Stockholm University of the Arts
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Exploring Expressive Movement
No full textIn this visual essay and accompanying text, Henry Moore Selder delves into his research and work in fiction film, examining it through the lens of Sergei Eisenstein's concept of Expressive Movement. Selder's exploration aim to break free from the prevailing realism in contemporary cinema, seeking to expand the boundaries of actorly expression. The essay was made in 2023 as a part of Selders MA studies in fiction film directing at the Stockholm University of the Arts (SKH).Includes Visual Essay and accompanying text.</p
Målar-Måns och Dansar Per : Ett dans-och konstnärsprojekt baserat på dansaren Per Jonsson och målaren Måns Färlén
No full text.-¨-RNDR ¨M3, 4S (“1”) 0F UR^ AVATAR G!RLS*-¨-.; : Virtual Performance Avatar Experience
No full textThis thesis is aimed at investigating virtual embodiment and how it can affect a performer's experience of; and relationship to the physical body. With this auto ethnographic case study I hope to shed some light on the ways virtual reality technology enables critical experiences and what effects these experiences could have, through my own personal journey. The study was conducted in the setting of my home using a Pico 4 VR head mounted display and HTC vive full body tracking. The project used for the case study was an audiovisual pole dance performance that was performed on the platform Neos VR and streamed to Studio 44 in Stockholm. The research is rooted in the artistic field but draws knowledge from psychological and social research on VR as a cognitive and embodied technology. The research methods used to gather and analyse the research material were visual research, phenomenology and deep listening. The data collection consisted of visual and text based data. On the visual data I applied thematic analysis, coding and categorising of the text based data and analysing hyper reflections with a phenomenological approach. I found that the experience of virtual embodiment did change my relationship to my own body in a positive way by feeling more grounded and accepting. I was less anxious about performing and felt more confident in myself. Because of the entanglement of the study it was not possible to solely contribute the outcomes of the effect to virtual avatar embodiment in itself. It did however demonstrate how these VR technologies could be used to enable norm critical experiences by the use of norm critical design applied to avatars challenging beauty ideals and societal norms of performativity. My virtual embodiment and its effects on me can give a unique insight that would benefit developers and users active in these platforms as well as for personal introspection and self development. The study serves as a good base to build future research on and I intend to further elaborate on the extensive research data that was gathered
Ickeverbal kommunikation i dansundervisning : Hur upplever och tolkar danselever en danspedagogs ickeverbala kommunikation?
No full textNonverbal communication in dance teaching - How do students experience and interpret the nonverbal communication of a dance pedagogue? The purpose of this thesis is to further the knowledge about how a dance pedagogue's nonverbal communication could be interpreted by dance students. The thesis focuses on four semiotic resources; placement in the room, facial expression, usage of voice, and body language. A combination of qualitative and quantitative methods was used. A practical workshop was executed where demonstrations of various ways in using nonverbal communication within a dance class context was shown. A questionnaire was based upon these demonstrations. A group interview was conducted. In the process of making the content of the demonstrations, video filming was used. The theoretical framework is based on theories of social semiotics and multimodality. The results show that small details in the dance pedagogue's usage of nonverbal communication have great influence on students' experiences of the presence of a dance pedagogue, the clarity of the instructions from the dance pedagogue, and the power dynamics between dance pedagogue and student. The study shows that these components are crucial for students' comprehensions of the content of a dance class and their experiences of the social climate of the classroom. The study advocates the importance of consiousness among dance pedagogues about their usage of nonverbal communication in teaching
Breaking the loop : A study on how collaborative learning impacts accessibility in dance
No full textThis bachelor thesis is a study of how collaborative learning impacts accessibility, with a particular attention given to the relationship between the learning process and accessibility. The aim is to gain insights into how collaborative learning as a pedagogical approach impacts accessibility in a group of mixed ability dancers. For that purpose, we propose a theoretical framework of accessibility, collaborative learning and pathways to knowledge. The study is conducted through a qualitative research method using abductive reasoning. It consisted of two workshops as well as in-practice reflections and discussions, following an eight-step thematic analysis method. In summary, five main themes were identified in this study: sense of belonging, openness, the act of sharing, space for interpretation and to dare. Each theme reflects components of breaking the loop, a process in which new insights may arise. Thus, all of the themes can be used as inspiration to create more accessible learning environment in which we pave the way for discovery and creativity. Thereof, while arguing for the significance of collaborative learning, this study intends to contribute to the conversation surrounding accessibility in the wider context of dance education
Female Gaze for Every Gaze
No full textThe overall dominance of white, cisgender, straight malecentered media remains largely unchanged and it is still considered the ”default” or ”universal” perspective. As a result, filmmaking is often limited to representing only a narrow view of humanity. Female representation both in front and behind the camera has been significantly impacted by this dominant perspective. A feminist approach to cinema practices is therefore crucial to challenge and reconstruct the cinematic system, allowing for more diverse and inclusive perspectives to emerge. Cinema is a powerful mass media industry that shapes its audience’s sensibilities, thoughts, emotions, perceptions, and reactions, while broadening the possibilities of human experiences through the screen. The producer plays a crucial role in overseeing the entire filmmaking process and striving to achieve the best possible outcome for the film. Given the significant impact that cinema has on society and the influential position of the producer in the filmmaking process, this study seeks to encourage film and TV producers, regardless of gender, to represent women with equal rights and opportunities. By embracing the female gaze, filmmakers can create more inclusive, diverse, and equitable films for all. This research asks: Have I, a female producer from Latin America, internalized the dominant white, cisgender, heterosexual, and male perspective? In what ways does this perspective manifest in my own role as a producer? And how can we producers creatively and practically challenge this perspective
"…this genre is kind of out there experiencing quite a substantial identity crisis." : perceptions of the defining characteristics of jazz dance
No full textThis study aims to explore the defining characteristics of jazz dance as a genre with the ambition of reaching a deeper understanding of the art form as well as clarifying the foundations for my own jazz dance teaching. Using a qualitative research method, the study examines the perceptions of four dance educators, each with experience in dancing and teaching different forms of jazz. Drawing on a phenomenographic perspective, the study identifies variations in perceptions through semi-structured interviews and categorization. The findings present six descriptive categories of important components within jazz dance including Body and Music Interplay, Relevant Music Choices, Freedom, Play and Individuality, Contrasting Dynamics, Technical Finesse and Body Control, and Interaction and Expression. Furthermore, the study discusses the challenges of defining jazz dance but highlights the significance of embodied musicality and Africanist aesthetics as key elements of the art form, as well as emphasizing the concept of "swing" as central to jazz and the perception of “jazziness”. In conclusion the study shows a broad variety in perceptions which contribute to an increased awareness and understanding of jazz dance as well as providing tools for communication in jazz dance teaching. Ultimately the study encourages further research on the topic
TRANSLATING HYPER ABSURDITY THROUGH A LIMINAL POSITION : Reflections on the conditions for filmmakers in Sweden, identifying expectations, contradictions and subject positions
No full textAbstract The objective of this artistic research has been to reflect on the conditions forfilmmakers in Sweden and identify expectations, contradictions and subjectpositions available for myself within this discursive field. As a point of departure,I use three letters of rejection that I have received during my two years as astudent at the Stockholm University of the Arts. The first rejection centers what experiences can be imagined for me, as animmigrant filmmaker. It juxtaposes experiences made in Iran and Sweden asopposite and impossible to combine. The second rejection is in relation to contentand story-telling, which raises questions about translation as a dimension of filmproduction. In this section, I argue that while it is my intention to make experiencesof hyper-absurdity in Iran penetrable for an audience in Sweden, too muchconcern over the audience may deteriorate the artistic process. The third rejectionconstructs myself and my fellow director as immigrant others, scrutinizing ourability to make a film in Swedish, about Swedish subjects. In this section, Iexplore the meaning of diaspora and how it shapes the conditions of filmproduction. The artistic research is summarized in the final section where I suggest anumber of strategies forward in order to move away from the taken-for-grantedrole of immigrant filmmaker(s). Key concepts: documentary film, diaspora, translatio
Romanskonsten vs Operakonsten : Samma sak eller skilda världar?
No full textI en sammanfattning måste den största skillnaden på opera och romanser vara just textarbetet. Hur rösten står i relation till texten man sjunger. Inom opera har vi ett libretto, redan satt och tolkat med övriga komponenter som en orkester, regissör, dirigent med flera. I romansen har vi sången och ett instrument, pianot som är det enda förmedlandet av texten. Detta gör att fokuset på textens musikalitet inom romanser oftast blir betydligt mer detaljerat än i opera. Nyanserna tillåts att vara mer varierade för att musiken är i mindre skala och berättandet blir det huvudsakliga. Sedan kommer vi till det tekniska. Opera kräver generellt en större röst och en mer avancerad teknik för att göra sig hörd. Om man jämför ariorna med romanser så är ariorna till stor del längre och mer krävande. Registret är större och rösten kräver sin mognad för att klara av jobbet. Inom opera finns även koloraturer, också en tekniskt svår utmaning som inte är alltför vanlig inom romanser. Vissa romanser och därmed en hel del nyskrivet kräver absolut sin utmaning tekniskt men det är inte lika vanligt och förekommer inte lika mycket som inom opera. Men är romanser och opera så distanserade från varandra som kan tyckas? Min slutsats är att det är ett val av dig som sångare. Jag tror att om man sjunger klassiskt, oavsett om du är en erfaren operasångare eller en ung sångare kanske inte ännu helt inkörd på opera har du medel att kunna sjunga romanser. Frågan är- vad vill du?