Stockholm University of the Arts
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innebo : En undersökning av inneboende dans som konstnärlig praktik med funktionsvariation somideal, samt hur upplevelsen av dans med andra även kan upplevas i självständig praktik.
No full textinhabit The aim of this project is divided into two parts. The first project aims to investigate how the dancethat is already within us, our inhabited dance, can be used as an artistic practice for people withneurodiversities. The second project investigates how the feeling of dancing with others, can beexperienced in an independent practice. The first project is a collaboration with Mosaikteatern, a daily activity centre for people withneurodiversities. With “neurodiversity as an ideal” as a common denominator, the methods consist ofpractical teaching, introspection and multimodal communication in the form of visual aid and signlanguage. The second project consists of independent studio work, using the methods scores anditerations. Throughout both projects, theories of teaching and choreography have been used ascatalysts for one another, bouncing off and feeding off of each other. As a result of the project, methods and assignments for highlighting and elaborating one’s inhabiteddance have been created and used in practical teaching. These methods together with the theory ofcriptime have created a sustainable workingspace for people with neurodiversities. Furthermore, theproject has created scores and iterations of scores, through investigating how attention can be used inindependent studio practice
Emotional aspects of the singing voice : Are there traces of emotion in the overtone spectrum of a classical tenor?
No full textThe emotional qualities of operatic performance are undoubtable and an integral part of a performance. Might there be a trace of these emotions in the overtone spectrum of an operatic tenor? Using myself as an experimental subject, I examine whether or not this is true using recordings and fourier transforms thereof to study the overtones. Though no clear pattern is recognised, the study seems to suggest that a "sad" emotion and bodily posture lends itself to an optimised way of singing
Gestalta koloraturer - en berättelse utan ord : Reflektion kring mitt arbete
No full textIn her individual master project opera student Lovisa Wahlund Ferm explored different ways to express, enrich and bring meaning to coloratura passages in coloratura repertoire: to contextualize, create intentional narratives and give meaning to wordless singing. This text is a personal reflection on her work process, different methods of theatrical and musical performance, and interpretations of coloratura in operatic repertoire.
Err on the side of transparency , the 4th of the 8th hour : Noise, complexity or chaos? The heart as the origin of your worldview
No full textErr on the side of transparency , the 4th of the 8th hour is a performance as well as a memorial, a funeral and a tribute to youth, dreams of identities, destruction and lipsticks. It’s about remembering and longing through collapsed time loops and phases, working with and creating through erotics, the emotional body and the memories as well as the traumas our bodies contain. The performers, Riikka Lyra, Malla Aaltonen, Maya Giraudet and Tovalisa Delin, simply perform themselves but trigger different states within them through specific practices and scores. The piece takes form as a youth movie, working with clear images, visions and dreams through frontality. This essay questions where these images, visions and dreams sit in your body and explores the possibility of detaching the mind when creating, insisting on expanding the term knowledge. It also works through questions of synchronicity through friendship and deep listening, how far worlds can radiate and merge as well as how vibrations and sound trigger our emotional bodies. How we can create through trusting resonance and synchronicity. It also situates the question of who we are performing here - ourselves, a past or a third, exploring if it is possible to reenact lived experiences on stage. The piece explores the meeting between two contradictory worlds, taking a double life into one room - as a revolt as well as out of necessity. What is darkness, what is light, what is destruction, what is joy? How to glitch normativity apart through subtle horror? The acknowledging, embracing and revolting towards normativity, especially hyperfemininity, is situated in this work - exploring different ways of handle this life as youth and to discharge the terms destructiveness and darkness. The essay works from ideas around erotics and pleasure activism - how to create from and through pleasure and emotions while treating the piece in the not-knowing as a living entity. This essay talks about control while leaving it. 3030
"Vad tar jag med mig?" : -En kartläggning över influenser som danspedagogstudenter tar med sig från tidigare lärare
No full textThis study aims to heighten the understanding of how dance teachers influence their students, with a focus on what areas can influence dance pedagogy students, and how that influence is experienced. It is a qualitative study that uses a mapping methode, in a focus group with dance pedagog students from SKH, in order to study what areas dance teachers may influence their students. The results suggest that the physical material and personal treatment from teachers create a high level of influence in the informants, compared to influence from categories such as music choices or style of clothes. It also shows that influence can have a positive and negative effect at the same time.
Dare to be free : Translating the poetic possibiliteis of documentary imagery to narrative cinema
No full textRamar, Relationer och Reflektion : En studie i danspedagogers och danslärares möjligheter att främja kreativitet i dansundervisning för elever mellan 13 och 16 år
No full textThis study explores how dance educators work to foster creativity among students aged 13 to 16. The research is based on a qualitative interview method and uses a/r/tography as both theoretical and methodological framework. Drawing on developmental psychology, sociocultural learning theory, and definitions of creativity, the study examines the conditions and needs of this age group to engage in creative processes. Five dance teachers were interviewed, and their responses were analyzed through the chosen theoretical perspectives. The findings indicate that there are two key factors to promote creativity in this age group are the establishment of trustful teacher–student relationships and the use of clear structures that create a sense of safety. The study highlights how educators reflect on the role of creativity in their teaching and what concrete strategies they use to support it. The discussion section addresses why creativity may be perceived as particularly vulnerable during adolescence, and suggests how current teaching methods could be further developed to support creative expression. This research contributes practice based insights into how creativity can be supported within a safe and structured learning environment for lower secondary students.Denna studie undersöker hur danspedagoger och danslärare arbetar för att främja kreativitet hos elever i åldern 13 till 16 år. Studien bygger på en kvalitativ intervjumetod och använder a/r/tografi som teoretiskt och metodologiskt ramverk. Genom att utgå från utvecklingspsykologiska teorier, ett sociokulturellt perspektiv på lärande samt definitioner av kreativitet, analyseras vilka förutsättningar och behov denna åldersgrupp har för att kunna delta i kreativa processer. Fem danspedagoger och danslärare intervjuades, och deras utsagor analyserades i relation till de teoretiska perspektiven. Resultatet visar att två centrala faktorer för att möjliggöra kreativt arbete i denna åldersgrupp är: etablerandet av tillitsfulla relationer samt tydliga ramar som skapar trygghet. Studien belyser hur danspedagoger och danslärare resonerar kring kreativitetens betydelse i undervisningen och vilka konkreta strategier de använder för att främja den. I diskussionsdelen problematiseras varför kreativt arbete kan upplevas som särskilt känsligt i tonåren och hur undervisningsmetoder kan utvecklas för att bättre stödja elevers kreativa uttryck. Studien bidrar därmed med praktiknära kunskap om hur kreativitet kan främjas i en trygg och strukturerad lärandemiljö för ungdomar i högstadieåldern
Nurejevs koreografi av baletten Romeo & Julia i relation till McMillans : med fokus på den manliga dansarens roll
No full textThe purpose of this study is to investigate the impact Rudolf Nureyevs choreographies has had on changing the dancefield within classical ballet primarily for the male dancer.The study has been conducted through a qualitative method in the form of an interview aswell as a dance analysis and other documented material.The conclusion of the study resulted in that Nureyev did in fact play a significant and important role in the way the male dancer is presented in the classcial ballet repertoiares today in comparison to the traditional classical ballets.Expanding the male dancers vocabulary of movement and expression in relation to masculinity and the norm of his time
Kroppslig läsning av Dödsdansen
No full textTillsammans med skådespelarna valde jag i denna uppsättning av Dödsdansen att undersöka texten och berättelsen via kroppen. Resultatet blev en uppsättning som innehåller en blandning av dels ordrika delar dels tysta handlingar och även längre ordlösa partier till musik. 7 I det ordlösa ville jag ge plats åt att gestalta de inre konflikter som karaktärerna brottas med medan de via orden upprätthåller en annan bild av sig själva, mot varandra och omvärlden. Dessa sprickor i deras fasader ser jag som själva kärnan i Dödsdansens smärtsamma triangeldrama och berättelse om längtan efter kärlek, innerlighet och medmänsklig förståelse för den universella frågan människan brottas med: vad är meningen med livet. Genom denna text försöker jag inte påvisa att min metod skulle kunna vara svaret på hur man ska repetera en klassiker. Min intention är att lägga fram en pusselbit till den pågående dialogen om ett förkroppsligat arbete med dramatisk gestaltning. Jag ville ge en glimt av min väg när jag provar att utmana traditionen av hur vi kan närma oss ett klassiskt, psykologiskt drama och ge det liv på kroppsliga villkor, och det med respekt för det undermedvetna som en kompass i den skapande processen
Working from Pleasure and Friendship as Frame
No full textHow can we work and create from and with pleasure? How can friendship be the frame we work in? What do we actually create, and want to create? How can love guide us, and what happens if we collectively orient towards pleasure? These themes and questions have shaped the core of this project. They emerged from my personal experiences of being caught up in a non-supportive creation process mostly with myself and my desire to reimagine how to approach work and creation. Often I experienced the creation process, especially when I am the one creating, clouded by stress and self-doubt. I am tired of feeling that way and asked myself, what if there’s another way? How would it be to work from and with pleasure? In this process I gave it a try, the beauty of attempt.