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  • 1.
    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.

  • 2.
    Arnell, Malin
    Stockholm University of the Arts, Dance Department. Lunds universitet, Dans- och cirkushögskolan.
    Avhandling / Av_handling (Dissertation / Through_action)2016Doctoral thesis, monograph (Other academic)
    Abstract [en]

    If we are being-of-the-world, how can we ever avoid participation? From this question Avhandling / Av_handling (Dissertation / Through_ action) unfolds. It invites to engage in an ongoing continuum of entanglements, where the moment of connection is unavoidable. This invitation demands that we are attentive to our mutual co-constitutiveness, that we take responsibility for what gets excluded as well as what comes to matter.

    Avhandling / Av_handling (Dissertation / Through_action) introduces, purposes and explores a specific format, the live dissertation, an academic instance that demands performative responses during the public defense. It is a dissertation in choreography written through space-time-language-matter with and for human and more-than-human bodies, and other discursive-material becomings. By this Avhandling / Av_handling (Dissertation / Through_action) recognizes the force of what Karen Barad conceptualized as ethico-onto-epistemologocial engtanglements through intra-action. It engages a posthumanist and agential-realist reworking of the notion of performativity, in which all bodies (not only human bodies) come to matter through the world’s performativity—its iterative intra-activity. In this framework, knowledge is made as a direct material engagement, a cutting together-apart—a process by which cuts enact violence but also open up and rework agential conditions of possibility.

    During Avhandling / Av_handling (Dissertation / Through_ action) diffractive choreographic methods and techniques, which had been developed through diverse intra-active studies—actions, collaborations, and works that span throughout 2010-2016, were re-activated, applied, manifested, and experienced. These practices were made present through specific agential forces that enacted them—such as breath, text, touch, voice, vegetation, spatial proximity, motion, distance, asphalt, material walls and material voids (the reactor hole), pain, and disgust. These practices also enacted processes of queering causality, agency and relationality, and dislocating authority, while (my / the / our) human and more-than-human body / bodies pursued embodied affinities, and a state of becoming-with. Through these re-activated intra-active studies Avhandling / Av_handling (Dissertation / Through_action) examines and articulates choreography and performance as ever-present negotiations of vulnerability, intimacy, force, and power as enactments that are of-the-world.

    As part of the choreographic practice Sugar Rush Productions | Maria Åkesson together with Tsomak Oga, Sooz Romero, and Debora Vega were video documenting Avhandling / Av_handling (Dissertation / Through_action). This documentation together with other remains (as a non-representative residue) will be made available after the defense here: dissertationthroughaction.space

  • 3.
    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.

  • 4.
    Aujla, I. J.
    et al.
    University of Bedfordshire.
    Nordin-Bates, Sanna M
    Swedish School of Sport and Health Sciences, GIH, Department of Sport and Health Sciences, Sport Psychology research group.
    Redding, E.
    Trinity Laban Conservatoire of Music and Dance.
    Jobbins, V.
    Trinity Laban Conservatoire of Music and Dance.
    Developing talent among young dancers: Findings from the UK Centres for Advanced Training2014In: Theatre, dance and performance training, ISSN 1944-3927, Vol. 5, no 1, 15-30 p.Article in journal (Refereed)
    Abstract [en]

    The identification and development of talent is a key concern for many dance educators, yet little research has been conducted in the area. In order to understand better how to optimise dance talent development among young people, systematic and rigorous research is needed. This paper summarises and discusses the key findings of a ground-breaking longitudinal interdisciplinary research project into dance talent development. Over two years, almost 800 young dancers enrolled at one of the eight nationwide Centres for Advanced Training (CATs) participated in the project. Physical factors, psychological characteristics, and injury data were collected quantitatively while the students' thoughts and perspectives on commitment, creativity and cultural variables were captured using qualitative methods. The largest study of its kind, the project yielded a wide range of findings with a number of practical implications. The main focus of this paper is on how the project findings apply to important pedagogic topics such as audition criteria, passion and commitment, and teaching behaviour. The area of talent identification and development is complex, yet this research has begun to shed new light on the notion of talent and has provided novel insights to support its development.

  • 5.
    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.

  • 6.
    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
  • 7.
    Blåsjö, Mona
    Stockholm University, Faculty of Humanities, Department of Swedish Language and Multilingualism, Scandinavian Languages.
    Röörigt språk2015In: Språktidningen, ISSN 1654-5028, no juni, 6 p.34-39 p.Article in journal (Other (popular science, discussion, etc.))
  • 8.
    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.

  • 9.
    Bork Petersen, Franziska
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    ”Movement never lies”: How assumptions of authenticity mystify dance2014In: Terpsichore, ISSN 1901-6743Article in journal (Other (popular science, discussion, etc.))
  • 10.
    Bresin, Roberto
    et al.
    KTH, School of Computer Science and Communication (CSC), Media Technology and Interaction Design, MID.
    Elblaus, Ludvig
    KTH, School of Computer Science and Communication (CSC), Media Technology and Interaction Design, MID.
    Frid, Emma
    KTH, School of Computer Science and Communication (CSC), Media Technology and Interaction Design, MID.
    Favero, Federico
    KTH, School of Architecture and the Built Environment (ABE).
    Annersten, Lars
    Musikverket.
    Berner, David
    Musikverket.
    Morreale, Fabio
    Queen Mary University of London.
    SOUND FOREST/LJUDSKOGEN: A LARGE-SCALE STRING-BASED INTERACTIVE MUSICAL INSTRUMENT2016In: Sound and Music Computing 2016, SMC Sound&Music Computing NETWORK , 2016, 79-84 p.Conference paper (Refereed)
    Abstract [en]

     In this paper we present a string-based, interactive, largescale installation for a new museum dedicated to performing arts, Scenkonstmuseet, which will be inaugurated in 2017 in Stockholm, Sweden. The installation will occupy an entire room that measures 10x5 meters. We aim to create a digital musical instrument (DMI) that facilitates intuitive musical interaction, thereby enabling visitors to quickly start creating music either alone or together. The interface should be able to serve as a pedagogical tool; visitors should be able to learn about concepts related to music and music making by interacting with the DMI. Since the lifespan of the installation will be approximately five years, one main concern is to create an experience that will encourage visitors to return to the museum for continued instrument exploration. In other words, the DMI should be designed to facilitate long-term engagement. Finally, an important aspect in the design of the installation is that the DMI should be accessible and provide a rich experience for all museum visitors, regardless of age or abilities.

  • 11.
    Burman, Christo
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Martyrologion: Dagböcker 1970-19862012Collection (editor) (Other (popular science, discussion, etc.))
    Abstract [en]

    The collected diaries of Andrei Tarkovsky (1932-1986), for the first time published in Swedish. They cover the director's life, work and the increasing difficulties he encountered in the Soviet Union and the time of his exile in Western Europe. Internationally Tarkovsky's diaries were widely reviewed and considered to be a valuable addition to the Tarkovsky canon. They are professional and personal: thoughts on film sit alongside household chores, notes about friends and family. The diaries have been translated from its Russian original by Håkan Lövgren. This Swedish edition of the diaries is the most complete edition to date.

  • 12.
    Claeson, Karin
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Kroppens Kultur: Fysisk teater som begrepp, dess diskurs och status på teaterfältet.2011Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    This master’s thesis discusses the term physical theatre from a discourse point of view. It also focuses on aspects of power from a field theory perspective. The main theory used is Pierre Bourdieu’s field theory, and I try to apply this onto critical discourse analysis, mainly taken from Michel Foucault. The forms of physical theatre I focus on are mainly commedia dell’arte, theatre forms inspiredby Grotowski and Artaud, as well as mime, performance and contemporary circus. These are all theatre forms that focus especially on the body. My aim is to explore the status and discourse of physical theatre in Sweden today.

    The thesis is divided into two main parts. First, I present research concerning empirical data, where I search for the term physical theatre, as well as other forms of describing these theatre forms, in magazines, theatre playlists, texts about theatre troups etc. The term physical theatre is not very common in these texts, it is often described as dance-theatre for example. It is also prominent that the view on what physical theatre is has changed, theatre forms which focus on the body and its expression have been incorporated into the major theatre field, and are no longer considered odd or different. Physical comedy, however, still stands out. Although it seems that it has become increasingly popular, it has somewhat moved away from the serious forms of physical theatre.

    The second part of the thesis approaches the subject from a more theorising point of view, where the discussion itself is the main focus. I start off by discussing the term physical theatre and its aesthetics – how its meaning has changed from being something avant-garde to something that is considered “normal”. Thereafter I discuss the status of the physical theatre forms, and apply them onto Bourdieu’s field theory. Physical comedy has not yet acquired the status of ”high culture”, whereas the serious, more “arty” forms of physical theatre are on different positions in the theatre field, and even on the physical theatre field. I also discuss how this can be transferred to theories about popular culture, and the interesting things that happens when the once very popular, low-status theatre form commedia dell’arte is situated in a high culture theatre house, Kungliga Dramatiska Teatern, in Sweden. I continue to discuss marginalised forms of theatre from a sub-culturalperspective, fighting both against and inside the dominant culture to gain status in the theatre field. After this, I discuss how the physical theatre’s new discourse has changed because of the newly found interest in contemporary circus, research projects in universities as well as higher education in physical art forms. The conclusion is that the term physical theatre still can be useful to describe different forms of theatre, although it is quite vague and has changed significally.

  • 13.
    Czarnecki Plaude, Aleksandra
    Stockholm University of the Arts, The Department for Acting.
    Kroppsliga iakttagelser: kroppen som instrument - på spaning efter nya kroppsliga kompetenser2015Other (Other academic)
    Abstract [sv]

    Projektet söker dels efter relevanta former och forum för möten mellan å ena sidan teatrala, å andra sidan mediala principer med fokus på ett fördjupat och kvalitativt kroppsligt arbete; dels vill det utveckla pedagogiska verktyg för ämnet kroppen som instrument och rörelsegestaltning i förhållande till film och media, inklusive tvärdisciplinära möten.

    Aleksandra Czarnecki Plaude, lektor i rörelsegestaltning och rytmik vid StDH/Stockholms konstnärliga högskola, berättar om bakgrunden till projektets uppkomst:

    - Efter ett mångårigt arbete som rörelsepedagog med specialisering mot skådespelarens arbete med kroppen och dramatisk text, och som pedagog och teaterkoreograf, har jag börjat intressera mig för att undersöka hur min kunskap kring skådespelarens kroppsliga kompetens kan ”lånas” och ”översättas” i möte med flera konstnärliga discipliner, utanför scenområdet.

    Sedan några år tillbaka har jag börjat möta och arbeta med studenter och deras lärare inom film- och mediaområden. Att mötas över gränserna är en spännande och utmanande process som inspirerar, speglar mitt egna arbetsfält, väcker frågor och påminner om vikten av återkoppling till min egen rot. Under dessa samarbeten har jag upptäckt att kroppen som instrument och fysikalisering av tanke inte enbart är en viktig kompetens för skådespelaren, dansaren eller scenkonstnären.

    Kroppen finns närvarande i all konstnärlig verksamhet som på något sätt förhåller sig till berättelsen om människan. Tanken om kroppen är däremot inte nödvändigvis det samma som en kroppslig eller förkroppsligad tanke och det är denna nyansering och problematisering av kroppslig kompetens som ligger till grund för mitt KU- arbete 2013-2014.

  • 14.
    Dahlberg, Therese
    Stockholm University of the Arts, The Department for Acting.
    DOKUMENTATION: RÖRELSELEKTOR ALEKSANDRA CZARNECKI PLAUDES ARBETEMAGISTERPROGRAMMET FRÅN TROJA TILL VERDUN 2013 – 20142014Other (Other academic)
    Abstract [sv]

    Jag som dokumenterat Aleksandras arbete heter Therese Dahlberg. Jag följde Aleksandras arbete med hennes studenter under första hälften av höstterminen 2013.Arbetet tog studenterna och Aleksandra på en resa till Belgien och Frankrike men framför allt har de färdatspå minnets vägar. Med kollektiv trafik. Det kollektiva minnets färdmedel.Jag har följt med som en nyfiken medresenär. Jag har använt kameran för att fånga bilder, videofilmen för attfånga skeenden och pennan för att fånga reflektioner. Detta är den skriftliga delen med utvalda fotografieroch till de flesta passager finns ytterligare bilder och dessutom rörligt material. Dokumentationen är tänktsom en uppsamling av material inför Aleksandras fortsatta arbete i hennes konstnärliga utvecklingsprojekt –Kroppen som instrument - På spaning efter nya kroppsliga kompetenser.

  • 15.
    Eriksson, Anders
    et al.
    KTH, School of Engineering Sciences (SCI), Mechanics, Structural Mechanics.
    Ölme, Rasmus
    KTH, School of Computer Science and Communication (CSC), Media technology and interaction design, MID.
    Functional movements2012In: (What´s) the matter with method, Kortrijk, Belgium, 2012Conference paper (Other academic)
  • 16.
    Fahlgren, Siv
    et al.
    Mid Sweden University, Faculty of Human Sciences, Department of Social Sciences.
    Giritli Nygren, Katarina
    Mid Sweden University, Faculty of Human Sciences, Department of Social Sciences.
    Granberg, Magnus
    Mid Sweden University, Faculty of Human Sciences, Department of Social Sciences.
    Johansson, Anders
    Mid Sweden University, Faculty of Human Sciences, Department of Humanities.
    Söderberg, Eva
    Mid Sweden University, Faculty of Human Sciences, Department of Humanities.
    Having Your Cake and Eating It?: The “Painful Cake” Incident of 2012 Examined2015In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 84, no 1, 55-70 p.Article in journal (Refereed)
    Abstract [en]

    On the 15th of April, 2012, The Modern Museum (Modernamuseet) in Stockholm celebrated the World Art Day by having a reception with the Swedish cultural minister present, at which an artwork in the form of a cake made in the likeness of the body of a caricatured black woman was served, cut up and eaten, while the artist, masked as the cakes head, screamed. This conceptual, relational, and contextualizing artwork, which leads to a much heated debate in Sweden and which was also internationally picked up on, was made by the explicitly anti-racist artist Makode Linde. In this article, we explore the problem of this event in terms of its sociocultural significance. How did we react upon the drama that we were following from a distance? What did it make us see? What questions did the incident raise about the Swedish society of today? These are examples of the questions we as gender researchers working in Sweden will discuss in the form of a triptych. We use the triptych metaphor as a tool for opening dialogue. By opening its panels it becomes possible to decommodify the single image of the artwork and make relations between agents traceable, visible, and readable.

  • 17.
    Flygare Bengtsson, Susanna
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Övergång2017Independent thesis Advanced level (degree of Master (One Year)), 20 HE creditsStudent thesis
    Abstract [en]

    A one act play consisting in short scenes at a crossing. We meet different people a short moment, while they are waiting for the green light. In a break, more or less welcome, where other transitions and obstacles to cross in life are felt. In dialogue and in silence.

    Theme / Idea: To be put on pause or coming over. Play time about 1 h.

  • 18.
    Foka, Anna
    Umeå University, Faculty of Arts, Humlab.
    Remixing Classics for the Screen: Woody Allen and the Classical Tradition2015In: Studia Oliveriana, ISSN 0562-2964, Vol. 1, 55-76 p.Article in journal (Refereed)
    Abstract [en]

    Several films by Woody Allen (Interiors, Oedipus Wrecks, Match Point and Mighty Aphrodite) contain elements of classical tradition that have been neglected or oversimplified by film scholarship as references to the director’s personal engagement with psychoanalysis. Using Mighty Aphrodite (1995) as illustration, I argue that these films convey the expression of contemporary social issues through a complex and multi-layered reception of classical culture that goes beyond pure psychoanalysis. In Mighty Aphrodite, specifically, Allen deploys the strict formalism of tragedy and the myth of Oedipus as film mechanisms for contemporary societal discourse. Via evaluation of film and narrative, I demonstrate that Allen’s classical reception is self-reflexive as it refers back to the very processes of performative arts. Furthermore, Allen utilizes the classical tradition as a form of expression in contemporary classical Hollywood narratives and creates a rich cultural experience for his audience; a cinematic treatise on cultural remix, dramatic formalism and classical reception per se.  

     

  • 19.
    Fopp, David
    Stockholm University, Faculty of Humanities, Centre for Teaching and Learning in the Humanities (CeHum).
    Regi med barn och unga: En studie av hur personregi används i barn- och ungdomsteaterverksamhet2013Independent thesis Advanced level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Hur arbetar regissörer och dramapedagoger med barn med ”personregi” - alltså med feedbacken som hjälper till att ett barn hittar ett uttryckssätt som är trovärdigt, ett sätt att spela som är livligt. Hur gör man och varför? Vad är det för en typ av handling, interaktion? Syftet med arbetet är att förstå och tydliggöra en ganska dold och mystisk verksamhet; att inspirera alla intresserade till utvecklat egen verksamhet; att lyfta fram en interaktion där barnen blir hjälpt till och värdesatt i deras spontana tillvaro.

    Arbetets metodik är inspirerad av ”grundad teori” och närmar sig den konkreta sociala interaktionen genom att föra öppen strukturerade samtal med regissörer och dramapedagoger som är verksamma i stora mest kommunala barn/ungdomsteater: Vår Teater/Kulturskolan, Enskedespelet, Sagateatern Lidingö, Ung teater Täby, Skara Skolscen samt Stockholms Stadsteater och Dramaten. Utifrån det material föreslås en systematisering av de olika metoder hur man arbetar som regissör med just personregi. Teoribakgrunden är Daniel Stern och Anders Brobergs utvecklingspsykologi å ena sidan; och de implicita teorierna i internationella skådespeleri/regihandböcker å andra.

    Resultatet visar att det finns en skillnad i regiarbetet när det gäller 7-12-åringar respektive 12-20-åringar. Med de yngre arbetar man utan text. Däremot bygger verksamheten i alla åldrar på stolpmanus som regissören arbetar fram med barnen utifrån improvisationer i en ömsesidig inspirerande process av att hitta-på och ta-upp. I nästa steg är huvuduppgiften för personregissörerna att hjälpa till att försätta barnen i den specifika stämningsfulla situationen som scenen kräver. Som personregins metoder (i alla åldrar) för finarbetet dyker många olika ”verktyg” upp: kognitiva (1) som att prata om ”varför” någon gör något (a), vad någon ”vill” med en handling eller mening (b) eller om hur man ska ”tänka” medan man spelar en mening (c); kroppsliga (2) som att hitta nya rörelsemönster och uttryckssätt (a) eller agera ”som-om” man vore själv rollfiguren (b); samspelsmässiga (3) som att ta upp impulser från den andres blick eller situationen själv. Hur sceneriet exakt ska se ut bestämmer man sent i repetitionsarbetet. Alla är överens om att personregins arbete utgör en unik och värdefull situation där en vuxen hjälper ett barn att hitta sin fantasi och att våga gestalta en annan varelse.

  • 20.
    Fornäs, Johan
    Göteborgs universitet.
    Nio år efter Tältprojektet: Rapport från ett seminarium 12-13/1 19861986Report (Other academic)
  • 21. Fornäs, Johan
    et al.
    Lindberg, Ulf
    Hansson, Lars
    Tältprojektet: Vi äro tusenden1977In: Tekla: Teori och klasskamp, ISSN 0348-7253, no 3/4, 94-104 p.Article in journal (Other academic)
  • 22.
    Forssell, Jonas
    Stockholm University of the Arts, University College of Opera. Konstnärliga fakulteten vid Lunds universitet.
    Textens transfigurationer2015Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This thesis focuses on the opera text enlightened from four different perspectives: the translator, the librettist, the composer and finally the singer, based on the author’s thirty years of professsional practice, in the spirit of Donald A. Schön’s study from 1983: The Reflective Practitioner; How professionals think in action. The method is basically hermeneutic and the esthetics inspired by Umberto Eco’s Opera Aperta (”The Open Work”) from 1962. Questions from within the perspective of the translator are: In what ways does opera translation differ from other forms of translation, and how does an opera translator work? What is the history of “opera in the ver-nacular” compared to “opera in original language” and are singable translations needed whatsoever in the modern era of subtitling? The perspective of the librettist examines the opera form’s SWOT-analysis, the differences from other “storytelling” art forms, the task of making an adaption compared to choosing to create an original plot, the matter of taste and building the form from dramaturgical principles, the shaping of aria texts, the importance of tight collaboration and cutting, cutting, cutting (“a libretto cannot be short enough” Edgar Istel, 1922). The composer’s perspective contains practical and theoretical words of advice and examples from practice, together with a so ”think aloud”-study from within a composer’s thought process while working. The final chapter, from the singer’s perspective, focuses on whether modern vocal ideals and singing “in original language”, with subtitles, together with expanding performance halls, have made opera text harder to perceive, and rendered earlier established texting techniques forgotten or obsolete. The answers to all these questions are complex. This thesis concludes that the opera form is still expanding, but not necessarily in the direction of creating a new, contemporary canon. “There are about 600 opera houses in the world, all are ‘National Galleries’, none is the Tate Modern” (Per-Erik Öhrn, 2012), but there are also opportunities. Almost all successful new opera productions in recent years have their librettos written in English, a language traditionnally regarded as “weak” in the field of opera. Opera audiences worldwide are nowadays accustomed to hearing and understanding sung English words and comprehending a dramatic context when expressed in English, thanks to 100 years of Anglo-American dominance in popular music and about 50 years of dominance in television and films.

  • 23.
    Fredriksson, Sandra
    Stockholm University of the Arts, Dance Pedagogy Department.
    Hur skapas dans- och teaterkonst för barn: En undersökning av tre scener i Stockholm2007Student paper first term, 5 credits / 7,5 HE creditsStudent thesis
  • 24.
    Frisk, Anders
    Swedish School of Sport and Health Sciences, GIH, Department of Sport and Health Sciences.
    Om jag inte fått dansa, vem hade jag varit då?: en studie om dans och självkänsla2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    Aim

    The aim with this study was to find out whether former students of the upper secondary school dance-program, experience that they through dance have enhanced/strengthened certain psychological and social abilities as well as physical capacities. The questions asked in relation to the aim where:

    • Do the students mention that dance as expression strengthens self-esteem, self-confidence and self-awareness?
    • Do the students mention that dance as expression strengthens body-control/body-awareness?
    • Do the students mention that dance as expression helps enhancing the social ability?
    • Is there any part of dance (the dance-education) that seems to be particularly part of the development according to the questions asked?

    Method

    The method being used is a quantitative questionnaire with some qualitative approaches where former students of the upper secondary school aesthetic dance-program have been part of the subject group. A total of 45 answers where collected and they have been analysed quantitatively and interpreted from an abductive theoretical framework consisting of phenomenology, social psychology and by the support of earlier research in dance.

    Results

    The results show that a majority of the students experience that dance has contributed to (to great extent or partly) strengthen their self-esteem, self-confidence, self-awareness, body-control/body-awareness and enhancing their social ability. The parts of the dance-education that turned out to be particularly enhancing the psychosocial abilities where; the possibility to be on stage, improvisation and the self-creating work.  The physiological capacities that the students experienced most enhancing where; the possibility to be on stage, improvisation and meeting different dance-styles.

    Conclusions

    The conclusion is that through meeting dance as expression and dance-education, based on the values of the schools steering documents, the dance-students psychosocial abilities and physical capacities enhances. This seems mainly being referred to when the student can work creative and with communication in a safe environment. A learning-environment based on a holistic point of view where the body can be both subject and object, where a healthy view of the body reigns, might give the student a chance for developing a good sense of self.

     

  • 25.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies. Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Sky Gilbert, Daniel MacIvor, and the man in the hotel room: queer gossip, community narrative, and theatre history2013In: Theatre Research in Canada, ISSN 1196-1198, E-ISSN 1913-9101, Vol. 34, no 2, 187-215 p.Article in journal (Refereed)
    Abstract [en]

    This essay outlines how the gossip surrounding Tennessee Williams’s visit to Vancouver in 1980 has influenced the narratives of gay communities and in so doing contributed to queer theatre history in Canada. Stories of Williams inviting young men to his hotel room and asking them to read from the Bible inspired Sky Gilbert and Daniel MacIvor to each write a play based on these events. The essay argues that Gilbert and MacIvor transcend the localized specificity of the initial rumours and deploy gossip as a tool to articulate a process of sexual and cultural marginalization, thereby fostering a dialogue with the past. This dialogue marks a crucial and pedagogical task in gay and queer theatre to address the on-going needs of an ever-changing community.

  • 26.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Transatlantic Translations and Transactions: Lars Schmidt and the Implementation of Post-War American Theatre in Europe2013In: Theatre journal (Washington, D.C.), ISSN 0192-2882, E-ISSN 1086-332X, Vol. 65, no 1, 19-37 p.Article in journal (Refereed)
    Abstract [en]

    Contributing to an intercultural understanding of American and European theatre in the post-war era, this essay explores the significance of the Swedish publisher and producer Lars Schmidt for the introduction and spread of U.S. plays and musicals on his side of the Atlantic. Schmidt’s innovative publishing strategies and production methods in addition to his skills as a cultural translator made works like The Glass Menagerie, Cat on a Hot Tin Roof and My Fair Lady commercially viable and intelligible to audiences in various national contexts. In the process, he was largely responsible for the emergence of the individual producer in Europe, a position that was perceived as foreign and at times vehemently dismissed as too commercial and too American.

  • 27.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Galen, kriminell och sjuk: Sprätthöken som modeoffer2012Other (Other academic)
  • 28.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    The Diva and the Demon: Ingmar Bergman Directs The Rose Tattoo2012In: New Theatre Quarterly - NTQ, ISSN 0266-464X, E-ISSN 1474-0613, Vol. 28, no 1, 56-66 p.Article in journal (Refereed)
    Abstract [en]

    In this article Dirk Gindt discusses Ingmar Bergman’s 1951 production of Tennessee Williams’s The Rose Tattoo in the small Swedish town of Norrköping, demonstrating how Bergman methodically ignored the tragicomic nature of the play in order to develop and exaggerate its comic and grotesque elements. After extensive cuts and alterations in the script, the character Serafina delle Rose became even more overpowering than in the original text and dominated the action from beginning to end. Karin Kavli, a leading lady in Swedish post-war theatre and a frequent collaborator with Bergman, played the character not as a mourning widow but as a possessed disciple of Dionysus in an unabashedly entertaining and sexualized production which, despite reservations from critics, became a success with audiences.

  • 29.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    When Broadway came to Sweden: The European premiere of Tennessee Williams’s Cat on a Hot Tin Roof2012In: Theatre Survey, ISSN 0040-5574, E-ISSN 1475-4533, Vol. 53, no 1, 59-83 p.Article in journal (Refereed)
    Abstract [en]

    This essay proposes a case-study approach to examine how the initial European production of Cat was received and, by implication, how one of the defining American playwrights of the twentieth century was discussed in Sweden. It focuses on the process of cultural translation and, more precisely, the question of how Swedish ensembles interpreted a foreign playwright who was known for breaking sexual taboos. Unpacking the cross-cultural and transnational dialogue that was established when Cat made its first appearance on a European stage, the essay teases out the cultural tensions and the negotiation of national identity that took place when Williams’s play was transposed from the Mississippi Delta to a more northern latitude. I argue that the stage and the cultural sections of the newspapers offered a forum for Sweden to negotiate some of the country’s sexual anxieties by making use of American cultural products and firmly situating them in an exoticized American context whose values were deemed to conflict with European, and more specifically Swedish, cultural identity.

  • 30.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    En hyllning till Gunnel Broström: Sveriges främsta Williamsaktris2011In: Teatertidningen, no 2, 32-35 p.Article in journal (Other (popular science, discussion, etc.))
  • 31.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    Torn between the ‘Swedish Sin’ and ‘homosexual freemasonry’: Tennessee Williams, sexual morals and the closet in 1950’s Sweden2010In: The Tennessee Williams Annual Review, ISSN 1097-6035, Vol. 11, 19-39 p.Article in journal (Refereed)
  • 32.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Coming Out of the Cabinet: Fashioning the Closet with Sweden’s Most Famous Diplomat2012In: Studies in Fashion and Beauty: Volume One / [ed] Efrat Tseëlon, Ana Marta González and Susan Kaiser, Bristol, UK & Chicago: Intellect Ltd., 2012, 233-254 p.Chapter in book (Refereed)
    Abstract [en]

    This article offers a critical analysis of the media discourse surrounding the Swedish diplomat Sverker Åström’s coming out as a gay man at the age of 87. Particular interest is devoted to his striking fashion choice of wearing a pair of oddly coloured socks, which highlighted his contradictory masculinity as well as the many inherent paradoxes of the closet. Åström’s red and green socks functioned as a means to express forbidden desires, to oppose normative expectations in a playful way and to grant the gay subject a presence in a world that is still very much structured by the logics of the closet. Moreover, his contradictory body language, coupled with his repeated affirmations that his coming out was a private issue, revealed a divided masculinity that was ideologically dependent on a pre-feminist understanding of gender and sexuality as private, that is to say non-political. The article argues that there was strong evidence to suggest that his coming out was in fact a tactical move in a political game, a move aimed to denounce and ridicule the Swedish Security Police (SÄPO), who, after decades of surveillance, refused to grant the diplomat access to its classified files on him.

  • 33.
    Gindt, Dirk
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Williams and Bergman, Lust and Death: Culturally Translating A Streetcar Named Desire in Post-War Sweden2013In: Tennessee Williams and Europe: Intercultural Encounters, Transatlantic Exchanges / [ed] John S. Bak, Amsterdam & New York: Rodopi, 2013, 135-168 p.Chapter in book (Refereed)
  • 34.
    Gindt, Dirk
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Potvin, John
    Concordia University, Montreal, QC.
    Creativity, Corporeality and Collaboration: Staging Fashion with Giorgio Armani and Robert Wilson2013In: Studies in Theatre & Performance, ISSN 1468-2761, Vol. 33, no 1, 3-28 p.Article in journal (Refereed)
    Abstract [en]

    This essay analyzes the creative and economic relationship between and the intersections of theatre, performance and fashion by exploring the notion of collaboration through the work of Italian designer Giorgio Armani and American theatre director Robert Wilson. It addresses three case studies derived from different performance spaces: a performance art installation in a once derelict, purposefully redesigned train station; a modernist play staged in a traditional proscenium arched theatre; and a retrospective exhibition held in a fine art museum that invited the visitors to ‘walk the catwalk’. The objective of the essay is twofold. First, it focuses on the concrete results of the collaboration, that is, the actual events, the mutual artistic and economic benefits for both parties as well as the sometimes controversial critical reception and discourse surrounding them. Second, it queries the meaning and potency of the status of the auteur in a long-term creative collaboration between two equally influential artists from the related, yet distinct fields of theatre and fashion.

  • 35.
    Gür, Dilek
    Stockholm University of the Arts.
    Forskningsprojektet "Ett decennium av kris": Slutrapport, hösten 20002000Report (Other academic)
    Abstract [sv]

    beskriva och utvärdera förändringarna under 90-talet på några av de stora teaterinstitutionerna. Utgångspunkten är de ekonomiska och konstnärliga kriser som under 90-talet uppstod på dessa teatrar och de lösningar man sökt finna för dessa.

    Rapporten ingår i ett forskningsprojekt som initierats av professor Per Lysander på Dramatiska Institutet. Arbetet har genomförts med stöd från Stiftelsen Framtidens Kultur samt Helge Ax:son Johnssons Stiftelse.

    Vi har intresserat oss särskilt för reduceringen av fast anställd konstnärlig personal. Detta har varit en krisåtgärd som satts in med såväl ekonomiska som konstnärliga argument. I debatten som följt i krisernas spår har nämligen den konstnärliga stagnationen ofta skyllts på tillsvidareanställda regissörer och en åldrande ensemble bestående av tillsvidareanställda skådespelare. Reduceringen av antalet fast anställda skådespelare har också motiverats ekonomiskt, med förhoppningen att de allt högre personalkostnaderna skulle kunna minskas.

    Ambitionen är dels att i konkreta siffror visa hur stora neddragningar man gjort när det gäller tillsvidareanställda skådespelare. Vi vill också försöka få svar på om man genom förändringarna som gjorts på personalsidan verkligen har lyckats hålla ner personalkostnaderna och om genomströmningen av konstnärlig personal på teatern ökat.

  • 36.
    Hakopian, Ruzan
    Stockholm University of the Arts, Dance Pedagogy Department.
    Mental träning: en kvalitativ studie av begreppet mental träning och hur det kan ingå i dansutbildningarna2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The aim of this study is to understand how mental training can be integrated in dance education, on the basis that there is a certain lack of mental traning for dancers. Qualitative interviews are used to gain an understandning of what dancers experience of mental training in their schooling. Reaserch is made on sport psychology, to obtain more knowledge about the subject and also dance psychology to highlight past research in dance. The work is analyzed from a hermeneutic perspective.

    The study shows that lectures in mental training should be presented early in dance education, so dancers can gain knowledge and become aware of the psychology in dance practice. Follow-up and continuity are important for developing and maintaining psychological skills. Expertise in the field of dance is desirable of the lecturer. The study shows that the lectures dancers received in mental training, have been of people with sports as a background, it is shown that they have different approaches in mental training, which is not always experienced as constructive in relation to the dancers practice.

  • 37.
    Hald, Niklas
    Stockholm University of the Arts, The Department for Acting. Universitet i Nordland, Bodö.
    Skådespelaren i barnteatern: utmaningar för oss som spelar teater för barn och unga : en doktorsavhandling i praktisk kunskap2015Doctoral thesis, monograph (Other academic)
    Abstract [en]

    Summary

    This dissertation is about children’s theatre from the perspective of the professional actor. The main question is: Which are the challenges we actors face when performing for children and young people, and how do we relate to them? The research is based on a long personal experience of acting in theatre aimed at children from the age of three to eighteen years old. In addition to this I have also interviewed actors with similar and different experiences of the same specific age groups, in order to get a better understanding of my field of research. My main goal is to show the complexity of this specific field of acting. The text is essayistic in that it is using experiences as means for reflection. Here I reflect on and over specific events from my practice. These reflections are then set against the interviews and texts from different philosophical and theoretical perspectives, mainly phenomenological and hermeneutic.

    In the presentation of the challenges I have chosen to focus on the theatre performed in the schools and classrooms. They are divided in three categories; External circumstances, Relation to audience and Other challenges.

  • 38.
    Hammergren, Lena
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    Dancing African-American Jazz in the Nordic Region2014In: Nordic Dance Spaces: Practicing and Imagining a Region / [ed] Karen Vedel, Petri Hoppu, Farnham: Ashgate, 2014, 101-127 p.Chapter in book (Refereed)
  • 39.
    Hedman Hvitfeldt, Maria
    Stockholm University of the Arts, The Film and Media Department.
    I väntans tider: om kvinnor, regiyrket och ett manus2014Other (Other academic)
    Abstract [sv]

    I väntans tider

    om kvinnor, regiyrket och vägen till ett manus.

    Inom film- och tv-branschen har svaret på varför så få kvinnor regisserar film många gånger varit; ”Kvinnor vill inte leda”.

    Men stämmer det?

    I väntans tider är ett undersökande arbete om strukturer, som blev ett manus, och om hur kunskap om sammanhanget växer fram parallellt med ett konstnärligt arbete.

    Det började med följande mening;

    ”Som en intressant kontrast (till siffran 28% kvinnliga sökande till filmregiutbildningarna i Göteborg och Stockholm)var andelen kvinnliga sökande till utbildningen i teaterregi vid Dramatiska Institutet 62% under samma period. På något sätt verkar det alltså inte vara regiyrket som är könskodat utan snarare valet av medium att vilja utöva detta yrke i(…)”

    Ur 00-talets regidebutanter och jämställdhet, En rapport från Svenska Filminstitutet, april 2010. Sid 9. 

    För att få reda på vad det beror på formulerade jag detta; 

    Upplever intervjupersonerna att det finns hinder i filmbranschen eller på filmutbildningen som är specifika för kvinnor? Hur ser de ut? Vad beror de på? 

    Skiljer sig erfarenheterna från de förväntningar och föreställningar som intervjupersonerna hade innan de kom in i filmbranschen och/eller på utbildningen? 

    Finns det vissa egenskaper i eller aspekter av regiyrkets arbetsledande funktion som ställer särskilt stora krav på kvinnor? 

    Har intervjupersonerna erfarenhet av att det finns några könsspecifika skillnader vad avser benägenheten att ta konstnärliga risker i sitt arbete? 

    Finns det några tydliga skillnader mellan filmutbildningen och teaterutbildningen, vad gäller villkoren för kvinnor att göra karriär, och erfarenheter av negativ särbehandling? 

    Har film som konstform enligt intervjupersonerna högre eller lägre status och symboliskt värde än teater? 

    Är det enligt intervjupersonernas erfarenhet lätt eller svårt att kombinera familjebildning och att arbeta med film (alt. vara regissör)? 

     

    Svaren på dessa frågor, som ställdes till ett antal kvinnliga regissörer på väg in på väg ut från konstnärliga skolor,  och några färdigutbildade,  bildade underlag för ett undersökande arbete som resulterade  i ett filmmanus.

  • 40.
    Helander, Karin
    Department of Child and Youth Studies, Stockholm University, Faculty of Social Sciences, Department of Child and Youth Studies, Centre for the study of children's culture. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
    ”Artistic development onthe frontline”2013In: News from Swedish Theatre. Focus: young audiences, 6-7 p.Article in journal (Other (popular science, discussion, etc.))
  • 41.
    Hellström, Henrik
    et al.
    Stockholm University of the Arts, The Film and Media Department.
    Jonstoij, Tove
    Stockholm University of the Arts, The Film and Media Department.
    Öar i berättandets hav2016Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
  • 42.
    Hjärpe, Anna
    Stockholm University of the Arts, Dance Pedagogy Department.
    Let us Dance: en undersökning kring jazzdansundervisning för musiker som spelar till dans2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The aim of my thesis is to attempt formulating methods and strategies functioning as options to broaden

    and develop the knowledge concerning the relationship between music and dance to musicians

    specialized in playing to dance classes. As a dance pedagogue I also try to find ways of developing my

    cooperation with musicians. Teaching jazz dance, the genre used in this essay, I function in different

    pedagogical roles to musicians who accompany dance students. Throughout my study I analyze the

    interviews made with my participants before, during and after my lessons. In my attempts to formulate

    these methods and strategies, different types of pedagogies are used e.g. learning by doing -methodology

    together with dynamic pedagogy.

    Be ing inspired by refle xiv ity, and using it as a tool in my analy zing process, I interpret my partic ipants’

    statements. Especially the final interview discloses that the participants show a broaden understanding

    for movements and the connection between movement and music. Their statements show that they can

    feel the movements, regardless of their dancing the movements or not and this helps them in providing

    music suitable for the specific movements. In order to develop cooperation with musicians, my stu dy

    shows that teamwork is the tool that helps most.

  • 43.
    Holmqvist Sten, Katrin
    Umeå University, Faculty of Science and Technology, Umeå School of Architecture.
    En magnetisk urladdning2014In: Folkbladet, ISSN 2001-3442Article, book review (Other (popular science, discussion, etc.))
  • 44.
    Holmqvist Sten, Katrin
    Umeå University, Faculty of Social Sciences, Centre for Regional Science (CERUM). Umeå University, Faculty of Science and Technology, Umeå School of Architecture.
    Tidlös opera möter framtiden2015In: Folkbladet, ISSN 1104-0238, no 27 februariArticle, book review (Other (popular science, discussion, etc.))
  • 45.
    Holmqvist-Sten, Katrin
    Umeå University, Faculty of Social Sciences, Centre for Regional Science (CERUM). Umeå University, Faculty of Science and Technology, Umeå School of Architecture.
    Utmanar vår syn på danskonsten2014In: Folkbladet, ISSN 2001-3442, -11 p.Article in journal (Other (popular science, discussion, etc.))
  • 46.
    Hooi, Mavis
    Linköping University, Department for Studies of Social Change and Culture, Department of History, Tourism and Media. Linköping University, Faculty of Arts and Sciences.
    Oriental Fantasy: A postcolonial discourse analysis of Western belly dancers’ imaginations of Egypt and dance festivals in Egypt2015Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    Belly dance is popularly practised in the West, and every year, thousands of enthusiasts and professionals from around the world travel to attend belly dance festivals in Egypt, which is considered the cultural centre of the dance. This bachelor’s thesis examines the discourses produced by Western or ʽwhiteʼ belly dancers from Sweden and Finland, on the topics of tourism in Egypt and belly dance festivals in Egypt. The texts are analysed using James Paul Gee's discourse analytical framework, combined with postcolonial theory, complemented with an intersectional approach. From the postcolonial and feminist perspectives, belly dance discourse in the West and tourism discourse are problematic, as they perpetuate Orientalist tropes and unequal global power structures, which build on colonial discourse. It is hoped that by identifying and questioning these aspects of discourse that are problematic in terms of equity, this study will make a small contribution towards mitigating its adverse effects, and towards social change.

  • 47.
    Hron-Öberg, Irina
    Stockholm University, Faculty of Humanities, Department of Baltic Languages, Finnish and German, German.
    Ungeheuerliche Schönheit und lasterhafte Süße: Sabine Coelsch-Foisners und Michaela Schwarzbauers Tagungsakte zu ›Leidenschaft und Laster‹2010In: literaturkritik.de, ISSN 1437-9309, Vol. 12Article, book review (Other (popular science, discussion, etc.))
  • 48.
    Hrynczenko, Iwona
    et al.
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Game Design.
    Knuutila, Tomi
    University of Lapland/ Faculty of Art and Design.
    One Workshop, Two Urban Games: Case Report on Education Models at the Intersection of Dance/Performance Art, Media Art and Game Design2014Conference paper (Refereed)
    Abstract [en]

    Focusing on urban gaming, performance, and participatory design, this case report presents a network-based education model at the intersection of dance/performance, media art, and game design by showcasing a workshop in June 2011, hosted by the game department at Gotland University (GU), today: Uppsala University/Campus Gotland. The described workshop was organized by GU in collaboration with an interdisciplinary Dance and Media Art Network (DAMA). The network, established in 2005, currently includes 11educational institutions within the European Nordic and Baltic regions. The workshop’s interdisciplinary character promoted knowledge exchange among students and teachers by providing new innovative approaches to game design. This paper presents the objectives, working process theories involved, and the methodological and pedagogical strategies of the workshop concluding with the presentation of the workshop’s results: Two participatory games developed by the students that were played in everyday surroundings.

  • 49.
    Hällqvist, Ylva
    Stockholm University of the Arts, The Department of Performing Arts.
    Perukmakeri: samlade erfarenheter i ett hantverk2015Other (Other academic)
    Abstract [sv]

    Boken Perukmakeri – samlade erfarenheter i ett hantverk innehåller grunderna för tillverkning och hantering av det mesta inom traditionellt perukmakeri. Och lite till. Kunskapen om det traditionella sättet är en av förutsättningarna för att kunna ta hand om, reparera och förnya äldre peruker. Med det traditionella perukmakeriet som grund och en början på yrket kan man gå vidare, om man så vill, till andra materialval och metoder och låta sig inspireras av hur kollegor arbetar. Perukmakeri är ett hantverk som var och en kan berika med sin nyfikenhet och kreativitet. Då kommer yrket att vidareutvecklas och förnyas.

  • 50.
    Högström, Karin
    Stockholm University, Faculty of Humanities, Department of Ethnology, History of Religions and Gender Studies, Ethnology.
    How do women in Sweden learn Middle Eastern dance?2013In: Close Encounters – Contemporary Dance Didactics: Explorations in Theory and Practice., Stockholm, 2013, 130-140 p.Conference paper (Other academic)
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