| 1. |
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After Work : A book about the meaning of Work
- 2022. - 1
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Samlingsverk (redaktörskap) (refereegranskat)abstract
- Economic stress under wage-earning has been abolished. Machines and AI have taken over dirty, heavy and tedious work. Money and social injustice are banned. All the technological resources of humanity can be used to reset the global economy to harmonize with ecology. Free citizens can spend their time in leisure practicing music, art, and poetry.Visions of the future are already here. But is it a utopia that we are seeing materializing around us or a dystopia? What will happen to people when nobody wants their labor? Does there already exist a firm border between those who have a job, with all that it entails in social and economic benefits, and the people that are on the other side of the fence- the people that have to sell their work by the hour, and who in practice are modern slaves under apps and SMS? A division between people who can safely work from home during a pandemic and those who cannot. Is everything for sale? Can you sell voluntary labour? These are some of the questions discussed in the art projects documented in this book.
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| 2. |
- Røed, Ellen Johanne, 1970-
(författare)
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Image as Site
- 2020
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Konferensbidrag (refereegranskat)abstract
- By appropriating the concept of site from the discourses of site-specific art and the concept of field from sound art, and applying them to the moving image, the project Image as Site explore the potential of video art for enabling certain elements of performance that appear in these discourses. The research originates from an understanding of video as a particular mode of inquiry that activates relationships between bodies, images, and places. The project expands this understanding and engages it to create meetings between visual arts and film and media practices. The practice of visual artist and professor in Film and Media Ellen J Røed is at the centre of the project, which is developed in an interdisciplinary research environment at Stockholm University of Arts and funded by the Swedish Research Council.
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| 3. |
- Unander-Scharin, Carl, 1964-
(författare)
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Extending Opera - Artist-led Explorations in Operatic Practice through Interactivity and Electronics
- 2015
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- How can we re-empower opera singers, extending their control over accompaniment and vocal expressivity? To answer this question, I have opened a novel design space, Extending Opera, consisting of interactive artist–operated tools to be used on-stage. The research has its methodological groundings in Research through Design (RtD) and Research through the Arts (RttA). This particular method is coined "research-throughthe- art-form-opera" – as I have worked within the realms and traditions of opera, probing its boundaries by designing, researching and creating through its own artistic toolbox.Originally conceived for personal use, the artifacts were later used by other singers and incorporated in performances of opera in small and large scale. By composing and designing for the requirements in operatic productions, high demands on robustness were explored in and through custom-built interfaces.The work resulted in ten novel artifacts and performances exploring the expressivity of these tools. Extending Opera is guided by and probed through three questions:1. How can the design and creation of interactive, artist-operated instruments be informed by deep musical knowledge and be probed by the particular conditions surrounding an operatic production?2. What impact can interactive, artist-operated instruments have on the opera singers themselves and on their vocal technique?3. How can interactive, artist-operated instruments empower opera singers, thus challenging contemporary power hierarchies – thereby reconnecting to the explorative practice in opera's early days?My knowledge contribution has surfaced through artistic practice and consists of the exemplars and the artworks, as well as three abstractions – one procedure, one requirement and one experiential quality.Sensory Digital Intonation highlights how the fine-tuning of technologies and real-time interactivity is incorporated in a feed-back loop with artistic concerns and creativity.Performative Stamina ("The Premiere-Factor") highlights how the traditional procedures leading up to a premiere in opera influence the demands on robustness and reliability within the components and the overall design of the novel artifacts.Vocal Embodiment is an experiential quality that describes how the interactive artifacts change the singing itself.In the conclusion, Artistic Re–Empowerment is discussed, proposing that power structures in opera have been probed through the use of the novel artist-operated interactive instruments.
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| 4. |
- Pastorek Gripson, Märtha, et al.
(författare)
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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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Ingår i: Research in Education. - London : SAGE Publications. - 0034-5237 .- 2050-4608. ; 111, s. 46-69
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Tidskriftsartikel (refereegranskat)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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| 5. |
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Material of movement and thought : reflections on the dancers´s practice and corporeality
- 2013
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Samlingsverk (redaktörskap) (refereegranskat)abstract
- The articles in this volume have grown out of a research project entitled "FromMovement out of Reflection in Becoming: The Dancer and the Creative Process",gathering both professional dancers and theoreticians, and funded by theSwedish Research Council. The overall goal of the project was to approach anunderstanding and a conceptualization of the artistic process of the dancer, takingthe work in the creation ofina Christe!Johannessen's choreographic pieceNOW SHE KNOWS as a point of departure.The focus was both that of the dancer from within the process, and that ofexterna! observers. These viewpoints were not deadlocked hut rather aimed atan interaction and a dialogue between the theoretical and the practical levels.The research methods grew out of an at times quite intimate teamwork wherethe participants' different approaches came to cross and intersect.A number of issues were explored: How does the dancer work in the processwhere the dance takes shape? How does the understanding of a movementmaterial shift through the actual performing of it? What is it to understandor experience a movement from the perspective of the performer? What is itto understand or experience a movement from the perspective of the spectator?What kind of body is the dan ing body and how can it create a variety ofmeanings? Through what concepts are we to think the dancer's practice andcorporeality?The anthology contains essays by Cecilia Roos, Anna Petronella Foultier,Chrysa Parkinson, Katarina Elam, Cecilia Sjöholm, and Irene Hultman.
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| 6. |
- Unander-Scharin, Carl, 1964-, et al.
(författare)
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The Vocal Chorder : Empowering opera singers with a large interactive instrument
- 2014
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Ingår i: CHI '14 Proceedings of the SIGCHI Conference on Human Factors in Computing Systems. - New York, NY, USA : Association for Computing Machinery (ACM). - 9781450324731 ; , s. 1001-1010
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Konferensbidrag (refereegranskat)abstract
- With The Vocal Chorder, a large interactive instrument to create accompaniment, opera singers can get more power over the performance. The device allows performers to interactively accompany themselves through pushing, leaning on and bending steel wires. The design was guided by the unique needs of the solo-singer, explored through autobiographical design and material explorations, some on stage, and later tested by other singers. We discuss how designing for opera and for the stage requires extraordinary durability and how opera performances can change with a bodilyoriented instrument such as The Vocal Chorder. Through a designerly exploration, we arrived at a device that offered (1) a tool for singers to take control over the rhythmical pace and overall artistic and aesthetic outcome of their performances, (2) an enriched sense of embodiment between their voice and the overall performance; and (3) a means to empower opera singers on stage.
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| 7. |
- 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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| 8. |
- Ölme, Rasmus, 1973-
(författare)
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From Model to Module: A move towards generative choreography
- 2014
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- The thesis engages in Choreography and Dance Technique by delineating the concepts and practices that the artistic research project MODUL has generated. A modular method of choreographing is articulated. The MODUL method of choreography starts by making a topographical movement analysis of the context that the work engages with. This analysis results in an identification of the different agencies at work within the context approached. They are considered as Choreographic Agents and as elements of the modular assemblage. The choreographic act then performed consists of a re-articulation of the relations between the different elements. The MODUL method links movement practice and art production as the topographical movement analysis is also applied to, and conceptualised through, the body.In terms of dance technique the MODUL method works with the same topographical movement analysis to explore bodily functionalities as Choreographic Agents. The technique is called Body-Self Attunement and aims at tuning the self, understood as the symbolic body, with the biological body. Body-Self Attunement does not try to unify the symbolic body and the biological body but affirms the gap as generative. The term Generative Choreography is coined in order to emphasise the performative aspect of choreography that is not defined by what it is, but what it does.
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| 9. |
- 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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| 10. |
- Skånberg Dahlstedt, Ami, 1967
(författare)
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Walking in Suriashi as a Radical and Critical Art of Inquiry
- 2023
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Ingår i: Walking as Critical Inquiry. - Cham : Springer. - 9783031299902 - 9783031299919 ; , s. 151-173
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Bokkapitel (refereegranskat)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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