Stockholm University of the Arts
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Snabbare än bilden : klippning i ljudets hastighet
No full textFilm editing as an artform is mostly driven by the images and audio from the film shoot. The goal of this research project is to illustrate the importance the sound design and film score can play in the final edit of a film.By allowing sound to influence the pacing, structure, and emotional tone of scenes before the edit is locked, the process opens up new creative possibilities. Instead of treating sound as a layer added after picture editing, this approach positions sound as an integral part of the storytelling process from the very beginning.Through practical experiments in various short film projects, this research demonstrates how early collaboration with sound designers and composers can reshape editorial decisions affecting shot length, rhythm, and even narrative clarity. The results suggest that when sound actively leads the editing process, it not only enhances atmosphere and meaning but can redefine the overall cinematic experience.This challenges traditional linear workflows, revealing an alternative method where editing becomes as much about listening as about seeing
Leonora : en studie om att gestalta offerroller
No full textThis thesis examines different challenging aspects I have experienced when portraying a character in a victim position. The purpose has been to get better at portraying victims and to be more comfortable as a singer doing so. For the project I have studied and learned the role of Leonora from Verdi´s La Forza del destino. I have used various methods including: body work, integrating playfulness in my practice, reading about trauma responses and has included working with many different pedagogues and coaches. My better understanding of trauma responses has helped me become more confident when it comes to artistic choices. It also helped me become a better musician since I was more confident I knew what I was doing and it has led to me having more artistic choices. The heightened focus on my body helped me both in and outside the practice room. I got a calmer body and I also had an easier time to plan and structure my work. By consiously adding elements of play into my practice I got rid of some frustration and got more process oriented. An unexpected insight that the project gave me was how affected I have been by performance anxiety
Dance teachers' view of motivation in dance : a qualitative study on motivation in dance, and its relation between teacher and students
No full textThe aim of this study is to examine dance teachers’ experiences of motivation in dance, and gain knowledge of their different views. Self-determination theory was used as a framework for understanding motivation and explaining how it relates to being an educator. The method used for analysing the teachers’ experiences, was semi structured interviews. Five dance teachers were interviewed and asked about their understanding of motivation, and how it can relate to their role as an educator. The chosen interviewees were all active in the field of dance teaching, and the context in which they would teach, varied. A few of them would teach children who dance as a hobby, while others would teach students at a university or undergraduate level. Thematic analysis was the method used for analysing the material from the interviews. The results from the study show the complexity of motivation as a concept and illustrate the importance of both teacher and student roles in the support for a motivational climate. The interviewees generally described motivation as something positive and related to passion or enthusiasm. Furthermore, the findings of this study show that the context in which teachers find themselves in, affect their relationship to, and perception of motivation. These differences became prominent when comparing a university level context to a hobby context. The results also highlight that dance teachers often view external motivation as worse than internal motivation in the context of teaching. The possible reasons for the wish of being internally motivated, is explored during the discussion part of this study
“This is what I want to say, but it is not what they want to hear” : a qualitative study on Sámi dancers’ experience in dance education
No full textSince my own dance practice is intertwined with my Sámi heritage and identity, I wanted to use my experiences to discuss the things I have found myself questioning regarding inclusivity and expressions of cultural identity in dance education. In this study I interview three Sámi dancers’, one of which is myself, to highlight our experiences of expressing Sámi heritage and identity through dance in an educational context. Through a qualitative analysis I then illustrate norms that have shown up in the experiences of these Sámi dancers. I then continue to discuss ways in which these norms could be affected and challenged to foster a more inclusive space in dance education. A summary of what I have found is that there are things that eat at us, things that carry us and things that help. It is important to highlight the narratives and experiences of students to create spaces safe to express identity and be creative
My Procrastinated Degree Project : A Practice-Led Investigation through Procrastination, Embodied Experience, and Writing as Practice
No full textThis dissertation explores writing as a method within artistic research, with a focus on how procrastinating, voice, and authorship operate in practice-led inquiry. Originating in a research interest in boredom as a site of resistance, the project develops through procrastinating, personal reflection, theoretical engagement, and performative experimentation. The dissertation draws on the work of scholars and practitioners such as Lauren Fournier and Roland Barthes, to examine how the dismantling of conventional authorship can function as a generative critical strategy. Rather than presenting a singular narrative or conclusive argument, the dissertation operates through fragmentation, affect, and layered registers, including theoretical analysis, personal voice, and performative reflection. It positions the text not as a linear academic document, but as an open-ended site for encounter and co-presence. The work contributes to the discourse on artistic research by proposing that vulnerability and disorientation can constitute valid methodological tools in the pursuit of knowledge
Förkroppsligad musikalitet : en praktiknära undersökning som utforskar det musikaliska dansandet
No full textThis study aims to explore musical work in silence. With jazz dance as framework, musicality is explored with solely the body. The purpose is to discover information about how such musicality appears and methods in howit can be achieved. With a qualitative research method, the exploration is performed with a focus groupconsisting of three jazz dancers. Movement qualities in jazz dance and music theoretical concepts served as twokeystones during the work. Through a thematic analysis method, the study identifies four themes correlatingwith embodied musicality: opposite relationships, collective processes, individual factors and genre specificity. The study resulted in new findings about the relationship between music and dance. Furthermore, the studyemphasizes that embodied musicality can, and should, be incorporated into jazz dance as a pedagogical andartistic practice. In conclusion, this study examines musicality in the form of physical embodiment and showshow it contributes to the understanding of jazz as a dance genre.
Sagan om skådespelaren som återfann sin röst : Om konsten att gestalta med röst och tal
No full text”Vi använder ord för att nå varandra och för att förstå oss själva och världen. Orden är alltid kroppsligt förankrade och sammanbundna med tanken och viljan”, förklarade gumman. ”Men vad har det med mitt gestaltande att göra?” suckade skådespelaren. ”Allt”, svarade gumman och log. ”När människokunskap länkas tillskådespelarkonsten blir den både konkret och magisk. Du förstår, kroppsliga kunskaper om språkhantering är mycket viktiga att ha med sig i det gestaltande ögonblicket. Det räcker inte att analysera den dramatiska texten eller att göra medvetna val. Det finns något i oss som är större, något som vi ska vara rädda om. ””Vad ska jag vara rädd om?”” Du ska vara rädd om dig själv. Om ditt konstnärskap. Om din röst”, svarade gumman utan att tveka. Vad är det som sker i övergången från skriftlig till muntlig gestaltning? Orden som i det vardagliga samtalet flödar fram i förbindelse med avsikten och känslan, förlorar under högläsning både sin självklarhet och spänst
ATT SKAPA DANS MED UNGA : en studie kring tre skapandemetoder och dess betydelse i mötet med unga dansare
No full textThis study aimed to explore three choreographic methods in collaboration with seven young dancers. Using a student-centered approach to dance education, we examined these methods to achieve a shared creative process. The methods focused on generating choreography through various tools. The practical exploration with the dancers took place in the dance studio on three separate occasions. Documentation was collected through a field journal and recordings of the dance material. Utilizing the field journal, I analyzed the choreographic methods and the experience surrounding them. Five significant themes emerged from the analysis: collaboration, time, music & counting, stage experience & identity and at last experience, self-confidence & safety. They were all highlighted as essential elements in the creative process for children. To gather a broader response, these methods need to be explored with a larger group of dancers.Syftet med studien är att utforska tre skapandemetoder tillsammans med sju unga dansare. Genom ett elevcentrerat förhållningssätt till dansundervisning utforskar vi tillsammans metoderna för att uppnå kreativa skapandeprocesser. Metoderna fokuserar på att generera koreografi genom olika verktyg. Utforskandet gjordes praktiskt i danssalen under tre tillfällen tillsammans med dansarna. Dokumentation gjordes genom fältdagboksanteckningar samt filmning av dansmaterialet. Utifrån fältdagboksanteckningatna analyserades skapandemetoderna och upplevelser kring dem. Fem betydelsefulla teman framkom: samarbete, tid, musik & räkning, scenisk kontext & identitetsskapande samt erfarenhet, självförtroende & trygghet. Dessa teman diskuteras och lyfts fram som centrala inom kreativa processer för barn och unga. För att få mer allmängiltiga svar behöver metoderna utforskas av fler dansare.
It's not about that : Dance performance degree project writing
No full text“It’s not about that.” is a performance project - a product of a collaborative process It moves on a spectrum between dance and theatre, using elements from both, and making them overlap. The work centers around themes of performing femininity. The main topics include: societal expectations towards women’s physical appearance and behavior and the self-criticism and -destruction these societal structures can evoke in the individual. Other themes include: hysteria, expression of feminine anger, and violence against women - including psychological violence such as manipulation. It deals with the idea that a violent action is irreversible, whether its consequences are visible or not. This paper will examine the backgournd of the work and elaborate on the performative, scenographic and choreographic elements of the piece
Hur vill jag bli hållen av dig? : En studie om metodutveckling för medvetandegörande kring fysisk kontakt inom folklig pardans, med utgångspunkt i ett a/r/tografiskt perspektiv
No full textThe aim of this study is to develop a methodological model for dance education that strengthens awareness and communication around physical contact in traditional partner dance. The study is conducted from an a/r/tographic perspective with a hermeneutic-phenomenological approach, using bricolage as a methodological framework. The process alternates between individual exploration, collaboration with a focus group, and engagement with relevant literature and theoretical perspectives. Through practical exercises, verbal reflections, and living inquiry, participants were involved in an a/r/tographic process where various knowledge positions were made visible. This resulted in a flexible methodological model that can be adapted to different teaching and social dance contexts. The study also explores strategies for fostering safer and more consent-based encounters in social partner dancing. It contributes with knowledge on how method development in dance pedagogy can be shaped through interaction with participants and highlights key areas for further work with physical contact in traditional dance and other social contexts.Syftet med denna studie är att utveckla en metod för dansundervisning som stärker medvetenheten och kommunikationen kring kroppslig kontakt i folklig pardans. Studien har genomförts ur ett a/r/tografiskt perspektiv med en hermeneutisk-fenomenologisk ansats, där bricolage har fungerat som metodiskt ramverk. Arbetet har växlat mellan individuell utforskning, samarbete med en fokusgrupp och möten med relevant litteratur och teori. Genom praktiska övningar, verbala reflektioner och gemensamt undersökande deltog deltagarna själva i en a/r/tografisk process där olika kunskapspositioner synliggjordes. Detta arbete resulterade i en flexibel metodisk modell som kan anpassas till olika undervisnings- och sociala danskontexter. Studien belyser även strategier för att främja tryggare och mer samtyckesbaserade möten i social pardans. Den bidrar med kunskap om hur metodutveckling inom danspedagogik kan ske i samverkan med deltagare, samt lyfter fram centrala fokusområden för fortsatt arbete med kroppslig kontakt i folklig dans och andra sociala sammanhang.Den 23.05.2025 genomfördes även en workshop vid samma adress som en praktisk presentation av arbetet.</p