Flora Theatre Festival
Moravian Theatre, Olomouc, Czech Republic
May 13, 2016.


September 27. Kulturhuset Tromsø, Rotating Nora.
September 29. Kulturhuset Harstad, Rotating Nora,
October 01. Lofoten Kulturhus Svolvær, Rotating Nora.
October 15.+16. Salihara Festival, Jakarta, Indonesia. praeambulum.
November, Espacios Ibsen, Havanna, Cuba, Rotating Nora.

on tour


Golden Fleece

January 28-31.
Dansens Hus, Oslo, Norway.


May 13, 2016.
Flora Theatre Festival
Moravian Theatre, Olomouc, Czech Republic
October 15.+16.
Salihara Festival, Jakarta, Indonesia.

Rotating Nora
January 16.
Gerard W. Lynch Theatre, New York. U.S.
September 27. Kulturhuset Tromsø.
September 29. Kulturhuset Harstad.
October 01. Lofoten Kulturhus Svolvær.
November, Espacios Ibsen, Havanna, Cuba.



August 19th
Downtown Dance festival,
Wagner Park, New York U.S

August 21th
Schimmel Center at Pace University,
New York U.S

November 5th
DanseFestival Barents

Norway Now

January 10th
Scandinavia House
New York
Future perfect



From her point of departure as a dancer, Ingun Bjørnsgaard’s strong visual approach to dance swiftly brought her to choreography. Educated at Statens Balletthøgskole, Norway, she moved directly to New York to dance at the Martha Graham School of Contemporary Dance, whose choreographic parameters still echo within the foundations of her work. Bjørnsgaard’s combination of formal precision and everyday pathos has been rewarded with a number of prestigious prizes and she is commissioned to work with prominent companies such as the Norwegian National Ballet, Carte Blanche, CCN - Ballet de Lorraine, Tanztheater Bremen, Komische Oper, Berlin, and GöteborgsOperans Danskompani. Through her own company, she has been able to rigorously follow her artistic vision together with an outstanding ensemble of dancers who sensitively engage in the creation of movement and dramaturgy. A focus on commissioned contemporary music in relation to music from the past, has always been an important part of the artistic process, and Ingun Bjørnsgaard’s restructuring of the present by means of historical elements from the basis of modernism. In her early works, she explored mythical female muses in award-winning performances such as Virgins in Norwegian Landscapes (1992) and Sleeping Beauty (1994). Bjørnsgaard’s exceptional take on the fleeting fragility of modern identity and its social foundations, gradually ventured into the complex relationship between the feminine and masculinity, in both men and women. An elevated intertextual dialogue with other art forms has evolved, with reference to e.g. Alain Resnais and Henrik Ibsen in Book of Songs (2002) and Hedda (2013), Monteverdi in Poppea (2009) and Edvard Munch in Omega and the Deer (2011). Ingun Bjørnsgaard’s company enjoys funding through the Arts Council Norway.


Ingun Bjørnsgaard Prosjekt Since its foundation in 1992, Ingun Bjørnsgaard Prosjekt has presented some
of the most remarkable productions in Norwegian contemporary dance. Ingun Bjørnsgaard’s style and
vocabulary derives from her close cooperation with her dancers. Their technical skill, areas of
specialization, personal expression, and creativity are vital resources in the development of the
choreography and dramaturgy of the work. Through such collaboration, the Ingun Bjørnsgaard Prosjekt
cultivates a genuine openness to the new and unexpected, the current, and the extravagant.
IBP has been guaranteed funding by the Norwegian Cultural Council until 2019.


Kirre Arneberg
General Manager
Ingun Bjørnsgaard
Choreographer & Artistic leader
Thomas Björk
Stage designer & Creative team