"A thin layer of moss covers everything; green fur covers everything.
The landscape is moving. She is moving.
Here, where we are, everyone is alive. 
Here, everything is alive.
That mountain looks like a jellyfish. That plant is smoking. 
She makes it rain - just for a moment. Nature, she sings. Nature adjacent.
The humming chord between a person and a thing. An ear, an eye, an anything, a nothing, not above or outside, a fancy, a chimera.
Everything is breathing in this world."

Pour sa performance/installation chorégraphique Ómarsdóttir cherche à savoir si les pratiques anthropomorphes (qui dotent les animaux, les plantes ou les objets de qualités humaines) peuvent influencer leur propre environnement et comment cela se passe. Elle construit dès lors un décor qui fait référence à un large éventail de paysages.

Les spectateurs et les danseurs se retrouvent dans un paysage magique, dynamique et en constante évolution dans lequel, au fil du temps, on ne sait plus si c’est la scénographie qui régit les danseurs ou le contraire … Un peu comme dans la vraie vie !

“Maybe it is worth running the risks associated with anthropomorphism (superstition, devinization of nature, romanticism) because it, oddly enough, works against anthropocentrism: a chord is stuck between person and a thing, and I am no longer above or outside a nonhuman environment”.  ——— Jane Bennett, Vibrant Matter

☞ BIO
Rósa Ómarsdóttir is an Icelandic choreographer based in Brussels. She studied dance and choreography at the Icelandic Academy of the Arts and in P.A.R.T.S. in Brussels from where she graduated in 2014. In 2015 Rósa received a DanceWeb scholarship to attend Impulstanz. She has made several performances in collaboration with Inga Huld Hákonardóttir, i.e. Radiodance, Wilhelm Scream and The Valley, where they focused especially on ambiguity and the concept of the uncanny valley. With Ásrún Magnúsdóttir and Alexander Roberts, Rósa has been leading a research project focusing on peripheral dance communities and their relation to dance history and the notion of secondhand knowledge. In her new work Rósa continues to investigate the relationship between bodies and sound as well as costumes, fabrics and scenography.