Stockholm University of the Arts
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Badass practice - Ett utforskande av kroppsligt självbestämmande : en praktikbaserad studie kring koreografi och didaktikt ur intersektionella och dekoloniala perspektiv
No full textThis study investigates the integration and expression of bodily experiences within the creative process behind badass practice. Employing a practice-based research methodology, it seeks to explore the development and enhancement of self-determination in choreographic processes, drawing on interdisciplinary dialogues with authors and artists from intersectional and decolonial perspectives. The research is iterative and subverts linear progression, evolving through various phases of reflection, practice, and response to external stimuli, including presentations and performances. Initial practical sessions examined existing and new elements of badass practice, leading to the creation and refinement of a structured score. Subsequent stages included presenting a practice presentation at the Within Practice festival and developing the drag performance Shykira, each informing the research inquiry. The methodology is underpinned by concepts such as Barbara Sutton's Poner el Cuerpo and Gloria Anzaldúa's Mestiza Consciousness, allowing a critical examination of bodily engagement, self-determination and resistance within performance art and education contexts. Results reveal key insights into the embodiment of resistance and vulnerability (Poner elle Cuerpx), the utilization of humor and performativity to challenge normative narratives, and the navigation of identity through Anzaldúa's notions of hybridity and boundary crossing (Mestizx consciousness). The research highlights the potential for queer orientations and decolonial aestheTics/aestheSis to inform and progress educational practices, promoting inclusivity and fostering holistic understandings of identity and learning. Ultimately, this study underscores the need for a diverse representation within academic settings and emphasizes how hybrid identities and decolonial theory can dismantle colonial legacies embedded in dance and educational frameworks. The findings offer a lens for educators and practitioners to support and amplify the presence and voices of marginalized groups within the field
The Director's Body : Directing from inside the world
No full textThis written reflection marks the end of my MA project. It deals with stage directing from an inside perspective: from the inside of artistic practice and from inside the world. Using Donna Haraway’s term ‘situated knowledge’ as a starting point, I set out to find language for an embodied and situated understanding of the director. By tracing the personal and professional history that led me to this understanding I aim to place the discussion in a wider (historical) context. It is also an opportunity to articulate some core elements of the Flemish-Dutch directing tradition in which I was trained and had my formative years. I propose the term generative structure as a tool for thinking about the work of the director independently of the kind of source material that is used (if any). My conception of the director is further developed through an encounter with ecological thinking. What happens to the kind of work one makes if one thinks through situatedness, especially in an ecological sense? I attempt to find out, and find language for this turn, by discussing two of my own ongoing projects: Landscape with Radioactive Dogs and witchmacbethforest. By discussing these projects, I hope to show how an ecological turn in directing a) opens up for interesting and unexpected perspectives, and b) challenges some basic assumptions about the relationship between the director, the work and the world
2 WEAVE through (SPA)CE
No full textThis text is about the creation, process and product of a dance performance called "2 WEAVE through (SPA)CE", made by Linnea Johansson and Inka Keränen. The piece focuses on kindness, care, and connection, exploring themes like outer space, water, memory, and dissociation. The artists worked gently and openly, sharing ideas from their past and tuning in to their feelings and sensations to create a tender space. Their process was about trusting each other and making room for calmness and vulnerability. The performance aims to invite the audience into a warm, caring environment where everyone can feel connected and cared for
Om det absurda : Hur känsla tar form
No full textI denna videoessä utforskar jag det absurda, inte som ett tema jag aktivt valt att arbeta med, utan som något som successivt trätt fram ur mitt konstnärliga uttryck. Det absurda har inte varit en intellektuell utgångspunkt. Snarare en känsla som tagit form genom processen att skriva, iscensätta och filma. Det var först när jag började analysera och reflektera över mitt arbete, som jag kunde se en tydlig linje, ett slags återkommande förskjutning i tonen, i logiken och i rytmen som pekade mot det absurda som en bärande kvalitet. Denna essä är ett försök att förstå det uttryck som uppstår när filmen bryter mot realismens struktur, men samtidigt lyckas skapa emotionell trovärdighet. Det är i det till synes motsägelsefulla, när något är osannolikt men samtidigt känns sant, som mitt filmspråk börjar ta form. Jag har velat undersöka hur detta uttryck uppstår, inte genom berättelsen i sig, utan i hur berättelsen gestaltas: i kameraarbetet, i skådespelarnas spelstil, i dialogens relation till bildens rytm och i det rum som skapas mellan filmens inre logik och publikens upplevelse. Det absurda i min praktik manifesterar sig ofta i den förhöjda verkligheten – en spelvärld där karaktärer agerar utifrån emotionella drivkrafter som inte alltid följer en rationell struktur. Det kan handla om små förskjutningar i tonträffen: att en blick dröjer för länge, att kameran stannar kvar när allt i scenen tycks be om att vi ska gå vidare. I dessa skavande ögonblick, där bild och innehåll inte fullt ut överensstämmer, uppstår något som varken är ren komik eller ren tragik, utan en blandform där båda dessa känslor samexisterar. Det är just i denna ambivalens som det absurda får sitt uttryck. I min tidigare praktik har jag ofta rört mig i gränslandet mellan realism och förhöjd fiktion. Men under min utbildning har jag blivit alltmer intresserad av att undersöka hur formen i sig kan förstärka berättelsen. I denna essä har jag därför närmat mig det absurda inte bara som en tematik, utan som en metod, en motor som får forma bildens uppbyggnad, skådespelets ton, och inte minst berättelsens dramaturgiska struktur. Det absurda blir här ett sätt att tänka kring filmens grundläggande byggstenar: vad innebär autenticitet i en filmisk värld där verklighetens logik satts ur spel? Det absurda uttrycket visar sig i mitt arbete sällan genom storslagna visuella gester eller tillspetsade situationer. Istället kommer det till uttryck i friktionen mellan olika element – i hur en scen är komponerad, i skådespelarens fysiska närvaro, i kamerans oväntade val att stanna eller vänta. Det handlar inte om att skapa konstighet för konstighetens skull, utan om att bygga en värld där känslan får vara utgångspunkten, även när den känslan strider mot det vi rationellt förväntar oss. Det är i denna emotionella logik, snarare än en narrativ sådan, som det absurda får sin kraft. Genom att arbeta med längre tagningar, stiliserade dialoger och iscensättningar där kameran själv kommenterar det som sker, har jag försökt utveckla en form som inte speglar verkligheten, utan som bygger en egen trovärdighet. Det absurda blir då inte något som ”händer” i berättelsen, utan något som uppstår i sättet berättelsen får liv; ett resultat av de val jag som regissör gör i varje led av produktionen. På så vis blir det absurda inte en effekt, utan en hållning – ett sätt att förstå och forma berättandet. Genom utdrag ur mina filmer Kära mor (Solin, 2025), En lek för två (Solin, 2025) och Besatt, (Solin, 2025) ett pågående manusarbete, vill jag belysa hur det absurda uttrycket vuxit fram i min praktik, inte bara som en tematik, utan som ett konstnärligt verktyg. Syftet är att undersöka hur detta uttryck kan användas som metod för formskapande, och hur det påverkar publikens upplevelse av berättelsen.Kära mor, 13 min, Theodor Solin, Vildand Film 2025En lek för två, 14 min, Theodor Solin, SKH 2025Besatt scen, 5 min, Theodor Solin, SKH 2025</p
The Creative Screenwriter – Writing Powerful Drama in a Team : The narrative’s core, the writer’s power – How do we create strong stories in a team without losing the vision?
No full textAbstract: Success Factors and Pitfalls in the Scriptwriting Process This text explores crucial success factors and common pitfalls in the scriptwriting process, emphasizing the importance of a shared vision, clear structure, and preserving the screenwriter’s creative voice. Effective development relies on early, focused story work and iterative feedback in a safe, respectful collaboration climate that fosters innovation and trust. Deep, psychologically credible character development drives authentic dramaturgy, supported by rhythmic narrative structures and emotional presence that engage audiences. Pitfalls include emotional attachment blocking revisions, premature self-censorship, and avoiding challenging material. Over-editing, conflicting feedback, and lack of clear collaboration roles can stifle creativity. Poor process management, rigid structure without character depth, and tonal imbalance weaken the drama’s impact. Particularly in biopics and youth drama, failing to capture emotional truth or authentic perspectives undermines audience connection. Ultimately, successful scriptwriting balances artistic integrity, disciplined structure, and collaborative trust to craft compelling, nuanced stories that resonate deeply.https://www.uniarts.se/aktuellt/evenemang/evenemang-vt-2025/masterfilmmediaexpo25/Den Kreativa Manusförfattaren (utgiven på Studentlitteratur
Till ljuset : En visuell metod för hållbart filmfoto i naturligt ljus.
No full text“Towards the Light – A Visual Method for Sustainable Cinematography in Natural Light” is an artistic research project exploring how light can act as a co-creative force in fiction with a documentary approach. The project is based on the idea that we do not add light – we shape it, respond to it, and adapt ourselves to the natural conditions of a given place. Through work with 16mm film and digital tools, in small teams and authentic environments, the project investigates how the shifting qualities of natural light influence presence, expression, and the energy of the image. Inspired by the observer effect in quantum physics and a process-driven methodology, the focus lies on the unpredictable and site-specific rather than on total control. The research question asks how the role of the cinematographer changes when light is no longer treated as a tool, but as an active participant in the narrative space, creating new conditions for cinematic expression. The results include the short film Byns lilla oäkting, additional films applying the same method, and a graduation film Syster min from MA25 partially based on the research. The project is presented through a video essay and a reflective text. By allowing the light to speak—rather than be tamed—an alternative path for visual storytelling emerges: one that is sustainable, artistically rich, and rooted in the rhythms of the real
Crossing at la Minga de Fueguitos
No full textA writing about some of the learnings, works and processes that cross in the collective work and performance of the Minga de Fueguitos (Minga of little fires
Choreographer/researcher/teacher : Developing a/r/tography as an approach to dancepedagogy at Stockholm University of the Arts in aprofessional learning community of teachers
No full textThis article follows the becoming a/r/tographic of four colleagues working within thefield of dance pedagogy at Stockholm University of the Arts. The four colleagues –Tone, Camilla, Stina, Madelaine - are part of a larger professional learningcommunity of staff that together have carried out a 3-year long change projectrestructuring the BA program in dance pedagogy. As a result, the BA has been givenan a/r/tographic approach, emphasizing the entangled positions of the artist,researcher, and teacher in dance pedagogy. Another result is the open courseA/r/tography in theory and practice in higher education (7.5 ects), which wasdeveloped to qualify staff to work through a/r/tography. The four authors of this article were all involved in the first round of the open course, Tone as course teacher, and Camilla, Stina, and Madelaine as staff-students. The course is the entanglement from which they have explored the question that guides this article: How is a/r/ography being developed for the field of dance pedagogy in the context of Stockholm University of the Arts in an ongoing collaborative learning community of teachers? Their exploration is based in a diffractive methodology, thinks-with theory from a/r/tography and expanded choreography, and has resulted in three a/r/tographic expositions on Research Catalogue. The insights arrived at are discussed as: values; performative pedagogy; expanded choreography; a researching approach as choreographers/researchers/teachers; and professional development of staff in higher dance education
It´s not about that
No full textIt's not about that is a choreographic and performative exploration by Julia Christoffersson and Mira Buus Rasmussen that investigates the intersections of violence, gender norms, bodily autonomy, and institutional critique. The work engages with feminist and intersectional perspectives, interrogating whiteness within institutional structures and the politics of representation. Through strategies of discomfort, provocation, and audience manipulation, the performance aims to destabilize notions of safety and control while opening space for critical reflection on power, identity, and perception. Please feel invited to practise the scores the thesis provides.
UTTU : master degree project presentation for New Performative Practices of Stockholm University of the Arts
No full text“UTTU” is a performative movement exploration that emerges from openness, allowing things to surface, rather than be shaped. It invites the hidden, the broken, the unwanted, and the in-between to reveal themselves - those neglected fragments that exist on the other side. In this space of non-separation, movement unfolds through the gesture of attunement into what is invisible or ‘unknown’. Karen Barad’s concept of intra-action informs this process of exploration both in the metaphysical experience of dance — where the dancer’s body is inseparable from the environment and the objects within it — and the creation of performance worlds, where everything is entangled in the co-creation of meaning and movement. The phenomenon is before the phenomena, there are no separate atoms, no separate agents or elements, what is happening is the creation in between. “UTTU” is also a practice to decolonize my artistic process from the dominance of Western thought, and let the phenomenological experience, the inspiration and the intuition weave themselves through. 15-16 May 19:30</p