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  • 1.
    af Edholm, Klas
    Stockholm University of the Arts, Dance Pedagogy Department.
    Springlek som tradition i dans och musik2013Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 2.
    Andersson, Ida
    et al.
    Stockholm University of the Arts, Dance Pedagogy Department.
    Llull, Jenny
    Stockholm University of the Arts, Dance Pedagogy Department.
    Dansanalys: en studie med syfte att utveckla metoder för att diskutera och analysera dans på gymnasiet2010Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 3.
    Andersson, Röyset, Camilla
    Stockholm University of the Arts, Dance Pedagogy Department.
    THE KEY 2 MY HOUSE2009Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 4.
    André, Caroline
    et al.
    Stockholm University of the Arts, Dance Pedagogy Department.
    Bergan, Veronica
    Stockholm University of the Arts, Dance Pedagogy Department.
    DAGSLÄGE: en studie om hur mindfulness kan integreras i jazzdans2015Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose of this study is to explore how mindfulness can be integrated into jazz dance. Throughteaching two classes of jazz dance where we integrate mindfulness, are we trying to discover how ourdance participants experience the dance style. We also want to figure out if and how this integration canbe an access to movement. In search for our result are we analyzing self reports that are written by ourparticipants. In the result we present the essence of the participants experiences. Acceptance, freedom anddifficulties with the integration of mindfulness in jazzdance, are the mainly experiences. The result alsoshows that feelings and bodily sensations can be an access to movement.Keywords:

  • 5.
    Arlasjö, Lisa
    Stockholm University of the Arts, Dance Pedagogy Department.
    Stretching: en jämförande studie av dess användning i dansundervisning och aktuell forskning2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    Whether stretching should be used in conjunction with exercise is a much debated subject. Stretching has in a large part of dance training received a major stronghold. Recent research has shown that some forms of stretching can reduce performance. The purpose of this study is to compare the current research regarding stretching and how stretching is used in dance teaching. Based on the questions:

    - What does the current research say about the effects of static and dynamic stretching?

    - Which approach to stretching does a chosen group of dance pedagogues in Sweden have?

    - What are the similarities and differences regarding stretching in current research and in the chosen group of dance pedagogues?

     

    This is examined by doing a research review of stretching, a questionnaire survey for dance pedagogues and by doing a content analysis of this material, and finally a comparison of those results. Research and dance pedagogues agree about the positive effects of dynamic stretching and disagree when it comes to the effects of static stretching. Research agrees that it is negative for performance, while many dance pedagogues mean it is positive for performance. Just as the research results the dance pedagogues disagree about the effects of stretching. But generally, research do not consider stretching to be needed as much as dance pedagogues do.

  • 6.
    Attié, Jasmine
    Stockholm University of the Arts, Dance Pedagogy Department.
    Med golvet som partner: att interagera kontaktimprovisation i en golvklass inom modern och nutida dans2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    In this study I investigate differences and similarities between contact improvisation and floor work

    within contemporary dance. The aim is to explore whether a floor work class can benefit from integrating

    exercises from contact improvisation.

    To answer these questions I do literature studies, interviews and let a group of dancers explore it through

    movement. The dancers write a self-report in the end where they reflect upon their own experience on

    integrating contact improvisation into a floor class. All my analyses are done using a phenomneographical

    analysis model.

    The result shows that the physical work is quite similar – such as working with the physical laws and the

    body’s functionality. The learning environment is different though, where it is more open and

    experimental within contact improvisation.

    The self-reports show that working with a partner through improvisation can help the dancers to

    understand different themes within the floor work in a deeper/different way. It also creates a more playful

    and easy going climate. As a pedagogue I experience that I give the participants more space to reflect

    together. Difficulties that come up are that the set movement phrases get unclear and that there are many

    things for the dancers to focus on.

  • 7.
    Axelsson, Elin
    Stockholm University of the Arts, Dance Pedagogy Department.
    Dans - med bild och assistan: att lära ut dans till synskadade och blinda2011Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 8.
    Berglund, Sofia
    Stockholm University of the Arts, Dance Pedagogy Department.
    Att förmedla tolkning -: om interpretation i klassisk balettundervisning2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The aim of this essay is to increase the awareness about the use of interpretation in classical ballet education through qualitative methods and a phenomenographical approach. Three ballet pedagogues are interwiewed about two phenomena. Firstly how they percieve interpretation and secondly in what ways they percieve their use of it in teaching. The interwiews are transcribed and represents the data for a phenomenographical analysis in which seven description categories are created in two category systems. Each system describes a phenomenon and the second system is a development of the first. Conclusions from the analysis suggests that interpretation can be percieved as a teaching method, a separate unit, a necessary ability for a dancer as well as a part of life. Interpretation as a teaching method can in turn be used by the teachers to evaluate themselves or their students or to help the students achieve greater understanding of classical ballet, for example technical difficulties. Furthermore, it is also percieved as something used to create dance out of movement.

  • 9.
    Berndtson, Elsa
    Stockholm University of the Arts, Dance Pedagogy Department.
    Kan vi dansa nu?: ett arbete om dansens hinder och möjligheter i svensk grundskola2015Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This essay raises the question about the preconditions for dance in Swedish elementary school. With a design theoryperspective the essay examines the different aspects of the school system which play a role in the discussion on dance inschool. These different aspects are the physichal resources, the institutional patterns including regulatory documentsand also the teacher´s education. To get an insight view of what the actual teaching situation looks like observationsgave been done in classes year 1 and year 3 in elementary school.One important part of this question is what view of knowledge that exists in society, school and in the arts. Thereforea part of the essay presents these different views.The conclusions are that the preconditions for dance in school are difficult due to the lack of research in the subject,the regulatory documents where dance plays a minor role, the time schedule that does not give much time for the arts inthe schedule, the teaching program that lacks education in the arts in general and in dance in particular. The mainconclusion is that the status of these parametres are due to the fact that the view of knowledge in society and school arelargely instrumental and economic and based on mathemathic and linguistic skills rather than artistic.

  • 10.
    Bjelkefelt, Anna
    Stockholm University of the Arts, Dance Pedagogy Department.
    Coaching: ett utvecklingsredskap i samtal med dansstudenter2012Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 11.
    Bjerge, Cassandra
    Stockholm University of the Arts, Dance Pedagogy Department.
    Momentum:: en uppsats ur en icke konstnärlig kontext2016Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 12.
    Björk, Clara
    Stockholm University of the Arts, Dance Pedagogy Department.
    Rörelseljud: för dansundervisning2011Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 13.
    Bobäck, Rebecka
    Stockholm University of the Arts, Dance Pedagogy Department.
    Fokus på dynamik i arbetet med nybörjare: en praktisk, danspedagogisk undersökning2011Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 14.
    Bolladóttir, Birna
    Stockholm University of the Arts, Dance Pedagogy Department.
    Varumärket barndans: en studie av hur privata dansskolor i Stockholm marknadsför barndans och hur det påverkar pedagogiskt och konstnärligt arbete2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    In this study I analyze the marketing strategies of the six biggest private dance schools in Stockholm, Sweden, through their official websites. As a target I have chosen to focus on dance for children in the age of two to five. The purpose is to summarize the information about the school’s range of courses offered, their target groups and their pedagogic ideology. The aim is also to gain a deeper understanding of the school’s view on dance as an art form versus a commercial field, and the possible influence of these on the teachers and their pupils. With an objective approach I have chosen an image- and content analysis as a method. The study shows that the schools aim towards a limited group of gender-stereotypical children of which they portray a unilateral image of; where variation of ethnicities and body types is limited. The results show as well that the schools have a major commercial focus in their marketing as they both verbally and visually highlight scenic performance. This assumingly suggests that their pedagogic practice has its ground in choreographic work, even with the young ages. This creates a complication as the commercial agenda collides with the artisic vision of a higher educated dance pedagogue.

  • 15.
    Boman, Emelie
    Stockholm University of the Arts, Dance Pedagogy Department.
    Självstyrt lärande: ett konstnärligt projekt kopplat till kursen Koreografi i den nya Gymnasieskolan 20112011Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 16.
    Boström, Evelina
    Stockholm University of the Arts, Dance Pedagogy Department.
    Du gör mig personlig: en studie om gymnasieelevers förmåga att dansa med ett personligt uttryck2012Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 17.
    Branzell, Felice
    Stockholm University of the Arts, Dance Pedagogy Department.
    "Me, myself and I": en fenomenografisk studie kring icke-genredefinierad dans som ett normbrytande verktyg inom dansundervisning2015Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose of this survey is to map dance students perceptions of the phenomenon non-genre defineddance. This phenomenon is investigated to develop didactic questions in areas other than genre-orienteddance in relation to questioning of norms in the dance teaching field and creation of identities. Afterparticipating in non- genre defined dance classes the differences in the students perceptions are gatheredand categorized through the qualitative methods of written self-reports and phenomenographic approach.The analysis forms three descriptive categories that deals with different purposes of the dance classessuch as working with expression, the joy of dancing and the layout and mix of dance genres. The categoryembracing the work with expression is divided in three additional ideas which includes the physical andpersonal expression and working with characters. By adding a norm critical perspective, different normsappears from the result, all within the context of dance education. Conclusions from the discussionsuggests the non-genre defined dance as a tool to give the teaching situation more width by including thepedagogue’s and all students competence and identities. Didactic questions are developed in relation tothe non-genre defined approach and norms in relation to the study are being questioned and challenged.

  • 18.
    Brännholm, Anna
    Stockholm University of the Arts, Dance Pedagogy Department.
    Föra eller följas vara eller icke vara?: en metod för att improvisera i folkdans.2010Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 19.
    Burén, Maria
    Stockholm University of the Arts, Dance Pedagogy Department.
    Var kreativ med danspedagogisk kunskap!: en kritisk granskning av begreppet kreativitet, danspedagogens arbetsmarknad och innebörden av kreativt förhållningssätt till danspedagogik.2010Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 20.
    Börelius, Lina
    Stockholm University of the Arts, Dance Pedagogy Department.
    Ätstörningar: en undersökande litteratustudie om möjligheten att finna ett pedagogiskt föhållningssätt/metod gentemot ätstörningar inom dansens värld2009Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 21.
    Carlsson, Emelie
    Stockholm University of the Arts, Dance Pedagogy Department.
    MänNISKans MeNISKer: ämnesintegrerad undervisning på gymnasiet Tema Knät2009Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 22.
    Carlsson Rowland, Cecee
    Stockholm University of the Arts, Dance Pedagogy Department.
    Klassisk Balett till Alternativ Musik: Musikens roll i utveckling av undervisning i klassisk balett2012Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 23.
    Cinne, Dana
    Stockholm University of the Arts, Dance Pedagogy Department.
    Classical Ballet NOT To Classical Music: the influence of different kinds of music on the students understanding of performing ballet movements2009Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 24.
    Drevland, Michaela
    Stockholm University of the Arts, Dance Pedagogy Department.
    Lärande i dans: om hur interaktionen mellan lärare och elev påverkar lärandesituationen2011Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 25.
    Edling, Pernilla
    Stockholm University of the Arts, Dance Pedagogy Department.
    Line of action: tillvägagångssätt för skapande rörelsematerial2009Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 26.
    Elkiaer, Emelie Mai
    Stockholm University of the Arts, Dance Pedagogy Department.
    Tradition och interpretation: en hermeneutisk studie i att levandegöra en dansad tradition2013Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 27.
    Enlund, Emelie
    Stockholm University of the Arts, Dance Pedagogy Department.
    Dance and identity in Palestine: a research study on Dabkeh2013Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 28.
    Fagerholm, Karin
    Stockholm University of the Arts, Dance Pedagogy Department.
    Dansträning för barn med diabetes typ 1: en studie av värdet av dansträning som fysisk aktivitet2010Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 29.
    Fernandez, Graciette
    et al.
    Stockholm University of the Arts, Dance Pedagogy Department.
    Lundgren, Hannah
    Stockholm University of the Arts, Dance Pedagogy Department.
    Klassisk balett på vårt sätt: en metod under utveckling2010Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 30.
    Fredriksson, Sandra
    Stockholm University of the Arts, Dance Pedagogy Department.
    Hur skapas dans- och teaterkonst för barn: En undersökning av tre scener i Stockholm2007Student paper first term, 5 credits / 7,5 HE creditsStudent thesis
  • 31.
    Fröjd, Viktor
    Stockholm University of the Arts, Dance Pedagogy Department.
    Tre dimensioner av street dance: street dance som kommersiell kutur, finkultur och underground2013Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 32.
    Green, Emma
    Stockholm University of the Arts, Dance Pedagogy Department.
    Projektet Annie: ett arbete i komposition för amatörer/nybörjare inom musikalgenren2009Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 33.
    Grändegård Nilsson, Sara
    Stockholm University of the Arts, Dance Pedagogy Department.
    Näringslära: en undervisningsmodell för danspedagoger2015Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    It has been shown that a lack of knowledge in nutrition can be relatively common in the dance world.This can cause diseases and in some cases eating disorders among dancers. To avoid these problems,teachers in dance need to have good knowledge in nutrition for dance students. They also need to knowhow they can teach this knowledge in a good and ethically correct way. The aim of this study was todevelop a teaching model based on what knowledge a dance teacher needs regarding nutrition, in relationto dancing. The model further aims to help teachers explain this information with a simple and correctapproach. During the development of this model, I have been looking at studies about eating disorders;why they are common in dance and aesthetic sports and what causes they may have. The model has beenpracticed and evaluated by a group of dance pedagogues. The results demonstrated relevant information,which was introduced in a good and beneficial way. There is however a need to continue developing thismodel in order to cover a wider area.

  • 34.
    Grönlund, Erna
    Stockholm University of the Arts, Dance Pedagogy Department.
    Dansterapi: en målinriktad behandling som stöd och hjälp för pojkar med diagnosen ADHD/DAMP2004Book (Other academic)
  • 35.
    Grönlund, Erna
    Stockholm University of the Arts, Dance Pedagogy Department.
    Dansterapi för deprimerade tonpårsflickor samt utvärdering av det samlade dansterapiprojektet2006Book (Other academic)
  • 36.
    Grönlund, Erna
    Stockholm University of the Arts, Dance Pedagogy Department.
    Danterapi för pojkar med ADHD: grupp och individuell behandling2005Book (Other academic)
  • 37.
    Gustavsson, Malin
    Stockholm University of the Arts, Dance Pedagogy Department.
    It don't mean a thing if it ain't got that swing!: en studie i hur danspedagoger kan arbeta didaktiskt för att fördjupa studenters möjligheter att utveckla musikalitet i jazzdans2012Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 38.
    Haglund, Malin
    Stockholm University of the Arts, Dance Pedagogy Department.
    Från en kropp till en annan: en studie om kritiskt tänkande i dansundervisning i den svenska gymnasieskolan2010Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 39.
    Hakopian, Ruzan
    Stockholm University of the Arts, Dance Pedagogy Department.
    Mental träning: en kvalitativ studie av begreppet mental träning och hur det kan ingå i dansutbildningarna2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The aim of this study is to understand how mental training can be integrated in dance education, on the basis that there is a certain lack of mental traning for dancers. Qualitative interviews are used to gain an understandning of what dancers experience of mental training in their schooling. Reaserch is made on sport psychology, to obtain more knowledge about the subject and also dance psychology to highlight past research in dance. The work is analyzed from a hermeneutic perspective.

    The study shows that lectures in mental training should be presented early in dance education, so dancers can gain knowledge and become aware of the psychology in dance practice. Follow-up and continuity are important for developing and maintaining psychological skills. Expertise in the field of dance is desirable of the lecturer. The study shows that the lectures dancers received in mental training, have been of people with sports as a background, it is shown that they have different approaches in mental training, which is not always experienced as constructive in relation to the dancers practice.

  • 40.
    Harthey Ubilla, Shirley
    Stockholm University of the Arts, Dance Pedagogy Department.
    Genus i hiphopdans: en analys av kvinnliga streetdansares hiphopdans utifrån ett genus och feministiskt perspektiv2013Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 41.
    Hellberg, Linnea
    Stockholm University of the Arts, Dance Pedagogy Department.
    Att bygga från styrkor: danspedagogiska metoder för att arbeta med utveckling utifrån elevernas styrkor i dansen2011Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 42.
    Hermansson, Elin
    et al.
    Stockholm University of the Arts, Dance Pedagogy Department.
    Langvik, Sabina
    Stockholm University of the Arts, Dance Pedagogy Department.
    Den inre motivationen: en studie i hur danspedagoger kan integrera mental träning i dansundervisning2012Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 43.
    Hillerbrant, Eva
    Stockholm University of the Arts, Dance Pedagogy Department.
    Rörelse - Dans - Rörelse: när blir rörelsen dans och rörelseleken danslek?2011Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 44.
    Hillman, Nathalie
    Stockholm University of the Arts, Dance Pedagogy Department.
    Individuell undervisning i dans: metodutveckling2012Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 45.
    Hjärpe, Anna
    Stockholm University of the Arts, Dance Pedagogy Department.
    Let us Dance: en undersökning kring jazzdansundervisning för musiker som spelar till dans2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    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.

  • 46.
    Hreinsdóttir, Ingunn Elísabet
    et al.
    Stockholm University of the Arts, Dance Pedagogy Department.
    Dahlrot, Johanna
    Stockholm University of the Arts, Dance Pedagogy Department.
    Somatiska perspektiv inom balett: en kvalitativ studie om balettlärares användning av somatiska förhållningssätt i undervisning2018Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    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.

  • 47.
    Ijäs, Fanni
    Stockholm University of the Arts, Dance Pedagogy Department.
    Konstnärlig hiphop: skapandemetoder genom dekonstruktion och rörelseanalys2013Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 48.
    Iljegård, Elina
    Stockholm University of the Arts, Dance Pedagogy Department.
    Music Me: ett arbete om metoder för musikalisk utveckling i dansundervisningen2009Independent thesis Basic level (degree of Bachelor), 180 HE creditsStudent thesis
  • 49.
    Johansson, Karin Erika
    Stockholm University of the Arts, Dance Pedagogy Department.
    Dansens möjligheter: Undervisning för elever med icke-normativa förutsättningar: Aktionsforskning på Kulturskolans Resurscenter2017Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    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. 

  • 50.
    Johansson, Karin Erika
    Stockholm University of the Arts, Dance Pedagogy Department.
    Vem är kroppen?: Kroppen som subjekt eller objekt.2005Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    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. 

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  • text
  • asciidoc
  • rtf
v. 2.35.4