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- Abdelmoez, Joel W., et al.
(författare)
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The 'Arab Spring' as a Milestone in Feminist Performance
- 2024
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Ingår i: Milestones in Feminist Performance. - 9781032389929 - 9781032389912
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Bokkapitel (refereegranskat)abstract
- This chapter explores feminist performances in and after the so-called Arab Spring. Focusing mainly on Tunisia and Egypt, this chapter looks at the Arab Spring as a milestone which clearly marks a “before” and an “after.” It was a formative event, which provided new challenges and a new context within which feminist activists found themselves. While many had hoped that the toppling of old regimes would lead to a new, more open and free society, in many cases the opposite has happened. Feminists after the Arab Spring face even more repression, a crack-down on their organizations and many feminist groups have either had their assets frozen or been outright banned. This has led to new forms of organizing and feminist resistance. A key development explored in this chapter is the increased importance of digital platforms for feminist activism. The role of social media is often viewed as a significant factor in the (initial) successes of the Tunisian and Egyptian uprisings, and although this view has also been questioned in that it downplays the importance of human beings sacrificing their lives and bodies by taking to the streets, there is little doubt that the media landscapes of Egypt and Tunisia today are vastly different than before 2011. The uprisings played a major part (indeed a milestone) both in ushering in a new political context, but also in the lessons that was learned in terms of how to effectively use social media and other digital tools to affect change.
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Berätta, överleva, inte drunkna : Antirasism, dekolonisering och migration i svensk teater
- 2022
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- Antologin "Berätta, överleva, inte drunkna" är den första publikationen på svenska som samlar scenkonstnärer och teatervetare till att reflektera över den pågående flyktingsituationen och den ökande främlingsfientligheten. Boken tar hänsyn till både strukturella och institutionella aspekter som spelar roll i dekoloniseringsprocesser (t.ex. kvotering; chefspositioner; scenkonstnärliga utbildningars upplägg).Antologin kan användas som kurslitteratur för studenter i teatervetenskap och besläktade ämnen, exempelvis barn- och ungdomsvetenskap, kulturstudier, litteraturvetenskap, genusvetenskap, lärarutbildningar och scenkonstnärliga utbildningar. Boken riktar sig även till scenkonstnärer och praktiker, studieförbund samt till en allmän publik som är intresserad av antirasistisk och postkolonial teater. Samtliga bidrag är skrivna på ett pedagogiskt sätt som gör boken tillgänglig för en akademisk och icke-akademisk publik.Boken har en inkluderande agenda som ger utrymme både för den yngre generationen scenkonstnärer och pionjärer som drivit på utvecklingen av de- och postkolonial teater. Perspektiv från institutionsteatrar varvas med erfarenheter från alternativa scenkonstnärliga miljöer. Antologins geografiska spännvidd sträcker sig från Malmö i syd till Sápmi i nord, och ortens teaterkultur får lika stort utrymme som storstädernas scenkonst. Syftet är att spegla den kulturella mångfald som präglar den samtida scenkonsten och bidra till en fördjupad dialog mellan akademin, scenkonsten och allmänheten.
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- Dahlberg, Tove, 1973-
(författare)
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Släpp sångarna loss! : Genus, gestaltningsnormer och konstnärligt handlingsutrymme i opera.
- 2023
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Abstract:My dissertation is taken from an opera singer’s perspective and the aim is three-fold: · to investigate and problematize how gender and performance norms are reproduced on the opera stage· to provide tools and propose approaches to transform gender perspective and norm critique into a creative artistic practice, enabling conscious and active artistic choices in relation to gender and performance norms· to explore ways to expand the singer's artistic agency. The artistic research project draws on knowledge from both my own practice as a professional opera singer and my collaborators’ experiences from the worlds of opera, classical music and theatre. The thesis consists of four artistic investigations:1. In Mönster och möjligheter (Patterns and Possibilities), gender markers were explored and identified, both in vocal and dramatic performance. The five Mozart scenes that were studied revealed a structure suggesting that femininity in the operatic art often can be expressed by taking responsibility for the music, for facial features and bodily behaviour, and for the audience. Correspondingly, masculinity seemed to be expressed by actively taking less responsibility in these areas.2. The second investigation was connected to Norrbottensmusiken's production of the new opera Under en kvinnas hjärta (Beneath the Heart of a Woman). This study exposed how performance norms affect singers' artistic possibilities also in contemporary opera. The investigation found that if the director's reading of an opera is norm-creative, it can facilitate a less traditionally gender-coded performance. However, even in more traditional opera productions, there are still options for the singer to work norm-creatively with their role, for example by mixing feminine and masculine gender markers.3. The third investigation, the concert production Sångernas sång (The Song of Songs), explored an expanded artistic agency for the singer. Actively using my experience from my career as an opera singer, I wrote the libretto for the chamber mini-opera Stark som döden (Strong as Death) in collaboration with a composer. The study suggested that singers, in addition to their creative work on the role, could also contribute with other important perspectives. Concert and opera productions, as well as newly written works, can be enriched by a dialogue with the singers early on in the artistic process. In the creation of the two roles in the chamber pieces Hög visa (Songs of Solomona) and Stark som döden, useful methods for creating a subject position for the characters were developed, as well as ways to work in a concert situation with the portrayal of sexual desire.4. The fourth and final investigation, Interaktion och intimitet (Interaction and Intimacy), was an exploration of intimate scenes. The study showed that the method and know-how of an intimacy coordinator can provide a sense of security that can make the singers freer in their portrayals of sexuality. A greater focus on the story can also make the scenes more interesting artistically. In addition, this study revealed the potential of an expanded agency for the singers. Allowing singers to adapt the text and the distribution of lines in repertoire opera, as well as creating a more collective rehearsal process, where the singers take an active part in the stage directing work, could open up for more norm-creative representations of gender on stage.
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- Dobre Billström, Rebecca, 1983-
(författare)
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Feminist musical engagements : The struggle against gender inequalities in music-making practices
- 2022
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The debate around gender equality and feminist concerns in relation to musical life are increasingly part of Swedish public discourse. Attention directed to structural gender inequalities in various music scenes by feminist associations, governmental intervention in these issues, and the recent #metoo-protests against sexual harassment and violence in the music industries, are all part of this. Based on interviews with musicians engaging in affecting change, who start out from a gendered perspective, this thesis explores the feminist political potential of both music-making and organisational work to combat inequalities in relation to music, and focuses on several features of such an engagement: the negotiating character of relating to gendering categories as part of feminist attempts to transform music; the relation between power structures and musical performance by discussing embodied practices and musical material concerned with feminist social commentary and what these do politically; and feminist approaches to practice beyond notions of gender equality as representation. The theoretical concept of affective dissonance is used to shed light on musicians’ self-reflective negotiations with social power structures and how these negotiations produce a specific potential for collective feminist action and solidarity within and across music environments. The musicians interviewed are active in various music scenes, from opera, jazz and blues, visa, new music composition and sound art to dansband, rap and folk music and they all engage in different ways with both notions and practices of gender-related and feminist transformation in music-making. This thesis examines the interrelated aspects of such an engagement, of individual experiences of sexism, gender power dynamics and social-professional relationships, musical performance and material, and collective feminist ambitions and capacity in music practice.
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- Rosenberg, Tiina, 1958-
(författare)
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Alkestis : Kärleken övervinner allt, eller?
- 2021
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Annan publikation (populärvet., debatt m.m.)abstract
- När Alkestis får upprättelse på Dramaten bör frågan ställas vad de grekiska klassikerna kan bidra med idag. Författaren Hélène Cixous undrade redan på 1970-talet varför teatern reproducerar patriarkala familjestrukturer i det oändliga. Hon konstaterade torrt att gå på teater är som att gå på sin egen begravning och framhöll att det bor en detroniserad kung Lear i varje manlig roll som kräver att han ska vara den störste, den mest kungalike för annars är kvinnan dödens.Det kvinnliga offret är centralt för Euripides Alkestis som ibland beskrivs som den mest rörande av alla grekiska dramer. Det är en tragisk komedi om Alkestis som offrar sig för sin make, kungen Admetos. I en överraskande vändning i dramat går Herakles ner i underjorden, brottas med Döden och vinner Alkestis tillbaka.
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- Rosenberg, Tiina, 1958-
(författare)
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Back to Basics : How Do We Change Things?
- 2022
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Konferensbidrag (populärvet., debatt m.m.)abstract
- This keynote addresses how to change things while practicing peaceful coexistence. However, there are no precise rules how to change things because activist movements always need to adapt themselves to their specific contexts. Strategies for change depend on the communities involved and their particular cultural and political traditions, and what they are trying to accomplish. Although methods should always remain flexible, tactics for change should call for imagining new ways for people to live together in the world—a strategy that the philosopher Judith Butler calls “radical equality”.
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- Rosenberg, Tiina, 1958-
(författare)
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Blossoming gender : Flowers in operatic performance
- 2022
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Alpine iconography with high mountains and snowy peaks, idealized pastoral landscapes with gentle winds, blue skies, and rushing water falls. A significant part of the operatic performance (and the entire Lied repertoire of Franz Schubert and Robert Schuman) is about idealized nature. There is a lot to explore here, but my interest in this paper is directed to the presentation of the rose in Richard Strauss’ Der Rosenkavalier (1910).Flowers are frequently presented as gendered and sexual symbols in opera: flower music in Carmen, Madama Butterfly, La Traviata, Adriana Lecouvreur, and Lakmé, to name a few. Vitella’s aria “Non piu di fiori” in Clemenza di Tito where she mourns that there are to be no more flowers or pleasure for her. Opera buffa is also saturated with flower imagery and in the pastoral setting of Così fan tutte, Guglielmo claims that Fiordiligi is a “flower of the devil.”Representing femininity, flowers are often used to symbolize women’s unpredictable emotions and their presumably unstable sexual nature. However, as I argue in this paper, the trouser role Octavian in Der Rosenkavalier queers the presentation of the rose by literally handing over the female sex to Sophie. In this way, the trouser role turns the ritualized and public seduction scene into a sexual statement and has the power over the flower symbolism in this opera. My argument is based on the idea of what performance does to us in the audience, how it comes across, rather than trying to sort out the more conventional interpretations of this scene. In my interpretation, the presentation of the rose becomes a queer symbol of the love affair between Octavian and Sophie.
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| 9. |
- Rosenberg, Tiina, 1958-
(författare)
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Det brinner på scenen
- 2022
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Ingår i: Fempers nyheter. - 2004-2728 .- 2004-0318.
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Recension (populärvet., debatt m.m.)abstract
- En recension av Brinn på Unga Klara, Norma på Folkoperan och Dirty Weekend på Teater Brunnsgatan 4.
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- Rosenberg, Tiina, 1958-
(författare)
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Feminism – en del av vithetens historia
- 2022
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Ingår i: Fempers nyheter. - 2004-2728 .- 2004-0318.
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Recension (populärvet., debatt m.m.)abstract
- En recension av Rafia Zakarias bok Against White Feminism: Notes on Disruption (W.W. Norton 2021).
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