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| 2. |
- Abdelmoez, Joel W., et al.
(författare)
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The 'Arab Spring' as a Milestone in Feminist Performance
- 2023
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Ingår i: Milestones in Feminist Performance.
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Bokkapitel (refereegranskat)abstract
- This chapter explores feminist performances in and after the so-called Arab Spring. Focusing mainly on Tunisia and Egypt, this chapter looks at the Arab Spring as a milestone which clearly marks a “before” and an “after.” It was a formative event, which provided new challenges and a new context within which feminist activists found themselves. While many had hoped that the toppling of old regimes would lead to a new, more open and free society, in many cases the opposite has happened. Feminists after the Arab Spring face even more repression, a crack-down on their organizations and many feminist groups have either had their assets frozen or been outright banned. This has led to new forms of organizing and feminist resistance. A key development explored in this chapter is the increased importance of digital platforms for feminist activism. The role of social media is often viewed as a significant factor in the (initial) successes of the Tunisian and Egyptian uprisings, and although this view has also been questioned in that it downplays the importance of human beings sacrificing their lives and bodies by taking to the streets, there is little doubt that the media landscapes of Egypt and Tunisia today are vastly different than before 2011. The uprisings played a major part (indeed a milestone) both in ushering in a new political context, but also in the lessons that was learned in terms of how to effectively use social media and other digital tools to affect change.
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| 3. |
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Berätta, överleva, inte drunkna : Antirasism, dekolonisering och migration i svensk teater
- 2022
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- Antologin "Berätta, överleva, inte drunkna" är den första publikationen på svenska som samlar scenkonstnärer och teatervetare till att reflektera över den pågående flyktingsituationen och den ökande främlingsfientligheten. Boken tar hänsyn till både strukturella och institutionella aspekter som spelar roll i dekoloniseringsprocesser (t.ex. kvotering; chefspositioner; scenkonstnärliga utbildningars upplägg).Antologin kan användas som kurslitteratur för studenter i teatervetenskap och besläktade ämnen, exempelvis barn- och ungdomsvetenskap, kulturstudier, litteraturvetenskap, genusvetenskap, lärarutbildningar och scenkonstnärliga utbildningar. Boken riktar sig även till scenkonstnärer och praktiker, studieförbund samt till en allmän publik som är intresserad av antirasistisk och postkolonial teater. Samtliga bidrag är skrivna på ett pedagogiskt sätt som gör boken tillgänglig för en akademisk och icke-akademisk publik.Boken har en inkluderande agenda som ger utrymme både för den yngre generationen scenkonstnärer och pionjärer som drivit på utvecklingen av de- och postkolonial teater. Perspektiv från institutionsteatrar varvas med erfarenheter från alternativa scenkonstnärliga miljöer. Antologins geografiska spännvidd sträcker sig från Malmö i syd till Sápmi i nord, och ortens teaterkultur får lika stort utrymme som storstädernas scenkonst. Syftet är att spegla den kulturella mångfald som präglar den samtida scenkonsten och bidra till en fördjupad dialog mellan akademin, scenkonsten och allmänheten.
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| 4. |
- Dahlberg, Tove, 1973-
(författare)
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Släpp sångarna loss! : Genus, gestaltningsnormer och konstnärligt handlingsutrymme i opera.
- 2023
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Abstract:My dissertation is taken from an opera singer’s perspective and the aim is three-fold: · to investigate and problematize how gender and performance norms are reproduced on the opera stage· to provide tools and propose approaches to transform gender perspective and norm critique into a creative artistic practice, enabling conscious and active artistic choices in relation to gender and performance norms· to explore ways to expand the singer's artistic agency. The artistic research project draws on knowledge from both my own practice as a professional opera singer and my collaborators’ experiences from the worlds of opera, classical music and theatre. The thesis consists of four artistic investigations:1. In Mönster och möjligheter (Patterns and Possibilities), gender markers were explored and identified, both in vocal and dramatic performance. The five Mozart scenes that were studied revealed a structure suggesting that femininity in the operatic art often can be expressed by taking responsibility for the music, for facial features and bodily behaviour, and for the audience. Correspondingly, masculinity seemed to be expressed by actively taking less responsibility in these areas.2. The second investigation was connected to Norrbottensmusiken's production of the new opera Under en kvinnas hjärta (Beneath the Heart of a Woman). This study exposed how performance norms affect singers' artistic possibilities also in contemporary opera. The investigation found that if the director's reading of an opera is norm-creative, it can facilitate a less traditionally gender-coded performance. However, even in more traditional opera productions, there are still options for the singer to work norm-creatively with their role, for example by mixing feminine and masculine gender markers.3. The third investigation, the concert production Sångernas sång (The Song of Songs), explored an expanded artistic agency for the singer. Actively using my experience from my career as an opera singer, I wrote the libretto for the chamber mini-opera Stark som döden (Strong as Death) in collaboration with a composer. The study suggested that singers, in addition to their creative work on the role, could also contribute with other important perspectives. Concert and opera productions, as well as newly written works, can be enriched by a dialogue with the singers early on in the artistic process. In the creation of the two roles in the chamber pieces Hög visa (Songs of Solomona) and Stark som döden, useful methods for creating a subject position for the characters were developed, as well as ways to work in a concert situation with the portrayal of sexual desire.4. The fourth and final investigation, Interaktion och intimitet (Interaction and Intimacy), was an exploration of intimate scenes. The study showed that the method and know-how of an intimacy coordinator can provide a sense of security that can make the singers freer in their portrayals of sexuality. A greater focus on the story can also make the scenes more interesting artistically. In addition, this study revealed the potential of an expanded agency for the singers. Allowing singers to adapt the text and the distribution of lines in repertoire opera, as well as creating a more collective rehearsal process, where the singers take an active part in the stage directing work, could open up for more norm-creative representations of gender on stage.
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| 5. |
- Dobre Billström, Rebecca, 1983-
(författare)
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Feminist musical engagements : The struggle against gender inequalities in music-making practices
- 2022
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The debate around gender equality and feminist concerns in relation to musical life are increasingly part of Swedish public discourse. Attention directed to structural gender inequalities in various music scenes by feminist associations, governmental intervention in these issues, and the recent #metoo-protests against sexual harassment and violence in the music industries, are all part of this. Based on interviews with musicians engaging in affecting change, who start out from a gendered perspective, this thesis explores the feminist political potential of both music-making and organisational work to combat inequalities in relation to music, and focuses on several features of such an engagement: the negotiating character of relating to gendering categories as part of feminist attempts to transform music; the relation between power structures and musical performance by discussing embodied practices and musical material concerned with feminist social commentary and what these do politically; and feminist approaches to practice beyond notions of gender equality as representation. The theoretical concept of affective dissonance is used to shed light on musicians’ self-reflective negotiations with social power structures and how these negotiations produce a specific potential for collective feminist action and solidarity within and across music environments. The musicians interviewed are active in various music scenes, from opera, jazz and blues, visa, new music composition and sound art to dansband, rap and folk music and they all engage in different ways with both notions and practices of gender-related and feminist transformation in music-making. This thesis examines the interrelated aspects of such an engagement, of individual experiences of sexism, gender power dynamics and social-professional relationships, musical performance and material, and collective feminist ambitions and capacity in music practice.
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| 6. |
- Gindt, Dirk, 1975-
(författare)
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Playing Activists and Dancing Anarchists : Men and Masculinities in Cultural Performances in Contemporary Sweden
- 2007
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Playing Activists and Dancing Anarchists is a Ph.D. dissertation that aims to analyse men and masculinities in political demonstrations and similar manifestations by conceptualising and analytically approaching such cultural performances as theatrical events. The case studies include the large peace demonstration in Stockholm in February 2003 against the invasion of Iraq; a street theatre performance by the comedians Kesselofski and Fiske, who argue against the European Monetary Union; four Social Democratic May Day celebrations with former prime minister Göran Persson as the main speaker; two anti-racist demonstrations, one of which leads to a violent street battle between activists and a riot police squad.The dissertation proposes Performance Studies as a relevant means of examining men and masculinities in political live events. The method of study is based on participant observation and the material is complemented with additional sources. The theoretical and analytical approach is inspired by Willmar Sauter’s model of the theatrical event and Raewyn Connell’s theory of hegemonic masculinity.The different chapters identify and discuss a broad range of men and masculinities, from a cowboy-politician and a financial shark to dead political father figures and masked collectives of martyrs. A closer analysis reveals that many of them are contemporary embodiments or complicit supporters of hegemonic masculinity. Underneath the playful surface of some of the events are strong undercurrents of this ideal. The study also shows the growing resistance offered by feminist activists, performers and musicians. Cultural performances prove to be loci where hegemonic masculinity is not only reproduced, but also contested. The concept of the theatrical event helps to identify and spotlight these attempts and shows how Performance Studies can contribute to analysing men and masculinities.
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| 7. |
- Neuhauser, Charlott, 1961-
(författare)
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Fruktansvärd, ospelad och nyskriven - kriser och konflikter kring ny svensk dramatik : från Gustav III:s originaldramatik till dagens beställningsdramatik
- 2016
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The issue of this thesis concerns a selection of historical debates in which new Swedish drama is under discussion. The studied debates take place in the cultural and political fields and within the fields of theater and literature and deal with a recurring assumption in Swedish theatre history – that new Swedish drama is insufficient. The primary object of this thesis is to find explanations to: why is the Swedish new drama so often described as defective? The following questions, guiding the analysis, are: How are the crises described? What are the stakes? How has the dramatic text been influenced by being judged either as literary product or a product for the stage? How is the playwright’s role described, and perhaps changed, in the crises? The aim of the analysis is to understand how traditions and conventions are shaping the debates and contribute to perpetrate the myth of the malfunctioning Swedish new play.In a historical perspective several attempts have been made to govern new Swedish drama by legislative and political power. New Swedish drama has, for example, been viewed as a possible expression of the nation, as part of shaping the Swedish Welfare state or creating interactive communication with the audience. Despite its many uses, new Swedish drama continues to be describes as flawed.The study starts with King Gustav III:s Swedish theatre where the purpose was to produce Swedish original plays. The study ends with an analysis of a new government grant for new Swedish drama, which was installed in 1999. The chosen debates are analyzed with the help of concepts borrowed from the French sociologist Pierre Bourdieu, looking at each historical situation as a possible moment for the establishment of the field ”new Swedish drama”. The survey ends with eight interviews with playwrights, who are active today.The conditions for the new Swedish drama are the guiding line in this thesis. These conditions are found in the cultural, social and historical contexts that cooperate when a taste or convention is being shaped. They are part of the discourses in the field, where criteria for the new Swedish drama is formulated. In order to understand the significance of, for example, the expression, ”the newly written Swedish drama” research has been pursued in biographical material, historical surveys, and debates in the daily press and in professional journals.Without being a full bourdieuan analysis, the thesis is using concepts from Bourdieu. The work of British feminist theatre historian Tracy C Davis inspires the critical historic perspective.
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| 8. |
- Ohlsson, Hélène, 1961-
(författare)
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”Gudomlig, ingenting mindre än gudomlig!” : Skådespelerskan Ellen Hartmans iscensättningar på scen och i offentlighet
- 2018
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The purpose of the thesis is to examine the diva femininity, career strategies, and acting style of the Swedish actress Ellen Hartman (1860-1945). The aim is to highlight her importance to Swedish theater during the fin-de-siècle. The dissertation is a contribution to the history of actresses and explores her gender performance and diva codes and how they influenced her career strategies and acting style. The analysis is based on Tracy C. Davis’s feminist historiography, Mimi Schippers’s notion of pariah femininity, and Wayne Koestenbaum's concept of diva codes.Historical contextualisation, critical imaginativeness, and actors’ embodied knowledge are the methodologies used in the present thesis. The study emphasizes the close interplay of the gendered contexts and structures that framed Hartman’s career strategies, acting style and performance. The conclusion thereby underlines the idea that Hartman as a popular actress challenged the gender norms of her time and contributed to the empowerment of women in Sweden. As an actress, Hartman was a forerunner and thereby became a pioneer of Swedish modern acting.
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| 9. |
- Rosenberg, Anna, et al.
(författare)
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Multidomain lifestyle intervention benefits a large elderly population at risk for cognitive decline and dementia regardless of baseline characteristics : The FINGER trial
- 2018
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Ingår i: Alzheimer's & Dementia. - New York : Elsevier. - 1552-5260 .- 1552-5279. ; 14:3, s. 263-270
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Tidskriftsartikel (refereegranskat)abstract
- Introduction: The 2-year Finnish Geriatric Intervention Study to Prevent Cognitive Impairment and Disability (FINGER) multidomain lifestyle intervention trial (NCT01041989) demonstrated beneficial effects on cognition. We investigated whether sociodemographics, socioeconomic status, baseline cognition, or cardiovascular factors influenced intervention effects on cognition.Methods: The FINGER recruited 1260 people from the general Finnish population (60-77 years, at risk for dementia). Participants were randomized 1: 1 to multidomain intervention (diet, exercise, cognition, and vascular risk management) and regular health advice. Primary outcome was change in cognition (Neuropsychological Test Battery z-score). Prespecified analyses to investigate whether participants' characteristics modified response to intervention were carried out using mixed-model repeated-measures analyses.Results: Sociodemographics (sex, age, and education), socioeconomic status (income), cognition (Mini-Mental State Examination), cardiovascular factors (body mass index, blood pressure, cholesterol, fasting glucose, and overall cardiovascular risk), and cardiovascular comorbidity did not modify response to intervention (P-values for interaction > .05). Conclusions: The FINGER intervention was beneficial regardless of participants' characteristics and can thus be implemented in a large elderly population at increased risk for dementia.
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| 10. |
- Rosenberg, Tiina
(författare)
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A Doll's House Revisited : The Nora Performance on Contemporary Swedish Stage
- 2003
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Ingår i: Proceedings of the relevance of a Doll's House - Translation and Adaptation. - Dhaka, Bangladesh : CAT, Centre for Asian Studies. ; , s. 185-194
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- This conference paper discusses Henrik Ibsen's A Doll's House as a part of women's liberation movement.
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