STICKY Productions (Edginton/Lothe/Olsen/Parsons) is a collective of queer, female, dance artists based in Norway. Their practice delves into the bodily and the sensitive, the playful and the peculiar. Using the receptive and expressive body to investigate their subject matter, their performances play between literal and abstract to offer audiences proximity to imagination and opportunity to kinesthetically absorb stories. The artists share a drive to create environmentally conscious work that centres new or untold narratives. Between 2020-22, STICKY created their first work, Økohelter, a performance for children played at Dansens Hus, Sentralen, Bærum Kulturhus amongst others, and selected for the touring network Dansenett Norge Spring 2024. STICKY is in development of their new dance work OOZE, approaching nature from a Queer Perspective. Through an imaginary, sensory, and somatic journey into the world of slugs, we invite sexuality, sex, fluidity and transformation into the room.
Dance artist, performer and choreographer based in Oslo. Olivia is dedicated to the practice of performance and this work has taken her to international stages in both independent and dance company environments. Notably with Candoco Dance Company 2017-22, she performed the work of makers: Jeanine Durning, Yasmeen Godder, Trisha Brown Company, Jerome Bel, Eun Me Ahn, and Jo Bannon. Olivia collaborates as a performer/choreographer in other contexts in mixed-media environments, most recently in Switzerland with River Being (2022). She studied Contemporary Dance (BA) at Laban 2012-15, and has an MA in Dance Performance, Laban 2015/16. The practice of performance and the labour of the dancer is her main motivation and fire. Olivia wants to build and be exposed to more performative experiences, to work in the material of the dancing performing body.
Ingvild Marstein Olsen is a Norwegian dance artist based in Oslo, she works in Norway and also across the European dance scene. Ingvild is interested in collaborative work across the cultural fields and takes on the role as a performer and choreographer. Ingvild also created the multidisciplinary work River Being (2022), which currently tours the European dance scene. She has worked with Panta Rei Danseteater (2019), in the multiple roles of performer, choreographer, and coordinator. Ingvild has performed in works, both outdoors, in galleries and on stage for choreographers such as; Katrine Kirsebom, Rahel Vonmoos, Alison Curtis-Jones, and Deborah Lennie. Ingvild graduated from Laban with a MA in Dance Performance (Transitions Dance Company) and BA in Contemporary Dance.
Maria Lothe is a dance artist / activist based in Oslo, working in various group constellations as a performer, and as a performer and choreographer in her own and collective works. She thrives in collaborative working environments, and is interested in the meeting point between movement, voice and object work, the site specific and processes in nature and culture. Maria has performed for artists and companies within dance, theatre and performance art, mainly in Norway and the UK, most recently with BodyCartography Project in the outdoor work “Resisting Extinction”, Karstein Solli in the body voice research “Stemmer Overens” and Kalfoss/Mikalsen in the community project “Lonely Riders”. She has a two year degree in choreography and improvisation from Skolen for Samtidsdans in Oslo (2012) and a BA in contemporary dance from Trinity Laban in London (2015). Maria is the recipient of the Norwegian government grant for young artists in 2023-2024.
Hannah Parsons is a queer dance artist, choreographer and performer based in London and Oslo, and working across Europe. Hannah’s practice explores voice and sound, applying a choreographic approach to sound, and a sonic approach to movement making. She creates performances with the collective Unbaptised Infants (UK/ES) most recently with the work RITUAL created and performed throughout Spain and the Basque Country. As a performer they currently work with Simone Mousset in Empire of a Faun Imaginary (LUX/FR/UK), and Elinor Lewis with the work TIMBER. She has previously worked with artists including Marina Abramovic, Martin Creed, Joe Garbett, and Seke Chimutengwende, amongst others. Hannah has performed at galleries including the Tate, the Hayward Gallery, the Serpentine, La Casa Encendida (Madrid), and Artium (Basque Country), and theatres Sadler’s Wells, Les Hivernales (Avignon), Dansens’ Hus (Oslo). Hannah graduated from Laban with a BA in Contemporary Dance in 2014.
Davvi – Centre for Performing Arts is a hub and a gathering point in Northern Norway for the professional independent Performing Arts community. The organization is a laboratory for new ideas, artistic research, and an open space where different cultures are cared for. We challenge hegemonic thinking and support cross-sectorial artistic working and thinking. We are staff of 11 curios people, we are placed in Hammerfest, Tromsø and Bodø and we are a space that offers residency, laboratories and producer services.
HELLERAU is one of the most important international centres of contemporary arts in Germany and Europe. The interdisciplinary co-production and guest performance house offers genres such as dance, music, theatre, performance, media art and visual arts spaces for production and presentation.
The purpose of UP is to develop and upskill the independent performing arts throughout Denmark. We define the free and independent performing arts as individuals, collectives and companies who work professionally with performance and primarily for and with independent performance groups, project supported companies, and lesser established theatres. Often without permanent access to a stage or a venue.
Who/what is Sticky Productions?
STICKY Productions is Liv Edginton, Maria Lothe, Ingvild Marstein Olsen, Hannah Parsons. We are a collective of Queer female dance artists, based in Oslo, Norway.
Our work is immersive and sensorial, and we see our practice as a meeting between dance, ecology and Queerness. Using the receptive and expressive body to investigate the subject matter, our performances play between literal and abstract to offer audiences proximity to imagination and opportunity to kinesthetically absorb stories.
Photo Credit: NYVOLL FILM OG FOTO
What is your aim with Moving Identities?
Our aims for Moving Identities run along three strands: solidifying our practice as a collective, exploring international opportunities, and undertaking research for our new production, OOZE. For us, the three intertwine in a symbiotic manner, and we feel grateful and privileged to have space and time to be in process over an extended period.
OOZE will be an immersive dance performance for adults that uses slugs as a slippery metaphor for Queerness. Historically, homosexuality and gender variance have been written out of biological science, labelled as abnormalities or anomalies, and we hope that the performance can bring a wider awareness to this, through playful embodiments of slugs and gastropods.
Photo Credit: NYVOLL FILM OG FOTO
Which method(s) will you use to achieve this aim?
Within Moving Identities our main line of work will revolve around studio practice, researching and developing OOZE. We bring in research from ecological studies, and work on strategies for embodying concepts and phenomena. As a collective, we have a wide range of methods from improvisation and somatic practices that we will explore together.
We’re excited to look at what’s ahead for STICKY Productions, with time to work on strategy and dreams for the future through workshops and discussions. We also see international opportunities as a tool to widen our horizons. During Moving Identities, we are actively reaching out to the international market with our current and future productions to expand our current network through the partners and extended community.
Photo Credit: NYVOLL FILM OG FOTO
Why are you using these methods?
We first met during dance studies at Laban in London and have a wide foundation of shared references. Together, we also share a drive to create environmentally conscious work that centres new or untold narratives and feel that the wide range of methods we employ in our process nurture this perspective.
We have a strong belief in collectivity as a driving force for our work, and that our individual contributions create an interesting tension in our working practice.
Photo Credit: NYVOLL FILM OG FOTO
How does your current project relate to your previous/other works? Is it similar or different?
In 2022, we created Økohelter [Ecoheroes], an immersive dance production for children, that zooms in on the little creatures on the Norwegian forest floor, and has toured extensively across Norway since then. During the process of creating and performing it, we were interested in how we could engage our audiences through different modes of engagement.
We found lots of playful ways to create sensory experiences and found that the adults that accompanied the children also had an interest. Based upon this we became curious about how we could create a playful experience for adults in the same way, that could liberate the childlike wonders that we found with Økohelter.
With OOZE, we also feel our interests in dance, ecology and Queerness coming together to fuel the project. Like we mentioned earlier, it’s also exciting for us to create dance experiences that can shed light on how Queerness is present in nature, and that we can create work that celebrates this.
What are you most excited about in this programme ahead of you?
We are grateful for the chance to have space and time to explore and research, and it is a real privilege to let the process unfold over a longer period of time. We are excited that we can invest time into the collective, and develop how we work together as a group. The time will be especially valuable for the development of OOZE, but will also feed into future productions and collaborations.
Moving Identities will give us the chance to expand our horizons, to meet new people and engage with a larger dance community through our partners. So far, it’s been great to strengthen our relationship with Davvi in Hammerfest, where we have been for our first two-week residency in October, and we look forward to visiting Hellerau in Dresden, Germany, and later Udviklingsplatformen in Copenhagen, Denmark.
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