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  • 51.
    Hermansson, Elin
    et al.
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Langvik, Sabina
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Den inre motivationen: en studie i hur danspedagoger kan integrera mental träning i dansundervisning2012Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 52.
    Hillerbrant, Eva
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Rörelse - Dans - Rörelse: när blir rörelsen dans och rörelseleken danslek?2011Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 53.
    Hillman, Nathalie
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Individuell undervisning i dans: metodutveckling2012Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 54.
    Hjärpe, Anna
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Let us Dance: en undersökning kring jazzdansundervisning för musiker som spelar till dans2014Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [en]

    The aim of my thesis is to attempt formulating methods and strategies functioning as options to broaden

    and develop the knowledge concerning the relationship between music and dance to musicians

    specialized in playing to dance classes. As a dance pedagogue I also try to find ways of developing my

    cooperation with musicians. Teaching jazz dance, the genre used in this essay, I function in different

    pedagogical roles to musicians who accompany dance students. Throughout my study I analyze the

    interviews made with my participants before, during and after my lessons. In my attempts to formulate

    these methods and strategies, different types of pedagogies are used e.g. learning by doing -methodology

    together with dynamic pedagogy.

    Be ing inspired by refle xiv ity, and using it as a tool in my analy zing process, I interpret my partic ipants’

    statements. Especially the final interview discloses that the participants show a broaden understanding

    for movements and the connection between movement and music. Their statements show that they can

    feel the movements, regardless of their dancing the movements or not and this helps them in providing

    music suitable for the specific movements. In order to develop cooperation with musicians, my stu dy

    shows that teamwork is the tool that helps most.

  • 55.
    Holberg, Maria
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Ballet is a Woman: Genusperspektiv på dansundervisning i gymnasieskolans estetiska program2013Självständigt arbete på avancerad nivå (masterexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [en]

    This essay is about gender in dance education. My purpose is to find out whether it´s possible for dance teachers at ”Estetiska programmet” to affect gender roles among the students. Are there any differences in the way teachers talk to boys compared to girls and do they use different kinds of dance movements depending on the students gender? I use the method literature studies to get a deep knowledge about gender research, and classroom observations to see how the teachers and students act. My conclusion is that it´s a problem of a very complex nature. Because of the low number of participating boys in dance education, teachers tend to adjust the teaching to the boys´ needs and wants. But these needs are maybe only a result of this societys ideas of how girls and boys ”are”.

  • 56.
    Hreinsdóttir, Ingunn Elísabet
    et al.
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Dahlrot, Johanna
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Somatiska perspektiv inom balett: en kvalitativ studie om balettlärares användning av somatiska förhållningssätt i undervisning2018Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [en]

    Ballet and somatic practice are two different fields with separate approaches regarding the body and its movement. Ballet in general is structured by a specific frame emerging from traditions and conventions which have effect on the dancer’s movement patterns and body. On the other hand, a somatic approach initiates movement from within which depends on the individual daily condition. The practitioners are encouraged to work from their own terms, therefore all bodies can be included in somatic practices. The aim of this study was to find out which somatic principles and perspectives ballet teachers use in their ballet teaching and how they relate it to their teaching methods. Our empirical material consist of observations and interviews with three different ballet teachers that took place in Stockholm, which later are processed with content analysis. The content analysis resulted in five main categories. Based on the data collection the result showed that the ballet teachers use somatic approach in their teaching. It also revealed three basic components in their teaching which are: anatomy, the use of language and the use of touch. These three components complement each other and provide the dancer tools to support their dancing as well as becoming more aware of their body’s function. A fundamental element in somatic is the dancer’s negotiation about their bodily needs. Through their choices the dancer can develop a deeper awareness that can maintain a physical balance which leads to a sustainable body.

  • 57.
    Hultenius, Petra
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Materialitetens betydelse i Kulturskolans dansundervisning.2019Självständigt arbete på avancerad nivå (masterexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [sv]

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

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

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

  • 58.
    Hyttinen, Katariina
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Varför välja dans på gymnasiet?: En undersökning om danselevers gymnasieval och deras tankar kring valet.2013Självständigt arbete på avancerad nivå (masterexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [en]

    I have done a study on why students choose dance in high school. My workplace is Per Brahegymnasiet in Jönköping where I am employed as a dance teacher. I am interested in the reasons for the students’ choice of dance in high school, especially as my understanding is that the Arts programme (estetiska program) has become less popular and if that may be related to the fact that there is no dance in elementary school. I have therefore conducted a survey around the students’ reasons for choosing dance in high school in the county of Jönköping and especially at Per Brahe gymnasiet. The survey is in three parts for increased validity: A quantitative survey of all students from the dance programme, a qualitative study with interviews of six students from the dance programme and a simple survey of the county's Arts programmes. One of the results of the surveys is that the students wanted to dance in high school but they had different reasons for the choice. Even if the Art programme is one of the major programmes nationally I was able to ascertain that several Art programmes have shut down their operations in the county.The results of the surveys are reported separately and are followed by a brief summary and further analysis and discussion. The results can further be the basis for my work with development of the dance programme at Per Brahegymnasiet in the county of Jönköping.

  • 59.
    Ijäs, Fanni
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Konstnärlig hiphop: skapandemetoder genom dekonstruktion och rörelseanalys2013Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 60.
    Iljegård, Elina
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Music Me: ett arbete om metoder för musikalisk utveckling i dansundervisningen2009Självständigt arbete på grundnivå (kandidatexamen), 180 hpStudentuppsats (Examensarbete)
  • 61.
    Johansson, Karin Erika
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Dansens möjligheter: Undervisning för elever med icke-normativa förutsättningar: Aktionsforskning på Kulturskolans Resurscenter2017Självständigt arbete på avancerad nivå (masterexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
    Abstract [en]

    This Study is an action research, investigating didactic approach by three different dance teachers at the Resource Centre at the Community School of Arts in Stockholm. The Resource Centre offer activities after school, for children and young people with disabilities or students who are in need of smaller groups. The questions asked are: What underlying norms and ideals are at work, what similarities and differences in approach is seen amongst the teachers at the same workplace? How do educators achieve communication and adapt this to the students' conditions? What kind of educational interventions are most prominent, and what sort of development is stressed? The study points out that there are similar ideas between the teachers but it is conducted in different ways. The prime educational interventions is to achieve communication. The teachers are using among other technics intonement, mirroring, modification of students movement, collaboration and play. Another prominent goal is to develop movement diversity. The tools for accomplish this are both visual, verbal, audio active, tactile and emotional. The teachers are striving for clarity in instruction, in the room and other wise.

    This study points out the importance that all children and youth should have the opportunity to dance. And to fulfill this task there should be changes in teachers education and further education for teachers in the Community School of Arts. This study also proposes that motor abilities are better practiced in a dance lesson than in pure tutoring environment, due to the aspect of vitality and intent in dance practice. Therefor dance and movement should be a required element in the curriculum for Special Schools. Through movement and dance the goals of the curriculum could be easier attained. Hence a training should be available for student assistants in Special schools. 

  • 62.
    Johansson, Karin Erika
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Vem är kroppen?: Kroppen som subjekt eller objekt.2005Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [en]

    Who is the Body? – the body as subject or object The character of this paper is partly a literature study and partly an empirical one. A philosophical, ontological level according to the French philosopher Maurice Merleau-Ponty is presented along with a theoretical level according to the neurologist Antonio R. Damasio and three different psychotherapeutic techniques, dance therapy influenced by Carl Jung, body psychotherapy and traditional verbal psychotherapy. The first part of the study forms the litterateur section and is presented as a background to the empirical study. The empirical part contain four interviews with a dance therapist, a body therapist, a verbal therapist and a scientist. The purpose of this study is to investigate the different therapeutic positions and their attitude towards the body / mind / soul problem. In the conclusion it shows how the bodily oriented therapies have a possibility to meet the hole lived body through interaction between client and therapist and the inner images that are created in the creative therapy forms give a potential to include the transpersonal in the therapeutic situation. 

  • 63.
    Johansson, Matilda
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Modern & Nutida Dans till Alla?: En studie baserad på en danspedagogs möte med verkligheten2015Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    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.

  • 64.
    Johansson, Matilda
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Modern & Nutida Dans till Alla?: en studie baserad på en danspedagogs möte med verkligheten2015Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [en]

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

  • 65.
    Johansson, Rebecka
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Motivation i dans: att installera en inre motor hos sina elever2013Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 66.
    Karahodzic, Anelija
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Ljudet av H20: kombination av revy och examensarbete2009Självständigt arbete på grundnivå (kandidatexamen), 80 poäng / 120 hpStudentuppsats (Examensarbete)
    Abstract [sv]

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

  • 67.
    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 dans2012Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 68.
    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 themselves2018Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    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.

  • 69.
    Kristensson, Emelie
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Undersökande dans: Dans + Montessoripedagogik = en möjlig addition?2011Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 70.
    Kristoffersson, Sofia
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Anomali: en avvikelse eller ett mirakel?2012Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 71.
    Kulmala, Jaakko
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Hur kan en danspedagog påverka jazzdanslektionens konstnärlighet?2011Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 72.
    Lilja, Eva
    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 practice2013Konferensbidrag (Övrigt vetenskapligt)
    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!

  • 73.
    Lilja, Karin
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    What's inside of me?: en studie om rädslans rörelser2009Självständigt arbete på grundnivå (yrkesexamen), 10 hpStudentuppsats (Examensarbete)
  • 74.
    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 dans2014Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    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.

  • 75.
    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.2014Självständigt arbete på avancerad nivå (masterexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    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.

  • 76.
    Lindahl, Karin
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Jazzdans - Improvisation - Downs syndrom: en didaktisk studie2012Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 77.
    Lindberg, Matilda
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Where's your groove?: Dance teachers' perceptions of groove and how it is taught in streetdance2018Självständigt arbete på avancerad nivå (magisterexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    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. 

  • 78.
    Linder, Pontus
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Inlärning, en process i rörelse: en studie om dansövningar inom Breaking2013Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 79.
    Lindmark, Zandra
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Flow i dans: hur dansare med olika dansbakgrunder upplever flow2016Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 80.
    Lindqvist, Erika
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Konstnärlig utgångspunkt: ett sökande efter metoder för skapande arbete i folkdans2010Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 81.
    Lindström, Sara
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    I danspedagogikens sken: en analys av hur fysioterapeuter lär ut rörelse2016Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 82.
    Lion, Katarina
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Det ena genom det andra: en forskningsrapport kring dans, analys och historieskrivning med utgångspunkt i Vietnam2010Rapport (Övrigt vetenskapligt)
  • 83.
    Löfving, Lisa
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    I gränslandet mellan jazz och MND: en studie i genreindelning i dans2012Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    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.

  • 84.
    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-systemet2012Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 85.
    Midtgaard, Louise
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    I dialog med Vaganova: At læse Vaganova med et dialogpædagogisk perspektiv2014Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    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.

  • 86.
    Milton, Marie
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Barndansens utveckling från Duncan till nu2008Studentarbete andra termin, 210 hpStudentuppsats (Examensarbete)
  • 87.
    Milton, Marie
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Rörelser som främjar inlärning2009Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 88.
    Modén, Erika
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Dansundervisning utomhus för att vidga dandupplevelsen2009Självständigt arbete på grundnivå (kandidatexamen), 80 poäng / 120 hpStudentuppsats (Examensarbete)
  • 89.
    Nevalainen, Moona
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    TELL ME MORE: research on the narrative possibilities in jazz dance2012Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 90.
    Nilsson, Fanny
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    "Hur uppfattar du mig?": danspedagogik och fenomenografi2010Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 91.
    Nilsson, Ulrika
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    "What you see is what you get"2004Studentarbete andra termin, 10 hpStudentuppsats (Examensarbete)
  • 92.
    Nordström-Janzon, Jenny
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Motorik och barndans2005Självständigt arbete på grundnivå (kandidatexamen), 80 poäng / 120 hpStudentuppsats (Examensarbete)
  • 93.
    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 Practice2013Konferensbidrag (Övrigt vetenskapligt)
  • 94.
    Owén, Lovisa
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Streetdance med barn: ett utforskande av barns koreografiska skapande2013Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 95.
    Persson, Julia
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Slängpolska i garaget: hur jag med filmen kan berätta något om mig själv och min samtid2013Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 96.
    Pettersson Bolsö, Nadin
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    En studie av dansare och åskådares upplevelser av ett koreografiskt dansmaterial skapat med utgångspunkt i fotokomposition2015Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    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:

  • 97.
    Pettersson Bolsö, Nadine
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    En studie av dansare och åskådares upplevelser av ett koreografiskt dansmaterial skapat med utgångspunkt i fotokomposition2015Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    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.

  • 98.
    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 dans2015Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    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.

  • 99.
    Pylkkänen, Amanda
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Motivation i dans: En kvalitativ studie om inre och yttre motivation hos vuxna kvällskurselever2018Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    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.

  • 100.
    Raaska, Eveliina
    Stockholms konstnärliga högskola, Institutionen för danspedagogik.
    Dansträning för cirkusstudenter2012Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
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