Stockholm University of the Arts
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The Melancholy of Lost Movements
No full textA report on the development project The Melancholy of Lost Movements which used video, circus, hip-hop and spoken word performance to develop visibility of coloured, queer themes and artists in the circus field. The following literary work is one of the outputs
Practical advices for young Opera singers
No full textOpera itself is a combination of music, poetry, acting and plastic where the central role-plays singer-actor. Each singer should try to develop itself every time. During my study period, I have learned a lot from the reading books of successful and famous opera singers; I noted recommendations of my teachers, professors, opera singers I have met; and tried to follow their recommendations. As you have already read, it really affected me. I hope that my work will be useful for the beginners since several year ago I was beginner too, studied a lot, and worked a lot for my future career.As I have already mentioned below I have played the role of Masetto and Commendatore during performance of Mozart’s Don Giovanni. And from my point of view it is quite hard to play both roles but if you will follow the advices that I have mentioned here ineach my chapter I am sure that it will help you to sing properly during your entire singing career. Since when I started to practice thesetwo roles I had quite few time to study and met a lot of challenges. Hoverer I started to look for the solutions howto overcome challenges. First of all I have started to observe why I couldn’t sleep sometimes well, why I had reflux, why my voice wasn’t in a good condition and also I have started to think about faster ways of studying and started to think how I could learn faster and what are the important keys. I am always trying to follow the advices of the famous singers and trying to fit it to myself. I do not tell you how you should develop your voice skills or singing technique because I think that it is up to your voice technique teacher’s job but what I am trying to share with you is that all my selected chapters will help and do not heart you
How I learned a poem by heart
No full texta book on reading, writing, memory and forgetting in a library of living books
Att färdas genom portaler för att nå kontakt och riktning i min konstnärliga praktik
No full textKonst har alltid varit ett svar på en längtan. För mig en trevande men outtröttlig längtan efter ett språk. Som översätter från inuti till utanför med oförändrad innebörd, samma känsla och färg. En, på ett sätt, introvert dialog. Under utbildningen har jag hamnat på en ny väg och frågat mig; Hur öppnar jag upp den här dialogen till en publik? Hur når jag ut? Det är en fråga om riktning, om att behålla leken och om att minnas vad som är viktigt. Vad som är vackert. Svarta speglar har varit ett sökande efter portaler som tar mig någonstans jag bara undermedvetet visste fanns. Sanna är poet och bildkonstnär.Svarta Speglar - magisterprogram i konstnärlig självreflektio
Fjarill i Gagnef : Reflektioner om hemlängtan, kulturella skillnader och kreativt skapade
No full textI den här essän försöker jag få en förståelse och en inre struktur för mitt yrke och min praktiska kunskap som musiker och sångare i Tyskland. Det handlar om mitt dilemma om att vara utlandssvensk i Tyskland och om min hemlängtan till Sverige. Med hjälp av Aristoteles, Hannah Arendt, Hans Larsson m.fl, binder jag ihop känslorna med kunskapen och får på så sätt nya perspektiv på hur det är att leva mellan två världar. Ja att få tillgång till två länder och att förstå och omvandla min längtan till något kreativt
KNOTCIRCUS : Or ‘Being the Adventures of Happy Down-River’
No full textThis is an investigation of the trick as it relates to three fields; gravity, language and capital. I will fully break down and unpack what I mean by ‘trick’ later in this introduction, in the mean time I refer to it as something that refutes the systemic validity of the system through which it proceeds. It is a proposal of how circus physicality might be structurally related to a method of ‘circus thinking’ that likewise moves through restrictive fields in order to refute the authority of those fields. In this way the trick is offered as a tool. This is an investigation of how that thinking might operate in any field. Three distinct kinds of trick are discussed in each of the three aforementioned fields: TRICK ONE: exposes the limits of a system. TRICK TWO: conceals the limits of a system. TRICK THREE: jumps out of the system entirely. The approach I have taken is to think of these three tricks as occurring within fields of value; in which there are two separate registers: the qualitative and the quantitative. For me then what is exposed, concealed or jumped out of is something I feel is inherent to the subject’s position within a field of value. This is the conflation of incompatible registers of value. This conflation, or false union, is discussed as a cause of tautology within the field that can lead to either subjective or systemic compromise, depending on how the trick is performed. As such the main internal relation of the trick for me, and its place in relation to the formal limits of the system through which it proceeds, is one of contradiction, paradox, impasse, bind or knot. The trick is therefore is proposed as a tool for reconfiguring systems of value; in that its relation to exposing or concealing tautology define how the system of value is perceived; ether as limited or total, respectively. The work speculates upon systemic restriction and interrogates, through its transposition as a mechanism of tautology, what the trick is supposed to ‘do’. This is done in awareness of what circus practice supposes about itself as well as the way circus is embedded in fields of value as it makes proposals about mobility, agency and individual freedom within them. Parts of this text are marked in red as ‘additional reading’ and in this regard I think of the entire work as an encampment of sideshow booths. You will not have time to visit them all. I have clearly marked in red those that cannot be read, and are outside your temporal economy
I cirklar som leder vidare : - folkdans, en koreografisk skärningspunkt
No full textHow can articulating dance in practice, problematize the notion of an expanded concept of choreography at Stockholm University of the Arts? What approaches are needed to make different perceptions of dance as phenomena contribute to the development of the field? These are the questions of the study and they are examined through dancing. The examination builds upon a relation between comprehension and constitution, and the question, if we ever are comprehended? Placing my dancing body in center of the research gave rise to a position which yielded the required perspective. When dancing, the stance of “representing a genre” was assumed, taken and explored concretely, “folkdance”within the context of Stockholm University of the Arts. Researching by dancing allowed for the exposition of the practice so that it could be reflected upon with someone else. Five meetings in the dance studio facilitated the articulation of practices and approaches through the process of learning from an other. Moving in theoretical circles through different realms and allowing these circles to intersect in practice, the work achieves its critical point of view in relation to choreography and the field of dance. The expanded notion of choreography is critiqued using theories which deals with ideas of universal practice and exclusion. The work looks for a constructive way to fill an empty space that is perceived within the epicenter of the expansion. It fills this space with dance and works with choreography as a critical practice that acknowledges the specific and intense physical work which must be invested by any body in order to find a way of being in the world. In maintaining an ambivalent relation to the practice there is an urge, to move on in dance through choreography, to find ways in which agency can constitute the subject within discursive context, and to reflect upon aesthetic, political and pedagogical consequences of the ideas that arise. By searching for further ways to articulate difference in dance, the study contributes to the field of contemporary dance pedagogy
Subsequent grades in Dance technique : a quantitative study about grade distribution and students’ subsequent grades in the subject Dance technique as part of Swedish upper secondary education
No full textSyftet med denna studie är att bidra med ny kunskap om svenska gymnasieelevers betygsfördelning och betygsutveckling i ämnet Dansteknik. Studien omfattar en totalundersökning av avgångsbetygen för de 414 gymnasieelever som avslutat sina studier vid det estetiska programmets dansinriktning i Stockholms stad under åren 2014 - 2018. Elevernas betygsfördelningar i olika kurser i ämnet Dansteknik samt deras betygsutveckling över kurserna har analyserats statistiskt. Studien visar att eleverna har höga betyg i ämnet Dansteknik, dels i relation till elevernas betyg i övriga ämnen men även i relation till riksnivåerna för andra ämnen, kurser och elevers avgångsbetyg generellt. Studien visar också att elever i hög grad behåller en liknande betygsnivå i Dansteknik under hela utbildningen samt att elevers och gymnasieskolors val av kurser i ämnet Dansteknik påverkar elevernas betygsutveckling och med stor sannolikhet även deras kunskapsutveckling i ämnet.The purpose of this study is to contribute with new knowledge about grade distribution and students’ subsequent grades in the subject Dance technique as part of Swedish upper secondary education. The study encompasses the upper secondary school grades of the 414 students that ended the Arts Programme in dance in the City of Stockholm, Sweden, during the years 2014 - 2018. The results are based on a statistical analysis of these students’ course grades in the subject Dance technique. The study shows that students have generally received high grades in the subject Dance technique, both in relation to their grades in other subjects as well as in relation to national grade averages in various courses and subjects. The study also shows that the students maintain a somewhat even grade level throughout their education and that students’ grade level and learning in Dance technique is affected by students’ and schools’ course choices in the subject
Re-Membering Resonanz : Eine E-Mail-Konversation zwischenCecilia Roos und Jan Burkhardteinige Monate nach demSymposium
No full textFeedback inom dansundervisning : en kvalitativ studie om danslärares förhållningsätt till och användning av feedback i undervisning
No full textThe aim of this study is to investigate how different approaches and methods for giving feedback can be articulated, problematized and discussed. Also, to produce a bigger knowledge about how feedback is used in a contemporary dance teaching context and to pay attention to feedback in dance teaching. The investigation is made by qualitative methods there three dance teachers have been interviewed and their answers were analyzed by disposing their answers in categories. The result of the study shows that teachers’ feedback can have different forms and their choices depends on several factors. Teachers’ intention is to not comment their pupils’ appearance and instead focus on dance-related aspects and use feedback consciously. The aim of teachers’ feedback is to develop and improve pupils’ dance practice and includes also problems and difficulties that can be encountered in the communication. However, the study contains and present how just a small part of dance teachers experience feedback and cannot be representative for the all dance teachers in one country or even institution