Stockholm University of the Arts
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538 research outputs found
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Bland bryggor och brott : Artificiell intelligens som berättarverktyg i en skärgårdsmiljö
No full text“Docks and Dramas: Artificial Intelligence as a Storytelling Tool in an Archipelago Setting” is an critical exploration of my screenwriter and TV dramatist practice. Through various AI models, I try to generate an episode synopsis for The Sandhamn Murders, a series I have previously written for. Through these AI-generated texts, I seek a deeper understanding of creativity, artificial intelligence, and dramaturgical mechanisms.Bland bryggor och brott tar avstamp i min praktik som manusförfattare och TV-dramaturg. Genom olika AI-modeller experimenterar jag fram ett avsnittssynopsis till Morden i Sandhamn, en serie jag har varit med och skrivit. Med de genererade texterna som grund, strävar jag efter en vidare förståelse av kreativitet, artificiell intelligens och dramaturgiska mekanismer
Hyperfocus in Performing Arts
No full textThis dissertation explores the mechanisms of hyperfocus in relation to the performing arts, both on stage during live performance and throughout the creative rehearsal process, from a first-person neurodivergent perspective. It does this primarily through rehearsing the play Märit by Malin Nord, based on Ing-Marie Eriksson’s 1965 novel. The aim is to map and articulate how hyperfocus functions within artistic practice, and how it can shape both individual expression and collective creative work. At the center of this investigation is the question: How does hyperfocus impact the creative process in performance art, and how can it refine and deepen artistic expression? As a director with lived experience of autism and ADHD, I explore how hyperfocus enhances presence, precision, and intensity in both rehearsal and performance. The work focuses on developing sustainable methods that support artistic clarity while caring for rhythm, recovery, and the cognitive system. This research also examines how neurodivergent expressions such as stimming can strengthen hyperfocus and fuel artistic energy. Through practical experiments and artistic reflection, the study cultivates neuroaffirmative working environments and reframes collaboration, expression, and inclusion. A central concept is the neurodivergent gaze—a way of seeing, feeling, and understanding that challenges dominant norms around expression, time, communication, and presence. Ultimately, this work refines my own creative processes while offering concrete tools to promote sustainability, innovation, and empowerment within the broader performing arts community
LEAKING INTO PARA-TIME
No full textLeaking: like a drop that forms over time until it gathers enough weight to leave the surface, while another drop is forming, defining its own parameters of gathering and falling. A leak depends on a leaning against, an insistence on leaning against a little gap, a space in between the river flows, it might echo as a call for action, or else leaks too slowly to be noticed. The time it takes for the drop to fall, is holding a term, is making the leak more or less apparent, is marking a territory of control, in an effort to contain what will always remain dropping and pouring somewhere. Leaking into para-time is a performative installation that explores the forming of a landscape of collected material that were leaking out of the stream of utility and efficiency. It holds a hand underneath these shapes to see what elsethey might become, observing their gravitational negotiation, like a flat stone being hurled over the water surface. Each surface contact takes it further from the shore until the spinning cannot sustain itself and weight is introduced again. The stone sinks to the bottom of the sea, where the tide and waves move it again and sand soften its edges
The body is able and willing : A study in ageism and its effects on the dancer
No full textThe objective of this study is to examine the impact of norms and values within dance culture on professional contemporary dancers. It explores themes such as body and ageing, the significance of experience and its influence on form and expression. Through the utilisation of autobiographies and improvisation, narratives of ageing dancers are recounted. The study also examines ageism and age criticism, highlighting their role in marginalizing dancers and discussing their impact on dancers' decision-making. The study is performed and expressed through artistic practice, with collaborative performative processes critically reflecting on and discussing the research questions. The result of the study is choreographically expressed through the performance The World falls Silent. The findings demonstrate that strong norms around the dancing body and performance ability are perpetuated from generation to generation, contributing to ageism and discrimination. The study also reveals that ageism has a significant impact on identity and self-judgement, highlighting that stereotypical perceptions of older dancers are deeply entrenched in dance education. The study's findings underscore the importance of lived experience in shaping perceptions of ageing, and it is evident that improvisation and somatic approaches can serve as effective tools for fostering a connection between the self, the body, and the ageing process. These approaches can lead to self- acceptance and the development of agency. The study posits that the form and expression of dance become more intricate with age, stemming from a foundation of experience, profound insight and self-acceptance. The personal narratives elucidate the significance of feeling valued for the knowledge aged dancers embody, underscoring the necessity for dancers to rearticulate dance and be regarded as a creative force with agency, as pivotal factors for maintaining their desire to continue dancing. It is argued that improvisation and performing as practices are of great importance in changing stereotypical and discriminating norms regarding ageing in dance. It is further argued that continuing dancing should not only be something to wish for, but a continuation of a profession that uses the ageing body as a resource
Performative landscapes : Site, encounter, performance
No full textThis essay examines the dynamic interplay between site and performative practices, investigating how spatial transformations are inscribed in the bodies of performers and influence their responses. By engaging with artists from diverse disciplines and geographical backgrounds, this research adopts a practice-based approach to explore the relationship between site, body, and stage. Through the creation of movement scores, improvisation, and devising, participants uncover the performative potential of various sites, contributing to the development of spatial dramaturgy. This project employs a psychogeographical framework, emphasizing the role of the environment in shaping emotional, behavioral, and cognitive processes. Central to this approach is the concept of the dérive, or “drifting,” as theorized by Guy Debord (1958), which facilitates an experimental, immersive engagement with space. By integrating psychogeographic principles into performance-making, this research offers new perspectives on embodiment, site-specific dramaturgy, and the creative processes that emerge from the convergence of body and space
Vi stämmer av tillsammans genom sympoietiska materialiteter : om responderande samarbete och en dansdidaktik diffrakterad genom fyra posthumanistiska texter
No full textA concrete collaboration with the environment (for example with a ball, a floor or a person) tells everyone involved, then and there, about how response is noticed and used together. The concept of sympoiesis has, through posthumanist theory, reformulated this practical phenomenon of my dance teaching in folk high school into dance educational principles and approaches. The purpose of the investigation has been to formulate and conceptualize strategies, approaches and principles for how the relationship between dancers and other materialities can be made useful and meaningful in a dance education context. I have asked myself: How can the phenomenon of "mutual attunement" be conceptualized and concretized through diffraction with posthumanist theories and together with the concept of sympoiesis? And as a sub-question follows: Which dance educational principles relating to responsive collaboration can I see in my own dance teaching? The main empiricism has been four posthumanist texts. A diffractive reading of each text has been my research method. By transforming theory into empiricism, the reading, primarily together with the concept of sympoiesis and visualizations, has diffractively created a movement in me as a dance educator and researcher, which is evident through the results. An interwoven attune in practice occurs through a specific sympoietic web of materialities and has the potential for ethical resonance. As a posthumanist phenomenon, in dance education it means becoming response-able by dancing and doing so through (in and with) the environment
Steps towards danceliteracy : An embodied inquiry into the histories and aesthetics of dance as a warm-up class
No full textThe aim of this study is to begin developing a method that contributes to the advancement of danceliteracy at an early stage of professional dance education. The research questions are: How can awareness of, and curiosity about, the historical and aesthetic development of dance, both in practice and theory, be cultivated in dance-educational environment, and is it possible to do so already within the framework of a warm-up class? What tools are required to structure and bring to light the discourses and conversations that have shaped the aesthetic divisions and transformations within the Western dance and choreography field, both historically and in its ongoing expansion? If the dance archive, including techniques and repertory, is understood as a material-discursive knowledge apparatus, can it be a tool in bridging past and present? Can it also serve as a tool in formulation of a terminology through which the archive can become a dialogical conversation partner across the diverse forms of dance. As a pedagogue, I implicitly ask: What should, in fact, a future dance-artist be warming-up? The empirical material is collected during a series of five warm-up classes with students and graduates from dance education in modern dance at the Balletakademien in Gothenburg. Through the lens of semiologist Juri Lotman’s theory of the semiosphere, the finding of this study was made visible using the method of pedagogical documentation, drawing from professor in pedagogy Hillevi Lenz Taguchi. The result show that an exposure to reflection on history and aesthetics of dance in practice and theory, already in a warm-up class, can improve a student's knowledge and interest in what dance as an artform was, is and can become
Mental hälsa och rösten : Psykologiska och praktiska metoder för bättre sånghälsa
No full textThis work uses psychological methods learned during EMDR-therapy, combined with mindfulness, to enhance the opera singers mental health and quality of performance. Furthermore there is a reflection on how to use performance psychology as a helping factor as well. There are analysis of practical workshops with teachers and experts in voice and body training (dance), which ultimately conclude that the most successful practical methods used by experts in the fields of singing and dance also reflect the psychological methods discussed earlier. Finally other inspirational artists and their struggles are presented, in order to emphasize the importance of an open atmosphere where mental health for artists is freely discussed. Which in turn can help produce better art and artists.
Kroppsligt upplevd musikalitet : En introspektiv studie om att erfara musikalitet genom teori och intuition
No full textThe study aims to examine how the experience of bodily musicality can differ depending on if the assignment is based on theory or intuition with jazz dance aesthetic as starting point. It is a qualitative study based on introspection and post-qualitative methodology. The study has one theoretical part based on literature in dance, music and didactics. The other part is practical where in-studio research took place which was inspired by the previously mentioned literature. These two parts were then analysed and discussed through memory notes, video material and literature to compare the experience of bodily experienced musicality based on two practical methods. One being grounded in an intuitive relationship and one in theoretical relationship between dance and music. The conclusion showed that there are both differences and similarities between the methods and through a didactic perspective the two can enhance the experience of bodily musicality
Factors of motivation for dance students in higher education
No full textThis thesis explores the factors that impact students’ motivation in higher dance education, focusing on how teachers affect students’ motivation as perceived by the students. The surrounding factors are highlighted, for example, inner drive, inspiration from peers, families, and the impact of study environments. Motivation is introduced, with intrinsic and extrinsic factors highlighted, and the self-determination theory is discussed. The factors discussed in this thesis include pedagogical approaches, teacher-student relationships, and environmental influences. The study is based on quantitative research with a qualitative depth to dive deeper into the factors of motivation. The study conducted a quantitative questionnaire, with both pre-coded and open free-text answers. The questionnaire was spread in online communities of dance students in higher education, both active and alumni student groups. The thematic analysis reveals that students’ motivation is influenced by passion, peer support, versatile feedback, and the teacher’s enthusiasm for the subject. The findings emphasize the importance of reflective, student-centered, and supportive learning environments to foster student motivation.