“An Evening with Astad” deals with ideas of dance history and archive between two continents. As dramaturg Kate Elswit puts it: "The (Rani/Astad) duet is a biographical dance. But it is not just the biography of one of the two performers, Astad Deboo, as narrated in dialogue with the other Rani Nair; it is also a biography of contemporary Indian dance.

The rehearsal process works through a combination of interview, movement, and reflection, to excavate and curate a series of possible scenarios, and the ultimate selection that is shared differs from night to night. What happens onstage is an intimate look at a spectacular performance artist—“I’ll let you in on a trade secret,” Astad promises—that at the same time offers glimpses of a much largerscale history that has yet to be written.” The research is part of Rani Nair’s residency at MARC and the performance will premiere in August in Kivik.

Giertz and Nyberg come together for a work that deals with unsettling and de-centering by the means of meditation. A voice guides the listener through an awareness exercise, where one's body is soaked into the sea, and the rhythm of one's body is disrupted by a call from the deep. There is an element of ”soft cohesion”, a persuasiveness of the voice, guiding the listener to dispossess the current reality, falling into another rhythm, to be possessed and unsettled. In the process there is also space for negotiation and resistance.

Lågan vs Nålsögat takes as its point of departure two films: Lågan from 1973 by Sandell Film AB, and Nålsögat from 1975 by Jan Troell. The two films ​ depict everyday life at the ship building company Kockums in Malmö from fundamentally different angels, and can be said to highlight two conflicting perspectives in how to reach social justice and better living conditions for people present in the political debate in Sweden and many other countries during the 20th century: one claiming that social progress has to be pursued within the realm of work, and the other that the realm of production will never make any real progress toward humanitarian emancipation possible.

Konvergens is a sound piece in which meeting, crash, convergence, relocation and negotiation are in focus.In a broken chamber game for two actors, one soprano and one electro-acoustic musician, we ask what meetings - wanted and unwanted - carries. What is identity and what happens when one party is prepared to renegotiate its identity "too much"? Where are the boundaries of the territory and is it possible to let someone step in and renegotiate the rules within one own’s borders? What responsibility for the meeting may be required of man? May conflict and difficulty be allowed to be inside this meeting or must the meeting be painless? Is it even possible to talk about the meeting without an experience of violence through definition and generalization?

Halla Steinunn Stefánsdóttir has been the artistic director of Nordic Affect since its inception in 2005. Believing that the exciting things happen "in the connection" Halla Steinunn’s work with the ensemble has been a tour de force when it comes to collaborative relationships with composers, visual artists, and producers. Furthermore she’s brought the spotlight to women’s role in music history, leading to projects such as HÚN/SHE which was broadcast by the European Broadcasting Service in 2015.

With degrees from The Royal Danish Academy of Music and Indiana University School of Music, Halla Steinunn now holds a PhD position in artistic research at Lund University, in a time where the divide between creator and performer is being questioned in theoretical writings and in practice.

The phenomenon of intermedial conceptual loans is central to our understanding of the time-based arts. In my master thesis (published at Malmö Academy of Music in 2010) I investigate how the concept 'musicality' is used as a prestige word in discourse on spoken theatre. It is entitled Att agera musikaliskt: musikalitet som norm och utbildningsmål i västerländsk talteater.