An IN DEPTH residency gives experienced performing artists the opportunity to research, investigate and rethink their artistic practice. The intention is to develop and enhance the qualities of the performing arts field by giving the artists the opportunity for immersion and the time to ask those questions that are otherwise lost in the production race.
Interplaying conjuring prophecy and cursing as writing and embodiment-led practices that arise in text, sound and movement of the universe of dispel (2026), a sonically animated text-based work. Dispel was first presented as a work in progress as part of Skabninger Samlinger performance and discourse program in May 2026. It offers a satirical, dystopian, esoteric-corporate environment where two oracles conjure prophecies and curses for a living directed at the everyday life of the Danish psyche within a company called Nordic Melancholy Aps. The oracles get tricked by their own gifts as their oracular power undoes itself through futures that refuse to be known as an entity speaking from a void that slowly takes possession of their bodies.
body_hacker, together with invited artists researching, expands and builds this universe further.
During their residency, body_hacker will work with Suziethecockroach, Kemelo Sehlapelo, Felicia Mulinari and Asta Norborg.
CREDITS
Suziethecockroach
Kemelo Sehlapelo
Felicia Mulinari
Asta Norborg
body_hacker (aka Sall Lam Toro) is a black queer crip trans* mutant, multimedia performance artist, mover, and organiser born and raised in Portugal with Guinean, Cape Verdean and Senegalese roots, based in Copenhagen. Their practice resides within oracular encounters that seek to stimulate, disrupt, and disturb the audience's access to imagination – from the premise that our access to imaginaries/imagination has been heavily colonised and hijacked pre-birth.
Their works orchestrate emotional geographies and politically rooted erotic intimacies between human and non-human species, land, bodies, and ghosts. Such work is rooted in their practice and study of butoh dance and Afro-diasporic / Black transatlantic mediumship traditions and cosmologies.
They hold an MA in performing arts as critical practice from the Malmö Theatre Academy at Lund University.
@mar_maresias
LA MALA is a pre-columbian and post-colonial fairy tale of two women, lived through the body of a daughter; revealing the story of a mother.
LA MALA – “the evil one” in its feminine form – takes a word that has long been used to tame, judge, and demonize women, and turns it on its head. The solo unfolds as a pre-Columbian and postcolonial fairy tale about a mother and daughter, lived through the daughter’s body, as the mother’s story is gradually revealed.
The work draws on the Latin American myth of La Llorona (the Weeping Woman), the European witch hunts of the Middle Ages, and the Peruvian Andean dance Huaylarsh, a ritual agricultural dance from the Wanka culture of pre-Hispanic Peru. The piece dissects inherited images of womanhood – from saint to sinner, from mother to monster.
Through ghostly presences, autofiction, and an insistent physical force, LA MALA exposes the complex human being behind the label. A central choreographic element is the Andean stomping dance rooted in harvest celebrations and the cycles of nature – Huaylarsh, a Quechua word associated with love and tenderness, carrying within it both history and visions of the future.
In this residency, Romo Pozo will work with somatic voice practices and embodied sounds, exploring ritual, and pre-colombian traditional dances into contemporary choreographic practices.
LA MALA
With the body as both archive and prophecy, LA MALA explores intergenerational myths, memories, and embodied inheritance. Drawing from pre-Columbian and postcolonial Latin American narratives, rooted in both personal and collective experience, the work opens a dark and seductive universe where motherhood, resilience, ancestry, and survival coexist.
Here, voice and movement emerge through what is unresolved, shifting, persisting in the in-betweens. In this solo, the body becomes both battlefield and reconciliation; a site where multigenerational stories continue to live on.
Escarleth Romo Pozo performs and creates dances. Born in Nicaragua, she has lived, studied and danced in the UK, Belgium, Switzerland and is currently working in Scandinavia. Departing from metastable bodily states her work is a continuous revision of moments of resilience dealing with the elasticity between resistance and surrendering. She creates through states of loss and dissolution as recycled events placed in a circular sensation of time rather than a linear perception of history. Escarleth is particularly fascinated by the ever changing levels of resonance and dissonance of the intimate, the hidden and the invisible forces that bring us together or make us fall apart.
(Can we use this bio from https://mdtsthlm.se/en/artists/escarleth-romo-pozo ?)
Et projekt forankret i oprindelige folks og diasporiske videnssystemer, der beskæftiger sig med etikken i samarbejde, erindring og restitution
Carolasdotters kunstneriske praksis omfatter flere roller – og hendes mål med dette residency er at forene flere videnssystemer, både kropslige (levede) oplevelser som samisk og kurdisk kunstner, samt tillærte erfaringer fra teori og praksis. Ved at bruge mere tid på hver proces søger hun at uddybe betydningen af kunstnerisk praksis og hvad den betyder for hende – hvad der er en løbende øvelse af tanker og ideer vs. hvordan kontinuerlig praksis i studiet og residency kan skabe nye, langsigtede samarbejder.
Udover en række kunstneriske samarbejder er Carolasdotters nuværende arbejde præget af hendes forskningssamarbejde med Rolando Vázquez (Amsterdam Universitet) på EU-projektet 'Diversity in Higher Dance Educations' (Bruxelles, Stockholm, Lausanne, Amsterdam), hvor hun også samarbejdede med forskeren og historiefortælleren Aminata Cairo. Projektet uddybede hendes fokus på dekoloniale praksisser inden for dans og performance, og hvordan det er afgørende at holde plads for historier for at kunne lytte med, både i praksis og ved at opretholde kunstneriske relationer.
Carolasdotter er interesseret i at arbejde mellem den akademiske boble af passionerede kunstnere og scenekunst, i takt med at hendes sprog bliver pluriversalt og tilpasningsdygtigt til en multikulturel kunstnerisk praksis. Den næste fase af hendes arbejde vil søge støttende scener, der kan integrere dette perspektiv med mentorskab for flygtninge, oprindelige folk, queer og BIPOC-kunstnere – og skabe kunstneriske processer, der ikke kun er forskningsdrevne, men også baseret på solidaritet, menneskelige bevægelser og menneskerettigheder.
Carolasdotters kunstneriske arbejde er forankret i oprindelige og diasporiske videnssystemer og beskæftiger sig ofte med etikken omkring samarbejde, erindring og restitution. Nyere værker inkluderer "Rrîtm", en performance, der engagerer kurdiske rytmer og deltagerdans som en måde at spore kontinuitet og glæde inden for diasporaen.
I residency: Louise Najavaraq Fontain, kunstner fra Sisimut og Kalaallit Nunaat, skaber kontakt med HAUT-medlemmer og deler, hvordan oprindelige epistemologi kan være en del af kunstnerisk dialog og organisering.
KREDITTER
Louise Najavaraq Fontain
Marit-Shirin’s practice engages with questions of memory, migration, and embodied knowledge, focusing on how experiences that are not always visible or formally recorded are carried and transmitted through the body. In a time marked by displacement, shifting identities, and contested histories, her work considers the body as a site of continuity, negotiation, and transformation.
Within the field of dance, her practice contributes to an expanded understanding of choreography—not only as the composition of movement, but as a way of engaging with social, cultural, and political realities. Working between performance and installation, and often through evolving collaborative formats, the relevance of her work lies in its capacity to create spaces where complex experiences of identity, belonging, and memory can be encountered beyond fixed narratives, and where artistic practice operates as a form of inquiry into the conditions of the present.
Louise Najavaraq Fontain is an interdisciplinary artist born in Sisimiut, Kalaallit Nunaat, and currently based in Hattfjelldal/Skaalma. Her practice moves through questions of belonging, language, and reconciliation, working across installation, performance, storytelling, and relational practices.
Rooted in Indigenous knowledge systems, her work navigates the space between the unknown and the embodied act of knowing oneself through histories, traditions, and intergenerational memory. Through voice, movement, and storytelling, Najavaraq creates spaces where listening, witnessing, and belonging can emerge.
Her artistic practice is shaped through long-standing relationships and exchanges across Sápmi, Kalaallit Nunaat, and Ainu Moshir, woven into a multi-modal practice grounded in Indigenous cosmologies and relational ways of being.
IN DEPTH is HAUTs 4 week residency that gives time for experienced performing artists, who want to push their artistic practice in new directions.