I will make a brief account for my musical background, with special attention to some key events and periods that have shaped me as a person and as a musician.
I grew up in a folk music environment in Skåne (southern Sweden), and from early age my parents put me in the children’s section of their folk dance team. I started playing the fiddle at the age of five and about a year later I attended my first folk music summer camp. Throughout my school years I was playing classical music with my teacher in the music school and folk music in summer courses and from time to time I would also have a folk music teacher ‘on the side’, or participate in different kinds of folk music groups for youths. I was also playing in orchestras and singing in choirs, something which has taught me a lot about making music in a large group, ensemble discipline etc. When I reached my teens I also started playing the guitar and for some years I was singing and playing in different pop bands and projects.
In the summers I was always going to music courses and camps and when I was 15 I started going to folk music festivals together with my friends from these camps. In the folk music environment I was able to be someone I liked to be and folk music became a strong part of my identity. Some years later I went to the Ethno camp in Falun, a folk music camp for youths with participants from all over the world, and this was a really life changing experience. Between 2001 and 20011 I have visited 8 Ethnos in 3 different countries (Sweden, Belgium and Slovenia) and it has really had a huge impact in my (musical) life. Getting to know people in other countries and learning about different types of music has given a lot of perspectives on ‘my own’ music and the musical experiences I’ve made at the different Ethno-camps are an important reason behind me choosing to become a musician.
When I graduated from school I went to Newcastle (UK) to study British folk music for a year (another thing Ethno is to blame for) and then moved back t o Sweden to study engineering physics. After about a year and a half I needed a break in the engineering studies and instead got involved in a project to create a year of folk music in my region. This gave me a lot of contacts and engagement in the local folk music community, and I began to think that this was a context where my knowledge and skills were of use and could make a difference and a contribution. Around this time I also got involved with the band Chokladfabriken, and we started to perform at various folk music events in Sweden and Denmark (the band stopped playing in 2012). One thing led to another and eventually I decided to become a violin teacher instead of an engineer. In 2007/08 I spent a year at Malungs Folkhögskola and then went on to the Music Academy in Malmö.
During my second year at the academy in Malmö I began to feel a bit shut off from the rest of the world and started questioning if what I was doing in the practice room actually meant anything in ‘the real world’. Also I felt that the teacher’s education didn’t really allow much time for musical development. I decided to prioritise any opportunity to get out and play, something which resulted in, among other things, a week at a mazurka festival in Poland and a collaboration project in Denmark. I also started playing with the fiddler Reine Steen, one of the foremost tradition bearers in Skåne today, in his eponymous trio, creating a musical platform for him, together with a double bass player.
In my third year in Malmö I spent one semester as an exchange student in Newcastle, coming back to the folk degree there, 6 years after I was there the first time. After three years of studying to become a fiddle teacher, I changed path and joined the Nordic Master in Folk Music, focusing on performance rather than pedagogics, something which has greatly changed my perspectives on music in general and my own musicianship in particular.