Endre søk
Begrens søket
12345 151 - 200 of 216
RefereraExporteraLink til resultatlisten
Permanent link
Referera
Referensformat
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Annet format
Fler format
Språk
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Annet språk
Fler språk
Utmatningsformat
  • html
  • text
  • asciidoc
  • rtf
Treff pr side
  • 5
  • 10
  • 20
  • 50
  • 100
  • 250
Sortering
  • Standard (Relevans)
  • Forfatter A-Ø
  • Forfatter Ø-A
  • Tittel A-Ø
  • Tittel Ø-A
  • Type publikasjon A-Ø
  • Type publikasjon Ø-A
  • Eldste først
  • Nyeste først
  • Skapad (Eldste først)
  • Skapad (Nyeste først)
  • Senast uppdaterad (Eldste først)
  • Senast uppdaterad (Nyeste først)
  • Disputationsdatum (tidligste først)
  • Disputationsdatum (siste først)
  • Standard (Relevans)
  • Forfatter A-Ø
  • Forfatter Ø-A
  • Tittel A-Ø
  • Tittel Ø-A
  • Type publikasjon A-Ø
  • Type publikasjon Ø-A
  • Eldste først
  • Nyeste først
  • Skapad (Eldste først)
  • Skapad (Nyeste først)
  • Senast uppdaterad (Eldste først)
  • Senast uppdaterad (Nyeste først)
  • Disputationsdatum (tidligste først)
  • Disputationsdatum (siste først)
Merk
Maxantalet träffar du kan exportera från sökgränssnittet är 250. Vid större uttag använd dig av utsökningar.
  • 151.
    Pereira Nielsen, Fanny
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Improvisera mera?: uppfattningar av improvisation hos fem dansstuderande2018Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [en]

    More Improvisation? — Five dance students perceptions of improvisation

    The purpose of this study is to gain increased knowledge of how dance pedagogy students perceive the improvisation phenomenon and its usefulness as a method and in future teaching. I have assumed a phenomenographical approach to finding differences and similarities in the participants' statements. Through an analysis based on the four steps of the phenomenographical analysis model, two categorization systems were formed with associated descriptive categories, describing dance students' different perceptions of improvisation in different contexts. The description categories were:

    improvisation as autonomy, improvisation as a non-evaluating element, improvisation based on genres, perception of improvisation when questioned, improvisation as useful tools, improvisation as a means of expressing emotions and improvisation leading to the unforeseen. Based on the descriptive categories, the outcome was formed as the result of the survey, where improvisation is seen as a useful tool that generates physical needs. Discussion of the use ofa phenomenolographical approach to this amount of material may be questioned. Despite the limited data, the study has made clear the dance students different perceptions ofimprovisation as a phenomenon.

  • 152.
    Persson, Julia
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Slängpolska i garaget: hur jag med filmen kan berätta något om mig själv och min samtid2013Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
  • 153.
    Pettersson Bolsö, Nadin
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    En studie av dansare och åskådares upplevelser av ett koreografiskt dansmaterial skapat med utgångspunkt i fotokomposition2015Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [en]

    In this study, my ambition is to find new methods for creating dance material, both for a pedagogic andartistic context. The study examines how dancers and spectators experience choreographic dance materialthat has the intention of conveying a predetermined message and is composed based on photocomposition. The survey shows that photocomposition added a way to work choreographically in dancethat I have not found in dance composition. The choreographic method based on photo composition hasthrough the phenomenological analysis model shown that it is possible to influence the spectators anddancers experience of a dance material in a predetermined direction. The choreographic method and theresults of this study can be useful in several didactic contexts and the method can be useful for bothteachers in the creation of dance material for dance classes or material for the stage, but also for studentsin their own work and creating processes. This study provides methods for creating dance in differentcontexts, which can be used both in teaching and creative work. Hopefully, this survey and its results canbe useful and applicable for other danceteachers in their work.Keywords:

  • 154.
    Pettersson Bolsö, Nadine
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    En studie av dansare och åskådares upplevelser av ett koreografiskt dansmaterial skapat med utgångspunkt i fotokomposition2015Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [en]

    In this study, my ambition is to find new methods for creating dance material, both for a pedagogic and artistic context. The study examines how dancers and spectators experience choreographic dance material that has the intention of conveying a predetermined message and is composed based on photo composition. The survey shows that photocomposition added a way to work choreographically in dance that I have not found in dance composition. The choreographic method based on photo composition has through the phenomenological analysis model shown that it is possible to influence the spectators and dancers experience of a dance material in a predetermined direction. The choreographic method and the results of this study can be useful in several didactic contexts and the method can be useful for both teachers in the creation of dance material for dance classes or material for the stage, but also for students in their own work and creating processes. This study provides methods for creating dance in different contexts, which can be used both in teaching and creative work. Hopefully, this survey and its results can be useful and applicable for other danceteachers in their work.

  • 155.
    Pettersson, Helen
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Hur uppfattar ett barn dans?: en kvalitativ studie som utifrån ett sociokulturellt perspektiv undersöker hur ett barn uppfattar dans2015Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [en]

    The purpose with this essay is to investigate how a child perceive dance. Four children are part of theresearch and they get to explore their own dancing duirng two observations and one structuredconversation. With help of Grounded Theory as a qualitative method the results are analysed andcollected into five categories: social, cognitive, physical, spatial and emotional and then finally into onecentral category: perception. The resluts are highlighed through a sociocultrual perspective to look forinfluences from the child´s surrounding. With these insights the purpose is to broaden dance pedagogy forchildren and my way of working so that the child´s perspective can be included in the teaching process.

  • 156.
    Pires Mantovani, Denise
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Ballet Empathy (Somatic Perspective in Ballet): a research on the use of somatic tools in ballet classes2022Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [en]

    Traditional ballet training and somatic practice have different approaches regarding how the body moves. Ballet has a specific structure where traditions and conventions affect how a body moves connected to an outside perspective, concerning how a teacher, student, or audience sees the body. On another hand, somatic has an approach that permeates the body that encourages the inner perspective, in respect of how the student understands his movement. The purpose of this study is to find out how a ballet pedagogue can use somatic tools to improve the student’s abilities regarding the technique. This is related to the use of a teaching method that includes a somatic approach. The idea is to use colors, as a somatic tool, in a ballet class, and find out if this can support the student's technique, in addition, to understanding how the participants negotiate colors with their body´s needs. My research is an empirical study that consists of a few workshops with different groups, ages, and abilities and includes an informal survey of the participants. The content analysis will be collected from the informal survey conducted after the workshop. In my research, I find that the participants felt that they got some improvement by using color as a somatic tool and this approach could be a help for their ballet technique.

    Fulltekst (pdf)
    Ballet Empathy
  • 157.
    Pirhonen, Sara-Maria Emilia
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    World wrapped in worlds: a qualitative study research on the interdisciplinary way of working between modern dance and physical theatre2018Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [en]

    The theme is to combine modern dance and physical theatre. The empirical data derives from two solos that I worked with. The intention being enhancing knowledge about experiences between these art forms. Key questions were what happens when physical theatre and modern dance meet and what emerges from this encounter. Pedagogical approaches were considered.

    The methodology is based on several professionals on the field ofperforming arts. Observing, Thinking, Sensing and Connecting (Eeva Anttila, 2007) serving as the guideline. From a phenomenological perspective I realized the benefits of interdisciplinary study. There is a great potential to use emotions and character work as a source for dance making. The method I used was productive and helped to analyze lived experiences raising from the practice.

    The work to further develop research intertwining modern dance and physical theatre is essential.

  • 158.
    Pylkkänen, Amanda
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Motivation i dans: En kvalitativ studie om inre och yttre motivation hos vuxna kvällskurselever2018Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [en]

    The purpose of this study is to examine what motivates adult pupils to participate evening dance classes at School of Dance and Circus. In addition to this, the purpose is to find out if their motivation is more intrinsic or extrinsic. Furthermore, the study aims towards investigating how dance pedagogues can develop their teaching with this specific target group to support the pupil’s interests and desires. The questionnaires of one evening dance course consisting of 11 pupils are analysed with Grounded Theory. The results show that there are 15 motivational factors: Joy, Development in dance, Physical development, Promotion of mental well-being, Other activity and Other form of training, Price, Curiosity, Cognitive development, Challenge, Aesthetics, Different experience of dance class, Social interaction, Prevention of pain and Prevention of injuries. The first six ones can be summarized as Self-fulfilment that work as the basis for the theory of the study. It is also shown that the motivation of the target group is more intrinsic than extrinsic. Promotion of experience of flow and creativity, preference of using mastery goal structures and teaching with direct instructions enforce intrinsic motivation and serve pupils’ interests and desires. These are suggested to dance pedagogues to use for developing their teaching with this target group.

    Fulltekst (pdf)
    Motivation i dans: En kvalitativ studie om inre och yttre motivation hos vuxna kvällskurselever
  • 159.
    Raaska, Eveliina
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Dansträning för cirkusstudenter2012Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
  • 160.
    Reppen, Camilla
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Gruppimprovisation i house: - som pedagogiskt verktyg, scenisk form och grupparbete2011Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
  • 161.
    Reppen, Camilla
    et al.
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Lundgren, Lovisa
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Østern, Tone Pernille
    Stockholms konstnärliga högskola, Institutionen för danspedagogik. Norwegian University of Science and Technology.
    Decolonizing Tertiary Dance Education Through Including Student Voices in a Curricula Change Project2024Inngår i: Futures of Performance: The Responsibilities of Performing Arts in Higher Education / [ed] Karen Schupp, New York: Routledge, 2024, 1, s. 72-88Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [en]

    This chapter explores how student engagement and decolonizing curriculum design can be connected through an ambition to destabilize unequal power relations, invitations to democratize knowledge, and efforts to make marginalized narratives central in change processes in tertiary dance education in Sweden. Although student influence in tertiary education in Sweden is a legislated right, members of the project group working to decolonize and restructure the Bachelor of Arts (BA) in Dance Pedagogy at Stockholm University of the Arts discovered a lack of dialogue with students in the department. This discovery motivated the development of a participatory action research project aimed at engaging student voices in the process of changing the curriculum. The author team, consisting of two teachers and one BA student, designed and carried out a workshop series. In this chapter, the efforts to create space for active student engagement are described and analyzed, the different perspectives added through student voices are explored, and issues of voice and ethics are actively integrated and contextualized.

  • 162.
    Riveros Vilches, Gabriel
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Mina metoder för att arbeta fram ett dansuppträdande med fokus på publikens inverkan2013Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
  • 163.
    Rodhe, Agnes
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Dansens relevans i folkmusikutbildningar2019Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [en]

    The Relevance of Dance in Folk Music Education

    The aim of this study was to investigate why and how dance and dance teaching can be relevant in educational programmes in folk music in Sweden. Many of these programmes include dance within them and that fact, in combination with my observation that there is an underlying cultural assumption that dance and music belong together, inspired this research. I wished to look at the function of dance within folk music programmes, and music teachers’ observations of how dance affects their students’ playing. The study has been conducted through qualitative interviews with four music teachers from different institutions, covering three themes: the purpose(s) of including dance in this kind of education, if and how they can see that the students have use for the dance knowledge in their playing, and how they look at the connection between dance and music in this genre. The result shows that there are several reasons for teaching dance as a part of educational programmes in folk music and also that the music teachers themselves use references to dance in their music teaching. These reasons can give dance pedagogues information about how some music teachers think dance is relevant and can be used in the planning of dance teaching. In conclusion, there is a discussion of how this study can be a part of understanding and developing pedagogy within the folk music genre.

    Fulltekst (pdf)
    Dansens relevans i folkmusikutbildningar
  • 164.
    Román, Gun
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Dans - modern mästarlära2010Rapport (Annet vitenskapelig)
    Abstract [sv]

    Slutsatser Den moderna mästarläran Genom projektet ser jag de tre danslärarnas undervisning i modern och nutida dans som den moderna 111ästarlära11, med ell stort inslag av kritiskt förhall­ningssätt, dialog och utrymme för egna val. Dialogen är ett medel för att ut­veckla och stärka den pedagogiska relationen mellan studenten och dansläraren. Den öppna dialogen hindrar dansläraren från all tvinga på studenten sina värde­ringar. Studenternas medvetenhet. samt möjligheter att påverka undervisningen och ta självständiga beslut och val ökar ständigt. Kunskapen ses som en aktiv process, en dynamisk grund för ny kunskap. I undervisningen sker en kroppslig. tyst dialog, där förståelsen sker både före och i själva utförandet -reflektion. kunskap och lärande i handling. Viktiga moment i lärandet är träning. reflektion och det personliga inträdet i en tradition. Studenternas lärprocesser görs synliga i dialog, diskussion och handledning, vilket förekommer både i dansteknik och i kompletterande kurser, projekt och examensarbeten. I dansteknik utgörs den kroppsliga dialogen av kroppsspråk. rörelser, andning, beröring och hur man förhaller sig till andra i rummet. Genom att använda sig av kunskap om lärande och estetiska lärprocesser kan danslärarna med,etet stimulera flera sinnen i lä­randet. Att i studenten locka fram artisteri sker genom personlig upplevelse. Därför måste sinnenas mottaglighet tränas medvetet och en inre upplevelseför­maga stärkas. Sinnesförnimmelserna är nyckeln till konstarten. Jag ser all ell av utbildningarnas uppdrag är all utveckla mottagligheten och fördjupa känslig­heten för våra sinnesförnimmelser. Genom visualisering, genom beröring. i det kroppsligt fysiska arbetet och genom releren er till andra kon tarter stimuleras olika sinnen. Allt som finns omkring o s är del av våra lärproces ·er. Alla min­nes-och lärproccsser involverar känslor. Kropp. tanke och känsla i en enhet.

    Den kunskap och de minnesspår som dansläraren skapar genom sin fysiska beröring, sker genom en tyst överföring. från kropp till kropp. Minnesteorier och neurofysiologisk forskning (Bergström. 1997: Hannaford. 1997) ger stöd åt ell beteende som danslärare anat, men ej kunnat styrka värdet av. Danslä­rare kan nu använda beröring med en helt ny självsäkerhet. Med beröring kan vi ,äcka hudens förmaga till kommunikation och uttryck. Det konstnärliga ut­trycket handlar om närvaro i hela kroppen. Varje del av kroppens yta måste ,äckas och bli medveten. Projektet har ä,en tillfört en medveten kunsl-..ap om visualiseringens bety­delse. Vi har alla ut,ecklat var förmåga till visualisering. Visualiseringen kan vä,a ihop terminologi fran anatomi. psykologi. biomekanik och transformera det till en visualisering. I visualiseringen eller genom att bli bilden fysiskt. inte intellektuellt. kan studenten identifiera sig med bilden och förstärka sill kropps­ligt-konstnärliga uttryck. När studenten är helt närvarande i sin kropp och kän­ner hela kroppsformen. finns förutsällningar för all utveckla rörelseskicklighe­ten. Lärarna använder visualisering med en helt ny medvetenhet idag. Sl-..apandet av ell känsligt instrument, kroppen. ger större medvetenhet om rörelsernas kommunikativa kraft och större möjligheter att både ge och ta in sceniska uttryck. Känsla. upplevelse och analys utvecklas i gestaltningar. Detta är all arbeta med konstens lärprocesser. Danslärare för blivande lärare i dans ma te första dans som 1-..onstform. ha insikt i utvecklingsprocesser och vara skickliga på all använda dans som ,erktyg för individuell utveckling. Minnen. kopplat till sinnen är grund för konst och upplevelse. För samtliga danslärare i projektet finns i botten en egen stark konstnärlig förankring, både som utörnre och som åskådare. Den ö,ertygelscn är omöjlig att rubba och på den byggs önskan att ge studenterna samma möjligheter. Berättelser och minnen har en viktig funktion i skapandet av en professionell identitet. I danslärarnas bakgrund finns även koppling till minnen och andra konstarter och tydligt syns ANHs behov av den kroppsliga njutningen. KMJs estetiserande analys och MKs musikaliska ådra i deras nuvarande verksamhet. I den empiriska studien synliggörs konstens plats i dansträning. I själva dans­träningen ligger fokus på den personliga konstnärliga processen, inte på den sceniska danskonsten. Hur skall danslärare tänka för all medvetet utnyttja sin sceniska bakgrund i sin undervisning? Dansläraren kan t.ex. stärka studentens relation till danskonsten genom att i dansteknikklass referera till konstarten. till koreograter, till egna arbetsminnen, eller göra repertoarsekvenser. Andra , ägar ti Il att stimulera ett konstnärligt förhållningssätt och studentens erövrande av danskonsten är att understödja sceniska projekt, eller ha diskussioner om danskonst. Genom att utveckla övningar i speciella stilar och arbeta medvetet med övningar i relation till annan konstart förstärks studentens förhållande till konstarten dans.Danslärarna i pr􀀵jektet växlar mellan flera olika lärarroller och ger olika grad av studentansvar beroende på uppgift och situation. De ser lärandet förank­rat i studenten, och har. efter att ha givit material, en handledande funktion. Till skillnad från traditionell mästarlära betraktas inte dansläraren 􀁃om den enda kunskapskällan, studenten stimuleras i dialog till all bidra med sina tankar. Danslärarna ger ansvar till studenten, som tolkar, uttrycker och tar över mate­rialet, ger det en konstnärlig form. Den egna tolkningen och personligheten har stort utrymme i modern och nutida dans, men studenten skall arbeta kroppsligt korrekt i förhållande till stilens grundprinciper. Della är en stor förändring som skett successivt under 1990-talet. Tidigare var studenten i för􀁃ta hand en mot­tagare av material och kunskap. Dagens studenter är i högre grad självständiga och ifrågasättande.I Freires kritiska pedagogik. den feministiska pedagogiken. i dagen􀁕 syn pa kunskap(ande) och i mästarläran finns kopplingen till kontexten, att lärandet sker i ett visst sammanhang. Skillnaden är all mästarläran handlar om att lära sig förmågor relaterade till ell yrke. ell utövande, medan kritisk och feministisk pedagogik tar sin utgångspunkt i en förändring av människans enskilda liv. att ta makten över sig själv. Jag uppfattar att kritisk och feministisk pedagogik i synen på lärande och i arbetsmetod inom dans till största delen överensstämmer med det jag valt att kalla den moderna mästarläran.Den moderna mästarläran knyter an till teorier om pedagogiska och konst­närliga lärprocesser. Därför är det viktigt att ge danslärare utrymme för konti­nuerlig fortbildning. Under tiden projekten pågick, kunde jag hos de deltagande danslärarna tydligt höra och se en ökad kunskap och medvetenhet om de proces­ser och metoder som styr lärandet. Den teoretiska fortbildningen har fortsatt pa många olika nivåer inom Danshögskolan och har idag en självklar plats. Stimu­lans till relkktion och utveckling är viktig för dem som skall driva utveckling för morgondagens danspedagoger, dansare och koreografer. 

  • 165.
    Román, Gun
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Danspedagogik!: ursprung, uttryck och unika minnen2011Bok (Annet vitenskapelig)
    Abstract [en]

    Dans och Cirku högskolans/DOCHs hi toria som danspedagogisk utbildnings­institution är alltför lite känd i omvärlden. Från 1964 har man utbildat dans­pedagoger. Dessa danspedagoger har sedan undervisat dans i hela landet, undervisning som stimulerat och utvecklat danskonst i många olika inriktningar och tillämpningar. Några av de nuvarande lektorerna vid DOCH har varit verk­samma sedan 1970-talet och har genom sitt arbete bidragit till den svenska danskonstens utveckling, ofta också med internationella både scenkonstnärliga och pedagogiska interaktioner. Detta arbete vill vi nu lyfta fram som en väsent­lig del av historieskrivningen. Hur har pedagogiken, metodiken och didaktiken utvecklats genom decennierna? Hur har ämnesutvecklingen sett ut? Finns det några avgörande händelser som tydligt påverkat utvecklingen? Vad minns de som varmed? Denna bok är vårt bidrag till kunskapen om, och förståelse för, vad danspe­dagogutbildningen representerat och representerar. I både skriftlig och gestal­tad form, redovisas hur de ämnen som utgjort olika ämnesriktningar har utvecklats från danspedagogutbildningens start 1964 till nutid. De omfattar: dans för barn och unga, flamenco, folkdans, historiska danser, jazzdans, klas­sisk balett och modem och nutida dans. Du får som läsare möta lektorernas, men också andra lärares och tidigare studenters minnesbilder och berättelser. Danspedagogutbildningen har historiskt även innehållit andra ämnen än de som här behandlas. De som presenteras är det urval vi anser mest relevant utifrån hur ämnena undervisas idag. I dag är DOCH en konstnärlig högskola som också utbildar och bedriver forskning inom cirkus, dans och koreografi. Danslärare och danspedagoger ut­bildas vid Institutionen för Danspedagogik. Institutionen samlar alla utbild­ningar inom området, fortbildning, distansutbildning, kurser och forskning i en spännande, radikal och dynamisk utbildningsmiljö. Att lärar-och pedagogut­bildning bedrivs vid en konstnärlig högskola som DOCH, möjliggör utbildning av lärare med en stark både konstnärlig och vetenskaplig identitet.

  • 166.
    Ronkainen, Annu
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Frihet och subjektivitet i dansundervisning2010Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
  • 167.
    Rosendal, Fatima
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    "Jag tolkar er tystnad som ett ja": En kvalitativ studie om kommunikation av dansrörelser och feedback vid fjärrundervisining i dans.2021Independent thesis Advanced level (degree of Master (Two Years)), 10 poäng / 15 hpOppgave
    Abstract [en]

    The Covid-19 virus has affected dance education in Sweden and created new conditions for dance teaching. The purpose of this study is to investigate how dance teachers communicate dance movements and feedback, when teaching in dance which is conducted in distance learning in Upper Secondary School. Further, the study will discuss challenges and opportunities with dance education in distance learning. Through observations of dance teaching, the study will investigate how three different dance teachers in the genres of Jazz Dance, contemporary and classical ballet communicate dance movements and feedback in distance learning. With a theoretical starting point in social semiotic multimodal communication the study will analyse how semiotic recourses are being used in dance education through distance learning. The result shows that the teachers communicate using both voice and body as two dominant semiotic recourses when communicating dance movements and feedback. The result also shows more challenges than opportunities in dance education through distance learning.

    Fulltekst (pdf)
    "Jag tolkar er tystnad som ett ja"
  • 168.
    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
  • 169.
    Ruotsalainen, Matilda
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    En integrering av danstekniska moment i improvisationsövningar2010Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
  • 170.
    Rådmark, Tove
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Kreativ verkstad: en metod för dansundervisning med utgångspunkt i hiphopkulturens tvärestetik och pedagogiska filosofi2013Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
  • 171.
    Rådmark, Tove
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Polycentrism i samtida hip-hop: Sociopolitiska och estetiska rörelser i dans2021Independent thesis Advanced level (degree of Master (Two Years)), 20 poäng / 30 hpOppgave
    Abstract [en]

    This research examines the potential of polycentrism as artistic methods in contemporary hip-hop and as a socio-political movement in dance to luminate negotiations of relations, power and appropriation. The research questions are: 1. How can the concept of polycentrism as an aesthetic principle in the traditions of hip-hop be used to investigate and develop artistic methods in a contemporary dance context? 2. What scope for action and negotiation of power systems does polycentrism create in contemporary hip-hop? This artistic research is drawn upon Practice as Research with methods of freestyle/improvisation and interactive introspection. It also suggests polycentrism as a research method. The empirical material consists of the experiences of the eleven dance artists that participated in the study through five workshops that was documented via filming and writing. Artistic methods are presented as processes and ideas of polycentric movements inside and outside our bodies, always in relation. Secondly, the study suggests polycentrism with potential to circulate as sociopolitical movement through our bodies and create expanded crosscircular perspectives on aesthetics as multiple, relational centers in constant energy flow. The findings of this project can also be useful in education and teaching of dance.

    Fulltekst (pdf)
    Polycentrism i samtida Hip-hop
  • 172.
    Rönkkö, Anne
    et al.
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Tybell, Veronika
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Bild som score: en metod för eget kreativt skapande i dans med utgångspunkti surrealismens estetik och dialogpedagogiken som undervisningsmodell2014Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [en]

    ”The visual as score” is a workshopmodel for supporting dancers own creative work by using dialogue as

    a pedagogical tool and working with material inspired from the aesthetics of the surrealisms’ art direction.

    Our question is in what way dialogue, surrealistic pantings and dreams as score can be used to support

    dancers’ own creative work. For this we have created a workshop consisting of both individual and group

    tasks. The material we have worked with is surrealistic paintings by artist Joan Miró and a dream diary

    written by the participants of the workshop. The work we do in the studio includes dialogue with analysis

    of the paintings, reflection, and discussion before and after tasks as well as after a presentation of the

    process in working with the material. After reading the participants comments we realize we have

    succeeded in creating an environment for own creative and evocative work where the participants have

    stated that they have been able to use their creative selves. In the future, however, we want to develop the

    workshop by splitting up working with paintings and dreams in two different workshops as well as trying out the workshop with different groups of dancers and other participants.

  • 173.
    Sahlin, Linnea
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    ”…den här genren är ju liksom ute lite grann och identitetskrisar ganska rejält.”: uppfattningar om jazzdansens utmärkande egenskaper2023Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [en]

    This study aims to explore the defining characteristics of jazz dance as a genre with the ambition of reaching a deeper understanding of the art form as well as clarifying the foundations for my own jazz dance teaching. Using a qualitative research method, the study examines the perceptions of four dance educators, each with experience in dancing and teaching different forms of jazz. Drawing on a phenomenographic perspective, the study identifies variations in perceptions through semi-structured interviews and categorization. The findings present six descriptive categories of important components within jazz dance including Body and Music Interplay, Relevant Music Choices, Freedom, Play and Individuality, Contrasting Dynamics, Technical Finesse and Body Control, and Interaction and Expression. Furthermore, the study discusses the challenges of defining jazz dance but highlights the significance of embodied musicality and Africanist aesthetics as key elements of the art form, as well as emphasizing the concept of "swing" as central to jazz and the perception of “jazziness”. In conclusion the study shows a broad variety in perceptions which contribute to an increased awareness and understanding of jazz dance as well as providing tools for communication in jazz dance teaching. Ultimately the study encourages further research on the topic.

    Fulltekst (pdf)
    fulltext
  • 174.
    Salminen, Siri
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Dansa döden: en studie i flamencons förhållande till existensen2011Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
  • 175.
    Samuelson, Saga
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    ”Att man förstår varför vi håller påsom vi gör nu”: - en kvalitativ studie om undervisning i danshistoriai kursen Dansteori2020Independent thesis Advanced level (degree of Master (Two Years)), 10 poäng / 15 hpOppgave
    Abstract [en]

    “To understand why we are doing what we do now” – a qualitative study of dance historyteaching within the course Dansteori. This essay illustrates how teachers at upper secondary schools relate to teaching dance history within the course“Dansteori”, focusing on the aim that students should critically review different dance history writings. The study uses interviews and open-ended questionnaires, and the material have been analyzed qualitatively and discussed inrelation to historical thinking and norm-critical pedagogy. The study shows that a historical-scientific perspective is important in how teachers talk about the subject, but less important when it comes to what students should gain fromtheir studies. Instead, a general knowledge of dance history and an ability to connect ones dancing to a historical context, is at the center. The study also shows a conflict between the content and the time given as well as the student’s maturity. In relation to the theoretical perspectives, the historical-scientific perspective is prominent. By contrast, the norm-critical perspective is not as clear, and as I understand it, the critical scrutiny lies primarily within the norm rather than as a means of looking outside the Western box. The next challenge is therefore to not only review the conditions for how history is created, but also to question and change the structures that create knowledge.

    Fulltekst (pdf)
    fulltext
  • 176.
    Samuleson, Saga
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    ”Att man förstår varför vi håller påsom vi gör nu”: - en kvalitativ studie om undervisning i danshistoria i kursen Dansteori2020Independent thesis Advanced level (degree of Master (Two Years)), 10 poäng / 15 hpOppgave
    Abstract [en]

    This essay illustrates how teachers at upper secondary schools relate to teaching dance history within the course “Dansteori”, focusing on the aim that students should critically review different dance history writings. The study uses interviews and open-ended questionnaires, and the material have been analyzed qualitatively and discussed in relation to historical thinking and norm-critical pedagogy. The study shows that a historical-scientific perspective is important in how teachers talk about the subject, but less important when it comes to what students should gain from their studies. Instead, a general knowledge of dance history and an ability to connect ones dancing to a historical context, is at the center. The study also shows a conflict between the content and the time given as well as the student’s maturity. In relation to the theoretical perspectives, the historical-scientific perspective is prominent. By contrast, the norm-critical perspective is not as clear, and as I understand it, the critical scrutiny lies primarily within the norm rather than as a means of looking outside the Western box. The next challenge is therefore to not only review the conditions for how history is created, but also to question and change the structures that create knowledge.

    Fulltekst (pdf)
    Att man förstår varför vi håller på som vi gör nu
  • 177.
    Sandberg, Gita
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Näringslära för dansare: utveckling av ett skriftligt utbildningsmaterial2010Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
  • 178.
    Sandström, Kristin
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Min "safe zone": - en kvalitativ intervjustudie om gymnasieelevers erfarenheter av att kroppsligt bebo och expandera i dansundervisning2022Independent thesis Advanced level (degree of Master (Two Years)), 10 poäng / 15 hpOppgave
    Abstract [en]

    The aim of this study was to investigate secondary education students’ experiences of inhabiting and expanding in dance education. The method used was semi-structured interviews and queer phenomenology was the theoretical approach. The results showed that students experience many expectations in dance lessons. The expectations are mainly about being seen (and judged) and about what one's body can do. The results also showed that the dance studio as an arena enables students to physically inhabit and expand in dance education through stable social relationships and a focused and permissive work climate. 

    Fulltekst (pdf)
    Min "safe zone"
  • 179.
    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)
    fulltext
  • 180.
    Simonsson, Anna-Karin
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Kommer det in någon med utekängor och ska dansa balett så blir det ju väldigt märkligt: En analys av hur gymnasielärare tolkar koder och konventioner i dansteknik2015Independent thesis Advanced level (degree of Master (Two Years)), 10 poäng / 15 hpOppgave
    Abstract [en]

    The purpose of this study is to signify the dance teachers’ interpretation of the concepts codes andconventions within the subject Dance Technique in the Upper Secondary Schools of Stockholm. As astarting point, I am using my own experiences as a dance teacher and that I have come across teachercolleagues who has felt insecurity what the concepts really comprises. For this study, I have made fivequalitative interviews with operative dance teachers, who I chose to interview since they have earlierexperience of the subject Dance Technique. The purpose of the interviews is to gain a broader opinion ofhow dance teachers look at the proficiencies, the assessment of the proficiencies and the equivalence ofthe assessment between different schools. For my analysis I am using discourse as text analytical method.The result shows that the teachers interpret the codes and conventions as knowledge about behaviorconnected to order, dance genres and traditions. With the dance background and the aesthetic choices as abase, the individual teacher decides which behaviors that are bound to which genre. By analyzing thestatements during the interviews and the Dance Technique curriculum, I have identified the currentdiscourse for how the concepts are being interpreted. The discourse describes that the dance teachers havesimilar dance experiences, which results in a consisted opinion in choice of behavior. This consistencyresults in an overall equal assessment.

  • 181.
    Sjögren, Elsa
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Escalator2009Independent thesis Basic level (professional degree), 10 poäng / 15 hpOppgave
  • 182.
    Sjölin, Clara
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Embracing a precarious life: A study on the instabilities of the life of an independent dance artist2023Independent thesis Advanced level (degree of Master (Two Years)), 20 poäng / 30 hpOppgave
    Abstract [en]

    The research question that motivates this study is: how might I, together with a collective of dance artists, explore stability while embracing instability? Looking at the precarious lives of independent dance artists in the context of Europe, this research seeks ways to understand and cope with the various unstable aspects that come with this lifestyle and profession. I place this study in relation to current economic trends where the individual is increasingly in focus, with very few social security rights, and where the dancer is often faced with solitary living and working situations. Furthermore, today’s dancers are often no longer working for a single choreographer, nor solely working as a dancer – but are rather entering many different projects and roles, arguably contributing to a life constantly subject to change. In this research, together with a group of dance artists, I explore understandings of instability and stability, and furthermore investigate how collective action might reinforce senses of stability. I, as the researcher, have applied a performative, practice-led research methodology, along with support from post-humanist/feminist theories. The findings of this research demonstrate how instability can be viewed as a state of not knowing within the precarious life of a dance artist but also within creative processes, and that trust is important in order to cope with the unknown. The findings have further led me to discuss the complexity and entangling of stability and instability, unfolding in a joint phrasing of in/stability, where I discuss how the fluid practice of dance not only corresponds with the wider socio-political landscape but also to an ever-changing world. 

    Keywords: independent dance artist; precariat; collective; leadership; collaboration; diffractive analysis 

    Fulltekst (pdf)
    fulltext
  • 183.
    Sontheimer, Johanna
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Kontakt i Folkdans: -en studie om hur vi skapar förutsättningar för att kunna läsa av varandras kroppar och intentioner2022Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [en]

    This study aims to examine how the phenomenon of connection in Swedish folkdance is experienced and formulated by dancers. Connection is a big part of all couple dances, yet not many have concrete descriptions of it. The empirical data comes from two practical workshops with a focus group in which the participants got to dance and then directly discuss or write down their thoughts. The analysis of the material, which consists of notes and recordings, results in five themes: physical touch and its role in connection, metaphors and inner pictures of connection, technical aspects to create connection, a biomechanical approach and dancing in relation to one’s dance partner. In addition to those themes, the study generates perspectives with which the topic can be studied further. The biomechanical perspective can help understand the logics and functions of a couple dance and the metaphorical perspective appeals to the intuitive part of learning. This study is performed in a Swedish folk dance context but might be relevant to other couple dances as well, both to see similarities and differences in how the topic of connection is taught and discussed in the respective contexts.

    Fulltekst (pdf)
    Kontakt i Folkdans
  • 184.
    Sparrman, Ina
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    ord om: andrum: Hur påverkar rummets storlek rörelsen och koreografin?2004Student paper second term, 10 hpOppgave
  • 185.
    Stenlund, Tina
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Dansterapi som kommunikation: en jämförelse mellan dementa och barn med tidiga störningar2004Independent thesis Advanced level (degree of Master (Two Years)), 10 hpOppgave
    Abstract [sv]

    Detta är en studie i dansterapins möjligheter till kommunikationsutveckling för barn med tidiga störningar och dementa. Studien är till största del en litteraturstudie som har kompletterats med två intervjuer.Syftet är att belysa dansterapins effekter för målgrupperna: barn med tidiga störningar samt dementa. Jag har även fokuserat på likheter respektive skillnader mellan de två grupperna och gjort en sammanställande jämförelse.Resultatet visar att dansterapi har effekt på kommunikationsutvecklingen för de båda grupperna. Dansterapin ger möjlighet och frihet i att använda och utveckla den egna rörelserepertoaren genom vilken den ökar. Dansens glädje och lust bidrar till ökad vilja att kommunicera. De sociala aspekter som dansterapi i grupp innebär har också effekter på både möjligheten och viljan till kommunikation. När inre spänningar släpper och de fria rörelserna får utrymme kan det spontana talet och skrattet komma fram. För båda grupperna är det dock den icke-verbala kommunikationen som är i fokus även om den verbala kommunikationen är en välkommen effekt.

  • 186.
    Sterner, Susanne
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Cascade: ett pedagogiskt arbete med vatten och is2009Independent thesis Basic level (professional degree), 10 poäng / 15 hpOppgave
  • 187.
    Strandberg, Ana
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    "TTP - Tags, Throw-Ups & Pieces": graffiti som skaparmetod för Streetdance2009Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
  • 188.
    Strigner, Evelina
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Dansgenrer på svenska gymnasieskolor: en kvantitativ undersökning2021Independent thesis Advanced level (professional degree), 10 poäng / 15 hpOppgave
    Abstract [en]

    Dance genres in Swedish upper secondary school - a quantitative survey

    Dance as a subject in upper secondary school is a relatively young subject with a vague framing that provides the teachers with more room for interpretation. The aim of this paper is to shed light on a somewhat unexplored researched field and to contribute with knowledge about what dance genres that are featured in Swedish upper secondary schools. The study investigates what genres the students encounter in the everyday dance training and how much time in class. Further, it is investigated which genres the schools bring in as guest genres and who teaches them. The data is collected via a survey that was sent to all Swedish upper secondary schools with an arts program in dance. The results are analyzed and discussed via curriculum theory and Swedish dance history. Some of the main conclusions are that the modern and contemporary dance stands out in more than one way and is well established in dance programs in Swedish upper secondary schools. Another result shows that there is a wide diversity in the genres schools chose to include as a guest genre. The results also show that the most common is to bring in a guest teacher in different subgenres of street dance.

    Fulltekst (pdf)
    Dansgenrer pa svenska gymnasieskolor - Strigner
  • 189.
    Styrke, Annica
    et al.
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Wiklund, Karin
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Den skillnadsskapande rättvisan: En analys av samtida diskursiva konstruktioner av jämställdhet i skola2011Independent thesis Advanced level (degree of Master (Two Years)), 10 poäng / 15 hpOppgave
    Abstract [en]

    This paper aims to examine discursive constructions of gender equality in one of the Swedish Government’s Official Reports, Flickor, pojkar, individer (SOU 2010:99), about gender equality in schools. We intend to shed new light on the possibilities and limitations of the concept of gender equality. Further we want to examine what implications the current discourses may have for teachers’ and students’ possibility for action and change. In the examined text we focus on the following questions: What ideas about sex and gender are assumed and recreated in the writings on gender equality? What is defined as a problem and what is left out? What opportunities are generated for gender equality in schools? We discovered that what is defined as gender equality issues, in the text, are based solely on measurable differences between the groups boys and girls. The way the groups are referred to as separate reproduces difference and consolidates a dichotomy between the sexes. We found that the desirable goal is to equalize the groups regarding school results, educational choices, health etc. without any attempt to problematize power relations and hierarchies between men and women. By ascribing norms and hierarchies to the surrounding society, the schools’ participation in maintaining and reproducing these norms is neglected. The report thus avoids discussing the causes of the problems, which leads to limiting the possibilities for teachers and students to bring about change.

  • 190.
    Styrke, Britt-Marie
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Dans, didaktik och lärande: om lärares möjligheter och utmaningar inom gymnasieskolans estetiska program2013Bok (Annet vitenskapelig)
    Abstract [en]

    This study takes it's starting point in acknowledging that dance was established as a subject in upper secondary school within the Aesthetic program in 1994. The first part highlights and discusses contextual aspects on dance teaching in­cluding perspectives on gender and body. The second part contains an empiri­cal qualitative study on dance teachers' ideas on their practice related to the concepts of didactics and teacher knowledge. Fleck's theory on thought collec­tives is used as a way of exploring how dance teachers as a professional group relate to dance as tradition and teacher practice. As one result teachers show that they break with the thought collective as pre understandings on how to teach dance in the upper secondary school context. Focusing on pupils as indi­viduals, though in collective teaching situations, new possibilities for teaching practice are explored. Using Shulman's concepts on teacher knowledge, a number of categories point to teacher knowledge such as: pedagogical content knowledge, knowledge of learners and knowledge of contexts. Dance teaching becomes visible as a profession through the deep ability to use this diverse competence - artistic as well as pedagogic - in the daily practice. Within this practice the category curriculum knowledge is less explored and also somewhat problematic in the process of transforming dance as a field of knowledge into a school subject. In the transformation process, teachers ask for tools in the form of modets for interpretation. Explicit didactic concepts, such as finding the sub­jects didactic potential and its didactic form, may function as a toolbox in this process. Expressed possibilities and challenges relate to above mentioned areas as well as to expectations on the reformed Aesthetic program and the reformed Dance teacher education in 2011. Moreover, teachers retlect on the less ex­plored but highly topical aspects on gender and body in the upper secondary school context.

  • 191.
    Stövind, Jörgen
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Utan dans?: danskunskap i ett expanderat perspektiv2022Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [en]

    Without dance? – dance knowledge in an expanded perspective  

    The vocational dancer education in classical ballet's subject-specific intended learning outcomes means many years of dance training that requires sacrifices in other school subjects and other hobbies, without work guarantee. There are more dancers than there are jobs, which is why many people stop dancing after graduation. The survey’s purpose is to investigate what happens over time with the dance knowledge that is generated during the vocational dancer education. Is it still relevant to the person's sphere of life even outside a dance context? Five people, who completed the vocational dancer education in classical ballet in 2011 and 2012 and stopped dancing after graduation, are interviewed. The results are analyzed with a phenomenographic approach, the description categories or result are analyzed to a final outcome space, which indicates, through the ballet´s genre-determined structure and a cognitive thought pattern that is characterized by a given construction to understand the meaning of structure, a unique and profound body knowledge and social adaptability as a consequence of the education. Dance practice enables social adaptability, a visualization of people's complex reality, the understanding of the value of taking varying perspectives to manage and adapt to different people and social contexts.

    Fulltekst (pdf)
    Utan dans?
  • 192.
    Sulkala, Jutta
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    'No house can be built without foundation': A phenomenographic study around the making of Choreography in HipHop2023Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [en]

    The aim of this study was to investigate perceptions of Hip-Hop choreography and Hip-Hop choreography’s relation to freestyle. In order to accomplish that purpose, three dance artists were interviewed and a phenomenographical approach was used. From the result, the hope was to gain fresh insights and ideas for incorporating choreography in the teaching of Hip-Hop, and to explore various approaches for doing so.

    From the interviews with three dance artists, I found four categories which consist of different perceptions of choreography. The four categories were subjectivity, which could be perceived as freestyle, interaction which could be perceived as the relationship between performer and audience, physicality which could be perceived as more or less of a specific form and music which could be perceived as something inspirational. Intention behind what you do or public who is observing, was perceived as the influencer for freestyle to become choreography.

    The categories can define Hip-Hop choreography, yet those can also define choreography in dance overall. Physicality in specific form was perceived as one of the only categories that is directly connected to Hip-Hop choreography. Yet it does not disregard the importance of the three other concepts for the style Hip-Hop and so choreography.

    Fulltekst (pdf)
    Thesis 'No house can be built without foundation' by Jutta Sulkala
  • 193.
    Sundling, Linnéa
    et al.
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Styrke, Annica
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Doing without knowing: hur åtta personer utan dansvana skapade en dansföreställning2010Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
  • 194.
    Svanberg, Malin
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Utveckling av jazzdansträning genom idrottforskning2011Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
  • 195.
    Svenzén, Yoel
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Upplevelsedesign för lärande: att utveckla lärmiljöer för streetdance genom innovativ design2013Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
  • 196.
    Swahn de Lira, Samira
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Samira Swahn de Lira + Modern and contemporary dance + Capoeira + dancers + Cembalo = ?: How can I mix modern and contemporary dance with Capoeira so that it feels lika dance?2007Independent thesis Basic level (degree of Bachelor of Fine Arts), 10 hpOppgave
    Abstract [en]

    I wanted to have a process exploring how I can mix capoeira Angola with modern and contemporary dance so that it feels lika dance, [---] I have summoned my whole moving-experience that I have had until now in my life and this work is a summary of that and a summery of the rest of my life also. [---]

  • 197.
    Tillö, Per Bror
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Kläder i rörelse: kläder och uniform som redskap inom konstnärliga och pedagogiska miljöer2012Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
  • 198.
    Trolin, Sara
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    "Vi ser": En intervjustudie om danslärares upplevelser av ungas psykiska ohälsa2021Independent thesis Advanced level (professional degree), 10 poäng / 15 hpOppgave
    Abstract [en]

    The study examines dance teachers' perceptions of how mental illness among adolescence can affect the role of teachers, what knowledge these teachers feel they have when they deal with these young people and where this knowledge comes from. Through semi-structured interviews which were analysed with thematic analysis and memo-writing, it emerged that the teachers feel that the role of the teacher is affected on a personal and professional level. They felt that they have the knowledge to deal with mental illness in adolescence but request more knowledge in the subject. The results of the study show the complex role of the teacher and indicate that teachers want more knowledge regarding mental illness among adolescents in order to better respond to these young people, but also that more research in the field is needed.

    Fulltekst (pdf)
    "Vi ser" - en intervjustudie om danslärares upplevelser av ungas psykiska ohälsa
  • 199.
    Tuurala, Tanja
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Soleà A!2007Independent thesis Basic level (degree of Bachelor), 10 hpOppgave
    Abstract [en]

    [---] The notion that it was in some contexts, not all contexts that flamenco didn´t function, and my background in Labans theories of dance , led me further to consider the movement in relation to space and therefor environment. I chose to work with traditional flamenco in relation to the A-scale because of that it is a pattern of movement exploring directions and points in space. [---]

  • 200.
    Täckenström, Therése
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    STYRKETRÄNING FÖR DANS: en handbok för pedagoger och dansare2012Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
12345 151 - 200 of 216
RefereraExporteraLink til resultatlisten
Permanent link
Referera
Referensformat
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Annet format
Fler format
Språk
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Annet språk
Fler språk
Utmatningsformat
  • html
  • text
  • asciidoc
  • rtf
v. 2.41.0