Stockholm University of the Arts
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538 research outputs found
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Vad händer på berget Olympos : Writing and producing a performance for a baroque ensemble
No full textMy work consists of the research of how to effectively write new material for a small baroque opera ensemble. How to make it possible to create a storyline that embarks through contrasting arias and duets from different arias with different synopsis.
Altering Positions Through an Artistic Inquiry of Japanese Dance
No full textCross-gender acts have saturated Japanese performance history, with men and women using gender as a performative act. This practice-led article investigates gendered embodiment and gendered spaces through the Japanese dance and walking technique suriashi (which translates as sliding foot). It is practiced in traditional Japanese performing arts and in martial arts. Gender in traditional Japanese dance/Nihon Buyō is constructed physically through the positioning and moulding of the body, as well as through costume and cross-dressing. The original suriashi practice is performed in the dance studio or on stage, however my research asks whether suriashi could also be a method to act, as being active, or to activate, in other spaces outside the theatre. I exemplify gendered perspectives through a suriashi walk by myself and the drag queen Bruno the Bad Boy at the yearly Saiin Kasuga Shrine Festival in Kyōto. I propose that the suriashi style created to impersonate women is not only a gender construction, it is also a reminder of the continuous absence of women in Nō and Kabuki theatre, resulting from the 1629-1868 ban of women from stage, the adoption of Confucian cultural values, and teachings of Buddhism. Combining extended practice-based and situated knowledge with historical accounts, I elucidate the act of ‘becoming woman’ or ‘performing as woman’ in traditional Japanese dance. This helps to process a global conservatory performer training as well as processing gender issues in the contemporary society, explored through gender theories, performing Hélène Cixoux’s sexual difference and Judith Butler’s gender trouble
Darkness as Material
No full textThe doctoral project Darkness as Material, examines darkness as material and its relationship to cinematic storytelling. The study addresses different kinds of darkness: darkness in the image, darkness in the cinema theatre, darkness in the spectator where films are received and the darkness in the filmmaker, where the world is reflected and ideas are born. The project is inspired by Marguerite Duras' idea to kill cinema, and it explores film's potential to approach the place she described as the dark room, where we are deaf and blind and passion is possible.Doktorandprojektet Darkness as material undersöker mörkret som material och dess relation till filmiskt berättande. Studien rör sig mellan olika sorters mörker; mörkret i bilden, mörkret i biosalongen, mörkret i åskådaren där filmer tas emot och mörkret inom filmskaparen där samtiden avspeglar sig och idéer föds. Projektet är inspirerat av Marguerite Duras idé att döda filmen och undersöker möjligheten att närma sig den plats som hon kallade för det mörka rummet där vi är döva och blinda och passion är möjlig
The journey of a hair hanger's release
No full textThe purpose of this study is to unravel, demystify and expose a framework of artistic research, which emerges from an examination of the Hair Hanging technique, by deconstructing its being bound by conventions. I call this “conventional boundedness”*. And in doing so, to suggest the possibilities of practically embodying various modes of energy flow, applied through the practice, as an artistic foundation for the potential development of a contemporary approach to Hair Hanging. Illusion, making space and connectivity are the main pillars to set the context for this study. This work is an attempt to provide a framework for the analysis and development of contemporary HH practices and the qualities of movement it carries, arising primarily from an inner look to oneself and spatial approaches.My research period started on September of 2019 and lasted till December of 2022 during my studies in the postgraduate program of the Stockholm University of Arts, “Contemporary Circus Practices”.My research procedure revolves around the questions: What would it mean to “release hair hanging in space”? How can I find the freedom while doing my discipline? Or in other words, how can I bring the sense of releasing my aerial technique? How can I release the many paradigms within the aerial technique that I see as “subjective blocks”, on its development? What concerned me is how I could unravel ways of expanding the hair hanging’s borders, so I could develop connections and interact with what surrounds me and myself. Here and now and all around. And, to observe what these processes will bring to my body.During my research I found out that there are no borders between me and my discipline, so I refer to it as “we”. I questioned myself several times; could we share common needs for connection and a deeper real bonding with the outside world? Liberty and emotions, interaction and space have become topics of my focus
Samtyckespraktiker i rörelse : Att kommunicera och förstå samtycke i dansundervisning på gymnasiet
No full textThis research is a qualitative interview study on consent in upper secondary school dance education through focus group interviews with teachers and students. The intention is to give more insight on how teachers and students understand consent in upper secondary school dance education and in general. The study shows that consent in upper secondary dance education in Sweden exists at the intersection between norms of communication, power and the context in which it is practiced. The most common communication of consent for dance in this study is through reading body language, and the most discussed situation is regarding touch and bodily contact. Touch is viewed by the teachers as a vital part of knowledge generation in dance. Both teachers and students find situations where students are engaging with touch and body contact as the most challenging. The study observes that consent is specific within its context, which requires dance teachers to establish and clarify norms and intentions in the dance studio. To do so takes time and repetition, if not successful norms and perceptions from other contexts may be stronger and make the communication of consent difficult. Further, the study suggests that teaching about consent needs to be combined with practical exercises for a more preventive knowledge. The material was analyzed with qualitative analysis and a norm critical and multimodal perspective.
Jag bjuder in dig till en dialog : kommunikation som resurs för konstnärligt skapande i dans hos flickor & unga kvinnor
No full textThe meaning of this research is to make benefits of dialogical and norm critical approaches in dance visible and thus suggest new ways to enter dance education. The starting point of the research was to carry out a workshop project with a focus group outside the normative dance context, which here means a group outside the traditional dancefield among hobbyists: a varying, heterogeneous group of girls and young women with both different bodily and other challenges and also different knowledges and experiences in dance. The research aims to contribute to their artistic creation in dance through dialogue and bodily communication in a short period of time. The theoretical framework of this artistic-didactic research is based in normcritical perspectives, and the research is conducted by Practice as Research with methods in different forms of communication, such as verbal dialogue, bodily communication and written reflections. The research questions are: How can bodily communication be used as a resource in artistic creation in dance with girls and young women outside of the nomative dance context? How can this be done within a short workshop period? How can methods within norm critical pedagogy strenghten artistic creation? The research follows a process-focused reflection as a form of critical practice, which makes the personal development of the researcher visible. It also shows how the emphasis of the research changed from exploring bodily communication into more dialogical encounter with the focus group which created communication and helped the researcher see more creativity and courage in the individuals. The ending discussion of the research shows how dialogical and norm breaking approaches create possibilities to change dance education towards more democratic in relation to traditional teaching methods.
Samskapande : En studie i konstnärlig process och ägandeskap med dansare och musiker med och utan normbrytande funktionalitet
No full textCO- CREATION - a research study of an artistic process and ownership with dancers and musicians with or without norm breaking functionalities. This study takes departure from an artistic collaborative process where dancers and musicians, with and without norm breaking functionalities, explore various ways to co- create in dance and music. The focus of study is which conditions must be in place for co – creation and how these affect the artistic process. The participants experience of ownership is in focus. The research is conducted with ethnography as starting point, such as participatory observation, introspection, interviews and logbooks. The empirical material is collected during 5 laboratories that took place between 2019–2023. Analysis methods are qualitative content analysis, multimodal analysis and reflexive introspection. Overarching theoretical perspective is norm critical, using Kalonaityte (2014) as a main reference. Also, a social semiotic perspective with a focus om multimodality is used, (Kress 2010, Van Lleuwen 2005). The results show is presented in three parts: Collaborative process, Ownership and Conditions. In the Collaborative process there are three aspects that are important; clear communication; balance between taking and giving initiative and process requires time. Ownership has to do with various levels of ownership and hierarchy; the bodily abilities to make choices and freedom in relation to responsibility. Important Conditions for co-creation are clear frames and assignments; enough time (crip time) and space for difference. Overall, the study points at the importance of education. Difference in performing dance and music is not necessarily due to different norm breaking abilities, but rather to lack of education on all levels (from childhood up to higher education) for dancers and musicians with norm breaking functionalities. Also, making space for different abilities and experiences challenges norms and can contribute to new artistic and aesthetic expressions that would enrich the artistic field of dance and music
Material sustainability on scenographies for theatre performances : Sustainability assessment for scenographic activities
No full textTheatrical scenography is developing its methods to address its ecological impacts. This research observes the stages already accomplished by certain theaters and scenographers. Also acknowledges how expertise in sustainable product design can be transferred to scenography design and processes. The results of this research offer insights into how to apply sustainability criteria in relation to scenographic processes analysing how international practitioners work. The study also offers a qualitative assessment tool as a means of estimating the overall sustainability of scenographic practices. This tool monitors the entire scenographic cycle from conception to recycling and helps to visualize and compare weaknesses and achievements.La escenografía teatral está desarrollando sus métodos para hacer frente a sus impactos ecológicos. Esta investigación observa las etapas ya cumplidas por algunos teatros y escenógrafos. También reconoce cómo la experiencia en el diseño de productos sostenibles puede transferirse al diseño y los procesos de la escenografía. Los resultados de esta investigación ofrecen ideas sobre cómo aplicar criterios de sostenibilidad en relación con los procesos escenográficos analizando cómo trabajan los profesionales internacionales. El estudio también ofrece una herramienta de evaluación cualitativa como medio para estimar la sostenibilidad global de las prácticas escenográficas. Esta herramienta supervisa todo el ciclo escenográfico, desde la concepción hasta el reciclaje, y ayuda a visualizar y comparar los puntos débiles y los logros.L'escenografia teatral està desenvolupant els seus mètodes per a fer front als seus impactes ecològics. Aquesta recerca observa les etapes ja complertes per alguns teatres i escenògrafs. També reconeix com l'experiència en el disseny de productes sostenibles pot transferir-se al disseny i els processos de l'escenografia. Els resultats d'aquesta recerca ofereixen idees sobre com aplicar criteris de sostenibilitat en relació amb els processos escenogràfics analitzant com treballen els professionals internacionals. L'estudi també ofereix una eina d'avaluació qualitativa com a mitjà per a estimar la sostenibilitat global de les pràctiques escenogràfiques. Aquesta eina supervisa tot el cicle escenogràfic, des de la concepció fins al reciclatge, i ajuda a visualitzar i comparar els punts febles i els assoliments.www.uniarts.se/folk/studenter/marta-banal-fernandezwww.sustainablescenography.com/</p
Epiphanies of an Invisible weave : essay
No full textEpiphanies of an Invisible weave is an essay written during the processes of two different, yet overlapping, projects; the research project FACT stage one, and the solar driven, sound art project UNDER. The essay explores the specific capacities and possibilities of sound and listening through the specific mode of field recording, which is the sonic modality that I have exploring for more than 20 years. The essay aims to shed some light on the site-related, political, and hidden potentials of sound as it examines the possibilities of (re)-learning through listening in relation to both human and more-than-human explorations and possible “epiphanies”, imagining openings beyond stereotypical knowing. Translation by the author from the published Swedish artichle in the journal Nutida musik.</p
Hanteras varsamt : Att föra konstruktiva kreativa samtal
No full textI min undersökning provar jag att applicera samtalstekniker som används inom psykologin för att förbättra mina manussamtal genom att bli en bättre lyssnare, skapa bättre relationer, skapa större entusiasm hos min samtalspartner och effektivisera samtal. Jag har samarbetat med en psykologistudent som tagit del av manussamtal jag haft och som sedan instruerat mig om passande samtalstekniker som är vanligt använda inom terapeutiska samtal. Jag har applicerat teknikerna inom samtalsformen semistrukturerade samtal på två manussamtal och reflekterat över utfallet tillsammans med min psykologpartner