[Íd] Iceland Dance Company

Sacrifice

Man is not a finished creation.

Fórn is a spectacular art festival that explores the connection between artistic creation and spirituality. It approaches ritual in everyday life and art in a fresh and innovative way, showcasing five new and exciting works by outstanding and acclaimed artists from a range of disciplines.

SACRIFICE was performed 5 times at Reykjavik City Theater: 16. march, 23. march, 29. march, 2. april and 9. april.

„Religion is essentially the art and the theory of the remaking of man. Man is not a finished creation.“

– Edmund Burke

Dies Irae 

is the title of a short film by visual artist Gabríela Friðriksdóttir. The film is a black-and-white rhapsody, where concrete and abstract moments merge into an artistic whole—moments of joy, sorrow, death, and resurrection. Beneath it all, the Dies Irae echoes: a requiem chant sung by cloistered monks of the Order of Our Lady, played in reverse, creating a deep, pulsing sound—like a wave drawn back and forth by the pull of the moon. With each inhale, everything comes to life; with each exhale, all things die for a moment. Back and forth, between life and death, everything stirs.

[Íd] Iceland Dance Company
[Íd] Iceland Dance Company

Shrine 

by Erna Ómarsdóttir and Valdimar Jóhannsson, was inspired by the film Dies Irae. Humankind has constructed a complex world from images, symbols—and, not least—words. We use them to give our existence meaning. Some words carry layered origins. Take the English word sacrifice, for example, which stems from the Latin sacrificium—itself composed of sacer (an ordinary object endowed with supernatural power) and facere, meaning “to do” or “to make.” In the language of the Tarahumara people of Mexico—who run everywhere they go—the word for dance and work is one and the same. And yet, no word can fully encompass the artistic devotion that takes place in the shrine. Here, it is the act itself that matters: the creation, the preparation. Laborare est orare—to work is to pray. The sacred images that emerge are not merely the result of excavation or research into the past. Nor are the rituals confined to the reverence of forgotten gods and goddesses, or almighty beings like Yahweh, the fickle lord who was the first to impose laws upon mortal men. Within these sacred spaces, the work engages with the ever-shifting material world—including humanity itself—seeking to elevate the everyday, even the insignificant, in the hope of reconnecting with a primal realm that exists at the threshold between life and death.

Ekkert á morgun (No Tomorrow)

by Ragnar Kjartansson and Margrét Bjarnadóttir is a ballet for eight dancers and eight guitars. An unamplified sound traveling through the vast space of the stage. This ballet is a statement on rhythm, movement, harmony, and elusive emotions. Meditations on grace, inner power, and the art of the dancer. Counting and space. How sound and the striking of strings move through the air. How harmony evokes feeling. The music by Bryce Dessner was composed specifically for these explorations. Sappho was a recurring muse for Ragnar and Margrét during the creation of the work. Still, the text of the piece contains only a single line from the harpist of Lesbos—most of the text is drawn from the novella Point de Lendemain (No Tomorrow) by Vivant Denon. This sensual, ultra-poetic work from the late 18th century is a tale of initiation—of becoming a true lover in that hazy, suggestive era. It may resemble a Calvin Klein fashion show, but this is rococo—closer in spirit to Watteau.

[Íd] Iceland Dance Company
[Íd] Iceland Dance Company

Union of the North

Union of the North, by American artist Matthew Barney in collaboration with Erna Ómarsdóttir and Valdimar Jóhannsson, is a brand-new film and installation. The most enduring idea in the world is that of the father, the mother, and the child. It is the foundation of humanity—a union more powerful than any kingdom or empire in history. All religions speak to this union, elevating it into myth by portraying it as the merging of heaven and earth. They also describe the rupture that occurred when the shared child came into the world—how, ever since, the world has hovered above the abyss. One of the most powerful versions of this creation myth is found in Greek mythology: the story of Uranus and Cronus, the parents of the first twelve Greek gods. In the mythology of the Sumerians, however, it is the goddess Nammu, the endless sea, who gives birth to heaven and earth, the first gods, and all of humankind. In Union of the North, Nammu stands behind the counter of a Dunkin’ Donuts after closing time, crafting a golden donut while, elsewhere in the mall, a man and woman are being celebrated with a bachelor and bachelorette party. This is a portrait of ordinary, working people—followers of ancient rituals now turned on their head in this bold and captivating new film, based on a script and vision by Matthew Barney, Erna Ómarsdóttir, and Valdimar Jóhannsson.

The celebrations reach their peak at The Market, a lively space set up in the foyer of the City Theatre, buzzing with activity throughout: individuals and organizations share their views, food and drinks are sold, and artists perform and engage with the audience.

Sacrifice is the most ambitious production in the history of the Icelandic Dance Company, now taking over all the stages of the City Theatre—including the foyer. Here, dance, visual art, filmmaking, theatre, and music flow together into a powerful, unified experience!

Choreographers: 
Erna Ómarsdóttir, Valdimar Jóhannsson, Matthew Barney, Gabríela Friðriksdóttir, Ragnar Kjartansson, Margrét Bjarnadóttir & Bryce Dessner in collaboration with dancers from IDC

Performers:
Aðalheiður Halldórsdóttir, Anaïs Barthes, Ásgeir Helgi Magnússon, Dóra Jóhannsdóttir, Elín Signý W. Ragnarsdóttir, Erna Ómarsdóttir, Friðgeir Einarsson, Halla Þórðardóttir, Hannes Þór Egilsson, Heba Eir Kjeld, Hjördís Lilja Örnólfsdóttir, Inga Maren Rúnarsdóttir, Lovísa Ósk Gunnarsdóttir, Sigtryggur Berg Sigmarsson, Sofia Jernberg, Valdimar Jóhannsson & Þyri Huld Árnadóttir

In co-operation with Reykjavík City Theatre and LÓKAL Performing Arts Reykjavík.

Co-produced by: Shalala, Spring Festival Utrecht; Kunstcentrum BUDA, Kortrijk; Tanzhaus Düsseldorf; Reykjavík Dance Festival (apap).

Supported by: Icelandic Ministry of Education, Science and Culture, Kulturkontakt Nord, Nordic Culture Fund, City of Reykjavík and Shalala.