Stockholm University of the Arts
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Att motivera elever i dans : En kvalitativ studie om lärares upplevelser kring hur elevers motivation påverkas i dansundervisning samt hur elevers motivation till lärande i dans kan främjas.
No full textThe purpose of this study is to examine teachers experiences of student’s motivation in dance at Upper Secondary School. Furthermore, the study aims to visualize how teachers feel that they can promote student’s motivation. An additional goal is to create interest and discussions among dance teachers in general about how teachers can promote student ́s motivation. The research questions are: “How do teachers experience that student’s motivation is affected in dance education?” and “What strategies do teachers feel that they can use to promote student ́s motivation in dance?”. The theoretical frameworks of the study are sociocultural perspective on learning, goal theory, McClellands theory about needs and self-determination theory with its understanding of internal and external motivation. The method of the study is to conduct semi-structured interviews and then analyze the material with a qualitative method. The result shows that teachers experience that student’s motivation is affected by goals, experience of dancing and development, social environment, student ́s health and assessment. The study also resulted in strategies which teachers use to promote student’s motivation in dance. Teachers can establish goals together with their students, give students opportunities to make decisions on their own, acknowledge student’s emotions, give feedback, adjust movements according to student’s knowledge and adjust the lessons dramaturgy
Collaborative Filmmaking : and the quest for a collective film narrative
No full textThis is a report from an artistic research project on the collaboration betewwn filmdireting and film acting. It was conducted as a preparation period and a two day workshop. There is also an exposition on Research Catalogue
STRANGESPACES : Studies and structure for an itinerant transcultural performing art festival
No full textThe purpose of this study is to explain the process of designing the architecture of StrangeSpaces, an itinerant festival for transcultural performing arts groups or artists which starts from the original idea and terminates with the description of a possible structure. The process of designing StrangeSpaces is based on an investigation on the transcultural performing art’s field and on conversations with experts, which together transformed the original general idea of a festival, into the specific architecture of the StrangeSpaces festival. The investigation resulted in a personal definition of ”transcultural performing arts”, that subsequently led to the identifications of three elements of transculturalism which define the festival’s goals as ”encounter with the other” in multiples and different yet equal levels. Another result of this investigation is the contextualization of StrangeSpaces in the contemporary international cultural politics. In fact, the transcultural encounter and exchange can be viewed as a possible response to the increasing need of sustainable international performing art in local, national and European cultural communities. The conversations with experts in the field of international performing arts complemented the investigation, contributing to the ideological principles of StrangeSpaces, such as anti-racism and anti-colonialism, as well as to a model of democratic and sustainable design, in which multilingualism and cosmopolitan aspects of the society are essential cues. The result of the study is a design of the architecture of three versions of StrangeSpaces, an itinerant transcultural performing arts festival that is born to be a space, a free place where people play, exchange roles, art, experience starting from their own culture, but reaching and reflecting into the other, mirroring a society of sustainable diversity
Reflektionsuppgift : Den skådespelande operasångaren
No full textSammanfattning Vad som fick mig att vilja skriva om det här ämnet var en specifik erfarenhet jag var med om för ett par år sedan, då jag medverkade i en uppsättning av Così fan tutte och gestaltade soldaten Ferrando, utklädd till en arabisk oljeprins. I en av scenerna för Ferrando och Guglielmo en diolag sinsemellan om hur den ena har lyckats förföra en av tjejerna och hur den andra inte. I den här scenen lyckades jag inte hitta nyckeln till att låsa upp dramat, och tydliggöra de olika riktningarna och intentionerna hos min karaktär. Efteråt var jag fortsatt förbryllad och är det än idag — vilket har lett mig till att reflektera kring detta i den här skrivuppgiften. Det var så ovant och slående att inte förstå hur jag skulle göra för att få fram regissörens och min karaktärs vilja, och jag är helt övertygad om att det fanns en lösning till mitt problem framför näsan som jag i stunden inte förmådde att se. Det är min förhoppning att jag av denna reflektionsuppgift ska bli litet klokare och kanske lära mig något nytt om mig själv och om skådespelarkonsten i allmänhet.
Studies on Fantasmical Anatomies
No full textStudies on Fantasmical Anatomies is an ongoing transdisciplinary artistic research, which encompasses the spectrum of experiences and practices that I have developed as a choreographer, dancer and Feldenkrais practitioner. My interest in anatomy and somatic practices grew out of multiple shoulder dislocations. The last dislocation happened in 2014 and, in retrospect, it functioned as a catalyst for this PhD and as one of its main methodologies. With the notion of “anatomies” I’m more interested in operations on the body, than defining the body itself. By drawing on various fields of knowledge – anatomy, psychoanalysis, feminist and queer theories, poetry and somatic practices – the research expands choreography towards disparate discourses, practices and treatments of the body. At the intersection of the therapeutic and the choreographic, the somatic and the poetic, I have developed several body-orientated practices based on Feldenkrais’ speculative use of language, imagination and touch. The research has been articulated through three transversal movements. First, at the core of my practice, is the expansion and distortion of the Feldenkrais Method® from its initial somato-therapeutic goals into a poetic and speculative way of addressing the body. Revisiting and subverting Feldenkrais’ private session Functional Integration® and group class Awareness Through Movement®, I developed both one-on-one sessions and performances for larger public settings: Fantasmical Anatomies sessions and lessons. Secondly, I propose experiences of diffraction, “blind gaze” and dissociation as a strategy for troubling the dominant regime of vision. In the Fantasmical Anatomies lessons, the first choreographic gesture is to invite the public to lie down and close their eyes. Withdrawing from the form of the spectacle, the choreography takes place in and across the bodies of the audience. The third movement consists of the co-regulation of entities and dynamic relationships between the individual and the collective. Through the notion of “sensorial transference”, I have experimented with the possibility of sensing across bodies (“trans-interiority”) or through other bodies (proxy), and all of the ethical questions that such propositions give rise to. Combining fantasy, the fantasme and phantasmagoria, I invented the word “fantasmical” to emphasize how the ability to imagine may create phantom limbs that are as concrete as pieces of bone. Equally imagined and bodily, these Fantasmical Anatomies call into question some of the dichotomies that undergird Western cultures, such as representation and materiality, body and mind, idea and thing, fantasy and reality. Studies of Fantasmical Anatomies are simultaneously a set of practices, methods and places, in which the corps fantasmé is tangible.Parts of the thesis I. Three-day live presentation at MDT Stockholm: Fantasmical Anatomies Lessons and Studies, October 7-9, 2021 comprising:o Studies on Fantasmical Anatomies (booklet)o Critical Awareness Lessono Presentation of the studio installation and screening of two videos: The Studio and the essay film Studies on Fantasmical Anatomieso Sensorial Transference: lecture-performance and demonstrationo Fantasmical Anatomies lessons: Lesson on the Skino Chromopoems: 11 min installation-performance for one spectator II. Atlas of Fantasmical Anatomies, an artist book, printed in only one copy. The pages of the Atlas served as a floor for the installation at MDT. A digital facsimile of the Atlas will be available on the Research Catalogue. III. A selection of documented performances and practices from 2015-2021 following the program of the live presentation at MDT published as documentation on the Research Catalogue comprising:o Documentation of the live presentation at MDTo Videoso Audios files with Fantasmical Anatomies lessonso Digital version of Studies on Fantasmical Anatomies (booklet)o Digital version of Atlas of Fantasmical Anatomies</p
The om footprint of the project Climate-Just Worldings : Report of the life cycle asessment of the project Climate-Just Worldings
No full textRapport för livscykelanalys (LCA) av Lina Perssons konstnärliga praktik utförd av Karin Lagercrantz. I denna LCA har sex projekt som Persson skapat inom ramen för Climate-Just Worldings (C-J W) mellan 2019-2020 utvärderats. Syftet med denna LCA är att mäta och beräkna vilket klimatavtryck Perssons forskningsprojekt C-J W har. Valet av denna kvantitativa metod kommer av den fiktiva berättelsevärlden som driver C-J W-projektet. LCA:s funktion korrelerar med de grundläggande mekanismerna för berättelsevärldens tidsmaskin och cyborg-Gaia-karaktär. Resultaten från LCA kommer att återföras till berättelsevärlden som en del av den kontinuerliga samspelet mellan fiktionsutveckling och interventioner i vardagen. De kvantitativa metoderna i Perssons konstnärliga praktik syftar till att bryta med internaliserade och normaliserade föråldrade strukturer och orättvisa privilegier. När man är van vid privilegier känns jämlikhet som förtryck. Därför kan det vara nödvändigt att mäta vårt beteende för att synliggöra våra privilegier. Med denna kvantitativa analys vill vi föra fram en diskussion om klimaträttvisa i relation till konstnärliga praktiker och produktioner. Ett konkret syfte med denna LCA är att vägleda Persson i vad hon kan göra för att minska sina utsläpp i framtida projekt. Det kommer att stödja henne i att skapa klimatbudget och ligga till grund för en mall för beräkning av utsläpp i hennes framtida praktiker.A report on the life cycle assessment (LCA) of Lina Persson’s artistic practice by Karin Lagercrantz. In this LCA six projects that Persson created within the framework of Climate-Just Worldings (C-J W) between 2019-2020 has been assessed. The purpose of this LCA is to measure and calculate what climate footprint Persson’s research project C-J W has. The prompting of this quantitative method stems from the performative story-world that drives the C-J W project. The function of the LCA correlates with the basic mechanisms of the story-world’s time machine & cyborg-Gaia character. The results from the LCA will be fed back into the story-world as part of a continuous feedback between story development and everyday life interventions. The quantitative methods in Persson’s artistic practice play a role in breaking with internalized and normalized outdated structures or unjust privileges. When you are used to privilege, equality feels like oppression. Therefore, it can be necessary to measure our behaviour in order to render our privileges visible as such. With this quantitative analysis we aim to bring forth a discussion of climate-justice in relation to artistic practices and productions. One concrete purpose with the LCA is to guide Persson in what she can do to reduce her emissions in future projects. It will support her in creating climate budgets and it will be the basis for templates for calculating emissions in her future practices.Klimaträttvist VärldandeClimate-Just WorldingsTransforming Practice
RÖRELSE SEENDE BERÄTTANDE : tankar om animerad film och erfarenheter från Gaza
No full textEn essä om animerad film och erfarenheter från Gaza. Tankar kring lärande seende och rörelser.
Blikket
No full text”Blikket” er en refleksjon i relasjon til forskningsprosjektet “The performing tools of the dancer and its’ potential” finansierad av Stockholms Konstnärliga Högskola. Syftet har varit att lyfta fram de verktyg som dansaren använder i det ögonblicket arbetet möter en publik. Projektet undersöker hur dessa utvecklas genom utbildning, koreografiska processer och annan praktik. Forskningen har kretsat kring arbetet med blicken. På vilka sätt kan blicken användas av dansare på scenen? Från t.ex. att vara ett verktyg där det används för att stödja tekniska och koreografiska syften, till att vara ett medel för att röra sig.“Blikket” (The gaze) is a reflection related to the research project “The performing tools of the dancer and its’ potential” financed by Stockholm University of the Arts. The purpose has been to highlight the tools that the dancer uses in the moment the work meets an audience. The project examines how these are developed through education, choreographic processes and other practice. The research has revolved around the work with the gaze. In what ways can and is the gaze used by dancers on stage? From e.g. to be a tool where it is used to support technical and choreographic purposes, to be a means of movement.The performing tools of the dancer and its’ potentia
Texts that nobody reads : on Writing at Universities of the Arts. Report to the Department of Film and Media at Stockholm University of the Arts.
No full textThe purpose of this report is to propose various approaches and methods to create a better climate for writing and thinking together at the Department of Film and Media, and indeed at other departments of Stockholm University of the Arts. The goal is to reinforce thinking, reading, writing, and dialogue as part of an effort to construct an artistic research environment. The focus has been on studying writing at second cycle, given that this is the preparatory level for those considering a career in artistic research, which is of course a distinguishing feature of the university’s operations.My method involves long conversations with those responsible for writing and thinking at various universities of the arts, as well as with teachers, researchers, administrators and, perhaps most importantly, people who work with text: from poets, playwrights, and authors to theoreticians. The measures proposed in the report are applicable at a departmental level, university-wide, Stockholm-wide or nationally. It might also be worth identifying those physical locations in which teaching and research meet, or have opportunities to meet, at a university of the arts: libraries and laboratories. Here, I would like to refer to another text Labbtanken:12 röster om laboratorium och bibliotek [The Laboratory Concept: 12 voices on the laboratory and library] by Nils Claesson and Mirko Lempert1. Please feel free to read this report alongside Labbtanken
Att synliggöra marginaliteten äldre kvinnor i dekonstruktion av samtida dansdiskurser med dekoloniserande metodologi : ett konstnärligt, didaktiskt och koreografiskt projekt
No full textThe aim of this study is to investigate the relationship between older women and contemporary dance in a choreographic project. I explore in what sense the participation in the project is of artistic value to these women and also what happens in the meeting between me as a researcher, the project itself and the women. The background of this study is a personal interest in age, body and dance as well as an ambition to change normative ideas about the dancer body through action. With a globally ageing population, I have an interest in highlighting an aging female body as a resource in the context of contemporary dance. The study is conducted on the basis of post-qualitative research and decolonizing methodology. The artistic practice is leading and is based on the experiences of the women who participate in the project. As a researcher, my participation in the practice is necessary. By articulating and visualizing the marginality of older women, dance discourses are deconstructed. With improvisation as a performative choreographic practice, transformative learning emerges among participants. The findings of the study show that older women are resourceful and have the capacity for change through dance. This can be achieved in interaction with others and can then be an artistic experience. The artistic and pedagogical values which are experienced by the women in relation to contemporary dance are self-determination, trust and a sense of community. Both individual and collective struggle emerge among me and the women as a force of action. I argue that age norms and bodily ideals in contemporary dance can be challenged by giving older women access to contemporary dance. By articulating and visualizing the experiences of a marginalized group, the meaning of the concepts of dance, body and age are deconstructed and new insights are created which challenge and broaden normative ideas about dance and the dancer body.