| 1. |
- Andersson, Ninnie
(författare)
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Assessment in dance education : an intersubjective setting for assessment
- 2014
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Konferensbidrag (refereegranskat)abstract
- 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.
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| 2. |
- Andersson, Ninnie
(författare)
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Assessment of dance knowledge
- 2012
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Ingår i: Abstract book. - Copenhagen : Nordic educational research association, NERA.
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Konferensbidrag (refereegranskat)abstract
- 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.
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| 3. |
- Andersson, Ninnie
(författare)
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Bedömning i dans på gymnasiet
- 2014
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Konferensbidrag (populärvet., debatt m.m.)abstract
- 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.
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| 4. |
- Andersson, Ninnie
(författare)
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Classroom observations of formative assessment in dance
- 2013
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Ingår i: Disruptions and eruptions as opportunities for transforming education. - : Nordic educational research association, NERA. ; , s. 251-
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Konferensbidrag (refereegranskat)abstract
- 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.
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| 5. |
- Behrndt, Synne
(författare)
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Dramaturgy and Artistic Research: Methods and frictions
- 2024
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Ingår i: Proceedings of CARPA8 Solvitur Ambulando“solved by moving” Dramaturgies of Artistic Researchhttps://nivel.teak.fi/carpa8/dramaturgy-and-artistic-research-methods-and-frictions. - Helsinki. - 9789523530744 ; , s. 1-12
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- The keynote address discusses the relationship between dramaturgy and artistic research and posits that within many contemporary colalborative devising processes we find interesting examples of artistic research. The address reflects on the different ways in which we may understand dramaturgical practice within these processes of complex research. It argues that it is perhaps in these kinds of processes that we best are able to identify dramaturgical practice as the bridge between theory and practice.
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| 6. |
- Boyraz, Savaş, 1980-
(författare)
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Invisible Landscapes in Visible Constraints : An Introspective Autocritique of a Lens-Based Arts Practitioner
- 2022
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Ingår i: Laboratory of Arts-based Research.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- The following lines are intended to draw a speculative comparison between Vilém Flusser’s “technical images” and Giorgio Agamben’s etymological investigation of “Poiesis and Praxis” through my own journey as a visual arts practitioner. Further, I will use this comparison for discussing certain dilemmas of lens based artistic practices in colonial realities. I will end by looking into essayistic form and speculative methods as possible tools to tackle these dilemmas.
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| 7. |
- Carlsson, Wilhelm
(författare)
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When do we sing in theatreand how do we speak in opera? : När sjunger vi på teatern och hur talar vi på operan?
- 2018
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Konferensbidrag (refereegranskat)abstract
- Vad är det du undersöker och varför? Jag undersöker gränslandet mellan teaterns och operans vokala uttryck. På svenska teaterscener möter vi skådespelare som avhändat sig många av röstens uttrycksmedel och närmat sig ett vardagligt uttryck. På operascenen skyms den talade textens innehåll ofta av det vokala uttrycket.Vad kommer vi att fåta del av under din presentation?Jag kommer redogöra för min undersökning av hur skådespelaren kan närma sig musikaliteten och ett expanderat vokalt uttryck före att gestalta textens innehåll. Och hur operasångaren kan söka sig mot en mer betydelsediger gestaltning av texten med bibehållen vokal kraft.
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| 8. |
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| 9. |
- Elblaus, Ludvig, 1981-, et al.
(författare)
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Modes of sonic interaction in circus : Three proofs of concept
- 2014
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Ingår i: Proceedings of Sound and Music Computing Conference 2014. - Athens : The International Computer Music Association, The Sound and Music Computing Steering Committe, The Institute for Research on Music & Acoustics. ; , s. 1698-1706, s. 1698-1706-
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Konferensbidrag (refereegranskat)abstract
- The art of circus is a vibrant and competitive culture that embraces new tools and technology. In this paper, a series of exploratory design processes resulting in proofs of concepts are presented, showing strategies for effective use of three different modes of sonic interaction in contemporary circus. Each design process is based on participatory studio work, involving professional circus artists. All of the proofs of concepts have been evaluated, both with studio studies and public circus performances, taking the work beyond theoretical laboratory projects and properly engaging the practice and culture of contemporary circus.The first exploration uses a contortionist’s extreme bodily manipulation as inspiration for sonic manipulations in an accompanying piece of music. The second exploration uses electric amplification of acoustic sounds as a transformative enhancement of existing elements of circus performance. Finally, a sensor based system of real-time sonification of body gestures is explored and ideas from the sonification of dance are translated into the realm of circus.
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| 10. |
- Grunditz Brennan, Kersti, 1966-
(författare)
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Creating Character in Editing : - teaching beyond continuity and perspective
- 2021
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Ingår i: A perfect film editor, GEECT CONFERENCE, LODZ FILM SCHOOL, POLAND 18TH – 19TH NOVEMBER 2021. - Lodz : LODZ FILM SCHOOL.
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Konferensbidrag (refereegranskat)abstract
- Editors shape the perception of the story characters beyond the actors’ performance and the directors’ instructions through choice of shot, take and timing (Pearlman, 2016). This artistic aspect of editing is often attributed to intuition – unreflected split second expert judgements. But intuitive meaning ’unarticulated’, makes it problematic to teach the shaping of characters beyond craft skills like continuity and perspective. The proposed presentation aims to explicate methods for teaching interpretation of actor performance, tools for molding it further and skills to ultimately create a character for viewers to emotionally invest in. By developing students’ awareness and articulation of implicit knowledge such as kinesthetic empathy, laws of physics, autonomous reactions and cultural conditioning, the outcome is a method for furthering student’s ability to shape and develop multifaceted characters through editing and to build narratives around characters and relationship that offer depth and complexity across the role roster. In doing so, the students’ capacities for responding to multiple complexities may also be enhanced. The presentation is a case study of a teaching method developed and used with editing students at Stockholm University of the Arts, applied to both narrative fiction and documentary film.
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