark, so that musicians and audiences in both countries can experience a greater sense of community and tap into a wider market.

Crash Club is an inclusive music community for girls and gender minorities, aimed at giving its members access to music-making and safe communities.

Crash Club was established to promote diversity and create greater gender balance in the music scene by offering a space where different energies, identities and forms of expression are welcome, and where traditional hierarchies and expectations in music education are challenged.

The project works towards this vision by creating safe, inclusive and playful music communities through workshops, band courses and creative learning activities. We work with collective songwriting, improvisation and experimentation, where the focus is on daring to try, turning up the volume and letting the process be the focal point.

Crash Club also develops teaching materials in the form of zines containing exercises, instructions and inspiration aimed specifically at the participants themselves. The material serves both as a creative tool and as a way of documenting the project and sharing experiences.

SUPER D’S ABC is a music and educational project for children that combines playful language, rhythmic music and the letters of the alphabet within a unified artistic universe. The project is based on original songs, in which each letter is given its own character and story – from imaginative animals and inventors to everyday heroes and quirky characters.

SUPER D’S ABC aims to stimulate children’s linguistic curiosity and auditory awareness through rhymes, chants and musical variety. At concerts and through music and book releases, children are invited to sing along, play with words and discover the possibilities of language. The project bridges the gap between art and learning, leaving room for imagination, humour and reflection.

The aim is to create a relevant and contemporary alphabet universe that can be used in nurseries, schools and homes, and which inspires children to create, write and sing themselves. The vision is to contribute to children’s culture with powerful, original music that brings letters to life – and which can foster a love for reading, creativity and shared experiences.

ImproLab is an artistic development project that explores improvisation as a tool for strengthening the individual’s artistic voice. The project stems from a classical music perspective and my background as a clarinettist trained at the Royal Danish Academy of Music, but is intended as an open platform for musicians across all genres. The ambition is to build bridges between musical traditions and explore what might emerge from the encounter between different artistic languages.

ImproLab establishes a safe and non-judgemental space where improvisation functions as both a method and a mindset. Through workshops, open laboratories and opportunities for ensemble formation, we work with listening, presence, courage and collective creation. The programme is process-oriented and focuses on development rather than a finished product.

The aim is to challenge habitual thinking, strengthen artistic identity and create new ways of working – both within classical music and in collaboration with other genres.

STRÆNG is a multicultural, community-building organisation which is initially producing a concert series centred on the guitar and stringed instruments, with a vision of scaling up the project into a festival in the long term. STRÆNG provides a platform for lesser-known string instruments, with a particular focus on non-Western ones. A key objective is to promote local instrumentalists from ethnic minority communities in Copenhagen, whose skills and artistry are often overlooked in the wider music scene or confined to ‘world music’ venues.

I also wish to create opportunities for new collaborations between different musical cultures and stylistic expressions. At the same time, I will work with a careful cross-cultural curation that preserves the artistic autonomy of the participating musicians, who come from many different backgrounds.

Whilst the path to performing on stage has become more accessible, entry into sound and lighting technology remains characterised by significant barriers.

Fremtidens Teknikere addresses this issue by providing a safe and practical introduction to technical roles in the music industry. The project offers two 14-week courses, where young people gain practical experience with professional equipment and workflows through hands-on teaching, venue visits and industry days. With a focus on community, responsibility and well-being, we give young people the confidence, skills and network to enter the industry and contribute to a more open and sustainable live music culture.

Duo Kraynebo is, to a large extent, an attempt to broaden the boundaries of what can be expressed through classical music. Anastasiia and Liam came together based on a shared recognition that the classical music tradition often favours perspectives linked to empires, whilst works and composers that convey the experiences of colonised people are often underrepresented. This can lead to a lack of nuance in what is given space to be expressed within classical music.

To counter this, the flute-bandura duo specialises in modern and contemporary music that addresses post-colonialism – often in a Ukrainian context – and since their formation in late 2022, they have performed in Ukraine, Denmark and Latvia. In collaboration with living composers, the duo has premiered a wide range of new works, written specifically for the ensemble.

One of the challenges the duo has faced is how to convey the lived experiences of post-colonialism to a Western audience, whilst keeping the art at the centre. This is the focal point of their participation in SOUND Incubator, where they are working on developing their social media and communication strategy, as well as their next major concert project, Night Music, which uses music to tell the story of their experiences of drone attacks in Ukraine.

For many years, research into orchestral conducting and gender has been an under-represented field in academia and artistic research – but change is on the horizon.

The ‘Fremtidens Dirigent’ seminar series, supported by Talent Norway and Sparebankstiftelsen, brings together researchers, conductors and industry professionals from the classical music sector to explore gender perspectives in orchestral conducting, share knowledge and build valuable networks.

The seminars pay particular tribute to minority groups within conducting and demonstrate how the role of the conductor can be shaped in a diverse and inclusive manner. Participants will also gain insight, inspiration and practical tools to approach leadership and musical practice in new ways, enabling them to actively help shape the future of classical music.

'Slip sproget fri' is available in both live and digital formats and is a methodological and conceptual exploration of how text and lyrics can be brought to life. The project examines perception and hierarchies within language and engages with the fluid, unpredictable and imperfect aspects of songwriting.

The project stems from a personal longing for greater artistic freedom, as well as from my own experiences with dyslexia and a desire to create spaces where language is not to be mastered, but felt. As part of the project, I am developing a practice-based workshop where participants are given the opportunity to freely explore their voices and deconstruct language as we know it.

The Earlymusic Project was established with the aim of presenting early music from various eras with joy, enthusiasm and musical flair. Leading national and international artists are invited to take part, and the project is initiated and run by flutist Winnie Bugge Frandsen.

‘The Voice of the Flute Through the Ages’ is a new chamber music series that focuses on the absolute cornerstones of flute repertoire. The audience is invited to experience the works in their authentic sound – performed on period instruments, using historical performance practices and with highly specialised musicians at the centre.

The Music Laboratory is a new music education organisation dedicated to giving children and young people access to music-making in a professional and inspiring environment. The project develops and runs intensive courses for school classes, in which pupils work together to create their own song, from the initial idea and lyrics right through to the finished recording.

The project stems from a clear need in primary and lower secondary schools, where music education is under pressure in many places due to a lack of teaching rooms, equipment and trained music teachers. At the same time, both new curricula and research indicate that creative and artistic work is of great importance for pupils’ well-being, sense of community and motivation. The Music Laboratory positions itself as a flexible and academically robust supplement to schools’ existing music teaching.

The physical space plays a central role in the project: when pupils work in an environment that conveys seriousness and artistic quality, their engagement, sense of ownership and courage to express themselves are strengthened. The teaching is project-based and inclusive, drawing on the pupils’ own ideas and experiences, regardless of their musical ability.

The Music Laboratory was founded and is run by Anders Bak Mejlvang, who holds a Master’s degree in Musicology and a Master’s in Music Education Development (RMC), and who has many years of experience as a music teacher in elementary school.

The project is based on a desire to rethink how music education can be organised and delivered so that it better suits both today’s pupils and the structural realities of schools. The ambition is to develop a scalable teaching concept that can eventually be rolled out to more local authorities and groups of children, as well as form the basis for new formats within music education, talent development and cultural enrichment.

Based in Copenhagen and founded by joY, bjoerk_ontheweb and Aotus, SYNTHETICA, a women-led electronic collective, works to create emotional soundscapes where vulnerability, intuition and diversity can coexist. SYNTHETICA places “Emotional authority” at the centre, with the aim of expanding the experience of electronic music through an open invitation to take part in inner landscapes, rituals and immersive experiences, where presence is more important than performance and perfection.

We believe that success in creative fields is created collectively and defined by shared creativity, receptiveness and open curiosity. We embrace contradictions, stylistic dissonance, emotional variation and fluid identities. We are who we are in the process of becoming.

SYNTHETICA builds community through workshops, events, collaborations and concerts. Based on mutual care and collective visibility, we lift each other up. Together, SYNTHETICA develops new ways of being independent artists and minorities, and seeks to create a more open music industry based on sustainable, artist-driven structures.

Sonicfest is an independent, artist-driven event that aims to provide a platform for new voices on the electronic and alternative music scene. The idea is to build a community centred around sound, aesthetics and underground culture. It serves as a platform and a meeting place for artists and audiences seeking something raw, honest and forward-thinking.

Sonicfest provides a space for new and experimental artists who find themselves somewhere between the underground and the mainstream. Here, DJs, live acts, visual artists and creative souls can meet, exchange ideas, and develop their artistic expression in front of a curious audience. At the same time, Sonicfest helps to strengthen the sense of community within the electronic and alternative music scene and demonstrates how artist-driven initiatives can create new opportunities and make cultural life more vibrant and diverse.

Behind the project is Kofi Ramsing, an artist and DJ based in Copenhagen. With roots in the city’s club and live music scene, he moves between artistic work and curation. He is closely connected to the music scene through venues and festivals, driven by a desire to discover new talent and create spaces where he, artists and the audience can come together in a meaningful way.

Musiklubben+ is a platform that provides a space for carefully curated live performances and listening sessions of electronic music, as well as for discussion and reflection afterwards. It aims to reflect current themes in society and the wider world by exploring various facets of electronic music and its legacy, whilst giving a voice to different figures from the industry and the wider community. Musikklubben offers excellent facilities and a high-quality sound system and lighting setup, allowing you to experience music through multiple senses and prompting further reflection. It draws inspiration from the good old Red Bull Music Academy ethos, though naturally the curation is tailored to local talents and interests.