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  • 101.
    Johansson, Matilda
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Modern & Nutida Dans till Alla?: En studie baserad på en danspedagogs möte med verkligheten2015Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [en]

    This study is about the relation between four teenagers in a Stockholm suburb and contemporary dance after several meetings with the genre in practice. The main idea is to understand their comprehension and thoughts about the activity to achive guidelines to develop teaching methods in contemporary dance. The study is based on the socio-cultural perspective and focuses on the influences from the surrounding areas and different social context. The starting point of the research is: How can we make contemporary dance attractive to beginners or dancers in other styles like hip hop? The study is based on practical dance classes and interviews and gives proposals for communication for teachers to cooperate with the pupils and invite them to participate in the creation of the class with the aim to make the dance more meaningful for them. In interviews the groupmembers tell me they like dancing because of the joy, challenge, selfexpression and the social contact. If teachers in contemporary dance adapt this into their way of teaching perhaps the contemporary feild will broaden into wider social contexts.

  • 102.
    Johansson, Nikolina
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    KONTAKT: en etnografisk studie om kommunikativa handlingar i kontaktimprovisation2017Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [en]

    The aim of this study is to describe contact improvisation as a practice that creates meaning, with focus on the participants' acts of communication. In addition, I want to develop my role as a dance teacher. I have started from an ethnographic approach to answer questions about contact improvisation in relation to organisation, characteristics and experience of communicative acts. Empirical material was collected through field notes from participant observation and interviews with practitioners of contact improvisation. The result is that contact improvisation organizes through jam, which is parted in two: an introduction guided by leaders and a free jam, created by the participants. Non-verbal communication, contact and also exploration of and through movements is characteristics for the dance form. Contact is the primary communicative action and is twofold. It is partly the social contact and networking around contact improvisation but also the physical touch within the dance where the communication is mediated. From a dance pedagogical perspective, the study has provided me with ways to work with contact improvisation and given me a deeper understanding for the dance form as being nonhierarchical. Contact improvisation can be adjusted according to its practitioners and be used for teaching students or all levels.

  • 103.
    Johansson, Rebecka
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Motivation i dans: att installera en inre motor hos sina elever2013Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
  • 104.
    Karahodzic, Anelija
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Ljudet av H20: kombination av revy och examensarbete2009Independent thesis Basic level (degree of Bachelor), 80 poäng / 120 hpOppgave
    Abstract [sv]

    2 DVD medföljer. (Framtagning av DVD:er behöver ibland längre tid och sker efter samråd med biblioteket)

  • 105.
    Karlsson, Caroline
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    "Undervisa med flow i fokus": en studie om hur danspedagogen kan främja flow i dansundervisning, med fokus mot jazzdans och modern dans2012Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
  • 106.
    Kateme, Luusi
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Moving Through Stillness: En kvalitativ studie om hur en konstnärlig praktik kan användas i dansundervisning2023Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [en]

    The purpose of the bachelor thesis is to, from a didactic perspective, gain increased knowledge about how an artistic practice can be used in dance education. The study is conducted through a qualitative research method using the practice Dancing is... . For the research, four practice-based investigations were conducted in a dance studio. To analyze the result, coding was used as a method to identify various themes. The themes identified in the study were as follow: The body and its functions, Multilingualism, Passive-activity, Sensing the body, Seperation of the body and self, Attention and its direction, Drawings, Questions, Problem-formulations, Spatial direction, A composition-everything is happening simultaneously. These themes reflect MTS (Moving Through Stillness) as a practice and are components that can be used in dance education by creating a pedagogical structure. Moreover, since MTS has a somatic and artistic approach, this study provides a nuanced apporach to how these perspectives can be incorporated into dance education. As a result, this contributes to an increased understanding of how an artistic practice can be used in dance education. 

    Fulltekst (pdf)
    Moving Through Stillness: En kvalitativ studie om hur en konstnärlig praktik kan användas i dansundervisning
  • 107.
    Kella, Greta
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    What? Do I look like this?: A qualitative study of mirrors’ impact on contemporary dance pedagogy students’ experiences of themselves2018Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [en]

    The purpose of this study was to describe how mirrors affect contemporary dance pedagogy students’experiences of themselves. Empirical material was collected through semi-structured interviews with four dance pedagogy students at the School of Dance and Circus, and analyzed with the help of post-humanistic perspective and Lacanian mirror stage theory. The results suggest that mirrors are active agents that participate in several things, for example they create an evaluating gaze, objectification, alienation from the subject as a unity, experience of two-dimensional bodies and distraction. The results also suggest that the mirrors actively create afront and direction, and therefore they shield dancers from sensing their ‘inner selves’ as well as others in theroom, time and space. The feeling of success and mood affect the way dancers feel about their mirror images and themselves. In summary, this study stresses that the mirror, an object, is active and agentic, instead of thinking that the dancer is the only active part in the dancer-mirror relationship.

    Fulltekst (pdf)
    fulltext
  • 108.
    Kristensson, Emelie
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Undersökande dans: Dans + Montessoripedagogik = en möjlig addition?2011Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
  • 109.
    Kristoffersson, Sofia
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Anomali: en avvikelse eller ett mirakel?2012Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
  • 110.
    Kulmala, Jaakko
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Hur kan en danspedagog påverka jazzdanslektionens konstnärlighet?2011Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
  • 111.
    Larsson, Lovisa
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    ”det är som att liksom hoppa ner i en vattentunna”: - en studie om danspedagogers arbete med koreografi i dansundervisning2023Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [en]

    “it is like jumping down into a water-barrel”

     – a study about dance pedagogues work with choreography in dance education

    This study examines how modern- and contemporary-dance pedagogues, in Sweden, work with choreography in their teaching. The purpose of this study is to through a phenomenographical perspective examine a selection of dance pedagogues perceptions of what the meaning of the phenomenon choreography has in their teaching. This is to hopefully contribute to an increased understanding of how choreography can be used in dance education. The research questions are How does three dance pedagogues perceive the usage of choreography in dance education? and Which pedagogical aspects can affect the teaching in dance? The study was researched through three semi-structured interviews which were processed and analyzed through Kvale´s interview-guide and Dahlgren’s & Johansson’s phenomenographical method for analyzing. The results show three main categories of description that were distinguished; The student´s affect in the dance education, The teacher´s affect in the dance education and Knowledge from choreographic processes. Each category was perceived differently, yet many connected to each other. Though this is a small-scaled study, the variation of perceptions shows many different ways to recognize and understand choreography’s and pedagogy’s relation to each other. Further research needs to be done to verify if these factors are important to the bigger population of dance-educators.

    Fulltekst (pdf)
    fulltext
  • 112.
    Larsson, Sara
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Taktarter och dans: en studie i hur taktarter kan användas i jazzdansundervisning2022Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [en]

    The purpose of this essay is to inspire and find ways to incorporate different time signatures in jazz dance education. Through literature studies, a focus group and an own analysis leading up to the meeting with the focus group, I founded a base of knowledge, but also material to analyze. By comparing my different sources of information, I found that the different time signatures, have different qualities, but they are also affected by other factors such as the instruments, singing and how it is performed. During the meeting with the focus group, I also found that music and dance is personal and that feeling calm and secure with the music is important to be able to move freely to it. In the discussion I could see that there are a lot of ways that you can use different time signatures in jazz dance education. Some examples were to expand your musicality and musical knowledge, but also to highlight and use certain qualities in the different time signatures to develop your dynamic practice. 

    Fulltekst (pdf)
    Taktarter och dans
  • 113.
    Lewandowski-Aguilar, Katarina
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Du är vad du tänker: en undersökning av visualisering/imagery inom dansundervisning på yrkesnivå.2007Independent thesis Basic level (degree of Bachelor), 10 hpOppgave
    Abstract [sv]

    Syftet med arbetet har varit att undersöka tillämpning och attityder gällande visualisering/imagery inom dansundervisning på yrkesnivå. Att arbeta mentalt för att förbättra sina prestationer är en självklar del av många idrottares vardag. Det bedrivs även omgattanade forskning på ämnet inom idrottsvärlden. Genom denna uppsats har jag velat undersöka hur motsvarande arbete genomförs i dansvärlden. [---]

  • 114.
    Lilja, Efva
    et al.
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Frank, Petra
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Close encounters: contemporary dance didactics : exploration in theory and practice2013Konferansepaper (Annet vitenskapelig)
    Abstract [en]

    I am very pleased to invite you all to the first conference in Scandinavia on "Contemporary Dance Didactics: Explorations in Theory and Practice" - a close encounters conference with lecture demonstrations, round table discus­sions and paper presentations. The purpose of the conference is to introduce and share research, discuss, demonstrate and try different forms of dance didactics with participants from Sweden and intemationally. Furthermore to illuminate how dance didactics have developed and how this field of teaching and leaming can grow. There has been a lot of interest and many dance scholars, dance teachers and dance researchers have sent in their contributions in order to participate with their re­search, development work and best practices. As the participants represent both national and intemational dance environments, the knowledge and experience shared will highlight current views and key aspects of the development of dance didactics from an intemational perspective. The quality of dance teaching is the key to unlock the full potential of stu­dents at all levels, equipping them with necessary knowledge and skills for a future career. So far, the effort to improve the quality of dance teaching on a larger scale has been insufficient in many countries. My hope is that this con­ference will illuminate this issue and contribute to greater focus on teaching the art of dance and have an impact on the future dance world. The conference provides the opportunity to discuss and share how to meet the needs of a diverse student body and how we may provide skills necessary for a democratic leaming environment. It is very important to highlight the power of communication and cooperation, the power of i magi nation and to de­velop creativity. These are crucial elements that help the students excel along­side their passion. We have to find ways to increase our ability to respond creatively to challenges - this is the key to sustainability! I and all of us involved in facilitating this conference would like to warmly welcome you and we do hope that you will be stimulated, challenged, discover future opportun i­ties and create new networks. My vision is that research in dance didactics will develop and continues to explore, understand and critically analyze dance education. I know our confer­ence will add to a tradition of lifelong leaming, and I sincerely hope we will soon be able to meet again in new conferences all over the world!

  • 115.
    Lilja, Karin
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    What's inside of me?: en studie om rädslans rörelser2009Independent thesis Basic level (professional degree), 10 hpOppgave
  • 116.
    Liljemark, Johanna
    et al.
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Wallin Persson, Sara
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Personlig assistans i dans: en studie om hur assistenten går tillväga för att kommunicera med brukaren i dans2014Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [en]

    In this study we explore the actions and communication that take place between a personal assistant and a disabled person in a learning situation in dance. The purpose is to illuminate the approaches of the personal assistant. Our question seeks to explore how the assistant helps a disabled person to an understanding of how a set dance movement can be performed and assists the disabled person to perform it. In our result we present approaches we discovered through observations and analysis of filmed material.

  • 117.
    Lind af Hageby, Kate
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Motivation för jag-engagerat lärande: Förståelse för individens inre behov, för stärkandet av elevers motivation till lärande, vid dansestetiska gymnasiala utbildningar.2014Independent thesis Advanced level (degree of Master (Two Years)), 10 poäng / 15 hpOppgave
    Abstract [en]

    Höstterminen 2014 Today’s students show great divergences in incentives for commencing studies at an Upper Secondary Dance Educational School in Sweden. The level of the individual`s motivation both during the prelusive and pending stages of the education, shows great variance. The aim of the study is to find a correlation between the individual’s motivation level and the individual´s conceiving of enhancement or deprivation of inner needs. To which extent is the comprehension and consideration towards these needs, a direct agency in effecting the desire for self- engaged and lifelong learning? In which manner can a deeper and wider understanding of the needs for self- actualization, ensure a more sturdy and coherent motivation towards the experience of learning? Through motivation psychology as an angel of approach, the study incorporates the three methods; observation, projective testing and literary studies. Conscious and unconscious personality traits and states are chartered. The conjunction with various sources of stimuli subsequently indicates the deriving of behavior. The study indicates the need of educational practitioner’s insight and understanding towards the individual pupil’s apperception of the social world. Also the study indicates the importance of implementing this knowledge, in ensuring cohesiveness and sustainability of motivation for self- engaged lifelong learning.

    Fulltekst (pdf)
    Motivation för jag-engagerat lärande
  • 118.
    Lindahl, Karin
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Jazzdans - Improvisation - Downs syndrom: en didaktisk studie2012Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
  • 119.
    Lindberg, Ariana
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Stopp! Min kropp!: en idéanalys av lärares yrkesetik kring intergenerationell beröring vid undervisning av kontaktimprovisation i gymnasieskolan2021Independent thesis Advanced level (professional degree), 10 poäng / 15 hpOppgave
    Abstract [en]

    The aim of this study is to contribute to the understanding of intergenerational touch within dance education in upper secondary schools in Sweden, focusing on contact improvisation. In this study, interviews with dance teachers in four upper secondary schools have been used to examine teachers' ideas and choices regarding intergenerational touch in contact improvisation through idea analysis. This study explores how teachers relate to the no-touch discourse and the domain-specific ideology within the contact improvisation movement. It also examines what an ethical approach to intergenerational touch in contact improvisation within upper secondary education could be. The study shows that some strategies teachers use in relation to intergenerational touch could function to downplay or adapt to the no-touch discourse, but no causality can be proven. There is also a proximity between some strategies and the domain-specific ideology within the contact improvisation movement. An ethical approach to intergenerational touch requires teachers to be aware of influences from different idea systems and to be reflexive regarding their own history and basic assumptions. It also requires teachers to get to know their students well and be sensitive to them in every moment. 

    Fulltekst (pdf)
    fulltext
  • 120.
    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. 

  • 121.
    Linder, Pontus
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Inlärning, en process i rörelse: en studie om dansövningar inom Breaking2013Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
  • 122.
    Lindholm, Sofia
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Det är svårt att inte vara kreativ: En studie om elevernas kreativitet i ett kort skapande projektinspirerat av PBL2009Independent thesis Basic level (degree of Bachelor), 10 hpOppgave
    Abstract [en]

    The focus of my research has been to examine how the students' creativity is affected in a shortcreative project with a method inspired by problem-based learning. I have implemented this in acase-study, where I have used mostly qualitative methods. The case was created in a project with agroup of high school students. I have done observations, a survey and focus-groups with the students.The study is based on theories about creativity and problem-based learning. The study shows that the students' creativity is significantly affected by the group, wherecooperation leads to new ideas and a creative group process. Working with problem-based learninggave the students opportunities to be creative, although the time was not enough for the students togo deeper in the creativity process.The students present a composition out of their process during the project.

  • 123.
    Lindmark, Zandra
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Flow i dans: hur dansare med olika dansbakgrunder upplever flow2016Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
  • 124.
    Lindqvist, Erika
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Konstnärlig utgångspunkt: ett sökande efter metoder för skapande arbete i folkdans2010Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
  • 125.
    Lindström, Sara
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    I danspedagogikens sken: en analys av hur fysioterapeuter lär ut rörelse2016Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
  • 126.
    Lion, Katarina
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Det ena genom det andra: en forskningsrapport kring dans, analys och historieskrivning med utgångspunkt i Vietnam2010Rapport (Annet vitenskapelig)
  • 127.
    Lundahl Vigil, Teresia
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Vi ville krossa fördomar - det var där allt började.: Poddar som medel för att utveckla normkritisk kunskap om dans.2021Independent thesis Advanced level (degree of Master (Two Years)), 20 poäng / 30 hpOppgave
    Abstract [en]

    We wanted to break with prejudices- that´s where it all started.Podcast as a tool to develop a norm-critical pedagogy in dance education.

    This master thesis explores issues about academic dance education in the dynamic of a traditional and contemporary expectations in the discipline. In dialogue with dance students at an aesthetic program in the context of the upper secondary school/ the gymnasium in Sweden, dance theory is analysed from a norm-critical view. The students have created podcasts about dance styles such as dancehall, twerking, azonto and voguing. The analysis of the data has used action research as a method. The purpose has been to develop the didactics in the course Dance theory in order to reach an increased goal fulfillment, new knowledge and meaning in relation to curriculum and syllabi expectations. The study includes a research overview of dances from the African diaspora, African aesthetics and vernacular dance as well as the whiteness norm and intersectionality.     The podcasts have been analyzed in relation to governing documents, traditions of teaching dance and theories of resistance and participation. The joint result from the podcasts about dancehall, twerking and azonto emphasizes the importance of respectfully putting dance styles in a context of origins and history. At the same time, there is an encouragement for cultural encounters where hybrid forms of artistic expression can emerge. Central to the podcasts with voguing is for example that dance can offer a place where you can be yourself despite sexual orientation and norm-breaking lifestyle in a chosen community, and feel safe and accepted.     The results from the podcasts call for, and challenge, the governing documents (curriculum and syllabi) for norm-critical views of inclusion and diversity in terms of power, gender norms, tradition and values. Traditions and the norm of whiteness are challenged through various intersections of gender, color and identity etc., and a new canon of dances can take place. The gap between young people's interests and academic dance has diminished during the process of investigation, thanks to a joint acquisition of knowledge and discussions, even though consensus has not been the goal. Based on theories, we can interpret that each new generation will continue to challenge contemporary norms and values.     

    Fulltekst (pdf)
    Vi ville krossa fördomar
  • 128.
    Lundholm, Emma
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Dagens dansrörelse är morgondagens danshistoria: En kvalitativ studie om svensk jazzdanstradition och gymnasieelevers uppfattningar om jazzdans2023Independent thesis Advanced level (professional degree), 10 poäng / 15 hpOppgave
    Abstract [sv]

    This study intends to highlight jazz dance in Sweden and its early establishment during the 1960’s and the 1970’s. The questions of issue are, ”How has the tradition of Swedish jazz dance been conveyed?”, ”What are some expectations and perceptions on jazz dance among upper-secondary school students who study dance?” and ”Is there a correlation between the tradition of Swedish jazz dance and upper-secondary school students’ perceptions on the genre?”. The study is a combination of a literature review and a focus group interview. The literature review maps the establishment and development of jazz dance in Sweden. The focus group consists of three upper-secondary school students who study dance. As a result, both the literature review and the focus group advocate for a historiographical perspective in jazz dance education. The students wish to see education in jazz dance techniques as well as jazz history during the practical classes. According to the pioneers, the cultural heritage and history of jazz is essential for the understanding of the artform. Therefore, it is relevant for teachers in jazz dance to educate their students on the theoretical aspects of the genre to connect the physical practices to the heritage. 

    Fulltekst (pdf)
    Dagens dansrörelse är morgondagens danshistoria
  • 129.
    Lundkvist, Tuva
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Samvaro: Ett berättande dansverkav Tuva Lundkvist2006Independent thesis Advanced level (degree of Master (Two Years)), 10 hpOppgave
    Abstract [sv]

    I detta konstnärliga examensarbete har jag velat utmana mig själv som koreograf genom att utgå från en berättelse och utforska arbetsprocessen i att tolka den.Dansarna har improviserat utifrån teman, t ex ömhet, närhet, makt och kärlek. Jag har fogat samman och skapat ett dansverk där närvaro och energi varit viktiga kvalitéer. Musiken har jag lagt till på slutet för att förstärka uttrycket.Dansverket handlar om kärlek, vänskap, övergrepp, aggression, sökandet tillbaka, ensamhet, sorg… och om könsroller. Om ”samvaro”.

  • 130.
    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
  • 131.
    Löfving, Lisa
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    I gränslandet mellan jazz och MND: en studie i genreindelning i dans2012Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [en]

    This study discusses the need for strict classifications of genres within dance. I question what defines jazz dance and in turn, what separates it from modern/contemporary dance. To define my own role as a future teacher is the main purpose of this research, but also to question the need for differences in teacher´s education within these two dance styles. The study contains a summary of the typical qualities of movement and pedagogical methods as well as a historical overview of each genre. It also contains interviews with three dance teachers who teach both jazz dance and modern/contemporary dance. This was done in order to gain another perspective on the subject; which allows me to compare my own viewpoint not only to this but also to the literature read throughout my research. I sometimes find that the differences are made bigger than needed, especially during the education to become a teacher. I think that both genres would benefit from taking inspiration from each other’s ways of working.

  • 132.
    Matthies, Johanna
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    En studie om klassisk balett som konstform: hur kan en balettpedagog arbeta med interpretation i den dagliga undervisningssituationen enligt Vaganova-systemet2012Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
  • 133.
    Midtgaard, Louise
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    I dialog med Vaganova: At læse Vaganova med et dialogpædagogisk perspektiv2014Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [en]

    In my thesis I will discuss Vaganovas pedagogical work in order to deepen my own identity as a ballet pedagogue and gain a wider perspective on the Vaganova system and syllabus. Through analysis of Vaganova’s texts applying two closely related pedagogical methods in my reading, dialogue and critical pedagogy, I try to see how Vaganova’s system relates to her life and times, as well as how her system has survived until this very day. It is possible for me to see how her early training in combination with the turbulent times she was living in formed her both as an artist and as a truly giftet pedagogue,. This knowledge enables me to make a well educated choice when taking Vaganova’s methods and making them my own. It also gives me an understanding of the great relevance of a constant dialogue with one’s students in order to create the best possible dancers.

  • 134.
    Milton, Marie
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Barndansens utveckling: från Duncan till nu2008Independent thesis Basic level (degree of Bachelor), 10 hpOppgave
    Abstract [sv]

    [---] Hur har barndansen bevarats och utvecklats i Sverige från Isadora Duncan fram till idag? Utifrån min frågeställning har jag valt att redogöra för hur den traderade kunskapen inom barndansen har förts vidare från olika pedagoger från början av 1900-talet och fram till idag.  [---]

  • 135.
    Milton, Marie
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Rörelser som främjar inlärning2009Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
  • 136.
    Modén, Erika
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Dansundervisning utomhus för att vidga dandupplevelsen2009Independent thesis Basic level (degree of Bachelor), 80 poäng / 120 hpOppgave
  • 137.
    Modén, Olof
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Dansundervisning inom idrott och hälsa: en kvalitativ studie av idrottslärares upplevelser av att undervisa i dans på gymnasiet2020Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [en]

    Dance is represented in the main contents of the physical education curriculum in the upper secondary school but teaching dance can be a challenging task for PE-teachers because of large groups, student motivation, limited competence, lack of time or uncertainties of the benefits of dance. To gain more knowledge and possible solutions semi-structured interviews were performed with three PE-teachers, regarding their experiences of teaching dance. Data was analysed thematically leading to seven themes: teacher background, contents, dance identity, teacher/student experiences, challenges and solutions, motivation, and assessment. Experiences of teachers related to classroom management, students performance, student experiences, and previous experiences of dancing themselves. Further teacher training was requested for confidence and variation. Benefits of dancing was described as sense of rhythm, coordination, motorics, balance, flexibility, joy of movement, group connection, confidence or usefulness. Students sometimes experience discomfort when facing dance performances, body contact or dance norms, potentially leading to avoidance. The discomfort seems to be related to fear of shame and status depreciation. Suggestions that appeared for improving motivation are to downplay dancing, choose recognizable music, begin without announcing exercises as dance, explain the benefits, choose surmountable contents, demand performances, do group assignments where everyone contributes, and use inquiry-oriented tasks.

    Fulltekst (pdf)
    fulltext
  • 138.
    Mörk, Sara
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Samtyckespraktiker i rörelse: Att kommunicera och förstå samtycke i dansundervisning på gymnasiet2023Independent thesis Advanced level (professional degree), 10 poäng / 15 hpOppgave
    Abstract [en]

    This research is a qualitative interview study on consent in upper secondary school dance education through focus group interviews with teachers and students. The intention is to give more insight on how teachers and students understand consent in upper secondary school dance education and in general. The study shows that consent in upper secondary dance education in Sweden exists at the intersection between norms of communication, power and the context in which it is practiced. The most common communication of consent for dance in this study is through reading body language, and the most discussed situation is regarding touch and bodily contact. Touch is viewed by the teachers as a vital part of knowledge generation in dance. Both teachers and students find situations where students are engaging with touch and body contact as the most challenging. The study observes that consent is specific within its context, which requires dance teachers to establish and clarify norms and intentions in the dance studio. To do so takes time and repetition, if not successful norms and perceptions from other contexts may be stronger and make the communication of consent difficult. Further, the study suggests that teaching about consent needs to be combined with practical exercises for a more preventive knowledge. The material was analyzed with qualitative analysis and a norm critical and multimodal perspective. 

    Fulltekst (pdf)
    Mörk, Sara. Samtyckespraktiker i rörelse
  • 139.
    Naglitsch, Tilde
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Dans, självförtroende och självkänsla: En fenomenologisk studie om danselevers upplevelse i dansundervisning2022Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [en]

    This study examines how dance education can affect a dance student’s self-efficacy and self-concept. The purpose is to shine light on the students perspective on their education. It is also to help educators to get an understanding of and interest in students perspective so that they are included in the work of adjusting the education to help develop dance students self-efficacy and self-concept. The study was done with a Merleau-Ponty phenomenological perspective through four semi structured interviews which were transcribed and analysed from Steinar Kvales methods. The results show four main factors that can affect dance students self-efficacy and self-concept and these are: The relationship to members of the group, Feedback, Comparing to others and The relationship to teachers. Since this study is limited to the perspective of four students, further research needs to be done to verify if these factors are important to the bigger population of dance students.

    Fulltekst (pdf)
    Dans, självförtroende och självkänsla
  • 140.
    Nevalainen, Moona
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    TELL ME MORE: research on the narrative possibilities in jazz dance2012Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
  • 141.
    Nilsson, Fanny
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    "Hur uppfattar du mig?": danspedagogik och fenomenografi2010Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
  • 142.
    Nilsson, Ulrika
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    "What you see is what you get"2004Independent thesis Basic level (degree of Bachelor of Fine Arts), 10 hpOppgave
    Abstract [sv]

    Detta är ett konstnärligt arbete med fokus på processen där jag låtit mig inspireras av en flaska ketchup. Min idé grundar sig på tankar kring vad jag definierar eller uppfattar som stillhet och rörelse. Den huvudsakliga frågeställningen har varit hur jag kan skapa rörelse och dans med enbart ett still föremå som utgångspunkt. Jag ville ta reda på vilka rörelser den skulle kunna ge mig inspiration till i min dans. Jag ville också undersöka hur det jag tar in genom mina olika sinnen påverkar och styr min kreativitet.  [---]

  • 143.
    Nordström-Janzon, Jenny
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Motorik och barndans2005Independent thesis Basic level (degree of Bachelor), 80 poäng / 120 hpOppgave
  • 144.
    Notér Hooshidar, Annika
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Dance as Embodied Multimodal Practice: a paper presented at Close Encounters Contemporary Dance Didactics: Exploration in Theory and Practice2013Konferansepaper (Annet vitenskapelig)
  • 145.
    Notér Hooshidar, Annika
    Stockholms konstnärliga högskola, Institutionen för danspedagogik. Stockholms universitet, Institutionen för pedagogik och didaktik .
    Dansundervisning som förkroppsligad multimodal praktik: en studie om kommunikation och interaktion i dansundervisning2014Licentiatavhandling, monografi (Annet vitenskapelig)
    Abstract [en]

    Dance teaching as embodied multimodal practice

    A study about communication and interaction in dance teaching.

    The overall aim of this study is to increase the knowledge about how communication and interaction between students and teachers is manifested in dance teaching and learning, with a special focus on the students’ agency and how that can be assumed to affect their conditions for learning.

    In a dance class, teachers and students engage in the dance practice by using different semiotic modes of communication; body movements and gestures, touch, hearing, gaze, sound and speech. The teaching and learning situation can be described as a complex multimodal configuration of signs in different time and space based modes. The object of study is to examine students’ and teachers’ interaction and communication in detail, with a focus on how different semiotic resources are being used and how that affects the design of the dance class.

    The data consist of video recordings of dance classes in dance college education and more specifically the daily dance practice, the dance class. Video recordings were made in jazz dance, contemporary dance and ballet classes. These genres are, in various degrees, bearers of a tradition of dance teaching where students repeat the movement material that the teacher demonstrates. I base my choice on the fact that this is a common way of teaching dance both in dance college education and elsewhere.  By using a multimodal analysis, different modes of communication and their interplay were brought into focus. Employing the perspective of a social semiotic multimodal theory the analyzed data were interpreted and discussed. 

    The result has shown the importance of the body in communication and interaction between students and teachers in dance teaching and learning. Communication and interaction involve and combine different embodied semiotic resources. Signs are being made, interpreted and remade/redesigned with, through and in the body. The way the teachers use their voices in combination with body movements and gestures in instructions and feedback, makes these resources appear hierarchically more important than the verbal language. The result shows that the students make rhetoric choices in their learning processes. It is shown by the way they choose to attend to what the teacher communicates. The students’ choices in responding are mostly by showing how they understand. Further the results show that the teacher is responsible for the overall design of the dance class. The study material consists mostly of movements that the teacher has created in relation to a genre’s esthetics, the teacher chooses what aspects to focus on and how time is disposed. The students’ agency seems limited in terms of how they can affect and influence the design of the dance class. This means that the knowledge that is produced to a great extent is dependent on the teacher’s choices, her esthetic values and her own knowledge. From a didactic point of view this needs to be addressed in dance education in terms of how dance classes are designed, it concerns questions of esthetics, values and power.

    Fulltekst (pdf)
    Dansundervisning som förkroppsligad multimodal praktik
  • 146.
    Notér Hooshidar, Annika
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Кому можно танцевать?: Исследование творческого процесса в инклюзивном танцевальном ансамбле2021Bok (Fagfellevurdert)
    Abstract [ru]

    Данное исследование является частью проекта DANSResearch и результатом сотрудничества между Институтом хореографического и циркового искусств при Стокгольмском университете искусств, организацией ShareMusic & Performing Arts и отделом по культуре и развитию (секция танца) Региона Йёнчёпинг. Проект был реализован весной и осенью 2016 года и включал три периода работы в арт-резиденциях в Йёнчёпинге и Стокгольме. Во время них были организо[1]ваны беседы, публичные встречи и открытые репетиции. В ходе проекта было создано новое хореографическое произведение под названием «MOSS – метод выступления». Именно рабочий процесс, результатом которого явилось это произве[1]дение, стал предметом данного исследования. DANSResearch – это глубокий анализ художествен[1]ной деятельности, бросившей вызов устоявшимся нормам. Главное внимание исследования сосредоточено на вопросах коммуникации и взаимодействия между участниками инклюзив[1]ного танцевального ансамбля. Произведение «MOSS – метод выступления» берёт свое начало в проекте WORK (англ. работа), реализованном организацией ShareMusic & Performing Arts. Для меня как исследователя в проекте большую ценность представляет возможность увидеть рабочий процесс группы изнутри. Я хочу выразить искреннюю благодарность Шарлотте, Джильде, Дестини, Кикки и Карин за то, с каким теплом и вниманием вы предоставили мне возможность принять участие в вашей работе, а также за то, что вы постоянно делились своими мыслями и приобретённым в ходе проекта опытом. Хочу отметить, что для меня этот процесс стал путеше[1]ствием внутрь себя. Спасибо также Камилле Эскель, консультанту в сфере хореографического искусства отдела по культуре и развитию Региона Йёнчёпинг, за то, что вы вместе с директором и художественным руководителем организации ShareMusic & Performing Arts Софией Алексан[1]дерссон инициировали данный исследовательский проект. Я надеюсь, это исследование будет способствовать дальнейшему развитию знаний и понима[1]ния того, в каких формах может осуществляться инклюзивная работа, её ценность для всех нас, а также чего она требует. Открывая двери многообразию, мы приобретаем возможность получить более нюансированное понимание, каково это – быть людьми c разными физиче[1]скими возможностями и с разными предпосылками. Это, в свою очередь, способствует разви[1]тию равных возможностей в сфере сценического искусства. «Тело – это ведь вся я. […] Есть люди, которые не осмеливаются использовать своё тело как инструмент для творчества из-за того, что его постоянно отвергают. Вот что трагично […] Право на использование собственного тела должно быть очевидным». Дестини, 2016 год

    Fulltekst (pdf)
    Кому можно танцевать?
  • 147.
    Nyman, Satu
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Fysisk träning inom jazzdansundervisning: en kvalitativ studie om hur jazzdanslärare beskriver utveckling av fysiologiska färdigheter i dansundervisning2023Independent thesis Advanced level (professional degree), 10 poäng / 15 hpOppgave
    Abstract [en]

    This study aims to shed light on practices that jazz dance teachers have incorporated into their teaching in order to enhance development of physiological abilities, as well as examine how these practices have become part of their jazz dance teaching practise.The research was conducted through four semi-structured interviews where jazz dance teachers described how they enhance physiological abilities in their dance teaching practice, and which aspects impact their choices. The transcribed interviews were analysed using thematic analysis, supplemented by the application of selected principles for physical training. The results indicated that physiological abilities were mostly enhanced through conventional jazz dance technique training, within the conventional structural framework, and that the physiological aspect is not addressed in the early planning process, but comes along later following the progression of the dance technique training. Furthermore, the results imply that the social construction of a jazz dance training and convention have significant impact to the practices used to improve physiological abilities in jazz dance training. The conclusion is that jazz dance is recognised as a physically demanding genre, where technique training can enhance most of the physiological abilities.

    Fulltekst (pdf)
    fulltext
  • 148.
    Olsson, Anna
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Dansundervisning för elever med autism och ADHD: En kvalitativ studie av gymnasielärares erfarenheter ur ett sociokulturellt perspektiv2020Independent thesis Advanced level (degree of Master (Two Years)), 10 poäng / 15 hpOppgave
    Abstract [en]

    The aim of the study is to contribute knowledge and increase the understanding of teaching dance to students aged 16-18 with autism and ADHD in upper secondary school in Sweden by investigating teachers understanding of adaptation and the reason for students experiencing difficulties related to their diagnosis. The study also investigates the different strategies used by the teachers to adapt their teaching. The study uses a qualitative method and empirical data was collected through semi-structured interviews with four dance teachers. The data was analysed within the framework of a sociocultural perspective using concepts such as mediation, affordance and intellectual tools defined as given models for thinking. The results of the study show firstly that teachers’ understanding of different ways to adapt teaching and ways of understanding the reason for students experiencing difficulties, affects how they adapt and design their teaching. Secondly the study shows that the strategies used by the teachers mainly strives for making the teaching clear and predictable, to improve students’ self-esteem and to build good relationships to the students, and among the students. The study concludes that more knowledge about the subject is needed to further support the teachers in their work.

    Fulltekst (pdf)
    Dansundervisning för elever med autism och ADHD
  • 149.
    Owén, Lovisa
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Streetdance med barn: ett utforskande av barns koreografiska skapande2013Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
  • 150.
    Pastorek Gripson, Märtha
    et al.
    Högskolan i Halmstad .
    Mattson, Torun
    Malmö universitet.
    Andersson, Ninnie
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Förutsättningar för estetiska erfarenheter i dans inom förskollärarutbildning2022Inngår i: I rörelse: Estetiska erfarenheter i pedagogiska sammanhang / [ed] Anders Burman; Petra Lundberg Bouquelon, Södertörns högskola, 2022, 1, s. 101-127Kapittel i bok, del av antologi (Fagfellevurdert)
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