| 1. |
- Skånberg Dahlstedt, Ami, 1967
(författare)
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Altering positions through an artistic inquiry of Japanese dance
- 2023
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Ingår i: Istanbul University Journal of Women’s Studies. ; 0:26, s. 1-21
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Tidskriftsartikel (refereegranskat)abstract
- Cross-gender acts have saturated Japanese performance history, with men and women using gender as a performative act. This practice-led article investigates gendered embodiment and gendered spaces through the Japanese dance and walking technique suriashi (which translates as sliding foot). It is practiced in traditional Japanese performing arts and in martial arts. Gender in traditional Japanese dance/Nihon Buyō is constructed physically through the positioning and moulding of the body, as well as through costume and cross-dressing. The original suriashi practice is performed in the dance studio or on stage, however my research asks whether suriashi could also be a method to act, as being active, or to activate, in other spaces outside the theatre. I exemplify gendered perspectives through a suriashi walk by myself and the drag queen Bruno the Bad Boy at the yearly Saiin Kasuga Shrine Festival in Kyōto. I propose that the suriashi style created to impersonate women is not only a gender construction, it is also a reminder of the continuous absence of women in Nō and Kabuki theatre, resulting from the 1629-1868 ban of women from stage, the adoption of Confucian cultural values, and teachings of Buddhism. Combining extended practice-based and situated knowledge with historical accounts, I elucidate the act of ‘becoming woman’ or ‘performing as woman’ in traditional Japanese dance. This helps to process a global conservatory performer training as well as processing gender issues in the contemporary society, explored through gender theories, performing Hélène Cixoux’s sexual difference and Judith Butler’s gender trouble.
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| 2. |
- 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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| 3. |
- 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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| 4. |
- Häggbom, My
(författare)
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En berättelse från verkligheten : om konsten att göra TV-reportage
- 2016
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- Sammafattning:Något av det mest fantastiska med att göra tv-reportage är att bli insläppt i andra människors liv. Med full tillit lägger de en liten bit av sina liv i just mina händer. Ur den glimten ska jag välja ut och sortera fram det som blir berättelsen. Besluten är många och ofta snabba vid produktion av reportage och inslag för tv/audiovisuella media. Och vi bara gör. Vi gör så som vi oftast brukar för det blir bäst så. Men vad gör vi egentligen? Hur gör vi? Och varför då? Och blir det alltid bäst så? Här vill jag undersöka praktisk erfarenhet av arbetsprocess, metod och gestaltningsval. Men framförallt vill jag visa att det inte bara handlar om vad vi berättar utan också om hur. Det är ju berättelser från verkligheten vi arbetar med! Och nu när alla gör tv och vi översvämmas av en stor mängd rörlig bild och ljud av skiftande kvalitet tror jag att det är viktigare än någonsin att vi vässar våra verktyg och lägger vikt vid hur vi formger berättelsen för att ge den en chans att nå fram. Så här är den nu, handboken i att göra reportage för audiovisuella medier. Att ha i bakfickan när du ger dig ut på dina första reportage. Och om du redan jobbat länge hoppas jag att den kan inspirera dig att fortsätta utveckla ditt eget reportageberättande i bild och ljud.
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| 5. |
- Mårtens, Ylva
(författare)
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Vad säger barnen?
- 2015
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- Vad säger barnen? är en bok om konsten att intervjua barn. Hur skapar man tillit, hur förbereder man sig, vilken lagstiftning gäller? Har barn yttrandefrihet?Hur gör man barnperspektivet tydligt och hur ser man som journalist till att barnens röster lyfts fram i det offentliga samtalet? Men den handlar också om hur vuxenvärlden ser på och bemöter barn.Vad säger barnen? är en personlig handbok, en kunskapsbank och en praktisk guide. Den kan användas som stöd för lärare, fritidsledare, teaterfolk, kulturarbetare och dokumentärfilmare. Och varför inte föräldrar? Boken är resultatet av ett arbete vid Stockholms dramatiska högskola där radioreportern Ylva Mårtens har varit verksam som gästlärare, forskare och lektor i radioproduktion i mer än trettio år
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| 6. |
- 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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| 7. |
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Parley : / edited by Marc Johnson ; with contributions by Colin Browne [and 27 others].
- 2024
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Konstnärligt arbete (refereegranskat)abstract
- "PARLEY" is the result of artist Marc Johnson’s immersive journey into cultural dialogue and discovery, initiated at the 2019 Vancouver Biennale International Residency program “re-IMAGE-n public space.”Conversations with esteemed local figures; including Dana Claxton, Karen Duffek, Sharon Fortney, Haa Huups, Peter Morin, Kamala Todd, Ian Wallace, Connie Watts, Laura Wee Lay Laq, Jordan Wilson, Tʼuyʼtʼtanat Cease Wyss, Michael Nicoll Yahgulanaas and Lawrence Paul Yuxweluptun amongst others; paved the way for a deeper communion with the city’s intellectual and artistic heartbeat.Johnson’s research took him behind the scenes of the Museum of Anthropology, the Museum of Vancouver, and the Vancouver Maritime Museum, sparking a profound curiosity about the narratives attached to stored and preserved artifacts. It was in the quiet reflection of these institutions’ collections that he found himself contemplating, “What is the archive hiding? I wonder if there is anything I would hide if I was the archivist.” This exploration into the intricacies of museum curation and the selective storytelling of exhibited pieces set Johnson on a path of inquiry and insight.In a dedicated effort to foster intercultural understanding, PARLEY weaves together the perspectives of 26 curators, artists, writers, and knowledge keepers, delving deep into issues of First Nation rights and cultural revitalization. Johnson’s dialogue with these experts, along with the exploration of archiving, collecting, and sharing First Nations languages and artifacts, formulates a narrative that challenges readers to consider the multifaceted aspects of history, representation, and the ongoing journey toward reconciliation.This book is not just a testament to Johnson’s residency experience; it’s an invitation to join an essential conversation on cultural heritage and the paths that lie ahead for collective understanding and healing.
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| 8. |
- Damkjaer, Camilla
(författare)
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En introduktion til kulturanalytiske traditioner og tilgange
- 2020
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Ingår i: Krop og bevægelse i idræt og sundhed: Kulturanalytiske tilgange. - Odense : Syddansk Universitetsforlag.
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Bokkapitel (refereegranskat)abstract
- This chapter maps out different approaches and traditions within cultural analysis, especially as it used within the study of bodily practices, in order to discuss how they may be developed further today.
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| 9. |
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| 10. |
- 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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