A concrete collaboration with the environment (for example with a ball, a floor or a person) tells everyone involved, then and there, about how response is noticed and used together. The concept of sympoiesis has, through posthumanist theory, reformulated this practical phenomenon of my dance teaching in folk high school into dance educational principles and approaches. The purpose of the investigation has been to formulate and conceptualize strategies, approaches and principles for how the relationship between dancers and other materialities can be made useful and meaningful in a dance education context. I have asked myself: How can the phenomenon of "mutual attunement" be conceptualized and concretized through diffraction with posthumanist theories and together with the concept of sympoiesis? And as a sub-question follows: Which dance educational principles relating to responsive collaboration can I see in my own dance teaching? The main empiricism has been four posthumanist texts. A diffractive reading of each text has been my research method. By transforming theory into empiricism, the reading, primarily together with the concept of sympoiesis and visualizations, has diffractively created a movement in me as a dance educator and researcher, which is evident through the results. An interwoven attune in practice occurs through a specific sympoietic web of materialities and has the potential for ethical resonance. As a posthumanist phenomenon, in dance education it means becoming response-able by dancing and doing so through (in and with) the environment.

The aim of this study is to begin developing a method that contributes to the advancement of danceliteracy at an early stage of professional dance education. The research questions are: How can awareness of, and curiosity about, the historical and aesthetic development of dance, both in practice and theory, be cultivated in dance-educational environment, and is it possible to do so already within the framework of a warm-up class? What tools are required to structure and bring to light the discourses and conversations that have shaped the aesthetic divisions and transformations within the Western dance and choreography field, both historically and in its ongoing expansion? If the dance archive, including techniques and repertory, is understood as a material-discursive knowledge apparatus, can it be a tool in bridging past and present? Can it also serve as a tool in formulation of a terminology through which the archive can become a dialogical conversation partner across the diverse forms of dance. As a pedagogue, I implicitly ask: What should, in fact, a future dance-artist be warming-up? The empirical material is collected during a series of five warm-up classes with students and graduates from dance education in modern dance at the Balletakademien in Gothenburg. Through the lens of semiologist Juri Lotman’s theory of the semiosphere, the finding of this study was made visible using the method of pedagogical documentation, drawing from professor in pedagogy Hillevi Lenz Taguchi. The result show that an exposure to reflection on history and aesthetics of dance in practice and theory, already in a warm-up class, can improve a student's knowledge and interest in what dance as an artform was, is and can become.

The objective of this study is to examine the impact of norms and values within dance culture on professional contemporary dancers. It explores themes such as body and ageing, the significance of experience and its influence on form and expression. Through the utilisation of autobiographies and improvisation, narratives of ageing dancers are recounted. The study also examines ageism and age criticism, highlighting their role in marginalizing dancers and discussing their impact on dancers' decision-making. The study is performed and expressed through artistic practice, with collaborative performative processes critically reflecting on and discussing the research questions. The result of the study is choreographically expressed through the performance The World falls Silent. The findings demonstrate that strong norms around the dancing body and performance ability are perpetuated from generation to generation, contributing to ageism and discrimination. The study also reveals that ageism has a significant impact on identity and self-judgement, highlighting that stereotypical perceptions of older dancers are deeply entrenched in dance education. The study's findings underscore the importance of lived experience in shaping perceptions of ageing, and it is evident that improvisation and somatic approaches can serve as effective tools for fostering a connection between the self, the body, and the ageing process. These approaches can lead to self- acceptance and the development of agency. The study posits that the form and expression of dance become more intricate with age, stemming from a foundation of experience, profound insight and self-acceptance. The personal narratives elucidate the significance of feeling valued for the knowledge aged dancers embody, underscoring the necessity for dancers to rearticulate dance and be regarded as a creative force with agency, as pivotal factors for maintaining their desire to continue dancing. It is argued that improvisation and performing as practices are of great importance in changing stereotypical and discriminating norms regarding ageing in dance. It is further argued that continuing dancing should not only be something to wish for, but a continuation of a profession that uses the ageing body as a resource.

This study investigates the integration and expression of bodily experiences within the creative process behind badass practice. Employing a practice-based research methodology, it seeks to explore the development and enhancement of self-determination in choreographic processes, drawing on interdisciplinary dialogues with authors and artists from intersectional and decolonial perspectives. The research is iterative and subverts linear progression, evolving through various phases of reflection, practice, and response to external stimuli, including presentations and performances.

Initial practical sessions examined existing and new elements of badass practice, leading to the creation and refinement of a structured score. Subsequent stages included presenting a practice presentation at the Within Practice festival and developing the drag performance Shykira, each informing the research inquiry. The methodology is underpinned by concepts such as Barbara Sutton's Poner el Cuerpo and Gloria Anzaldúa's Mestiza Consciousness, allowing a critical examination of bodily engagement, self-determination and resistance within performance art and education contexts.

Results reveal key insights into the embodiment of resistance and vulnerability (Poner elle Cuerpx), the utilization of humor and performativity to challenge normative narratives, and the navigation of identity through Anzaldúa's notions of hybridity and boundary crossing (Mestizx consciousness). The research highlights the potential for queer orientations and decolonial aestheTics/aestheSis to inform and progress educational practices, promoting inclusivity and fostering holistic understandings of identity and learning.

Ultimately, this study underscores the need for a diverse representation within academic settings and emphasizes how hybrid identities and decolonial theory can dismantle colonial legacies embedded in dance and educational frameworks. The findings offer a lens for educators and practitioners to support and amplify the presence and voices of marginalized groups within the field.

Jag vill undersöka och utforska varför jag upplever det så mycket svårare att uttrycka sig i

sång än på gitarr. Vad är det som skiljer sig egentligen, förändras sättet jag musicerar och

fraserar på de olika instrumenten?

Jag börjar med några problemställningar och aspekter på skillnaden i musikalisk tolkning och

uttryck mellan att vara sångare och instrumentalist.

Under lång tid har frågor kring röstfack och rollstudier inom opera varit ett ämne för reflektion. Redan i början av min klassiska sångarbana blev det tydligt för mig att yngre sångare ofta tilldelas rollen som Susanna, medan mer erfarna och mogna sångerskor får ta sig an rollen som Grevinnan; oftast med motiveringen att Grevinnan tycks vara för svår att sjunga i ett tidigt stadium av sångarutvecklingen (Cone, 1974, s. 45).Dessa roller tycks representera olika stadier i en sångares karriär och speglar samtidigt röstliga karaktärer som ofta delas upp mellan lyriska sopraner och de mer fullyriska.

Vad är det som egentligen skiljer sig mest mellan dessa karaktärer om vi utgår ifrån de mest framträdande aspekterna ålder, röstkaraktär och status? Är det en så kallad mogenhet och värme i rösten som krävs för en stark Grevinna, eller vilka kvaliteter är det som behövs som tillägg för att hon ska komma till sin rätt? Vad är mest behjälpligt för en vacker klang och när stöter man på tekniska utmaningar?

Är verkligen Grevinnan svårare som roll ur teknisk bemärkelse medan Susanna är mer lättillgänglig även för mer ovana röster? Vad är fakta och vad är fördomar i sammanhanget? Och slutligen: Vilken är min egen uppfattning och är min bild av hur omvärlden ser på rollerna faktiskt sann?