Stockholm University of the Arts
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Navigating Noise : randomness, chaos, and cross-pollination in interdisciplinary performance
No full textThis project explored how different art practices from different fields cross-pollinate in the process of making interdisciplinary art. I want to trace how the process of exploration and thinking in different mediums create a dynamic interchange of ideas that leads to the development of new ways of relating to practices. I used different approaches and techniques, from somatic practices to experimenting with digital tools, to understand how different practices interact with and inform each other. The process becomes an intricate system of similarities and feedback loops, where one can reflect and interpret in many different mediums. Referenced documentation can be found in Research Catalogue. https://www.researchcatalogue.net/view/2145583/2183542
A multilingual performance : The creation of a play with a guest actress from the place where it is performed.
No full textWe live in a globalized world that is changing rapidly. We interconnect between cultures in different ways. But what if we want to go global with a performance to go around the world, without modifying the piece? Is that possible? How to be international without losing the hear and now by reading subtitles? The diversity of sounds when speaking on stage can embrace otherness, the audience's encounter with a language that may not be familiar to them. This is my journey through creating a play to broaden the audiences I can reach as much as possible.
Dagens dansrörelse är morgondagens danshistoria : En kvalitativ studie om svensk jazzdanstradition och gymnasieelevers uppfattningar om jazzdans
No full textThis study intends to highlight jazz dance in Sweden and its early establishment during the 1960’s and the 1970’s. The questions of issue are, ”How has the tradition of Swedish jazz dance been conveyed?”, ”What are some expectations and perceptions on jazz dance among upper-secondary school students who study dance?” and ”Is there a correlation between the tradition of Swedish jazz dance and upper-secondary school students’ perceptions on the genre?”. The study is a combination of a literature review and a focus group interview. The literature review maps the establishment and development of jazz dance in Sweden. The focus group consists of three upper-secondary school students who study dance. As a result, both the literature review and the focus group advocate for a historiographical perspective in jazz dance education. The students wish to see education in jazz dance techniques as well as jazz history during the practical classes. According to the pioneers, the cultural heritage and history of jazz is essential for the understanding of the artform. Therefore, it is relevant for teachers in jazz dance to educate their students on the theoretical aspects of the genre to connect the physical practices to the heritage.
“A contribution to the embodiment of madness in opera”
No full textMad scenes, mental illness and their consequences are frequently portrayed in opera. In my opinion, every time mental illness is embodied in any media, there is an associated responsibility to do research and to one’s best ability try to understand what mental illness does to those afflicted. To widen our minds to all the peculiarities of the human condition. To understand that our embodiment affects the receivers –our audiences- and is ultimately a contribution to the collective understanding of mental illness in society. If I was going to use a mad scene as my material for research, I wanted to handle it in the most emphatic and nuanced way possible. I wanted to understand what my role figure Elvira (from the opera “I puritani” by Bellini) was going through and how to give her story credibility and respect. The vehicle I chose was dance and choreography
Sound/Body
No full textI exhale. In the corner is a pile of cardboard boxes that I had just opened up. Stretched across the floor are many carefully measured lines of white duct tape. On the computer are countless browser tabs - from waves articles to small forums - telling me how to set up my new speakers. Equidistant triangles and other exact angles. All that is left to do is calibrate the volume so that each speaker reaches me equally. You see, I had decided to jump into surround sound. The thought of having a little personal cinema in my apartment to play with was not possible to pass on. I remember then sitting down in front of my digital audio workstation, with speakers surrounding me, and thinking.... Nowwhat? I had no idea what to do with it, what sound was supposed to go where, whether it should move or be still. I experimented with many surround things, never reaching a definite answer. I would go to the cinema to listen to other films - for research - but most of the time the sound never filled the room or left the screen, it is the spatial element of which I was mostly keen. What a waste. In the pursuit of discovering what surround means to me, the intimacy it can bring to a room; why mainstream films use it shyly, or don't use it at all. I discovered a rabbit hole."Sound/Body" consists of a titular video essay, and "Surround/Body" - a complimentary text essay.</p
'No house can be built without foundation' : A phenomenographic study around the making of Choreography in HipHop
No full textThe aim of this study was to investigate perceptions of Hip-Hop choreography and Hip-Hop choreography’s relation to freestyle. In order to accomplish that purpose, three dance artists were interviewed and a phenomenographical approach was used. From the result, the hope was to gain fresh insights and ideas for incorporating choreography in the teaching of Hip-Hop, and to explore various approaches for doing so. From the interviews with three dance artists, I found four categories which consist of different perceptions of choreography. The four categories were subjectivity, which could be perceived as freestyle, interaction which could be perceived as the relationship between performer and audience, physicality which could be perceived as more or less of a specific form and music which could be perceived as something inspirational. Intention behind what you do or public who is observing, was perceived as the influencer for freestyle to become choreography. The categories can define Hip-Hop choreography, yet those can also define choreography in dance overall. Physicality in specific form was perceived as one of the only categories that is directly connected to Hip-Hop choreography. Yet it does not disregard the importance of the three other concepts for the style Hip-Hop and so choreography
voice under
No full textIf voice over is the superior voice that dictates truth, I examine voice under, the other truths that take place simultaneously. In my doctoral thesis voice under, I explore all the parallel voices beyond the dominating all-knowing voice over. The intention of the project and concept voice under is to open up a wider sensory register in both the creation and the experience of film. By looking closely at, challenging, and playing with different cinematic conventions, I explore how we can recreate seemingly dominant expressions and find spaces for resistance, although temporary. This document outlines the different modes of publication of the doctoral thesis voice under. voice under consists of two branches: film and text. The Documented Artistic Research Project (Doctoral Thesis) voice under will be made public and archived on September 1, 2023, through the following three materials: 1. Welcome to voice under folder 2. Performative contemplative film screening 3. The book voice under, consisting of a collection of textsvoice under consists of two different types of material: Film and text in the shape of: a performative, contemplative film screening, and a book consisting of a collection of text. The performative screening consists of audio, moving images, and somatic exercises. The aim is to invite participants to explore a wider sensory register and different ways of seeing. At the screening, I guide the audience through a number of “chapters”. To emphasize the ephemeral qualities of the screening, and to let its performative elements be as important as the audiovisual ones, I have chosen to merely document this work in the form of a text with a score and still images from each chapter of the screening, as well as references and a list of contributors. No audiovisual material is uploaded or archived. The book voice under, gather a collection of texts which explores and plays with the concept voice under through encounters with examples from my own filmmaking, from other filmmakers, as well as more theoretical renderings of bodies, gender, trans experiences, desire, violence, and trauma. None of the examples I write about in this book are an exact illustration of what voice under is. At the same time, all these examples are attempts that point toward what voice under could be, by gathering a multitude of voices. </p
Samtal om dans i skolan med några grundskolelärare : Om dans som estetisk lärprocess i grundskolan
No full textI denna masteruppsats har jag studerat grundskolelärares berättelser om hur de upplever värdet med dansundervisning av besökande kulturskolelärare i grundskolans årkurs två och tre. Arbetet är gjort inom berättelseforskning som metodisk ansats. Elva grundskolelärare har berättat och samtalat kring teman, påbjudna av mig, i relation till dansundervisningen. De intervjuade grundskolelärarna har aktivt deltagit tillsammans med sina elever på danslektionen ledd av en danslärare från Sigtuna kulturskola, en gång i veckan, i fyrtio minuter under två årskurser.Mitt syfte är att bidra till kunskap om dans i skolan genom att undersöka hur ett antal grundskolelärare i en kommun tänker om undervisningen i dans i skolan. För att uppnå det syftet, att bidra till kunskap, formulerade jag två forskningsfrågor: Vad tänker ett antal tillfrågade grundskolelärare om dans i skolan? Och: På vilket sätt kan lärarnas tankar om dans säga något om dans som en estetisk lärprocess i grundskolan?Genom att undersöka forskning i ämnet estetiska lärprocesser och sedan specifikt estetiska lärprocesser med dans i skolan i fokus har jag funnit att dans i skolan är ett gott verktyg att använda i elevers utbildning. Genom estetiska lärprocessers inneboende rhizomatiska natur ges eleverna möjlighet att både uppleva, skapa och utveckla i samma situation. Estetiska lärprocesser innebär holistiskt lärande, som främjar både hälsa och välmående hos eleverna. Estetiska lärprocesser stärker inte enbart elevers identitetsskapande och personliga utveckling utan också kommunikationen med omvärlden. Genom ett skapande uttryck, i kreativa former, får eleven personliga erfarenheter av att utforska den konstnärliga sfären och på så sätt uppleva ett meningsskapande lärande som bidrar till såväl språkutveckling som kunskaper i grundskolans olika ämnen.Lärarna fick sju samtalsteman vid sju stationer för att berätta sina tankar om: Kunskapsinhämtning, språkutveckling, personlig utveckling, sociala observationer, genus, skapande och övrigt, där lärarna kunde ta upp något på eget initiativ. I samtliga berättelser var lärarna samstämmigt positiva vid stationerna. De var överens om att estetiska lärprocesser stärker både klassen som helhet och eleven på det personliga planet. Eleverna får redskap att vara kreativa både enskilt och i grupp. Dans i skolan hjälper elever att inhämta den kunskap som skolan vill förmedla, även rent språkligt.In this thesis, I have studied the stories of primary school teachers regarding their experiences of the values of dance lessons by visiting teachers from Sigtuna kulturskola provide in their classes for children aged eight and nine. This work was completed through narrative research as a methodological approach, in which eleven primary school teachers were interviewed. These teachers had actively participated in the dance lessons, which were led by a dance teacher from Sigtuna kulturskola for forty minutes each week during two grades. My aim is to contribute to knowledge about dance in school by investigating how a number of primary school teachers in a municipality think about the teaching of dance in school. To achieve that aim, of contributing to knowledge, I formulated two research questions: What do a few primary school teachers think about dance in school? And: In what way can the teachers’ thoughts about dance say something about dance as an aesthetic learning process in primary school? Through my research, I have found that dance in school can be a powerful tool for students' basic education. Through the inherent rhizomatic nature of aesthetic learning process, students are given the opportunity to experience, create, and develop in the same situation. They can go through a holistic learning that promotes both health and well-being. Aesthetic learning processes not only strengthen students' identity and personal development, but also communication with the outside world. Through creative expression, in creative forms, the students get personal experience of exploring the artistic sphere, and thus experiences meaningful learning that contributes to language development as well as a knowledge in the various subjects of primary school. The teachers were given seven conversation themes, at seven stations, to share their thoughts on: knowledge acquisition, language development, personal development, social observations, gender, creativity, and one more station, named “other aspects”, where the teachers could bring forward something of their own initiative. In all the stories, the teachers were unanimously positive at the stations They agreed that aesthetic learning processes strengthen both the class as a whole and the student on a personal level. The students are given tools to be creative both individually and in groups in dance through dance. Dancing in school helps students acquire the knowledge that the school wants to convey, also linguistically
The Expressions of A Familiar Vessel : Investigating the emotive potential of voice and dance through developing tools of non-linguistic affective expression within my performance practice.
No full text‘The Expression of a Familiar Vessel’ is an investigation into the affective potential of emotional expression. Through the interdisciplinary composition of voice and dance, I am going on a journey through many expressions of varied affective states. By playing with the vastly contrasted physical qualities of voice and dance, there is the opportunity to inspect the latent qualities of emotive meaning within performance. The conceptual framework of Affect theory offered valuable insights into experience, emotion, and expression. The value systems of affective discourse favour the varied spheres of experience by rejecting linguistics and challenging the traditional academic convention by enforcing that language is not our primary way of understanding the world. I utilised and elaborated upon Tomkins’ list of categorical affective expressions in my performative works, using them as a performance score and building upon them. Therefore, this text is a behind-the-scenes insight into the creation of an affective toolkit of expression and the corresponding performance work that utilises those tools. Writing about the non-linguistic enactment of emotion is somewhat contradictory, yet it reinforces the notion of porousness whereby the alternate rationalities of feeling, creating, writing and performing merge through the body’s approach and experience. Still, bodily experience and expression is paramount, and will never be fully captured through text.
"Det är inte det jag är här för, jag är här för att undervisa" : En studie över hur ämneslärare i dans tolkar och förhåller sig till gymnasieskolans fostrande uppdrag
No full textThe Swedish school’s fostering assignment is a well-researched field within social science, but there is a lack of research regarding the assignment related to dance. Therefore, the purpose of this study is to contribute to an understanding of the fostering assignment in relation to dance. This is a qualitative study aiming to give an insight to how dance teachers in upper-secondary schools interpret and include the fostering assignment in their work. The study also aims to address how different dance traditions affect how fostering is practiced in upper-secondary schools. The method used for collecting data is semi-structured interviews and the analysis is hermeneutic. The result shows a lack of an overall picture of what fostering in upper-secondary schools actually means and the fostering assignment’s changing and contextual character in relation to the shifting ideals of society. Dance as a practice and subject can contribute to students developing abilities relating to democracy, empathy, entrepreneurship, and also strengthen students’ identities and subjectification. In conclusion, the study stresses the importance of specifying the implementation of the fostering assignment on different levels (macro, meso, micro) within organisations. Otherwise, there is a risk that the fostering happening counteracts the content written in the curriculum