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MY JOURNEY

I started out playing music, finding the movement within music, playing the piano and the flute. I started dancing  when I was 15. I completed two years at Bårdar Dance Academy and then went on to complete a BA in jazz dance at , The National Academy of Art. 

In 2007 I took part in a dance competition on national TV, the Norwegian version of  “So you think you can dance”. Every week we were asked to perform a piece in a different genre. I ended up performing seventeen different pieces as I competed every week and ended up winning. You can say that I adapted well to what was required of me and was able to fill a form as well as fulfill expectations. I adapted well. I wasn't aware of how my life experience, being adopted and navigating in the unknown from the very beginning made me “a natural” at adapting.

I became aware of this when I started working with my own background, both psychologically and artistically as a solo and a group piece In TekstLab. It was very clear to me that I wanted to expand my idea of choreography and dance. I started to play with elements from performance and happenings.

 

In teaching and coaching young aspiring performers, My focus is always on them being allowed to listen more to their inner selves rather than immediately doing what they thought was expected of them.

 

My approach to my work is linked to the Fluxus art movement. Fluxus emphasized the artistic process over the finished product. They were playing, and dialoging between different practices and mediums, where radicality, rituals, and the body in action was the center of the birth of performance art.

My work is shifting and changing as I am. My work is always expressed as a trialogue, a feedback loop, with myself, the work, the space, the setting and the people there with me. Meaning grows out of the meeting of different sets of experiences.

 

My performances can be described as a feedback loop, as discussed in the chaos theory, an interaction between myself, the work and the audience. It generates new material, from what is being fed into it. I have worked on being able to also feed music and sampling into this feedback loop, an underlying structure I´ve created, a score. This always changes when the work meets the performance space and the audience.. 

 


In the feedback loop I mix information, dance and movement. I mix improvised and prerecorded soundscapes. I use live sampling and interaction with the audience, myself the space i am in and the different objects  I aim to accept whatever comes up and out of this. The narrative, what the audience read into the work, will be different for everyone, made up from their different backgrounds and life experiences.

THE VIDE CLIPP BEHIND IS "PASSING BY"  from april 2019, from the train