Inga Huld Hákonardóttir (IS/BE)

Inga Huld Hákonardóttir was born in Höfn in Iceland and now lives and works in Brussels after graduating from P.A.R.T.S in 2014. As a performer/collaborator Inga has worked with Eleanor Bauer and composer Chris Peck in the contemporary musical, MEYOUCYCLE. She has danced for Salva Sanchis in his most recent works Islands and Radical Light and performed/collaborated with the contemporary music ensembles ICTUS and GAME (Ghent Advanced Master Ensemble) in their project Ballet Mekanique. As a choreographer/maker Inga has has worked mostly in collaborative environments and has created several collaborative works in the past few years. She has worked closely with Rósa Ómarsdóttir under the name Inga and Rósa. They created two duets together, The Valley, and Wilhelm Scream, Their most recent piece, Da Da Dans was a comission for The Icleandic Dance Company, in celebration of the Dada movements 100th anniversary. Their work has had a certain focus to seeks the friction between the symbolic and the sensorial. Inga also collaborates closely with Katie Vickers with whom she created the duet Slogan For Modern Times, focusing on monstrosity and forsaken bodies and now  they are touring their trio, We Will Have Had Darker Futures which was also created in collaboration with choreographer Rebecca Stillman. Their work together generally focuses on time in relation to anticipation and the slow moving hand of time. 

Inga Huld Hákonardóttir (IS/BE): Middle Eight

Middle Eight is an ongoing research project taking it's initial inspiration from synesthesia, a biological symptom of ‘co-experience’ between the senses which knowingly are separate entities, an intersection of the senses where metaphor becomes physical reality. What is the physical intersection between music and dance, the voice and the body, language and semiotics, shapes, colours and representation? How can these mediums think and sense one another and what are their intermingled objects of thought and sense? Is a synthetic experience the ultimate way of sensing the world? Middle Eight is essentially trying to make sense with other senses, to think things with other things, to engage with matter through other matter. A middle eight in a conventionally structured pop song is  generally of a different character from the other parts of the song. This project is trying to find 'middle eights' in other forms than the conventional pop song. What are the middle eights between writing and dancing, dancing and singing? What if a middle eight was a synthetic experience? A search for connections between the seemingly dis-connected is at hand, a strive to expand the forms of the moving body as well as the performance of a song.


Do you ever wonder if stones are actually soft but tense up when we touch them? 


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