| 1. |
-
Transcultural Identity Constructions in a Changing World
- 2016
-
Samlingsverk (redaktörskap) (refereegranskat)abstract
- This volume takes a broad outlook on the concept of transculturality. Contributions from 19 authors and specialists, of almost as many diverse origins, grapple with this concept, each in their own way. How can transculturality be described? How can it help us understand our world? Many of the chapters deal with literary texts, others with the stories told in movies, drama, and visual art. There are texts about the complexity of the European Burqa-Ban debate, the negative aspects of Portuguese multiculturalism, or the border-crossing experiences of Filipino immigrants in Ireland. Several chapters examine stereotypes, the idea of movement, the dissolution of cultural borders, or the nature of bilingual writing. It is a unique contribution to the field, on a virtually global scale.
|
|
| 2. |
-
Waltz after Werkmästers Hans Olsson with dancer Dlsher Jabo and Bullermyren Band
- 2018
-
Konstnärligt arbete (film/video)abstract
- This multimodal and interdisciplinary artistic research project fuses Kurdish-Swedish dancer Dlsher Jabo’s embodied interpretation of a traditional Swedish folk tune with experimental documentary and music video filmmaking practices.Filmed in the historic village of Bingsjö in Dalarna Province, Sweden, the project re-imagines the contemporary refugee experience by engaging in several layers of audiovisual and intercultural collaboration.Prior to production, the traditional song Waltz after Werkmästers Hans Olsson was recorded and re-arranged by Swedish-Kurdish folk band Bullermyren. Audio interviews were conducted with dancer Dlsher Jabo, in which he shared stories of his life as krump/street dancer in Syria and his subsequent displacement as a refugee. During principal photography, a Swedish folk dance troupe, led by choreographer Jenny Franke, was invited to perform alongside Mr Jabo and Bullermyren, resulting in a unique juxtaposition of traditional and contemporary dance styles.Due to the extreme physical nature of Mr Jabo’s performance and the limited availability of the filming location, the shoot was conducted in a highly improvised manner in a barn dance hall. Consequently, the film’s narrative structure and visual rhythm needed to be composed through judicious and precise film editing practice.This film project was presented at the 2018 MIRAC Conference at Sweden’s Royal College of Music and disseminated at a 2018 audiovisual research seminar at Dalarna University before being made widely available on YouTube.The research was conducted as part of Dalarna University’s research initiative DAVA intercultural sessions and produced in collaboration with Faraway Productions Pty Ltd (Australia), Bingsjöstämman and Folkmusikens Hus.
|
|
| 3. |
- Häggström, Margaretha, 1962
(författare)
-
This is me! Visual Art as a Means to Identify Self and the “Bigger Picture”
- 2022
-
Ingår i: Learning through Art #3 INTERNATIONAL PICTURES OF PRACTICE. - Quinta da Cruz : Insea Publications. - 9789895360024 ; , s. 370-377
-
Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- This essay shows art-works of young students diagnosed with Asperger’s syndrome. Through a six-week long theme, the students worked with self-portraits, through three phases. First, they made a sketch without any special instructions. Second, they used a grid-method. Third, they created personal, innovative, and original images. The grid method was a way to meet the AS students’ needs for clear instructions. The third phase was quite challenging for the student. However, when they overcame the obstacles, they made creative and personal portraits. It was crucial for the students to start in the known before entering the unknown.
|
|
| 4. |
- Häggström, Margaretha, 1962
(författare)
-
Visual Genealogy of Portraits, Self-Portraits, and Selfies: Same Phenomenon, Different Phase of History
- 2020
-
Ingår i: In Danilo M. Baylen (Ed.), Dreams and Inspirations: The book of Selected Readings 2018. - Georgia : International Visual Literacy Association. ; , s. 66-85
-
Bokkapitel (refereegranskat)abstract
- This book chapter explores how the use of portraits has developed over the years. The purpose is to examine the genealogy of three types of portraits --- portraits, self-portraits, and selfies --- and to reveal similarities and diversity between these. A sample of portraits and self-portraits by painters, and selfies by amateur photographers, are analyzed through the four resources model by Freebody and Luke (1999). In this study, this model contains four theoretical concepts: visual code-breaking, visual meaning-making, visual use and visual analysis. The result shows that both professional artists, such as painters and photographers, and amateur photographers, are visual literate, but on different levels. Visual literacy ability is needed in all these types of portraits, and is always culturally grounded. The images included in this study, show the creators’ awareness of how to express specific personalities. Although, there are differences between the older paintings and today’s selfies, the similarities are more connected than might be thought.
|
|
| 5. |
-
Bingsjö360 – Experience Sweden's Bingsjö Folk Music Festival in 360 degrees
- 2019
-
Konstnärligt arbete (film/video)abstract
- Every first Wednesday in July since 1969, Bingsjöstämman (Bingsjö Folk Music Festival) beckons leading folk musicians and folk music enthusiasts from all over Scandinavia to the picturesque village of Bingsjö in Sweden. Over the course of 24 hours, thousands of people gather in fields, barns, campgrounds and historic houses to enjoy scheduled concerts, impromptu musical performances and to participate in traditional dances.Captured at Bingsjöstämman in 2018, Bingsjö360 presents 18 separate video clips which combine 8K resolution VR360 video and ambisonic music recordings to represent the broad range of musical performances on display at the festival. Through this immersive music documentary experience, viewers around the world can experience the sounds, rhythms and unique visual beauty of the festival for themselves.Bingsjö360 presents new creative pathways for representing and sharing folk music tradition through cutting-edge artistic research, immersive audiovisual technology and new modes of audience interaction. By making Bingsjö360 easily accessible through an online video sharing platform, this project also aims to elevate knowledge and perception about immersive audiovisual experiences in wider society.This international artistic research project was instigated at Dalarna Audiovisual Academy at Dalarna University (Falun, Sweden) and produced in collaboration with Folkmusikens Hus, Faraway Productions (Australia), Honeypot Film Productions, Cutting Edge (Australia), Dalarnas Museum, Film i Dalarna and Benny Andersson’s record label Mono Music.
|
|
| 6. |
|
|
| 7. |
|
|
| 8. |
|
|
| 9. |
- Strandroth, Cecilia, 1974-
(författare)
-
In Search of the Pure Photograph : A Historiographic Study of the Farm Security Administration, Walker Evans, and the Survey Histories of Photography
- 2007
-
Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The photographic archive of the American New Deal agency Farm Security Administration (created 1935-1943) occupies an important place in the history of photography as an exemplar of documentary photography and as symbol of the Great Depression. This dissertation is a historiographic study of this narrative of FSA photography, which investigates the archive's monumental position in the historical narration and demonstrates other possible readings. The first chapter delineates the dominating tropes of the narrative: the importance of the photographers' collective effort, the idea of the photographs as a collective portrait of America, the fear of propaganda, and describes the FSA canon and iconography.The three following chapters construct other potential narratives about the archive. The first shows that while the regular FSA canon is limited to photographs of waywardness and misery in rural America, the archive also contains photographs of modernity and development. The second shows that these photographs of modernity have not been made part of the narrative since they are explicitly motivated by politics and thus could be considered propaganda. The third narrative shows the reception of the most famous FSA photographer, Walker Evans, to have its foundation in the same resistance towards propaganda and politics. The study thus demonstrates that FSA photography was so much more than what is narrated in the history of photography. The survey histories are formulated within a modernist discourse of art, from an ideal of the media specific: each medium should strive towards a purification of its own interior qualities. The history of photography is thus narrated as a history of photographers' exploration of the medium itself. In the case of the FSA, the result is a narrative which considers the photographers' quest for more images the only important thing, which describes their practice as neutral, apolitical and pure.
|
|
| 10. |
- Bergenstråhle, Joachim, 1958-
(författare)
-
The literary embodiment of a film as phenomenological world-building
- 2022
-
Ingår i: Dalarna Audiovisual Academy's meeting for film, music, image, sound, art, education and research at Mediehuset, Falun 25th–26th November 2022.
-
Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- This article is based on my work as a screenwriting teacher and my growing frustration with the hegemony of classical dramaturgy, which lays like a wet blanket over creative writing and, not least, reduces film writing to a narrative process without regard or humility for the multimodal qualities and capabilities of film to create sensual experiences for an entangled audience. This article wants to propose another, artistic, method that I call cinematic world-building. The purpose of the method is to give the students a greater understanding of the audiovisual elements’ ability - as units and as cooperating constellations - to build moods, content, and themes without support from narrative and to develop their stories from cinematic spaces. After a few years of research to make it consistent, I tried the screenwriting method’s first steps in a course with a very good reception from the students. Some shortcomings were discovered, but above all, the method was felt to have good potential for further development.
|
|
