Stockholm University of the Arts
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The decline of choreography and its movement : a body's (path)way
No full textThis doctoral artistic research project addresses the possibility of a dance withdrawn from that neoliberal scheme accordingto which self-performance, entrepreneurship and the production of subjectivity rule. Taking as a starting point the dissident corporealities that have emerged in the last fifty years in Western contemporary experimental dance; the project involvesaesthetic, philosophical and socio-political perspectives, carried out on choreographic, performative, textual, audiovisual, curatorial and discursive media. In late capitalism dance's commitment with the future (or its lack thereof) must find alliances with potentiality and nothingness. This is not a nihilistic affirmation, but an attempt to enable an interval: a dance whose value has to be apprehended there, where it is already happening. Kafka said that "one might have a goal, but not a pathway". The pathway involves a decisive cognition such that cannot be carried out without one becoming the path itself; without defying so to speak, the relationship of the dancer with dance itself. It is not about what the dancer can do, say or communicate in respect to dance, but what dance accounts for in itself. In modern's kinetic exhaustion, the latter is possible approaching dance as a presence-in-crisis. The semantic field of the word "crisis" and its associated words, –critical judgment, decision and separation–, defines the moment when something or someone has somehow one foot outside. The moment when one realizes that it is not the world that ends, but the linguistic constructions and the reality systems that had made sense until then. This proposal tries to embody that gap. It tries to reveal the somatic, kinetic, political and aesthetic implications whereby to dance on a limit that is both inaugural and terminal. Decisive. Although “deciding” will always be not knowing what will happen. It is a dance that, although it does not seem to mean anything, it does something. The moment at which dance let's go of being a product (a goal), to become a deposition. "Deposition" is a word that includes both, an abandonment and a position. At the same time, to take on a position implies a becoming: a (path)way through which the dancer coincides with dance's conditions. The moment at which the dancer abandons any intention to communicate, to propose or to interpret dance, to carry out kinetically and perceptually the non-significant, ephemeral, ineffable and impersonal conditions that dance implies as a presence-in-crisis. In short, the coincidence “dancer : dance” implies taking into account an experience of dance freedom that is fugitive. In the theatre apparatus, it involves a dancing which ―by lacking recognizable aims, signs and subjects― gives way to an aesthetic paradigm which is not be construed as aparticular kind of thing (a performance, a type of dancer, a subject, or even a social or artistic process), but rather as a gap's embodied experimentation. A threshold, a curve. A parenthesis. An eclipse. A void: the encounter with something which doesn't need to be produced, because it is already happening.The Documented artistic research project (Doctoral thesis) consists of:Exposition in Research Catalogue that includes:ECLIPSE : MUNDO (performance, 2018)To Dance in the Age of No-Future (Pdf. Essay; also as a Printed Publication, 2019)Laboratories (2011-2019)Performance Experiments (2011-2014)Solo Dances (2011, 2012)Video-Essay & Film experiment (2013, 2014, 2019)Curatorial Experiment (2013) and Festival (2014, 2015)This documented artistic research project (Doctoral Thesis) consists of three inter-related parts: first it invites the reader to see the performance'svideo ECLIPSE: MUNDO located on RC website. Afterwards, the reader isLanguage: English3invited to read the book To Dance in the Age of No-Future and get acontext regarding the rest of the audiovisual materials located on the samewebsite. The exposed materials are displayed as an “essay written form”understood in the Spanish or French sense of the Latin word ensayo /répétition and its associated meanings such as try-out, rehearsal, practice,study, preparation and experimentation. To this end, the materials show anongoing migration of concepts, practices and tools, through analogousforms, equivalences and contrasts, inviting to see this project's genealogiesand continuous iterations in formats such as video, testimonies, audios,scores, tool descriptions and images. Accordingly, it is the reader who –byviewing, listening to and reading these materials– can trace the diversekinetic, political, aesthetic, discursive and conceptual layers linked to thepractices and presentation formats specific to this doctoral research projectsince its beginning.</p
Det är väl bara att dansa? : en studie utifrån kön om mina upplevelser av att dansa Halling
No full textThis thesis is based on my own experiences of dancing Halling, a type of folk dance. Halling is commonly referred to as a male or masculine dance. This has been entangled in the problems I have had with the dance, as I have felt uncomfortable performing all the movements to their full extent. Therefore, I have researched my experiences of this dance through a practical study with a focus on specific movements that I have struggled with. Combining the findings of my practical study with theories about feminism, gender and masculinity has shown me that, while my problem is complex, it is nevertheless possible to structure into two parts of my own understanding. The first part concerns the movement that make up the dance. Through my research I was able to deal with some of the problems that I had with specific movements, and this led me to the conclusion that the movements of Halling in themselves do not have to be problematic in a gendered way. The second part concerns Halling within its context, and the way that its representation and the expectations surrounding it affect me and my dancing. The study has also shown me that being a pedagogical role model is a very complex situation where it is not only important for me to be aware of the choices I make but also the person I am in the teaching situation. En video presenterades även i samband med examination av arbetet och innehas av författaren.</p
To let things unfold (by Catching the Centre)
No full textThis article is discussing and presenting insights gained through the research project To let things unfold (by catching the centre) conducted by Jan Burkhardt and Cecilia Roos between 2016-2018 and financed by Stockholm University of the Arts. The research started with the pilot study Gestures of exchange from a shared interest in how performers exchange methods during an artisticprocess and our aim was to explore different ways of articulating that. During that study we realized that our interest was rather in howwe can experience each other’s methods through sensation. That brought us into To let things unfold (by catching the centre),where we have been working on expanding the notions of sensation and practicing different ways that experiences of sensation can be used as a material in choreographic processes. The questions we have asked ourselves are: What is the role of sensation inchoreographic processes? In what ways are sensations exchanged, transformed and transacted between performers in a creativeprocess? What kind of possibilities can emerge out of purposelessness? The act of sharing became our primary research practice supported by sensation as one of the fundaments for sharing
To Let Things Unfold (by Catching the Centre)
No full textThis article is discussing and presenting insights gained through the research project To let things unfold (by catching the centre) conducted by Jan Burkhardt and Cecilia Roos between 2016-2018 and financed by Stockholm University of the Arts. The research started with the pilot study Gestures of exchange from a shared interest in how performers exchange methods during an artistic process and our aim was to explore different ways of articulating that. During that study we realized that our interest was rather in how we can experience each other’s methods through sensation. That brought us into To let things unfold (by catching the centre), where we have been working on expanding the notions of sensation and practicing different ways that experiences of sensation can be used as a material in choreographic processes. The questions we have asked ourselves are: What is the role of sensation in choreographic processes? In what ways are sensations exchanged, transformed and transacted between performers in a creative process? What kind of possibilities can emerge out of purposelessness? The act of sharing became our primary research practice supported by sensation as one of the fundaments for sharing
Somatiska perspektiv inom balett : en kvalitativ studie om balettlärares användning av somatiska förhållningssätt i undervisning
No full textBallet and somatic practice are two different fields with separate approaches regarding the body and its movement. Ballet in general is structured by a specific frame emerging from traditions and conventions which have effect on the dancer’s movement patterns and body. On the other hand, a somatic approach initiates movement from within which depends on the individual daily condition. The practitioners are encouraged to work from their own terms, therefore all bodies can be included in somatic practices. The aim of this study was to find out which somatic principles and perspectives ballet teachers use in their ballet teaching and how they relate it to their teaching methods. Our empirical material consist of observations and interviews with three different ballet teachers that took place in Stockholm, which later are processed with content analysis. The content analysis resulted in five main categories. Based on the data collection the result showed that the ballet teachers use somatic approach in their teaching. It also revealed three basic components in their teaching which are: anatomy, the use of language and the use of touch. These three components complement each other and provide the dancer tools to support their dancing as well as becoming more aware of their body’s function. A fundamental element in somatic is the dancer’s negotiation about their bodily needs. Through their choices the dancer can develop a deeper awareness that can maintain a physical balance which leads to a sustainable body
Defining circumstances/spaces/activities for dance: : within my MA in Choreography 2016-2018 at Doch, Stockholm
No full textWithin the frame of an MA, we know from the start that there will be a specific ending; we call it final project, degree project or final presentation and this essay is meant to accompany the journey of the degree project. In my case, I want to mention and reflect upon that for me the MA has been a framework for developing and experiencing different types of projects. So not only the project of presenting work at the end of the final semester but long term projects with a broader sense of choreography. Projects that includes social relations and are community based like P0€ session in a public swimming pool. The future project of proposing slime workshops at cultural centers and youth-clubs, which comes from the experience and the research on the work that will be presented as the degree project called FIEBRE. These projects are important for me to highlight because the way I work with choreography is not only about creating final products
When do we sing in theatreand how do we speak in opera? : När sjunger vi på teatern och hur talar vi på operan?
No full textVad är det du undersöker och varför? Jag undersöker gränslandet mellan teaterns och operans vokala uttryck. På svenska teaterscener möter vi skådespelare som avhändat sig många av röstens uttrycksmedel och närmat sig ett vardagligt uttryck. På operascenen skyms den talade textens innehåll ofta av det vokala uttrycket.Vad kommer vi att fåta del av under din presentation?Jag kommer redogöra för min undersökning av hur skådespelaren kan närma sig musikaliteten och ett expanderat vokalt uttryck före att gestalta textens innehåll. Och hur operasångaren kan söka sig mot en mer betydelsediger gestaltning av texten med bibehållen vokal kraft.What are you investigatingin your research and why? I’m exploring the meeting point of the vocal expression in opera and theatre. In Swedish theatre actors tend to minimalize their vocal expression, leaning towards an everyday manner. On the opera stage the content of the spoken word is often hidden behind the vocal expression.What will we experienceduring your presentation?I will describe how I explore the possibility for the actor to use musicality and an expanded vocal expression to communicate text content. Also, how the opera singer may search for content based expression of the text while keeping the vocal power of the voice
Gender Asymmetry and Circus Education
No full textThis paper discusses asymmetrical gender treatment in circus schools where graduates obtain both an academic diploma and the competencies to begin a professional career in circus arts. The relatively recent global rise of professionalizing circus schools has both reflected and created the evolving landscape of contemporary circus performance. While students attend professionalizing circus schools to develop an artistic vocabulary, they also learn career management and become socialized into the norms of the circus industry. This paper summarizes the rise of professionalizing circus schools and explores key critiques levied at circus educational systems through the lens of gender equality. I then expand the scope of investigation to consider, from the perspective of circus schools, what factors might predicate gender disparity in circus education. In conclusion, I explore what actions can be taken by circus schools, circus students, and the circus community to favour gender parity
HYPHAE SOMA : Master in Contemporary Circus Practices
No full textCreating immersive performance design using mycorrhizalstructure methodology and iceberg theory in circusperformance settingsWhat is immersive performance design and what role does ithave in a performance-based setting and frame? Does it holdthe possibility and capability of challenging the frame in whichwe normally perform?The focus of my research is to explore the boundaries of howwe approach devising performance with particular attentionto the relationships in space and the proximity of objects andparticipants within this. I am to create a performance-basedmilieu in which spectators, practitioners, the space andobjects are in symbiosis. A space of symbiosis where no oneperson has a different status from the other, but a space thatallows for people holding different roles. The performer andthe audience, the object and the body. My definition ofsymbiosis draws inspiration from the mycorrhizae funginetwork as a starting point for me to mould a methodologyadapted to a performative setting. To this milieu I incorporateother factors and concepts, such as the role of text, thedialogue of the still and quiet and how our senses-experienceaffect our perception. I attempt to weave these concerns intomy circus practice
Circus through sound
No full textThe research investigates the transposition of circus performance to the aural and sonic realm asking the question: How and can circus exist in and through sound?