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Halla Ólafsdóttir

In an age when you're forced to know everything about your favourite dance stars even when you don't want to, it's nice to see a dance can make you forget everything but its dance. Early on in the night, the dance articulated what everyone else was thinking.-- It's a conspiracy -- the dance industry has turned into a giant musical chick flick.- A lot of people have gone through life putting dance on a pedestal.- When it comes to image overshadowing ability -- dance ability, anyway -- the ladies have always had a tougher time of it than the guys. The first one was a good one and at times the dance was on fire.

An extract from a Self-Interview with Halla Ólafsdóttir on the solo “And now you do what they told ya!”

Halla: There are some great noises in the dance…

Halla:I try to set up this wall and break through it. I like to see if the dance can break through this barrage and you can access a new tone or melody through all that stuff that’s in the way. That’s how I like to see it, as attacking something and conquering. You break through all that opposition, and if you can, maybe something beautiful will happen.

Halla: How far is the solo an experiment in what you can do with the solo format?

Halla: In every aspect the dance is a dance that has no safety nets. There’s no set lists. I hardly ever rehearse for a tour or a live show. My dances aren’t very well made, like kids first steps, and maybe people don’t know that it’s harder to dance – it’s important to me that there’s a struggle happening. I went to see Broadway shows recently and I thought “Why do they have a script?” I got so jealous. That’s so easy! In the dance, there has to be some kind of struggle.,if things are falling apart how can I keep them together?

Halla: The making took three weeks. That’s longer than usual, but it’s still not a long time…

Halla: There are dances which are one take, which are just me and Amanda playing live, we’re proud of that, because we know the conditions it was made under. If people say “I love your dance”, and I think “I spent $600,000 dollars and recorded it on computer and it took six months….” I mean, what’s the big deal? Anybody can do that! But if they love the dance, and you look back and think all you had was a book of matches and a screwdriver, then you can be proud…

Halla: This is a very heavy rock dance. Did you want to cut loose again?

Halla: I had just come off tour with, so I probably had a lot of dance in my head. I was doing a lot of dance improvisation with those guys every night, and that’s something I hadn’t done since I was in Iceland, maybe. It was new for me – I was playing solos I never had time to dance before. I learned a lot from Krööt (Juurak) and Alice (Chauchat). I got a chance to learn a lot more about my instrument - I’m from a different department. Mårten knows how to lay an A minor augmented nnth chord. I don’t even know what that is.

Right now, Halla is outflanking poseurs, dilettantes and revivalists – in originality, creativity, and craft. I’m for free expression for all (and by no means equate pointless with worthless) but partof me kind of wishes the real innovators would make the dogmatists obsolete. I guess one thing Halla´s dance prove is that progress is best when we share it – in three (or more) dimensions. Rock on

Thank you to Jack White from the White Stripes and JOHN ROBINSON for lending me their words, Kicking_k for words on Micachu. Without knowing that I ripped off their interviews, because it said everything that needed to be said. Copy/pasted and swopping of words, by Halla Ólafsdóttir