Stockholm University of the Arts
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Parley : / edited by Marc Johnson ; with contributions by Colin Browne [and 27 others].
No full text"PARLEY" is the result of artist Marc Johnson’s immersive journey into cultural dialogue and discovery, initiated at the 2019 Vancouver Biennale International Residency program “re-IMAGE-n public space.” Conversations with esteemed local figures; including Dana Claxton, Karen Duffek, Sharon Fortney, Haa Huups, Peter Morin, Kamala Todd, Ian Wallace, Connie Watts, Laura Wee Lay Laq, Jordan Wilson, Tʼuyʼtʼtanat Cease Wyss, Michael Nicoll Yahgulanaas and Lawrence Paul Yuxweluptun amongst others; paved the way for a deeper communion with the city’s intellectual and artistic heartbeat. Johnson’s research took him behind the scenes of the Museum of Anthropology, the Museum of Vancouver, and the Vancouver Maritime Museum, sparking a profound curiosity about the narratives attached to stored and preserved artifacts. It was in the quiet reflection of these institutions’ collections that he found himself contemplating, “What is the archive hiding? I wonder if there is anything I would hide if I was the archivist.” This exploration into the intricacies of museum curation and the selective storytelling of exhibited pieces set Johnson on a path of inquiry and insight. In a dedicated effort to foster intercultural understanding, PARLEY weaves together the perspectives of 26 curators, artists, writers, and knowledge keepers, delving deep into issues of First Nation rights and cultural revitalization. Johnson’s dialogue with these experts, along with the exploration of archiving, collecting, and sharing First Nations languages and artifacts, formulates a narrative that challenges readers to consider the multifaceted aspects of history, representation, and the ongoing journey toward reconciliation. This book is not just a testament to Johnson’s residency experience; it’s an invitation to join an essential conversation on cultural heritage and the paths that lie ahead for collective understanding and healing.Ingår i SKH:s publikationsserie X Position nr 27,ISSN 2002-603X ; 27</p
The Domino Effect of a Mickey Mouse-pyjama
No full textWhat does the costume “do” in a performance? How is the relationship betweenthe costume and other elements of a production and how does changes in thecostume impact the experience of the fellow actors and the audience? Theseare central questions in the initial phase of the artistic research project CostumeAgency, affiliated at Oslo National Academy of the Arts (2018 - 2023). We decidedto start our research with an experiment, documented as a film. We had the following hypothesis: costume is a dynamic entity of garment, body,action, and context. To test our hypothesis, we decided to make the followingexperiment: The performers played six versions of Scene 4, Act 4 of the playHedda Gabler, by Henrik Ibsen. We made three of the components as stable aspossible; the actors were the same, the actors performed as similarly as possible,and the context was the same – a 1900-apartment in the upper-class area in Oslo.One component changed in each of the six versions: the costume of the maincharacter, Hedda Gabler, changed just before the film recording started. To capture the effect of the change of costume; the actors were intervieweddirectly after each version. The actors were asked how the costume impactedthem and how their perception of the main character changed. The actors saidthey never thought that costume could have such a huge effect, that in somecostumes it was impossible to perform the role as rehearsed. The main actorsaid that the costume changed her inwards, because the way she looked in otherpeople’s eyes. One of the actors said the costume had a domino-effect on them. In this presentation I will analyze the response of one performer, the husband ofHedda, in one specific line of the scene, namely when she expresses she findsbeauty in the suicide of Eilert. I will also analyze the response of Hedda at thepoint where she discovers that the “suicide” was an accident. As a result of theanalysis, I will revise the hypothesis that costume is a dynamic entity of garment,body, action, and context.Costume Agenc
Darkness matters
No full textDarkness Matters displays historic lightscapes, specifically at night, from petroglyphs to James Webb Telescope images. The exposition constructs a sort of cabinet of curiosities and wants to take the visitor on a private journey to a virtual exhibition space to re-embrace the endeavors under and around the nocturnal vault, an underrepresented micro-story of our times. By researching archive material, image recordings and other available data Costanza Julia Bani creates speculative reconstructions of our nights and our relationship to the universe behind the sky we can see with our naked eye. Starting from fireflies in olive groves, alpine forests and the Milky Way, the exposition becomes a visual experience around darknesses and light pollution that has been transforming our nocturnal habitat since the introduction of artificial light
organ-ing
No full textOrgan-ing is a multidisciplinary choreographic project that operates through a set of obscure organs that expand from spaces into bodies and from bodies into spaces. These organs don’t have vital functions and don’t seem to want to be named either; one could absolutely survive without them. Their byproducts are dances, sounds, objects, and poems: a gathering of lovers in lust for touch. Organ-ing is a strategy for a worlding that doesn’t stop at the body's borders. It is realised through an interest in the organ as a form that holds things as well as an ongoing formation. As an organ grows, I learn what it does. The project doesn’t follow linear paths of causality concerning what forms what: these organs shape and are shaped by what they create and hold. While realised and felt inside the human body, they also pour into and out of it. They might be organs of a human but they aren’t human organs. These emergent organs propose a sense of fiction to intertwine with the body’s pre-existing narratives, whether medical or holistic, and bring forth an array of fantasies that weave together the felt sense of the body. The organs of organ-ing don’t mean correcting or questioning what is already there. Instead, they twist or expand mostly pre-existent physical capacities to fabricate a body lustfully entangled with itself and its environment, with the ability and deep desire to belong. This alternative thesis is a website found on https://organ-ing.gergodfarkas.com/. The website contains hyperlinks, which lead to a series of footnotes. These footnotes can also be read as a coherent text
En föreställning- Två Designarbeten : Hur skapar man en sammanhängade design för en föreställning när akterna skiljer sig markant i sin form?
No full textEn reflekterande text utiifrån frågeställningen "hur gör man en sammanhängade design för en föreställning när akterna skiljer sig markant i sin form?". Texten utgår från reflektioner gällande processen av att arbeta som en av två maskörer i en produktionsprocess där de två akterna skrivits av olika dramatiker och regisserats av två olika regissörer och hur det praktiska och konstnärliga arbetet formats av dessa förutsättningar.
Ljud och musik hjälper oss ta in tragedin : en undersökning
No full textThis is an artistic thesis on sound design for the performing arts. It examines how sound and music can help us into the tragedy, researched during the production for Mitt Hjärta Säger Lev Skrik Andas, for the theater Unga Klara in spring of 2024. The play is freelly based on Antigone and about children and young people's lost trust in the adult world.Mitt Hjärta Säger Lev Skrik Anda
Papageno’s love story
No full textEven before I started studying at the SKH Opera, I was already contemplating what would happen afterwards. So it all started with the idea that I'd like to apply to an Opera Studio after graduation. I realised that the largest market for opera studies is in German-speaking countries, where I could continue to develop my talent and simultaneously earn money working in my profession. For example, in the Opera Studio, an Opera provides a monthly salary. So when I applied to the university, I had to submit the so-called document "Independent project". I didn't write much, so I'd like to quote it here: “The idea for my project consists of organising and performing a few concerts of German classical music in Scandinavia. In order to best prepare for that event, I would first like to build my vocal technique at a high level. This is my main goal. In the next coming year I would like to work on German musical literature but one of the biggest dreams is to prepare a role of Papageno from The Magic Flute.”As you can see, the goal was focused on potential future work and earnings. I was mostinterested in improving my vocal technique and working on the German repertoire. Even though German was never my favorite language and I avoided it as much as I could, I decided that during this year, I'd focus on the German repertoire while also honing my technique. It's worth mentioning - I usually and almost always sang in Slavic or Latin languages, and my favourite language in the opera world is Italian. But why the role of Papageno and the opera “The Magic Flute”? While browsing through the opera repertoire currently in production in the German language, I noticed that “The Magic Flute” was one of the most frequently performed, so I thought it could be a fascinating adventure. While perusing the opera score, I found a character for myself: Papageno5, a role not too low, not too high in the vocal tessitura, a role for a baritone voice. Even though I usually sang bass-baritone roles, I decided to take up the challenge of preparing the baritone part
Co-poiesis: Exploring our relationship with the world through filmmaking : A study of collaborative pathways as new modes of interaction with our surroundings.
No full textThe research question that motivates this study is: what insights can be drawn from collaborative filmmaking as new modes of interaction with the world around us? Against the backdrop of contemporary societal and environmental divisions, this artistic research explores ways to rethink relationships - both human and nonhuman - through the lens of the philosophical framework of co-poiesis. Situating the inquiry within prevailing cultural paradigms that prioritize individualism over collaboration, this study underscores the collaborative nature of filmmaking. Additionally, it seeks to address environmental challenges by challenging existing power structures and proposing participatory decision-making models rooted in creativity. Using a practice-led research methodology based on the collaborative process of the short documentary The Spectacle, and various co-creation theories, this study investigates how collaborative practice and sensory engagement can serve as a reflective tool, illuminating our relational dynamics and perceptual interactions with each other and our environment. This thesis shares findings from the perspective of the filmmaker, focusing on the collaborative process.
A documenting respectively screendance recorded rehearsal method for jazz dance material : A qualitative study about video recording as a rehearsing method within jazz dance education
No full textSyftet med denna studie är att undersöka en dokumenterad respektive konstnärligt filmad metod för instudering av jazzdansmaterial, på ett sätt som samspelar med det egna sättet att lära. Undersökningen har gjorts genom intervjuer, film och observationer med hjälp av en danspedagogstudent. Litteraturen inom ämnet har varit begränsad vilket inneburit en kunskapsinhämtning från flera kunskapsfält. För att analysera materialet har jag använt en tematisk analys samt ett observationsschema med fokus på dansanalys av följande jazzdanskomponenter etablerade av Katarina Lundmark: bredd & höjd, precision, timing, koordination och musikaliskt uttryck (2011). Analysen av intervjuerna resulterade i totalt 10 teman, varav 4st tillhörande respektive filmmetod. Observationerna jämförde två jazzdansfraser som båda filmats vid två tillfällen med en veckas mellanrum och skapade ett resultat för hur vardera jazzdanskomponent påverkade gestaltningen i respektive jazzdansfras. Ett av studiens fynd visar att arbetet med film som instuderingsmetod kräver ett tydligt situerat syfte där de inre processerna aktivt samspelar med de yttre processerna.The purpose of this study was to investigate a documenting respectively screendance recorded rehearsal method for jazz dance material, in a way that interacts with one's own way of learning. The study has been done through interviews, film and observations with the help of a student in dance pedagogy. The literature on the subject has been limited, which led into the gathering of literature from several fields. To analyze the material, I have used a thematic analysis as well as an observation scheme combined with a focus on dance analysis of the following jazz dance components conducted by Katarina Lundmark: width & height, precision, timing, coordination and musical expression (2011). The analysis of the interviews resulted in a total of 10 themes, of which 4 belongs to the respective filming method. The observations compared two jazz dance phrases that were both filmed on two occasions one week apart from each other and created a result for how each jazz dance component affected the performance in the respective jazz dance phrase. One of the study's findings shows that working with film as a rehearsing method requires a clearly situated purpose where the internal processes actively interact with the external processes.Angivet datum ovan för presentation är ifrån min opponering, uppsatsen godkändes först den 21 juni 2024, när revideringsarbetet till följd av opponeringen var avklarat. </p
Introduction: Community Participation through Arts and Cultural Disruptive Citizen Practices
No full text“States Parties shall take appropriate measures to enable persons with disabilities to have the opportunity to develop and utilize their creative, artistic and intellectual potential, not only for their own benefit, but also for the enrichment of society,” states paragraph 2 of the Convention on the Rights of Persons with Disabilities, Article 30 – Participation in cultural life,recreation, leisure and sport (CRPD) (UN General Assembly, 2006).In this book, disabled persons’ opportunities and challenges for developing creative, artistic, and intellectual potential are highlighted. Furthermore, both individual and societal enrichment, and barriers to this enrichment, are made visible.How might inclusive arts practices strengthen active citizenship and community participation? This is the main question that inspired us to engage with glocal collegial networks which led to this book project.Min huvudtjänst är vid NTNU Norges teknisk-naturvitenskapelige universitet</p