Inga Rosa

Inga Huld Hákonardóttir & Rósa Ómarsdóttir

Inga Huld Hákonardóttir is a cho­re­o­grap­her, dan­cer and per­for­mer, born in Iceland and based in Brussels from 2009. After gra­du­a­ting from P.A.R.T.S in 2014 Inga has been cre­a­ting per­for­man­ces for the the­a­tre as well as recent­ly tra­ver­sing into the con­text of exper­mi­men­tal con­cert venues. Her work gener­al­ly focu­ses on see­king fric­ti­on bet­ween the sym­bo­lic and the sen­so­ri­al. In Again The Sunset, cre­a­ted with musi­cian Yann Leguay, unu­su­al mate­ri­als are pre­sen­ted as instru­ments and the­se instru­ments are put in con­ver­sa­ti­on with the moving body and vocal expres­si­on. Inspired by the art of Foley, an expe­ri­men­ta­ti­on with objects and mate­rals in rela­ti­on to the body is also pre­sent in her works with Rósa Ómarsdóttir such as in The Valley, Wilhelm Scream, and Da Da Dans. Her most recent work Neind Thing pro­po­ses a quest for nothing­ness, through forms of posi­ti­ve rejec­ti­on as reac­ti­on to an omni­pre­sent over­load and over­sti­mu­la­ti­on. As a per­for­mer Inga has wor­ked with and per­for­med in works of cho­re­o­grap­hers and authors such as Phia Ménard, Salva Sanchis, Erna Ómarsdóttir, Eleanor Bauer, Veli Lehtovaara, Gabel Eiben. Rósa Ómarsdóttir, Katie Vickers and Rebecka Stillmann. She has also col­la­boar­ted in pro­jects ini­ti­a­ted by ICTUS con­tem­po­ra­ry music ensemble.

Rósa Ómarsdóttir is a cho­re­o­grap­her based in Brussels. She stu­died dan­ce and cho­re­o­grap­hy at the Icelandic Academy of the Arts and at P.A.R.T.S. (Brussels), whe­re she gra­du­a­ted in 2014. Together with Inga Huld Hakonardottir she has cre­a­ted Wilhelm Scream (2014), The Valley (2015, Icelandic Theatre Award for Choreography of the Year), and Da Da Dans (2016), a pro­duc­ti­on for the Icelandic Dance Company, cele­bra­ting the 100 year anni­vers­a­ry of the dada move­ment. In their work they inves­ti­ga­te the rela­ti­ons­hip bet­ween sound and move­ments, with a spe­ci­al focus on ambigui­ty and the con­cept of the uncan­ny val­ley. In Traces (2017), Rósa con­ti­nues to inves­ti­ga­te the rela­ti­ons­hip bet­ween bodies and sound as well as cos­tu­mes, fabrics and sce­no­grap­hy, cre­a­ting an immersi­ve instal­la­ti­on per­for­man­ce in which a magi­cal, dyna­mic and ever-chan­­ging lands­ca­pe evol­ves all around the audien­ce. In Spills (2019) invi­si­ble for­ces play a lea­ding role: humi­di­ty, waves, gra­vi­ty and the elec­tro­mag­ne­tic field beco­me a moving for­ce, and some­thing so sim­ple as cau­sa­li­ty beco­mes a magi­cal affair.

Rósa has also been lea­ding a research pro­ject cal­l­ed Secondhand Knowledge, with Ásrún Magnúsdóttir and Alexander Roberts, focu­sing on peri­p­he­ral dan­ce com­mu­ni­ties and their rela­ti­on to dan­ce his­to­ry and the noti­on of second­hand know­led­ge. The first edi­ti­on focu­sed on the peri­p­hery of Europe and in later ver­si­ons of the pro­ject she will visit other con­ti­nents as well.