| 1. |
- Dahlstedt, Palle, 1971, et al.
(författare)
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Faller damm, faller regn
- 2012
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Ingår i: Föreställningar, 3:e Våningen, Göteborg, 4 april – 11 maj 2012 Konsert, utdrag, Artisten, 13 april 2012 Konsertversion av föreställningen, Hagakyrkan, Göteborg, 5 maj 2012 Föreställning, Nya Paviljongen, Grankulla, Helsingfors, Finland, 16 maj 2012 Peer-reviewed presentation, Shifting Dialogues Symposium on Asian Performance, Theatre Academy, Helsingfors, 18-19 maj 2012.
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Choreographer Ami Skånberg Dahlstedt has created a performance investigating class and gender of historic female street performers Shirabyoshi, who, trained in music, dance and poetry, performed dressed like male priests with sword, long hakama pants and a tall hat. How did they move? How did they manage their ambiguous position belonging both to the streets and the court? They could easily be replaced and thus lose social position, home and income. At the heart our performance are the Imayo (”modern”) songs of the Heian time. What was important in the arts of the Heian period and how can we relate to it? Ami is exploring the border between modern dance expression and the classical, ritual Japanese Buyo dance. Two musicians/composers contribute their perspectives to the performance: Kumiko Nonaka (Kyoto) constantly widens the range and outreach of the nohkan flute, bringing intimate knowledge of and new melodies for the Imayo Songs. Palle Dahlstedt (Gothenburg) combines studies in Noh music with advanced Western composition training and state-of-the art electronic music research. The objectives are to create an artistic synthesis, to bring it to a new audience and to show how these old artistic expressions can live – not only as a conserving museal craft, but as a powerful part of contemporary artistic expression.
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| 2. |
- Dahlstedt, Palle, 1971, et al.
(författare)
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Solens Dans
- 2013
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Ingår i: Cinema premiere at Bio Capitol, Gothenburg, Sweden.
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- A film by Ami Skånberg Dahlstedt and Folke Johansson, with music by Palle Dahlstedt, about the origins of dance and mythology in Japan connecting with contemporary dance today.
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| 3. |
- Skånberg Dahlstedt, Ami, 1967, et al.
(författare)
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Deconstructing Shirabyoshi – Female dancers of the Heian period as a Mirror of Today
- 2012
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Ingår i: Proceedings of Shifting Dialogues: The Politics of Site, Locality & Context in Asian Performance and Visual Arts, International Symposium, Academy of Fine Arts and Theatre Academy, Helsinki, May 18-19, 2012.
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Konferensbidrag (refereegranskat)abstract
- Choreographer Ami Skånberg Dahlstedt creates a performance (premiere April 4th, Gothenburg) investigating class and gender of historic female street performers Shirabyoshi, who, trained in music, dance and poetry, performed dressed like male priests with sword, long hakama pants and a tall hat. How did they move? How did they manage their ambiguous position belonging both to the streets and the court? They could easily be replaced and thus lose social position, home and income. At the heart our performance are the Imayo (”modern”) songs of the Heian time. What was important in the arts of the Heian period and how can we relate to it? Ami is exploring the border between modern dance expression and the classical, ritual Japanese Buyo dance. Two musicians/composers contribute their perspectives to the performance: Kumiko Nonaka (Kyoto) constantly widens the range and outreach of the nohkan flute, bringing intimate knowledge of and new melodies for the Imayo Songs. Palle Dahlstedt (Gothenburg) combines studies in Noh music with advanced Western composition training and state-of-the art electronic music research. The objectives are to create an artistic synthesis, to bring it to a new audience and to show how these old artistic expressions can live – not only as a conserving museal craft, but as a powerful part of contemporary artistic expression.
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| 4. |
- Skånberg Dahlstedt, Ami, 1967, et al.
(författare)
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OtoKin: Mapping for Sound Space Exploration through Dance Improvisation
- 2019
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Ingår i: NIME Proceedings. - 2220-4806.
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Konferensbidrag (refereegranskat)abstract
- ABSTRACT We present a work where a space of realtime synthesized sounds is explored through ear (Oto) and movement (Kinesis) by one or two dancers. Movement is tracked and mapped through extensive pre-processing to a high-dimensional acoustic space, using a many-to-many mapping, so that every small body movement matters. Designed for improvised exploration, it works as both performance and installation. Through this re-translation of bodily action, position, and posture into infinitedimensional sound texture and timbre, the performers are invited to re-think and re-learn position and posture as sound, effort as gesture, and timbre as a bodily construction. The sound space can be shared by two people, with added modes of presence, proximity and interaction. The aesthetic background and technical implementation of the system are described, and the system is evaluated based on a number of performances, workshops and installation exhibits. Finally, the aesthetic and choreographic motivations behind the performance narrative are explained, and discussed in the light of the design of the sonification.
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| 5. |
- Biggs, Iain, et al.
(författare)
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Suriashi as a ceremonial, subversive act
- 2020
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Ingår i: Walking Bodies - Papers, Provocations, Actions from Walking’s New Movements, the Conference. - Dorset : Triarchy Press. - 9781913743093
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Bokkapitel (refereegranskat)abstract
- A curated collection of papers, provocations and actions from the ‘Walking’s New Movements’ conference held at the University of Plymouth in November 2019. The experience and variety of walking practices have never been so broad, relevant or unpredictable. Walking Bodies charts some of their very latest developments. Editors Helen Billinghurst, Claire Hind and Phil Smith put out a call for artists, activists, academics, radical walkers and psychogeographers to discuss, perform and share their experiences of current walking cultures. In these essays, provocations, artworks and documentations, new terrains emerge and diverse energies and thinkings reflect the huge response to the initial call and the demand for tickets to the conference. Walking Bodies evidences anxieties, exclusions and gradual but major changes of direction for walking arts, towards more considered and embodied practices that re-navigate their terrains and challenge assumptions about trajectories through the unhuman world. Here are the beginnings of differently negotiated, shared, provoked and provocative ambulations. Walking Bodies is intended for anyone who makes, or wants to make, walking art or walk-performances - and for anyone interested in psychogeography, radical walking, drift and dérive, site-specific performance.
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| 6. |
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En båge genom tiden - ritualer kring en göteborgshistoria. Om Flickläroverket i Artisten
- 2024
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- 1929 bildades Göteborgs första Högre allmänna läroverk för Flickor – Flickläroverket som fick en byggnad 1935 i det kulturella centrumet, Götaplatsen. Efter några år som Kjellbergska gymnasiet, sedan Komvux, blev byggnaden del av Artisten, Högskolan för scen och musik, HSM 1992. Byggnaden har burit kvinnors utbildning, konst och kultur över många generationer, en minneskedja som nu är bruten. Boken - En båge genom tiden – ritualer kring en göteborgshistoria – en konst- och forskningsantologi – är resultatet av de offentliga minnesdagar där de deltagande drygt 200 kvinnorna (70– 97 år) som varit elever på Flickläroverket, studenter vid Artisten, konstnärer och forskare – bidrog till och deltog i gestaltande ritualer, minnesrum, dans, utställningar och samtal som gav liv åt en utbildningskultur och konst som berört samhället i generationer. I boken bidrar ett 20-tal Göteborgsbaserade konstnärer och forskare med olika perspektiv på byggnadens poetiska, sociala och konstnärliga dimensioner. Bland annat beskrivs återskapandet av Bågdansen, som dansades varje år vid Lucia mellan 1934-1972. Här beskrivs även den medie-debatt som ledde till räddningen av målningen Dansen av Nils Nilsson från 1935 och hur nedtagningen gick till. Tillsammans med ett rikt foto- och bildmaterial, filmdokumentationer och ett ljudarkiv utgör boken ett tidsdokument där konst fungerar som minnesbärare över tid och rum.
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| 7. |
- Skånberg Dahlstedt, Ami, 1967
(författare)
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A Body of Accents
- 2018
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Ingår i: Nordic Journal of Dance. - 1891-6708. ; 9:1, s. 44-51
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Tidskriftsartikel (refereegranskat)abstract
- Dance practice is often hidden inside dance studios where it is not available for dialogue or interdisciplinary critique. In this paper I will look closer at one of the accents my body holds, since the year 2000. To Swedish dance academies it is maybe the most foreign accent I have in my dance practice. It has not been implemented as ‘professional dance’ in Western dance studios. This foreign accent is called Nihon Buyō, Japanese dance, also known as Kabuki dance. Nihon Buyō, Nō or Kabuki are local performing arts practices for professional performers in Japan. A few foreigners are familiar with these practices thanks to cultural exchange programmes, such as the yearly Traditional Theatre Training at Kyoto Art Centre. There is no religious spell on the technique, or a contract written that it must be kept secret, or that it must not leave the Japanese studio or the Japanese stage. I will compare how dance is being transmitted in the studio in Kyoto with my own vocational dance education many years ago. Are their similarities to how the female dancer’s body is constructed? Might there be unmarked cultural roots and invisible originators to the movements we are doing today in contemporary dance? Dansutövandet hålls ofta dold innanför dansstudion där det inte görs tillgängligt för dialog eller tvärdisciplinär kritik. I denna text kommer jag att se närmare på en av de dialekter som min kropp har sedan år 2000. För svenska dansakademier är det kanske den mest främmande dialekten som jag har i min danspraktik. Den har inte implementerats som "professionell dans" i dansstudior i väst. Denna främmande dialekt kallas Nihon Buyō, japansk dans, även kallad Kabuki-dans. Nihon Buyō, Nō eller Kabuki är lokala scenkonstformer för professionella scenkonstnärer i Japan. Några få utlänningar känner till dem tack vare olika kulturutbytesprogram, till exempel den årliga traditionella teaterträningen, T.T.T., på Kyoto Art Center. Tekniken är inte belagd med någon religiös besvärjelse. Det finns heller inte några skrivna avtal om att den måste hållas hemlig, eller att den inte får lämna den japanska studion eller den japanska scenen. Jag kommer att jämföra hur dans kommuniceras och förs vidare i studion i Kyoto med min egen yrkesdansutbildning för många år sedan. Finns det några likheter i hur den kvinnliga dansarens kropp konstrueras? Finns det några omärkta kulturella rötter och osynliggjorda upphovskvinnor till de rörelser vi gör idag i nutida dans?
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| 8. |
- 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. ; 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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| 9. |
- Skånberg Dahlstedt, Ami, 1967, et al.
(författare)
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Artistic Research: Being There, Explorations into the Local
- 2017
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Ingår i: Nordicum-Mediterraneum. - : The National and University Library of Iceland. - 1670-6242. ; 15:1
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Recension (övrigt vetenskapligt/konstnärligt)abstract
- How does artistic research engage with the concept of local? In what ways can art practice be an intervention into traditional notions of history and culture? How does it engage with local and global identities? This book raises questions about transient art practices and site-specific works within communities, as well as art and research based experiences localized in urban and rural spaces, within the body and memory. Being There is a wide-ranging anthology that demonstrates the field of artistic research has never been stronger. The essays and meditations are by visual artists, writers, performers, filmmakers, historians, sound artists, and activists who have worked together in the Nordic Summer University and who share a desire to unite their creative practices with critical enquiry. Their contributions were generated within twice-yearly symposia that moved between Nordic and Baltic countries over a three year cycle of practice-based research. Some contributions are enigmatic meditations on place, whilst others, paradoxically, address the question of what is local through the notion of the nomadic. Whether describing quests of individual artists, or relating to collective endeavours, these works are engaged with the spaces in between. Each offers the reader a thoughtful encounter with the aesthetic, and the political, within a myriad of art practices across a rapidly evolving Europe. A part of the series NSU-press and the subject areas Philosophy and Art
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| 10. |
- Skånberg Dahlstedt, Ami, 1967
(författare)
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Dans som feministisk aktivism
- 2020
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Ingår i: Vänermuseet Internationella Kvinnodagen. - Lidköping : Vänermuseet, Lidköpings Bibliotek.
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- Text av Per Stern från Nya Lidköpingdtidningen: På plats är också feministiska dansaktivisten Ami Skånberg Dahlstedt. Under sitt föredrag leder hon hela skaran av åhörare ut på gräsmattan bakom museet för att utöva den långsamma gångtekniken suriashi. Hon är doktorand i dans på Roehamptons universitet i England och har under flera år utövat suriashi på olika platser i världen, ensam eller tillsammans med andra. – Suriashi är en viktig komponent i japansk dans. Den kan göras både snabbt och långsamt. Men när jag började gå i suriashi i städer märkte jag att vi mest behöver den långsamma varianten, säger hon. Vilket alla gör på gräsmattan. Och man är aldrig ensam, även om det ser ut så. Ens anmödrar och förfäder finns alltid med en. Aktivistformen suriashi kontrasterar mot den högljudda protesten med näven i luften. – Det är en tyst och långsam form av aktivism, säger Ami Skånberg Dahlstedt.
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