| 1. |
- Ahlstrand, Pernilla, 1967, et al.
(author)
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Learning study - a model for practice-based research in a Swedish theatre classroom
- 2021
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In: Youth Theatre Journal. - : Informa UK Limited. - 0892-9092 .- 1948-4798. ; 35:1-2, s. 115-128
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Journal article (peer-reviewed)abstract
- This article presents an ongoing research project, which researches theatre as a school subject at high school level in Sweden. The study is an example of practice-based research on teaching and learning and uses the model learning study for its research approach. It is argued that knowledge concerning the meaning of knowing the object of learning, in this case “to impose one ́s will”, is generated using the model. The results are presented as three categories of description and in an outcome space. The categories describe different ways of know- ing the object of learning, in this case how to impose one ́s will (what the character wants) with the purpose of developing the capability to consciously communicate with an audience.
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| 2. |
- Andersson, Ninnie, et al.
(author)
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Articulating dance knowledge : – a study investigating aspects of knowing when performing a parallel pirouette
- 2024
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In: Acta Didactica Norden. - Oslo : Universitetet i Oslo. - 2535-8219. ; 18:1, s. 1-25
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Journal article (peer-reviewed)abstract
- In this article, we describe the results from the dance section of a ULF project. ULF is an abbreviation for Development, Learning, Research (Swedish: Utveckling, Lärande, Forskning). Dance is a school subject at upper secondary level in Sweden with its own curriculum and grading criteria. Previous research has problematised teachers’ diffi-culties in verbalising and articulating their grounds for assessment. The research model used, a learning study, with its methodological and theoretical implications, is intro-duced. The model is collaborative and iterative and is combined with teaching practice. The results, presented as three categories of description in an outcome space with critical aspects, answer the research question: How can qualitative aspects of delimited subject-specific dance knowledge, namely, to perform a parallel pirouette, be articulated? We discuss the project’s results, gains and challenges and argue that the model used can be a way to gain knowledge about knowing expressed in a physical form, knowledge which is described as partly tacit. Considering the notion of tacit knowledge can be a way to understand the formation of dance knowledge and how it can be researched, in order to develop a subject-specific language.
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| 3. |
- Andersson, Ninnie, 1984, et al.
(author)
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Dance as democracy among people 65
- 2020
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In: Research in Dance Education. - : Taylor & Francis. - 1464-7893 .- 1470-1111. ; 21:3, s. 262-279
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Journal article (peer-reviewed)abstract
- This study sheds light on dance as democracy among people 65+. The article presents a study that is part of the project Age on Stage, in which elderly people were offered to express themselves through dance as an aesthetic form of expression. Hannah Arendt and Simone de Beauvoir are applied as philosophical lenses. Elderly people’s participation and involvement in dance activities are investigated and discussed. The specific aim is to describe and analyse contemporary dance as a form of democracy among people 65+. The following questions were formulated: What constitutes dance as communication within a group of elderly people? How do the participants internalise and use dance as an artistic form of expression in relation to the possibilities and limitations a workshop provides? A phenomenological analysis based on field notes and video recordings have generated the following themes: a functional body with impetus to move, to embody dance as a form of expression, to use Dance as a Form of Artistic Expression in Aesthetic Communication, and Reflections on life, body and dance. The results reveal existential and aesthetic dimensions of dance activities for elderly people that have not been emphasized to any greater extent in earlier studies.
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| 4. |
- Andersson, Ninnie, 1984-
(author)
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Making space for assessment : dance teachers’ experiences of learning and teaching prerequisites
- 2018
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In: Research in Dance Education. - : Taylor & Francis. - 1464-7893 .- 1470-1111. ; 19:3, s. 274-293
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Journal article (peer-reviewed)abstract
- The aim of this study is to illuminate and discuss assessment within dance education in Swedish upper secondary schools through teachers’ reflections. The study investigates how teachers reflect upon the range of possibilities explored and difficulties encountered in their assessment practice. In order to be able to comprehend the phenomenon of teachers’ reflections regarding their assessment practice, both written and verbal teacher reflections were gathered by means of seven interviews with four teachers, and one trilateral talk. Four teachers participated in the study. In the analytical process, the phenomenon was seen, broadened, varied, and then condensed into two themes: Conditions for assessment for learning and Making space for assessment. Both themes have aspects, which are intertwined: both include conditions for assessment as seen through various modalities, methods and tools.
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| 5. |
- Lindal, Anna, 1954-, et al.
(author)
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Musikens frihet och begränsning : 16 variationer på ett tema
- 2012. - 1
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In: Musikens frihet och begränsning. - Göteborg : Daidalos. - 9789171733894
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Book chapter (other academic/artistic)abstract
- Musiken behöver sina spänningstillstånd, sina osäkerheter och olikheter, sin balangsgång mellan traditionsförankring och vilja till förnyelse. Men den behöver också språk och samtal, kommunikation med andra uttrycksformer, dialog med det samhälle som omger musikskapandet. Musiken behöver orden, de kritiska sidobelysningarna, de passionerade omformuleringarna. En av utgångspunkterna för denna antologi om musiken som samtidsuttryck, är just frånvaron av sådana gränsöverskridande samtal. Varför tycks musiken så isolerad från en mer övergripande konst- och samhällsdiskussion? Visst är det märkligt med tanke på den centrala roll som musik spelar i många människors liv? Vad betyder exempelvis en så genomgripande händelse som tragedin på Utøya och de bombhärjade regeringskvarteren i Oslo för sättet att lyssna och förhålla sig till ljud? Ja, det finns en sådan text i denna bok, den norska sångerskan och författaren Jenny Hvals essä ”Sorgklangen”. Den berättar på ett konkret vis om konfrontationen med stadens och samhällets ljud, dagarna och veckorna efter terrorattentatet: ”Musik har blivit svårt. Det är inte längre möjligt att lyssna på den på samma sätt som förr, som om någon hade tryckt ned en distpedal över hela samhället som gör ljuden skarpa och främmande.” Boken har sin upprinnelse i ett forskningsprojekt kallat ”Mot ett konstmusikens utvidgade fält”, bedrivet 2008–2012, med stöd av Vetenskapsrådet. De deltagande har varit tonsättarna Ole Lützow-Holm och Anders Hultqvist, baserade i Göteborg, tonsättaren Henrik Hellstenius med hemvist i Oslo, violinisten Anna Lindal från Stockholm, samt Magnus Haglund, med bas i Göteborg, som medverkat som en sorts nedtecknare med uppgift att dokumentera projektets olika faser, samt att skapa en antologi med texter kring projektets huvudfrågeställningar. […] När projektet hunnit ungefär halvvägs bjöds en spegelgrupp in, med uppgiften att lyssna till berättelserna om de enskilda arbetena och att komma med egna reflektioner (samt att vid projektets slut medverka i antologin med egna bidrag). Gruppen bestod av pianisten och tonsättaren Mats Persson, koreografen Anna Koch, författaren och översättaren Cecilia Hansson, bildkonstnären Lina Selander, samt författaren och dramaturgen Magnus Florin. Redan här alltså ett utvidgat fält, ett försök att få musiken att träda i dialog med parallella konstförståelser, alternativa synsätt, andra praktiker
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| 6. |
- Mark, Eva, 1956, et al.
(author)
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Teorier ur kroppsliga praktiker
- 2011
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Book (other academic/artistic)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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| 7. |
- Pastorek Gripson, Märtha, et al.
(author)
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What syllabus documents can tell us about the presence and position of dance in Early Childhood Teacher Education: A Swedish perspective
- 2021
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In: Research in Education. - London : SAGE Publications. - 0034-5237 .- 2050-4608. ; 111, s. 46-69
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Journal article (peer-reviewed)abstract
- This study problematizes becoming early childhood teachers’ possibilities to develop knowledge relevant to teaching dance. The aim was to analyze the presence and position of dance in Swedish early childhood teacher education syllabi. Discourse analysis was used to identify patterns, regularities, hierarchies and gaps in the steering documents. The empirical material consisted of syllabi of twelve Swedish early childhood teacher programs. The results show that according to syllabi, dance as a subject has a rather weak or non-existent position in Swedish early childhood teacher education. Instead, dance often functions as a tool for learning other subjects, e.g. language and mathematics. The concept “aesthetic” was more frequently mentioned in the syllabi, but it did not explicitly explain what dance knowledge was included in the syllabi content, learning outcomes and examination forms. The frequency of dance differed between the syllabi, which might lead to unequal early childhood teacher education. Further, the potentially weak function and position of dance in early childhood teacher education might limit children’s social democratic life, bodily knowledge and experience of mind-body connection in a holistic sense.
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| 8. |
- Skånberg Dahlstedt, Ami, 1967
(author)
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Altering positions through an artistic inquiry of Japanese dance
- 2023
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In: Istanbul University Journal of Women’s Studies. ; 0:26, s. 1-21
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Journal article (peer-reviewed)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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| 9. |
- Skånberg Dahlstedt, Ami, 1967
(author)
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Suriashi as Experimental Pilgrimage in Urban and Other Spaces
- 2022
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Doctoral thesis (other academic/artistic)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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| 10. |
- Skånberg Dahlstedt, Ami, 1967
(author)
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Walking in Suriashi as a Radical and Critical Art of Inquiry
- 2023
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In: Walking as Critical Inquiry. - Cham : Springer. - 9783031299902 - 9783031299919 ; , s. 151-173
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Book chapter (peer-reviewed)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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