Stockholm University of the Arts
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538 research outputs found
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Avhandling / Av_handling (Dissertation / Through_action)
No full textIf we are being-of-the-world, how can we ever avoid participation? From this question Avhandling / Av_handling (Dissertation / Through_ action) unfolds. It invites to engage in an ongoing continuum of entanglements, where the moment of connection is unavoidable. This invitation demands that we are attentive to our mutual co-constitutiveness, that we take responsibility for what gets excluded as well as what comes to matter. Avhandling / Av_handling (Dissertation / Through_action) introduces, purposes and explores a specific format, the live dissertation, an academic instance that demands performative responses during the public defense. It is a dissertation in choreography written through space-time-language-matter with and for human and more-than-human bodies, and other discursive-material becomings. By this Avhandling / Av_handling (Dissertation / Through_action) recognizes the force of what Karen Barad conceptualized as ethico-onto-epistemologocial engtanglements through intra-action. It engages a posthumanist and agential-realist reworking of the notion of performativity, in which all bodies (not only human bodies) come to matter through the world’s performativity—its iterative intra-activity. In this framework, knowledge is made as a direct material engagement, a cutting together-apart—a process by which cuts enact violence but also open up and rework agential conditions of possibility. During Avhandling / Av_handling (Dissertation / Through_ action) diffractive choreographic methods and techniques, which had been developed through diverse intra-active studies—actions, collaborations, and works that span throughout 2010-2016, were re-activated, applied, manifested, and experienced. These practices were made present through specific agential forces that enacted them—such as breath, text, touch, voice, vegetation, spatial proximity, motion, distance, asphalt, material walls and material voids (the reactor hole), pain, and disgust. These practices also enacted processes of queering causality, agency and relationality, and dislocating authority, while (my / the / our) human and more-than-human body / bodies pursued embodied affinities, and a state of becoming-with. Through these re-activated intra-active studies Avhandling / Av_handling (Dissertation / Through_action) examines and articulates choreography and performance as ever-present negotiations of vulnerability, intimacy, force, and power as enactments that are of-the-world. As part of the choreographic practice Sugar Rush Productions | Maria Åkesson together with Tsomak Oga, Sooz Romero, and Debora Vega were video documenting Avhandling / Av_handling (Dissertation / Through_action). This documentation together with other remains (as a non-representative residue) will be made available after the defense here: dissertationthroughaction.spaceDokumentationen av doktorandprojektet:http://dissertationthroughaction.spaceInnehåller framförd och bedömd live framträdande.</p
Communication and Shared Understanding of Assessment : A phenomenological study of assessment in Swedish upper secondary dance education
No full textThe aim of this study is to describe and explore the phenomenon of assessment in dance education within the Swedish upper secondary schools’ dance orientation. The phenomenon was researched based on teachers’ experiences of assessment in dance education and formulations in the syllabi for upper secondary school. Life-world phenomenology constituted a base for the study. The methods used in the investigation were document analysis, observations, teachers’ written and verbal reflections and interviews. Documentation of observations was made through field notes, video recordings and sound recordings. The generated material was analysed based on Spiegelberg’s (1960) seven stages of phenomenological analysis. Syllabi from Lpf94 and Gy11 were researched to describe and analyse in what ways dance knowledge becomes visible. In total, five teachers and three schools were involved in the study. Within the framework of the course Dance technique 1, observations of dance education in ballet, contemporary- and jazz dance were made as well as of ten grade conferences. The teachers read the field notes and were able to change formulations in case something was misunderstood or it needed to be commented on in the form of teachers’ written or verbal reflections. Interviews with four of the observed teachers were made and the conversations related to what appeared in the observations. Comprehension of teachers’ experiences resulted in a description of the phenomenon and answers to the research questions. The study is communicated through four intertwined papers. The result reveals various conditions for assessment in dance education. Two themes appeared in the overall findings of the study, namely: The design of the assessment practice and Communication within the assessment practice. The syllabi appeared as one condition among others for dance education in upper secondary school including views of dance knowledge that appeared through analysis of the syllabi. In the assessment practice, it was seen that teachers’ conduct of assessment involved conditions for formative assessment to emerge. Conditions in order for communicated assessment to become meaningful for the students also emerged, including shared understanding. The teachers expressed various conditions for the assessment practice to became visible, namely the students’ participation, their own actions, as well as the overall school context. The study contributes to the dance educational research field through making teachers’ experiences of assessment in Swedish dance education visible. The thesis discusses dance teachers’ various approaches to syllabi, how the teachers’ conceptions of quality influence the assessment practice, and finally the importance of shared understanding of communicated assessment is emphasised. Furthermore, collegiate discussions are brought to the attention as a way to improve and reflect upon assessment.Keywords: upper secondary school, dance education, assessment, life-world phenomenolog
Why use linear work flows with non linear tools?
No full textAlthough the technologies used to make films have changed completely during the 90-year life of sound film, the film making workflow has remained strangely unaffected. We still make films as if they are shot on film that has to be developed and printed by a lab, mechanically cut and spliced by a film editor and sound edited on mag tape. The transition to digital cameras and sound recorders and digital non-linear editing machines and audio work-stations, has had very little impact on the working practices of the film industry. This article proposes to change that. The transition in to a non-linear workflow would enable everyone involved in film post-production to collaborate in a more dynamic and creative way. By allowing more time for the sound editor and picture editor to experiment with sound in the editing process, more informed choices can be made in this critical phase. It would also enable the sound editors to have creative collaborations not only with the editor and the director, but also with the composer
Barn och unga producerar : vad betyder det för dem, för oss och för världen
No full textHåller vi yrvaket på att förlora kontakten med de unga och deras berättelser om världen? Vad har det i så fall för konsekvenser för demokratin? På mediehuset Fanzingo får unga, i medier och i samhället, underrepresenterade grupper berätta sina egna berättelser. Vi frågar dem vad som händer när de berättar och vad som händer när berättelsen får en digital form och möter publik? De unga svarar; självförtroende, identitet, makt och en känsla av delaktighet. Vi frågar oss; hur hänger mediepedagogiskt arbete med barn och unga ihop med vilka som söker till konstnärlig högskola och vilka som sedan blir yrkesverksamma inom mediefältet? Hörs barns och ungas egna berättelser i medierna om saker som angår dem? Vad tycker de unga? Det konstnärliga utvecklingsarbetet baserar sig på intervjuer med unga inom Fanzingos mediepedagogiska verksamhet samt vuxna från Public service och StDH. Slutpresentationen har tagit formen av ett urval av den filmade dokumentationen som skett under intervjuerna samt smakprov på filmer som unga gjort på Fanzingo.UtvecklingsarbeteHandledare: Barbro SmedsKonstnärligt utvecklingsarbet
EXPANDED CHOREOGRAPHY : Shifting the agency of movement in The Artificial Nature Project and 69 positions
No full textThrough two books and a series of video documentations of live performances Mette Ingvartsen makes choreography into a territory of physical, artistic and social experimentation. The Artificial Nature Series focusses on how relations between human and non-human agency can be explored and reconfigured through choreography. By investigating and creating a ‘nonhuman theater’ questions regarding material agency, ecology, natural disasters, the Anthropocene and non-subjective performativity are posed. The resulting reflections are closely related to the poetic principles utilized to create the performances, while also drawing connections to territories outside theater. By contrast, 69 positions inscribes itself into a history of human performance with afocus on nudity, sexuality and how the body historically has been a site for political struggles. By creating a guided tour through sexual performances – from the naked protest actions of the 1960’s, through an archive ofpersonal performances into a reflection on contemporary sexual practice – this solo work rethinks audience participation and proposes a notion of soft and social choreography. The contrasting performative strategiesarticulate a twofold notion of expanded choreography: on the one hand movement is extended beyond the human body by including the agency of nonhuman performers, and on the other hand, movement is expanded into animaginary and virtual space thanks to ‘language choreography’.LINKShttps://vimeo.com/164552586https://vimeo.com/164558381Innehåller framförd och bedömt live framträdande. </p
När verkligheten skrivs : om Aftonbladets granskning av Kommunal under en vecka i januari 2016
No full textBerättandets väga
Konstnärlig forskning
No full textVi ser ännu inte resultatet av KONSTNÄRLIG FORSKNING Det är dags att föra in den konstnärliga forskningen och doktorandutbildningen i Dialogen om konstutbildningar som förs på Konstakademien
Hur skapar jag konst som berör?
No full textSlutsats Jag har i varje kapitel ovan beskrivit olika ingångar till hur jag skapar konst som berör. Den största insikten jag fått under skrivprocessen är att kopplingen till kroppen ständigt återkommer. Ordet beröra refererar till en kroppslig förnimmelse. Att röra vid något. Att någon rör vid en. Det jag kommit fram till är alltså att för att skapa konst som berör måste jag förankra mitt konstnärliga skapande och utövande med min kropp. Endast då kan konsten beröra. Denna kroppsliga förankring kan antingen ske medvetet eller omedvetet. Det jag beskrivit och gjort i denna essä är ett medvetandegörande om processer där jag förankrar min konst i min kropp med olika metoder. Essän är av naturliga skäl ett teoretiskt verk och jag hoppas att jag i praktiken kan omsätta alla tankar jag beskrivit i essän. Jag har en rädsla att min kunskap kommer hindra mig från att naturligt förhålla mig till min konst, att det blir något konstlat. Men egentligen är jag övertygad om att kunskap endast gör konsten starkare. Jag får se. Jag får känna.Bilaga:TankekartaSvarta speglar - magisterutbildningen i konstnärlig självreflektio
Collaborative filmmaking : Reflection on the artistic development projec tabout devising film: Filmdevising
No full textKollaborativt filmskapande Utgångspunkten för detta konstnärliga utvecklingsprojekt har varit frågan om en demokratisk och maktkritisk process är möjlig i ett filmteamarbete. Projektet har varit delat i två faser, en researchfas som resulterade i en rapport om hur existerande devisade scenkonstprojekt och kollaborativa filmprocesser kan se ut. Andra etappen av projektet har varit en kollaborativ workshop där jag tillsammans med en grupp professionellt verksamma filmare och skådespelare undersökt denna arbetsform. Projektet presenteras i form av filmat material från workshoparbetet och en reflekterande text över processen.Utvecklingsarbet