Stockholm University of the Arts
Not a member yet
538 research outputs found
Sort by
Konsten, staten och kapitalet : En analys av den konstnärliga högskolans sociala fält
No full textDenna masteravhandling är en undersökning av min professionsidentitet som administratör vid en konstnärlig högskola, där jag utforskar vilka handlingsutrymmen som finns för mina erfarenheter och mitt omdöme som statlig tjänsteman. Mitt syfte är att undersöka vad som formar och styr medarbetares roller och positioner på en konstnärlig högskola, både för de som verkar inom verksamhetsstödet och de som verkar inom kärnverksamheten. Hur uppfattar de sin egen och andras professionsidentitet och uppdrag? Finns det andra faktorer, än yrkeskategori, som påverkar medarbetarnas omdöme och handling och vad kan det i så fall utgöras av? Finns det sociala strukturer på såväl makroplan som inom individuella professionsidentiteter som påverkar den enskildes uppfattning av lojalitet och plikt inom sitt statliga uppdrag på en konstnärlig högskola? Vilka möjligheter och handlingsutrymmen har den enskilde medarbetaren att tillföra sina egna erfarenheter och omdömen? I min masteravhandling framgår att en diskrepans kan uppstå mellan uppdraget och de egna föreställningarna om yrkesidentiteten. Det är faktorer som kan upplevas som en outtalad maktkamp, ett spänningsfält, mellan framför allt den konstnärliga kärnverksamheten och det förvaltande verksamhetsstödet. De teoretiker jag använder mig av i analysen är framförallt Hannah Arendt och Pierre Bourdieu. I min analys lyfter jag fram vikten av att utrymme ges för den kritiska reflektionen i den enskilda medarbetarens yrkesutövning.This master's thesis is a study of my professional identity as an administrator at an art college, where I explore the scope for action for my experiences and my judgment as a government official. My purpose is to investigate what shapes and governs employees' roles and positions at an artistic university, both for those who work in business support and those who work in core business. How do they perceive their own and others' professional identity and mission? Are there factors other than occupational category that affect employees' judgment and action, and if so, what do they consist of? Are there social structures on a macro level, as well as within individual professional identities, that affect the individual's perception of loyalty and duty within his or her state assignment at an artistic university? What opportunities and scope for action does the individual employee have to add their own experiences and assessments? In my master's dissertation it appears that a discrepancy can arise between the assignment and one's own ideas about professional identity. These are factors that can be experienced as an unspoken power struggle, a field of tension, between the artistic core business and the administrative business support, above all. The theorists I refer to in the analysis are mainly Hannah Arendt and Pierre Bourdieu. In my analysis, I highlight the importance of providing space for the critical reflection in the individual employee's professional practice.Författaren är anställd som Utbildningsadministratör vid Institutionen för scenkonst. Stockholms konstnärliga högskola.</p
Future designs of tertiary dance education: : Scanning the field for decolonizing potentials in a major change project at the Department for Dance Pedagogy at Stockholm University of the Arts
No full textThis performative hybrid research and development project contributes knowledge about the decolonizing potentials and challenges that are articulated through an initial scanning of the dance pedagogical field as part of a large change project in tertiary dance education at the Department for Dance Pedagogy at Stockholm University of the Arts in Sweden. To do this scanning in a way that would promote collective learning, multiple perspective taking and creativity, we utilised design thinking. In total, 140 scan cards collected through the project were analysed. Both students and staff and other people in different parts of the world within the dance educational field created the scan cards. As a result, we suggest that the scanning of the field has pushed ourselves, the rest of the staff, students, and others into a process of collective learning, multiple perspectivetaking, and creativity, in which clear decolonizing potentials, as well as challenges to change are expressed
Practices of Relations in Task-Dance and the Event-Score : A critique of performance
No full textIn this study, Josefine Wikström challenges a concept of performance that makes no difference between art and non-art and argues for a new concept. This book confronts and criticises the way in which the dominating concept of performance has been used in art theory and performance and dance studies. Through an analysis of 1960s performance practices, Wikström focuses specifically on task-dance and event-score practices and provides an examination of the key philosophical concepts that are inseparable from such a concept of art and are necessary for the reconstruction of a critical concept of performance, such as "practice", "experience", "object", "abstraction" and "structure". This book will be of great interest to scholars, students and practitioners across dance, performance art, aesthetics and art theory
Interest in the Body : Art, Autonomy and Natural Beauty in Adorno
No full textThe aim of this essay is to elucidate the dialectical relation between Adorno’s concept of art and that of natural beauty. The purpose is also to ask what function natural beauty has in Adorno’s overall concept of art and what this may indicate about the role of natural beauty and art today. I will begin by looking into Adorno’s concept of art and above all what he understands as the autonomy of art. I will then show how this relates to what Adorno conceptualises as natural beauty and how this is inseparable from the autonomy of art. This will lead to the following conclusion, namely that what art takes from nature is the separation—its form—rather than its beauty, what Adorno calls “natural beauty as such”. I will then connect this separation to the most central separation in contemporary capitalism, namely the separation or abstraction of the human from her labour as well as from her own body. My argument here is that art, if it wants to say something about nature needs to take this mediation of abstract labour into account as a new mediation. Towards the end of the chapter I discuss what this might mean for the role of dance and performance within contemporary art today
Whispering Bodies : The Textual Brain
No full textDuring this project I’ve been exploring how we can work with things within art to change our way of relating to ourselves, other humans and our surrounding. I want to see if finding inner spaces within us can make us feel more connected to our external surrounding. I want to share the feeling of being connected with things through incorporating them inside our own bodies. I have therefore been leading participants on introspective journeys where they found rooms inside of their bodies. After that I have been translating these inner spaces into immersive performative Scenography, where visitors have been invited to engage with the things in the space with all their senses. All the bodies, things as well as visitors, have been given the possibility to interact on their own terms. I wanted to see what kind of relating this room of Whispering Bodies; the Immersive Scenography inspired and invited to, and I wished for it to be a tactile bonding with a sense of heightened empathy and listening. This text-based piece, called Whispering Bodies: The Textual Brain, is created out of a curiosity in how a reflection based in the written language can exist as a complementary work for a physical and tactile space, in this case Whispering Bodies: The Immersive Scenography. I wanted to create an experience that would have traces of the room filled with different bodies. I have been experimenting with how to use different mediums to make this happen, and this piece will be a combination of meditation, video, drawings, audio and text, and the text itself will be jumping in between genres. I want to invite you to take part in this journey with me. It will be dry, it will be poetic, it will be telling you what happened, both the factual and the fictional. If you have any questions, feel free to contact me about the work
"Vi är inte gjorde för det här!" : en kvalitativ intervjustudie om danslärares upplevelser av distansundervisning till följd av Covid-19
No full textThe aim of this study was to investigate dance teachers’ experience of distance learning regarding difficulties, benefits and in regard to assessment. The method used was semi-structured interviews and a phenomenological perspective was used to analyse the result of the interviews. The results showed several challenges and a few benefits. The challenges were mainly related to technical and spatial constraints and difficulties in giving formative feedback. On the other hand, filming as a didactic tool was highlighted as an advantage.
Against Neutrality and Minimalism, Choreographing Drama: A Degree Project in four acts
No full textThe main purpose of this essay is to reflect on my degree project process whose main question was to wonder around choreographing drama and using feelings and emotions as dance material. Being able to approach the question, the text is written in the format of a play, here in four acts, the fourth act being the performance part of the degree project called Act Four: Scene of Sentimentality. Another focus of this text is to elaborate on the performance-making process and describe its methods such as Walking-Actions, Face Dance and The Tag of Pain. In the text I am referencing several artists that have somehow dealt with drama and/or emotions in their work for example Meg Stuart, Elina Pirinen and Pina Bausch. One of my methods for choreographing drama was to create contradictions. In this essay the strategy for creating contradictions was taking in an "enemy", here it being the 1960s minimalism and the so-called ‘neutrality’ in contemporary dance, and then arguing against the enemy. The essay ends with a meditation on the connection between emotions and dancing
Shifting perspectives through Choreography : a study on bodily rights from an Indigenous perspective
No full textIn the current globalisation of the planet, Indigenous peoples are attempting to reclaim their lands from extraction and natural disruptions due to new sustainable energy projects and dam constructions. This study is exploring how choreography and dance are addressing the issue of exploitation of land and bodies, directly weaving together ideas of ancestry and indigeneity through gathered testimonies from three Indigenous choreographers. The work allows for activist ideas to shift the perspective on humans’ relationship to soil and its emancipation from coloniality by acknowledging the ancestral body as an intrinsic, lived experience within the Indigenous choreographer. Positioning the study in relation to critical artistic practice, the text is proposing an opportunity for the reader to explore the link between bodily rights, minority politics and soil, thus revealing how the reconstruction of ancestral memories and movement can remind us how to repatriate our dismantled and dislocated history. By finding ways of connecting choreography to agency over body and indigeneity, this work is exploring how dance can constitute Indigenous connectedness and how testimonies by these choreographers are passed on through their embodied experiences of indigeneity, ritual, repatriation and recognition of the Indigenous body. Presentationerna av examensarbetet 31 Maj 2021 skedde på Zoom, online på grund av covid-19</p
Кому можно танцевать? : Исследование творческого процесса в инклюзивном танцевальном ансамбле
No full textДанное исследование является частью проекта DANSResearch и результатом сотрудничества между Институтом хореографического и циркового искусств при Стокгольмском университете искусств, организацией ShareMusic & Performing Arts и отделом по культуре и развитию (секция танца) Региона Йёнчёпинг. Проект был реализован весной и осенью 2016 года и включал три периода работы в арт-резиденциях в Йёнчёпинге и Стокгольме. Во время них были организо[1]ваны беседы, публичные встречи и открытые репетиции. В ходе проекта было создано новое хореографическое произведение под названием «MOSS – метод выступления». Именно рабочий процесс, результатом которого явилось это произве[1]дение, стал предметом данного исследования. DANSResearch – это глубокий анализ художествен[1]ной деятельности, бросившей вызов устоявшимся нормам. Главное внимание исследования сосредоточено на вопросах коммуникации и взаимодействия между участниками инклюзив[1]ного танцевального ансамбля. Произведение «MOSS – метод выступления» берёт свое начало в проекте WORK (англ. работа), реализованном организацией ShareMusic & Performing Arts. Для меня как исследователя в проекте большую ценность представляет возможность увидеть рабочий процесс группы изнутри. Я хочу выразить искреннюю благодарность Шарлотте, Джильде, Дестини, Кикки и Карин за то, с каким теплом и вниманием вы предоставили мне возможность принять участие в вашей работе, а также за то, что вы постоянно делились своими мыслями и приобретённым в ходе проекта опытом. Хочу отметить, что для меня этот процесс стал путеше[1]ствием внутрь себя. Спасибо также Камилле Эскель, консультанту в сфере хореографического искусства отдела по культуре и развитию Региона Йёнчёпинг, за то, что вы вместе с директором и художественным руководителем организации ShareMusic & Performing Arts Софией Алексан[1]дерссон инициировали данный исследовательский проект. Я надеюсь, это исследование будет способствовать дальнейшему развитию знаний и понима[1]ния того, в каких формах может осуществляться инклюзивная работа, её ценность для всех нас, а также чего она требует. Открывая двери многообразию, мы приобретаем возможность получить более нюансированное понимание, каково это – быть людьми c разными физиче[1]скими возможностями и с разными предпосылками. Это, в свою очередь, способствует разви[1]тию равных возможностей в сфере сценического искусства. «Тело – это ведь вся я. […] Есть люди, которые не осмеливаются использовать своё тело как инструмент для творчества из-за того, что его постоянно отвергают. Вот что трагично […] Право на использование собственного тела должно быть очевидным». Дестини, 2016 го
In the archival multiverse, the blubber decays but the fever increases. : A contribution to VIOLENCE: the fourth biennial PARSE Research Conference at the Faculty of Fine, Applied and Performing Arts, University of Gothenburg, Sweden. by Marc Johnson with the contribution of Hitomi Ohki 大木瞳
No full textThe presented work is composed by Marc Johnson — a memory worker — who is currently a Ph.D. candidate in performative and media-based practices at the Stockholm University of the Arts. The shared perspectives are engaging issues of violence from the center of an artistic practice-based research focused on archival practices and concerned with how a documentary heritage circulates, is formed, debated, shared, and re-interpreted. The lecture-performance starts by considering the “Rights of Nature” — from recent environmental litigations in Aotearoa (New Zealand), Bolivia, and Ecuador — which focus on the idea of legal standing. What does it take to enforce the legal personhood of a river or other natural entities? Marc Johnson investigates and reflects on some ways to deal with representations of murdered bodies — human and more-than-human (cellular life forms) — without replicating historical patterns of abuse? Under what conditions shall these documents, artifacts or, images be seen? Marc Johnson collaborates with Hitomi Ohki 大木瞳 — Soprano singer — to expose how polyphony[1] and counterpoint[2] applied to cinema can be used practically to navigate the uncertain archive(s) of violence studies. Marc Johnson addresses the dynamics of archival silences[3] and archival amnesty[4] as an important reminder of the ways in which violence — despite its presence in the everyday life of most people mainly through paper-based, and online news media (including social networks) — can also be deeply buried and invisible through institutional and corporate powers and other means; nonetheless impacting the lives of ordinary people (as opposed to powerful people, military, political and business leaders). The proposal does not intend to resolve; but rather to expose and to put oneself in the presence of using the means of montage. Skepsis is the deployed strategy throughout the duration of the time-based work as defined by Jacques Derrida as a “vigilance, and attention of the gaze during an examination. […] One is on the lookout, one reflects upon what one sees, reflects what one sees by delaying the moment of conclusion.”[5] [1] A process of combining two or more voices so that they harmonize with each other but maintain their individuality.[2] A process of adding one or more melodies as an accompaniment to a given melody according to certain fixed rules; a composition in which melodies are thus combined.[3] Rodney G. S. Carter, “Of Things Said and Unsaid: Power, Archival Silences, and Power in Silence,” Archivaria, September 25, 2006, 215–33.[4] Tonia Sutherland, “Archival Amnesty: In Search of Black American Transitional and Restorative Justice,” ed. Michelle Caswell, Ricardo Punzalan, and T-Kay Sangwand, Journal of Critical Library and Information Studies, Critical Archival Studies, 1, no. 2 (2017): 1–23, https://doi.org/10.24242/jclis.v1i2.42.[5] Jacques Derrida, Memoirs of the Blind: The Self-Portrait and Other Ruins, trans. Pascale-Anne Brault and Michael Naas (Chicago: University of Chicago Press, 1993)