Stockholm University of the Arts
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Cyborg Gaia Allies : A larp scenario for climate just worlding.
No full textCyborg Gaia Allies is a freefom larp, performed twice at Stockholm Scenario Festival 2021. The script is written as a way to experience the fictional world Cyborg Gaia, part of Lina Perssons artistic worlding project. Cyborg Gaia Allies was written and game mastered by Josephine Rydberg. In the larp the participants play the roles of acolytes of Cyborg Gaia, a climate just future world. Through a series of exercises trained to be Cyborg Gaia Allies and to promote the climate possible future to become reality.
Polycentrism in contemporary hip-hop : Sociopolitical and aesthetic movements in dance
No full textThis research examines the potential of polycentrism as artistic methods in contemporary hip-hop and as a socio-political movement in dance to luminate negotiations of relations, power and appropriation. The research questions are: 1. How can the concept of polycentrism as an aesthetic principle in the traditions of hip-hop be used to investigate and develop artistic methods in a contemporary dance context? 2. What scope for action and negotiation of power systems does polycentrism create in contemporary hip-hop? This artistic research is drawn upon Practice as Research with methods of freestyle/improvisation and interactive introspection. It also suggests polycentrism as a research method. The empirical material consists of the experiences of the eleven dance artists that participated in the study through five workshops that was documented via filming and writing. Artistic methods are presented as processes and ideas of polycentric movements inside and outside our bodies, always in relation. Secondly, the study suggests polycentrism with potential to circulate as sociopolitical movement through our bodies and create expanded crosscircular perspectives on aesthetics as multiple, relational centers in constant energy flow. The findings of this project can also be useful in education and teaching of dance
Folkdansaren och arkivet : en undersökning av traditionsbärande som kritisk arkivpraktik
No full textThe aim of this study is to investigate transmission of knowledge as critical archive practice within folk dance, and thereby contribute to updating the concept tradition bearer. The research questions are: What is done in the situation of knowledge transmission where different folk dance bodies understood as archives – both living dancers and bodies in text and image – meet over time and space? How can these situations be understood theoretically and thus contribute to a new, archive oriented, theoretical understanding of the transmission of knowledge and tradition within folk dance? The empirical material consists of phenomenological interviews with three folk dancers who each participated in two workshops created by the author: in one case, the participants encountered archival material such as text, film and photography, in the other a living dancer understood as an archive. Drawing on critical and pluralizing archive theory, the findings of the study show how both dancers and archive records are stakeholders and agents in creating the affective, dynamic and complex interchanges that take place in both situations. Pluralizing archive theory also proved useful in identifying values and hierarchies among the stakeholders in the folk dance archive. In the interchange between dancer and archive, negotiations between different approaches to tradition took place. Through pluralizing archive theory and the understanding of the body as archive, the concept of tradition bearer may be given a more dynamic and inclusive definition, shifting focus from what it is to what it does, and be considered a complex relational situation
DARK BLISS : Embracing the unknown
No full textDear reader, My aim here, in this essay, is to wonder around and embrace the unknown in the literary genre of letter writing. One of the main questions that the essay circles around is: how embracing the unknown can be a celebration, and a way to get lost, instead of it being something we fear of, like darkness? In the essay I draw bridges between the unknown, the erotic, vulnerability, the use of senses and perception, as well as pondering about the question of whether an experience can be larger than knowledge. The essay is structured in three parts: an introduction, middle part and a final part. In the introduction, the first letter, I open up the purpose of this essay and present my references. In the middle part, I dedicate five letters to the writers and researchers of my references, Rebecca Solnit, Audre Lorde, Brené Brown, Susan Sontag and Deborah Hay. The final part, the last letter, opens up the process of the performance, and how the readings for the essay have affected the doing in the performance. Described in the essay is the journey of methods that were used in the project such as reading, walking around and getting lost. Further the essay describes how dancing later on in the process appeared as a method of getting lost, embracing the unknown through bodily perception and movement. Through this essay and my performance DARK BLISS, I come to a conclusion that being with the unknown is a never-ending process, an endless journey of learning that I will continue to wonder and wander around.This work includes both a performing and a written part.</p
Att vara i jazz-dans : En kvalitativ studie om hur deltagare i dansundervisning upplever ”existentiellt varande” med hjälp av jazzdans
No full textThis study investigates how participants in dance education describe their experiences of a phenomenon called ”existential presence” with the help of jazz dance and what didactic factors makes it possible for them to experience it. With theory of the phenomenology-related lifeworld, the didactic relation map, and interview with low standardized questions as a method, came the results that show how the presence could be described in many different ways, how different individuals have different needs for the phenomenon to be possible, and that jazz dance and its strong relationship to the music is a possible opening for the presence to be.
Let us be the second body
No full textThe essay Let us be the second body is a written pensive and companion in the process of creating a performance with the same title performed in January 2021 at SKH in Stockholm. It describes the main task of the project which was about realizing interdependencies, in a search for political movement towards a non-violent way of relating with and within the world. In the essay, it is described how this can be imagined like crawling through a compost pile. What you find digesting in the pile are conversations and encounters with strangers on the street such as Blurry-Believes/ Pretend-Poems/ Slippery-Statements, and composed fragments of thoughts from thinkers like Maria Lugones, Judith Butler, Ta-Nehsi Coates, and Michael Ende. Composing those fragments within this essay is forming the sentence: “I cannot be out of violence until the system that I am living in is, even though I am not the target of that violence. The essay is longing to get into the muddy work of investigating the concepts of ‘transformation’ and ‘change’. A work that is meant to be, as the structure of the text, mirrored, messed up and ambiguous. (And through being honest in that ambiguity the essay regains a response-ability.) Concretely, the essay reflects on how I use this ambiguity as a tool for creating the performance Let us be the second body, in which textile art, scenography, sound design and dancing linger in interdependence with the realm of transformation. I will and I will not change the world with this essay. So, I guess you will and you will not be changed by this essay. This master work includes both a performing and a written part.</p
Make Minuscule Monsters
No full textThis essay follows closely the process of making the work for my degree project. The aim of the text is to reflect as much as possible the entire journey of my thinking and doing, demonstrating how one of the main concepts of the work, metamorphosis, served the final purpose of the project, to build a world for bizarre creatures made of colorful piles of clothes. The methods used were looking for inspiration material online i.e. a performance by Ingri Fiksdal, several drag performers, or a music video by the band Primus, bringing in Posthuman theory and decolonial thinking as well as readings on the grotesque, including writers like Rosi Braidotti, María Lugones, and Sara Cohen Shabot respectively, taking an excessive amount of notes on diary form, and playing dress-up in the studio. The information that surfaced while all the above was combined, is presented in quite a raw form here, not as one smooth text, but as chunks that mirror where my process was at each moment. More so than anything else, this essay demonstrates the messiness of a/my artistic process and acts as a mind map of interests as they get closer to some kind of crystallization.This master work includes both a performing and a written part.</p
The Inner Gaze In Artistic Practice
No full text”A finger pointing at the moon is not the moon...” -Buddhist Quote ”...but it can point you in the right direction.” -Charles Tart, American psychologist In this Master’s Thesis I will be presenting the idea of an Inner Gaze as an inherent witnessing system used in artistic practice. I will be mirroring my own practice as a Musician/Artist/Sound-Designer in the teachings of Hypnosis and The Science of Consciousness. Further I will share and analyze the collected data gathered from interviews with artists from different artistic fields, in order to gain a better understanding of how they experience their creative and performing minds. Is there any coherence in how we experience creativity? How common are the sensations of altered states of consciousness among artists? Can other artists relate to the idea of an inner gaze? Is this something we long to further explore and develop and would such a concept be beneficial for the artist and its works
"Vi ser" : En intervjustudie om danslärares upplevelser av ungas psykiska ohälsa
No full textThe study examines dance teachers' perceptions of how mental illness among adolescence can affect the role of teachers, what knowledge these teachers feel they have when they deal with these young people and where this knowledge comes from. Through semi-structured interviews which were analysed with thematic analysis and memo-writing, it emerged that the teachers feel that the role of the teacher is affected on a personal and professional level. They felt that they have the knowledge to deal with mental illness in adolescence but request more knowledge in the subject. The results of the study show the complex role of the teacher and indicate that teachers want more knowledge regarding mental illness among adolescents in order to better respond to these young people, but also that more research in the field is needed
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. Under the "Archives and Witnessing" section of the conference. Moderated by Åsa Sonjasdotter
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).VIOLENCE: the fourth biennial PARSE Research Conference at the Faculty of Fine, Applied and Performing Arts, University of Gothenburg, Swede