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‘Heartbreaking’: Iceland’s pioneering female fishing guides fear for wild salmon

First women working as fishing guides on Laxá River, featured in new film, call for action after farmed fish escape

For seven generations, Andrea Ósk Hermóðsdóttir’s family have been fishing on the Laxá River in Aðaldalur. Iceland has a reputation as a world leader on feminism, but until recently women have not been able to work as guides to wild salmon fishing for visiting anglers – a job that has traditionally been the preserve of men.

The 21-year-old engineering student, her sister Alexandra Ósk, 16, and their friends Arndís Inga Árnadóttir, 18, and her sister Áslaug Anna, 15, are now the first generation of female guides on their river in northern Iceland, and among the very first female fishing guides in the country.

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© Photograph: Sigga Ella/The Guardian

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© Photograph: Sigga Ella/The Guardian

Ballerina Lauren Cuthbertson: ‘There’s a saying that dancers die twice, the first time when they stop dancing’

The Royal Ballet principal on her late career debut, taking her daughters to work, and playing goodies and baddies

Born in Devon in 1984, Lauren Cuthbertson joined the Royal Ballet School aged 11 and the Royal Ballet in 2002, becoming a principal six years later. She has danced leading roles in all the great classical ballets including Swan Lake and The Sleeping Beauty, has performed in works by Kenneth MacMillan and Frederick Ashton, and created many new ballets, particularly those by Christopher Wheeldon, who cast her as Alice in his three-act Alice’s Adventures in Wonderland, and as Hermione in The Winter’s Tale. She has recently become principal guest artist at the Royal Ballet and is taking a teaching diploma. She lives in west London with her boyfriend and their two daughters, aged four and two.

You’re about to make your debut as Tatiana in John Cranko’s Onegin, based on Pushkin’s classic verse-novel. How are you feeling?
It’s a funny sensation making such a significant debut so late in my career: it made me feel quite vulnerable, but also it was very thrilling. It’s been a lovely journey but it’s surprisingly physical. I did my first run through on stage at an 11am rehearsal and when I went to tear up Onegin’s letter at the end [as Tatiana sends him away], I had no strength in my arms. I hadn’t anticipated that. Mind you, an early call is always weird – it’s hard to eat properly. You might have a bit of breakfast, but suddenly you finish the rehearsal, and it’s 2pm. You can’t eat a sandwich in the middle of a three-act ballet.

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© Photograph: Karen Robinson/The Observer

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© Photograph: Karen Robinson/The Observer

Tears before bedtime when my daughter smashes our TV

Suddenly our family life becomes an unfunny sitcom

My daughter is crying. She is holding a tiny red London bus, one of her favourite toys, and the terrible thing that has happened to her is that she has smashed our television with it. The screen is completely destroyed, with a central impact now radiating a small spider web of white lines, within a larger morass of jagged, blocky blues, greens and purples that crowd out the picture on its surface.

I am too stunned to move, the impact having happened so fast that I’ve yet to process it at all. My first thoughts, such as they exist in this zen-like state of paralysis, are of the immediate financial cost of what she’s done. Thus, the denial phase of grief kicks in swiftly. I switch the TV off, perhaps hoping the very clearly annihilated screen is a signal fault. I turn it back on, dismayed to discover that no, this was not an emergency broadcast from Smashed Telly Gold +1; my two-year-old has just managed to do £400’s worth of damage in two-fifths of a second.

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© Photograph: Courtesy of Seamas O'Reilly/Seamas O'Reilly

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© Photograph: Courtesy of Seamas O'Reilly/Seamas O'Reilly

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