22.6.2022 | Ball for Achilles | Gabriel Marling Rideout 2000- |
22.6.2022 | Behaliens : choreographic behavior | Sóley Ólafsdóttir 1999- |
22.6.2022 | bYrta : performing for the self with self confidence instead of projecting self-confidence for others | Ragnhildur Birta Ásmundsdóttir 1999- |
23.6.2022 | Final critical reflection | Sóley Ólafsdóttir 1999- |
23.6.2022 | Final Project - Phygital Glitch & Run/Through | Gabriel Marling Rideout 2000- |
23.6.2022 | Final projects | Marikki Nyfors 1997- |
23.6.2022 | Graduation performances Phygital Glitch & Run/through | Tiffany Margelin 1998- |
6.10.2020 | L i s t e n i n g – sound narratives of a dance | Mikolai, Sara, 1989- |
22.6.2022 | M A Ï E U T I C S : how could the expansion of consciousness benefit dance practices ? | Tiffany Margelin 1998- |
23.6.2015 | Notkun Critical Response Process í leiklistarkennslu á framhaldsskólastigi | Erla Steinþórsdóttir 1984- |
23.6.2022 | Phygital Glitch and Run/through | Birna Karlsdóttir 2000- |
22.6.2022 | Playground Behavior : play and power in a performance | Marikki Nyfors 1997- |
23.6.2022 | The rhythm makes you move | Rebekka Sól Þórarinsdóttir 2000- |
23.6.2022 | The Role of the Dancer : The Effect a Dancer has on a Creative Process | Jóna Hlín Elíasdóttir 2000- |
23.6.2022 | Run/through and Phygital Glitch - Performances | Jóna Hlín Elíasdóttir 2000- |
23.6.2022 | Run/through and Phygital Glitch - Performances | Rebekka Sól Þórarinsdóttir 2000- |
19.6.2023 | sam/ræða | Lena Margrét Jónsdóttir 1998- |
23.6.2022 | The role of the dancer | Inga María Olsen 2000- |
23.6.2022 | The role of the dancer | Inga María Olsen 2000- |
23.6.2022 | VanaVera (Creature of habits) | Birna Karlsdóttir 2000- |