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  • 1.
    af Edholm, Klas
    Stockholm University of the Arts, Dance Pedagogy Department.
    Springlek som tradition i dans och musik2013Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 2.
    Ahlstrand, Pernilla
    et al.
    University of Gothenburg.
    Andersson, Ninnie
    Stockholm University of the Arts, Department of Dance Pedagogy.
    Articulating dance knowledge: – a study investigating aspects of knowing when performing a parallel pirouette2024In: Acta Didactica Norden, E-ISSN 2535-8219, Vol. 18, no 1, p. 1-25Article in journal (Refereed)
    Abstract [en]

    In this article, we describe the results from the dance section of a ULF project. ULF is an abbreviation for Development, Learning, Research (Swedish: Utveckling, Lärande, Forskning). Dance is a school subject at upper secondary level in Sweden with its own curriculum and grading criteria. Previous research has problematised teachers’ diffi-culties in verbalising and articulating their grounds for assessment. The research model used, a learning study, with its methodological and theoretical implications, is intro-duced. The model is collaborative and iterative and is combined with teaching practice. The results, presented as three categories of description in an outcome space with critical aspects, answer the research question: How can qualitative aspects of delimited subject-specific dance knowledge, namely, to perform a parallel pirouette, be articulated? We discuss the project’s results, gains and challenges and argue that the model used can be a way to gain knowledge about knowing expressed in a physical form, knowledge which is described as partly tacit. Considering the notion of tacit knowledge can be a way to understand the formation of dance knowledge and how it can be researched, in order to develop a subject-specific language.

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  • 3. Ahlstrand, Pernilla
    et al.
    Andersson, Ninnie
    Stockholm University of the Arts, Department of Dance Pedagogy.
    Från att ’lyssna’ till att ’skapa gemensam kontakt’2021In: DRAMA: Nordisk dramapedagogisk tidsskrift, ISSN 0332-5296, Vol. 58, no 1, p. 78-83Article in journal (Refereed)
  • 4.
    Ahlstrand, Pernilla
    et al.
    Göteborgs universitet.
    Andersson, Ninnie
    Stockholm University of the Arts, Department of Dance Pedagogy.
    Kroppsligt erfarande av att kunna driva sin vilja i teater- undervisning på gymnasiet2022In: I rörelse: Estetiska erfarenheter i pedagogiska sammanhang / [ed] Anders Burman; Petra Lundberg Bouquelon, Södertörns högskola, 2022, 1, p. 191-211Chapter in book (Refereed)
  • 5.
    Almfjord, Sofia
    Stockholm University of the Arts, Department of Dance Pedagogy.
    Ickeverbal kommunikation i dansundervisning: Hur upplever och tolkar danselever en danspedagogs ickeverbala kommunikation?2023Independent thesis Basic level (degree of Bachelor), 10 HE creditsStudent thesis
    Abstract [sv]

    Nonverbal communication in dance teaching - How do students experience and interpret the nonverbal communication of a dance pedagogue?

    The purpose of this thesis is to further the knowledge about how a dance pedagogue's nonverbal communication could be interpreted by dance students. The thesis focuses on four semiotic resources; placement in the room, facial expression, usage of voice, and body language.

    A combination of qualitative and quantitative methods was used. A practical workshop was executed where demonstrations of various ways in using nonverbal communication within a dance class context was shown. A questionnaire was based upon these demonstrations. A group interview was conducted. In the process of making the content of the demonstrations, video filming was used. The theoretical framework is based on theories of social semiotics and multimodality.

    The results show that small details in the dance pedagogue's usage of nonverbal communication have great influence on students' experiences of the presence of a dance pedagogue, the clarity of the instructions from the dance pedagogue, and the power dynamics between dance pedagogue and student. The study shows that these components are crucial for students' comprehensions of the content of a dance class and their experiences of the social climate of the classroom. The study advocates the importance of consiousness among dance pedagogues about their usage of nonverbal communication in teaching.

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  • 6.
    Alving, Beata
    Stockholm University of the Arts, Dance Pedagogy Department.
    Ansvar att lära - lära att ta ansvar: En fenomenografisk studie om elevers och lärares uppfattningar om elevens ansvar2013Independent thesis Advanced level (degree of Master (Two Years)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The school curriculum guideline for the upper secondary school states that student themselves should take responsibility for their learning and results. At the same time teachers discuss to what extent students do so. Responsability as a critical issue was observed during my teachers’s practice period at an upper secondary school, where students seemed to claim teachers more responsible for their activity. On this basis my aim is to investigate how students and teachers apprehend the notion of student’s responsibility for their learning and what factors facilitate or obstruct the action of taking responsibility. The overall theoretical approach for this study is phenomenography.Thus I collect data through interviews and categorise the statements in descriptions of categories which represent qualitatively different ways of experiencing responsability. In addition I take inspiration from reflexivity as a means of being aware of my own impact on the study. The result of the interview material is structured into Responsabiltiy, Student´s- teacher´s responsabilty and Obstacles/facilities to which of each three descriptions of categories correspond. The distinctions between the categories comprise to responsability being perceived as an obligation or as a means of power, whom is held most responsible and where the emphasis lies as to what obstruct or enhance the act of responsibil

  • 7.
    Andersson, Ida
    et al.
    Stockholm University of the Arts, Dance Pedagogy Department.
    Llull, Jenny
    Stockholm University of the Arts, Dance Pedagogy Department.
    Dansanalys: en studie med syfte att utveckla metoder för att diskutera och analysera dans på gymnasiet2010Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 8.
    Andersson, Klara
    Stockholm University of the Arts, Department of Dance Pedagogy.
    Det är väl bara att dansa?: en studie utifrån kön om mina upplevelser av att dansa Halling2019Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This thesis is based on my own experiences of dancing Halling, a type of folk dance. Halling is commonly referred to as a male or masculine dance. This has been entangled in the problems I have had with the dance, as I have felt uncomfortable performing all the movements to their full extent. Therefore, I have researched my experiences of this dance through a practical study with a focus on specific movements that I have struggled with. Combining the findings of my practical study with theories about feminism, gender and masculinity has shown me that, while my problem is complex, it is nevertheless possible to structure into two parts of my own understanding. The first part concerns the movement that make up the dance. Through my research I was able to deal with some of the problems that I had with specific movements, and this led me to the conclusion that the movements of Halling in themselves do not have to be problematic in a gendered way. The second part concerns Halling within its context, and the way that its representation and the expectations surrounding it affect me and my dancing. The study has also shown me that being a pedagogical role model is a very complex situation where it is not only important for me to be aware of the choices I make but also the person I am in the teaching situation. 

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  • 9.
    Andersson, Ninni
    Stockholm University of the Arts, Department of Dance Pedagogy.
    “We are Not that Old You Know”: Dance as a Dwelling Place for Women over 65 in the Northern Part of Sweden2021In: Journal of Dance Education, ISSN 1529-0824, E-ISSN 2158-074X, ISSN 1529-0824, p. 1-10Article in journal (Refereed)
    Abstract [en]

    This article communicates a study on dance for people over 65 in Sweden. Earlier studies on dance for elderly people have primarily focused on treatment and wellbeing. The current study centers on the right to make oneself heard in and through contemporary dance as an artistic form of expression, regardless of age, gender, or geographical context. The specific aim of the study is to describe and analyze the experiences of women aged over 65 in a rural area, who participated in contemporary dance workshops as a form of arts learning. The workshops, which were observed and documented, constituted part of an EU-financed project, Age on stage. Participants also shared experiences through informal chats and e-mails. The material was analyzed in a narrative manner. The results show that the workshops created a safe space for dance as a dwelling place, where dance was discovered, and at the same time developed, collaboratively. The results also highlighted the importance of this type of artistic participation for elderly women in terms of developing an understanding of themselves and coping with life.

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  • 10.
    Andersson, Ninnie
    Stockholm University of the Arts, Department of Dance Pedagogy. Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Assessing dance: a phenomenological study of formative assessment in dance education2014In: InFormation: Nordic Journal of Art and Research, E-ISSN E-ISSN 1893-2479, Vol. 3, no 1, p. 24-38Article in journal (Refereed)
    Abstract [en]

    This article includes a study that examines how formative assessment in dance education is constituted in three Swedish upper secondary schools. The starting-point for the study is life-world phenomenology. A phenomenological way of thinking entails that the human being is intersubjective, linked with and within the world and that learning requires the bodily subject´s active experience. To turn towards the things themselves and to be open and adherent to things in the world is a basic rule and the starting point for research within phenomenology. This study is based on empirical material from observations of the phenomenon formative assessment in dance. Spiegelberg´s philosophical method was used as a base for phenomenological analysis. The analysis results in three themes: modes of communication, dance-related knowledge and function of formative assessment. Formative assessment was observed in the study to commonly involve teachers´ verbal communication and visualisation. The assessment practice is a continuous activity and very rarely involves any kind of self-assessment or tests. The results were discussed and related to a life-world phenomenological view of learning and earlier research.

  • 11.
    Andersson, Ninnie
    Stockholm University of the Arts, Department of Dance Pedagogy. Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Assessment in dance education: an intersubjective setting for assessment2014Conference paper (Refereed)
    Abstract [en]

    This paper will present a study concerning teachers’ assessments of dance knowledge. The aim is to explore and analyse the phenomenon of assessment of dance knowledge in Swedish upper secondary schools from a teacher’s perspective. What goals for knowledge development, and thereby assessment, appear? What value assessments could be seen? In what ways do teachers motivate their choices of assessment? A starting point for life-world phenomenology is to be adherent to the phenomenon. To be able to grasp the phenomenon material was gathered through observations of grading conversations and one teacher´s written reflections. The observations took place during dance education and separate grading conversations in the course Dance techniques 1. The method used for analysis was inspired by Spiegelberg's stages of analysis. In the analytical process the phenomenon was seen and broadened out, varied and condensed, aiming to find the essence of the phenomenon. Assessment in dance can be seen as a complex phenomenon where embodied dance knowledge constitutes the basis for what should be assessed. Two dimensions in assessment will be presented. It is necessary for the teacher and student to be in agreement about the meaning of the assessment, though the communication has implicit meanings, goals and intentions.

  • 12.
    Andersson, Ninnie
    Stockholm University of the Arts, Department of Dance Pedagogy. Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Assessment of dance knowledge2012Conference paper (Refereed)
    Abstract [en]

    This presentation mediates a study that is a part of a larger study about teacher’s assessment of dance knowledge in upper secondary schools in Sweden. The purpose of this specific part- study is to define how dance knowledge is seen and valued by teachers teaching in dance and how teachers are assessing dance knowledge based on current syllabuses. There is a need for scientific research about curriculum assessment in dance (Blumenfeld-Jones & Liang, 2007). Assessment in dance in Swedish upper secondary schools is a non-researched area and is important to increased requirement upon assessment.Theoretical and methodology frameworkThe study is based on phenomenological philosophy. A phenomenological way of thinking allows that human beings are inter-subjective linked with and within the world. According to this theory there are no distinguish between body and soul, but they form an entirety. According to Merleau-Ponty (2006) the only way to gain insight of the world is through human experience of it. A basic rule and the starting point for research within the philosophy of life-world-phenomenology is to turn towards the things themselves and to be adherent to the things.The tacit knowledge of dance can often be difficult to verbalize. To make visible the tacit knowledge of the phenomenon data is gathered in this sub-project through methods as observations that are documented using field notes, video documentation, teachers' notes and conversations with teachers about their reflections upon assessment of dance. The different methods will constitute base for the analysis of the study and create the unity of purpose an opportunity to capture different perspectives of the phenomenon. The observations are taking place in three selected schools in the course Dance technique 1.The expected findings from this research are how dance teachers use assessment of dance knowledge in their teaching in the Swedish upper secondary school. So far the study can show different ways to approach current syllabuses and how assessment is based on steering documents.

  • 13.
    Andersson, Ninnie
    Stockholm University of the Arts, Department of Dance Pedagogy. Luleå tekniska universitet.
    Bedömning i dans på gymnasiet2014Conference paper (Other (popular science, discussion, etc.))
    Abstract [sv]

    Ett idéseminarium för att diskutera bedömning i dans vid estetiska program på gymnasiet. Seminariet leds av Ninnie Andersson, doktorand i pedagogik, inriktning bedömning vid Luleå tekniska universitet. Dessutom medverkar Josephine Björklund från Fryshusets gymnasium i Stockholm och Lina Andersson från Holavedsgymnasiet i Tranås. Deltagarna får möjlighet att diskutera frågeställningar inom området bedömning.

  • 14.
    Andersson, Ninnie
    Stockholm University of the Arts, Department of Dance Pedagogy. Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Classroom observations of formative assessment in dance2013Conference paper (Refereed)
    Abstract [en]

    This presentation mediates a study that is a part of a larger study about teacher’s assessment of dance knowledge in upper secondary schools in Sweden. The purpose of this specific part-study is to analyse and describe the phenomenon of assessing dance knowledge from a teachers’ perspective.Theoretical and methodology framework The study is based on phenomenological philosophy. A phenomenological way of thinking allows that human beings are inter-subjective linked with and within the world. According to this theory there are no distinguish between body and soul, but they form an entirety. According to Merleau-Ponty (2006) the only way to gain insight of the world is through human experience of it. A basic rule and the starting point for research within the philosophy of life-world-phenomenology is to turn towards the things themselves and to be adherent to the things. The tacit knowledge of dance can often be difficult to verbalize. To make visible the tacit knowledge of the phenomenon data is gathered in this sub-project through methods as observations that are documented using field notes, video documentation, teachers' notes and conversations with teachers about their reflections upon assessment of dance. The different methods will constitute a base for the analysis of the study and create the unity of purpose an opportunity to capture different perspectives of the phenomenon. The observations are taking place in three selected schools in the course Dance technique 1.The expected findings from this research are how dance teachers use assessment of dance knowledge in their teaching in the Swedish upper secondary school. From analysis of produced material from observations the study can show how teachers use formative assessment in classroom-teaching and grad conversations. To see how the teachers elucidates goals of the teaching, how teachers make achievements visible in relation to the goals of the course and how teachers make the students aware of how to increase achievements in the course.

  • 15.
    Andersson, Ninnie
    et al.
    Stockholm University of the Arts, Department of Dance Pedagogy. Senior Lecturer in Dance education, Department of Dance Pedagogy , Stockholm University of the Arts , Sweden.
    Ahlstrand, Pernilla
    Senior Lecturer Department of Pedagogical, Curricular and Professional Studies , University of Gothenburg , Sweden.
    Variationsmönster i dansundervisning–lektionsdesign med som forskningsansats2022In: Nordic Journal of Dance, ISSN 1891-6708, E-ISSN 2703-6901, Vol. 13, no 2, p. 4-19Article in journal (Refereed)
  • 16.
    Andersson, Röyset, Camilla
    Stockholm University of the Arts, Dance Pedagogy Department.
    THE KEY 2 MY HOUSE2009Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 17.
    André, Caroline
    et al.
    Stockholm University of the Arts, Dance Pedagogy Department.
    Bergan, Veronica
    Stockholm University of the Arts, Dance Pedagogy Department.
    DAGSLÄGE: en studie om hur mindfulness kan integreras i jazzdans2015Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose of this study is to explore how mindfulness can be integrated into jazz dance. Throughteaching two classes of jazz dance where we integrate mindfulness, are we trying to discover how ourdance participants experience the dance style. We also want to figure out if and how this integration canbe an access to movement. In search for our result are we analyzing self reports that are written by ourparticipants. In the result we present the essence of the participants experiences. Acceptance, freedom anddifficulties with the integration of mindfulness in jazzdance, are the mainly experiences. The result alsoshows that feelings and bodily sensations can be an access to movement.Keywords:

  • 18.
    Arlasjö, Lisa
    Stockholm University of the Arts, Dance Pedagogy Department.
    Stretching: en jämförande studie av dess användning i dansundervisning och aktuell forskning2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    Whether stretching should be used in conjunction with exercise is a much debated subject. Stretching has in a large part of dance training received a major stronghold. Recent research has shown that some forms of stretching can reduce performance. The purpose of this study is to compare the current research regarding stretching and how stretching is used in dance teaching. Based on the questions:

    - What does the current research say about the effects of static and dynamic stretching?

    - Which approach to stretching does a chosen group of dance pedagogues in Sweden have?

    - What are the similarities and differences regarding stretching in current research and in the chosen group of dance pedagogues?

     

    This is examined by doing a research review of stretching, a questionnaire survey for dance pedagogues and by doing a content analysis of this material, and finally a comparison of those results. Research and dance pedagogues agree about the positive effects of dynamic stretching and disagree when it comes to the effects of static stretching. Research agrees that it is negative for performance, while many dance pedagogues mean it is positive for performance. Just as the research results the dance pedagogues disagree about the effects of stretching. But generally, research do not consider stretching to be needed as much as dance pedagogues do.

  • 19.
    Attié, Jasmine
    Stockholm University of the Arts, Dance Pedagogy Department.
    Med golvet som partner: att interagera kontaktimprovisation i en golvklass inom modern och nutida dans2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    In this study I investigate differences and similarities between contact improvisation and floor work

    within contemporary dance. The aim is to explore whether a floor work class can benefit from integrating

    exercises from contact improvisation.

    To answer these questions I do literature studies, interviews and let a group of dancers explore it through

    movement. The dancers write a self-report in the end where they reflect upon their own experience on

    integrating contact improvisation into a floor class. All my analyses are done using a phenomneographical

    analysis model.

    The result shows that the physical work is quite similar – such as working with the physical laws and the

    body’s functionality. The learning environment is different though, where it is more open and

    experimental within contact improvisation.

    The self-reports show that working with a partner through improvisation can help the dancers to

    understand different themes within the floor work in a deeper/different way. It also creates a more playful

    and easy going climate. As a pedagogue I experience that I give the participants more space to reflect

    together. Difficulties that come up are that the set movement phrases get unclear and that there are many

    things for the dancers to focus on.

  • 20.
    Axelsson, Elin
    Stockholm University of the Arts, Dance Pedagogy Department.
    Dans - med bild och assistan: att lära ut dans till synskadade och blinda2011Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 21.
    Berchtold, Andreas
    Stockholm University of the Arts, Dance Pedagogy Department.
    I cirklar som leder vidare: - folkdans, en koreografisk skärningspunkt2019Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    How can articulating dance in practice, problematize the notion of an expanded concept of choreography at Stockholm University of the Arts? What approaches are needed to make different perceptions of dance as phenomena contribute to the development of the field?

    These are the questions of the study and they are examined through dancing. The examination builds upon a relation between comprehension and constitution, and the question, if we ever are comprehended? Placing my dancing body in center of the research gave rise to a position which yielded the required perspective. When dancing, the stance of “representing a genre” was assumed, taken and explored concretely, “folkdance”within the context of Stockholm University of the Arts. Researching by dancing allowed for the exposition of the practice so that it could be reflected upon with someone else. Five meetings in the dance studio facilitated the articulation of practices and approaches through the process of learning from an other.

    Moving in theoretical circles through different realms and allowing these circles to intersect in practice, the work achieves its critical point of view in relation to choreography and the field of dance. The expanded notion of choreography is critiqued using theories which deals with ideas of universal practice and exclusion. The work looks for a constructive way to fill an empty space that is perceived within the epicenter of the expansion. It fills this space with dance and works with choreography as a critical practice that acknowledges the specific and intense physical work which must be invested by any body in order to find a way of being in the world.

    In maintaining an ambivalent relation to the practice there is an urge, to move on in dance through choreography, to find ways in which agency can constitute the subject within discursive context, and to reflect upon aesthetic, political and pedagogical consequences of the ideas that arise. By searching for further ways to articulate difference in dance, the study contributes to the field of contemporary dance pedagogy.

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  • 22.
    Berglund, Sofia
    Stockholm University of the Arts, Dance Pedagogy Department.
    Att förmedla tolkning -: om interpretation i klassisk balettundervisning2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The aim of this essay is to increase the awareness about the use of interpretation in classical ballet education through qualitative methods and a phenomenographical approach. Three ballet pedagogues are interwiewed about two phenomena. Firstly how they percieve interpretation and secondly in what ways they percieve their use of it in teaching. The interwiews are transcribed and represents the data for a phenomenographical analysis in which seven description categories are created in two category systems. Each system describes a phenomenon and the second system is a development of the first. Conclusions from the analysis suggests that interpretation can be percieved as a teaching method, a separate unit, a necessary ability for a dancer as well as a part of life. Interpretation as a teaching method can in turn be used by the teachers to evaluate themselves or their students or to help the students achieve greater understanding of classical ballet, for example technical difficulties. Furthermore, it is also percieved as something used to create dance out of movement.

  • 23.
    Bergström, Elin
    Stockholm University of the Arts, Department of Dance Pedagogy.
    Att motivera elever i dans: En kvalitativ studie om lärares upplevelser kring hur elevers motivation påverkas i dansundervisning samt hur elevers motivation till lärande i dans kan främjas.2021Independent thesis Advanced level (degree of Master (Two Years)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose of this study is to examine teachers experiences of student’s motivation in dance at Upper Secondary School. Furthermore, the study aims to visualize how teachers feel that they can promote student’s motivation. An additional goal is to create interest and discussions among dance teachers in general about how teachers can promote student ́s motivation. The research questions are: “How do teachers experience that student’s motivation is affected in dance education?” and “What strategies do teachers feel that they can use to promote student ́s motivation in dance?”. The theoretical frameworks of the study are sociocultural perspective on learning, goal theory, McClellands theory about needs and self-determination theory with its understanding of internal and external motivation. The method of the study is to conduct semi-structured interviews and then analyze the material with a qualitative method.

    The result shows that teachers experience that student’s motivation is affected by goals, experience of dancing and development, social environment, student ́s health and assessment. The study also resulted in strategies which teachers use to promote student’s motivation in dance. Teachers can establish goals together with their students, give students opportunities to make decisions on their own, acknowledge student’s emotions, give feedback, adjust movements according to student’s knowledge and adjust the lessons dramaturgy.

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    Att motivera elever i dans
  • 24.
    Bergström, Sandra
    Stockholm University of the Arts, Department of Dance Pedagogy.
    Kropp & Själ: - vägen till personlig utveckling ochpsykiskt välmående genom dansundervisning2004Independent thesis Advanced level (degree of Master (Two Years)), 10 HE creditsStudent thesis
    Abstract [sv]

    Uppsatsen är baserad på litteraturstudier och informella samtal med tre verksamma danspedagoger. Syftet är att undersöka om och hur dansen kan utveckla en människas personlighet på ett positivt sätt samt förbättra hennes psykiska välmående. Utöver detta har jag utarbetat en mindre arbetsmodell för hur man kan arbeta med detta i dansundervisning. Uppsatsen redogör för litteratur i ämnen som påverkar den personliga utvecklingen och det psykiska välmåendet. I uppsatsen ingår även en redogörelse för tre danspedagogers tankar kring ämnet. Undersökningen visar att det finns ett stort antal beståndsdelar som man som danspedagog kan arbeta med för att positivt påverka elevernas utveckling däribland är beröring, samtal, musik och andning fyra stora faktorer.

  • 25.
    Bergström, Sara
    et al.
    Stockholm University of the Arts, Department of Dance Pedagogy.
    Persson, Hanna
    Stockholm University of the Arts, Department of Dance Pedagogy.
    "Det är inte det jag är här för, jag är här för att undervisa": En studie över hur ämneslärare i dans tolkar och förhåller sig till gymnasieskolans fostrande uppdrag2023Independent thesis Advanced level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The Swedish school’s fostering assignment is a well-researched field within social science, but there is a lack of research regarding the assignment related to dance. Therefore, the purpose of this study is to contribute to an understanding of the fostering assignment in relation to dance. This is a qualitative study aiming to give an insight to how dance teachers in upper-secondary schools interpret and include the fostering assignment in their work. The study also aims to address how different dance traditions affect how fostering is practiced in upper-secondary schools. The method used for collecting data is semi-structured interviews and the analysis is hermeneutic. The result shows a lack of an overall picture of what fostering in upper-secondary schools actually means and the fostering assignment’s changing and contextual character in relation to the shifting ideals of society. Dance as a practice and subject can contribute to students developing abilities relating to democracy, empathy, entrepreneurship, and also strengthen students’ identities and subjectification. In conclusion, the study stresses the importance of specifying the implementation of the fostering assignment on different levels (macro, meso, micro) within organisations. Otherwise, there is a risk that the fostering happening counteracts the content written in the curriculum.

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    "Det är inte det jag är här för, jag är här för att undervisa"
  • 26.
    Berndtson, Elsa
    Stockholm University of the Arts, Dance Pedagogy Department.
    Kan vi dansa nu?: ett arbete om dansens hinder och möjligheter i svensk grundskola2015Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This essay raises the question about the preconditions for dance in Swedish elementary school. With a design theoryperspective the essay examines the different aspects of the school system which play a role in the discussion on dance inschool. These different aspects are the physichal resources, the institutional patterns including regulatory documentsand also the teacher´s education. To get an insight view of what the actual teaching situation looks like observationsgave been done in classes year 1 and year 3 in elementary school.One important part of this question is what view of knowledge that exists in society, school and in the arts. Thereforea part of the essay presents these different views.The conclusions are that the preconditions for dance in school are difficult due to the lack of research in the subject,the regulatory documents where dance plays a minor role, the time schedule that does not give much time for the arts inthe schedule, the teaching program that lacks education in the arts in general and in dance in particular. The mainconclusion is that the status of these parametres are due to the fact that the view of knowledge in society and school arelargely instrumental and economic and based on mathemathic and linguistic skills rather than artistic.

  • 27.
    Bjelkefelt, Anna
    Stockholm University of the Arts, Dance Pedagogy Department.
    Coaching: ett utvecklingsredskap i samtal med dansstudenter2012Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 28.
    Bjerge, Cassandra
    Stockholm University of the Arts, Dance Pedagogy Department.
    Momentum:: en uppsats ur en icke konstnärlig kontext2016Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 29.
    Björk, Anna
    Stockholm University of the Arts, Department of Dance Pedagogy.
    Folkdansaren och arkivet: en undersökning av traditionsbärande som kritisk arkivpraktik2021Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    The aim of this study is to investigate transmission of knowledge as critical archive practice within folk dance, and thereby contribute to updating the concept tradition bearer. The research questions are: What is done in the situation of knowledge transmission where different folk dance bodies understood as archives – both living dancers and bodies in text and image – meet over time and space? How can these situations be understood theoretically and thus contribute to a new, archive oriented, theoretical understanding of the transmission of knowledge and tradition within folk dance? The empirical material consists of phenomenological interviews with three folk dancers who each participated in two workshops created by the author: in one case, the participants encountered archival material such as text, film and photography, in the other a living dancer understood as an archive. Drawing on critical and pluralizing archive theory, the findings of the study show how both dancers and archive records are stakeholders and agents in creating the affective, dynamic and complex interchanges that take place in both situations. Pluralizing archive theory also proved useful in identifying values and hierarchies among the stakeholders in the folk dance archive. In the interchange between dancer and archive, negotiations between different approaches to tradition took place. Through pluralizing archive theory and the understanding of the body as archive, the concept of tradition bearer may be given a more dynamic and inclusive definition, shifting focus from what it is to what it does, and be considered a complex relational situation.

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    Folkdansaren och arkivet
  • 30.
    Björk, Clara
    Stockholm University of the Arts, Department of Dance Pedagogy.
    Rörelseljud: för dansundervisning2011Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    I have been intrested in sound as a communicative tool for interpretation and deeper kinesthic understanding in dance pedagogy. My ambition has been to investigate if there is a relation between different ways of using the voice and different types of movement and develop a method to enhance learning in dance. [---]

  • 31.
    Blad, Levi
    Stockholm University of the Arts, Department of Dance Pedagogy.
    I gränsen mellan repetition och praktik: En praktiknära studie av verket Suit of Dances (1994)2024Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose of this study is to, within an artistic process, investigate a dance practice and how the process is enriched by the interaction with three experts within the field of dance pedagogy. Furthermore, it discusses aspects from the process that can be applied in dance education. Methods that are used is autoethnographic perspectives and self-reflective writing in the studio before inviting experts to three unique practical interviews. The results are an intense movement analysis from the work in the studio and deep interaction on the work with three interviews that highlight things such as bodily exploration, musicality and reflection on practice. The study’s conclusion is that a method for ballet class inspired by Creative movement can enrich dance education with reflexivity, but the study also highlights the importance of repetition of movement.

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    I gränsen mellan repetition och praktik: en praktiknära studie av verket Suit of Dances (1994)
  • 32.
    Bobäck, Rebecka
    Stockholm University of the Arts, Dance Pedagogy Department.
    Fokus på dynamik i arbetet med nybörjare: en praktisk, danspedagogisk undersökning2011Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 33.
    Bolladóttir, Birna
    Stockholm University of the Arts, Dance Pedagogy Department.
    Varumärket barndans: en studie av hur privata dansskolor i Stockholm marknadsför barndans och hur det påverkar pedagogiskt och konstnärligt arbete2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    In this study I analyze the marketing strategies of the six biggest private dance schools in Stockholm, Sweden, through their official websites. As a target I have chosen to focus on dance for children in the age of two to five. The purpose is to summarize the information about the school’s range of courses offered, their target groups and their pedagogic ideology. The aim is also to gain a deeper understanding of the school’s view on dance as an art form versus a commercial field, and the possible influence of these on the teachers and their pupils. With an objective approach I have chosen an image- and content analysis as a method. The study shows that the schools aim towards a limited group of gender-stereotypical children of which they portray a unilateral image of; where variation of ethnicities and body types is limited. The results show as well that the schools have a major commercial focus in their marketing as they both verbally and visually highlight scenic performance. This assumingly suggests that their pedagogic practice has its ground in choreographic work, even with the young ages. This creates a complication as the commercial agenda collides with the artisic vision of a higher educated dance pedagogue.

  • 34.
    Boman, Emelie
    Stockholm University of the Arts, Dance Pedagogy Department.
    Självstyrt lärande: ett konstnärligt projekt kopplat till kursen Koreografi i den nya Gymnasieskolan 20112011Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 35.
    Boström, Evelina
    Stockholm University of the Arts, Dance Pedagogy Department.
    Du gör mig personlig: en studie om gymnasieelevers förmåga att dansa med ett personligt uttryck2012Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 36.
    Botello Villaseñor, Cyntia Gabriela
    Stockholm University of the Arts, Dance Pedagogy Department.
    Virtual Reality must be a thing!: - Användning av koreografi i cinematic VR2020Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    In this essay, Choreography within cinematic virtual reality (VR) is investigated through the genre of screen dance. The purpose is to contribute to the knowledge of choreography by investigating the experience of the medium from the perspective of the viewer/participant and the importance of the site. Essentially, using a laboratory approach, a choreography has been developed in two stages which after being filmed with different dancers at different sites, has been the starting point to the analysis. Part of the approach has also been that I myself actively participated in the whole process by taking on different roles. My participation was threefold; first as a dancer/choreographer, then as choreographer/participant/viewer, when the dancers came into the process, and finally as participant/viewer. As a theoretical point of departure, the concepts of affect, emotion and emotional expression are used to create an understanding of how an experience is created in 3D with the help of choreography and locations. The importance of a site was investigated though three different concepts which include the physical location, technology as a location, and the thirdspace. With the help of these concepts, it is shown how a physical location changes and becomes a thirdspace with the help of technology. Because of technology, this leads to the acceptance of the thirdspace as the fictional location equivalent to reality by the viewer/participant. The term kinesthetic perception explains the phenomena of how the viewer bodily experiences being "there". The result of my study has revealed that for a deeper experience to occur, the traditional film convention of 180 degrees must be challenged and supplanted by the 360 degree rule where the relationship between the viewer/participant, choreographer and the location are in focus and where engaging the moment of point of interest (POI) is allowed to happen. Further each viewer/participant has their own impression of what is taking place, unlike a scenic or performative action, the experience in cinematic VR is not shared directly with other viewer/participant.

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    fulltext
  • 37.
    Boutros Moussa, Alexandra
    Stockholm University of the Arts, Department of Dance Pedagogy.
    Dokumenterande respektive konstnärligt filmad metod för instudering av jazzdansmaterial: En kvalitativ studie om film som instuderingsmetod2024Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    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.

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    Dokumenterade respektive konstnärligt filmad metod för instudering av jazzdansmaterial
  • 38.
    Brandt, Lisa
    Stockholm University of the Arts, Department of Dance Pedagogy.
    Montessoripedagogik i dansundervisning2007Student paper second term, 5 HE creditsStudent thesis
    Abstract [sv]

    [---] Utifrån litteraturen om Montessori och hennes pedagogik har jag analyserat och reflekterat över hur jag kan överföra och inspireras av denna i min dansundervisning. [---]

  • 39.
    Branzell, Felice
    Stockholm University of the Arts, Dance Pedagogy Department.
    "Me, myself and I": en fenomenografisk studie kring icke-genredefinierad dans som ett normbrytande verktyg inom dansundervisning2015Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose of this survey is to map dance students perceptions of the phenomenon non-genre defineddance. This phenomenon is investigated to develop didactic questions in areas other than genre-orienteddance in relation to questioning of norms in the dance teaching field and creation of identities. Afterparticipating in non- genre defined dance classes the differences in the students perceptions are gatheredand categorized through the qualitative methods of written self-reports and phenomenographic approach.The analysis forms three descriptive categories that deals with different purposes of the dance classessuch as working with expression, the joy of dancing and the layout and mix of dance genres. The categoryembracing the work with expression is divided in three additional ideas which includes the physical andpersonal expression and working with characters. By adding a norm critical perspective, different normsappears from the result, all within the context of dance education. Conclusions from the discussionsuggests the non-genre defined dance as a tool to give the teaching situation more width by including thepedagogue’s and all students competence and identities. Didactic questions are developed in relation tothe non-genre defined approach and norms in relation to the study are being questioned and challenged.

  • 40.
    Brännholm, Anna
    Stockholm University of the Arts, Department of Dance Pedagogy.
    Föra eller följas vara eller icke vara?: en metod för att improvisera i folkdans.2010Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 41.
    Burén, Maria
    Stockholm University of the Arts, Dance Pedagogy Department.
    Var kreativ med danspedagogisk kunskap!: en kritisk granskning av begreppet kreativitet, danspedagogens arbetsmarknad och innebörden av kreativt förhållningssätt till danspedagogik.2010Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 42.
    Börelius, Lina
    Stockholm University of the Arts, Dance Pedagogy Department.
    Ätstörningar: en undersökande litteratustudie om möjligheten att finna ett pedagogiskt föhållningssätt/metod gentemot ätstörningar inom dansens värld2009Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 43.
    Carlsson, Emelie
    Stockholm University of the Arts, Department of Dance Pedagogy.
    Dunhamteknikens utveckling i Sverige och på Danshögskolan2008Independent thesis Basic level (degree of Bachelor), 5 credits / 7,5 HE creditsStudent thesis
    Abstract [sv]

    Jag har använt mig av litteraturstudie om Katherine Dunham, videomaterial med Vanoye Aikens och en intervju med Katarina Lundmark för att svara på frågorn: Hur såg Katherine Dunhams bakgrund ut och vad har influerat hennes teknik?Hur har Dunhamtekniken bevarats och utvecklats i Sverige och vad finns kvar av den och undervisas på Danshögskolan dag? [---]

  • 44.
    Carlsson, Emelie
    Stockholm University of the Arts, Dance Pedagogy Department.
    MänNISKans MeNISKer: ämnesintegrerad undervisning på gymnasiet Tema Knät2009Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 45.
    Carlsson Rowland, Cecee
    Stockholm University of the Arts, Dance Pedagogy Department.
    Klassisk Balett till Alternativ Musik: Musikens roll i utveckling av undervisning i klassisk balett2012Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 46.
    Chrenko, Daniel
    Stockholm University of the Arts, Department of Dance Pedagogy.
    Kan man bli lycklig av att dansa?: uppfattningar om fenomenet lycka i dans hos dansstudenter2018Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    Dance students perceptions of the phenomenon happiness in dance.

    Happiness is a phenomenon in human lives that is constantly being researched, and even though the topic is expanding there is still no literature about happiness in dance in Sweden. The purpose of this study is through a phenomenogaphical approach to get increased knowledge about how dance students perceive happiness, and the variations in their perceptions of happiness. In order to find out about this five dance students in the University of Dance and Circus were interviewed in the spring of 2018. The results showed that dance is affiliated with feelings of happiness, at least when those dance students were interviewed about it. Of course, the picture was not a clear picture, but rather complex and varied. What happiness in dance means turned out to be quite different, ranging from a euphoric feeling, a sensual experience of the movements of the body, to joy over challenging limits, accomplishing a new achievement or simply a feeling of well-being. In addition, different situations, contexts, moods and occasions give different opportunities to feel happiness in dance, according to the dance students. The atmosphere of the group, the influence of the dance educator, and the role of the audience influence in different ways. Requirements for good performance can both cause happiness when you succeed and sadness when you fail. This study creates new knowledge of happiness in dance, which has not previously been investigated; and shows that describing happiness in dance is like defining a very subjective experience.

  • 47.
    Cinne, Dana
    Stockholm University of the Arts, Dance Pedagogy Department.
    Classical Ballet NOT To Classical Music: the influence of different kinds of music on the students understanding of performing ballet movements2009Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 48.
    Dahlqvist, Lena
    Stockholm University of the Arts, Department of Dance Pedagogy.
    Kunskapsutveckling i en danskonstnärlig process: praktiknära studie av design i ett skapandeprojekt på gymnasiet2021Independent thesis Advanced level (degree of Master (Two Years)), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Sammanfattningsvis ser man att designen fungerar ändamålsenligt för ett skapandeprojekt i relation till Skolverkets kunskapskrav och att begreppet konstnärlig process genomförs på ett gestaltande sätt. Själva begreppet konstnärlig process tydliggörs eller medvetandegörs inte verbalt i så stor utsträckning annat än i projektets början, men lärprocessens utformning som ett projekt kan kroppsligt vara en konkretisering av en konstnärlig process. Det är främst det aktiva fysiska deltagandet i den konstnärliga processen som uppfattas som en kunskapsskapande aktivitet. Denna aktivitet kan dock verbaliseras mer explicit vilket i sin tur kan göra lärprocessen av en konstnärlig process mer tydlig och därmed begriplig.

    Lärprocessen i sig blir genom designen av projektet en gestaltning av en konstnärlig process. I de lösningsinriktade deliberativa samtalen är publikens fokus, dansarens upplevelse och verkets uttryck ständigt aktuellt. Genom samtalen växer och formas stycket till sin slutliga koreografi.

    Danseleverna får utrymme i improviserandet att undersöka och pröva egna personliga dansuttryck där samtalen kring valen av rörelsematerial verbaliserar materialet. Genom argumenteringen i de deliberativa samtalen synliggör och förtydligas både temat och tankarna kring detta, stycket blir mer konkret. Eleverna lär sig samtidigt hur man agerar i en demokratisk process, ett för Skolverket övergripande mål för alla gymnasieelever. Designen gestaltar konkret vad designteoretikern Lijnse menar med ”guidens from above and freedom from below” (1995, s. 192) och där rundan fyller funktionen av förberedande metod, trygghet och identitetsskapande.

    I designen tillåts eleverna genom det kollektiva arbetet med skapandet av en koreografi både kollektivt och individuellt tillägna sig Skolverket kunskapsmål (2011b) och visa förståelse och förmåga att med handledning genomföra en konstnärlig process. De tecken på kunskap som lyfts fram och blir synliggjorda i relation till begreppet konstnärlig process tydliggörs mest i processen genom de didaktiska verktygen, rundan och deliberativa samtalen. Detta tack vare att eleverna i gruppen visade sig engagerade i temat och aktiva i processen. En mindre engagerad grupp, under andra förhållanden och med mindre aktiva deltagare skulle kunna ge andra resultat beträffande kunskapsutveckling och förståelse av konstnärlig och demokratisk process.

    Kunskapstransformationen eleverna emellan får utrymme och handlingsalternativen inom fältets genre blir fler tack vare den kollaborativa skapandeaktiviteten. Meningsfullheten i sammanhanget och den meningsfulla aktiviteten i arbetet ligger främst i att eleverna tillsammans skapar och framför ett stycke danskonst samtidigt som de förtydligar sin egen individualitet i relation till varandra. De bygger på så sätt också en gemenskap som reducerar risken för konflikter och borgar för framtida effektiva samarbeten.

    Det dialogiska förhållningssättet som är signifikativt i designen ger en kontinuerlig utvärdering av skapandeprojektet för alla deltagarna både lärarna och eleverna. De deliberativa samtalen får liksom konstverket ett eget liv och blir som en drivande motor i projektet. I de deltagandes aktivitet ligger en energi och ett momentum som för hela projektet framåt. Här finns möjligheter för gruppdeltagarna att, där det kollaborativa arbetet innebär en verbalt och fysisk diskussion kring kommunikation och koreografiska val, fungera som språkutvecklande resurs för varandra i den konstnärliga processen. Kunskapsutvecklingen blir i verbaliseringen och språkliggörandet av innehållet i processen därmed också mer synlig för danslärarna och vilken kunskapsnivå eleverna uppnått.

    Genom det kollaborativa skapandet ingår varje elevs röst och rörelsespråk både i ett mindre, gruppens, och ett större samhälleligt, sammanhang. Detta uppfattar min kollega och

    jag som bidragande orsak till känslan av meningsfullhet. Att ha förmåga och kunna delta i samhällsdebatten är också ett tecken på demokratisk kompetens önskvärt av Skolverket (Englund 2000).

    Maktbalansen mellan lärare och elever jämnas ut genom de deliberativa samtalen och ägandeskapet av danskonstprodukten för över till elevgruppen och blir en engagerande faktor för alla elever. Dock är det svårt att bortse från danslärarnas egna kulturella kapital då designen utformas och projektet planeras. Det behöver inte vara negativt om både ämneskunskaper och danserfarenhet finns som kompetens och resurs i undervisningen.

    Inom skolans fält förekommer olika förhållningssätt både till transformation av kunskap och till elevens aktiva roll och dess inflytande över lärsituationen. Detta är också en tradition som elever inom dansutbildningar bär med sig. Det behöver medvetandegöras i en lärsituation för att utveckling av ämnesdidaktiken ska kunna ske. Studien av designen visar på vilket sätt undervisningen kan systematiseras och överföras och på så sätt förskjuta lärarens mästarposition över till eleverna och genom detta öka deras inflytande. I en grupp elever på gymnasiet finns ofta några som har dansat någon form av scenisk dans tidigare och därmed kroppsligt bär med sig mästar-lärling-traditionen. För elever nya för danskonstens undersökande förhållningssätt kan det vara en utmaning att ändra perspektiv och vara den som medverkar i konversationen verbalt och fysiskt med att utifrån sin egen åsikt beskriva en tolkning av egen eller någon annans rörelse. Genom designen som min kollega och jag utformat kan detta genomföras och systematiseras i både i dansgestaltning, men i förlängningen även i övrig undervisning.

    Metareflekterande deliberativa samtal, visar sig fungera som en drivande motor i processen och ge möjlighet till diskussioner om danskonsten som uttryck. De ger samtidigt möjlighet för varje enskild elev att få syn på sin egen konstnärliga röst, de individuella preferenserna och val en danskonstnär ställ inför i en konstnärlig process i speglingarna av övriga gruppmedlemmar. I metareflektionen intar varje elev en representation av sin erhållna kunskap vid det aktuella samtalstillfället. På så vis visar studien att de deliberativa samtalen inbegriper kunskapsutveckling ur flera aspekter.

    Att denna studie endast visar på en mindre del i en större design av en konstnärlig process kan anses begränsat, men man får se det som en i raden av flera skapandeprojekt i den större övergripande designen för eleverna i ämnet dansgestaltning under tre år. Studien kan även ses som en i raden av flera studier av design-för-lärande som i sin tur kan jämföras och diskuteras. Vad studien visar är att eleverna enskilt eller tillsammans kan driva, leda, skapa, uppleva, tolka och kulturellt utforma danskonst i sin kontext inom fältet och därmed ha tillräcklig kunskap för

    att genomföra en konstnärlig process. Resultatet visar således att den här studerade designen ger grundträning för en förståelse av och färdighet i en konstnärlig process. Eleverna har möjlighet att inom designens form tillägna sig vissa domänspecifika kunskaper tillhörande danskonstens fält, arbeta med ett för dem meningsfullt projekt, utveckla demokratisk förmåga samt få utrymme att pröva sin egen personliga konstnärliga röst inom ramen för designen.

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    fulltext
  • 49.
    Degerfeldt, Alva
    et al.
    Stockholm University of the Arts, Department of Dance Pedagogy.
    Rychlik, Klaudia
    Stockholm University of the Arts, Department of Dance Pedagogy.
    Breaking the loop: A study on how collaborative learning impacts accessibility in dance2023Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This bachelor thesis is a study of how collaborative learning impacts accessibility, with a particular attention given to the relationship between the learning process and accessibility. The aim is to gain insights into how collaborative learning as a pedagogical approach impacts accessibility in a group of mixed ability dancers. For that purpose, we propose a theoretical framework of accessibility, collaborative learning and pathways to knowledge. The study is conducted through a qualitative research method using abductive reasoning. It consisted of two workshops as well as in-practice reflections and discussions, following an eight-step thematic analysis method. In summary, five main themes were identified in this study: sense of belonging, openness, the act of sharing, space for interpretation and to dare. Each theme reflects components of breaking the loop, a process in which new insights may arise. Thus, all of the themes can be used as inspiration to create more accessible learning environment in which we pave the way for discovery and creativity. Thereof, while arguing for the significance of collaborative learning, this study intends to contribute to the conversation surrounding accessibility in the wider context of dance education.

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    Breaking the loop_Rychlik_Degerfeldt
  • 50.
    Domanska, Karolina
    Stockholm University of the Arts, Dance Pedagogy Department.
    Feedback inom dansundervisning: en kvalitativ studie om danslärares förhållningsätt till och användning av feedback i undervisning2019Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The aim of this study is to investigate how different approaches and methods for giving feedback can be articulated, problematized and discussed. Also, to produce a bigger knowledge about how feedback is used in a contemporary dance teaching context and to pay attention to feedback in dance teaching. The investigation is made by qualitative methods there three dance teachers have been interviewed and their answers were analyzed by disposing their answers in categories. The result of the study shows that teachers’ feedback can have different forms and their choices depends on several factors. Teachers’ intention is to not comment their pupils’ appearance and instead focus on dance-related aspects and use feedback consciously. The aim of teachers’ feedback is to develop and improve pupils’ dance practice and includes also problems and difficulties that can be encountered in the communication. However, the study contains and present how just a small part of dance teachers experience feedback and cannot be representative for the all dance teachers in one country or even institution.

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    Feedback inom dansundervisning, Karolina Domanska
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