Curriculum Vitae

CURRICULUM VITAE Monica Emilie Herstad updated
April 2nd 2022

Adress, c/o herStay, Claude Monets Allee 27, 1338 Sandvika,
Vestre Viken, Norway
EDUCATION AND CERTIFICATES

2005 – 2022 and further, Monica Emilie Herstad develops
Ibsen related stagings, after completing her Guest Research
Fellowship at Centre for Ibsen Studies, UiO from 2005 to 2009.
Research area: Literature versus movement, https://
ibsenstage.hf.uio.no/pages/contributor/517033
Monica Emilie Herstad́s Ibsen-related performance projects, as
presented in theaters and performance venues, at festivals and
in Ibsen conference contexts throughout the world, such as
performing at the official opening of the Ibsen Avenue in Oslo
in 2006, 7.juni plass, at the International Ibsen Conference in
Oslo 2006, and a variety of venues throughout the Ibsen Year
2006, like performing the premiere at Black Box Teater, to the
best critiques. Attending worldly reknown art arenas such as
India National Theater Festival the Bharat Rang in New Delhi
and Mumbai 2008, being invited to Patravadi Theatre in
Bangkok, Thailand 2008, to Hong Kong in 2008, performing in
relation to the Nordic Centre in Shanghai in 2009 at Fudan
University Theater Xianhui Hall, at Rom for Dans in Oslo in
2010, at Costa Rica with 5 performances at 3 larger venues in
2011, Silver Prize winning with 4 performances in South Korea
in 2011, at Pohang International Street Theatre Festival,
dancing in Tromsø Arctic Alpine Botanical Garden 2012, and at
Deichmanske Bibliotek in their programming with
Ibsenfestivalen 2016, teaching an Ibsen vs Dance workshop at
the festival #Schouskollektivetextended in Oslo 2018, https://
herstay.wordpress.com/2018/05/21/herstay-ibsenian-context/
and attending the XIVth International Ibsen Conference 2018,
to mention some, https://www.hf.uio.no/is/english/research/
news-and- events/events/2018/international-ibsen-
conference.html
Ibsen related reference oeuvres: «Past is simulation - The ladies
of the sea vs Nora, and other stories of the society» (2006 - ),
«NoNameDance» (2007- ), «EWIG» (2007 - ), «Movers and
shakers – Tangible channeling the existence of nature» (2008
(premiere 2010) - ), «GRAZIA/ Compose Yourself - It may
happen in beauty» (2007, 2013, 2016), Distant Moves (2021 -
2027) https://ibsenstage.hf.uio.no/pages/contributor/517033
2021 - 2027, the art research project and performance series
Distant Moves, a cohortian pandemic docu life situation, where
dance and movements in the immediate nature are the
premises, due to the pandemic factor, placing an Ibsenian
atmosphere into this situation is the research question: How do
the global pandemic occurance inflict the complex Ibsenian
woman character, where are Nora and Ellida now at in their
lives, and to where would one leave, eventually, how and why?
Have a look at this 7 year project from 2021 to 2027, https://
vimeo.com/herstay and https://vimeo.com/user53422838
https://www.herstay.wordpress.com
2005, MA and equivalent: Her artistic development
achievement qualifies for entering PhD studies, with a MA/
equivalent competence status, formalised through the formal
application process, like approved in 2005, by 2 significant
advisors, hence 1 art professor and 1 art council leader.
2015 – 2021 Additional dance science guest appearance studies
at different Nordic universities, within hence archiving,
fieldwork, and digitizing, critical culture theory, dance analysis,
historiography, dance anthropology, etc. Like at University of
Copenhagen, Stockholm University and Helsinki, Finland.
2000, 2001, Excellent extensive yoga teaching from Naeema
Noor, Briskeby, Oslo
2013, Certified International Yoga Instructor Diploma, RYT,
YogaWorks
2010, Certified International Producer, Diploma, CINARS
course, Canada/ Oslo
2021, C.G. Jung Institute of Los Angeles, Certificate Course in
part, by Zoom conference due to the pandemic situation, based
upon a practical introduction to Jung Analysis with Siri Ness,
Skillebekk, Oslo, since 2019
2005, Rosentherapy, 8 hours introduction consultation,
Frogner, Oslo
BA, The Norwegian College of Ballet, Oslo, receiving a Dancer

Diploma through performance exam, and a Pedagogy BED
second level formalized. Including Vaganova ballet technique 3
year, thus with a major focus on developing skills as a
contemporary dancer, https://herstay.wordpress.com/
2017/11/25/monica-emilie-herstad-dancer-and-teacher-
diploma-from-the-norwegian-university-college-of-dance/?
preview_id=1313&preview_nonce=9b05a8a3e4&preview=true
Post-graduation Studies within modern dance, choreography
and improvisation at R.I.D.C. (Rencontre International de Dans
Contemporaine) in Paris, France, with Dominique and
Francoise Dupuis, workshops with a set of American and
international teachers, in Limon and Cunningham technique,
and also Jacquelyne Robinson. Additional studies at Menagerie
de Verres, and floorbarre at Paris Centre with Jacquelyne
Fyennart, classical ballet at Studio Marais, etc.
Significant professional experience, research, and deep studies,
as a dancer in several Min Tanaka art performances. Monica
Emilie Herstad́s dance experience with, and choreography
assistance for MinTanaka in a variety of larger performance
productions includes productions hence in 1994, 1995, 1996,
1997, 1998, and following 5 of his months long workshops in
hence 1994, 1995, 1999, and a 7 day workshop in Ghent 2000.
Since being selected at his audition in 1993, for being a dancer
in the Winter Olympics Culture Program Performance The
Dance of Life, at Lillehammer and Oslo in February 1994, and
further.
Following seminars within folkloristic studies at the University
of Oslo, since the beginning in 1993, being offered to assist
professor Olsen in her works.
1 year Pre-graduation Studies at the Skottish Trondhjem
Ballettstudio, preparation for higher studies, 1 year classical
ballet RAD technique, and modern dance, on a daily basis,
fulltime
IB, International Baccalaureate, Upper Secondary Education,
High School, College, with an emphasis on language; English,
part-time German, French, Spanish, among the best graduates
in Gymnastics with Sidsel Arnesen as a teacher, completing a
viva voce in Biology, with teacher Hans Roesjordet. Teaching
contemporary ballet for grown ups, receiving the best letter of
recommendation from both dance teacher Sheila Reiser, and
Sidsel Arnesen.
Attending the first ballet education as a child, at the RAD
classical ballet school of the Dominican sister Ruth, a former
professional London based classical ballerina and later a
teaching nun, from the Dominicus Centre/ Stone Congregation.
This basis was grounded for 2 years, continuing with
contemporary dance and classical ballet from there
CISV youth ex-change camp, 3 weeks boarding school in Goirle
as a teen, Belgium, with a mainfocus on building global
friendships, being an active global citizen, http://www.cisv.org/
ART
2021 - 2025, Distant Moves, an art and research project, a
cohortian pandemic docu life situation, where Monica Emilie
Herstads dance and movements in the immediate urban nature
such as parks, gardens, and nearby mountains, or seashores,
counts some of the premises. Due to the pandemic factor,
placing an Ibsenian atmosphere into this situation is the
research question: How do the global pandemic occurance
inflict the complex Ibsenian woman character, where are Nora
and Ellida now at in their isolated cohortian lives, and to where
on earth would one leave, eventually? Have a look at this 3 year
project from 2021 to 2024, https://vimeo.com/herstay and
https://vimeo.com/user53422838
2019, June to August, pre-rehearsals at Norges Dansehoeyskole
and at Deichmanske Grunerloekka, for an upcoming
performance
2019, April 29th, Monica Emilie Herstad dancing at The
International UNESCO Dance Day, in Frognerparken, Frogner
Hovedgaard, Sketches for spring
In 2018, Monica Emilie Herstad is teaching a workshop on
Ibsen vs Dance at the international summer festival
#Schouskollektivetextended, and dancing a solo from her
performance serie Skteches for Spring, https://
Pengevirke magazine for Cultura Bank, is presenting a large
feature of her artistic career in the no. 1 issue/ 2018, in March,
https://herstay.wordpress.com/2018/03/12/monica-emilie-
herstad-interview- in-pengevirke-magazine-1-2018/
In 2018 her appearance in dance on film was exposed at hence
House of Foundation Gallery in Moss, March 3d and at
Deichmanske Grünerløkka May 9th
In 2016 Monica Emilie Herstad was invited to present her
Ibsen related performance Compose Yourself – It may happen
in beauty, at Deichmanske Bibliotek Grünerløkka, in
collaboration with the Ibsen Festival 2016. The performance
was presented from September 10, 12, 14, to December 6, 7,
2016.
Monica Emilie Herstad is the artistic leader developing herStay
performance unit as dancer, choreographer and video artist
since 1996, formally established in 1999. http://sceneweb.no/
nb/artist/2429/Monica_Emilie_Herstad
She earns professional choreography competence, since 1993 at
Dansens År Festival/ at Black Box Teater in Oslo
She gains professional experience as a dancer in different,
major art projects.
Monica Emilie Herstad́s dance experience and choreography
assistance with Min Tanaka in different large performance
productions includes productions is significant, in hence 1994,
1995, 1996, 1997, 1998, and following 5 of his months long
workshops in hence 1994, 1995, 1999, 2000, since the audition
in 1993.
Monica Emilie Herstads professional experience as a dance
pedagogue includes her workshops and lectures f.i.”On body
and context”, in different art curriculum, for BA and MA
students at universities, and professionals, starting out in 1999
– 2008, at Oslo Fotokunstskole upon request, for their students
there, invited by their dean and artistic director Emil Fedida
Monica Emilie Herstad teaches from time to time at PRODA,
the governmental initiated daily dance classes for professional
dancers, such as at Bergen Competence Center for Dancers
West through 2014 and 2015, where she teach in Restorative
Yoga for professional dancers, and contemporary dance/ butoh.
In 2020, continuing teaching Restorative Yoga, a ten weeks
course during the pandemic situation, for grown up women
when in a cohort situation.
In 2021 and 2022, she is teaching Restorative Yoga in The
Norwegian Church, since September 2021 and still is, on a
continuous basis
Based formally, and with provenience in Baerum, she is by

commuting, guest-teaching, in order to teach on an advanced
contemporary dance level for PRODA, and later teenagers and
grown-ups, through 2014, 2015, to early 2016, since late 2013,
at Bergen Dansesenter. When teaching, she earns solid tarifs
that would include the covering of travel expenditures, and so
on, approximately NOK 5000 per week. She teaches her first
weekend workshops within professional contemporary dance in
Bergen already in 1996 and 1999, then workshops at festivals
and so on, and again more regular teaching in 2014, 2015, 2016,
2021, 2022, etc.
Monica Emilie Herstad is achieving the best reviews, for her
dance, choreography, and art- projects and developing herStay
performance expression, worldwide.
She is from time to time asked to practice as a critic herself as
well, recently as a Guest Art Correspondent in The Modern
Times since September 2017, https://www.nytid.no/author/monicaemilie/
and earlier for Scenekunst, etc. She is a member of The Norwegian Art
Critics Guild, being published with approximately 35 articles in
different art scientific magazines since 2005, and several
articles before since the nineties, starting out as a critic in Natt
og Dag, and Morgenbladet, writing from the Avignon Festival in
France, as a ballet student, thus critic, later in Norsk
Shakespeare and Teater Tidsskrift, NRK, etc.
Monica Emilie Herstads experience is a combination of higher
education, and international professional experience as a
dancer/ performer, choreographer, film artist, and art
journalist, since the beginning of her career, instantly exposed
through media. She is also skilled within light direction and
costume design, understanding stage architectural principles,
being active in gesamtkunstwerk at large, since the beginning of
her career, also carrying out as a producer internationally, for
co-productions such as the performance I.. sit, in 1996 already,
at Black Box, and in a botanical context, with Min Tanaka,
directly from Japan, sponsored by Shiseido Cosmetics, Japan
Airlines, and Norwegian funding.
1993 – 2000: Certified dancer, and choreography assistant
internationally, for Min Tanaka within Japanese Butoh,
emerging from ensemble works, in his The Dance of Life at
Lillehammer Olympics, on Edvard Munchs Life, (1994 – 1997)
at Maihaugen and at BBT, via several of his different large
performances, at significant theatres and festivals
internationally, such as Tokyo International Festival of
Performing Arts, and ULTIMA. Herstad fulfilled 5 official
workshops with Min Tanaka during these 7 unique years. In
2017 she is honoured also as a dance research to be invited by
the newspaper The Modern Times to write the critique of the
impressive dance concert installation piece at the New National
Museum in Oslo, programmed at ULTIMA Festival, September
12th, 1.5 page. https://ultima.no/events/ryuichi-sakamoto-
fujiko-nakaya-min-tanaka-shiro-takatani-a-form , exactly 20
years after he visited with the performance The Dance of Life in
where Monica Emilie Herstad performs, in both Tokyo at Tokyo
International Festival of Performing Arts, at Setagaya Theatre,
and at ULTIMA Festival in Oslo at BBT, after the premiere at
the Winter Olympics Cultural Program, and at Maihaugen, a
great way introducing her international debut and later
celebrating this art jubilee, thank you. From 2017, https://
ultima.no/events/ryuichi-sakamoto-fujiko-nakaya-min-tanaka-
shiro-takatani-a-form
She, parallel to her international career as a dancer in
colleagues productions, then again begins to present her own
created solo works, and large ensemble performances, such as
her performance presented in NY as «Recollected ID», based
on the earlier premiere version in Norway Disturbed ID (1999),
and invited to Min Tanakaś festival Dance Hakushu, in Japan
(1999), etc., after her performance «Recollection of an unlived
life» (1998), «Illutions are by nature sweet» (1997), & «Itsu/
When/ Når?» (1996) that toured New York, and else where.
LECTURES / TEACHING
2022
From September 2021, through the year 2022, teaching
Restorative Yoga for The Norwegian Church, twice a month, in
a commuting situation between Bærum and Bergen.
Monica Emilie Herstads research project Havesamtaler,
Garden Talks, includes arranging several afternoon sessions of
Garden Talks with a variety of topics from Arctic Landscape
Performance, environment and climate issues, in August 2020,
to humanism and freedom of expression within the arts, also
discussing the pandemic virus seen as an agent for change in
society at large, in April 2021. The first Havesamtaler in 2022,
is the upcoming 29th of April, entitled A timespan within the
pandemic era, notions on dance or counter movement as an
antidote to the implications of the corona paradigme and its
impact on the arts and cultural sector, in a local vs global
perspective. The Havesamtaler set to September 25th 2022, is
discussing Human rights, and freedom of expression within the
arts, in times of war and pandemics, force majeure, versus the
time perspective, what if the situation lasts 3 years or more?
Spring 2022, teaching Restorative Yoga for Bergen
Helhetsklinikk with a workshop. Work meetings since August
26th 2021, and early spring 2021
2021
September 7th to November 11th, Teaching Restorative Yoga
for The Norwegian Church, 2021, twice a month, in a
commuting situation between Bærum and Bergen
October 2021, Kilden, Kristiansand, 3 days workshop in
contemporary dance, postponed due to the pandemic
restrictions of quarantine
Havesamtaler, Garden Talks, arranging several afternoon
sessions of Garden Talks with a variety of topics from Arctic
Landscape Performance, environment and climate issues, to
humanism and freedom of expression within the arts, also
discussing of the virus seen as an agent for change in society at
large. In the garden of former university building of Ida Bloms
Hus, the feminist writer, amongst other, in Bergen.
2020
November 2020 to January 2021, Ten weeks restorative yoga
classes on the go, teaching in tiny cohorts at Hoeyden, for
mature women, children and fathers, quarantine friendly with a
digital opportunity to follow through FaceTime. Focusing on
healing and a restorative practice, acknowledging the now, and
the know-how. A private class initiative, optional for several,
like 5 in a cohort class after a while, and then again due to the
covid-19 restrictions, back to classes with 1 or 2 students, and
digital versions. An educational situation, obviously sought
after, for the relaxation and focus of the mind and body, thank
you everyone involved.
Landscape Performance, environment and climate issues, to
large
https://activecitizensfund.no/partner/herstay/
2019, Sabbatical leave
2018
Monica Emilie Herstad teaching workshop at Schouskollektivet
́s Summer Festival in Oslo July 28, 29, https://
Monica Emilie Herstad paper presentation at Ibsen
International Conference in Skien, https://www.hf.uio.no/is/
english/research/news-and- events/events/2018/
international-ibsen-conference.html
Monica Emilie Herstad presenting her work at an in-house
seminar at Deichmanske, November 2018
2017
Monica Emilie Herstad teaching workshops in dance and
performance in 2017
Since September 2017, Monica Emilie Herstad is invited to
teach Norwegian language and culture courses at a B1 and B2
level for EU-citizens, part-time, for http://norskeksperten.no
2016
2016, Schouskollektivet études, Deichmanske Bibliotek
Grünerløkka, Oslo, October 20th presenting and discussing a
performance excerpt from her performance serie Sketches for
Spring
2016, December 15th, presenting a modest paper and workshop
introduction On movement vs syntax, at Schouskollektivet
études, video-presentation of high- lights of her performance
Compose Yourself – It may happen in beauty, as well
2016, PROSCEN Bergen, June 13th, presenting an invited paper
On the diversity of possibilities in a sustainability perspective,
how will the art and artists survive and accommodate to a
future situation? A paper related to her recent research.
2015
2015, PRODA March 25th, Monica Emilie Herstad teaches
Contemporary Dance at PRODA
2015: January 2014 - January 2016: Monica Emilie Herstad
gives contemporary classes frequently in Bergen, at Bergen
Dansesenter, PRODA and National Competence Center for
Dance Bergen, since January 2014, from advanced level III, to
beginners.
2014
2014: Monica Emilie Herstad presenting her lecture at
University of Bergen, at The «Sacred spaces in Performing Art,
Theater and Dance» Conference, March 14th, Theater Studies,
UiB: http://underskog.no/kalender/101015_sacred-spaces- in-
performing-art-theater-and-dance-conference
2014: Dansekunstnermøte/ arbeidspresentasjon, work
demonstration, Monica Emilie Herstad, Regionalt
Kompetensesenter for Profesjonelle Dansere Bergen, March
7th, 2014, http://www.bergen- dansesenter.no/hendelser/
dansekunstnermote-med-monica-herstad
2014: Monica Emilie Herstad teaches workshop at
Torshovloftet, in Butoh, February and March, https://
underskog.no/kalender/100627_monica-emilie- herstad-
teaches-butoh-at-torshovloftet/ forestilling/163821
2014: Bergen, USF, herStay teaches butoh August 11 - 13,
https://underskog.no/kalender/ 102714_monica-emilie-
herstad-workshop-in- bergen-august-11-12-13-2
2014: Monica Emilie Herstad is invited by Teatertanken to
write an essay on artist needs, November 2013, for quotes
presented at their seminar February 14th 2014, as published in
Scenekunst 13.3.2014: http://www.scenekunst.no/pub/
scenekunst/main/?aid=5065
2013
2013: Monica Emilie Herstad is invited to comment upon the
NOBA meeting, during Prebox, Showbox Festival, see video
point 25.43, and 39.10 http://kanalscenekunst.no/ pub/
kanalscenekunst/Samtalerforedrag/?ytv=-
pEP6tHOI9s&mid=104%C2%A0
2013: Monica Emilie Herstad is an invited participant to the
seminar Scenekunnskap Chat Noir, May 7th 2013: http://
www.scenekunst.no/pub/scenekunst/seminars/?aid=3381
2013: Monica Emilie Herstad is in 2013 invited to teach
workshop at Norsk Skuespillersenter, for professional dancers,
actors and performers at SKUDA, with minimum 4 years
professional experience post final BA exams
2012
2012: Monica Emilie Herstad presenting paper, at XIII
International Ibsen Conference, in Tromsø, June 12th 2012,
with her title: "Playing Ibsen – A reflection upon counterculture
vs mainstream perspectives", http://www.docin.com/
p-426452857.html http://www.hf.uio.no/is/forskning/aktuelt/
arrangementer/2012/conference.ht ml
2012: February 19th, Monica Emilie Herstad is an invited panel
member to the Tenk Teater conference in the panel discussion
«Det tverrestetiske - Hva kreves av en kunstner, eller en
tilskuer, innenfor et tverrestetisk paradigme?» at Black Box
Teater in Oslo. With: Tore Vagn Lid (KHiO), Siren Leirvåg
(UiO), Lars Petter Hagen (ULTIMA), Monica Emilie Herstad
(herStay), Victoria Meirik (director): http://frontlosjen.com/
lengre-tekstar/tenk-teater/ http://www.blackbox.no/content/
titlePresentation.php?tid=2143
2012: September 17 - 22, Monica Emilie Herstad is a funded
participator in the seminar Collective Critisism under the
Nordic- Baltic conference KEDJA in Tallin, http://
kunstbevegelsen.wordpress.com/2012/10/21/cooperative-
criticism/
2012: ”Artistic contingencies from different movement
didactics” Stockholm, October 31st, Monica Emilie Herstad́s
paper is discussing «Why different pedagogical methods are
needed from the beginning of the education, and how new
efficient perspectives will transfer the definition of the
professiońs semiotics, also the pedagogues’ vocational
competency, into other nuances of the artistic landscape. Will
the field adapt to a contemporary academic approach, with the
pressure from the economic situation in the society? », at the
Stockholm DOCH Conference 2012: http://
kunstbevegelsen.wordpress.com/2012/10/04/diadaktikk-og-
semiotikk- innen-dans/?
preview=true&preview_id=136&preview_nonce=671fb6470f
2011
2011: «Happiness for all, through all», Monica Emilie Herstad
lectures at Costa Rica, Nacional Universidad, Dance and
Theater section On Ibsen and Body, March 10, and 11, 2011,
http://ibsen.nb.no/id/1.0?
showEvent=1&eventid=2310&eventlanguage=1&force
Template=article
2011: Monica Emilie Herstad lectures at Vaganova State Ballet
School in St. Petersburg. On «Henrik Ibsen vs Body», May 17th,
2011, BodyWord Festival
2010
2010: Introduction, Monica Emilie Herstad presenting her
performance Movers and shakers – Tangible channeling the
existence of nature, from her paper Happiness for all, through
all, for official w.i.p. performances August 25 -28, June 24, 26,
27, April 17, 18, February 20, 2010, in Oslo
2009
2009: Monica Emilie Herstad́s lecture is presented at UNESCO
World Congress
th
in Dance Research, in Malaga, Spain, Europe, July 19 2009.
On her performance Past is simulation - Ladies of the sea vs
Nora, and other stories of the society. http://
www.diputaciondevalladolid.es/extras/extras_turismo/
actualidad/2009/ World_Congress_Provisory_Program.pdf
2009: XII International International Ibsen Conference, Nordic

Centre at Fudan
University, Shanghai: Monica Emilie Herstad Master Class
th
June 16 , on her performance Movers and shakers – Tangible
channeling the existence of nature, with Q&A, http://
www.norway.cn/News_and_events/Culture/ Theatre-and-
Dance/herstayibsen/#.UpmntihQfG8
2009: Lecture for MA students at Centre for Ibsen studies UiO,
nd,
October 2 on her performance Movers and shakers –
Tangible channeling the existence of nature
2008
2008: Hong Kong, Monica Emilie Herstad presents her paper
at Hong Kong Open University, Hong Kong Baptist University,
and Guangdong University of Foreign Studieś Multi-
Diciplinary conference on “Cross cultural staging of
st
Ibsen and the modern self”, November 21 , 2008. Podcast
available. http://www.ouhk.edu.hk/PAU/20th_Anniversary/
web/activity/MonicaHerstad. pdf http://www.ouhk.edu.hk/
WCM/?
FUELAP_TEMPLATENAME=tcGenericPage&itemid=CC_OPE
NLINK_5861581 4&lang=eng&pri=2
2008: Monica Emilie Herstad presents her paper and video
lecture at Centre for
Ibsen studies, UiO, In-House seminar, April 2nd 2008. ”A

discussion between motivation and action - on Monica Emilie
Herstad́s contemporary interpretation of Ibseńs female
protagonists in her work Past is simulation - The ladies of the
sea vs Nora, and other stories of the Society”
2007
2007: OPAS/ Oslo Fotokunstskole, October 7th 2007, Monica

Emilie Herstad lecture on Body and context, for final year
students, Monica Emilie Herstad is frequently guest- teaching
workshops and lectures at OPAS from 2000 - 2008, http://
www.oslofotokunstskole.com/New
Web/EN_web/html/en_teachers.htm
2006
2006: International conference: Local and global: Ibsen
inbetween east and west, host: UiB/ Ibsenåret Bergen, Monica
Emilie Herstad, her debut lecture on her project PAST IS
SIMULATION – The ladies of the sea vs Nora, and other stories
of the society, November 4th, 2006, http://ibsen.uib.no/

Ibsen_conference_EastWest.pdf
2006: Centre for Ibsen studies, UiO, In-House seminar, Monica
Emilie Herstad lecture on the project The ladies of the sea vs
Nora, and other stories of the society, March 29th 2006
2005
2005: Brown University, US, 2005, Performance Studies
International Conference: Feminism and fashion: The
choregraphies of Monica Emilie Herstad, a lecture of Leah
Garland at the Round-Table discussion Troubling Dance, at the
international PSi
conference, March 31st 2005 on Monica Emilie Herstad,
http://www.blogbird.nl/uploads/psi/
130812081617289_psi11-program.pdf
2004
2004: UiO, Intermedia Forskningsparken, with Monica Emilie
Herstad́s paper presentation: On intuition vs methodology, a
plethora of different contingencies, at the international
conference Designing Design, Dance and Technology,
December 7th, 2004, video links and documentation to
presentation, and Q & A, http://www.intermedia.uio.no/
designingdesign/dance_technology.html http://
arkiv.scenekunst.no/static/media/pdf/
DA1665EF6C7D2147096C39B9F8427D32up44e3d9.Dansesem
inar.pdf http://lillestroem.uio.no/intermedia/dd/071204/
herstad_com.mp4 http://lillestroem.uio.no/intermedia/dd/
071204/herstad_pres.mp4 http://libarynth.net/
notes_intermedia_seminar#monica_emilie_herstad
2003
2003: Monica Emilie Herstad gives MA students within theater
and media a video lecture at NTNU, Trondheim, March 13th
2003: On herStay expression, video and stage
2003: KhiO, October 22nd 2003, MA students within arts and
design, Monica Emilie Herstad presents a lecture performance,
with excerpts from a herStay performance. On the subject
Ritual Performance, from a herStay perspective.
1999 - 2008
Oslo Fotokunstskole 1999 – 2008, lectures and workshops on
herStay movement and multimedia practice, on her selected
subject: “Body and context” , invited by the dean at that point,
Emil Fedida
2000
2000: KhiO, Lecture- and practical workshop in Butoh and
herStay expression at Statens balletthøgskole/ KhiO, final year
BA students, April 2000
Monica Emilie Herstad frequently present introductions,
papers, and teaching, since the beginning of her career.
OFFICIAL PUBLICATIONS
2020, https://activecitizensfund.no/partner/herstay/
2018, Monica Emilie Herstad being featured in March, no. 1 /
2018 issue of Pengevirke, Cultura Bank, on her life and work, a
photo and text presentation, https://www.cultura.no/arkiv/
pengevirke/dans-i-samklang http://herstay1.tumblr.com/post/
171998583553/photos-1-monica-emilie- herstad-performing-
her
2018, Der selv gud finner hvile/ Where even god finds peace,
The Modern Times February issue, Monica Emilie Herstad́s
feature on Japanese Shrine Architecture, https://
www.nytid.no/gud-finner-hvile/
2017, Været, og å være/ To be and the body weather, the critic
Monica Emilie Herstad on the danser Min Tanakás
performance at the pre-opening of the new National Museum in
Oslo, during Ultima Festival 2017, https://www.nytid.no/
vaeret-a-vaere/
2016, Power point presentation and paper at PROSCEN Bergen
June 13th, on life post petroleum, for dancers and artists as
such, available in PROSCEŃs archive base
2015, Carte Blanchés Annual report, quotes from Monica
Emilie Herstads critique, from their performance at The
Norwegian Opera and Ballet
2015, Times Square Chronicles, theater review, tba 2015, Ny
Tid, art reviews, tba
2014, June: Dansernes dans: http://www.scenekunst.no/pub/
scenekunst/main/?aid=5783
2014, May: Svanens dilemma: http://www.scenekunst.no/pub/
scenekunst/review/?aid=5561
2014, January: En indre klangfornemmelse: http://
www.carteblanche.no/no/forestillinger/pite-- sharifi.html
Scenekunst.no: journalist and critic since 2007.
2012: Monica Emilie Herstad, editor of the art-blog
Kunstbevegelsen 2012 - , http://kunstbevegelsen.com
th
2010: February 11 2010, A critical comment on Dansens hus in
their change of leader, NRK National Radio, P2 Kulturnytt, on
Dansens Hus
2010: March 29th 2010, Scenekunst: Eventyrlig Duracelldans,
on the Riksteaterets premiere
2009: November 23d 2009, Scenekunst: Nostalgisk elegi ved
Dansens hus, premiere at Dansens hus, Oslo
2009: November 21st 2009, Scenekunst: Historisk fortrengning

på Den Norske Opera og Ballett, on The Norwegian Opera and
Ballet premiere, http://arkiv.scenekunst.no/
artikkel_6497.nml
2009: November 6th 2009, Scenekunst:
Overlevelsessamfunnets estetikk, BBT , http://
arkiv.scenekunst.no/artikkel_6478.nml
2009: Pina Bausch, in memorandum, Norsk Shakespeare- og
teatertidsskrift, 3/2009
2009: En europeisk legende, on Pina Bausch, in Kunstkritikk,
July 2009, http://www.kunstkritikk.no/skribenter/monica-
emilie-herstad/
2008: On Regular artistic income challenges, Morgenbladet
27th of June 2008, KUNSTNERLØNN: http://
morgenbladet.no/debatt/2008/
kunstnerlonn_til_alle_kunstnere
2007: On Sasha Waltz choreography and Pascal Dusapińs
opera Medea, Unter den Linden, Berlin. Based on Heiner
Mülleŕs Medea-material. Norsk Shakespeare- og
teatertidsskrift, 4/2007, https://www.academia.edu/4172023/
Die_Liebe_kommt_und_geht_Nicht_weise_war_ich_Das_zu
_vergessen_-
Medeamaterial_Heiner_Muller_Jeg_glemte_at_kjaerlighet_ik
ke_varer_evig_A V_MONICA_EMILIE_HE
RSTAD_Tekst_Heiner_Muller
2007: February 2007 NRK Scenerom, Scenekunst, og
Danseinformasjonen: Det nyskapende utbelir på
NyNorskDans , http://arkiv.scenekunst.no/ artikkel_3140.nml
2007: A critical comment, on So you think you can dance/
Dansefeber, in discussion with Riksteatrets Ellen Stoesen Horn,
Kulturnytt P2, NRK, National Radio, September 2007
2007: On Environmetal Change in Performance Art, Berlin
April 2007, Kunstkritikk, http://www.kunstkritikk.no/kritikk/
se-opp-br-trendy- naturkatastrofeberedskap-pa- scenefronten-
i-europa/?d=no
2007: On the Berlin Scene, NRK National Radio P2, Scenerom
April, 2007
2007: A new discourse in Norwegian Contemporary Dance?
NRK radio P2, Scenerom, January 30th 2007. Review on the
festival NyNorskDans
2006: Monica Emilie Herstad́s interview with Japanese Ibsen
performance director Mitsuya Mori, in Norsk Shakespeare- og
teatertidsskrift no. 3/2006
2006: Pressure upon bordercrossing arts, epistle in Norsk
Shakespeare- og teatertidsskrift no. 2/ 2006
2005: Ûbersexy Performance Art, Monica Emilie Herstad
review on Jan Fabre, in Kunstkritikk, www.kunstkritikk.no
June 2006, http://www.kunstkritikk.no/kritikk/bersexy-
scenekunst/
2005: Kunstkritikk, December: On Marina Abramović re-
interpretation on Valie Export, at Guggenheim autumn 2005 in
the essay «Terror as entertainment – or pure exhibisionism?»
2005: Le Monde Diplomatique December 2005, on Marina
Abramović re- interpretation on Valie Export, at Guggenheim
2005, «Terror som underholdning?»
2005: Interesting De Keersmaeker, in Norsk Shakespeare- og
teatertidsskrift no. 3 – 4 2005
2002: On psychology as melody, Interlocal DJ-s, Fjords 3/2002
After September 11th, Masculinism unvailed, interview with
Eva Lundgren in Fjords 1/ 2002
2002: Non fake as a geocultural dimension, interview with
Knut Ove Arntzen, Fjords 1/ 2002
2002: Unordinary ordinary Norwegian Theater, dialogue with
choreographer Monica Emilie Herstad and director Kai
Johnsen on Jon Fosses works, Fjords 2/ 2002
Monica Emilie Herstad presented in dance curriculum in the
US, and internationally, appearing in State University of New
Yorḱs professor Sondra Horton Fraleigh́s book Dancing into
Darkness, Butoh, Zen and Japan, Pittsburgh University Press,
1999, http://www.amazon.com/Dancing-Into- Darkness-But
oh-Japan/dp/0822961156
Earlier/ other articles, by or with her, like her interview with
Min Tanaka in På Spissen, and articles in Natt & Dag,
Morgenbladet, BT, etc. will be featured upon request
ART/ RELATED ADVISORY
2022, Retro, redesigning woollen items of value, for the benefit
of the good, charity, part time
2022, Librarian, archivist, part time
2022, Education, language tutoring refugees, and cross border
labour, also in 2016, September to December, part time
2022, Restorative Yoga practice in The Norwegian Church
2022, Advisory, art and movement workshop, Bergen
Helhetshelse
2021, Advisory, art and movement workshop, Bergen

Helhetshelse
2017, For The Modern Times and its readers, when Min Tanaka
was visiting with his performance in 2017
2016, For Schouskollektivet études
2016, For the artist Eugene Sundelius von Rosen, Stockholm
2016, 2022, Education, language tutoring refugees, and cross

border labour
2015, To Katarina Skår Henriksen/ Maidans Lørenskog

Dansefestival
2015, 2014, For Jarvis, Clee & Daughters, on content related to
business plan
2014, May - December: Artistic direction, advisory and

practical choreography instruction to the SEANSE/ INK project
by Moduś SKAPE, May 21 - 25, at Akershus Slott, Oslo
Middelalderfestival
2014, http://dance.no/forestillinger?
tid=1400882400000&eventid=4559&arrType=1
2014: Artistic direction advisory to Moduś improvisational

performance, accomodated for challenged children, teaching
workshop May, September and December 2014, with support
from SEANSE/ INK
2013, http://kulturradet.no/kunstloftet/vis-prosjekt/-/kl-
pb-13-skape
1994 - 2014: Art advisory to different artists, art units, art

magazines and art unions
2000 - 2004: Art advisor, suggesting issue titles to Fjords
Magazine, such as Embrace, Influence, Attention, Borderline,
etc.
2000: Art advisor, suggesting Art Editor Claudia Sandor to
Fjords Magazine
2000: Art advisor, suggesting Music Editor Marius Jøntvedt to

Fjords Magazine
2000 - 2004: Art advisor, suggesting artists to interviews and

features in Fjord
VOLOUNTARY WORK
2022
Retro, redesigning woollen items of value, for the benefit of the
good, charity, part time
Education, language tutoring refugees, and cross border labour,
part time
2016
Foreningen for hjerte- og lungesyke barn
Education, language tutoring refugees, and cross border labour,
September to December, part time
AWARDS/ DIPLOMAS
2011 Monica Emilie Herstad accepts Silver Prize in South Korea
for her herStay performance based on Ibseńs Rosmersholm,
«Movers and shakers - Tangible channeling the existence of
nature» performed 4 nights in South Korea August 2011
2008 – The International Ibsen Awards Grant, to Monica
Emilie Herstad, for her performance project Movers and
shakers – Tangible channeling the existence of nature, based on
Rosmersholm (earlier entitled Twirl, Through, Remix,
Tangible)
1997 – Illusions are by nature sweet, diploma for her short film,
at Brno Filmfestival, Czech Republic, director and performer:
Monica Emilie Herstad, cinematography: Anette Haraldsen
HONORARY POSTS
Medlem i Akademi for Helse og Relasjonskompetanse
Monica Emilie Herstad, board leader 2000 – 2005, board

member, secretariat 2005 – 2015
Artist and administrative on a daily basis: 1996 -
Kunstbevegelsen, director and board-leader since 2011
NAPA/ Dans- og teatersentrum, board member, 1998 – 2000
NAPA/ Dans og teatersentrum, election committé leader, 2000

– 2003
NODA, Norske Dansekunstnere, elected member of the

magazine committé, main writer in the national ballet union
magazine, presenting features, interviews, essays 1994 – 98
Advisor for dancers and actors at Musiker- og
Artistformidlingen, NAV, 1995 - 1996
UNION MEMBERSHIPS
Monica Emilie Herstad is a NODA member
Monica Emilie Herstad is a member in Norwegian Film
Directors Union
Monica Emilie Herstad, herStay is an associated member of
IETM
Monica Emilie Herstad is a member of The Norwegian Art
Critics Guild, and in Forskerforbundet/ NAR - The Norwegian
Association of Researchers, BONO/ The Visual Artists
Association,
Danse- og Teatersentrum DTS/ NAPA
APPEARANCE IN MEDIA AND SOCIETY

2022, Monica Emilie Herstad presenting her art project Distant
Moves at https://vimeo.com/herstay and https://vimeo.com/
user53422838
2021, 2020, https://activecitizensfund.no/partner/herstay/
2018, Monica Emilie Herstad feature in no. 1 2018 Pengevirke,
Cultura Bank,
https://www.cultura.no/arkiv/pengevirke/dans-i-samklang
http://herstay1.tumblr.com/post/171998583553/photos-1-
monica-emilie- herstad-performing-her
2017, NODA Magazine På Spissen Summer June 2017,
interview with Monica Emilie Herstad
2018, Der selv gud finner hvile/ Where even god finds peace,
The Modern Times February issue, Monica Emilie Herstad́s
feature on Japanese Shrine Architecture, https://
www.nytid.no/gud-finner-hvile/
2017, Været, og å være/ To be and the body weather, the critic
Monica Emilie Herstad on the danser Min Tanakás
performance at the pre-opening of the new National Museum in
Oslo, during Ultima Festival 2017, https://www.nytid.no/
vaeret-a-vaere/
2016, Monica Emilie Herstad appears at National Culture News
TV Prague, in order to promote the event Agnes ANEW at the
Prague National Gallery October 25th 2016
2016, Monica Emilie Herstad appears in different media, due to
her performance work at Deichmanske Bibliotek in relation to
Ibsenfestivalen 2016, amongst other a 5 minuts interview in
social media, and presentations at official sites, https://
www.youtube.com/watch?v=iYOcT18KLa0
2015, June 13th, Princess of Bohemia, herStay in Prague,
herStay performance at the re-opening of the St. Agnes convent
site, National Gallery Prague, an EEA cultural project, 3
performances. A collaboration beginning in 2014 lasting
throughout 2017 with several performance invitations, such as
at the Agnes ANEW opening, October 25th 2016 and further,
like shown at Art TV, National TV.
2015/16, Monica Emilie Herstad, herStay appears in the Made
In Catalogue/website, Stockholm.
2015: herStay represented in NY, January 9th 2015, Special
Effects Festival, The Wild Project, Almanac 15, Book Launch,
http://www.thewildproject.com/performances/ index.shtml
2015, herStay solo performance with Monica Emilie Herstad in

Rome, July 14th at Circolo Scandinavo
2015: herStay workshop in Corinaldo, Marché, Italy, June 27th
- July 5th: http://www.sirkelartenatura.com/#!workshop-
herstay-english/cx45 , postponed
2014 - 2015: Artistic direction advisory to Moduś
improvisational performance, accomodated for challenged
children, and workshop September 2014 - spring 2015, with
support from SEANSE/ INK 2013, in Gamle Akershus Kirke,
during Oslo Medieval Music Days Festival 2014, http://
kulturradet.no/kunstloftet/vis- prosjekt/-/kl-pb-13- skape
2014 - 2015: Artistic direction, advisory and practical
choreography instruction to the SEANSE/ INK project by
Moduś SKAPE, May 21 - 25, at Akershus Slott, Oslo
Middelalderfestival 2014, http://dance.no/forestillinger?
tid=1400882400000&eventid=4559&arrType=1 , http://
www.seanse.no/default.aspx?menu=198&id=212
2014: October 22, at 12.15 pm, herStay performance Sketches
for Spring, in Japanhaven, Botanical Garden, Bergen, a garden
created by landscape architect Haruto Kobayashi. Tea and
performance from noon. Link: http://www.uib.no/arboretet/
81497/ danseperformance-i-japanhagen
2014: October 23 - 25, Monica Emilie Herstad teaches
performance workshop, Bergen, USF http://www.ba.no/vis/
kalender/events/9109440
2014: August 10, at 13.30 pm, herStay performance Sketches
for Spring, in Japanhaven, Botanical Garden, Bergen, a garden
created by landscape architect Haruto Kobayashi. Tea and
guided tour from noon. Link: herStay performance in
Japanhaven
2014: August 11 - 13: Monica Emilie Herstad performance
workshop, Bergen, USF. Theme: Elaborating on Performance
vs Nature.
2014: Monica Emilie Herstad Artist Presentation in Bergen,
March 7: http:// www.bergen-dansesenter.no/hendelser/
dansekunstnermote-med-monicaherstad
2014: Monica Emilie Herstad teaches contemporary dance at
PRODA March 5th: http:// www.bergen-dansesenter.no/
hendelser/proda-samtidsdans
2014: herStay in Oslo, February 11th - March 11th, Monica
Emilie Herstad teaches butoh at Torshovloftet, https://
www.facebook.com/events/255410061293529/?ref=22
2014: Monica Emilie Herstad teaches Yoga at PRODA January
29th: http:// www.bergen-dansesenter.no/hendelser/proda-
yoga-1
22nd: http:// www.bergen-dansesenter.no/hendelser/proda-
yoga
2014: Herstad at PRODA: http://www.bergen- dansesenter.no/
kompetansesenteret/ proda
2014: Monica Emilie Herstad represents at EEA seminars in
Prague February 5 - 7, cultural exchange conference
2012: herStay vs Nature: http://
kunstbevegelsen.files.wordpress.com/2012/08/herstay- in-
conversation- with-nature-240820125.pdf
2013: Different recent publications on dance and performance
worldwide 2012 - 2014, such as in Norgesnytt, on her herStay
performance Sketches for Spring in botanical contexts
2011: Interviews with Monica Emilie Herstad in South Korean
media, main news on television, radio and newspapers, for
winning the Silver Prize August 2011
2010: Le Monde Diplomatique, interview with Monica Emilie
Herstad, 2010, http://www.lmd.no/?p=12227
2010, Time Out Mumbai gives great reviews to herStay,
https:// kunstbevegelsen.wordpress.com/2013/01/03/norsk-
scenekunst-i-india/
2010: Monica Emilie Herstad comment on Dansens hus, NRK
National Radio, Kulturnytt P2, April 26th 2010
2010: Interview on the NRK National Culture News, Television,
on the future for a public, national dance scene, Dansens Hus,
in Norway
2009: Dancing Queen, comment on Monica Emilie Herstad in
NY, September 2009, in Scenekunst, author: Bertrand Besigye,
http://arkiv.scenekunst.no/artikkel_6361.nml
2009, Success for the strange, Interview in the union Mfo/ LO
magazine Musikk, March 2009, http://musikkultur.no/eneo/
eneo.dll?tem=mu_open_archive&id=175464
2009, Interview with Monica Emilie Herstad on her
international touring success, in På Spissen, NODA Union
magazine, June 2009
2009, Shanghai review, Pemberly Austen, on herStay in
Shanghai 2009
2009, Beijing Youth Vision Magazine July 2008, pictorial
interview with Monica Emilie Herstad on herStay performance,
research and teaching, 300 000 readers
2008, Hindu Magazine February 10th 2008, Monica Emilie
Herstad́s artistic work Past is simulation, compared to Pina
Bausch́ Bamboo Blues
India Express, January 12th 2008, Bringing a new discourse on
stage, wonderful reviews on Monica Emilie Herstad, herStay
National TV, New Delhi: Interview with Monica Emilie
Herstad, live in the wardrobe backstage at the theatre LTG
Auditorium
The Pioneer, January 15th 2008, great interview presentation
with Herstad, and review
Time Out, January 2008, large pictorial interview with Monica
Emilie Herstad on her performance and experience of India
The Nation, Bangkok, frontcover of Weekend Magazine,
herStay picture January 17th 2008
Le Monde Diplomatique, 2005: http://www.dokumentar.no/
pdf/0508/02.pdf
Monica Emilie Herstad in comparition with Menkes, Bergmann
and Fassbinder, in Limitless Cinema, January 2008: http://
celinejulie.blogspot.com/2008/01/phantom-persona-or-
monica- emilie.html
Earlier years media cover 1991 - 2008, documented separately,
such as 3 pages in Dagbladet in 99, 1 page in 96, solo dance in
Absolutt, NRK, Tokyo Times, etc. such as: http://
www.dagbladet.no/kultur/1999/11/20/183735.html
TEXTS/ COMMENTS/ REVIEWS on Monica Emilie

Herstad works:
2020, https://activecitizensfund.no/partner/herstay/
2019, tba, after a sabbatical year and the the global pandemic
situation
2018, Monica Emilie Herstad feature in no. 1 2018 Pengevirke,
Cultura Bank,
https://www.cultura.no/arkiv/pengevirke/dans-i-samklang
http://herstay1.tumblr.com/post/171998583553/photos-1-
monica-emilie- herstad-performing-her
2017, NODA, Monica Emilie Herstad interview in På Spissen
Magazine June
2016, on Monica Emilie Herstad performance at Vollapük
Julefestival 2016: “Monica is a master of movement, and of the
performance of rising shadows towards the light” – Wingaard
Wolf
2017: Scenekunst.no on herStay performance Compose
Yourself – It may happen in beauty, https://
herstay.files.wordpress.com/2018/02/compose-yourself-
review-2017-herstay.pdf
2014: Choreographer Lise Ferner at Scenekunst: «Takk for en
sjelden grundig anmeldelse m/ mye kunnskap og veloverveide
evalueringer», to Monica Emilie Herstad́s review Svanens
Dilemma, at Scenekunst: http://www.scenekunst.no/pub/
scenekunst/review/?aid=5561 3.6.2014
2014: Danseinformasjonen: «Monica Herstad tar for seg Den
Norske Opera og Ballett og Alexander Ekmans versjon av
Svanesjøen i en særdeles velbegrunnet og nyansert kritikk på
@scenekunst.no»: http://www.scenekunst.no/pub/
scenekunst/review/?aid=5561
2014: Karakterisert som vellykket, avbildet i BA ved en lunch
under Festspillene, på KODE Museum Bergen café Smakverket
28.5, publisert 30.5 // The newspaper BA publish an article on
the restaurant Smakverket, where Monica Emilie Herstad and
mother are photographed as guests, entitling the picture:
“Successful!”
2013: Different social media, etc.
2012: Review presenting herStay performance Sketches for

Spring:
Sketches for spring herStay performance is in 2012 performed
11 times in Botanical Garden Oslo, which contributed to the
increased audience success:
"Art Historian Torunn Liven felt that the performance appeared
as much as a kind of ritual in a performance tradition, as a pure
dance performance. Liven think that the performance would
not shout in any way, thus respect its surroundings.
- It gave an immediate beautiful experience, which also
stimulated the mind. I think the performance is intuitive
gorgeous, says Liven. - The dancer who moves among the trees,
is both a powerful and feminine image, which provides us with
many associations to significant impressions from other art
forms, such as painting, she says.
The art historian believes that it was a good idea for the
Botanical Gardens to present this project. - The garden
provides a beautiful and exciting space with many
interpretative possibilities. The movement seems mentally and
physically precisely placed in the landscape. It's great to
experience the garden in this way."
- Norway News September 9th, 2012
Norway News, September 09.09.2012: "Leah Garland holds a

PhD in Performance Studies from New York University, and
has written an article about the performance [herStay
perfomance Sketches for Spring]. Garland says in the article
that separate from the grief that the Norwegian people have
experienced the last year, she is most drawn to Herstad́s
unusual presentation of a public event, with her performance.
She believes that Herstad moves faster in this performance
than in her previous work, but still with a great awareness.
Garland interprets that this openness that lives on stage,
reflects a desire for a public space protected enough to be free
from fear”
"Thank you for the impulses you gave us here up in our [high
north] Garden!" /
"Takk for impulsane du gav oss her oppe i Hagen! [ June 25th
2012]"
- With best regards, Arve Elvebakk, University of Tromsø, Arctic Alpin Botanical Garden Tromsø
2011: "Kjære Monica, Til teksten! For en befriende god artikkel.

Jeg er for tiden langt unna Norge og vil ikke kunne se den
omtalte forestillingen, men reagerer spontant med å se en så
god og gjennomarbeidet tekst om kunst, samtidskunst-
begrepet og en ballettaften satt i så grundig historisk
sammenheng (...)
Herstads artikkel og Høholts reaksjon får meg også til å tenke
på en generell mistenksomhet ovenfor tekning og refleksjon.
Å være intellektuell og inneha kunnskap og kunne bruke denne
kunnskapen i sin argumentasjon og samtidig være kunstner og
kvinne synes å kunne være en stor provokasjon på mange nivå,
samtidig. Og ikke minst skaper Herstad så befriende stor plass
rundt sine tanker.
Wow, hvilken impact. Jeg er både imponert, berørt og inspirert.
-Tone Gellein, Kultursjef p.t. og kunstner i feltet performance/video/tekst/dans, Scenekunst 3.2.2011, om

Herstads tekst på Scenekunst
Herstads review as a critic at Scenekunst
"Det er deilig å lese en kritikk som evner å trekke inn historiske

dimensjoner, samt å se forestillingen som en del av det
danselandskapet den er en del av, selvom den operer innefor
trygge institutisjonelle rammer. Nettopp derfor trenger vi
analyser som trenger litt dypere inn i materialet, og ikke lar seg
blende av store gullscenografier og dryssende sukker."
- Jon R, Skulberg Scenografistudent ved Akademi for Scenekunst samt studier i dramaturgi og
dansevidenskab fra Århus og Kbh om Monica Emilie Herstads artikkel i Scenekunst
Scenekunst, Norway: "Choreographers such as Ina Christel

Johannessen, Ingun Bjørnsgaard, Alan Øyen, Monica Emilie
Herstad do also have a clear theme and an expressive
movement language"
-Anette Sture Iversen, Scenekunst October 10, 2010
A comment upon Monica Emilie Herstad́s oevre EWIG relesased

in 2008,
by Jonathan Chatel, Sorbonne/ UiO, November 2008
"- I was first very interested by the use of the space. In a parc of
the popular part of the city, which is usually a place of
transition and of transaction, a place of dealing and prostitution
as well of wandering, (which remind me somehow on the
dramaturgy of B. M Koltès theater plays, like the "Dans la
solitude des champs de coton") there were placed some figures
of dancers. I use the term figure on purpose: they were very
hieratics and almost abstracts because of the quality of their
concentration, the purity of the body and the sharp relation
they had together. Through the figures of the dancers, the
urban space was saying something else. "I" was not seeing
something new, but the Thing, the urban space was watching
me differently. As Bergson says "quand les artistes regardent
une chose, ils la voient pour elle, et non pour eux." (When the
artists look at one thing, they see it for itself, and not for
themselves." It can apply to what Monica Emilie Herstad is
doing.)
(...) To say it shortly and in other words, in that "corrupted"
urban space, this dance provide a certain "transcendance", not
in a mystic way, but like a body before the body and a landscape
before the landscape. Somehow, an idea of "Ewig".
- In the same order of idea, what was very sharp was the
relation between reality and fiction created by the performance,
which allow a very original "friction" of those two elements. The
border of the stage were structured by the architectural space,
and even though the performance occured for the main part in
an "allée" of the park, under trees, its narrative power spreads
out. The public, the people passing by, the light of the street
lamps and windows, the different type of stones used for the
building around, the sounds (very particular hybridation
between the "music" of the performance and the everyday life
sounds : cars, wind, muffling voices) were as if engulfed by the
artistic performance. Here, a soldier walking by in his costume,
going out of the military barrack close by, suddenly slow down
his step, his body became more "here", present, he was
interpreted somehow by what was happening. At every external
event the spectator was lead to new range of associations, of
interpretations.
- What was finally very beautiful was the ending, when those
figures went out of the "imaginary circle" and continue their
walk for two hundred meters until they turn at the angle of a
building. I was focusing my attention on something which was
now in a distance, changing my position, changing the
perception. So, the vanishing of those figures takes some time,
even though the performance was short it already triggers some
remembering of them, of who they were when standing in front
of me, and I felt that mixed feeling of loss when they
disappeared.
I know that a performance is good when analyzing its effect on
me.
After seing a (good) film, reading a book, watching dance or
theater, the reality has a new density, new order and
"correspondances" (to quote the title of the poem of Baudelaire)
thanks to this esthetic experiment. That was the case of "Ewig"
• Jonathan Chatel, Sorbonne/ UiO, November 2008
"In the Monica performance, I would like to live - like this is really
good. She is purely a beautiful artist. Monica mind is how wonderful
and excellent. Always nice to children, generally smile, sometimes
there is a dream general sense, I think of the HP of Luna."
- Review on herStay in Shanghai, June 20th 2009, by «Pemberly
Austen»
YOUTH VISION, in BEIJING 2008: Give Body to the Future. Text:
Liu Ying, VISION, YOUTH MAGAZINE BEIJING SEPTEMBER
2008: “Monica Emilie, one of the most experimental dance &
performance artists in Norway, is demonstrating for students with
her performance how to communicate with space via body language.
This performance comes from ”Past Is Simulation”,
the sub-title of “The Lady of the sea vs. Nora, And Other Stories Of
the Society ”,
inspired by the writings of Henrik Ibsen, Susan Sontag, and Elfriede
Jelinek. The course she directs - On Body and Context - aims to
sharpen the students' perception and the awareness of differences
between live performance and the projected being. The traditional
stereotype of the photographer waiting, choosing and recording a
visual moment has been left behind by contemporary photography.
Contemporary photography, instead of entering into the art checklist
alongside painting, installation and performance, has turned itself
into a multi-functioned platform open to all the art mediums which
conjunct all the art forms and keeps bringing out new meanings. As
for Monica, a dance & performance artist, the collaboration with
photo artists has always been an important aspect in her creation.
“The photographs of my performance is produced as powerful
imagery that also function independently as herStay photography in
addition to documenting an event,” Monica said, “and with the
students of photo art I often get a fresh feeling and a fresh brain,”
which makes her even more creative.”
-A 3 page photo & interview presentation on Monica Emilie

Herstad, herStay
VISION YOUTH MAGAZINE BEIJING, SEPTEMBER ISSUE 2008
BUYERS: 300 000 IN EDITION MONTHLY
Hong Kong experts on Monica Emilie Herstad́s presentation

on stage "Past is
simulation - The ladies of the sea vs Nora, and other stories of
the society" and her conference paper presented in HK recently:
"It reminds us of your elegant presentation on your dance work
and the theme of women in Ibsen’s plays." (...) "it was a
specialists conference and the papers were of an exceptionally
high quality."
- Dean and professor KK Tam, School of Arts and Social
Sciences, The Open
University of Hong Kong, December 2008
"Monica Herstad is a leading dancer and choreographer in the
contemporary
dance field, with her own company, and she is a person we
should
accommodate
for, to the possible degree."
- Quoting an email from Tom Remlov, General Director (CEO) The Norwegian Opera
and Ballet, now Artistic Leader at Riksteatret, September 1st 2008
herStay in India:
Wonderful reviews from Asia in 2008, January 7th - 15th,
herStay i New Delhi and Mumbai; herStay in New Delhi at LTG
Auditorium the 11th of January at 2.30 and 6 pm, and in
Mumbai, at Nehru Centre, the 14th at 6.30 pm, all at The India
Theater Festival (Bharat Rang Mahotsav) at NSD, with the
herStay performance Past is simulation: "Monica Emilie
Herstad is bringing a new discourse to stage"
- Ajit Rai, Jansatta/ Indian Express January 12th, 2008
"A study of the postmodern woman on the stage"

"To escape the feeling of unease, a woman flees to the seashore,
repeatedely. For
hours she gazes at a flying bird. As another female character
seems to search for
reason, in the darkness, through dance gestures. While leaving,
a third is suddenly startled. The fourth attempts a suicide. The
fifth shudders abruptly with fear. The
sixth, the seventh, the eight, and, in similar manners,
innumerable women appear, with patterns of actions since
times immemorial. For example: doing housework, loving
someone, rearing children, quarrel with husband, being
whipped, or shedding tears. These female characters, who
emerges out of the
dramas of Norway’s famous dramatist Henrik Ibsen, came
together on stage in the presentation directed by Monica Emilie
Herstad in her Past is Simulation: The Ladies of the Sea vs Nora
and other Stories of the society. The staging took place at the
ninth day of the India Theatre Festival at the LTG Auditorium.
(...) Enacted in New Delhi and Mumbai, and with generousity of
the Norwegian Embassy, this play is important from several
points of view.
The woman director searches for a new stage language by new
ways of acting, light-designing and presenting music, for the
dance performance. It succeeds way beyond words. This is not
Physical Theatre, where, through the agency of body language
and the language of gestures, a script assumes shape in a
formless manner.
This is a total experience of dramatic art beyond words.
The audience sees a new kind of dance performance in a new
space. It comprises the full potential for a transformation of the
imaginativeness of the audience. The performance is so
attracting, that one is not getting aware of the time at all. This is
a postmodern global text on stage.
Monica Emilie Herstad is – instead of promoting a rather acerb
image of the women or of showing protest – performing a deep
examination, from the ingress into the innermost core.
She is creating an ironic disguise of the texts of Ibsen’s dramas.
It is exactly this ironic disguise which develops into a comment
on the images of women in the present milieu.
Her actresses appear on stage with high heeled shoes,
contemporary hair-do, and hyper-modern dresses. They show
in ironic disguise different matters of concern of
the women, and their emotional expressions and body
movements, in deep, white,
faint light, together with mystical music. These matters of
concern are selected from the lives of Ibsen’s women.
The performance has its background mainly from the lives of
the protagonist Ellida and her two coeval stepdaughters Hilde
and Bolette, from the drama Lady from the Sea, and of the
heroine Nora from A Doll’s House.
An evaluation of Ibsen’s texts is done by the German feminist
writer Elfriede Jelinek in her book What happened after Nora
had left her Husband, including the text Pillars of Society. In
one scene it is the aura of the unforgettable world famous
author Susan Sontag, in which she presented the character of
the heroine Ellida of Lady from the Sea.
The performance with its latent meanings raises, however,
several questions at the level of script and style. On the one
hand she disturbs the acerb images of the biographies of the
women of the dramas, but at the other she succeeds to
overcome the acerb images on the stage by employing the
medium of artistic explanation. Words are not presented here.
And the music appears slightly segregated.
(...) Together with an examination of the relevance of Henrik
Ibsen for the present times, the performance investigates in
addition the question whether our world has really changed for
women during the one hundred years after Ibsen. The decision
rests with the audience."
- Ajit Rai, Jansatta/ Indian Express, January 12th, 2008
Tantalising
"The play opens with a complete surprise, with a mechanical
bird winging its way over the proscenium, and hovering the
dancer on the large stage.
The tantalising
conjectures are woven around the splendid solists, who seem to
express the ambivalent emotions of Ibseńs women when their
bodies move, fall, strech, and bend.
Dancing as mirror-images, or the captivating trio moving in
unison, they bring out rich associations with Nora, or the steph-
daughters Hilde and Bolette, of Lady of the sea, or the
eponymous heroine of Hedda Gabler, or even the youthful
Hedvig of The Wild Duck."
- Dr. Utpal K Banerjee, Pioneer, New Delhi, January 15th 2008
::::::::
«Test-tube theatre», TimeOut, Mumbai-edition 2010:

Experimental theatre can sometimes be hard on audiences. But,
says Shanta Gokhale, that doesn’t mean that it isn’t rewarding.
MUMBAI Time Out recently:
«A nifty definition of experimentation is: not to do what has
been done before. You experiment because life has changed and
new possibilities beckon you. In order to see new challenges
and possibilities clearly, you deliberately break the moulds of
the past. Once upon a time our theatre told stories. Breaking
that mould, theatre stopped telling stories. Once upon a time,
theatre was governed by the word. Breaking that mould, theatre
decided to do without the word. Once upon a time there used to
be writers.
Breaking that mould, theatre improvised. Once upon a time,
theatre was human bodies on a horizontal performing surface.
Breaking that mould, theatre turned into video projections and
circus acts. Purity became a bad word and hybridity in all its
forms climbed to the top of the charts.
(...) This started in the 1960s in the West and intercultural,
inter-textual, intermedia, inter-tradition performances filled
the experimental stage.
In 1972, American director Robert Wilson “staged” his Overture
to KA Mountain on seven mountains in Iran. The performance
lasted for seven days and seven nights and its cast included a
couple of dozen Iranians.
In the eighties, Western interculturalism came to Indian shores
as Peter Brook’s film version of the Mahabharata. Nobody was
sure how to respond to it, though most people claimed to have
loved it. Rustom Bharucha begged to differ. In a long and
detailed analysis of the original nine-hour performance in
Avignon, he called the production “a ‘cultural salad’ of which he
[Peter Brook] is the unacknowledged chef. The materials for
this salad have come from all over the world but it is Brook’s
‘house dressing’ that gives it its distinct taste.” In short he
accused Brook of appropriating a deeply venerated epic without
showing either respect for or understanding of its significance
in its home culture.
Tim Supple’s A Midsummer Night’s Dream did not tick with
political time bombs. It was innocuously intercultural. Firstly,
Supple was doing a play over which he had full cultural rights.
Secondly, he did not impose his language on the multi-lingual
cast from all over India. They spoke Shakespeare in their own
tongues. If this made the play incomprehensible that was fine
because didn’t everybody know the play? And anyway, his
interpretation of it was embedded not in the text but in
spectacle and physicality, both accessible to people with eyes to
see. The terrific response the production received both here and
abroad bore out what Supple had suspected – that the well-
known, much- loved play “would provide a strong architecture
to house and nurture the disparate elements of our
collaboration”.
Last year we saw Norwegian director Monica Emilie
Herstad’s inter- textual play Past is Simulation: The
Ladies of the Sea vs Nora and Other Stories in the
National School of Drama’s Satellite Festival in
Mumbai. It was not enough to know the two Ibsen
plays it took off from to comprehend how they were
being interpreted on the stage. You had to be familiar
with the work of the Nobel Prize winning Austrian
feminist-leftist writer-director Elfriede Jelinek and
the late Susan Sontag’s reading of Ibsen’s Lady of the
Sea. If you weren’t so initiated, you had to content
yourself with watching the actors’ beautifully
costumed, rigorously trained bodies moving in a way
that conveyed more emotional-sensual meaning than
words ever could.
(...) In Mumbai, we are really not prepared for such extreme
experimentation. Realism and its cousins have been our staple
theatrical diet. Even on the experimental periphery, such as it
is, writers-directors have only one eye on their test-tubes and
crucibles. The other is trained anxiously on prospective mobile-
wielding audiences. Nothing has seriously challenged our most
cherished notions of what theatre is.
We once had Medea at Max Mueller Bhavan, performed by
Alaknanda Samarth with painted panels and interactive video
footage created by Nalini Malani. We had Anuradha Kapur’s
highly stylized Sundari – An Actor Prepares, in which Neelima
Sheikh’s visual design included quotations from Raja Ravi
Varma’s paintings and Parsi Theatre-style curtains. We also
had The Industrial Theatre Company’s Agamemnon, directed
by Rehaan Engineer. Performed in the old Sakshi Gallery, it
mixed live action with video footage recorded on the spot.
There was a time when media supported experiment. Those
who didn’t see these plays, read about them. Now media
supports consumerist aspirations.
Since Mumbai theatre has rarely yanked us out of our comfort
zone, we resist any such attempt when it is made. This is not to
deny that experimental work does create huge problems for
audiences.
Take Herstad’s Norwegian play for example. How
many people anywhere in the world would have
known their Jelinek and Sontag as well as their Ibsen?
It must have taken ages to evolve this work because
Herstad was not staging a readymade script. She and
her associates must have spent months developing the
“script”, groping towards a form, doing, undoing and
redoing, before the actors were ready to go on stage.
But how much time did the audience have to absorb and
respond to this dense distillation of months of work? An hour-
and-a-half, or two, with no opportunity to go away, think, read
and return for a second look.
Thrown in at the deep end like this, the best the audience can
do with experimental work is to skim the surface. Visuals,
sounds, movement and music also produce meaning, if you
open your senses to it and keep the mind out.»
• Time Out Mumbai 2010

Monica Emilie Herstad meets Pina Bausch during India
Theater Festival 2008:
"From the European segment of the festival, two were
dance theatre performances — Pina Bausch’s “Bamboo
Blues” and Monica Emilie Herstad’s unwieldily titled
“Past is Simulation: The Ladies of the Sea vs Nora and
Other Stories”.
The Norwegian performance piece was dense with

references which became significant only if, besides
Ibsen, you also knew the work of the director Elfriede
Jelinek and the late Susan Sontag’s reading of “Lady of
the Sea”. Otherwise what you saw [in Past is
simulation] were incredibly flexible female bodies that
posed, contorted, writhed and grew slack to express a
whole spectrum of emotions, dark to bright, between
male-constructed women and women as they are and
want to be. Pina Bausch’s “Bamboo Blues” was more
accessible than Herstad’s piece. The piece was built bit by bit
from impressions that she and her dancers had gathered when
they travelled through the streets of Delhi, Chennai and
Kolkata."
-Shanta Gokhale, The Hindu Magazine, February 10th 2008
Audience letter: "Regarding your performance in New

Delhi of Past is Simulation - The Ladies of the Sea vs
Nora and other stories]:
Hello
There, Greetings from India. I'm a software professional based
in New Delhi. Today I happened to view your performance 'Past
is simulation - The ladies of the sea vs Nora, and other stories'
at LTG theatre.
I have been watching theatre for almost 10 years now and I
must admit that I have never before seen such a unique poetic
artistic creation. A performance that keeps on coming back and
striking one's mind again and again.
Right from the start, from the airplane movements, one is
gripped by the slow meaningful expressions of the performers,
their perfect synchronization and subtle motions. So much is
conveyed in so simple terms with minimal sets, costumes and
very appropriate light design.
(...) The simultaneous movements of the twins, the
picturization and lighting of the echo scene, the whip aspect all
express the message they are intended to convey.
Finally the coming together of the three performers, the sea and
tranquility give an pertinent climax to the excellent
performance. The use of the airplane, the chairs and the small
duck convey a deep message with minimum effort. The
captivating music matches the equally powerful performance.
The best part is that the universal message of the play gets
conveyed without any language barriers.
My congratulations to herStay, the director, all the performers,
the music compiler, the light designer and the makeup and
styling artists.
It was indeed an
unforgettable presentation. I hope and wish that you people
soon come back again to India with more of your artistic
productions.
With warm regards and thanks again, God Bless You all.”
- Rajan, source: letter/ email
::::::::
herStay in Thailand:
2008, January 17th - 18th at Patravadi Theatre,
Garden Theatre, opening the Bangkok Fringe Festival,
in Thailand, Monday, January 21, 2008:
"PHANTOM PERSONA OR MONICA EMILIE HERSTAD:
--Last Friday I went to Patravadi Theater to see some
performances, including PAST IS SIMULATION -- THE
LADIES OF THE SEA VS. NORA, AND OTHER STORIES OF
THE SOCIETY, directed by Monica Emilie Herstad from
Norway.
The performance is inspired by the writings of Henrik Ibsen,
Susan Sontag, and Elfriede Jelinek. I like it a lot. It is now one
of my most favorite stage performances of all time. I don't know
how to describe it. I think I can say that its power is like the
power of PHANTOM LOVE (2007, Nina Menkes) mixing with
the power of PERSONA (1966, Ingmar Bergman).
This is a clip from PAST IS SIMULATION:
http://vids.myspace.com/herStay
This is a short film called THE LITTLE CHAOS (1966, Rainer Werner Fassbinder).
http://www.youtube.com/watch?v=TjDh0gF2ExA"
- Celine Julie, Thailand 2008
herStay review at NRK Radio, P2, Scenerom January

2nd, 2007:
herStay performance Past is simulation - The ladies of the sea

vs Nora, and other stories of the society, is pointed out as The
theater experience of the year, described as the performance
that NRK/ P2 Scenerom conciders worth of remembrance, from
the year 2006, for it́s excellence in performing elements
- NRK Main Radio, P2,Scenerom, January 2nd, 2006
KUNSTKRITIKK: http://www.kunstkritikk.no/article/11415 by
Elisabeth
Leinslie:
"FEMINIST MELANCHOLY
Monica Emilie Herstad, herStay, Past is simulation,
Black Box Teater, 23 – 26 November, 2006:
"The women are fighting, but surpressed by their own and
others forces. It is like
we are dragged into an eternal spiral kept going by an anti-
feministic de-culture
and capitalistic fetishism (both by women and men).
The choreographer, dancer and performance artist Monica
Emilie Herstad
established the ensemble herStay in 1996.
Her works have for several years been synonymous with border
breaking and innovative art. Herstadś research, on the meeting
point between classical ballet, contemporary dance and
Japanese butoh, crystallizes into her unique hybrid expression.
She considers video and music (and dance) as equal elements in
her works. In the later years Herstad has participated in a
number of
international festivals with dance videos and performances of
her own. At the time she is to be found at The Centre for Ibsen
Studies, doing research. And her new performance
Past is Simulation is a part of this Ibsen project. The
performance is also a part of
The Ibsen Year 2006.
Herstad opens her performance with a solo, in which she
communicates with a motorized, yellow, little airplane that
circles in the air. She is like locked within an unfree body, in
strong contrast to the freedom searching airplane. It is a poetic
and heartbreaking beginning of a scenic comment on women in
todays society. The subtitle of the performance is “The Ladies of
the Sea vs Nora,” and other stories of the society, referring to
Herstadś main inspiration; Et Dukkehjem/ A dolls House and
Fruen fra Havet/ The lady form the sea, by Henrik Ibsen.
Herstad is not searching to adapt Ibseńs dramas, but rather to
stage her interpretation of Ibsen`s messages regarding gender.
Ibseńs work is a jumping off point for Herstad, to comment on
contemporary stereotypical depictions of women.
(...) Nora, without understanding from her husband, leaves,

While Ellida who is met with understanding and freedom to
leave, stays. Similarly we find inspiration from both Hedda
Gabler and Hedvig from Villanden/ The Wild Duck, in her
work.
In Herstads universe the dancers are in focus; four women
dressed like contemporary model-chics; with high heels,
dresses, classy hairdos and sometimes masks. They are very
feminine and stereotypical – and they are all ecstracts of, and
commenting Ibsens women. The female roles are unwrapped
and turned, still remains within their conventional frameworks.
It says something about how we repeat ourselves; how the
women of the past, as well as now, whips each other, and are
imprisoned in their thoughts, bodies, behavioral patterns, and
cultural codes.
Feminist Melancholy
Herstad́s earlier emphasis on video in her productions is
absent in Past is
Simulation. In this production the dancers (Monica Emilie
Herstad, Andrea Csaszni Rygh, Beata Kretovicova, Maria
Ryther Hoem) and the sound picture (compiled with DJ
Hicham Bouddén) is primary. A suggerating, monothonic,
athmospheric landscape moves slowly and concentratedly
forward. The choreography shifts between cliché-like expressive
movements and introverted butoh-inspired dance.
This gives the characters a characterizing of at the same time
being captured in psycho-social and private patterns. The
collective and the individual will is put
together and up against each other. And with good assistance
from the
athmospheric, unpleasent music, it is created an unbearable
nevrotic situation of anxiety, that developes to the worse for all
the female characters, except for one.
This woman is in the end taking her [pink] shoes off, leaving
through the the stage
door, with a confident smile on her lips.
A feminist melancholy develops through this work. With
references to Elfriede
Jelinekś anarchistic interpretation of the Nora-character in
Was geschah, nachdem Nora ihren Mann verlassen hatte oder
Stützen der Gesellschaften [What Happened after Nora Left
Her Husband or, Pillars of Society] (1978), Herstad shows little
belief in
womeńs liberation in the socially conservative political
economy of today. The women are fighting, but are oppressed
by their own and otheŕs forces.
(...) It is like we are dragged into a spiral kept going of an anti-
feminist de- culture.
In spite of strong subjects, this performance was silent and
abstract in its
expressions, and the humor was nearly absent. Herstad escapes
this way an artview
that supports the entertainment value of art. Past is Simulation,
is more an art work that puts intellectual motivation before the
movement. This
intellectualization creates a distance between work and viewer
– and we see, without further comparision similar tendencies in
other choreography researchers works recently.
The distance this kind of work generates has something to do
with the extended focus these researchers have on research in
the process. The works are
characterized by a deeply analytic entrance to the material,
including for instance
asking questions about how to treat traumas and how cognitive
social structures are kept, processed and expressed through the
body. These works are presented more like work in progress,
than a dance work in the classical meaning of the word. In other
words, Herstad́s Past is simulation creates a distance between
Stage and audience. But this does not predetermine that her
work do not communicates with the viewer. At the same time as
the work is characterized by introverted meditations, the
athmospheric suggestion is distinct. This doubleness captures
us and poses us into a meditative state of mind that generates
both contemplation and emotion"
• Kunstkritikk, 2006
A double midst-page photo expo presentation of herStay in The
Norwegian Ballet Union NODÁs magazine På spissen, no.I
2007, from herStay performance Past is Simulation
Norsk Teater & shakespeare Tidsskrift issue no. 1,

2007:
«Monica Emilie Herstad, herStay, Past is simulation is a unique
contribution to the Ibsen Year 2006. (...) The choreographer
Monica Emilie Herstad has certain with style, created a
performance on the faith of these female characters. (...)
Herstad uses a source material enriched with feministic
approaches and suggestions. This suits herStay wellknown
expression well: feminine expression, feministic view, stylish
appearance, and butoh inspired movement. (...) Herstad is
interpreting analytically
the female characters of Ibsen, and his plays, in a visual and
physical language,
rather than critizising his characters radically. (...) The
movements represents immediacy, longing, resignition, and
naivity, and one get a glimps of Nora, Ellida, Hedda, and maybe
Hedvig or Hilde. Herstads scenography is simple and
virkningsfull, the stage is splited between the mystique of
nature, and the
conventions of the society. With dark lights, and dunkel, and
florlette light,
bluegreen draperies associating sea and fjords, enframed with
elegant chairs along
the wall.»
-Melanie Fieldseth, January 2007, Norsk Shakespeare- og Teater-tidsskrift
Aftenposten, Oslo April 30th 2006: ”herStay interprete

Ibsenśfemale characters.» A 2 page article feature and
pictures of the opening of Ibsen Avenue/ Henrik Ibsens gate in
Oslo.
Dagsavisen 30.04.2006, NRK1 Lørdagsrevyen,

national television, 29th of April, 2006: Monica Emilie
Herstad́s performance, for Oslo City Counciĺs official opening
ceremony of Henrik Ibsensgate/ Henrik Ibsen Avenue, in Oslo,
broadly covered in media exposure
January 22nd, 2006, Bangkok Times:

”Norwegian Exposure”: Monica Emilie Herstad introduction
article and picture.
January 2006, Favourite actress, Limitless Cinema,

classification of favourite actresses and plays/ films:
1.MONICA EMILIE HERSTAD—SLOWFLY/V.I.C.T.O.R.I.A..

2.MISSING YOU
3.ISABELLE HUPPERT—THE LACEMAKER+ AMATEUR
4.ELINA LOWENSOHN—AMATEUR
http://drumz.best.vwh.net/Hartley/Images/Fullsize/
amasnd03.jpg
5.MAGGIE SMITH—KEEPING MUM
6.KRISTIN SCOTT THOMAS—KEEPING MUM
7.AVA GARDNER—THE KILLERS http://
www.leninimports.com/ava_gardner_gallery_1.jpg
- http://celinejulie.blogspot.com/
2006_02_01_celinejulie_archive.html
...
August 2005, Le Monde Diplomatique:

"In her choreography the ideal body of classical ballet meets the
introspective quietness of the dance of Min Tanaka", ttp://
www.dokumentar.no/pdf/0508/02.pdf
-Truls Lie, Le Monde Diplomatique (Now Ny Tid)
“Feminism and Fashion? : The Choreography of

Monica Emilie Herstad” Brown University, US/ PS
International Conference, March 30th - April 3d,
2005: Becoming Uncomfortable/ Troubling Dance:
http://humanitieslab.stanford.edu/
archaeologyperformance/35
” Herstad has developed her choreography into a form of self-
analysis, a hyper- responsive mode motivated by decisions to
move. (...) I think of her dance as a form of “deep play,” a term
from Victor Turner, to describe an activity invested in
spontaneity and profoundly meaningful to the participants.
Within a frame of choreography, Herstad explores her
unconscious and responds with clear choices.
Like psychoanalytic practice, Herstad focuses awareness upon
the immediate moment and repeatedly responds to the space,
the sound, the audience, the video screen. (...) Rather than a
dancer’s body representing an idea or metaphor, Herstad’s
body in performance investigates that immediate time and
space. (...) Consequently, there is no one answer to how her
movements interrelate; the dance generates an analytic
experience for the audience – without an answer, the meaning
lies with the questioner and his/her formulation of questions
and interpretations. This matter of interpretation, however, is
shaped greatly by Herstad’s exploration of an idea of femininity
and style”
- Leah Garland, Eugene Lang College, New School for Social Research, NYU, in
her paper on Feminism and Fashion?: The Choreography of Monica Emilie Herstad, March 31, 2005
Portrait interview by The National Television, NRK 1,

Safari, February 2004:
"The dancer and performance artist Monica Emilie Herstad is
representing innovation within her field through several years.
As her artistic fundament is expressed at the crosspoint of
classical ballet and butoh, she creates her own, genuin
expression with video art, dance and music. We meets her just
before her performance in N.Y. in December 2003 "
-The National Television, NRK 1, Safari 2004, interview in Gramercy Park, NY
NY Arts Magazine and Berliner Kunst, April issue

2003:
"She is teached from the origin by the butoh master Min
Tanaka through several years. Butoh is a Japanese performance
expression. Still deeply connected to this tradition, she adds
renewal to this tradition, its ritualism and monotony, with a
just as eastern orientated hipness and surface esthetics. " -
Morgenbladet, 2003
New York Art Magazine and Berliner Kunst, 2003 on Ms.
Monica Emilie Herstad solo performance in Los Angeles March
1st, 2003: "On the opening evening, the performance and video
artist, Monica Emilie Herstad executed a [solo] version of her
performance Comewhatmay; (...) Herstad moved with
simultaneity to the projected images of herself performing,
closing distance between cerebral and sensational. Her decision
for costume is to iterate couture critiquing the desire and
desired. Her choice to project onto the corrugated metal roll-up
door paralleled the sensitivity and installation site specificity"
- NY Arts Magazine and Berliner Kunst, April issue 2003
” Border breaking artists: herStay and Kreutzer Kompani are

two of the groups that recently brought the dance performance
into new directions. Both are getting the best reviews
internationally, for their ways of integreting New Media in a
performance context. As a cause of this intermedial orientation,
we let them be introduced as the first, in this, our new portrait
serie. A young, innovative and borderbreaking generation have
entered the dance stage. The stage is not neccesarily typically
Norwegian, and - there are others than Jo Strømren out there.”
- Jon Refsdal Moe, Morgenbladet, April 4th, 2003, now dean of theater studies at the national art academy,
KhiO
"The Norwegian identity is not the dominant factor in Monica

Emilie Herstad́s oeuvre; rather her ideas belong to the
international performance scene, with its conceptual mix of
dancetechniques, video, advanced lightdesign and music- and
soundpicture. Herstad has studied both classical ballet, modern
dance and Japaneese butoh, traces of butoh occurs in the
concentrated slowlyness that dominates the piese
Comewhatmay;. Comewhatmay; mirrorizes the lack of illusions,
and social bewilderness, of our time - a wonderful monotony,
tranquil and graceful"
- Anna Ängstrom, Svenska Dagbladet/ Ballet Tanz International, 2002
"Comewhatmay is created from a dialectics between inner

movement and outer aesthetics, and is guiding the audience to
enter a meditative condition, wherein
the spectators meet their own pulse"
- Grete Indahl, Klassekampen 2001, now at The Norwegian Ministery of Cultural Affairs
"The fragile and still graceful way of performing gives an

esthetic and clean totality. At the same time, the dancers and
the music express chaos and insecurity. Taken in all, they are
performing with an incredible engagement, and gives the
audience value for their money. The audience vitnessed an
alternative dance-performance at Avant Garden, with herStay
[BeMyGhost]. Using music, performance, video and dance,
herStay expresses something new and urban"
- Ida Siem, ISFIT/ NTNU, 2003
Review and interview in Thai language on Ms. Monica Emilie

Herstad́ solo performance at Siam Center in Bangkok, March
18th, 2004, Bangkok Post, 03.04.04
::::::::
On Monica Emilie Herstad, in an art scientific article by an art

student (name will follow):
"Further elucidating the impact of Kant` s term of “indifference”, we
can look up the previous edition of Wintuition (Stein Reusch Weber),
where Monica Emilie Herstad says of [her] dance group: “This is of
course not entertainment.” Other memorable moments include
Francisco Clemente saying that he was “more interested in what I
don` t know, than what I know” or Frans Widerberg saying that the
goal of a painter is “to be released from knowing what you are
doing” (...) Kant: the genius has no rational grasp of his working
procedures" -2003
"With [BeMyGhost], herStay creates an atmospheric

performance that generates emotions and thoughtfulness, for
audiences who are interested in early 21 century art.
herStay belongs to crossover art, between dance, drama and
new media.
Her performances express poetic sence and scilent atmosphere,
the one hour performance proceeds intensely. We`ll have a look
also next time she is on tour"
- Trygve Lundemo, Adresseavisen, 2003
"Rather discreet, the dj reigns in a corner with his instruments,

creating lasting, comfortable soundscapes to the ones on stage,
contributing to the athmosphere
including the chilliest, to the most shivering heartbeats "
- Aftenposten, Frederic Rütter, on The fetish is the observer, February 2003
Dagbladet, Magasinet, 5 pages feature with Monica

Emilie Herstad exposing the autumns fashion outfits,
October 10th, 2001
"Clinical, still delicious - unexpectedly feminine"
- Aftenposten, Frederic Rütter, on Comewhatmay; 2001
"herStay`s _INvisible _planet, a solo that lies between

the expressiveness of butoh, and Robert Wilson`s
minimalistic visual
concretizing"
- Danjel Andersson for DagensNyheter Stockholm, front page cultural section with Monica Emilie Herstad
portrayed, 2001 (Now Andersson is the artistic leader at MDT)
"Men først ut, den 29. mars 2001, er herStay fra Oslo med
forestillingen _INvisible_planet. Dette er en visuell solo-
performance med danseren Monica Emilie Herstad. - Et
raffinert samspill mellom videoprojiseringer og utøver”
-Silje Engeness, Bastardfestivalen, Avant Garden, til Under Dusken, 2001
"A meditation on high-frequency urban life. Perhaps this is

what art connoisseurs in St. Petersburg need at the moment,
faced as they are with a series of impossible choices during The
White Nights Festival" - St. Petersburg Times, 2000
On the solo, _disturbed _id: "The production confirms

that Ms.Herstad`s performance language contains
groundbreaking artistic qualities"
- Grete Indahl, Klassekampen 1999, now at The Norwegian Ministery of Cultural Affairs
"High quality dance performance. Ms.Herstads multi

artistic project and it́s convincing strength, confirms
itself as a vivid installation, a performance- work of
rare substance. Ms.Herstad`s organization of all the
elements is impressing, it is urban, but also something
else, a melancholic, yet a breathing organism. A state
of mind, under the concrete, under the skin, deep
down in earth, inside the feet, you become aware"
- Inger Margrethe Lunde, Dagsavisen, 1999, later leader of Dramatikerforbundet
"Now, wherever I go I learn about butoh-influenced

dance and
theater; in Canada, the United States, Britain, France,
Germany,
Brazil, and most recently in Norway, the
Butohinspired group of
Monica Emilie Herstad. Susannah Akerlund carries on
the tradition
in Sweden and San Fransisco hosts an annual
international butoh
festival through d-net" -Professor at New York State University, Sondra Horton
Fraleigh, in her book Dancing into Darkness, Pittsburgh University Press, 1999
On Monica Emilie Herstad in the dancework The

Dance of Life of Min Tanaka during The Tokyo
International Festival of Performing Arts:
"She comprehends butoh and presents the movement as an end
in itself"
- Gilles Kennedy, Tokyo Times, 1997
3 pages including frontpage in Dagbladets Friday section on

Monica Emilie Herstads performance Disturbed ID, September
17th, 1999
1 page in Dagbladet on Monica Emilie Herstad́s NY

performance, December 1999
On "Recollection of an Unlived Life" / herStay 1998: "A
performance filled with beauty, poetry, and refinement. It is
stringent and worked through to the last detail" -
Morgenbladet, 1999
Monica Emilie Herstad representing with her dance, the 5 live

opening events promoting the Nordic-Baltic screenings and
reception, at the Animation Film Festival, in Annecy 1998, with
modern fiddle player Nils Økland:
"Du Nord vient la grace (...) elle [Monica Emilie

Herstad] offrir au public un moment d`emotion et
d`enchantement"
Interview in Morgenbladet with Monica Emilie Herstad, on
beauty and dance, combining fashion with butoh,
-Thor Sannæs, 1998
th
Introduction in Dagbladet, 1996, March 8 , with Monica Emilie
Herstad, 1 page & photo
Midst pages interview and cover photo in Flux Magazine in

1996, and photos 2 pages, all together 5 pages
Earlier articles, interviews, with her in different media, is

featured upon request
FUNDING
1993 Grieg Jubileum Fundation, for choreography 3 Sisters,
Holbergsuiten
1993 Norwegian Arts Council, for choreography of 3 Sisters, at
Halsnøy Convent 1993 Kommunens Kulturstipend delt med
dirigent Eivind Gullberg Jensen, Stord 1994 The Norwegian
Culture Department, for studies of butoh in Japan
1994 Scandinavian-Sasakawa Foundation for studies of butoh

in Japan
1994 Foundation for Performing Arts, Tokyo studies of butoh in

Japan
1995 Chunichi-Inadomi Foundation, UiO, for studies of butoh

in Japan
1996 Foundation of Performing Arts for the choreography Itsu/

When/Når?
1997 Foundation of Performing Arts, for a dance project at

Isadora, Scenehuset
1997 Norwegian Arts Council, for the choreography

Recollection of an unlived life
1998 The Norwegian Culture Department, Annual Working

Grant for Young Artists
1998 Scandinavian-Sasakawa Foundation, for participation in

the performance project Romance with Min Tanaka at PS122 in
NY and in Japan
1998 Foundation of Performing Arts for 5 performances with

violinist Nils Økland at the international film festival in Annecy
representing Norway, the Nordic and Baltic countries
1999 The Norwegian Minestery of Forreign Affairs, for the

performance
Recollected ID touring Here Theater in NY
1999 Norwegian Arts Council, choreography support to Monica

Emilie Herstad for the environmental focused performance
Levende fangst, music by Biosphere/ Geir Jensen,
commissioned by the festival H2O Festival, Månelyst
1999 Foundation of Performing Arts, for Recollection of an

unlived life
1999 Foundation of Performing Arts, for the soloperformance

Disturbed ID
1999 Audiovisual Art Foundation, for performance Recollection

of an unlived life 2000 Norwegian Arts Council, choreography
of the performance INvisible planet 2000 The Audiovisual Arts
Foundation, for the performance INvisible planet
2000 Foundation of Performing Arts, for the performance

INvisible planet
2001 Norwegian Arts Council, for the choreography and project

Comewhatmay; 2001 The Audiovisual Arts Foundation, for the
performance Comewhatmay;

Comewhatmay;
2002 Norwegian Arts Council, for touring the performance
Comewhatmay;
2002 Norwegian Arts Council, for choreography for the

performance [BeMyGhost]
2002 Foundation of Performing Arts, for touring the
performance INvisible planet
2002 Culturenet Norway, ABM-utvikling, for research of net-
project [BeMyGhost]
2003 Norwegian Film Foundation for film within the
performance [BeMyGhost] 2003 Norwegian Arts Council, for
touring Comewhatmay; to LA, Post Gallery
2003 Norwegian Art Council, for touring [BeMyGhost] to
Teaterhuset AvantGarden
2003 Foundation for Performing Arts, for the performance
[BeMyGhost]
2004 Norwegian Filmfoundation, for documentation of the
project [BeMyGhost] 2003 The Royal Norwegian General
Consul in NY, for event for INvisible planet
2004 Norwegian Arts Council, for choreography for the
Hamsun inspired performance SLOWFLY/V.i.c.t.o.r.i.a.. at
Torshovteatret and at Soria Moria Festival
SLOWFLY/V.i.c.t.o.r.i.a..
2005 Norwegian Arts Council, for the Ibsen inspired
performance and research project Past is simulation - The
ladies of the sea vs Nora, and other stories of the society
2005 – 2009 Centre for Ibsen Studies, Monica Emilie Herstad
is a Guest Research
at UiO, for the Ibsen inspired performance and research project
Past is simulation - The ladies of the sea vs Nora, and other
stories of the society, and further Ibsen projects
2005 The Royal Norwegian General Consul in NY, for event for
the performance Comewhatmay; at the theater Collective
Unconcious and at The NY International Film and Video
Festival
2005 Audiovisual Arts Foundation, for touring the herStay film

and the performance Comewhatmay; solo version, with Monica
Emilie Herstad to NY, and LA
2006 Performing Arts Foundation, for touring the Hamsun

inspired performance SLOWFLY/ V.i.c.t.o.r.i.a..to Bangkok at
Patravadi Theatre
2006 The Royal Norwegian Embassy in Bangkok, for the event

for the Hamsun inspired performance SLOWFLY/V.i.c.t.o.r.i.a..
at Patravadi Theatre
2006 Sponsored with Oslo Kommune, herStay is invited to

open with performance,
the Henrik Ibsensgate, ceremony at 7.juni plass and in Henrik
Ibsensgate, 29th of April, and performance at the Reception in
Oslo City Hall by the mayor, April 28th
2006 Performing Arts Foundation, education and travel grants,
for research travel to Berlin September/ October 2006,
connected to the Ibsen inspired performance and research
project PAST IS SIMULATION – The ladies of the sea vs Nora,
and other stories of the society
2006 Performing Arts Foundation, 7 performances of PAST IS

of the society, in Oslo autumn 2006;
The opening of XI International Ibsen Conference in Domus
Media, The Opening of the Ibsen Exhibition at Rådhusgalleriet,
the opening of Kulturnatt Oslo in Borggården, and 4
performance nights at BBT
2006 Skipsreder Tom Wilhelmsens Stiftelse, Research

Fellowship for the research project at the Centre for Ibsen
Studies, Past is simulation -The ladies of the sea vs Nora, and
other stories of the society
2007 Fund for Performing Artists for the performance

NoNameDance
2007 The Norwegian Minstery of Forreign Affairs, for the

performance Past is
simulation, to Bangkok, New Delhi and Mumbai
2007 The Norwegian Embassy in India, for Past is simulation,

to Delhi and Bombay
2007 The Norwegian Embassy in Thailand, for Past is

simulation, to Bangkok
2007 The Norwegian Arts Council for –E-W-I-G- [herStay

Extended Universe]
2008 The International Ibsen Awards Grant for Monica Emilie

Herstad́s performance project Movers and shakers – Tangible
channeling the existence of nature, based on Rosmersholm,
from The International Ibsen Award
2008 Norwegian Arts Council for herStay EWIG at Oslo Open
with El Parche
2008 Oslo Kommune for herStay EWIG at Oslo Open, Culture

Night Oslo
2008 Fund for Performing Artists for herStay EWIG at Oslo

Open
2008 Fund for Performing Artists for herStay Past is simulation

in Hong Kong
2008 Royal Norwegian Ministery of Foreign Affairs for herStay

Past is simulation
in Hong Kong
2008 The Royal Norwegian Embassy in Beijing for herStay Past

is simulation in
Hong Kong
2009 Norwegian Arts Council Gjestespillstøtte, herStay in

Hong Kong
2009 Norwegian Arts Council Prosjektstøtte for Movers and

shakers – Tangible channeling the existence of nature
2009 Fund for Performing Artis for Shanghai Tour

2009 Royal Norwegian Ministery of Forreign Affairs UD
Scenekunst for
Shanghai Tour
2009 Oslo Kommune for Shanghai Tour
2009 Royal Norwegian General Council Shanghai for Shanghai

performances
2009 Norwegian Arts Council Gjestespillstøtte for NY tour
2009 Royal Norwegian General Council NY, for NY

performances and reception
2010 Fund for performing Artists/ FFUK for performance and

touring Movers and shakers – Tangible channeling the
existence of nature
2011 Norwegian Arts Council Guestplay support, Norwegian

Ministery of Forreign Affairs, Silver Prize Reward South Korea
2012 Norwegian Arts Council Guestplay support to Beijing,

postponed
2012 Norwegian Ministery of Forreign Affairs for touring

MSTCEN, and Sketches for Spring to Beijing, postponed
2012 Fund for performing artists/ FFUK for Sketches for

Spring
2013 Funding for the herStay performance Sketches for Spring

at MODUS and the festival Oslo Medieval Music Days, from
Norwegian Arts Council and Oslo Kommune
2013 Free exhibition and performance space through Oslo
Open April in March and April, at Oslo Kunstforening and Oslo
City Hall
2014 Norway Funds, Monica Emilie Herstad is funded

representing in Prague, at EEA conference February 5 - 7
2014, National Competence Center for Dance Bergen

Hordaland Region, with generous support, for studio space etc.
2014, Monica Emilie Herstad contributes to the project SKAPE,

by MODUS, as a choreographer, teacher and artistic adviser,
with support from INK 2013, Den kulturelle skolesekken,
SEANSE, Kunstløftet, Norwegian Arts Council
2014, The Art Critic Guilds Traveling Grant

2015 – 2016, EEA Grants for herStay Performance Art Project
at National Gallery Prague
2015, Travel grant to Berlin, for Monica Emilie Herstad,
participating as the Norwegian delegation at the festival
Augenblick Mal, theater for the young audiences, from
ASSITEJ
2015, artist residency at CS in Rome

Hordaland Region, with
generous support, for studio space etc.
2016,National Competence Center for Dance Bergen Hordaland

Region, with
generous support, for studio space etc.
2016, Agnes ANEW opening of exhibition event, herStay

project in collaboration with the National Gallery Prague
2016, free stage and rehearsal space at Deichmanske Bibliotek
Grünerløkka in connection with the performance collaboration
during Ibsenfestivalen 2016
2018, with support from Kulturrådet, and Videoarkivet, NBK

Vederlagsfond, film presentation at House of Foundation in
Moss, March 3d 2018, performing in Dodo-film Between C and
D
2018, Schouskollektivets Sommer Festival, teaching workshop
and performing with generous support from Norsk Kulturråd,
Oslo Kommune
2018, Deichmanske Bibliotek Grünerløkka in collaboration with
herStay 2019, tba after a sabbatical year
2019, Regular income, for being an artist, the performance
Sketches for Spring was presented April 29th, UNESCO
International Dance Day at Frogner Hovedgaard
CHOREOGRAPHIC WORKS, MAJOR

PERFORMANCES
1993
Resymé I, Black Box Teater, Oslo, Dansens År Festival, and at
Norske Studenters Roklubb, Huk Avenue at Bygdøy, Oslo.
Score: Arne Nordheim, Tenebraé.
Stage design, choreography and dance: Monica Emilie Herstad.
21 minutes, 4 dancers
3 Søstre, Griegjubileet, open air performance at Halsnøy
Kloster. Stage design choreography and dance: Monica Emilie
Herstad. Original score: Edvard Grieg, Warren Carlström, 30
minutes, for 3 dancers, 1 actor, 1 musician, and 1 fine artist
1993 – 1995
developing herself as a dancer in Min Tanakas performances
internationally, and
at Winter –OL at Lillehammer 1994 The Dance of life, on
Edvard Munch
1996
Dancer with actor Bjørn Sundqvist and others in Orkesternatt
with Oslo Sinfonietta, ULTIMA Festival, composer: Christian
Eggen, director: Mette Brandtzæg, http:// bokelskere.no/bok/
galgenfrist-for-kvinneorkesteret- historien-om-
kvinneorkestret-i- utryddelsesleir/196258/ http://
sceneweb.no/nb/production/33987/ Orkesternatt-1996-1-1
http://www.amazon.co.uk/The-Musicians-Auschwitz-Fania-
Fenelon/dp/0722134711 Teateret på Vestbanen. Based on Fania
Fenelon (Goldstein)́ book Playing for time.
Itsu/When/Når?, Black Box Teater, May, 4 performances.
Original score: Emil Viklicky. Stage design, choreography and
dance: Monica Emilie Herstad. 55, minutes, 3 dancers.
Itsu/When/Når?, Scenehuset, Oslo, 6 performances. Original
score: Emil Viklicky. Stage design, choreography and dance:
Monica Emilie Herstad. 55 minutes, 3 dancers.
Monica Emilie Herstad solo performance at Stenersenmuseet, 6
times, March 1996, at Marit Anna Evangers exhibition, on Min
Tanaka, The Dance of life.
Performance at Månelyst́s performancenight at Riksteateret
with the installation TIKI where she danced on 16 TV screens
film photographed by Knut Bry
May 1996: Producing Min Tanakas solo-performance I.. sit, in
Botanic Garden and at BBT in Oslo, casting of little boy, and
she is also light, sound, PR responsible
September 1996, Monica Emilie Herstad dancing in Aria
Variata, by Christian Wolther, http://www.youtube.com/
watch?v=W-zy2L9zfOg at Vollapük, Frogner, Oslo
Solo performances in different contexts such as festivals, studio
theaters and fashion
1997
Monica Emilie Herstad choreography: Illusions are by nature
sweet, Gene Frankel Theatre, NY. From original script by
Choderlos de Lacloś Dangerous Liaisons. Original score:
Romeo et Julie, Tchaikowskij. Stage design, choreography and
dance: Monica Emilie Herstad, 45 minutes.
In Oslo, she performs at different fashion events, such as at the
ELLE introduction party in Norway at Astrup Fearnley Museet,
with her stage design, choreography and dance performance,
upon the walls, 2 dancers, covered by TV2
Monica Emilie Herstad solo performance 20 minuts, at Pink
Poney Café, with introduction and Q&A at the show Mayday
1997. In April, at the NY scenes Continental, and Elbow Room,
Spring NY 1997, different collaborations with photographer
Martina Hoogland Iwanov, stylist Johanna Hofring, and singer
Camela Leierth in NY, 1997
September – November 1997: Monica Emilie Herstad is
performing and leading the rehersals as a choreography
assistant to Min Tanaka and casting responsible to the
production The Dance of Life, in and for the Tokyo
performance at Tokyo International Festival of Performing
Arts,at Setagaya Theater, and during the ULTIMA Festival in
Oslo
Monica Emilie Herstad soloperformance at Rheinstoner
Fashionshow at the top floor of the Empire State Building April
1997
Performing at the fashion event by Smirnoff Fashion Award, in
Oslo, Månelyst, 1997
Dance film, Monica Emilie Herstad dance and direction, Film
Festival Brno, presentation receiving diploma for outstanding
work, original score, Emil Vicklicky
1998
Recollection of an Unlived Life, Black Box Theatre, 50 minutes.
Stage design, choreography and dance: Monica Emilie Herstad.
Original score: Thomas Widerberg, 4 dancers, including
Monica Emilie Herstad, Ellen Johannesen, Øyvind
Jørgensen, and a minor part for Tine Erika Aspaas, 4
performances
Annecy, France, Monica Emilie Herstad dance, Nils Økland
violin, 5 official performances in Annecy, 1 at the official
opening reception and 5 at different openings of The Nordic
Baltic Programs at The Annecy Animation Film Festival,
Original score: Nils Økland. Styling, choreography and dance
40 minutes all together: Monica Emilie Herstad
Wounded, comissioned by Henie-Onstad Høvikodden
Kunstsenter, Oslo. Styling, choreography and dance: Monica
Emilie Herstad. 50 minutes improvisation, 4 performances
1999
Levende Fangst, open air performance commissioned by H2O-
Festivalen/ Månelyst at Akerselva. Stage design, choreography
and dance: Monica Emilie Herstad. Original sccore: Geir
Jenssen, Biosphere. For 8 dancers: 28 minutes, 2 performances
Disturbed id, herStay production. Performances at Here theater
NY
Stage design, choreography, video and solo dance: Monica
Emilie Herstad Music: Geir Jensen/ Biosphere, 50 minutes, 16
performances, http:// www.dagbladet.no/kultur/
1999/11/20/183735.html
Disturbed id, Black Box Teater Oslo, Stage design,
choreography, and solo dance: Monica Emilie Herstad, 50
minutes. Music: Original score: Paolo Vinaccia, April, 4
performances
Disturbed id, Black Box Teater Oslo, Stage design,
choreography, video and solo dance: Monica Emilie Herstad,
50 minutes. Music: Original score: Paolo Vinaccia, September,
4 performances
Disturbed id, Art Camp Festival, Japan. Stage design,
choreography, and solo dance: Monica Emilie Herstad, 50
minutes. Music: Original score: Paolo
Vinaccia, August 28th, 1 performance
2000
INvisible planet, herStay production. Performances at
Grieghallen as
programmed in Kulturby Bergen 2000, June
INvisible planet, herStay production. Riksteatret́s Ridehuset in
Oslo, October, 4 performances
INvisible planet, herStay production. Baltiskij Doḿ main stage,
in St.Petersburg, during White Night Festival and Solstnevorot.
Music: Bows. Stage and film design, choreography, dance:
Monica Emilie Herstad, 50 minutes
2001
Comewhatmay; performances at Black Box Theater, Oslo. Total
duration: 58 minutes, Music: Mimura Shuishiro, Paolo
Vinaccia. Stage and film direction, scratch animation,
choreography, dance: Monica Emilie Herstad. For 6 dancers.
Touring INvisible planet as a separate film variation to BIT
Dance Filmfestival at Danseteateret, Carte Blanche.
Touring the performance INvisible planet Teaterhuset Avant
Garden
Monica Emilie Herstad dancing as Guest Performer in
Raimund Hoghes choreography Throwing your body into the
fight, Oslo, February 2001, 2 performances
2002
Touring the performance Comewhatmay; in Stockholm at
Moderna Dansteatern,
http://www.scenarkivet.se/uppsattning/1466/comewhatmay/
Touring the performance Comewhatmay; at Carte Blanché
stage Danseteateret in Bergen, invited and sponsored by Carte
Blanche as a co-production
Touring the performance Comewhatmay; at Teaterhuset Avant
Garden
Touring with INvisible planet to Porsgrunn Internasjonale
Teaterfestival Upopfestival
herStay presenting The fetish is the observer at Oslo Kunsthall
28. and 29.June. Stage and video direction, choreography and
dance: Monica Emilie Herstad. Guest performance invited by
curator Camilla Eeg, and Mobile Homes, co- produced by
Kristin Danielsen & Agnes Kroepelien Management. Part I:
Monica Emilie Herstad performing with cellist Tania Orning
Part 2: Monica Emilie Herstad performing to her video with
Jon Rekdal playing his composition.
Touring the filmversion of The fetish is the observer
filmversion, at Kaiitheater in Brüssels, as a continuing loop in
the foyer at the entrance of the Nordic Festival
Touring the filmversion of The fetish is the observer filmversion
at Landmark, Bergen Kunsthall in Bergen, as a countinuing
loop during BIT dance film festival
Touring INvisible planet to ULTIMA Dance for camera festival,
Oslo 2002 Dancing in Otmar Wagneŕs performance Inventur
Debile
2003
The fetish is the observer, Black Box Theater. Music: DJ
Hicham Bouddén, excerpts original score: Jon Rekdal. Stage
design, video direction, dance and choreography: Monica
Emilie Herstad, 50 minutes.
The fetish is the observer, film-version in Belgrad Student
Festival, curated by BIT, Bergen
Touring Comewhatmay; performance and video to Post Gallery,
LA
Premiere [BeHerGhost] at Teaterhuset Avant Garden during
ISFIT Festival, stage design, video, choreography, dance:
Monica Emilie Herstad, with 3 dancers
Touring the performance Invisible planet at Gene Frankel
Theater in NY 2003
2004
SLOWFLY/V.i.c.t.o.r.i.a.. , a co-production between
Torshovteatret, Nationalteatret and herStay, comissioned by
Soria Moria Festival. Stage design, video direction,
choreography and dance: Monica Emilie Herstad, with 6
performers
Touring excerpts of the performance INvisible planet to Siam
Center in Bangkok
Monica Emilie Herstad dancing from her performance
INvisible planet, in improvisation with Stavanger Symphonic
Orchestrás cellist Bodil Mathisrud, invited by Gyldendal at
Karla Smith́s book Presentér!. Clarion Hotel top floor,
Stavanger.
2005
Comewhatmay; , film presented, invited to NYIIFVF NY, at the
City Cinema East
Village Theatre, NY
Comewhatmay; performance at The Collective Unconcious, NY
Comewhatmay; film presented, invited to NYIIFVF in LA, at
Regency Fairfax Theatre, Beverly Boulevard, LA
The performance SLOWFLY/V.i.c.t.o.r.i.a.. , invited to Istanbul
National Theater International Festival, postponed
Preparations for the research and performance project Past is
simulation - The ladies of the sea vs Nora, and other stories of
the society in the Ibsen year 2006, related to the research
fellowship at the Center of Ibsen Studies 2005 - 2008
2006
Oslo Black Box Teater November 23d – 26th, herStay PAST IS
of the society. Idea, stage design, direction, choreography,
dance: Monica Emilie Herstad, full version 50 minutes, for 4
dancers, one DJ and indoor silk plane pilot
herStay site specific variations of the performance is performed
in different contexts, such as at opening ceremonies of festivals,
conferences, dance theaters and galleries:
herStay at the official Opening Ceremony of XI International
Ibsen Conference in Oslo, 21st of August, 7 minutes excerpt
from Monica Emilie Herstad́s performance PAST IS
of the society, Opening speech by Her Majesty the Queen Sonja,
hosted by Tom Remlov on behalf of the University of Oslo, in
the grand gala concert hall Domus Media
herStay opening the exhibition A visual journey through inner
landscape, in Oslo Townhall August 16th, 15 minuts excerpts
from herStay PAST IS SIMULATION – The ladies of the sea vs
Nora, and other stories of the society, August 16th
herStay opening the KULTURNATT OSLO, September 15th, 10
minuts excerpts from herStay PAST IS SIMULATION – The
ladies of the sea vs Nora, and other stories of the society, Fr.
Nansens pl., September 15th
herStay touring SLOWFLY/V.i.c.t.o.r.i.a.. solo to Patravadi
theatre in Bangkok January 26th, light technician: Minna
Heikkelä
herStaý PAST IS SIMULATION - The ladies of the sea vs Nora,
and other stories of the society. Excerpts performed at Oslo
Kommune Ibsen Celebration in Oslo Town-Townhall 28th of
April
herStaýPAST IS SIMULATION - The ladies of the sea vs Nora,
and other stories of the society. Excerpts performed at Oslo
Kommune Ibsen Celebration opening Henrik Ibsens Gate at
7.juni plass the 29th of April, as pictured in NRK
Lørdagsrevyen and Aftenposten
Centre of Ibsen Studies, 20 minuts excerpts from herStay PAST
IS SIMULATION – The ladies of the sea vs Nora, and other
stories of the society, June 15th
2007
herStay NoNameDance performance, September 13th, Ballhaus
Ost, Berlin
herStay performance at Observatoriet, Oslo, April 27th – 29th

NoNameDance, May 3, 5, 6, 12, 13, 26, June 12, August 15, 16,
17, November 30 2007
herStay at The Unesco International Dance Day, programmed
27th – 29th of April
herStay opens the Art Bienale Oslo Open 3d of May, at
Nasjonalmuseet with
herStay performance NoNameDance. “On a survival drama in a
near
future
climate change scenario, in inter- relation to aspects of Ibseńs
female characters, Hedda and Hedvig” Repeated May 5th, 6th,
12th, 13th
herStay performance NoNameDance at Vollapük Vårfestival
2007 May 26th herStay video work Krank im Palast, published
at youtube.com/herStay May 23d
2008
herStay Past is simulation performance at On&On Theatre
twice in Hong Kong,
17th and 18th November 2008

herStay performance –E-W-I-G-, in relation to an installation
of the artist group El Parche at Oslo Open, Culture Night Oslo,
September 26th, with further performances October 2nd
Developing the performance EWIG, research, January –
September 2008 in Berlin
herStay performance NoNameDance at University of Oslo,
Lunch With Culture, for 2 dancers, introduction with Monica
Emilie Herstad, February 29th
herStay performance in New Delhi, with Past is simulation, at
th
The India Theater Festival Golden Jubilée, January 11 , 2
performances
herStay performance in Mumbai, with Past is simulation, at
The India Theater Festival Golden Jubilée, January 14th
herStay performance in Bangkok, with Past is simulation, at
th
Bangkok Fringe Festival, January 17th, and 18
2009
herStay in NY, with the performance EWIG at Conflux City
Festival, in Gramercy Park, 20/09/2009, 3 performances, at 2,
4, 5.30 pm. Reception at Gramercy Park Hotel, wardrobe at
National Art Club
herStay Past is simulation – The ladies of the sea vs Nora, and other
stories of the society, performance, in Shanghai in Xianhui Hall, at
XII International Ibsen Conference
th th
16 and 17 of June 2009
herStay Movers and shakers – Tangible channeling the existence of
nature, performance drafts, presented w.i.p in Shanghai in Xianhui
Hall, at XII International Ibsen
th
Conference 2009, 16 of June 2009
Monica Emilie Herstad Master Class, presenting herStay Movers and
shakers – Tangible channeling the existence of nature, performance
drafts, presented w.i.p in Shanghai in
th
Xianhui Hall, at XII International Ibsen Conference 2009, 16 of
June 2009 ,with Q&A, for an international audience on about 100
persons, academics, directors, students
2010
herStay Movers and shakers – Tangible channeling the
existence of nature, ever
changeable performance presented in Oslo, at Rom for Dans,
th th
with Monica Emilie Herstads paper and Q&A, August 26 , 27 ,
th
28 , 2010
existence of nature, performance presented in Oslo, at Rom for
Dans, with Monica Emilie Herstads
th th th
paper and Q&A, June 24 , 26 , 27 , 2010
existence of nature, performance presented in Oslo, at Rom for
Dans, with Monica Emilie Herstads
th th
paper and Q&A, April 17 , 18 , 2010
existence of nature, performance presented w.i.p in Oslo, at
Rom for Dans, with Monica Emilie
th
Herstads paper and Q&A, February 20 2010
existence of nature,
th
performance presented in Berlin, at Tanzhaus, November 20 ,
21st 2010, postponed
2011
existence of nature, Silver
Prize Winning performance presentation in South Korea,
th th th
August 4 , 5 , 6 , 7th
existence of nature, performance at Osobnyak Theater, lecture
at Vaganova Academy, and workshop presentation in St.
Petersburg, Russia, BodyWord Festival, May 15th – 20th, 2011
herStay performs Movers and shakers – Tangible channeling
the existence of nature, 5 performances in different cities and
theaters. Monica Emilie Herstad́s herStay performance, her
lecture and workshop presentation in Costa Rica,
st th
Central America, March 1 – 14 , 2011;
herStay is performing at UN Centennial International Womens
Day Festival Actua Mujer: Teatro Melico 7th of March, and at
Teatro Compania Nacional Aduana 8th of March, Teatro
Munincipal, Alajueda Museum the 9th of March
Monica Emilie Herstad presents a Master Class at Nacional
Universidad Costa Rica for dancers, MA and professionals at
UCR Escuela de Danza the 9th, and at UCR Escuela de Escenico
for actors BA, MA and professionals March 10th, where she also
introduce her lecture on Body vs literature
March 5th, Monica Emilie Herstad teaches her workshop Body
vs context, at Caribbean Women Festival, in Playa Chiquita, at
the Gaia Cultural Centre, Limon
March 6th, herStay performance at at Caribbean Women
Festival, Playa Chiquita, Tree House Stage, Limon
March 7th, herStay performance at the presidents dinner, Banco
Popular, InterContinental, Costa Rica
In 2011 the performance MSTCEN is accomodated and staged
in official theaters, after development periodes in studio
rehearsal theater facilities, like RFD
existence of nature, performance presentation in NY, 2011,
postponed
2011, Sketches for Spring, earlier Blesses to the masses, first
sketch being performed and documented at Stillhetsfestivalen,
Konglungen, Asker, June 25th
2012
Sketches for Spring, Botanical Garden Oslo, 11 performances

March - October
2012
Sketches for Spring, Culture Night Oslo, OM, Oslo Museum,
Vigelandsparken, Frogner Hovedgård, September 14th, 2012
Sketches for Spring, Arctic Alpin Botanical Garden Tromsø,
June 21, 2012
XIII International Ibsen Conference in Tromsø, video lecture
with Monica Emilie Herstad on intercultural performance
experience from an empirical perspective
2013
herStay Richuals at Oslo Open performance, and gallery
exhibition at BOA, April
20, 21 http://osloopen.no/kunstnere/145
Sketches for Spring, Oslo City Hall April 21, at «Tourist in your
own city», main hall, 700 audience, 2013
herStay Sketches for Spring, at Oslo Medieval Music Days
festival, August 4th 2013, with Elisabeth Gaver, Cathrine
Botner-Bye etc.
herStay yoga workshops with Monica Emilie Herstad
September 2013 -
herStay performance «Compose yourself - It may happen in
beauty» (started fragments in 2007 as NoNameDance)
September 13th, Oslo Culture Night, at the Sun Observatory,
Solli Plass, work in progress, with elements from
NoNameDance (2007) Based on Ibseńs Hedda Gabler
2014
herStay performance at Ingensteds, Oslo performance
December 14th: http:// www.dance.no/forestillinger?
arrType=1&velgMnd=31&fylke=11&eventid=4859&arrType=1
2014: October 22, at 12.15 pm, Monica Emilie Herstad directs
herStay performance Sketches for Spring, in Japanhaven,
Botanical Garden, Bergen, a garden created by landscape
architect Haruto Kobayashi. Tea and performance from noon.
Link: http://www.uib.no/arboretet/81497/danseperformance-
i- japanhagen
2014: August 10, at 13.30 pm, Monica Emilie Herstad directs
and dances in her herStay performance Sketches for Spring, in
Japanhaven, Botanical Garden, Bergen, a garden created by
landscape architect Haruto Kobayashi. Tea and guided tour
from noon. Reference: UiB
2014: May - December: Artistic direction, advisory and
practical choreography instruction through workshop to the
SEANSE/ INK project by Moduś SKAPE, May 21 - 25, at
Akershus Slott, Oslo Middelalderfestival 2014, http://
dance.no/forestillinger?
tid=1400882400000&eventid=4559&arrType=1 http://
kulturradet.no/kunstloftet/vis-prosjekt/-/kl-pb-13-skape
2014: April, Sketches for Spring in Oslo at Oslo Open, and
Bergen, at International Dance Day
2014: Developing the new production «Compose Yourself - It
may happen in beauty» in Bergen, with generous support from
The National Competence Center in Bergen Region Hordaland,
at BDS.
2015
herStay performance in Prague, National Gallery, June 13th,
2015, 3 major performance, Monica Emilie Herstad in
collaboration with the National Gallery Prague 2014 -
2015, herStay representation in NY, Special Effects Festival,

Almanac 15, at The Wild Project, January 9th 2015
2015: Monica Emilie Herstad́s solo performance in Rome, at

Circolo Scandinavo, July 14th
2016
Monica Emilie Herstad opens the Agnes ANEW exhibition at
Convent of St. Agnes of Bohemia, in collaboration with the
National Gallery Prague 2014 - , with her performance Sketches
for Spring, with herStay ensemble, October 25th
herStay performance Compose Yourself – It may happen in
beauty, at Deichmanske Bibliotek Grunerløkka September 10th,
12th, 14th in collaboration with Ibsenfestivalen 2016, and further
December 6th and 7th.
Monica Emilie Herstad presents and discusses her performance
work at Schouskollektivet Études, October 20th and December
15th
herStay performance is invited to Vollapük Julefestival 2016,
performing there Monica Emilie Herstad dances in her garden
at Skillebekk, July 7th, August 5th
2017
January – April, developing new work for touring Vollapük
Autumn Festival, performance 2017
2018
High-lights herStay schedule 2018 - 2019 coming up:
Monica Emilie Herstad interview March 2018, https://
herstay.wordpress.com/2018/03/12/monica-emilie-herstad-
interview- in-pengevirke-magazine-1-2018/
March 3d, 2018, House of Foundation, Monica Emilie Herstad
featured in a film- concert exposition, by Dodo-film and Bazalt
electronica concert.
Schouskollektivets Sommerfestival 2018, presenting
performance and workshop herStay Asia tour September 25th –
30th 2018, tba
2019
Sketches for spring, solo, Monica Emilie Herstad, at
Frognerparken, Frogner Hovedgaard, UNESCO International
Dance Day program
2020
Due to the pandemic global situation, aka a Force Majeure,
2020 became this sabbatical year, elaborating through research
finding new ways of developing the arts
2020, Havesamtaler, Garden Talks, arranging several afternoon

Landscape Performanceand environment and climate issues, to
large
2021
2021 - 2024, Distant Moves, a cohortian pandemic docu life
situation, where Monica Emilie Herstads dance and movements
in the immediate urban nature such as parks, gardens, and
nearby mountains, or seashores, counts some of the premises.
Due to the pandemic factor, placing an Ibsenian atmosphere
into this situation is the research question: How do the global
pandemic occurance inflict the complex Ibsenian woman
character, where are Nora and Ellida now at in their isolated
cohortian lives, and to where on earth would one leave,
eventually? Have a look at this 3 year project from 2021 to
2024, https://vimeo.com/herstay and https://vimeo.com/
user53422838
2021, Havesamtaler, Garden Talks, arranging several afternoon
large
2022
user53422838
large
WORKSHOPS
2021, From September 2021 to July 2022, and further,
workshop in restorative yoga every 14th day, in the Norwegian
Church
2019, June and August, preparing an upcoming performance,
follow photos at instagram, herstay_performance
2018, Monica Emilie Herstad teaches at Schouskollektivets
Summer Festival
2018, Monica Emilie Herstad teaches at Ibsen International
Conference 2018
2017, Monica Emilie Herstad teaches in different cultural
contexts within the arts
2016, Monica Emilie Herstad teaches On movement vs syntax,
at Schouskollektivet Études, December 15th
2016, Presenting and discussing herStay performance work,
October 20th, Schouskollektivet Études
2016, PROSCEN, Om dansen og kunsten i et bærekraftig
perspektiv, June 2016 2016, workshop rehearsals for Asia tour
2016, 3 workshops in the French Kindergarden Les
Mousquetaires in Oslo, June, July and September, in hence
dance, twice, and once on preparing costumes for stage with a
play of princes/-ses, kings and queens, age 4 - 12
2015, workshop rehearsals for Asia tour
2015, Monica Emilie Herstad teaches Contemporary Dance at
PRODA, March 25th
2015: herStay workshop in Corinaldo, Marché, Italy, June 19th
- June 26th: http://www.sirkelartenatura.com/#!workshop-
herstay-english/cx45
2015: January 2014 - January 2016: Monica Emilie Herstad
gives contemporary classes frequently in Bergen, at Bergen
Dansesenter, PRODA and National Competence Center for
Dance Bergen, January 2014 - January 2016, from advanced
level III, to beginners.
2015: herStay workshop in Bergen April 28 - 30, tba
2014: October 23 - 25, Monica Emilie Herstad teaches
performance workshop, Bergen, USF http://www.ba.no/vis/
kalender/events/9109440
2014: August 11 - 13: Monica Emilie Herstad performance
workshop, Bergen, USF. Theme: Elaborating on Performance
vs Nature
2014: Workshop in Bergen, May 29th, USF
2014: Workshop for MODUS vocal ensemble for the project
SKAPE, May and August, supported by INK 2013, Den
kulturelle skolesekken, etc.
2014: herStay in Bergen, August 6th - 9th, Monica Emilie
Herstad teaches butoh, organized with
BUTOHLABORATORIUM
2014: herStay in Oslo, February 11th - March 11th, Monica
Emilie Herstad teaches butoh at Torshovloftet, https://
www.facebook.com/events/255410061293529/?ref=22
2014: Monica Emilie Herstad Artist Presentation in Bergen,
March 7: www.bergen-dansesenter.no/hendelser/
dansekunstnermote-med-monicaherstad
2014: Monica Emilie Herstad teaches contemporary dance at
PRODA March 5th: http:// www.bergen-dansesenter.no/
hendelser/proda-samtidsdans
29th: http:// www.bergen-dansesenter.no/hendelser/proda-
yoga-1
22nd: http:// www.bergen-dansesenter.no/hendelser/proda-
yoga
2014: Herstad at PRODA: http://www.bergen- dansesenter.no/
kompetansesenteret/ proda
2014: Bergen, workshops in yoga and contemporary dance for
professional dancers
2013: Monica Emilie Herstad is in 2013 invited to teach workshop at
Norsk Skuespillersenter, for professional dancers, actors and
performers at SKUDA, with minimum 4 years professional
experience post final BA exams
2013: Monica Emilie Herstad Yoga Dance Workshops frequently
September 2013
2012: Beijing, Paper Tiger Studio, Playing the fool performance show
festival, November 4th, postponed to 2015
2011: BodyWord Festival, St. Petersburg, Vaganova State Ballet
Academy
2011: Costa Rica Universidad Nacional, Monica Emilie Herstad

teaching Master Class at dance dept, theater dept.
Since 1996: Movement workshops for herStay dancers

and other professional artists
Monica Emilie Herstads dance experience and choreography
assistance with Min Tanaka in different productions in 1994,
1995, 1996, 1997, 1998, and following 5 of his workshops in
hence 1994, 1995, 1999, 2000 indicates her teachings such as:
Monica Emilie Herstad is a guest teacher lecturing on “Body
and context” 1999 – 2019, hence:
herStay workshops in herStay expression and butoh/ Min
Tanaka Body Weather, at Bergen Dansesenter several times
during since 1994
herStay intensive workshop in butoh, 1 week, after special
request from the performers Øyvind Jørgensen, Ellen
Johannesen and Kate Pendry, 1997
herStay workshops in herStay expression and butoh, Min
Tanaka Body Weather, at Scenehuset March 1998 - 2005
herStay workshop at KhiO, Statens Balletthøgskole, senior
students, workshops in herStay expression, and butoh, Min
Tanaka Body Weather, in 2000
herStay workshops in herStay expression and butoh, Min
Tanaka Body Weather at Scenehuset and January 2002, for
such as senior actor students and professional artists
herStay workshop Nordic Black Theater 2002, workshops in
herStay expression and butoh movement of Min Tanaka Body
Weather for senior actor students
herStay workshop series in herStay expression and butoh in
herStay studio 2004 and 2005 for different artists and dancers
and culture workers, authors, etc.
herStay auditions and extensive workshops in herStay
expression through 2005 - 2022 for special invited professional
dancers or performers in herStay art works , in 2019 at
Deichmanske Grunerloekka, and in 2021 invited to Kilden
Kristiansand for a 3 days workshop.
FILM & VIDEO WORKS

user53422838
2019, herStay video/ film elaborative, tba
2018, herStay video production on Compose Yourself – It may
happen in beauty is presented, produced with Anna
Leijonhielm
2018, Monica Emilie Herstad dancing in premiere of film-concert
with film from 1998, music: Bazalt electronica, Dodo-film, Between
C and D, House of Foundation, March 3d, and at Deichmanske
Grünerløkka May 9th
2017, herStay serendipity, an ongoing work in progress, 1 hr
film format Documentation films of performances,
presentations and research 2016 Documentation films of
performances, presentations and research 2015 herStay:
Effervescent Futures, 2015
Just Must, w.i.p. 2015 -
«herStay performance, Daphne vs Apollo» 2015 (Rome)

Sketches for Spring 2011 - 2013 Documentation
Movers and shakers – Tangible channeling the existence of

nature, 2010 Krank im Palast, 2007
herStay FUTURE, 2006
Past is simulation, 2006 - recent Documentation
Slowfly/ V.i.c.t.o.r.i.a.., 2004
The fetish is the observer, 2003

BeHerGhost, 2003
Comewhatmay;, 2001
INvisible_planet, 2000
Disturbed id, 1999
1998, starring in Dodo-film, Between C and D

Illusions are by nature sweet, 1997
Morphia, 1995 by cinematographer Anette Haraldsen. Monica

Emilie Herstad star protagonist dancing for 3.5 minuts
DOCUMENTATION
herStay documentation of all art works is available in streaming
mp3/ dvd / cd format, featured upon request, copyright:
Monica Emilie Herstad
2018, herStay video production on Compose Yourself – It may
happen in beauty is presented, produced with Anna
Leijonhielm
2017, https://herstay.wordpress.com/2017/10/22/intervju-
med-monica-emilie- herstad-i-fagforeningen-nodas-fagblad/
DANCE EXPERIENCE
” Herstad has developed her choreography into a form of self-
analysis, a hyper responsive mode motivated by decisions to move.
(...)
I think of her dance as a form of “deep play,” a term from Victor
Turner, to describe an activity invested in spontaneity and
profoundly meaningful to the participants.
Within a frame of choreography, Herstad explores her unconscious
and responds with clear choices.
Like psychoanalytic practice, Herstad focuses awareness upon the
immediate moment and repeatedly responds to the space, the sound,
the audience, the video screen. (...)
Rather than a dancer’s body representing an idea or metaphor,
Herstad’s body in performance investigates that immediate time and
space. (...)
Consequently, there is no one answer to how her movements
interrelate; the dance generates an analytic experience for the
audience – without an answer, the meaning lies with the questioner
and his/her formulation of questions and interpretations.
This matter of interpretation, however, is shaped greatly by Herstad’s
exploration of an idea of femininity and style”
-Feminism and Fashion?: The Choreography of Monica Emilie

Herstad, Leah Garland́s (NYU) lecture at BROWN UNIVERSITY, at
the conference Perfomance Studies
international, March 31, 2005
Monica Emilie Herstad artistic career is defined within significant
directions. Her performance- and film expressions, are exposed both
on 1. stage, and within 2. fine art galleries and 3. in outdoor or/ at
film festivals/ in film-theatres, 4. at club scenes, and music festivals,
5. in fashion circles, 6. in theory. Her art expression is focusing on:
First major artistic periode is colored by Min Tanakás influencial
butoh inspired work,
II. Recent: Body and Ibsen, inner rooms vs social and spatial contexts
III. From the very beginning: Gender and psychology vs body and
movement, in a modern environment, with tradition as a reference,
obstacle or chance.
Both before and after her rich experience as a solo dancer, and earlier
with Min Tanaka and his ensemble in the prime time of his
performance presentations internationally in the 90́ties, sheis often
offered a significant scale of work as a dancer, and artist wherever she
goes.
Monica Emilie Herstad is the guest dancer in Raimund Hoeghés (he
is the earlier dramaturgist of Pina Bausch) – performance Throwing
your body into the fight, as guest performer, in 2001.
Monica Emilie Herstad is developing her own expression, with
herStay, within the genre- crossing media arts. Her works are upon
times, starting out in the nineties, internationally acclaimed and
present at festivals, galleries, open air performances, in television,
theaters, different art contexts, in fashion and film situations.
Monica Emilie Herstad is currently contributing to performance
research and theory, earlier as a critic in Scenekunst, Kunstkritikk,
Norsk Shakesepeare- og teatertidsskrift, Le Monde Diplomatique,
NRK Scenerom, Kunstbevegelsen, NPK, and other media, as well.
Since 1999 she is established within theory, as referred to in
international dance curricula, hence in professor Horton Fraleigh at
New York State Universitýs book Dancing into Darkness – Butoh,
Zen, Japan, as the leading butoh qualified choreographer in Norway,
amongst international butoh artists, a book distributed through
Pittsburgh University Press, in an international dance curriculum.
In March 2005, Brown University at the international conference
Performance Studies International, presented the video lecture on
“Feminism and fashion: The choregraphies of Monica Emilie
Herstad” by Leah Garland, with a discussion panel on the
issuéTroubling Dancé.
In New Delhi in 2008 Monica Emilie Herstads work is in an article in
Hindu Times compared with Pina Bausch́s. Monica Emilie Herstad is
frequently given the most excellent reviews.
She is a profiled, internationally acclaimed artist, with her career
within the arts, beginning with a BA, in classical ballet for children,
and modern dance education, and pedagogy, and then further within
the contemporary art scene.
With the experience of butoh inspired dance, after auditioning for
Min Tanakás Olympic Game Performance and winning the position,
performing The Dance of Life at Lillehammer winter Olympics with
success, full houses and extra performances. Thereafter Ms. Herstad
was selected as choreography assistance and casting responsible, for
his re-interpretation in 1997, as well as dancing herself as a soloist
and part of the ensemble of 14 dancers.
With her expression and research within video and performance, and
with her art signature and performance ensemble herStay she is
receiving international acclamation with her herStay performances.
Her feminine and feministic dance of beauty, energies, presence and
audience appeal, and how she captures the audience and art scenés
interest from a broad audience within the arts, is one of her
trademarks.
Herstad́s first international breakt-hrough however, was as a dancer
in Min Tanakás butoh performance The dance of life at Lillehammer
Winter Olympics.
Since then she performed a variety of professional dance works with
and for him, such as being both his dancer and choreography
assistant and casting responsible, to the reproduction of The dance of
life in 1997, responsible for selecting and rehearsing his new cast, as
well as dancing herself in The Dance of Life, as well as she being
exposed at the front cover of his Tokyo programme, in 1997.
“A new star in the Zodiac is born ”, Tokyo Times referred to him upon
the performance, where her name was referred to as a leading dancer.
Monica Emilie Herstad is also casted as a dancer in his large openair
performances and inside opera houses, for instance at Tokyo
Metropolitan Art Space in 1995 and at Setagaya Theater in 1997, both
during the annual Tokyo International Festival of Performing Arts,
and further.
She is dancing in both his The Ancient woman (1994), and I saw a
Whale in a grassland (1995), and later co-produced his solo
performance in Oslo “I ...sit”, in the Botanic Garden and at Black Box
Teater in Oslo, 18th – 19th of May 1996, where she is his
choreography assistant, as well as being the responsible for lights,
sound, and for casting of the younger boy.
She was as well originally selected as a dancer for his productions The
Wizard of Oz, The Magic Flute, Hamlet, and Romance.
In 1997 she was mesmerizingly exposed as Min Tanakás premier
dancer at the cover of his Tokyo programme, in his new, updated
version of The Dance of life in Tokyo at Setagaya Theater during The
Tokyo international festival of performing arts, she was honored in
The Tokyo Times review as an outstanding dancer, and, in a wide
perspective of the media internationally, ever since.
In 1998 she contributed to Tanakás Romance production in NY at
PS122, and she was an invited solo dancer, to his festival Art Camp in
Hakushu, Japan in 1999 with her performance Disturbed id, dancing
in the forest.
She follows his productions at Plan-B in Tokyo, and The Wizzard of
Oz
(1995), in Prague at Divadla Archa Theater, Snow White (1998), and
in Amsterdam at Nieue Muziektheater, The Magic Flute (1995), and
Can we dance a landscape (1994), thoroughly studying his
performance methodology.
In 2000 she participated in her 5th advanced workshop with him, for
professional learners, in Ghent at his workshop at S.M.A.K.
herStay
Monica Emilie Herstad offers through her dancer career and
choreographic development with herStay, artists and dancers a
unique opportunity to extend their understanding of the
complex art of movement, as giving an introduction to herStay
expression, where she emphasizes the energy of anticipation as
a comprehensive device for creating her performances. 2005 –
2019 and further. She works with Ibsen related material
internationally, touring the world with her performances,
receiving the best reviews and awards.
Monica Emilie Herstad is frequently given focus in media,
everywhere she goes, features and interviews in f.i. Cultura
banḱs magazine Pengevirke no.1/ 2018, or Art TV, National TV
Prague in 2016. Earlier in such as: In Le Monde Diplomatique
in 2010, interview in Musikk, 2009, frontpage cover photo at
Bangkok Post, cultural section in 2008, Norgesnytt 2012, as
well as more early, midst pages interview and cover photo in
Flux Magazine in 1996, Dagbladet in 1996, 1999, 2001, 2003,
etc. National radio NRK, in 2010, TV in 2009, radio and TV in
2008, radio in 2007, TV in 2006, and 2004, at Safari cultural
program, with interview from NY, features, and exposure, radio
in 1999, etc.
In NY arts Magazine and Berliner Kunst, with her photo feature
from LA in 2003, introduction and photo feature in Le Monde
Diplomatique in 2005 as well, in ELLE in 1997, in
Morgenbladet in 2008, 2004, 1999, 1998, f.i.
Monica Emilie Herstad is frequently offering workshops, on ”
Cross-cultural staging”, “Body and Context”, or “Butoh as
dramaturgical device”, starting out teaching these themes for
the students at Oslo Fotokunstskole in 1999 – 2008.
Monica Emilie Herstad timewize offers auditions for herStay
performances, during since 2005 aprroximately 300
professional dancers applied for a workshop/ touring
experience as performer in herStay performances. At Dansens
hus, in March 4th- 5th 2010, 97 dancers were present at the

same time, 3 were chosen from there. Currently 5 different
performers are dancing in several herStay projects.
Monica Emilie Herstad formalized her yoga competence, RYT
graduated as a yoga teacher in August 2013 as well, to the best
evaluation, within YogaWorks, continuing this work developing
further, completing a 500 RYT in 2013. On top of having a BA
in dance and teaching, and being qualified with a MA/
equivalent, also being a Guest Research with practice for 4
years at UiO, with a specialty in Henrik Ibsen.
herStay is associated with excellent capacity and is in different
ways conducting contributions of new talents, serving the arts
and culture field with its audience.
CONTACT INFORMATION
Monica Emilie Herstad, c/o herStay, Claude Monets Allee 27,
1338 Sandvika, Baerum, Viken, Norway
Mobile phone / SMS: 47 412 05 889 Electronic mail:
info@herStay.net Site: http://www.herStay.net
herStay social media appearance: skype: herStay, twitter:

herStay, fb her stay, etc
Recent feedback: "Takk for hyggelig foreløpig rapport! Må jo si

at vi som så forestillingen i New Delhi var veldig imponerte!
Dette var både flott, estetisk og absolutt samtidskunst. Vi leste
den gode kritikken både i Jansatta og den av Prof. Bhanerjee
(Pioneer). Vi hørte dessuten mange positive og fine
kommentarer fra teaterkritikere, journalister og publikum for
øvrig."
- The Royal Norwegian Embassy New Delhi
Further information will be received upon request, for instance

larger text-works on Monica Emilie Herstad, her Ibsen-related
works since 2006 - , and her unique Asia-competence, are
available. Please note if there are any corrections to be made
related to this CV.
Curriculum updated JANUARY 19th 2022

Monica Emilie Herstad (Photographer: Marit Anna Evanger)
Following picture: Monica Emilie Herstad accepting Silver
Prize in South Korea 2011 for her performance work MSTCEN
Monica Emilie Herstad, accepting the International Ibsen
Award Stipend 2008 (Photographer: International Ibsen
Award)
http://www.herStay.net

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CURRICULUM VITAE Monica Emilie Herstad updated

April 2nd 2022

EDUCATION AND CERTIFICATES

BA, The Norwegian College of Ballet, Oslo, receiving a Dancer

Based formally, and with provenience in Baerum, she is by

2009: XII International International Ibsen Conference, Nordic

Ibsen studies, UiO, In-House seminar, April 2nd 2008. ”A

2007: OPAS/ Oslo Fotokunstskole, October 7th 2007, Monica

of the society, November 4th, 2006, http://ibsen.uib.no/

2009: November 21st 2009, Scenekunst: Historisk fortrengning

2021, Advisory, art and movement workshop, Bergen

2016, For Schouskollektivet études

2016, For the artist Eugene Sundelius von Rosen, Stockholm

2016, 2022, Education, language tutoring refugees, and cross

2015, To Katarina Skår Henriksen/ Maidans Lørenskog

2014, May - December: Artistic direction, advisory and

2014: Artistic direction advisory to Moduś improvisational

1994 - 2014: Art advisory to different artists, art units, art

2000: Art advisor, suggesting Music Editor Marius Jøntvedt to

2000 - 2004: Art advisor, suggesting artists to interviews and

Monica Emilie Herstad, board leader 2000 – 2005, board

Kunstbevegelsen, director and board-leader since 2011

NAPA/ Dans- og teatersentrum, board member, 1998 – 2000

NAPA/ Dans og teatersentrum, election committé leader, 2000

NODA, Norske Dansekunstnere, elected member of the

APPEARANCE IN MEDIA AND SOCIETY

2015, herStay solo performance with Monica Emilie Herstad in

TEXTS/ COMMENTS/ REVIEWS on Monica Emilie

2012: Review presenting herStay performance Sketches for

Norway News, September 09.09.2012: "Leah Garland holds a

2011: "Kjære Monica, Til teksten! For en befriende god artikkel.

-Tone Gellein, Kultursjef p.t. og kunstner i feltet performance/video/tekst/dans, Scenekunst 3.2.2011, om

"Det er deilig å lese en kritikk som evner å trekke inn historiske

Scenekunst, Norway: "Choreographers such as Ina Christel

A comment upon Monica Emilie Herstad́s oevre EWIG relesased

-A 3 page photo & interview presentation on Monica Emilie

Hong Kong experts on Monica Emilie Herstad́s presentation

"A study of the postmodern woman on the stage"

- Ajit Rai, Jansatta/ Indian Express, January 12th, 2008

«Test-tube theatre», TimeOut, Mumbai-edition 2010:

• Time Out Mumbai 2010

The Norwegian performance piece was dense with

-Shanta Gokhale, The Hindu Magazine, February 10th 2008

Audience letter: "Regarding your performance in New

herStay review at NRK Radio, P2, Scenerom January

herStay performance Past is simulation - The ladies of the sea

(...) Nora, without understanding from her husband, leaves,

Norsk Teater & shakespeare Tidsskrift issue no. 1,

Aftenposten, Oslo April 30th 2006: ”herStay interprete

Dagsavisen 30.04.2006, NRK1 Lørdagsrevyen,

January 22nd, 2006, Bangkok Times:

January 2006, Favourite actress, Limitless Cinema,

1.MONICA EMILIE HERSTAD—SLOWFLY/V.I.C.T.O.R.I.A..

August 2005, Le Monde Diplomatique:

-Truls Lie, Le Monde Diplomatique (Now Ny Tid)

“Feminism and Fashion? : The Choreography of

Portrait interview by The National Television, NRK 1,

NY Arts Magazine and Berliner Kunst, April issue

” Border breaking artists: herStay and Kreutzer Kompani are