Stockholm University of the Arts
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Doing just this : A study on the concept of dance practice
No full textThis study aims to approach the concept of dance practice and to create a deeper understanding through unfolding different perspectives on the concept. The methodology of the study includes post-qualitative and practice-based methods. The research was conducted through practicing a dance practice in the studio every day, 5 days a week for four week and sharing the practice with three colleagues. The research material was induced through written reflections after practicing in the studio and sharing the practice. For the analysis the diffractive method was used in order to read the material through the roles involved in A/R/Tography. Firstly, a simplification of the material is done by reading the material through each role and then a complexification by reading the material through the A/R/Tographer’s role and combining this reading with the activities of teaching, performing, training, reading and writing. Lastly in discussion the analysed material in contact with the literature create different perspectives on the concept of dance practice offering an increased understanding of the concept in the professional life of the dance artist, teacher, researcher
Petals sprouting out of skin : Creating imagery of Latvian and Eastern European identity within a devised process
No full textThis artistic research project documents my transition from fine arts into a performative practice. I am focusing on developing a personal toolkit of methods that support this shift to a facilitator and a director. The first part is my individual exploration that includes methods such as: creating character from image, writing with objects, and working with a real site in developing a semi-fictional space (exploring site-specificity through my observations and video documentation of Riga’s specific environment).The second part is a collaboration with two artists, Ģirts Dubults and Laine Luīze Freidenberga. We use a devised process concept, Sister Planets, to translate our embodied cultural experiences and identities into performative language. This method emphasizes building shared poetics through methods of generating shared poems, visualisation, movement with objects, and integrating methods from the collaborators’ individual practices.Alongside methodological development, a strong interest in my identity as a maker emerged, deeply influencing my artistic inquiry. This situatedness—as a young female artist from Latvia and Eastern Europe—shapes the themes of belonging and alienation in the Scandinavian cultural context and intersectionality in my work. I investigate how cultural, gendered, and geopolitical factors inform performance and dramaturgy. These personal reflections have evolved into shared thematic concerns within my collaborations, where individual histories and embodied memories merge into a collective exploration. Through this research, I seek new dramaturgical forms that channel socio-political narratives within primarily visual and poetic contemporary performing arts language
Why am I stuck with the word disobedience? What does it mean to me? : Reflections from the process of Images I see when I cannot see dreams
No full textDisobedience always relates to the obedience of some rules or conventions. In this text, I’ll try to name some of those “obediences” of my craft and how I see my ways of working in relation to disobedience
Att utforska känslornas makt
No full textHos mig har det alltid funnits en nyfikenhet att utforska gestaltning och se hur långt det går att tänja på en karaktärs uttryck i olika riktningar. Den här nyfikenheten har växt under tiden jag sjungit opera just för att opera är en konstform där mycket är förutbestämt av ramar så som notbild och tempo. Jag undrar därför hur mycket jag som sångare kan påverka min karaktärs uttryck och motiv utan att förlora textens innebörd eller kliva utanför de musikaliska ramarna. I denna uppsats utforskar jag vad det ger en sångare att dra känslorna som karaktären känner till sin spets och gestalta samma roll i ett brett känslospann, en undersökning om att våga tänja på ramarna i scenisk gestaltning.
My Virtual Side-Journey : An Exploration into the Pedagogy of Feedback
No full textI introduce you to a pedagogical exploration I did using virtual reality technology (VR) to get feedback for live performing arts. I created and explored a pedagogical design – a process – through experimentations with other artists. My process was a crash-course to the literacy with VR and 360 recordings so that they can be used with my support to analyse one’s own work with performing arts. My set-up hinted to a clear intrinsic nature the VR has and should be considered if used in similar fashion. The technology affects the observations made in a way that will influence the work it is supposed to support. If used correctly, the technology has advantages to more traditional ways to get feedback. It might be useful for learning environments and process analysis and for the performance-creation processes. There were some practical problems that I will go into, but most of them can either be solved with better set-ups or with more education, or considered in the work itself. From a wider ethical perspective, the process of using VR has its social and environmental impacts, which everyone should consider before they decide to work with this kind of technology. Especially now that I have used a complex, new tool like VR as a part of my pedagogical process, I have conscientiously made it so that the human beings – and their learning journeys and experiences – have been in the focus of this exploration and this written reflection.Jag introducerar här en pedagogisk undersökning som jag genomförde med hjälp av virtual verklighet -teknologi (VR) för att få feedback för scenkonst. Jag skapade och utforskade en pedagogisk design – en process – som jag använde att arbeta med andra konstnärer. Min process fungerade som en intensivkurs i hur man kan använda VR och 360-inspelningar, så att dessa kan användas med mitt stöd för att analysera det egna arbetet inom scenkonst. Det verkar att VR har en viss karaktär som vi skulle ta hänsyn till när vi jobbar med VR-teknologin. Teknologin påverkar de observationer som görs och i sin tur påverkar arbetet sjävl. Om VRn används på ett rätt sätt har tekniken fördelar jämfört med mer traditionella feedbackformer. Den kan vara användbar i lärandemiljöer, för scenkonstnärlig processanalys och i rep-processer. Jag kommer att ta upp några praktiska problem, men de flesta kan lösas genom mera avancerade teknologiska instrumenter, mer utbildning eller lätt beaktas i arbetet. Jag vill också nämna de sociala och miljömässiga konsekvenser som VR har så att ni kan reflektera före ni skulle arbeta med denna typ av teknologi. Särskilt nu, när jag har använt VR som en del av min pedagogiska process, har jag medvetet sett till att människorna – och deras läranderesor och erfarenheter – har stannat i huvudroll. Så: även om jag har använt teknologin i undersökning, och skulle ha kunnat skriva mycket om resan jag hade med verktyget själv, har den resan inte varit viktig för mig.Tämän tekstin avulla esittelen sinulle tutkimusmatkaani esittävien taiteiden opettamiseen ja palautemekanismeihin hyödyntäen apuvälineenä virtuaalitodellisuutta (VR). Kehitin ja tutkin pedagogista rakennetta - eli prosessia - jota testasin muiden taiteilijoiden kanssa. Tämä prosessi on pikakurssi siihen miten VR:ää ja 360-nauhoitteita voi käyttää avustettuna palautetyökaluna osana erilaisia esittävän taiteen prosesseja. Tutkimusasetelmani tuotti vihjeitä siitä että VR:n käyttö tähän tapaan vaikuttaa itse prosesseihin tavalla, joka on hyvä huomioida. Teknologia erityisesti värittää sen kautta tehtyjä havaintoja prosesseista tavoilla, joilla voi olla jonkinlainen vaikutus itse prosesseihin. Jos käytämme tätä teknologista työkalua kuitenkin oikein, sillä on myös joitain etuja moniin tuttuihin palautekeinoihin verrattuna. Se voi siis olla pohjimmiltaan hyödyllinen osana oppimisympäristöjä tai esitysten rakentamisen prosessien ymmärtämiseen - ehkä jopa itse esitysten rakentamiseen. Mainitsen tekstissä myös joitain käytännön ongelmia, joita kohtasin. Suurin osa niistä on kuitenkin ratkaistavissa paremmilla välineillä, lisäkoulutuksella tai huomioimalla niiden vaikutukset työhön itseensä. Arvonäkökulmasta VR:ää käyttäessä on tärkeää kuitenkin huomioida itse teknologiaan liittyvät sosiaaliset ja ympäristövaikutukset. Teknologian sijasta olen kanavoinut tähän kirjalliseen pohtielmaan sekä omaan tutkimustyöhöni erityisesti inhimillistä, oppimisen ja kokemuksellisuuden sisältöä, jota työkalujen kohtaaminen tuotti. Itse työkalut ovat kuitenkin minulle opettajana aina sivuosassa.
TSAKPIN
No full textTsakpin is a degree project work that took place in the context of the BA in Dance Performace in autumn 2024. This project is a study on this dance that in Greece is called Tsifteteli, within the framework of a multi-national and institutional context of studying dance in Europe. Having Tsifteteli as a tangible and rich starting point and studying its materials, its history, its phenomena, a discussion is fueled on our positions and understanding around the experience of dance, gender, sensuality, our aesthetic perceptions, patriarchy and the social role of women. The main goal is to place ourselves and practice in this discussion, understanding our own connection and feeling, and the necessities of our time and to develop tactics to negotiate and work with this dance. A desire of this project is to give some space, attention and validity to some tradition and geographical/cultural context beyond the western dance canon. To practice drawing knowledge and trusting practices located in spaces beyond the theatre and the studio, in the wider sphere of social and communal life. To explore ways of strengthening the community that is within the narrow confines of a tradition, of empowering its members, and of transforming practices
Wobbles
No full textWobbles is an artistic research project conducted by Omer Keinan during the New Performative Practices Master's program at Stockholm University of the Arts. This project unfolds through three primary momenta: a publication, an artistic research methodology, and two research-creation processes. The publication “Wobbles” includes a series of essays and poems that articulate the concepts of wobble technique: a know-how for grappling with the intensities of relationality as rife with instability and potentiality. And wobbling practices, tools for bringing that which had been rendered static and fixed into dynamism and transformation. This publication includes a range of excerpts from the various workshops and literature encountered through the NPP studies, a snapshot of a body at the end of a stretch. The artsitic research methodology “A Performance Practice Interface” experiments with the study, circulation, and craft of forms-of-practice (exercises, activities, scores, experimental systems) as particularly potent conveyers of experience and knowledge. This methodology is developed through two primary activities: Shop Talk, a studio conversation format which seeks to document forms in their situated thickness; and Blue Sky, a dance-based gathering format which invites practitioners to open their forms to collective play. The research-creation processes “Telos” and “Knots” practice various methods for collapsing beyond order and logic into discord and dysregulation, from the sacred into the profane. Playing between affirmation and negation, constitution and destitution – beckoning conflict and mischief through spicy wobbling.The "Wobbles" publication, attached as the primary documentation of this degree project, was printed in a limited NPP EDITION of 90 copies. Please note that this is not a finalized version of this text. The degree project presentation also included a practice sharing which activated some of the publication’s core concepts. </p
Alchemy of Fragmented Rooms : On transformation, adaptation and the after
No full textMy storytelling is a therapeutic somatic artistic process, specifically focusing on feminist methodologies and diasporic experience. I am building living stories, in animate environments. I investigate absence to hold what lingers just beyond the frame. I ask: In what ways can feminist narrative structures reframe this absence? And what role does language, translation, and the construction of new language play in this methodology. My master's artistic research builds on my adaptation work as it is central to my practice. In diaspora, one translates one’s experience to others, in a state of hyper-vigilance. I intend with Alchemy of Fragmented Rooms to contribute to the decolonisation of my artistic field through giving voice to diasporic stories coming from a tacit and explicit knowledge.
Att forska är att dela
No full textMin text handlar om hur viktig Den nationella konstnärliga forskarskolan var och vikten av att skriva på svenska. Att inte tappa språket och lämna över tänkandet till Chat GTP
MASS
No full textMASS is a dance performance exploring the thematics of mass as a place of empowerment. Inspired by landslides and ants this living mass is ever-shaping. Our bodies morph into non-human ones as we imagine other kinds of anatomies to construct us. Through insisting on this transformation the piece proposes a decentralization of the human experience. MASS offers glimpses into landscapes of micro and macro scale. In this essay, with a similar title MASS, Anni Koivusalo unpacks the consepts of the dance performance as her artistic thesis and the methods and experiences of working