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Aktuelt

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Programming at Dansens Hus

Mia Habib Produksjoner A Song To2015

MIA HABIB IS SEEKING VOLUNTEERS FOR A PERFORMANCE at Dansens Hus

Audition wee

Audition/Open Call – Wee

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Urban

International

- Visually arresting, and full of possibility.

The Australian company Chunky Move is known for its bold, genre-defying contemporary dance. It is internationally recognised for its ambitious and highly original works, and under the leadership of the company’s two directors, Antony Hamilton and Kristy Ayre, Chunky Move plays a significant role in the development of dance in Australia—with an impact extending far beyond the country’s borders. Artists and audiences are at the heart of the company, a commitment reflected in an extensive program of large-scale productions, commissioned works, residencies, and educational activities.Over the past 30 years, Chunky Move has performed in 130 cities at 150 festivals around the world, reaching an audience of more than 610,000 people.

- Even in post-industrial, hyper-urban contexts, our connection to the spiritual and the unknown remains deeply rooted—even if it is often overlooked.

U>N>I>T>E>D

Forside

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Norwegian

Karolina Bieszczad-Stie is a choreographer and dancer living in Oslo. She has a PhD in Performing Arts from Brunel University in London and runs the Butoh Encounters platform, which explores the intersection between dance, science and new technology.Her earlier projects include Micro-choreography, a choreographic work developed in collaboration with the Centre for Cancer Cell Reprogramming at the University of Oslo, in which the cancer cells’ own signalling methods are used to create movement; Limit(less), a duet between a human and a robot, achieved through collaboration with KUKA Robotics and robotics engineer Mathias H. Arbo from SINTEF; and Kvinnen som giftet seg med en reke, a dance production combining performance art and blockchain technology.She also regularly receives choreographic commissions, such as Navel, created for the Nobel Peace Prize Forum in 2024, and a new work for two Yaskawa robots and a dancer, which will have its world première at the European Robotics Forum 2026. Karolina works closely with contemporary dancers from Norway and abroad, and uses dance and choreography to investigate how our bodies and experience change alongside new technology and scientific breakthroughs, and how we imagine what lies ahead of us.

Turbulent Flows

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Dansens Dager 2026

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Children and youth

Uppercut Danseteater is a Danish, internationally acclaimed dance company with more than 40 years of experience. The company creates powerful and physically striking performances at the intersection of contemporary dance, breakdance and theatre, characterized by a raw expression and unexpected moments of humor.Founded in 1982 and currently led by Stephanie Thomasen and Mark Philip, Uppercut has developed a broad repertoire for adults, young audiences and children alike. The company’s work has received numerous awards and nominations, and Uppercut is today in high demand by theatres, cultural institutions and schools both nationally and internationally.

Benched

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The performing arts company Øy, led by Ellen Jerstad, has produced performances since 2014 that place children and young people at the center. Øy aims to create performing arts that take children seriously and open space for reflection on their own identity. With KRETS, they want to create a performance where audiences with and without disabilities can see themselves represented on stage, and where themes of difference and belonging are explored in engaging ways for all children.Kompani D is a new professional dance company with performers with and without disabilities who create performing arts together. The company was established in 2024, is led by Caroline Sprott, and grew out of the Dissimilis National Competence Center. The company embraces a diversity of talents and aims to challenge norms within the performing arts. It currently has six performers: Marikken Eidslott, Christine Sandberg, Victor Guevara, Martijn Joling, Maria Lothe, and Maria Klungnes Berg.Since spring 2024, the two companies have been developing a shared choreographic language and method.

KRETS

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Chollada Phinitduang, born in 1990, is a Thai-Norwegian dance artist, choreographer and performance artist based in Tromsø. She works at the interface between dance, text, sound and video, using the body as a living archive for memories, heritage and belonging.&nbsp;She explores movement as recognition – an interface between body, language, stillness and landscape. She graduated from the College of Contemporary Dance (now the University College of Dance Art) and has continued to develop her artistry internationally, including a two-year collaboration with Marina Abramović on The Cleaner tour. She has also worked with Carole Douillard (Oslo Biennale), Rina Eide Løvaasen (Sweden, Uzbekistan, Norway) and Lisa Holterman Halle Berge (Malmö Museum and Roskilde Festival 2023).With her dual Thai and Northern Norwegian background, she is interested in how identity, perception, nature and contemporary structures form ways of being in the world. She created works such as Wounded Rhymes(Berlin 2024) and Wired Buffalo (Bangkok 2024).&nbsp;She has been awarded a three-year work grant from Arts and Culture Norway (2025–2027), and in 2026 will take part in a Dance Artist Exchange Residency between the Davvi – Centre for Performing Arts and the Northern Arts and Cultural Centre in Canada.

To Be a Body, Is to Be Tied to a Certain World

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Ingri Fiksdal, born in 1982, is a choreographer living in Oslo. She has a PhD in artistic research form the Oslo National Academy of the Arts, and has been affiliated with the CoFutures research team at the University of Oslo. In her works, she uses choreography as a form of speculative fiction, exploring the hierarchies of power in relation to the body, knowledge and history. In recent years, she has presented works at a number of international festivals and art institutions, including the Palais de Tokyo in Paris, Museum of Contemporary Art in Chicago, Kunstenfestivaldesarts in Brussel, Tanzhaus NRW in Düsseldorf and Steirischer Herbst in Graz, and has also been on tour in Norway. Her later works include Sand Flight, created for The Bentway in Toronto in collaboration with director Jonas Corell Petersen, and the choreographic installation Hjemsøkt hus at Kunstnernes Hus, developed with Helle Siljeholm.&nbsp;Louis Schou-Hansen, born in 1992, is a choreographer and dancer living in Oslo. Their work explores the human body as a vulnerable and disobedient arena for fiction, often shaped by desire, mortality and self-destruction. Schou-Hansen frequently returns to history and counter-history – particularly the political chaos of early-modern Europe – to trace ghostly figures in contemporary culture. They have an MA from The Dutch Art Institute (DAI) and a BA from the Oslo National Academy of the Arts. Louis’ work has recently been performed in venues including ICA London, New Art Dealers Alliance in New York, Dansehallerne København, Black Box Teater Oslo, Suprainfinit Bucuresti, My Wild Flag Stockholm and Centrale Fies in Dro, Italy, and they have also toured Norway. In 2024 they initiated and have since run the Mind Eater performance festival, alongside Runa Borch Skolseg.&nbsp;

The Court

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<h2>Skjære Sale: Trans Rites</h2>Trans Rites is a (ground)breaking performance work by internationally unacclaimed artist skjære. Trapped in the immediacy of the trans experience, the work ruptures from the timeless major of Norwegian contemporary art to imagine a future-now that the body can-must inhabit, both out of desire and need (potentially imagined as the same thing). Trans Rites is both the culmination of a centuries long process of ancestral becomings and a spontaneous, slapdash, hodgepodge work, drawing only on the most now objects of the performer’s life. Invoking the spirits of dead queers, living queers, some cool cis people, the smoke off a joint, the smell of the forest, literature, lovers, and forever-now sites of speculation, Trans Rites is-was-will be a spell you are already part of casting.Living between Oslo and a regenerative farm in Skiptvet, skjære (she/her) is a trans-spiritualist, theorist and performance artist working out of the legacy of the counterculture and the developing field of queer theory. From the trans-insurgent wrestling performance for teenagers, The Art of Play(ing Man), to her institutionally critical kunstnerstipender, An Anti-Arbeidsstipend and a minor arbeidsstipend, skjære’s work challenges capitalist and institutional ideations through queer play, anarchist politics, and decolonial imaginaries to present other worlds here and now that we can step right into.&nbsp;Choreography and Performance: skjære Lighting Design: skjære Sound design: skjære og Sam Lindholm Costume Design: skjære and Malene Juliussen Photo:&nbsp;Øystein Kind Special Thanks: Ursula K. Le Guin, Nancy Stark Smith, Peter Pleyer, Steve Paxton, Kaisa Kukkonen, Sunniva Moen Rørvik, Miriam Levy, Cami Brogaard, Ulf Nilseng, Østmarka and the Long-tailed Skuas&nbsp;<h2> Selmith Øseth and&nbsp;Michael Aspli: Horse in Flames</h2>Horse in Flames examines how systems of power exploit human vulnerability, and how the resulting disappointment and despair can be transformed into strength. Through dance, spoken text, and simple materials, it stages this process of human resistance. Horses in Flames is a dance performance about reclaiming personal freedom and power. It acts as both a protest and a rejection of societal limits. The performance expresses frustration and disappointment from having vulnerabilities taken advantage of and basic needs ignored. The main characters interact both within themselves and with the audience , interplaying the relationship between the "powerful" and the "powerless"— the rich and poor, the oppressor and oppressed.&nbsp; Concept and choregraphy: Shelmith Øseth Co-creating dancer and choreography: Michael Aspli Text: Angélica Liddell (bearbeidet av Shelmith Øseth) Initiative and development support: Anne Ekenes og Pia Holden&nbsp; Photo: Neil Nesbit &nbsp;&nbsp;<h2>Waldane Walker:&nbsp;ZONG&nbsp;</h2>Zong is an experimental dance performance commemorating the <a href="https://en.wikipedia.org/wiki/Zong_massacre">1781 Zong massacre</a>.By weaving movement, ritual, and celebratory funerary traditions from African Caribbean cultures, the performance pays tribute to lives lost in this cruel historical event. It asserts that death is not an ending but a powerful act of liberation.&nbsp; As such, the work facilitates this act of liberality as an invitation to reconnect with the living architectures of ancestral memory, as recognised across African cosmologies.Photo: Neil Waite&nbsp;&nbsp;<h2>Johanne Skogstad, Elna Anckarman, Paulina Lidholm og Pani Georgiou -&nbsp;Creatures Do: vol II: The Englishman</h2>Four grumpy old men are gathered to tell their story. The Englishman is a sharp, tender, and darkly funny theatrical piece where suppressed emotion leaks through stiff bodies, oversized suits, and exaggerated, almost tragic faces. Beneath the gruff exterior stirs awkward, unspoken, but undeniably human. Performed by young women, this subtle satire of emotionally repressed masculinity balances discomfort with humor, revealing connection in the most unlikely place. Creatures Do Collective is a constellation of four creative minds devoted to creating original and high quality performative works. Johanne Annesdotter Skogstad (NR), Paulina Lidholm (SD), Elna Anckarman (SD), and Pani Georgiou (CY) have met through their bachelors education degree at the Institute of The Arts in Barcelona and have been in collaboration since(2024).Choreography &amp; performance: Johanne Annesdotter Skogstad, Paulina Lidholm, Elna Anckarman, Pani Georgiou Musician: Salar Nikkar&nbsp; Outer eye: Jessica Lauren Elizabeth Taylor

Koreografilaboratoriet 2026

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May 31 OFD Premiere 2680

Outdoors

What is TILT&nbsp;Grow? TILT&nbsp;Grow is Panta Rei Danseteater’s own talent development programme. The aim of the programme is to promote the artistic development of dance artists and equip them with the tools to thrive in an ever-changing field. For an entire year, the dance artists are given the opportunity to immerse themselves in their own projects and take the joy of dance into the wider community.&nbsp;

Oslofjorden danser 2026

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Australian Nicola Gunn is a Bergen-based artist working between contemporary performance, choreography, writing and pedagogy. Her works have been presented in venues and festivals across 19 countries, among them: Venezia Biennale di Danza, Tanz im August, Tanzquartier Wien, La Villette, Theatre Silvia Monfort, 4+4 Days in Motion Prague, Southbank Centre, Dublin Theatre Festival and others. Her works tend to complicate the relationship between herself, the material and the audience, and the slippages between the body on stage and text – whether written or spoken.

The Chekhov

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Queer

STICKY Productions (Edginton/Lothe/Olsen/Parsons) is a dance collective of gay, female dance artists based in Oslo. Their works delve into the physical and the sensitive, the playful and the peculiar. Using the open and expressive body, they investigate social themes in productions that move between the actual and the abstract. These productions aim to give their audiences the chance to get close to imagination and to absorb stories kinaesthetically.Their first work Økohelter, has toured extensively in Norway (with performances at Dansens Hus in 2022 and 2023), and was nominated for the Gulljerven and Hedda awards in the ‘best children’s production’ and ‘best dance production’ categories.&nbsp;

OOZE

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- a deeply personal, and intensely political, exploration of gay and Aboriginal identities.

Joel weaves his way through and around the audience, one moment channeling childlike innocence, the next exuding muscular gay-male bravado and moments later crashing to the floor in torment. The audience gradually learns the true story of lost innocence, colonisation and sexual assault that has led to his family and cultural dislocation.Hilarious, provocative and heartfelt, this show tickles the nerve endings of desire while prodding the cavities left by colonisation. Featuring Joel Bray’s trademark confection of conversation, dance and all-you-can-eat audience participation, Daddy is a sweet feast with a deadly aftertaste. The performance involves the use of sweets, including large amounts of powdered sugar. This is a standing performance, but a limited number of priority seats (with restricted view) are available for those who cannot stand for longer periods.

- Joel has developed a reputation as one of the most electric new figures in Australian dance who has an uncanny ability to explore his journey and unapologetically present it in a conversational manner.

DADDY

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Queer the W*ack