Heinrich Khunrath, Amphitheatrum Sapientiae Aeternae. Hanau, 1609: The Amphitheater of Eternal Wisdom is glimpsed as a grotto or interior enclosure on the earth at the end of which a door opens to another space, although to access it is necessary to climb a 7-step ladder, as do the three pilgrims they are on their way to the inner light of the cavern

1st Nordic Symposium of Spiritual Technologies within Creative Practices. Invisibledrum Art Platform 4th-6th February 2020, Trondheim Rosendal Theater

Invisibledrum Art Platform in co-production with Rosendal Theater on the 4-6th of February 2020 will host the first nordic and International gathering of the platform in Trondheim, Norway.  The topic of the symposium brings together artists, researchers and other practitioners working with embodied practices, to discuss how the notion of spiritual technologies relate to and inform their work and research. And, how they can expand the ways we value creative effort in an environmental context. The platform’s focus lies in the roles and functions of technologies from holistic and esoteric practices, ancient nordic and arctic traditions, and those of many indigenous and pagan practices today. 

Invisibledrum is interested in qualities to emerge from traditional knowledge embodied within contemporary technologies and creative expressions. Technologies that serve to relational conceiving a membrane of existing elements and natural forces. To place the body in an immanence interrelationship with matter and energy.  Through the symposium, we intend to connect creative practices and other embodied practices where artists and practitioners can exchange knowledge and reflect critically to expand the professional fields. We wish to structure connection and collaboration in non-hierarchical ways, where everyone can find unity and exchange regardless of professional or academic background, but rather with a common interest in ecology, holistic thinking, and creative practices.

Tuesday 4th of February

SALA 3 10h-12h

Photo: Installation detail. (2,2) 0-DORA at Kulturbunker Dora. Invisibledrum in collaboration with Øystein K. Fjeldbo, . 2018

#1 Program: Opening the Space  120’  presentation / ceremony 

Welcoming session for all the contributors and members of the Invisibledrum platform. The co-founders of the platform give a background of the process, visions, and origins of the initiative and present the work (2,2) 0. In the format of a circle, all contributors introduce themselves, background and interests. In an opening ceremony we invite the invisible world to accompany and guide us throughout the symposium week in kind energies. This session is open to the public. 


Amalia Fonfara and Nazaré Soares will present their collaborative processes since the Fall of 2016 and talk about how the platform originated. They unveil their working methodologies through the project `( 2,2 ) 0 Sonic Architecture of the Inner Space´ and how this project was the deep anchor to the birth of Invisibledrum Art Platform. 


A creative circle introduction of all participants of the symposium and their research and practice background and how they are connected to the aims of the platform.   


An opening space ceremony by Amalia Fonfara, Nazaré Soares and participants,  an invitation to kind energies to guide us along with the first gathering of the platform.

SALA 3  14h-17h

Photo: Hijacked Futures/Unfinished Dream – Speculative Fiction Workshop by Fabine M. Borges.& Rafael Frazáo. 2016

#2  Program: Invisible Places  225’  Presentations / Remote Talks

The projects presented in this program share the intention of fostering traditional knowledge as tools for creating new utopias within ethnobotanical and intentional communities. How can we evolve to bring down the hierarchical social structures and rethink the concept of solidarity through community work and cooperation?  How can the existence of ´Invisible places´ offer alternative economic and ecological realities for future community growth and expansion?   The projects approach methodologies of re-enactment, circle technologies, and cosmologies, amongst many others. Further, they present clear plans and tools to heal and transmute the separation between the human mind and the living earth. With the resilience of these `Invisible places´ and in a conscious manner, they facilitate and create new systems of ecological value, economy, and social structures.


Zig Action Africa is an intelligent eco-entrepreneurship project aimed at developing sustainable business models based on ecological restoration for the promotion of the African economy, by creating employment and building a productive and self-sufficient fabric in Senegal that manages to provide a decent alternative to emigration, solving the roots of this phenomenon. This eco-entrepreneurship model is based on the traditional activities of Senegalese culture. The project aims to transfer ethnobotanical knowledge through the planting of traditional herbs and the elaboration of different medicines. The intention is to generate workshops and courses both local and international. The project focuses on schooling and job creation for marginal single women and mothers in the Senegalese community and wants to make visible the highly dynamic nature of homemade medicines in rural Africa and highlight the urgent need to inventory the uses of popular plants. The evaluation of these medicinal plants is very important since they represent a means of primary health care for the majority of the local population. Screening of a documentary by Tommaso Morroni


Concepts such as development, transition speeches, Global South, epistemic justice and empowerment, will be explained to show its close relationship with the methodology proposed in my research work, and with its results: the implementation of strategies aimed at empowering women Nasa and that can be replicated in other groups with diversity in social contribution. Talk about empowerment from its different facets and the way in which these are articulated to the concept of autonomy, from there to devise and implement actions of differential empowerment of migrant women. Finally, I will present the methodology and tools used in my work as a facilitator in Spain and Colombia, which allowed me to propose this strategy, as well as some conclusions. Screening of documentary Tejido Sin Agujas by Jose Juan García-Berlanga.


We humans have the possibility within a relatively short time to transform Earth into a paradise – a planet on which there is no violence and no fear anymore. (Dieter Duhm, psychoanalyst, co-founder of the peace research center Tamera, Portugal) My presentation will give background information on how this goal can be achieved. I know how unbelievable this sentence sounds. And yet it is realistic. I say this without closing my eyes to what is happening on this Earth at this very moment. Today, humanity needs nothing more than an idea of how to avert the impending collapse of the larger systems – the ecological, climatic, economic, political and social systems. Abdullah Öcalan, the Kurdish leader imprisoned in Turkey since 1999, has named it aptly: The real power of capitalist modernity is not its money or its weapons; its real power lies in its ability to suffocate all utopias … with its liberalism. I want to spread hope-giving information on a realistic utopia.


This talk explores some of the experiences I had during three journeys of a personal search on the shamanic experience in Japan: in 2006, with two Itako shamanesses, blind mediums from the Tohoku region; in 2009, with Mrs. Kazumi Takamoto, a woman in Kyoto who had experienced a spiritual possession, and had recovered in order to become a psychic and shamaness; and finally in 2010, with a group of shamanesses from Miyako Island, Ryuky (Okinawa) Archipelago, who healed me from a serious eye ailment, and who shared their experiences related to the transition that  “normal” woman must go through in order to be able to heal and transmute other people’s demons of human mind; in order to become a real shaman: an internal catharsis that allows somebody to see beyond the evident: glances, knowledge of Reality, the way it is in its Essence.


Fabiane M. Borges is an articulator of the Technoshamanism and Intergalactic Commune network, is a graduate, master, and doctor in Clinical Psychology, a researcher who works at the intersection between Subjectivity, Art, Science, and Technology. She is Director and Curator of the SACI-E / INPE Platform – A platform for Space Culture and Artistic Residencies at the National Institute for Space Research / Brazil. Fabiane M. Borges presents the main projects and concepts that guide the practices of the Technoshamanism Network. One is about a program that is being carried out in Aldeia Pará Pataxó in the south of Bahia / Brazil to raise a health center and an indigenous healing tent. The goal is promoting the exchange of knowledge between ambulatory medicine and indigenous medicine. In addition, the program previse investment in agroforestry, community garden and holding a Task Force to be held by Pataxós people between May 19-24, 2020. It also presents some works done with collective dreams called: “Hijacked Futures X the Anti-Hijacking of Dreams”, as well as some ideas about the social clinic for the future (terrestrial subjectivity). Among the several meetings/workshops/events/projects of the Technoshamanism Network, we highlight the publications, internationalization, cultural production and collaboration with indigenous peoples and more recently with quilombolas.                                         

SALA3  19h-21h

Photo: Silent Noon, 2019 by Hannah Mjølsnes and Amalia Fonfara

#3 Program: Interconnectivities  120´ Participatory performance

As beings we are completely intertwined and interconnected with every environment we are part of, but in a highly technological and digitalised society, we have almost forgotten the power of the natural technologies of our bodies: its inner sense and the world of our imagination. In this program, we will expand our sense perception and experience how we through a sensitive awareness can connect with and learn from other species and our inner landscapes.


Hannah Mjølsne’s work explores human relationships with plants and minerals, as we do often considered non-living to be animated as a subject for the spectator or participant. She studies and assess their impact and influence on us historically, in the present and in a possible future. She is co-founder of the collective Nine Herbs Charm, whose work generates interactions between humans, their environments and the plant world using tea ceremony, performance and installation as social practice and community building. She will do a ceremonial tea serving where we are allowed to connect with the plant presented in the ceremony.


Based on performance and new media Amalia Fonfara´s artistic work embarks on an ontological investigation of the crossings of inner and outer landscapes through introspection of animism and contemplative healing practices, where the essences of soul and materiality are entangled in a holistic comprehension of life. In this session, the audience is invited to take part in an internal journey. With the vibration of the monotonous drumbeat one will go into a light trance and get in touch with one’s inner stage. The technology of the drum is known for its healing property connecting and balancing the body, mind, and spirit.


From the perspective of Mexican Shamanism, Chi-Kung, and Kung-Fu, Verónica Mota guides us to work with our shadows. We will work with the energy flow through our systems and practice the Chöd Method by the female Tibetan Buddhist teacher Machig Laddrön. This is a syndicalisation simulation session touching upon dissent and acknowledging material embodiments of the urban everyday.

Wednesday 5th of February

LKV  10h-12h

Photo: Bacotas Masks symbol of good luck,  crafting process by Ibrahima Seydi.

# Workshop: Traditional Senegalese WOOD WORKSHOP by Ibrahima Seydi. 120 ́ Workshop / 150 kr

Ibrahima Seydi (SE) is an African artist, sculptor, and activist from the region of Casamance Ziguinchor. He will give a workshop on the creation of his own style in carved recycled wood. The tradition of Senegalese sculptors is a trade that since childhood, Ibrahima inherited from his family where he learned to make typical Senegalese sculptures, an activity that he continues to practice in the city of Barcelona for 14 years. In addition to continuing with the family tradition, Ibrahima Seydi has reinvented his own wood carving technique which he has promoted through exhibitions in Barcelona and France.From his experiences as an immigrant, he decides to create a project that helps combat the clandestine migration from Africa to Senegal. That is why in 2015, he founded Zig Action Africa, an eco-entrepreneurship, local development and a self-managed project that seeks to create job opportunities in Senegal to give new life opportunities to young Africans, for employment promotion to alleviate migration in the Casamance region of Senegal. workshop registration via email:

SALA 3  14h-18h

Photo: Room of One’s Own by Nancy Mauro-Flude.

#4  Program:  Technologies of the magical. 240’ presentation / talk / remote talk

This program presents different approaches and methodologies within the technology of the magical: -Alchemical Processes of Resistance and technological emancipations as main tools for critically engaging and questioning power structures. -The role of  Random Theory and its ability to compose a personal narrative out of randomly composed events. -Aesthetics of transmission as the desire to expand consciousness into various fields of code and sensory perception. -Nature and their mathematics and dynamism. -Technologies of interaction in the form of tarot archetypes for personal storytelling. -Spatial constellations for joining virtualities that dwell within planetary space and through the currents of transmission.


Reflections on Capitalism, Technology and Alchemical Processes of Resistance within hegemonic and heteronormative societies. Verónica Mota is the founder and curator behind Urban Arts Berlin, a non-profit arts organization based in Berlin, Germany. She works at bringing together excellent talents from all over the world. Her experience and hard work have found a fantastic global resonance in the field of sonic art. She has become one of the most important curators for supporting international female composers and musicians in Berlin. She does not, however, exclude male artists.


Planetary sensing: navigations below the surface is an artistic research project on bioluminescence.   The ancient natural phenomena, the old magic, and weapon against the colonial oppressor in some indigenous cultures is now an alarm system for the future of an ecosystem in peril.   The project is a prototype building and aims to counterbalance environmental violence with conservation and artistic means for non-humans and humans. EXPLORE


Darina experiments with the medium of Tarot in the context of modern technologies. Using old- school mobile phone apparatus, the audience of her Tarot actions can engage in direct encounters with various Tarot archetypes. Send a text to the Mother card, a hidden unseen receiver gathering all the data that gives prompts to the 21+0 connected elements. Check Emperor’s inbox; experience the personal story of the Magus or the Strength through their personal screens. Markéta is using the Tarot arcana as a methodological tool to explore possible futures of food, science, technology, and society. Her Food Tarot exposes eating and cooking as technoscientific practices dependent on expert knowledge rather than human common sense.


A focus on Random Theory and spiritual technologies. However, we can argue what is the definition of ‘random’? Being random can be adopted in the format of ‘being random’. What if the randomness has been already predestined by the universe to appear randomly? Even if all the events happen randomly neither predestined, the phenomenon is just only a phenomenon. We humans have unique quirks and tendencies, memory and imagination, and this enables us to assign meaning to the phenomenon.


Relationship of artist ́s works with nature, their mathematics and dynamism. Through a series of examples of several works sometimes exhibited and sometimes not, we will explore the link between Art and shamanic tools, and the approach to natural meta-levels. Over the years Jaime de Los Ríos has discovered different equations that are inserted in nature and then applied to aesthetic systems, whose rhythm, speed and frequency is purely a door to our interior, to the state of mind, phylogenetic and semantic.


Transmission (as defined technically) is signal transference from (and to) one, or many, locations by means of signals (light, electrical) or radio waves. That being so, it is posited that an ‘aesthetics of transmission’ backgrounds a technical definition of transmission, and foregrounds emergent forms that are not premised on the visual but are nonetheless often visually engaging. One of the motivations for developing aesthetics of transmission is the desire to push the consciousness of the artist and audience deeper into the various fields of code and sensory perception. The spread of the communicative field is never wholly complete, one cannot predict every instance, nor control the production and reception of every variable in the sending of a relay, code or a signal, nor in the multitude of ways that they may traipse. Example projects that will be discussed are situated at the very horizons of perception, where meaning may flicker on and off like a relay switch or an interrupted signal transmission. It is an aesthetic that accommodates artworks that deliberately explore an excess of transmission, a transmission is gone awry (that is dissonant and does not reach its target), or a transmission that moves and shapeshifts through a series of states to reach its receiver.

SALA 3  20h-21h

Tarot Lab installed at  GASK Kutná Hora. Collaborative Parlour Tour by Marketa Dolejšová and Personal tarot by Darina Alster

#5  Program: Technopaganism.60 ́Remote Ritual / Film Installation / One to one Performances

This session overtures the intersubjective interaction within the space of the theater. Through the ritual of virtualities and one-to-one performances, this program offers a space for intimacy and phenomenological encounters. Here we will learn about ourselves through the intimate connection with the other using playful performative tools.  The session is generating a hybrid space for interaction where new technologies can bridge the mathematics of movement, rhythm and the relationship of systems between nature and media technologies. Technopaganism is expressed here through a remote ritual that brings the starlight signal and transmission inquiring to think on how information and technological tools create cosmographies and cosmologies


Starlight is a Wireless Signal is a cosmogonic ritual, traces of code parsing through the network, are intertwined with translucent light images, tendrils and elements are evoked in this networked tableau vivant. The work questions how we deal with the tensions of signals as presences, and unconsciously engage with ubiquitous transmissions. We have always navigated by the stars, and now as a species, we regularly and increasingly habitually use networked communication systems. These omnipresent transmissions and signals are a new kind of fictional species that exist with/in us. What is happening now in turn these information technologies are building new habitats, cosmographies, and cosmologies and how do we want to exist with them? The work gives a poetic account of how we are beginning to routinely engage with ubiquitous transmissions.


IoM is an infinite algorithmic painting made from equations extracted from the contemplation of nature. It is also an example of Jaime’s latest works in which he gathers the mathematics of movement, rhythm and the relationship of systems, as possible second-order biomimetics.


Tarot Lab is a collaborative art-design experiment merging magic and divination techniques with future studies and food fiction. The Lab oracle is made of four main elements: Tarot Mobiles, Video Tarot, Food Tarot, and Tarot of Movement that is manifested through video performance and software play, future food scenarios, and Asana embodiments. The Lab authors, visual artists, and performer Darina Alster & food design researcher Markéta Dolejšová, join their experiences from various worlds to explore the liminal borders between everyday realities and lived fictions; immortal arcane and futuristic ideologies; tomatoes from the garden and in-vitro grown steak.


`God doesn’t throw dice´ is a one to one performance that intends to reveal the recipient’s imagination and ability to compose personal narratives out of randomly composed sentences. Accidental numbers indicate building a sentence according to which number recipient has thrown. `God doesn’t throw dice´ asks the recipient to take action to interpret the experience. 

SALA 3  21h-22h

Photo: Screenshot from The Interpreter by Noriko Okaku.

#6  Program: Encounter with virtualities.60’ Film screening / Film Performance

This encounter with virtualities manifests the personal and its interconnection to family spirits, Japanese shamans, and magic mirrors. The session dwells into a Shinto shamanic transition and its entanglement to all forms of existence. Animation becomes a form of entanglement with the environment, the animated frames trigger dialectics of movement and attempt to decolonize the modern imaginary.  A stereoscopic gaze that arrives from where earth meets the sky, as an opening of a supernatural box. A cinema performance brings the tarot storytelling method as a way to navigate our internal odyssey, leaving the natural format of the film unset and at the mercy of randomness. Spectral animist imaginary through which history comes alive.


“Sunyata” is a short film on the shamanic transition in the Miyako Islands (Japan) and the interconnection of all forms of existence. Filmed in the Miyako Island, Ryukyu (Okinawa) Archipelago, it shows rituals and dances by the shamanesses locally known as “Kankakarya”, in the contemplation of Mrs. Teruko Tomori, an outstanding spiritual healer, who went 17 generations backward to show me the roots of my family spirit, as well as the origin of my oblivion and somnambulistic life. It is a reflection on the mission that a group of women in this region carried out by offering their lives for the regeneration of a planet sunk in unconsciousness, at risk of total extinction, and the urgent need to listen to them and learn from their wisdom.


The sun goddess Amaterasu escaped from the unbearable cruelty of her brother, and hides away in a cave, leaving the world in darkness. Her light was so strong it made the place so bright to not be seen anything. So much bright was reflected onto her that from her chest a black hole appeared and from there it expanded till covered all her body and spaces of the cave, at which she vanished into the darkness of the brightness.- ‘I exist where the tree keeps its root, beneath blood and ground, where darkness brights at its best.


The Interpreter contains a vague narrative that follows the structure of the original tarot card, Major Arcana, such as The fool’s journey throughout the rest of 21 scenes to acquire knowledge towards the end. This animation, The Interpreter, was made after creating a series of tactile 22 collage works that were heavily inspired by Derbyshire’s history, myths, and legend. This collage works also forms a new Tarot, loaded with symbolism, intrigue and mystical imagery. This animation is the way to excavate the hidden narrative in between each card. The Interpreter Tarot card reading live performance accesses the viewer into deeper insight into their internal odyssey.

Thursday 6th February

SALA 3  10.00h-10.30h

Photo: Bea Borges. Pleasant Island, Silke Huysmans and Hannes Dareere, Campo.

# Artist Talk: Introduction Theater Play PLEASANT ISLAND. 30´ Talk 

Silke Huysmans and Hannes Dareere present their performance Pleasant Island, shown parallel to the symposium by Rosendal Theater.   


Nauru is a small island-state in the Pacific. Once it was called ‘Pleasant Island’ by British whalers. The history of this island can be read as a parable of our modern age. After the discovery of a vast reserve of phosphate in its soil, the island became one of the world’s richest countries. Each plot of land, each garden, each corner of the island was dug up and mined – until nothing remained and all its natural resources had been depleted. In their second show, Silke Huysmans and Hannes Dereere travel to this place, groaning under a longing for growth, has been completely stripped of its resources and dug up until literally, nothing remained. The island is now one of the world’s poorest countries and so, in order to be able to survive, it now receives refugees from Australia in exchange for substantial compensation. What future remains after such ecological and economic ruin?

SALA 3  10.30h-17.00h

Photo: Irene Dominguez. Mother Earth (and Mother Water call), 2019

#7  Program: Paganism / Ritual & Folklore in performance art and theater. 415´’ Lecture performance / Talks / presentations / storytelling

This program of the symposium looks into different artistic and activistic practices from indigenous to non-indigenous, where a ritualistic and traditional language is implemented within the artistic context. The early theater was a place for ritualistic work within the community. Today many contemporary artists are integrating different aspects and references to traditional knowledge and ritual practice within both theater and performance. What happens when this enters the theater and stage? There are values of healing within contemporary dance and performance that are not usually ascribed to the values of these practices. How can traditional healing become a place for collective and communal awareness of important issues, in the same way, that much art brings a sense of unity into a community? From traditional healing to performance, song and contemporary dance, this symposium celebrates the Sami National day with a special program looking into these spellbinding practices. This program presents various projects where tradition and folklore are transferred through gatherings and other community work.  


Lise Hovik is a project manager and artistic researcher in the LYDHØR project at former Kongsgården kindergarten in the middle of Trondheim. The artistic research project works with the sympoiesis (Haraway, 2016) of natural elements, site-specific environments, recycled materials, young children, artists, pedagogues, and researchers. In 2020 all the participants will explore the wondrous worlds of seeds. The sense, sound, movements, shapes, drama, and events of seeds will create a multitude and sympoiesis of expressions through workshops, concerts, performances, and ceremonies. Lise will explain the ideas, research focus and work modes of the project with pictures and eventually video or live examples.


Inkari Tawa, – Messenger & wisdom keeper from the Andes Peru. Human bridge and an official representative from the Inka Andean community, Visionary, ceremonial master, coach, teacher, ancestral musician, sound healer and artist from Peru. Inkari is the Founder of TAWA International Andean Inka Andean Platform. *TAWA is a cultural, spiritual and socio/ecological platform working ideal for natural awareness, harmony and respect to life, nature and Mother Earth. Tawa supports different proactive cultural projects with groups and organizations in Perú and Europe. Inkari have an experience and deep knowledge in the alternative wisdom, energy work, and techniques of more than 20 years, sharing this knowledge all around the world the last 15 years, integrating ancient traditional native values with cutting edge science, technology, information design, quantum physics, neuroscience, nutrition, biohacking, frequency, resonance, and vibrational sound modeling, in order to create a holistic bridging platform between spirituality/ science and ancient/ modern technologies.


Amanda Fayant is a Cree/Métis artist (B.F.A-film production) and researcher (MPHIL-Indigenous Studies) based in Trondheim, Norway. She is originally from Regina, Saskatchewan, Canada, Treaty 4 land. Fayants art practice deals with dichotomies in identity construction and confronting colonial history in Canada. Her research focuses on developing Indigenous research methodologies as well as decolonizing cultural knowledge production through Indigenous feminist leadership. For the Symposium Fayant will do a lecture performance-based on indigenous oral storytelling about the Four Directions and the Treaty process.


Daina is Arts manager from Latvia with a special interest in traditional culture. Born in Germany in a Latvian family, she moved to Latvia in 1994, where she studied at the Latvian Academy of Culture. After obtaining an MA in Arts Management at City University in London, U.K., she returned to Riga to work as a producer at the Latvian National Opera. Parallelly she founded together with her husband an NGO – the Culture Management Centre “Lauska”, that focuses on the promotion of Latvian traditional culture and music in particular. This has since developed into the biggest folk label in Latvia with 90 CD releases so far. Lauska also realizes different local and international cultural projects, such as artist exchanges, workshops, performances, and concerts. The most important event each year is the Ethno-Music Festival “SVIESTS”, taking place in mid-June, featuring Latvian and international contemporary folk music, as well as crafts, arts, design, culinary and other aspects of local traditions, that are carried forward into nowadays. In the past years Daina has obtained a certificate as sauna-master, a practice that represents knowledge about the healing nature of plants and herbs, working with the elements of fire, water, and air, exploring ancient traditions of spoken and sung words, melodies and rhythms. Recently she also became a Bowen practitioner thus deepening the understanding of the human body and its potential for self-healing. 


Marita is a chanter, a musician, a performing and visual artist with sámi and kven heritage from Manndalen in North-Troms, Norway. She has a base in Tromsø, Norway, but lives a nomadic life on the Norwegian and international art and music scene. Over the years, she has performed and done projects around the world -alone, in various collaborations or with her earlier project Mara and the Inner Strangeness, she is currently working with her solo projects, the collaboration Tara Morhua with Trond Ansten and with her ensemble M M M M a R a S. The common denominator for all her projects is the intention to challenge the audience – and herself, to try reaching into the basic feelings of man and create vibrations that have repercussions


For many years Janne Viktil has worked with Sami traditions of healing. She has been traveling all over Norway teaching and sharing her knowledge and wisdom. Janne Viktil has over 10 years of organized gatherings and smaller fairs in her community with healers, mediums and other holistic and spiritual practitioners at her farm in Frosta, North Trøndelag. In this symposium, she will talk about her work and practice, and her understanding of its role in a community.


In this symposium, Jessie Ullevåseter will share her practice and recent work `Sacrum Libelilum´ The work was created in Sagnes Church in Oslo, where a big ceremonial performance took place with shamans from Arctic Shaman Circle in Norway. `Sacrum Libelilum´ was a mourning ceremony for Mother Earth due to the eco genocide happening all over the planet. Ullevåseter believes that we should be bold and make new ways into the future and that it is our responsibility to dig into history and family heritage to actively heal the past. Her work is often inspired by shamanism, alchemical questions as well as tarot and symbolism.

SALA 3  19h-22.00h

Photo by Trond Ansten. Marita Isobel Solberg

#8 Program : Performance Ritual / Immanence.180´ Performances / Rituals 

Following a day of presentations and discussion of indigenous and ritualistic practices within performance and theater, this evening program will give a glimpse of how the artists investigate and place the body in an immanence interrelationship with matter and energy. Rituals merge and reawaken this magical world of spirits through the imagination of our contemporary human minds, where we can come to acknowledge an animistic understanding of the Spirit World. The stage of the theater is approached as akashic form, the tension between spirituality and experimental performance can happen within the new production of theater spaces. For planetary healing to occur on many levels, everything that can be comprehended by the mind and everything that is hidden in the soul can be manifested within the inner/outer stages, of the body and space cohabited; “Compendium of the Universe”.


Ancient Inka Andean wisdom teaches us that the Earth was manifested while the creator played pan flutes and sang, thus all beings are made of vibration, sound, rhythm, and harmony. Through his art and mastering of the ancient traditional Inka instruments, Inkari facilitates a space to reawaken an ancient collective memory, weaving sounds into sonic patterns, vibrational codes, and frequencies that open a new panorama to gaze at into the physique and encourage the spirit to soar. This ceremony Inkari will take us through a sound journey using ancestral wisdom. For over five thousand years, different cultures in the Andes produced psycho-acoustically tuned ceremonial Instruments that produce vibrations that induce an expanded state of consciousness different from anything known today. For hundreds of years, this sacred sound healing form has remained silent, waiting for this point in history to reawaken and be shared.


The performance is a part of a series that grows out of her work Sacrum Libellum. In the performance `Father, What happened to Mother´ Ullevåseter addresses her ancestral lineage, dealing with colonial questions concerning her grandfather’s missionary work in Sampí Northern Norway. Here she also questions the identity of Mother as a transpersonal connection to language, culture, and the Earth. Her performances often involve ritualistic and trance-like meditative repetitions.


With me are these

thoughts of

air, earth, flame, water

stones, animals, trees 

The core

The bone marrow

The seed

The root

I am rooting deeper into

The fantasy of reality

That is so much more than

What I have been thinking until now

Becoming them

I am trying to see the world through eyes that see 

that everything is alive

That all is vibrating

With us

SALA 1 19:00-20.30

# Rosendal Theater presents: Pleasant Island 60` 

Nauru is a small island-state in the Pacific. Once it was called ‘Pleasant Island’ by British whalers. The history of this island can be read as a parable of our modern age. After the discovery of a vast reserve of phosphate in its soil, the island became one of the world’s richest countries. Each plot of land, each garden, each corner of the island was dug up and mined – until nothing remained, and all its natural resources had been depleted. In their second show, Silke Huysmans and Hannes Dereere travel to this place, groaning under a longing for growth, has been completely stripped of its resources and dug up until literally, nothing remained. The island is now one of the world’s poorest countries and so, to be able to survive, it now receives refugees from Australia in exchange for substantial compensation. What future remains after such ecological and economic ruin? After Mining Stories (ZKB Patronage Price 2018), the two theatre-makers travel to the island of Nauru, which recently celebrated 50 years of independence. With Pleasant Island, they continue their research into the consequences of extreme mining via documentary material and field recordings obtained through interviews and conversations.

Friday 7th February

SALA 3 10 h-12 h 

Photo: (2,2)0 – Invisible architecture of the inner space,  Note from visitor, Invisibledrum in collaboration with Øystein K. Fjeldbo, 2017

#8 Program: Closing Ceremony of Symposium.  90´
Private session for platform members

Private session for discussing future collaborations between members of Invisibledrum Art Platform.Closing space ceremony.

Bunker Sauna Lade 14 h-15 h 

#8 Sweat lodge Ritual by Daina Zalāne (LV).120´ Private session for platform participants

Daina has a certificate of sauna-master, a practice that represents knowledge about the healing nature of plants and herbs, working with the elements of fire, water, and air, exploring ancient traditions of spoken and sung words, melodies and rhythms. Recently she also became a Bowen practitioner thus deepening the understanding of the human body and its potential for self-healing.



Rosendal Teater is a well established contemporary institution within performance and experimental theater. Rosendal Teater programs and develops performing arts that will challenge and expand the contemporary art field. With performing arts and professional programs of high quality, through activities and situations that affect both artists and the audience, their role and social mission is to challenge the established and contribute to new thinking.

Rosendal Teater

Innherredsveien 73 (vis i kart)  7043 Trondheim, Norway
+47 920 70 450

Lademoen Kunstnerverksteder
Mellomveien 5
7067 Trondheim

Bunker Sauna Lade
Leiv Eirikssons vei 42
7040 Trondheim