Stockholm University of the Arts
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Guided Hibernation
No full textIn relation to specific contexts, Elsa - The new reactive Earth, register specific amounts of outlets of carbon dioxide equivalents. (according to calculations by www.elsa.com). To balance this account participants are guided to go into hibernation for a specific time period.Climate-Just Worlding
CIRCUS AS A MATERIAL-DISCURSIVE PRACTICE : A wandering conversation on an impossible journey
No full textThe thesis could be described as a performative, reflexive review of my circus practice. Followingapproaches to writing that situate text as part of a practice, such as Jane Rendell's Site Writing, thatlooks at art criticism as a form of architecture, I approach writing as a form of circus. I think this holdstrue whether we adopt the position of circus as the place where events unfold (as in the circus tent) orthat it is the events themselves. I would note that this is not a unique proposition, and follows theprinciples of my classmates & the direction of my course leader. Crucial to understanding this thesis is adecision to start from an approach to circus from a point of view that considers circus as theperformance of the relationship between body, object & environment (following Sebastian Kann 2018).In the same way that my movement practice explores and performs this relationship, so does this text. Istarted out writing this thesis as a performance of the relationship between bodies, objects andenvironments. This works towards an expanded view of what circus could be, operating in a similar veinto notions of expanded choreography. I am hesitant to separate the practices of choreography fromcircus (as is sometimes the case with choreography and dance) - so as to avoid producing a Cartesian riftbetween body (dance) and choreography (mind) and a division between art (choreography) and craft(dance) - as discussed by Bojana Cvejic in the introduction to Choreographing Problems. It could beargued that in this instance, there is a body of text, an object of discussion and an environment ofacademia - though, as you will discover, I find the boundaries of body, object & environment areslippery and shift register (in line with my movement practice)
BODY AS SPACE : Space as a Transformative Place
No full text The purpose of this research is to try to understand and be aware of what happens when space is transformed and the body becomes space. Space understood as the place where bodies and movement are situated or inhabit, commonly characterised as unlimited, continuous or three-dimensional, as well as, on the other hand, a limited surface with common purposes. The physical body understood as that with mass, energy and three-dimensionality, which does not distinguish between human and non-human, material and living. The manipulation of bodies as the action of manipulating with the hands, with other parts of the body or even with another instrument, is the idea of distorting reality, of transforming and transposing it. Through manipulation, or rather movement, space is changed and dialogues and stories are created. Since the concept of manipulation focuses on what the person wants to achieve, creating a hierarchy between bodies, and the concept of transformation can be understood as the exchange or dialogue between bodies, where everyone offers and receives, the term manipulation will be changed to transformation. Transforming space as a horizontal place where bodies and movement inhabit; understanding bodies as that human and non-human, material and living, and movement as the means by which they dialogue with each other and with space. The transformation of space as a leap from what has so far been known as the manipulation of objects, with the aim of understanding the relationship between bodies and space as a circus discipline through movement as dialogue. As an aerial harness dance artist working with suspension, distortion of reality and shifting perspectives between the vertical and horizontal plane, I seek to understand what happens to space when it is transformed through a series of methodologies and methods. The methodologies employed focus on the practice of circus and dance, spatial architecture, the art therapy and the adaptation of bodies as pedagogy. In terms of methods, there is a difference between those that already exist, such as the study of concepts and other projects, and others that emerge as a result of the research. The latter are new methods, concepts such as movement as dialogue, horizontality as a multidimensional space [the breaking down of boundaries between human - non-human and space – body], limitation and control as possibility, vulnerability as a potential, bodies as spaces; as well as pause, adaptation, installation and observation as means to understand the transformation of space and the body as space. Treat this study within the field of research of new materialism with the aim of developing the potential of interconnectedness, understood as that which reciprocally relates bodies occupying a space, and spaces occupying a body; the means of expression that arises between body and space; and the breaking down of barriers inside, such as between living and material bodies, space and body, or the human being and everything else; within the circus with the aim of transforming the space
Kehrä/Kehrae : A moment in between
No full textFirst of all, my research is not only my research but our research. It has been made together with my long-time art companion Marjut Hernesniemi. The starting point for our research was our experience of the western modern circus, what it does, and how it cares for the cosmos. From our experience, the western modern circus is based on techniques, risk, danger, and spectacle. Human is in the center of it, often presented as superhuman controlling and manipulating everything. By looking at the current situation in the world, human domination has caused us problems in a form of climate change and other ecological crises such as mass extinction. However, there are different ways of relating to the world. In this research we have looked beyond the western modern circus, to the roots of circus in China and Japan, and to the archaic rituals, to find other ways of relating to the world through circus and trying to bring them to the present day. This research was set out with the question of trying to combine circus and other aspects of life as one sustainable or regenerative practice. The theoretical framework of the research has been ritual. The thought behind that has been the efficacy of the ritual in contrast to entertainment. That is circus can make a difference. From an animistic perspective, the purpose of the ritual is to sustain and renew, preserve or bring back the balance between the psyche, body, social, cosmic, and circle of life. With this in mind, we have made use of the anti-structure of liminality as a playground while working in the studio. In this playground, we have not been bound by the custom, convention, or ceremonials of the western modern circus. Instead, we’ve had the possibility to play. Use the definition of western modern circus as a launching pad and try to run as far as possible, but still have the connection point as the one that we left from. The rules of the play were simple, such as we don’t climb the rope, you are not allowed to hurt the rope, instead of objects, materials of becoming, instead of human exceptionalism, appreciation of the other, what if there was no human on stage. All these rules created different possibilities. While in liminality we have been bound by another thing that can appear in a liminal phase, communitas. Communitas as an unstructured communion of equal individuals working towards a collective task with full attention. In our communitas, the task has been a sustainable circus. Moreover, in our communitas, ropes and nature were included as equals. Together we have been imagining and making different kinds of possible futures. These relations between us, nature, and the ropes have been intimate relations. During the process of making, humans have been ”affected” as much as the significant other. Our task was to combine circus and other aspects of life as one sustainable or regenerative practice. As performances in circus consist of ritualized gestures that show the relationship between us and the cosmos, we need to rethink what we are presenting. To find a more sustainable and regenerative future, we need collective survival skills instead of individual ones. These survival skills should include all life in its diversity. For change to happen liminality, communitas and play are all needed. Liminality to open up a playground outside of the structured society. Play to come up with solutions to challenges. Communitas to form a special bond between the players, speak for the weak, and not forget that we work for the same cause. Circus can transform, however it requires that the artists are willing to go through the liminal space themselves and take circus with them
Taktarter och dans : en studie i hur taktarter kan användas i jazzdansundervisning
No full textThe purpose of this essay is to inspire and find ways to incorporate different time signatures in jazz dance education. Through literature studies, a focus group and an own analysis leading up to the meeting with the focus group, I founded a base of knowledge, but also material to analyze. By comparing my different sources of information, I found that the different time signatures, have different qualities, but they are also affected by other factors such as the instruments, singing and how it is performed. During the meeting with the focus group, I also found that music and dance is personal and that feeling calm and secure with the music is important to be able to move freely to it. In the discussion I could see that there are a lot of ways that you can use different time signatures in jazz dance education. Some examples were to expand your musicality and musical knowledge, but also to highlight and use certain qualities in the different time signatures to develop your dynamic practice.
Hur kan flerspråkighet användas dramaturgiskt inom etablerade musikaler för att nå ut till nya publik grupper?
No full text This master thesis researches the possibility for the established musicals to reach via translanguaging to new audiences of underrepresented language groups. The essay focuses on the musical In the Heights and the Spanglish fenomenon. The tools given can be used as a tool for any cultural and group including activities. There are suggestions on how to handle the dramaturgy and how to elaborate the scripts without using translations and text machines on stage. It also reflects on what hurdles and difficulties you might find during the process. It touches the subject of cultural appropriation, stereotypes and how to avoid and deal with these matters in a respectful way
Dear Beloved Reader : 30% seminar lecture
No full textMy 30% seminar is divided in 7 chapters. 1. Labour of access 2. Restricted by law 3. Genealogical imagination 4. We are cyborgs 5. Plur1verse of genres 6. Disclosure 7. Future plans I have been conducting a series of experiments that all relate to finding ways to re-enact and re-enable an experience of the past in the present and into the future; excavating methods to repeat fragments of history whose importance might not have been fully understood or acknowledged. The seminar goes along the politics of access to the archive(s), artistic research strategies used, and the proposed ongoing works. I will be discussing with Jyoti Mistry (Professor of Film, Photography and Literary Composition Unit at the HDK-Valand - Academy of Art and Design, Gothenburg)
The Translatress’ performative program : Chapter ‘spring semester 2022: On Documentation
No full textThe Chapter ‘spring semester 2022: On Documentation’ attempts to fulfill the requirement of the examination task for the Course Documentation Processes in Artistic Research, 7,5 hp, Spring Semester 2022. It proposes seven (7) documentation entries on the 3rd of May 2022 regarding artistic finished works that are mentioned in my ongoing Individual Study Plan (ISP). The aforementioned date corresponds to the Examination Day of the Course
Writing a love letter : A complicated process to a genuine expression: Tatiana’s Letter Scene
No full textMy Magister Degree project and is based on a desire of achieving a deep understanding, and consequently gaining an artistic freedom in my portraying, of an operatic role that seems "made for me", and yet feels unavailable due to the nature of the Russian culture and language. Tatiana, in the opera “Eugene Onegin” by Piotr Tchaikovsky, is a great role for a young soprano voice, that is becoming full lyric. These were barriers that I decided to turn into knowledge and tools, to gain freedom and an ability to decide for myself how I wanted to portray Tatiana
Le suriashi, un rituel de résistance
No full textThis text aims to show my collaborative artistic work with suriashi, a Japanese walking technique used in performing and marital arts, as a performative gesture and ritual. It is based on my own practice with master Nishikawa Senrei in Kyoto as part of my studies in traditional Japanese dance since 2000. It asks how artistic techniques could become more activist and critical, while asking questions about and to contemporary spaces.Ce texte vise à présenter mon travail artistique collaboratif avec le suriashi, une technique de marche japonaise utilisée dans les arts de la scène et les arts martiaux en tant que geste et rituel performatif. Il s’appuie sur ma propre pratique du suriashi, entamée en l’an 2000, avec la professeure Nishikawa Senrei à Kyoto dans le cadre de mes études en danse traditionnelle japonaise. En plus de chercher à comprendre comment les techniques artistiques pourraient devenir plus militantes et plus critiques, ce texte s’interroge sur les espaces contemporains et les interroge directement