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- Lilja, Efva, et al.
(författare)
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Close encounters : contemporary dance didactics : exploration in theory and practice
- 2013
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- I am very pleased to invite you all to the first conference in Scandinavia on "Contemporary Dance Didactics: Explorations in Theory and Practice" - a close encounters conference with lecture demonstrations, round table discussions and paper presentations. The purpose of the conference is to introduce and share research, discuss, demonstrate and try different forms of dance didactics with participants from Sweden and intemationally. Furthermore to illuminate how dance didactics have developed and how this field of teaching and leaming can grow. There has been a lot of interest and many dance scholars, dance teachers and dance researchers have sent in their contributions in order to participate with their research, development work and best practices. As the participants represent both national and intemational dance environments, the knowledge and experience shared will highlight current views and key aspects of the development of dance didactics from an intemational perspective. The quality of dance teaching is the key to unlock the full potential of students at all levels, equipping them with necessary knowledge and skills for a future career. So far, the effort to improve the quality of dance teaching on a larger scale has been insufficient in many countries. My hope is that this conference will illuminate this issue and contribute to greater focus on teaching the art of dance and have an impact on the future dance world. The conference provides the opportunity to discuss and share how to meet the needs of a diverse student body and how we may provide skills necessary for a democratic leaming environment. It is very important to highlight the power of communication and cooperation, the power of i magi nation and to develop creativity. These are crucial elements that help the students excel alongside their passion. We have to find ways to increase our ability to respond creatively to challenges - this is the key to sustainability! I and all of us involved in facilitating this conference would like to warmly welcome you and we do hope that you will be stimulated, challenged, discover future opportun ities and create new networks. My vision is that research in dance didactics will develop and continues to explore, understand and critically analyze dance education. I know our conference will add to a tradition of lifelong leaming, and I sincerely hope we will soon be able to meet again in new conferences all over the world!
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- Roos, Cecilia, et al.
(författare)
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Ord i tankar och rörelse : dansaren och den skapande processen: konstnärlig och humanistisk forskning i samverkan. En delrapport
- 2012
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Rapport (övrigt vetenskapligt/konstnärligt)abstract
- Forskningsprojektet "Från rörelse ur reflektion i tillblivelse: Dansaren och den konstnärliga processen" startade januari 20 I O med ett tre rigt forskningsstöd från Vetenskapsrådet. Forskargruppen har bestått av Katarina Elam, fil.dr. i estetik och universitetslektor vid Högskolan Väst, Anna Petronella Foultier, doktorand i filosofi på Stockholms Universitet, Chrysa Parkinson professor i dans på DOCH, Cecilia Roos professor i interpretation på DOCH, samt Cecilia Sjöholm, professor i estetik på Södertörns högskola. Vårt övergripande syfte har varit att ur ett såväl praktiskt som ett teoretiskt perspektiv - belyst genom dansarens arbete med ett uruppförande - nänna oss en förståelse och ett begreppsliggörande av den konstnärliga processen genom exemplet dans. Å ena sidan finns dansarens inifrånperspektiv; å andra sidan betraktarens utifrånperspektiv. Genom en dialog mellan dem, i ett slags dubbel rörelse kan ytterligare lager av förståelse för det till-kropp-kommande framträda.Ursprungligen beskrev vi projektet enligt följande:I utgångspunkten för arbetet med det som ska interpreteras analyserar dansaren rörelsematerialet med hjälp av en inre och en yttre blick som inte syftar till att förklara utan nännast till att göra undersökningen mer komplex. Mellan dessa perspektiv - ett intuitivt och ett medvetet - pendlar dansaren i sin utforskning. Den inre blicken bär på minnen, upplevelser, vilja och kreativitet, den yttre snarare på en kalkylerande rationalitet som avläser och registrerar. I rörelsen mellan dessa skapas en glipa, eller ett utrymme, där perspektiven samtidigt sammanfogas. Det här är ett tillstånd i ständig förskjutning där ett absolut gehör för situationens möjligheter eftersträvas. Dit navigerar dansaren medvetet och i den processen gör hon de val som ligger till grund för hennes tolkning. Där manipulerar hon med tiden mellan tanke och handling, intention och impuls, för att låta ett då och ett nu mötas. Ett slags vidgat moment som pekar mot något utan att visa vad det är och det är egentligen mer som en medveten handling i stunden än som ett tillstånd. Det är just denna process som vi har för avsikt att verbalisera och begreppsliggöra.Hur vi idag väljer att beskriva, gestalta och artikulera resultatet av vår forskningsprocess är individuellt. Våra olika perspektiv har alltid varit närvarande i diskussionerna och vad vi har sett och talat om har tveklöst färgats av detta. Likafullt har ofta en annan bild eller beskrivning av en företeelse kunnat kasta nytt ljus över den egna uppfattningen; begrepp har slipats på och getts nya innebörder genom våra långa och återkommande samtal. Dessa samtal har förts så äl under regelrätta seminarier som vid våra fysiska träningspass eller framför en dansvideo. Vi har även haft möjlighet att delta vid ett antal internationella konferenser 1 för konstnärlig forskning vilket ibland har lett till nya vändningar i diskussionerna. Vår förhoppning nu är att våra samlade individuella erfarenheter ska komma att generera nya ideer kring förkroppsligad kunskap och kreativitet. Cecilia Roos, Katarina Elam och Anna Petronel/a Foultier, november 2012
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- Styrke, Britt-Marie
(författare)
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Dans, didaktik och lärande : om lärares möjligheter och utmaningar inom gymnasieskolans estetiska program
- 2013
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- This study takes it's starting point in acknowledging that dance was established as a subject in upper secondary school within the Aesthetic program in 1994. The first part highlights and discusses contextual aspects on dance teaching including perspectives on gender and body. The second part contains an empirical qualitative study on dance teachers' ideas on their practice related to the concepts of didactics and teacher knowledge. Fleck's theory on thought collectives is used as a way of exploring how dance teachers as a professional group relate to dance as tradition and teacher practice. As one result teachers show that they break with the thought collective as pre understandings on how to teach dance in the upper secondary school context. Focusing on pupils as individuals, though in collective teaching situations, new possibilities for teaching practice are explored. Using Shulman's concepts on teacher knowledge, a number of categories point to teacher knowledge such as: pedagogical content knowledge, knowledge of learners and knowledge of contexts. Dance teaching becomes visible as a profession through the deep ability to use this diverse competence - artistic as well as pedagogic - in the daily practice. Within this practice the category curriculum knowledge is less explored and also somewhat problematic in the process of transforming dance as a field of knowledge into a school subject. In the transformation process, teachers ask for tools in the form of modets for interpretation. Explicit didactic concepts, such as finding the subjects didactic potential and its didactic form, may function as a toolbox in this process. Expressed possibilities and challenges relate to above mentioned areas as well as to expectations on the reformed Aesthetic program and the reformed Dance teacher education in 2011. Moreover, teachers retlect on the less explored but highly topical aspects on gender and body in the upper secondary school context.
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- Zaccarini, John-Paul
(författare)
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Circoanalysis : Circus, Therapy and Psychoanalysis
- 2013
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- There is an object/artefact of circus and a subject/process that makes it. This research considers the subject of the circus-making in order to bring it to the foreground of future discussions about pedagogy, practice and production. If the shift from Traditional to New Circus brought with it changes in education – the incorporation of theatre and dance – then the emerging Contemporary Circus may need a more refined set of tools to facilitate its creative growth. This thesis sets out how psychoanalytic theories can be adapted and its key practices adopted to bring about this shift from New to Contemporary Circus in pedagogic practice. The practice tends to the subject that is traditionally mute in the face of the demands of circus, to which it complies becoming an object with minimal agency. Psychoanalytic praxis is adapted to give the subject a voice in order to develop a methodology specific to circus; circoanalysis. Following Freud it starts with the analogy of the circus act and the dream, the proposition that both are productions of the unconscious and contain hidden meanings and desires disguised by the formal content. It continues with the analogy of the symptom, which must be repeated for the partial and ambiguous satisfaction of unconscious desire and is at the threshold of the somatic and the psychic. Winnicott's theory of play is utilised to examine how artists explore and work through certain aspects of anxiety provoking psychic content in their work. Anxiety, in its Lacanian formulation, present in both circus and the consulting room, provides the key to understanding the importance of the Other in the act. Circus, like psychoanalysis, needs its other to recount its story to. Over one hundred research participants, students and professionals, engaged in the practices of questionnaires, focus groups, consultations, interviews and extended periods of circotherapy. The thesis describes the development of a technique of talking through the manifest, formal content of the circus act in order to get to the unconscious desires that create it. The act is then seen as a symbolic compromise formation enveloping a kernel of real jouissance. In a series of case studies hysteria, obsessive neurosis, masochism, paranoid fantasy and melancholia are seen both as a series of subject positions with regard to circus and its spectator and as ways of managing an excessive enjoyment. Circus is put into a new context as a healing practice for its practitioners, whether in the form of repetition compulsion that turns bad objects into good ones or as a homeopathic self-immunisation against pain, anxiety and the relation to the Other. It casts new light on the problematic the circus has with the theatrical performance tropes of character and narrative which emerge as disavowals of this latent content and relation to the Other and suggests that a move forward, beyond this Other of the circus, implies a certain form of mourning.
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