| 1. |
- Skånberg Dahlstedt, Ami, 1967
(författare)
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Walking in Suriashi as a Radical and Critical Art of Inquiry
- 2023
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Ingår i: Walking as Critical Inquiry. - Cham : Springer. - 9783031299902 - 9783031299919 ; , s. 151-173
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Bokkapitel (refereegranskat)abstract
- This chapter contributes to the discussion on moving in and through site-specific and urban space; at the cusp between higher dance education and everyday life, creating a post-Certauian tear through space and time as a call for agency. It draws from my Ph.D. research Suriashi as Experimental Pilgrimage in Urban and Other Spaces, where I propose an experience of society from within a Japanese practice called suriashi, which translates as sliding foot. Suriashi is a specific gender codified walking technique in classical Japanese dance and theatre, and an important method for acting on stage. Gender is constructed physically through the positioning and moulding of the body. The original practice is performed in the dance studio or on stage. My research asks whether suriashi also could be a method for agency to act, as being active, or to activate, and temporally alter spaces outside the theatre; i.e. the practical application of this artistic practice outside the theatrical context. This relocation brings a traditional form into new configurations, connecting to everyday practices and sites of resistance and performance. It also contributes to the burgeoning field of walking arts practice, bringing a Japanese dance-based practice into a dialogue with debates and practices of Western dancing and walking. Suriashi performed in urban spaces was able to unfold and identify new relations between aesthetic practice and politics, between movements and monuments in the city as a way to critique the unequal distribution of power, and by looking for new ways to protest/resist peacefully. I assess this from three of my many experiments with slow suriashi walkings. The first one is Suriashi Intervention, performed at Gothenburg Culture Festival in August 2016. This experiment did two things: it engendered the city’s unacknowledged dance archive, while performing critique of the unequal distribution of funding of the arts. The second experiment is an ‘invisible’ suriashi performed by the then Hong Kong-based scholar Ching-yuen Cheung during the violent protests at Yuen Long Station in Hong Kong in July 2019. It showed how artistic methods are necessary when democracy collapses. The third experiment regards introducing suriashi as methodology to master students of Contemporary Performative Arts at University of Gothenburg. Here, suriashi unveiled important issues regarding art in urban spaces, necessary for the art student. To further contextualize, I interlace my arguments through positionings by sociologist Doreen Massey.
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| 2. |
- Skånberg Dahlstedt, Ami, 1967
(författare)
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Suriashi as Experimental Pilgrimage in Urban and Other Spaces
- 2022
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This practice-led PhD-thesis draws on an existing Japanese movement practice called suriashi, which translates as sliding foot. Suriashi is a specific gender codified walking technique in classical Japanese dance and theatre, and an important method for acting on stage. It is one of the foundations for how the performer positions him/herself for movement on stage. My thesis asks whether suriashi could also be a method to act, as being active, or to activate, in other spaces outside the theatre. A key feature is the practical application of this artistic practice outside the theatrical contexts where it is usually located. This relocation brings a traditional form into new configurations, connecting to everyday practices and sites of resistance and performance. It also contributes to the burgeoning field of walking arts practice, bringing a Japanese dance-based practice into a dialogue with debates and practices of Western dancing and walking. The practice-led research includes suriashi walks, labelled as ‘experimental pilgrimages’, which are documented especially for the thesis. They have been captured on video and serve as material evidence of what kind of questions and answers suriashi as experimental pilgrimage activated. The video documentations, to which readers are guided to through specific links and timecodes, provide the possibility to experience suriashi walking both visually and corporeally. They also represent the artistic artefact and outcome of this practice-led research. The video capturing suriashi adds to an expanded perspective on screendance as durational artistic practice. The thesis shows how suriashi embodies ideologies, such as gender, as well as discussing how our presence in urban spaces is always gendered. Suriashi as a gendered technique provided a tool for walking with integrity - a flâneuse strategy - which led to the application of suriashi for political engagement through embodiment.
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| 3. |
- Wikström, Josefine, 1983-
(författare)
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A Critique of Capitalism : The Mediation of Abstract Labour in Yvonne Rainers Task Dance
- 2019
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Ingår i: PARSE Journal. - Gothenburg : University of Gothenburg. - 2002-0953. ; :9
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Tidskriftsartikel (refereegranskat)abstract
- Art’s primary function, at least for a certain tradition of thinking, is to criticize capitalist society. But what in capitalism should be criticized? And how can art perform such a critique? Taking these questions as its staring point this article argues for three things mainly. First, by expanding on Frankfurt School thinker Theodor Adorno’s form theory, that art primarily should criticize capitalism through its form, understood as “sedimented content.” Secondly, taking Marx’s term abstract labour and the way it has been further theorized by contemporary thinkers such as Moishe Postone and Chris Arthur, that abstract labour is the main mediating social form of capitalism and therefore should be the main focus for critique. Finally that art can only negate the social form of abstract labour though its own form. These arguments are being discussed through American choreographer Yvonne Rainer’s (1934-) work, which can be categorised as “task-dance”, an artistic strategy that developed in the late 1950s and early 1960s by choreographers Anna Halprin, Simone Forti and Rainer. Through Adorno’s understanding of form, I argue that Rainer’s early task-dance works criticise capitalism at the level of form rather than at the level of representation.
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| 4. |
- Wikström, Josefine, 1983-
(författare)
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Konst, samhälle och teknologi hos Adorno
- 2020
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Ingår i: Paletten: tidskrift för konst. - Göteborg : Stiftelsen Paletten. - 0031-0352. ; 320, s. 18-22
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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| 5. |
- Ghoul, Nayef, 1992-
(författare)
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Ghorba : Homesickness
- 2022
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Annan publikation (film/video) (populärvet., debatt m.m.)abstract
- Ghorba is a video essay for my reaserch work I made during my two years in Stockholm Univeristy of the arts. Ghorba wich means homesickness or search for a home or place and can also be used in terms for describing the life in exile. It´s a word where many people with northafrican descent use to descibe their situation for the new life in the new settlement. In my work Ghorba Im trying to discover my existence in where I belong. I do it by following some questions behind my rescent projects and some film archive I found.
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| 6. |
- Robitaille, Marie-Andrée, 1974-
(författare)
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Circus as Practices of Hope : A Philosophy of Circus
- 2024
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- My doctoral artistic research project, Circus as Practices of Hope, responds to the growing complexities emerging from the convergence of the fourth industrial revolution, the sixth mass extinction, and the eco-socio-political turmoil of our time. What does it mean to be human today? What does it mean to be a circus artist today? How is circus relevant in today’s context? Core to this inquiry is the assertion that although circus arts hold the potential to foster significant knowledge, they simultaneously perpetuate outdated worldviews that restrict their transgressive potential. With this research, I investigate alternatives to regressive models of thoughts and modes of composition, aiming to identify and articulate circus’ inherent epistemic, ontological, and ethical specificities and their relevance for navigating and steering the current planetary paradigm shift.I conducted my research through embodied practices as a circus artist, as a pedagogue, and from the perspective of a human on Earth. My inquiry occurred through Multiverse, an iterative series of compositional performative experiments and discursive activities. I engaged critical posthumanism and neo-materialist philosophies to challenge and evolve my relation to risk, mastery, and virtuosity. The project conceptualizes circus arts as nomadic and fabulatory practices, culminating in a series of artistic, choreographic, and conceptual tools and methods that articulate circus arts within and beyond their disciplinary boundaries. The project advances a philosophy of circus that highlights circus-specific kinetic, aesthetic, and embodied relevancies in today’s context, situating circus arts as hopeful practices for the future.
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| 7. |
- Damkjaer, Camilla
(författare)
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Slowness out of Sync : Understandings of Time in Ashtanga Yoga
- 2022
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Ingår i: Sport, Ethics and Philosophy. - 1751-1321 .- 1751-133X. ; 16:2
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Tidskriftsartikel (refereegranskat)abstract
- Yoga is often presented as a ‘slow’ form of exercise. Yoga magazines are filled with advice about how to ‘slow down’. However, Ashtanga yoga is considered dynamic and ‘fast’ - something that dates back to its role in the modern re-invention of hatha yoga in India, highly influenced by European physical practices (Alter, 2004; Michelis, 2005; Singleton, 2010; Goldberg, 2016). It is therefore paradoxical that it has become part of the craving for ‘slow’ forms of exercise. This article argues that, when looking at the role of time in contemporary yoga practice, we first need to examine critically the different understandings of time that are part of the practice, and their geo-political circumstances.
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| 8. |
- Larsson, Andreas Hiroui, et al.
(författare)
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Lethe : On Forgetfulness as a Guiding Principle in Artistic Processes
- 2024
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Bok (refereegranskat)abstract
- With the artistic research project Lethe, musicians and researchers Andreas Hiroui Larsson [percussion], Johan Jutterström [saxophone], and Anna Lindal [violin], investigated forgetfulness as a method and guiding principle for an artistic process, by using the ancient Greek mythological river Lethe as their point of departure. The Lethe was considered to possess the property of forgetfulness, and the research group met—metaphorically—over the course of three years, at its riverbanks. The name Lethe means concealment, and is related to the Greek word for truth: alētheia (that contains the word lēthē), which literally means un-concealment. As such, forgetfulness may both cause concealment and be part of constructing un-concealment. From their campsite at the riverbank of the Lethe, the research group intended to research forgetfulness in relation to their respective personal artistic practices, within the field of western art and improvised music. They also attempted at constructing coherent theoretical standpoints, to help them, and possibly others, navigate the river’s currents and—in the end—present an example of what their research could lead to artistically and discursively. The Roman poet Virgil wrote in his epic poem Aeneid that it is only after we have had our memory erased by the Lethe that we can become reborn. What are we willing to forget when we meet at the riverbanks of the Lethe, and gaze at the waters that can wash away our previous musical lives?
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| 9. |
- Mark, Eva, 1956, et al.
(författare)
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Teorier ur kroppsliga praktiker
- 2011
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- Vad händer om en lärare i fysisk gestaltning och en filosof låter sin respektive praxis mötas i en gemensamt utarbetad arbetsprocess? Denna bok är ett resultat av att filosofen Eva Mark, föreståndare för Grundtvigsinstitutet vid Göteborgs universitet och Pia Muchin, lektor i fysisk gestaltning vid Högskolan för scen och musik, Göteborgs universitet, beslöt att släppa in varandra i sina respektive professionella världar för att göra det möjligt att betrakta egen praxis från nya perspektiv. I boken beskrivs arbetsprocessen och därmed ett praktiskt möte mellan konst och vetenskap. Här redogörs för vad fysisk gestaltning innebär, dess roll som ämne inom scenutbildningen, vad mötet mellan konstnären och filosofen resulterade i, hur reflektionen blev möjlig och hur en maktmedveten kunskapsproduktion växte fram ur praktiskt arbete med fysisk gestaltning. Filosofen berättar vidare om hur teorier om praxis ur praktik utvecklas.
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| 10. |
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Material of movement and thought : reflections on the dancers´s practice and corporeality
- 2013
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Samlingsverk (redaktörskap) (refereegranskat)abstract
- The articles in this volume have grown out of a research project entitled "FromMovement out of Reflection in Becoming: The Dancer and the Creative Process",gathering both professional dancers and theoreticians, and funded by theSwedish Research Council. The overall goal of the project was to approach anunderstanding and a conceptualization of the artistic process of the dancer, takingthe work in the creation ofina Christe!Johannessen's choreographic pieceNOW SHE KNOWS as a point of departure.The focus was both that of the dancer from within the process, and that ofexterna! observers. These viewpoints were not deadlocked hut rather aimed atan interaction and a dialogue between the theoretical and the practical levels.The research methods grew out of an at times quite intimate teamwork wherethe participants' different approaches came to cross and intersect.A number of issues were explored: How does the dancer work in the processwhere the dance takes shape? How does the understanding of a movementmaterial shift through the actual performing of it? What is it to understandor experience a movement from the perspective of the performer? What is itto understand or experience a movement from the perspective of the spectator?What kind of body is the dan ing body and how can it create a variety ofmeanings? Through what concepts are we to think the dancer's practice andcorporeality?The anthology contains essays by Cecilia Roos, Anna Petronella Foultier,Chrysa Parkinson, Katarina Elam, Cecilia Sjöholm, and Irene Hultman.
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