CONTACT

olof.ingolfsdottir@gmail.com​

+ 354 8976140

© 2019  Ólöf Ingólfsdóttir

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ÓLÖF INGÓLFSDÓTTIR 

Born April 1st, 1962

EDUCATION

2010 - 2019   Söngskóli Sigurðar Demetz and Domus Vox

                        Advanced level in solo singing and music theory

2014 - 2016   University of Iceland

    MA in Applied Culture and Communication

1993 - 2011   Critical Response Process - feedback method for creative work in process

    Various workshops in movement practice, tango, tai chi and improvisation

1989 - 1993   Hogeschool voor de Kunsten, Arnhem, The Netherlands  

    Dance and choreography

1987 - 1988   Suomen Kuvataideakademia, Helsinki, Finland

    Painting, guest student

1983 - 1987   Iceland College of Arts and Crafts

    Painting

 
WORK 

2017 -             Dansverkstæðið, project manager

2018               ICE HOT Nordic Dance Platform - Reykjavik 2018, project co-ordinator, artists communication

2017 - 2018   University of Iceland,

   reception and in-house guide at Veröld - hús Vigdísar, language department

2016 - 2017   Crisscross travel company, co-owner and tour guide

2014 - 2015   Dansverkstæðið, manager

2013 - 2014   Various projects in dance and theatre

2005 - 2013   Iceland University of the Arts - performing arts department,

   adjunct, teaching movement for actors and other courses

2012               Icelandic Music Information Center, special project

2003 - 2005   Iceland University of the Arts, workshop teacher

2000               IETM Reykjavik meeting, management of artistic program 

1999 - 2000   2000 children in Reykjavik 2000, project planning team

1995 - 1997   Kramhúsið, manager

1993 - 2015   Dance and theatre, choreography and performance.

   For an overview of my artistic work please go to ART

 
OTHER

2018 -             Chairman of board, Menningarfélag Tjarnarbíós, Tjarnarbíó theatre

2018               ICE HOT Nordic Dance Platform - Reykjavik 2018, selection jury for artistic presentations

2017 - 2018   Theatre Council, one of three members of artists' grants jury

2015 - 2019   Singer with Vox feminae, women's choir

2014 - 2017   Chairman of board, Dansverkstæðið

2013               Theatre Council, one of three members of artists' grants jury

2010               Founding member of Dansverkstæðið

2010               Jury for artistic program of Keðja - Reykjavík and

   artistic production of Keðja Night Adventure art tour together with Steinunn Knútsdóttir

2009 - 2014   Chairman, Tango Club Reykjavik

2004 - 2005   Program planning group for a new study line of contemporary dance

   at Iceland University of the Arts

2003 - 2009   Festival of Micro Dances together with Steinunn Knútsdóttir

2003 - 2005   Board member, Children's Culture Fund

2002 - 2009   Founding member and production of Reykjavik Dance Festival

2001 - 2005   Chairman, Icelandic Association of Professional Dancers, FÍLD

2001 - 2005   Board member, Federation of Icelandic Artists, BÍL

1999 - 2003   Board member, Association of Independent Theatres in Iceland, SL

1997 - 2001   Board member, Icelandic Association of Professional Dancers, FÍLD

1983 - 1985   Chairman, ICYE Iceland, international youth exchange program

 
 
 
LANGUAGES

Icelandic - excellent skills in spoken and written Icelandic, my mother tongue

English -    good speaking and writing skills

Swedish -  good conversational skills, not so good at writing

German -  good reading understanding, the spoken word a bit rusty

Finnish -    some skills in understanding written and spoken language

Dutch -      some skills in understanding written language

Italian -     I'm working on it

I am proud of my part in building a strong dance community in Iceland through different dance initiatives and organizations. I am a founding member of Reykjavik Dance Festival and Dansverkstæðið, who have become two strong pillars in the infrastructure of dance in Iceland. I have been on the board of many artists' associations and sat on juries selecting artistic program or giving grants to artists. Through all this work I have gained insight into the structures around performing arts in particular and to some extent all the arts.

Languages have always been of interest to me and I cherish words well chosen and carefully crafted texts. When I have stayed abroad for a longer time, I have tried to get at least some understanding of the language. Although I made some progress, five weeks in Buenos Aires was not enough to learn Spanish. A whole winter in Helsinki in 1987 - 1988 resulted in the ability to uphold simple conversations in Finnish, but after thirty years of not being used, that knowledge is pretty rusty. A year as an exchange student in Germany in 1981 - 1982 gave me excellent skills in German, but today I notice that when I speak German my Icelandic accent is rather thick. Like all Icelanders I learned Danish in school. Later I had a summer job in Norway and during my time in Finland I picked up Finland - Swedish. This comes together as "Scandinavian" which most of the time sounds a lot like Swedish, but gives poor spelling when writing texts.

I have continued learning and studying throughout my life and still I continue. Art has been my field of work and as interests shift and abilities change I have met another art form to dive into. I have found that whatever the art form or channel for expression, the artist remains the same.

The performing arts, dance and theatre have been my main field of work since 1993 when I finished my dance education. I was a choreographer and performer, making my own productions and participating in other atrists' projects, but also a teacher and organizer of events and initiatives that would change the structure of the field. After leaving my position at the University of the Arts I have had various jobs, often overlapping part time jobs, mainly around dance, but also gathering other experiences.

Despite staying four years in The Netherlands, my Dutch is not at all good. I have a fairly good understanding when reading, but as most of the students and staff of the school where I trained were not Dutch, we always spoke English, so I got very little practice in spoken Dutch. Finally there is Italian. One byproduct of studying classical singing is that one starts to pick up words and phrases from the texts, which happen to be in many languages. A lot of opera arias are in Italian, but phrases from baroque opera are not very practical in today's Italy. I have for example not yet found an aria where the character orders a meal in a restaurant or buys an ice cream. I have therefore started studying Italian for everyday use.