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- Rosen, Astrid von, 1964, et al.
(författare)
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Expansion och mångfald - en relationell forskningsdatabas : Expansion and Diversity - a relational research database
- 2021
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Ingår i: Expansion och mångfald: Digital kartläggning och analys av den utominstitutionella scenkonsten i Göteborg 1965-2000.
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- I svenska teaterhistorier ses perioden 1965–2000 som en tid för framväxt och etablering av en utominstitutionell scenkonst. Fältet expanderande kraftigt när institutionsteatrarna utmanades av ”fria” grupper och en ny mycket varierad scenkonstkultur växte fram. Denna nya scenkonst ifrågasatte hierarkier, sökte sig ut från de traditionella scenerna, överskred genregränser, experimenterade konstnärligt och mötte en ny publik. En mångfald angelägna föreställningar för barn, migranter, arbetare, queera personer, studenter och många andra skapades av människor med olika kulturella bakgrunder och kompetenser. Historieskrivningen har observerat detta skifte, men endast lyft fram några få grupper, verk och välkända artister. Därmed har en endimensionell bild fått fäste i historieskrivningen, men nu har det blivit dags att utmana tidigare forskning genom att se perioden på ett nytt sätt och bejaka dess mångfald. Det är dags att inkludera de många olika uttrycken och grupperna i en historieskrivning som gör det fria kulturarvet rättvisa. Forskningsprojektet Expansion och mångfald vill använda digitalt material och metoder för att analysera, lyfta fram och tillgängliggöra frikulturen som ett värdefullt kulturarv som angår och engagerar många olika människor. Den viktiga mångfalden av uttryck, grupper, relationer och spelplatser i det expanderade fältet har visat sig vara svår för att hantera för traditionell historieskrivning. Den har genom sin linjära karaktär inte kunnat ge plats för exempelvis karnevalers mångfacetterade uttryck, migranters kulturföreningar, jazzdans som folkrörelse och konstnärlig katalysator, fysisk teater, spex och populärkulturella uttryck, danskonst i offentliga rum, och scenkonst för barn. Med mångfald och skillnader som utmaning för forskningen krävs att arkivmaterial från det expanderade fältet undersöks och görs tillgängligt på nya sätt och att tidigare oanvänt källmaterial görs åtkomligt och tas i anspråk. En grupp bestående av humanistiska och urban-sociologiska forskare med stor erfarenhet av scenkonstforskning och stadsanalyser kommer att tillsammans med experter från digital humaniora undersöka och tillgängliggöra den frikulturella mångfalden.
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| 2. |
- Rosen, Astrid von, 1964, et al.
(författare)
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Digging Where You Stand? Critical approaches to participatory and activist heritage work
- 2020
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Ingår i: ACHS 2020 Futures.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Recent years have seen growing interest in participatory, community-led and activist approaches to knowledge production across a range of disciplines and practices including heritage, archive and public history work (Flinn 2011). Frequently such practices have been associated with radical and social justice orientated politics but participatory methodologies have also been critically examined as complex and contested, not least because of unequal power and trust relations often embedded in such approaches (Sexton 2015). Dig Where You Stand (DWYS), a complex mixed methods D-I-Y history methodology, rooted in history from below movements of the 1970s and expounded by Swedish author Sven Lindqvist (1978, 1979) is a still influential, fruitful yet challenging model for participatory and activist orientated heritage practices today (Flinn & Sexton 2018, von Rosen 2017). The papers in this double session will explore some of the challenges of participatory heritage and archive work by describing recent transformative developments of DWYS, combining a 1970’s ethos that ‘history is too important to be left just to historians’ (History Workshop Journal 1,1976) with contemporary critical thinking and the affordances of digital technologies, including the use of big data and social media, participatory system design, citizen sourced materials, and the many ethical concerns that are often left invisible and unexamined when studying digital archives and heritage and their affect. By doing so, the session will re-imagine DWYS and other similar D-I-Y participatory history and heritage methodologies in a dialogue with the future, opening up for multiple human, non-human and hybrid critical dialogues challenging authorized heritage discourses and practices and supporting social justice struggles in the present and the future. The papers presented represent current critical approaches to heritage, archives and digital humanities, practised across a range of disciples and developed within the joint University College London University of Gothenburg Centre for Critical Heritage Studies.
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| 3. |
- Rosen, Astrid von, 1964, et al.
(författare)
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Reimagining the research archive: a dialogue
- 2016
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Ingår i: Dream-playing across borders: accessing the non-texts of Strindberg’s A dream play in Düsseldorf 1915–18 and beyond / Astrid von Rosen (ed.). - Göteborg : Makadam. - 9789170612329 ; , s. 279-298
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Bokkapitel (refereegranskat)abstract
- The book concludes with dialogue between the participants about the reimagined research archive that has grown out of the project.
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| 4. |
- Järvinen, Hanna, et al.
(författare)
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Choreographing Histories: Critical Perspectives on Dance Histories in Nordic Dance Practices and Scholarship
- 2023
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Ingår i: Nordic Journal of Dance. - 1891-6708. ; 14:1, s. 31-47
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Tidskriftsartikel (refereegranskat)abstract
- This text is based on a roundtable organised by the five authors at the 2022 NOFOD conference in Copenhagen. As scholars and practitioners invested in the research and teaching of dance history both inside and outside academia, we wanted to address the pressing issue of how ‘history’ is defined and positioned within Nordic dance scholarship and practices today. Dance, as we think of it and practise it in our everyday lives, is far more diverse than the so-called ‘contemporary dance’ that the white authors listed as scholars and practitioners in the conference call indicate. For this roundtable, we wanted to show that dance theory and practice-led work in dance go far beyond the Eurocentric idea of contemporary dance present in the conference call, and to advocate for a more inclusive understanding of the practices of making or researching dance in the future
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| 7. |
- Rosen, Astrid von, 1964
(författare)
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Caring for Claude Marchant: Practising Black Dance History Making in a Very White Context
- 2023
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Ingår i: Nordic Journal of Dance. - 1891-6708 .- 2703-6901. ; 14:1, s. 38-42
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Tidskriftsartikel (refereegranskat)abstract
- My contribution concerns activist ways of practising black dance history-making in an equally Swedish and international (e.g., crosscontinental) context. Together with local (Gothenburg) practitioners, I have explored the life and legacy of international black dancer, choreographer, singer, actor and costume maker Claude Marchant (1919–2004). Addressing critical historiographical issues Marchant exemplifies people and dances that have been excluded from histories. My research aims to reject the historical exclusion of a major black artist–one almost completely excluded from history–by posing asking how to best unravel and shift the lack of substantial black dance histories in our Nordic context and beyond. My contribution is both critically (in order to instigate change) potent and innovative in how it combines recent critical archival theory and black dance history alongside participatory approaches to dance history making. Since 2013, my research has been engaged in developing activist and Dig Where You Stand (e.g., participatory history making from below) approaches to dance archives and archiving.
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| 8. |
- Rosen, Astrid von, 1964
(författare)
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Database as Utopian Performer
- 2021
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Ingår i: ANTS Utopia and Performance, Stockholm, 30 september-02 oktober, 2021.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Abstract: In this paper, a relational database, a digital technological device, constructed by humans for humans, is understood as an active agent, a precarious and even utopian performer, acting in the broader field of performing arts historiography. The database was constructed, and is still being developed, within a cross-disciplinary research project called Expansion and Diversity: Mapping and analysing independent performance in Gothenburg 1965-2000 (funded by the Swedish Research Council). During 2021, the last year of Expansion and Diversity, as project leader I find it timely to reflect upon and analyse the particular role of the database in relation to the ambitions and dreams connected with its existence. With the Swedish city of Gothenburg as a case study, the role of the database was and still is to help better representing and making accessible the complex diversities of independent performing arts from 1965 to 2000. On the one hand, I can demonstrate that the database is capable of doing precisely this and explain how it does it. On the other hand, since its launch in 2020, the database has been described as ugly, difficult to operate, lacking functions, or unable to meet wishes for archival representation. To debate and explore these frictions, I have started to play with the idea of understanding the database as a utopian performer, an agential feature, who affects and is affected by, the humans engaging with it. Drawing on Victor Hugo, I will start by considering the database-performer “utopian” as it thrives on a scholarly dream of a future performing arts historiography that will be more just, inclusive, diverse and democratic. Second, by turning to Slavoj Žižek, I will grapple with the urgent struggles and areas of friction involving the database. For example, in what ways does it account for and represent the materialities of performance, the materialities of archival remains as well as the material dimensions of scholarly work? Equally urgent is to address the frictions between the project’s findings and common media and historiographical beliefs of what groups and features are “important” to represent. Third, the database forms part of a participatory or “dig where you stand” approach in terms of practitioner involvement in the research. As suggested by Jill Dolan, utopia “takes place now, at the interstices of present interactions, in glancing moments of possibly better ways to be together as human beings”. By including the relational database among the “beings” forming utopia in the present, I yearn to find ways of accounting for the potential community building that goes on in the here and now, in the everyday struggle to shape and shift performing arts historiography.
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