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.