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Owner-managers’ approach to strategic management : a case study from a small creative and cultural industry company in Finland
No full textThis thesis studies how owner-managers in a small Finnish creative and cultural industry company approach strategic management. The aim is to provide the owner-managers an analytical overview of the methods, processes, and tools they utilise. Analysis of the research findings may provide a basis for development of strategic management processes in the company.
This qualitative, descriptive single case study form its theoretical framework around strategy, strategic management, arts management, and creative and cultural industries. As methods of data collection, the thesis utilises semi-structured interviews with owner-managers and company’s internal strategy documentation. The findings suggest that the owner-managers approach to strategic management is primarily informal and based on routines. The owner-managers are not particularly familiar with strategic language and rhetoric, and they have developed their own methods and processes over time.
Strategizing in the company is done mainly by the owner-managers and their ability to do deeper strategy work is hindered by limited resources (primarily time). Strategizing and strategy creation is seen as an important and mandatory activity. Additional findings show that the owner-managers identify a challenge in managing creativity and the balance between employees’ artistic ambitions and financial pressures of commercial productions
Aulikki Rautawaara (1906–1990) Sibeliuksen laulujen esittäjänä : ohjelmisto ja esiintymistilanteet.
No full textTämä lisensiaatintutkimus käsittelee sopraano Aulikki Rautawaaraa (1906–1990) Sibeliuksen laulujen esittäjänä Rautawaaran laulajanuran vuosina 1927–1957. Lisensiaatintyö koostuu kahdesta vertaisarvioidusta artikkelista sekä yhteenveto-osasta. Tutkimus sijoittuu musiikin esittämisen tutkimuksen alueelle, erityisesti laulajatutkimukseen. Tutkimuksen tavoitteena on lisätä tietoa Rautawaaran toiminnasta ja taustoittaa sitä aikakauden virtauksiin ja tällä tavoin ymmärtää laulajien toimintaa 1900-luvulla myös laajemmin.
Työssä selvitetään, millaisena Rautawaaran ura Sibeliuksen laulujen esittäjänä toteutui. Kahta artikkelia ovat ohjanneet kysymykset siitä, mitä Sibeliuksen lauluja Rautawaara esitti ja missä hän niitä sotavuosina esitti. Arkistoaineistoihin kuuluvat Rautawaaran leikekirjat ja kirjeet, nuotit ja äänitteet sekä konserttiohjelmat ja sanomalehtiaineistot. Tutkimuksen yhdistää kulttuurihistoriaan se, että kiinnostuksen kohteena on laulajan toiminnan kytkeytyminen ympäröivään yhteiskuntaan. Lähestymistapa hyödyntää elämäkertatutkimuksen empaattista ja kriittistä lukutapaa ja laajentaa sitä myös soivien aineistojen tarkasteluun.
Rautawaara lauloi Sibeliusta lähes kaikissa konserteissaan. Ulkomailla Sibelius-ohjelmisto antoi mahdollisuuden erottautua sekä rakentaa ja esitellä suomalaista identiteettiä. Kotimaassa Sibelius-ohjelmisto oli keino luoda yhteys sota- ja pula-ajan kurittaman yleisön kanssa ja vahvistaa kansallistunnetta. Rautawaara tunsi palvelevansa isänmaataan parhaiten laulamalla, esittämällä Sibeliuksen lauluja ja viemällä suomalaista laulutaidetta maailmalle. Sotavuosina hän olikin lähes koko ajan kiertueilla. Sibeliuksen laulut ovat koko Rautawaaran uran läpäisevä säie, joka muodostaa kiinnostavan näkökulman hänen uraansa ja laulajien urien tutkimiseen ylipäänsä.This licentiate thesis examines soprano Aulikki Rautawaara (1906–1990) as a performer of Sibelius’s songs during her concert career from 1927 to 1957. The thesis consists of two peer-reviewed articles and a summarising text. The research field of the thesis is music performance research, and especially singer research. The aim of this research is to produce knew knowledge of Rautawaara’s actions, to contextualise them with the cultural, political, and social currents of the time, and in this way to understand the actions of singers in the 20th century more generally.
The guiding questions for the thesis’ two articles have been, what Sibelius’s songs Rautawaara performed, and, during the war years, where she performed them. In addition to Rautawaara’s scrap books and letters, the body of the thesis’ archival material consists of sheet music, recordings, concert programs and newspapers. This research links with cultural history, with an interest to connect a singer’s actions to the society around her. The methodological approach of the thesis uses methods of biographical research, expanding the emphatic and critical way of studying the material also to materials including sound, like sheet music and recordings.
Rautawaara performed Sibelius’s songs in almost all her concerts. Abroad, the Sibelius repertoire offered an opportunity to stand out, and to construct and exhibit Finnish identity. In Finland, the Sibelius repertoire was a way to connect with the public, ridden by the war and the depression after it, and to enhance national spirit. Rautawaara felt that she could serve her country best by singing, by performing Sibelius’s songs, and by taking the Finnish art of singing out to the world. As a continuous strand throughout Rautawaara’s career, Sibelius’s songs provide an interesting perspective on her career particularly and on the careers of singers in general.fi=ei tietoa saavutettavuudesta|sv=okänd tillgänglighet|en=unknown accessibility
Performing with trees as shifting attention
No full textPerforming with plants might seem peripheral to the core concerns of visual, performance, or media art. Due to the climate crisis and the debates regarding post-humanities, this marginal interest in vegetation, and especially forests and trees, is suddenly placed at the heart of current concerns. How can we perform with plants is a question of utmost interest, and not only, or even mainly, in terms of art. Despite a general plant blindness, with the currently flourishing field of critical plant studies, there is an increased interest in working with the vegetal. The project Performing with Plants (2017–2019) can be linked to ‘art’s return to vegetal life’ and more broadly to the current 'plant turn' in science, philosophy, and environmental humanities. Plants are sensitive to place; their life is literally site-specific. Trees are experts in their manner of adapting to circumstances. One way to perform with such seemingly sessile beings, respecting their specific sense of time and space, is to visit them repeatedly where they grow. This chapter describes some experiments in Helsinki and in Stockholm and discusses the ethical problems involved with the help of an example of hanging in a pine
IMAGE out of DARKNESS
No full textThis document is a narrative reflection on my past year and a half in Helsinki, Finland, living artistic practices to create a multifaceted master’s thesis project that traces concepts of “image” and “darkness.”
It begins by telling the narrative of my formative first 6 months in Finland. I reflect on “darkness” as it transfigured from my physical experience in the dark of Helsinki winter, to an internal poverty, and then an artistic concept. I describe my first participatory artwork that was the ground for formulating significant elements of the thesis work.
This first section centers around a long journal entry written during early months testing emergent ideas of using my body as a camera and introduces the influential ideas of David Abram and Susan Sontag.
The next section details the beginnings of the main thesis work, Silence Chamber. The intent of this chapter is to answer the where, what, why, and how of this situated woven branch structure, its surrounding environment, and my rituals. This chapter is significant as it reveals the complexity of my first intensely durational, site-responsive work. It begins the embedding of my most vital source: the extensive chamber journal I kept throughout my process.
The most substantial section goes through each of the essential chamber practices: the participatory sensory experiences facilitated with visitors inside the structure. I chose these practices to describe in detail as each supports evolving questions of darkness, image, and perception.
The next section considers the reasoning behind why I refused to photographically document Silence Chamber or allow any visitors to do so. It concludes with comparative justification by addressing the work of several other artists.
The final main body section describes the artworks I made for Kuvan Kevät as an attempt to translate the site-responsive work to the university gallery space. I give space for words scribbled in the dark when experiencing my installation as a visitor instead of the artist.
I use the conclusion to identify some core aspects and values in my practice, and imagine their continuation. I end with contemplating what is carried from the process of the thesis work and my ongoing practice of sensory inscription in the ensouled body.If hyperlinks to photo/video documentation and audio fragments cannot be found, please request access by emailing [email protected]
Pippi som arbetsverktyg för utvecklandet av min konstnärliga praktik
No full textJag har i detta skriftliga lärdomsprov utmanat mig själv att sätta ord på mitt eget konstnärskap. Jag har försökt formulera en utveckling av en självkännedom både som blivande skådespelare på scenkonstfältet och som privatperson. Detta har jag gjort i form av listor, löpande text, litterära källor, citat, dialog och dikter.
Jag har i min uppsats försökt verbalisera en egen praktik. En praktik som jag kallar för Pippi. Jag kallar den det eftersom Astrid Lindgrens fiktiva karaktär Pippi Långstrump kan ses som en startpunkt och inspirationskälla för praktiken.
Uppsatsen består av fem rubriker som var och en kan ses som en beskrivning av ett konstnärligt verk men som också symboliserar mina fem år på Teaterhögskolan. Denna text har en upprepande struktur bestående av två röster: Pippi och Alexandra. Den första delen består av en slags processdokumentation av ett konstnärligt verk (Eget arbete 1, Eget arbete 2, Fritt arbete 3, Pippi Solo, Fritt Arbete 4). Den andra delen öppnar upp vad mitt konstnärliga arbete egentligen handlar om. Den tredje delen är en dialog om konstnärskap rösterna emellan.
I denna uppsats har jag kommit till en insikt; jag har behövt ha en Pippi-metod att arbeta med för att utveckla ett konstnärligt mod och på så sätt vara trogen mig själv i mitt skapande. Pippi är Alexandra och Alexandra är Pippi. Min praktik bygger på ett konstant ifrågasättande av både den konst jag gör och mig själv som konstnär. Den söker aktivt en relevans och en plats i samhället. I den här uppsatsen kommer jag fram till att det är precis detta ifrågasättande som skvallrar om min kärlek till det konstnärliga skapandet
Audience and the curatorial: Facilitating a resident-curated booklet in Poikilo Museum.
No full textIn this thesis, I explore audience participation in the curatorial role through a resident-curated exhibition at Poikilo museum in Kouvola. I begin my research as an observer during the planning of URB 2020, an urban arts festival organized by Kiasma Theatre where 2 non-professional curators curated the festival. I then examine what the museum as an institution represents to the public and how participation is a method to improve the public’s understanding of the museum and also the museum’s understanding of the public. Next I discuss how the role of the audience and role of the curator position themselves in the institution and in relation to each other. Finally, I present the resident-curated booklet.
The resident-curated booklet is a compilation of five exhibitions curated by residents of Kouvola. The project was organized in Autumn-Spring 2022-2023 and was exhibited at the Poikilo Museum in Kouvola. First, I interviewed three museum workers; then I interviewed five residents who represent various key demographics of the city; finally I invited the same five residents to curate their own version of an upcoming exhibition in Poikilo Museum - Überhund - Taiteen Kiehtovat Koirat from 2nd February 2023 to 29th April 2023. The booklet was then presented during the Überhund - Taiteen Kiehtovat Koirat exhibition.
URB 2020 provided a good foundation to see all the factors that are to be involved when the audience is actively a part of an institution. It helped me prepare a method to introduce the audience to the curatorial role through the resident-curated booklet.
The process of the resident-curated booklet presented the artistic interests and ideas of the public. Using this participatory method, it may be possible for the museum to find out to some extent what Kouvola residents are interested in, in terms of art. Furthermore, during the curatorial process, there came up insights into social tendencies and habits; something that the museum can potentially explore and build on in the future. In the end, all of this contributes to how the Poikilo Museum and, in my case, the curator’s practice can evolve and grow
Tanssitaide, luokka ja ruumiillisuus : kirjoituksia yhteiskuntaluokasta ja taidetyöstä
No full textTässä julkaisussa avaamme luokkataustan vaikutuksia käsitteellisen ja kokemuksellisen tiedon valossa sekä tarjoamme ehdotuksia luokkataustan huomioimiseen niin taiteellisissa prosesseissa kuin (taide)koulutuksessa. Näemme, että tämä julkaisu voi osaltaan tuoda luokkaisuuden ja siihen linkittyvän eriarvoisuuden näkökulmia mukaan yhteiskunnalliseen keskusteluun taidekentällä ja laajemmin. Tietoa lisäämällä on mahdollista kiinnittää huomiota rakenteisiin ja olla mukana luomassa tilaa erilaisille tekijöille ja tavoille tehdä.
Vaikka julkaisu käsittelee enimmäkseen kokemuksia tanssitaiteen kentällä, se on suunnattu yleisemmin taidealojen opiskelijoille ja ammattilaisille, kasvatusaloilla toimiville sekä kaikille yhteiskuntaluokan ja ruumiillisuuden suhteesta kiinnostuneille. Taiteilijoiden henkilökohtaiset kokemukset yhdistyvät tutkijoiden teksteihin luokkarakenteista avautuen yksityisestä yleiseen.
Julkaisu on osa Työväenluokkainen tausta ja ruumiillisuus -hanketta (myöh. myös Luokkahanke). Sen tekstit pohjaavat suurelta osin hankkeen työskentelyyn vuosien 2019–2023 aikana. Luokkahankkeessa olemme käsitelleet ja tehneet näkyväksi esittävien taiteiden ja tutkimuksen konteksteissa ja niiden keinoin luokkataustan ja -aseman vaikutuksia ihmisen ruumiillisuuteen, kokemuksiin siitä sekä toimijuuteen. Olemme pyrkineet syventämään ymmärrystä luokkakysymyksistä sekä purkamaan oletusta samankaltaisista kokemushistorioista ja myllertämään tasa-arvomyyttiä, jonka mukaan Suomessa kaikilla on samanlaiset mahdollisuudet opiskella, työllistyä, edetä urallaan tai osallistua yhteiskunnalliseen keskusteluun. Luokka-aiheiden käsitteleminen monella taholla, niin tutkimuksessa, mediassa kuin taiteen parissa, vahvistaa luokkatietoisuutta ja voi edistää luokkarajoja ylittävää ymmärrystä ja empatiaa. Työväenluokkainen tausta ja ruumiillisuus -hanke on saattanut yhteen taiteilijoita ja tutkijoita ja mahdollistanut siten taiteen ja tieteen välistä dialogia.Johdanto: Miksi yhteiskuntaluokasta on tarpeen puhua taidetyön yhteydessä? / Elsa Heikkilä & Laura Lehtinen --
Osa I. Rakenteiden näkökulma --
Seikkailu, johon sinulla ei ole varaa. Näkökulmia luokkaan taiteellisessa työskentelyssä / Taija Roiha --
Miten meistä tuli tanssitaiteilijoita? Sosioekonomisen taustan ja paikallisuuden vaikutuksista tanssintekijäksi päätymiseen ja taiteilijana toimimiseen / Soili Huhtakallio & Aliina Lindroos --
Duunarina tanssin kentällä. Pohdintaa käsityöläistanssijan urasta ja tietotaidosta / Virpi Juntti --
Makuasioista. Maun yksilöllisestä ja yhteisöllisestä muotoutumisesta ja sen vaikutuksista esittävissä taiteissa / Riina Hannuksela, Laura Lehtinen & Virva Talonen --
Luokkatietoisista työtavoista. Ehdotuksia luokkahierarkioiden huomioimiseen fasilitoinnissa, johtamisessa ja pedagogisessa työssä taiteen kentällä / Elsa Heikkilä, Laura Lehtinen & Anni Puuperä --
Osa II. Ruumiin kokemusten näkökulma --
Luokkakokemus, habitus ja kollektiivinen ruumiillinen muisti / Sanna tirkkonen --
Missä häpeä tuntuu? Pohdintaa uran luomisesta ja huijarisyndroomasta / Soile Lahdenperä --
Miten täällä saa olla? Sopimattomuuden ja sopivuuden ruumiillisista tunnuista kahden maailman välissä / Heli Keskikallio & Lotta Suomi --
Kirjoittajat.fi=ei tietoa saavutettavuudesta|sv=okänd tillgänglighet|en=unknown accessibility
The Day the Music Died : Searching for New Practices of Sharing in the Aftermath of the Death of a Composer in Western Art Music
No full textIn January 2016 news reported the death of Pierre Boulez. He was a major figure in contemporary Western art music from the 1950s onwards in varied roles as conductor, writer, and influential cultural figure in addition to being a composer. There was a shared sentiment amongst friends and colleagues working in Western art music that the twentieth century was truly over with his death. Boulez was ninety and had been ill for some time, and his death was inevitable; but the most striking fact was that it took more than fifteen years for many of us to gain a sense with certainty that twentieth-century music had gone. Six years on from his death, we may ask: what does the death of a composer signify as a concrete event within a span of time, for a cultural practice such as the performance of contemporary Western art music? This question provides the starting point for looking closely into the subtly changing ways in which musicians and audience share the music in the aftermath of the death of a composer
Film Score Conceptualisation: Defining Musical Identity in Short Film Projects
No full textConceptualisation is the step of the film scoring process that focuses on defining the musical identity of the film project in question. It consists of determining the key ideas at the core of the musical language that will be developed in the composition of the film’s soundtrack. In this thesis, I will define and demonstrate my view on what a film score concept is and how the conceptualisation process can be designed to create unique musical identities that support the singularity of each project. My research objectives for this thesis are to examine how the different stages and aspects of the filmmaking process can inform the definition of the film score concept, and how, through processes of abstraction and restriction, I can determine a compositional toolbox that answers the specificities of each project and each story.
The thesis is articulated around the exploration of multiple facets of the filmmaking process (such as working with the screenplay or the relationship of music with sound design) and of specific narrative elements (such as the setting and characters of the story), that may inform the elaboration of the film score concept. These observations and discussions about creative processes are based on a body of work of eleven short film projects at different stages of their development and from different film genres. While the core of this work is in the reporting of my experience in those short film projects, the ideas discussed in the text are also discussed in relation to existing cinematic works and film music theories.
This thesis serves as a consolidation of my current views on the film scoring process, the learning outcomes of the projects I participated in during my studies and the directions towards which I wish to develop my ideas and practices in the following steps of my career
Music ecology, music sociology, music locality - The case of Epirus
No full textThis master’s thesis investigates and interprets locally produced music and particular music traditions of the world that have strong aesthetics and characteristic sounds. Through the concepts of music ecology, music sociology, and music locality, it identifies the link of the music with its place of origin, in an attempt to find the tools to understand how the world works when it comes down to the tiny but hugely important matter of music traditions. Through music examples from different countries, and with a special focus on the music of Epirus, Greece, music ecology, sociology, and locality become the lenses through which answers are sought to crucial questions, such as:
How natural and built environments affect, almost dictate locally produced music; what kinds of tools do music traditions become in the hands of communities; and how can communities express, come together, and function through music traditions?
Additionally, this thesis explores the effects on music traditions when they are relocated from one environment to another. Finally, this thesis investigates how immersion into any music tradition can affect ones’ personal musical identity, and how this enhances the development of an individual’s personal style, always taking into consideration the aspects of music ecology, sociology, and locality.
In the Case of Epirus, Greece I attempt to answer these questions by visiting the birthplace of the music during my field work, which allows me to immerse myself in the environment as well as the music, communicate with the carriers of the tradition, and learn the music directly from them.
Findings emerge in terms of a deep connection between music traditions and the triptych of music ecology, sociology and locality, in the example of the music of Epirus but also in general. These triptych influences, shapes and guides locally produced music, to the extent that one, when researching, should acknowledge its connection to local music to deepen the understanding of why things happen as they happen within a music tradition. Awareness of this connection would also be a powerful tool of an individual’s immersion process into new music traditions, empowering them to come to a deeper understanding of it