Stockholm University of the Arts
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Fragments of the Inverted Self
No full textIn September 2018 I started my research project at the Master of contemporary circus practices at DOCH, Stockholm. Much has happened since then. 2018 turned into 2021. The school changed its name to SKH. The world turned into a pandemic battle zone. I turned into a mother of two. Little things, big things. Life.The following is a compilation of material from the last 2½ years. It is made like this to provide insight into an unusual process. A research project where the obstacles during the process ended up being the theme of the project.It is structured as followed:Old text material is kept in its original shape, even when it is painful (!) for me to go back and read it. I have shortened some sections and deleted irrelevant parts even though I know that what seems irrelevant today can become relevant tomorrow. Repetitions will likely occur, some on purpose, others not.Old texts taken from school reports are in blue like this. Blue, for me the color of balance. When I balance on my hands, I see myself in and surrounded by blue shades when I maintain balance and in white when I fall.Extracts from a diary written during this writing process are in red like this. Blood red. Written during a lockdown where I felt quite melodramatic hence the color.A script I wrote to my classmates is in green, the color of... hope? Definitely of new life.New reflections are added, some to explain the research further, others to engage in a critical dialogue with my voice of the past. All new thoughts are in black like this. These texts are the narrator of the story, the guide of the exhibition, the detective of the disappeared meaning, the curator of the mes
Om inhopp i teater för barn och unga
No full textForskningsprojektet Om inhopp i teater för barn och unga handlar om den specifika situationen där en eller flera skådespelare ersätter en eller flera skådespelare i en uppsättningsprocess som redan startat. Essän diskuterar och problematiserar vad som sker i samband med de plötsliga inhoppen och de mer planerade. Vad innebär det för skådespelaren att få en betydligt kortare repetitionsperiod, alternativt ingen alls? Hur påverkar det mig att vara - den nye - i en ensemble? Vilka praktiska, konstnärliga och sociala utmaningar möter den som ersätter/hoppar in och den redan etablerade ensemblen?Ett forskningsprojekt finansierat av Stockholms konstnärliga högskola.</p
Loops? from Micro to Macro - in Relation to Subject Formation and World Making
No full textThis essay is one part of my Bachelor's degree project, the other part being the work LOOPAR that was premiered in January of 2021 at Stockholm University of the Arts. The text expands and articulates the thinking processes and conversations in relation to the work. The aim of the text is to acknowledge and reflect the thoughts around the work with other people, dancers, and thinkers, and to scrutinize the main questions of the work: How can we think of repetition in relation to subject formation? And how does repetition and looping construct and affect world making? The essay begins by introducing the main concepts of the work such as 'performativity’, ’subject’, ‘storytelling’, ‘branding’, ‘repetition’ and ‘looping’. In the text, loops can be seen as actions, habits, repeated thinking processes, understandings of norms or different kinds of interactions, which change and transform our perception and understanding constantly about ourselves and the world we live in through persistent repetition. The essay observes how our experiences of ourselves and the world are affected by multiple contexts and felt-sensed experiences and interactions. It further explores the potentialities to decentralize the focus of the individualistic point of views of world making and it moves towards relational ways of thinking. The main references and conversation partners to many of the topics discussed in the essay are Argentine feminist philosopher and activist María Lugones, American professor of Feminist studies, Philosophy and History of Consciousness with a Ph.D. in Physics Karen Barad, and American philosopher and gender theorist Judith Butler. Further the essay reflects the work and methods used in praxis in relation to the thinking processes introduced in the text. At the end the essay asks the two following questions: How we can practice active consciousness and responsibility towards a subject’s positionality and interactions in dancing? And how can dancing together and alone be understood as entangled and overlapped?
Dreams as Source Material for an Artistic Process
No full textIn this essay, I document and reflect on a process of creating a twenty-minute performance called That Time I Swam in a Storage Room (2021), with dreams as its source material. The essay is written in the form of a series of log-book-like entries, which offer an insight into how the work developed throughout each week during the nine-week working period. The process described in this essay, is centred around individual explorations, through reading and try-outs, as well as studio-sessions together with a four-person working group consisting of Ane Carlsen, Anton Hedevang, Jane Sievänen and Heta Asikainen. In the essay, I give an account of how the explorations are executed; by using tools and methods derived from Dadaists and Surrealist art movements, such as the cut-up technique and automatic writing. Fragments of methods from other thinkers and psychoanalysts are also applied in order to harvest dream-images and further work with the content of the dreams, such as Sigmund Freud’s dream interpretation and Carl Jung’s active imagination. The essay ends with reflections on the process of creating the performance.This master work includes both a performing and a written part. </p
Tailbone-ing movement practice
No full textThe main purpose of the essay is to serve as a documentation of my research practice on the movement of the tailbone and its connections to my dancing body. The essay is being written from my personal perspective which springs out of my interest in the importance of using the tailbone whilst dancing. In the first part of the text I have included personal information to the reader about where my interest in the movement of the tailbone arose. One of the methods during the research was to write a process diary as a way to combine a physical practice and writing practice. This process diary is now a big part of this essay. In the essay you as a redear can follow how the research has transformed and changed throughout working time on the project. The second part of the essay reflects on the process of researching the tailbone-ing movement practice and what the practical presentation should look like. In the last pages of the essay you find a choreographic score which is both a documentation of the practice as well as a score to perform it. Working on the essay opens up new possibilties for further research on the importance of the tailbone and the pelvic floor in the dancing body.This master work includes both a performing and a written part. </p
The inclusion of history in jazz dance teaching : The relationship between practical dance teaching and the history of jazz dance.
No full textThis study investigates how jazz educators relate their practical dance teaching to the history of the genre and analyses whether or not the history is incorporated in the didactic part of the education for a jazz dancer. This thesis is based on interviews with four active jazz dance teachers. According to the results, the origin and early history of jazz dance is not being incorporated in the practical part of a dancer’s education to the same extent as the succeeding eras. This thesis shows that history is often tought in non-practical classes and is not incorporated in dance practice. It also shows that the teachers often only relate to history as inspiration. Another finding is that time period from the 1940 ́s until today works as the base of history while the origins and early history is neglected. That means that African and African American fundamentals is overlooked while white influence is being recognized. One reason discussed in this thesis is that the educators themselves lacks knowledge of jazz dance history and understanding of its relevance from their own schooling.
Den öppna tomheten
No full textSom ung skådespelare var jag märkligt orustad inför mötet med de oundvikliga tomma mellanrum av ovisshet som väntade mig mellan uppdrag i mitt yrkesliv som frilansande skådespelare. Vem är jag när jag inte står på scenen? Som skådespelare behöver jag andra för att utöva mitt yrke, så när jag är ensam – vad är jag då? Hur handskas man med den här sidan av yrket och väl i arbete – hur handskas jag med den ovisshet och osäkerhet som är en förutsättning för konsten och kanske också för livet? Genom att sätta ord på en praktisk erfarenhet av att arbeta som frilansande skådespelare och på det konkreta sceniska arbetet och genom att spegla denna erfarenhet i filosofisk litteratur lyfter jag den osäkra tomheten som möjlighet – kanske till och med som nödvändighet. En öppen tomhet.
Klimatet, vår viktigaste berättelse : den (o)hållbara scenkonsten
No full textDenna undersökning har som övergripande syfte att undersöka vilka möjligheter scenografer och kostymdesigners har för att kunna arbeta med hållbarhet inom scenkonst. Studien fokuserar på att undersöka vilka konkreta verktyg scenkonstnärer, institutioner och branschorganisationer har till sitt förfogande idag och hur ett strategiskt hållbarhetsarbete kan läggas upp. Den undersöker också dilemmat mellan att vara både konstnär och hållbarhetsmedveten i en konstnärlig process. Metoden för undersökningen har varit att intervjua scenkonstnärer och branschorganisationer från Danmark, Norge och Sverige, för att få en helhetsbild av de olika ländernas hållbarhetsarbete och hur scenkonstbranschen medverkar till klimatomställningen. Undersökningen har analyserat material från en case study, intervjuer, litteratur, handlingsplaner och egna erfarenheter med syfte att undersöka hur scenkonstnärer arbetar med hållbarhet. Resultatet av studien visar att branschen i de olika länderna kommit olika långt i sitt hållbarhetsarbete samt att det saknas gemensamma verktyg, mål och handlingsplaner. Intervjuerna pekar också på värdet av att frågan tas på allvar, lyfts till ledningsnivå och att konstnärerna inkluderas i detta arbete. Studien har inte tagit hänsyn till huruvida extra resurser behöver tillkomma branschen för att göra tillräckliga åtgärder i tid men den pekar på vikten av att de stora institutionerna måste ta ett mer övergripande ansvar för att driva branschens framtida utveckling. Förhoppningsvis kommer studien att kunna användas som en igångsättare; av enskilda konstnärer, institutioner och andra berörda i deras omställningsarbete till en mer hållbar scenkonst
Something more than itself : Mycelial beyondings: parallel engagementswith and throughmycelium as imagery, material and place
No full textHow could we organize as MUSHROOM(-mycelium) - is the structuring desire of my current delving. It is fictionalizing the human as something that is able to become something else through taking care. It is rooted in a broader matrix of questions of WHAT, HOW and WITH WHOM an artist (everybody is an artist, who wants to be an artist) CAN do when mushroomy processes like disintegration and co-dependence appear tangible for very distant bodies at the same time. How could we is creating a research on what has been already tried and what practices of shared imagination could emerge at the moment. It is also acknowledging a common place that defines 'we'. What would we gain and what would we lose by not mentioning the 'we'? It is also about access or sensibility to technologies of collective intelligence. It is also about embodiment of the others. organize to hope through time to take agency to handle, again, take care to invigorate connections to bio-mime, -play, -think as MUSHROOM(-mycelium) as a not yet known as an overly complex as a more than itself ? The diverging ideas around the allure of mycelial-like organization unveil a visceral surrender to the need of singular approaches, fixed maps or comfortable stories. Possible answers demonstrates a post-disciplinary sensitivity for choreographies of ceaselessness. The main place of my presentation has been the fairycircles.hotglue.me page.Fair-y circles, community baased mushroom learning networ
"Jag tolkar er tystnad som ett ja" : En kvalitativ studie om kommunikation av dansrörelser och feedback vid fjärrundervisining i dans.
No full textThe Covid-19 virus has affected dance education in Sweden and created new conditions for dance teaching. The purpose of this study is to investigate how dance teachers communicate dance movements and feedback, when teaching in dance which is conducted in distance learning in Upper Secondary School. Further, the study will discuss challenges and opportunities with dance education in distance learning. Through observations of dance teaching, the study will investigate how three different dance teachers in the genres of Jazz Dance, contemporary and classical ballet communicate dance movements and feedback in distance learning. With a theoretical starting point in social semiotic multimodal communication the study will analyse how semiotic recourses are being used in dance education through distance learning. The result shows that the teachers communicate using both voice and body as two dominant semiotic recourses when communicating dance movements and feedback. The result also shows more challenges than opportunities in dance education through distance learning