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  • 1.
    Ahlstrand, Pernilla
    et al.
    Educational Science in Arts and Professions, University of Gothenburg, Academy of Music and Drama, Gothenburg, Sweden.
    Andersson, Ninnie
    Educational Science in Arts and Professions, University of Gothenburg, Academy of Music and Drama, Gothenburg, Sweden.
    Learning study - a model for practice-based research in a Swedish theatre classroom2021Inngår i: Youth Theatre Journal, ISSN 0892-9092, E-ISSN 1948-4798, Vol. 35, nr 1-2, s. 115-128Artikkel i tidsskrift (Fagfellevurdert)
  • 2.
    Andersson, Ninnie
    et al.
    Stockholms konstnärliga högskola, Institutionen för danspedagogik. Senior Lecturer in Dance education, Department of Dance Pedagogy , Stockholm University of the Arts , Sweden.
    Ahlstrand, Pernilla
    Senior Lecturer Department of Pedagogical, Curricular and Professional Studies , University of Gothenburg , Sweden.
    Variationsmönster i dansundervisning–lektionsdesign med som forskningsansats2022Inngår i: Nordic Journal of Dance, ISSN 1891-6708, E-ISSN 2703-6901, Vol. 13, nr 2, s. 4-19Artikkel i tidsskrift (Fagfellevurdert)
  • 3.
    Dursjö, Louise
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Dansa konståkning: En rörelseanalys av ett score utfört på is och golv2020Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [en]

    Dance figure skating – A comparison between a score executed on ice and on floor

    This work derives from a curiosity of how figure skating and contemporary dance as two different art formscould work together. In what ways can different techniques within the fields of contemporary dance and figureskating inspire and develop each other? Video analysis together with introspection are used as methods. A scorewith different techniques from each field is recorded on the ice and on the floor. This material together with awritten introspection contains the base for the analysis and discussion together with relevant literature from thetwo fields. There are both similarities and clashes when analysing the results of the scores. Gliding and being onedges are fundamentals in figure skating and they are not transferable to floor. Falling and catching the fall issomething that turns out to be restricted to the floor since the skates makes edges while leaning and glidinginstead of falling. There are more explorations to be done when it comes to merging the two art forms together,hopefully this essay will give some inspiration to further work within contemporary skating.

    Fulltekst (pdf)
    fulltext
  • 4.
    Frisk, Anders
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Danslärarkroppen som resonanslåda: en hermeneutisk fenomenologisk studie om danslärares upplevelser av att observera (sin) dansundervisning2019Independent thesis Advanced level (degree of Master (Two Years)), 10 poäng / 15 hpOppgave
    Abstract [en]

    Abstract

    Title: The dance-teacher body as a sounding board - a hermeneutic phenomenological study about dance-teachers experiences observing (their own) dance education.

    Author: Anders Frisk, Stockholm University of the Arts - School of Dance and Circus

    Language: Swedish

    Key words: Dance, dance teacher, dance education, dance pedagogy, phenomenology, kinaesthetic empathy, interaffectivity, bodily resonance 

     

    The aim of this study is to give insights into how dance teachers experience observing (their own) dance lessons. The interest lies in what they are reacting to and what gives an action in the form of feedback, guiding or ending an exercise, and how these reactions and actions are manifested in the body. Two teachers at the Swedish school of sport and health sciences (GIH) in Stockholm were observed and filmed during dance lessons with PE&H-student teachers. The subject of the lessons were experiencing and exploring dance as expressive form. From the videos of the lessons, different situations were chosen and discussed during a so-called re-experiencing interview. The interviews were transcribed and the text has been analysed using a hermeneutic phenomenological method. 

    The analysis resulted in the following findings: To observe one’s own teaching seems to be a valuable tool for the teachers in order to reflect upon didactical considerations and possibilities for developing the teaching. The teachers seem to react on (lack of) movement, presence, focus and movement qualities. This creates a dissonance in their own bodily resonance that seems to create an embodied experience that they react upon. They act by guiding the students by adding more movement, verbal affirmation or instruction, metaphors or by ending the exercise. Sometimes they postponed reacting in order to give the students a chance to find their way back in focus. The teachers also have a focus on creating a learning environment where the aim is for the students to explore and to experience their own bodily resonance and how this can relate to other bodies.  It seems that the teachers show a sensibility for the situation and the harmony in the dance studio that could be derived from a professional-personal competence or from an embodied practical pedagogical knowledge. The results of the study are discussed with the concepts of interaffectivity, mutual incorporation and kinaesthetic empathy. By raising awareness around how bodily (and embodied) interactions are intertwined within dance education these concepts might help and support the development of teaching in this specific context. 

    Fulltekst (pdf)
    fulltext
  • 5.
    Gisselgård, Isabell
    Stockholms konstnärliga högskola.
    Angularity och att ”vara angulär”: Perspektiv på undervisning i jazzdans2022Independent thesis Advanced level (degree of Master of Fine Arts (Two Years)), 20 poäng / 30 hpOppgave
    Abstract [en]

    In this qualitative practice-based research meanings of angularity in Africanist aesthetics and ”angular music” are studied. The insights of the studies are processed in several bodily practices and ”being angular” develops into a dance didactic tool for jazz dance. The bodily practices through which being angular is shaped are the following: creative writing, dance improvisations, and the development of a dance art pedagogy practice for jazz dance. 

    The aim of the study is to understand the meaning of being angular in a jazz dance context, to give a perspective on jazz dance teaching and contribute to the deepening of dance skills in jazz dance.

    In the study, I collaborate with co-researchers who were students from the Norwegian culture school. The research questions are: With what approaches can ”being angular” be achieved to be meaningful in jazz dance teaching? How can "being angular" as a dance didactic tool contribute to deepen dance skills and artistic development in jazz dance? 

    The knowledge generation takes place through the practical exploration and the methodological process is derived from Tone Pernille Østern's theoretical understanding of researching with art. ”Å forske med kunsten” (To research with art) is an umbrella term forpractice-led and artistic research. 

    Being angular develops into a tool that connects dance didactic methods with dance artistic methods in jazz dance teaching. Being angular contributes to the act of collective learning and gives a broadened perspective on jazz dance teaching.

    Fulltekst (pdf)
    fulltext
  • 6.
    Gunnarsson, Paulina
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Att inkludera historia i jazzdansundervisning: Relationen mellan den praktiska undervisningen och jazzdansens historia2021Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [sv]

    This study investigates how jazz educators relate their practical dance teaching to the history of the genre and analyses whether or not the history is incorporated in the didactic part of the education for a jazz dancer. This thesis is based on interviews with four active jazz dance teachers. According to the results, the origin and early history of jazz dance is not being incorporated in the practical part of a dancer’s education to the same extent as the succeeding eras. This thesis shows that history is often tought in non-practical classes and is not incorporated in dance practice. It also shows that the teachers often only relate to history as inspiration. Another finding is that time period from the 1940 ́s until today works as the base of history while the origins and early history is neglected. That means that African and African American fundamentals is overlooked while white influence is being recognized. One reason discussed in this thesis is that the educators themselves lacks knowledge of jazz dance history and understanding of its relevance from their own schooling. 

    Fulltekst (pdf)
    fulltext
  • 7.
    Heikenström, Julia
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    "Vi är inte gjorde för det här!": en kvalitativ intervjustudie om danslärares upplevelser av distansundervisning till följd av Covid-192021Independent thesis Advanced level (degree of Master (Two Years)), 10 poäng / 15 hpOppgave
    Abstract [en]

    The aim of this study was to investigate dance teachers’ experience of distance learning regarding difficulties, benefits and in regard to assessment. The method used was semi-structured interviews and a phenomenological perspective was used to analyse the result of the interviews. The results showed several challenges and a few benefits. The challenges were mainly related to technical and spatial constraints and difficulties in giving formative feedback. On the other hand, filming as a didactic tool was highlighted as an advantage. 

    Fulltekst (pdf)
    fulltext
  • 8.
    Hultenius, Petra
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Materialitetens betydelse i Kulturskolans dansundervisning.2019Independent thesis Advanced level (degree of Master (Two Years)), 10 poäng / 15 hpOppgave
    Abstract [sv]

    This is a study that looks at the teaching process of making a dance show within the Community School of Arts from a posthumanist perspective. How does the matter the students meet and the dance teacher uses make a difference?

    My interest in this question came to grow from my dance related work in a pre-school context where matter is given importance in relation to how children gets possibilities to experience and learn. The research material for this study, however, was generated from the Community School of Arts in Stockholm.

    The study identifies the matter that is making a difference for the dance teaching and learning in a process towards making a dance show at the Community School of Arts of Stockholm. The matter of importance identified was connected to the subject areas Body, Music/Sound, Clothes, Light and Space. The study investigates and articulates performative force between human and non-human matter, and further how the students and the dance teacher perceive this performative force. The study discusses how dance teaching and learning can benefit from a more reflective use of matter. In connection to the posthumanist approach the study takes a stand for, I argue that knowledge-making in the Community School of Arts can be seen from a rhizomatic perspective. That implies that learning the arts at the Community School of Arts can give students the opportunity to experience art from their different points of interest. To actively acknowledge the performative force of the different material matter involved in the process of creating a dance show, give students a way to develop dance joy. I argue that a more reflective and conscious use of matter can positively transform the dance teaching and learning of today. In a wider perspective the matter of matter in dance teaching and learning is a question that fosters environmental consciousness building on the sense that we share and are part of the same world, where matter matters.

    Fulltekst (pdf)
    Materialitetens betydelse i Kulturskolans dansundervisning
  • 9.
    Lindberg, Matilda
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Where's your groove?: Dance teachers' perceptions of groove and how it is taught in streetdance2018Independent thesis Advanced level (degree of Master (One Year)), 10 poäng / 15 hpOppgave
    Abstract [en]

    This is a small-scale qualitative study of perceptions of the phenomenon groove in relation to streetdance, with the purpose of sharing and highlighting groove as a streetdance technique. The data was collected by interviews from five streetdance teachers in Stockholm. Phenomenography was used as a theoretical approach and the analysis resulted in two sample spaces. The first sample space constitutes six description categories relating to perceptions of groove. The second sample space constitutes five-description categories relation to perceptions of teaching groove. The study shares and highlights the phenomenon groove as a bodily technique within streetdance, and contributes to share awareness and consciousness among teachers and others interested in dance pedagogy. 

  • 10.
    Lundmark, Katarina
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Rytm, kropp och dans: en undersökning av förkroppsligad rytm i dansdidaktisk kontext2017Independent thesis Advanced level (degree of Master (Two Years)), 20 poäng / 30 hpOppgave
    Abstract [en]

    This is a study on embodied rhythm and how it can be formulated and made into concepts. The study also focuses on how didactic resources are used in relation to embodied rhythm in jazz dance teaching.

    The work with this study took its starting point in the strong physical experience of dancing jazz dance and the problems in being able to talk about the rhythmical aspects of that experience in didactic contexts. Through studies of rhythm within many different fields a base of knowledge was created. Some examples of the different fields are music theory, cultural history, psychology, didactics, socio cultural theories as well as in dance theory. The knowledge base was used to develop concept that relates to embodied rhythm and didactic resources used in relation to that. The concepts were applied in observations of jazz dance classes and the usefulness and relevance of the concepts were tested.

    The study presents the concepts as a tool for discussions on embodied rhythm, for working with rhythm as part of dance teaching, for development of dance didactics and as a way to make the strong physical and rhythmical experience of dancing jazz a bit easier to address verbally.

    Fulltekst (pdf)
    fulltext
  • 11.
    Maza Garcia, Joseph Luis
    Stockholms konstnärliga högskola, Institutionen för scenkonst.
    Hur kan flerspråkighet användas dramaturgiskt inom etablerade musikaler för att nå ut till nya publik grupper?2022Independent thesis Advanced level (degree of Master of Fine Arts (One Year)), 10 poäng / 15 hpOppgave
    Abstract [en]

     This master thesis researches the possibility for the established musicals to reach via translanguaging to new audiences of underrepresented language groups. The essay focuses on the musical In the Heights and the Spanglish fenomenon. The tools given can be used as a tool for any cultural and group including activities. There are suggestions on how to handle the dramaturgy and how to elaborate the scripts without using translations and text machines on stage. It also reflects on what hurdles and difficulties you might find during the process. It touches the subject of cultural appropriation, stereotypes and how to avoid and deal with these matters in a respectful way.

    Fulltekst (pdf)
    fulltext
  • 12.
    Rubensson, Martina
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Att sätta ord på det: en kvalitativ studie om danslärares uppfattning om närvaro och kommunikation i relation till deras betyg- och bedömningspraktik inom en yrkesdansarutbildning på gymnasial nivå2020Independent thesis Advanced level (professional degree), 10 poäng / 15 hpOppgave
    Abstract [en]

    Dance pedagogy is an under-researched field. Much of the research within a Swedish school context focuses on the Aesthetic program, Dance. Therefore, the present study focuses on the Swedish vocational program for dancers at upper-secondary level. The aim of the study is to contribute to an insufficiently researched field with knowledge regarding dance teachers’ grading and assessment praxis. In this study, the focus is on how vocational teachers in dance understand presence, stage presence and communication with an audience in relation to their grading and assessment praxis. The method used for collecting data was semi-structured interviews. Thematic analysis as defined by Braun and Clarke (2006) was used as an analytical method. The results show that presence, stage presence and communication with an audience are intertwined and can be referred to as presence and communication in a broad sense. Furthermore, the results show that the teachers’ understanding of presence and communication is reflected in their grading and assessment praxis. In conclusion, five components are shown to be of great importance concerning the understanding and grading of presence and communication. These are independence, awareness, reflection, dance technique and working with feedback. A concept of reflection-around-action is presented as a didactic tool as well as concepts for working with feedback and collegial learning.

    Fulltekst (pdf)
    fulltext
  • 13.
    Simonson, Annakarin
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Att synliggöra marginaliteten äldre kvinnor i dekonstruktion av samtida dansdiskurser med dekoloniserande metodologi: ett konstnärligt, didaktiskt och koreografiskt projekt2021Independent thesis Advanced level (degree of Master (Two Years)), 20 poäng / 30 hpOppgave
    Abstract [en]

    The aim of this study is to investigate the relationship between older women and contemporary dance in a choreographic project. I explore in what sense the participation in the project is of artistic value to these women and also what happens in the meeting between me as a researcher, the project itself and the women. The background of this study is a personal interest in age, body and dance as well as an ambition to change normative ideas about the dancer body through action. With a globally ageing population, I have an interest in highlighting an aging female body as a resource in the context of contemporary dance. The study is conducted on the basis of post-qualitative research and decolonizing methodology. The artistic practice is leading and is based on the experiences of the women who participate in the project. As a researcher, my participation in the practice is necessary. By articulating and visualizing the marginality of older women, dance discourses are deconstructed. With improvisation as a performative choreographic practice, transformative learning emerges among participants. The findings of the study show that older women are resourceful and have the capacity for change through dance. This can be achieved in interaction with others and can then be an artistic experience. The artistic and pedagogical values which are experienced by the women in relation to contemporary dance are self-determination, trust and a sense of community. Both individual and collective struggle emerge among me and the women as a force of action. I argue that age norms and bodily ideals in contemporary dance can be challenged by giving older women access to contemporary dance. By articulating and visualizing the experiences of a marginalized group, the meaning of the concepts of dance, body and age are deconstructed and new insights are created which challenge and broaden normative ideas about dance and the dancer body. 

    Fulltekst (pdf)
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