Risima Risimkin is one of the leading Macedonian choreographers and artistic director of Dance Fest Skopje and Skopje Dance Theater. She received her MA from the University of Plovdiv, Bulgaria, at the Academy for Music and Dance Art (AMTI) in the section for Choreography, Ballet Directing and Pedagogy and was awarded the title ballet master. The season 2012/2013, she was working as Head choreographer of the State Ballet of Antalya, Turkey. In the moment she is a professor of the University of ESRA Paris-Skopje-New York in Skopje and artistic director of Skopje Dance Academy. SDA is the first Academy for contemporary dance in Macedonia and the region, program established in collaboration with the prestigious Rotterdam Dance Academy from the Netherlands.

Dance Fest Skopje Macedonia, Risima Risimkin


Risimkin is a member of ISPA and CID UNESCO, Paris, France. She is the founder of the Interart Centre for Culture (1996), whose activities have helped the development of the Macedonian contemporary dance scene.

Risimkin is one of the most prolific contemporary Macedonian choreographers—an avant-garde representative in contemporary creation. She has actively represented Macedonia on the international contemporary dance scene with her own performances, which have received excellent reviews both in the country and abroad. Risimkin is the recipient of several awards, including the award for exceptional contribution to the development of culture in the Republic of Macedonia. In 2011 she was awarded as one of Top Ten Women – managers in Macedonia. With her work, Risimkin is in a constant movement in direction of development of contemporary dance in Macedonia.

In May 2012, Risimkin signed a contract with the Macedonian Ministry of culture, which will support her project Skopje Dance Theater for three years (2013 – 2015) as entrepreneurship in culture. This is the very first time that this kind of contract is made in Macedonia.

So far, Risimkin has made more than thirty authorial projects, which established her as one of the most fruitfull Macedonian creators in the dance area. Risimkin has represented Macedonia as a choreographer in Denmark; Germany; Serbia; Bulgaria; Monte Negro; Greece – European Capitol of culture; Portugal, Lisbon – EXPO – National day of Macedonia; Niamey, Niger; Rotterdam, Netherlands, etc. In 2010 she was guest choreographer in the National Ballet Ljubljana, Slovenia; in 2012 she participated in the Culture Olympiad in London with the choreography for the play Henri, VI of National Theater Bitola, Macedonia, for the Globe to Globe program of Globe Theater, in 2013 she was participating with the Skopje dance Theater performance on ITS festival, Amsterdam, Netherlands. Her last performance is made with National Ballet of Antalya, Turkey.

Her performances are graded as “performance – boundary stone of the Macedonian dance history” or “a new era in Macedonian dance”, and the foreign critics name her as “the Macedonian Pina Bausch”.


“… We classify Risima Risimkin's creative work in the Macedonian dance avant-garde, who has (sometimes even for the prize of fierce critics and denials) successfully changed our views related to dance.”


Sonja Zdravkova Dzeparoska – “The theatre on the Macedonian ground 20th century”


“A leading criteria for Risima Risimkin is the visual moment, because of which she creates effective, impressive images, which speak for her qualities as a director.. “


“She begins with the provocation to break down the concepts of shaping and to offer new ones…”



2013 - “HOPE”

2013 - “In the fields of Haven”

2012 - “ORLANDO”

2012 - “The Man in the Corridor” (1 & 3rd part)

2011 - “A World In-Between”

2010 - “UNICORN”

2010 - “The 3rd”

2009 - “Pieces”

2008 - “The House of Alba”

2006 - “mozART”

2005 - “DIARY FOR US”

2005 - “DALY’S DIARY”

2004 - “Three sisters”

2004 - “STRAVINSKY DIARY” (Rite of spring)

2003 - “The Great window” m. M. Necak

2002 - “Memento”

2001 - “Three Face”

2001 - “Lady Macbeth”

1999 - “Memories”

1998 - “Oak wood”

1997 - “Wedding (thoughts and pictures)“

1996 - “Human . . . man and woman”

1996 - “Vacuum”

1994 - “Bloody Countess take me home tonight”

1994 - “Whirlpool …”

1993 - “Bolero”

1990 - “Janis”


Dnevnik, Wednesday 17 th of March 2004


The director and choreographer of the performance, Risima Risimkin, has probably felt the music from the ballet deeply, reviewing the psychology of Stravinsky himself. The ballet choreography is based on that concept exactly, which leads us in his deep psychological battle with the Music, the Muse, the Notes and the sonatas for the Prophet, the Creator and the Beauty through the basic composer's idea. Through these seven characters Risima Risimkin creates an unusual, artistically mature work, which transfers the duel between death and birth from the heather rituals to Stravinsky's psychological profile: his disturbance caused by the Muse, his darkness in contrast with the equanimity of the music which seduces and deceives him towards herself constantly, his play with the characters living inside of him and play with the inner impressions of every creator who makes a bow in front of the Prophet and the Beauty. All of the Stravinsky's internal fight observed by the powerful Muse by the side that simply touches and causes the birth and plays with the tender note, is just one pure enunciation of the composer's chaos. Through simple image, pure choreographic movements, pastel and vivid choreography that visualises the character of each performance masterly, Risimkin renewed us with new energy which brought Stravinsky close to us as a composer – man with great imagination that is being decanted in all of his work. Through the powerful voice of Boris Trajanov and the words of Tomas.S.Eliott, we got the plot of this ballet at its beginning already. In a totally different connotation from the Stravinsky's original libretto this time. However, the connection between the two apparently different stories is original and meekly logical. At the end, after the whole exhausting fight, the Muse enlightens the artist after all and the Music was the only thing that left from all of the chaos.


An excellent performance indeed, a complete image after a long time in which the ballet was moving in a live performance of the music. The Macedonian philharmonic orchestra, together with the ballet corps, created a magical environment of unbreakable corpse which struck everybody's senses. It seems that we have superb artistic and universal potential. Vasil Zafirchev, together with the ballet dancers, got to the Stravinsky's character completely artistic and choreographic, and the orchestra, led by the conductor Le Fi Fi, seemed to respond to their challenge, which was shown through the almost blamelessly performance to one of the most beautiful acts in the world's music literature “Dedication to the spring”.


Velika S.Serafimovska


Vreme, 16 th of March 2004



… Risima Risimkin elaborated the Stravinsky ballet through the music, focusing on the internal fight of the author with himself, underlining his unsettling spirit, the eternal search for the perfect, for the muses, for the universal and cosmic music. Risima has imagined the whole story excellent, playing with the Muse (Irena Veterova), with the Music (Iskra Veterova), with the Notes (Bistra Delinikolova) of the everlasting Stravinsky, presented fantastically through the character of the actor Vasil Zafirchev…


Angelina Dimovska


Dnevnik, Monday 22 nd of March



…”Dedication to the spring” has creatively provoked the Macedonian choreographer Risima Risimkin. She gave an individual concept which is drastically different from everything we have seen before, intervening in the name of the act also. “Stravinsky diary”, in production of the Macedonian centre for dance, brought together numerous Macedonian well known artists. We can mark this performance as a boundary stone of the Macedonian dance history, because it is important from few aspects. First of all, it is a premiere performance of “Dedication to the spring” on domestic scene. On the other hand, this is the first time that an independent project is realized with performance by the orchestra. The philharmonic orchestra, led by the conductor Le Fi Fi, had a positive effect on the reception of the act, enriching the performance. Risimkin continued the established line of artistic working with “Stravinsky diary”, but at the same time made a true step forward in direction of creating the contemporary multimedia theatrical form…


…All of the people who had the possibility to be present at the performance of “Stravinsky diary” will have to agree that it is a nonstandard, ultramodern performance which succeeded to bring together the three basic theatrical expressions in a unique creative frame. Risimkin dedicated the act of Stravinsky to the composer himself.


Sonja Zdravkova - Dzeparovska


“… We classify Risima Risimkin's creative work in the Macedonian dance avantgarde who has (sometimes even for the prize of fierce critics and denials) successfully changed our views related to dance.


Sonja Zdravkova Dzeparoska “The theatre on the Macedonian ground 20 century”


“A leading criteria for Risima Risimkin is the visual moment, because of which she creates effective, impressive images, which speak for her qualities as a director..“


“She begins with the provocation to break down the concepts of shaping and to offer new ones…”




Nova Makedonija, Monday 15 th of March 2004



The premier of the multimedia spectacle “Stravinsky Diary”, which took place on Saturday evening in the Universal Hall, was a true stage refreshment for the Macedonian audience. The audience expressed their admiration to the artistic and ballet performance of the team from the Macedonian centre for dance, to the special guests Boris Trajanov and prima ballerina from Germany , Irena Veterova with powerful salvoes and applauding for couple of minutes…”




Makedonija denes, Tuesday 16 th of March 2004



… The performance of the ballet “Dedication to the spring”, the one with Macedonian transcription, for the first time on our stage, placed Risima in the pleiad of choreographers who have successfully answered to the requests of Stravinsky, creating with the epithet the best…Risima Risimkin has successfully managed the challenge called Stravinsky through her quality choreographic language…


…The intensively rhythmical score with exceptionally complex music, well interpreted by the symphonises from the Macedonian philharmonic orchestra, which penetrated from the translucent curtain…


One of the most impressionable characters from the performance was definitely the character of Stravinsky's muse, in interpretation of the ballet dancer Irena Veterova, who left a deep mark on the performance and totally excited the audience. The powerful and passionate movements of the rest of the team were a perfect complement to her exceptionally soft and sophisticated movements shaped in the totally elegant performance. Veterova, who is a prima ballerina in the Vesbadian theatre in Germany, has given the performance an exceptional artistic heaviness which remained to flow as a memory and impression long time after the performance…