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Shita seeks to reveal the tradition of the saga, to lay out sequences of action in a direct, unembellished form. While the dancing touches primal ideas, it is rooted in the human world. If Shita posses through the sacred space of myth, it does so just as the central figure in a saga might invoke the gods or become subject to sorcery. It is the play of human forces, rather than divine, which is the motive power in this dancing.
Hörður does not only come from a background in dance. His choreography grew from personal experience tempered by the study of martial arts. He and his brother hold black belts in judo and karate and national championship honors. They both taught martial arts, developing a style of their own. When they came to dance and choreography - for performance, for theater and for film they come from a background of personal experience. There is an inherent risk in creating a new form of dance as Shita does.
The risk comes from the inevitable stumbling across the traces of other dance and performance traditions. If one sees elements of Noh and Kabuki in Shitas dance, it is not a result of study or of imitation, but of a direct contact with Japanese martial art. The actual dancing we see would never be permitted in Noh Theater or Kabuki, even though we think we see faint hints of it. The hints come from contact with the Japanese spirit. To make another European comparison, we can detect contact with Islam in the music of Spain and of Bulgaria, but neither notion nor its music is Islamic.
Shita works itself up from its own sources. Both Hörður and Brynhildur do all the work for their presentations: the art, the pieces that ore both sculptures and unique objects to be shown and used once, the music, the dancing, the working out of the structure of the dance which becomes its own tale. These are powerful elements, often imperfect, but as clear and honest as the astonishing Icelandic landscape, which forms the background to their work.
When I first sow this dancing, I found it fascinating and powerful. We can see peculiarities and flaws, hints of directions untaken or yet to be taken, all the things a person interested in performance can see or imagine in on artist's work. At the same time, there is a genuine presence here, gripping, authentic. This is a kind of dancing I had never seen before. It has a fresh quality. The elements, which make it