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  • 1.
    Alegre, Tamara
    Stockholm University of the Arts, Dance Department.
    Defining circumstances/spaces/activities for dance:: within my MA in Choreography 2016-2018 at Doch, Stockholm2018Independent thesis Advanced level (degree of Master (Two Years)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    Within the frame of an MA, we know from the start that there will be a specific ending; we call it final project, degree project or final presentation and this essay is meant to accompany the journey of the degree project.

    In my case, I want to mention and reflect upon that for me the MA has been a framework for developing and experiencing different types of projects. So not only the project of presenting work at the end of the final semester but long term projects with a broader sense of choreography. Projects that includes social relations and are community based like P0$$€ dance and reading group a weekly extra-scholarly dance and reading group that shares texts and dance material, in a spontaneous and laid-back way, hosted by a different practitioner each time. The invitation from END FEST where I proposed to do a P0$$€ session in a public swimming pool. The future project of proposing slime workshops at cultural centers and youth-clubs, which comes from the experience and the research on the work that will be presented as the degree project called FIEBRE.

    These projects are important for me to highlight because the way I work with choreography is not only about creating final products.

  • 2.
    Arnell, Malin
    Stockholm University of the Arts, Dance Department. Lunds universitet, Dans- och cirkushögskolan.
    Avhandling / Av_handling (Dissertation / Through_action)2016Doctoral thesis, monograph (Other academic)
    Abstract [en]

    If we are being-of-the-world, how can we ever avoid participation? From this question Avhandling / Av_handling (Dissertation / Through_ action) unfolds. It invites to engage in an ongoing continuum of entanglements, where the moment of connection is unavoidable. This invitation demands that we are attentive to our mutual co-constitutiveness, that we take responsibility for what gets excluded as well as what comes to matter.

    Avhandling / Av_handling (Dissertation / Through_action) introduces, purposes and explores a specific format, the live dissertation, an academic instance that demands performative responses during the public defense. It is a dissertation in choreography written through space-time-language-matter with and for human and more-than-human bodies, and other discursive-material becomings. By this Avhandling / Av_handling (Dissertation / Through_action) recognizes the force of what Karen Barad conceptualized as ethico-onto-epistemologocial engtanglements through intra-action. It engages a posthumanist and agential-realist reworking of the notion of performativity, in which all bodies (not only human bodies) come to matter through the world’s performativity—its iterative intra-activity. In this framework, knowledge is made as a direct material engagement, a cutting together-apart—a process by which cuts enact violence but also open up and rework agential conditions of possibility.

    During Avhandling / Av_handling (Dissertation / Through_ action) diffractive choreographic methods and techniques, which had been developed through diverse intra-active studies—actions, collaborations, and works that span throughout 2010-2016, were re-activated, applied, manifested, and experienced. These practices were made present through specific agential forces that enacted them—such as breath, text, touch, voice, vegetation, spatial proximity, motion, distance, asphalt, material walls and material voids (the reactor hole), pain, and disgust. These practices also enacted processes of queering causality, agency and relationality, and dislocating authority, while (my / the / our) human and more-than-human body / bodies pursued embodied affinities, and a state of becoming-with. Through these re-activated intra-active studies Avhandling / Av_handling (Dissertation / Through_action) examines and articulates choreography and performance as ever-present negotiations of vulnerability, intimacy, force, and power as enactments that are of-the-world.

    As part of the choreographic practice Sugar Rush Productions | Maria Åkesson together with Tsomak Oga, Sooz Romero, and Debora Vega were video documenting Avhandling / Av_handling (Dissertation / Through_action). This documentation together with other remains (as a non-representative residue) will be made available after the defense here: dissertationthroughaction.space

  • 3.
    Feldhandler, Samuel
    Stockholm University of the Arts, Dance Department.
    On Temperament, Steps and other Apparatuses of my Choreographic Practice:2018Independent thesis Advanced level (degree of Master (Two Years)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    Similarly to how I write dance, my approach to writing this essay will be descriptive, in such a way developed by Simon Hecquet and Sabine Prokhoris in their book Fabriques de la Danse1. Description for them is a way to construct gazes or manners of seeing2 and not merely the communication of a preexisting gaze. In such, it is a mode of giving accounts to another as well as to oneself. In this giving of accounts, my aim is to dissect some of the choreographic apparatuses I have been developing throughout the years, analyse what they do and if they are useful in fulfilling what I want my work to do. This essay will consider my entire body of works and will especially focus on the current work ’d he meant vary a shin’s, a dance trio for Eva Honings, Lena Schattenberg and myself.

  • 4.
    Graff, Jens
    Stockholm University of the Arts, Dance Department.
    Dansarens yrkesidentitet2007Report (Other academic)
  • 5.
    Grönlund, Erna
    et al.
    Stockholm University of the Arts, Dance Department.
    Gustafsson, GunnelStockholm University of the Arts, Dance Department.Ståhle, Anna KarinStockholm University of the Arts, Dance Department.Blomqvist, HjalmarStockholm University of the Arts, Dance Department.
    Documentation of the artistic gathering Close encounters - artists on artistic research2007Collection (editor) (Refereed)
  • 6.
    Invartsen, Mette
    Stockholm University of the Arts, Dance Department. Dans- och cirkushögskolan.
    EXPANDED CHOREOGRAPHY: Shifting the agency of movement in The Artificial Nature Project and 69 positions2016Doctoral thesis, monograph (Other academic)
    Abstract [en]

    Through two books and a series of video documentations of live performances Mette Ingvartsen makes choreography into a territory of physical, artistic and social experimentation. The Artificial Nature Series focusses on how relations between human and non-human agency can be explored and reconfigured through choreography. By investigating and creating a ‘nonhuman theater’ questions regarding material agency, ecology, natural disasters, the Anthropocene and non-subjective performativity are posed. The resulting reflections are closely related to the poetic principles utilized to create the performances, while also drawing connections to territories outside theater. By contrast, 69 positions inscribes itself into a history of human performance with afocus on nudity, sexuality and how the body historically has been a site for political struggles. By creating a guided tour through sexual performances – from the naked protest actions of the 1960’s, through an archive ofpersonal performances into a reflection on contemporary sexual practice – this solo work rethinks audience participation and proposes a notion of soft and social choreography. The contrasting performative strategiesarticulate a twofold notion of expanded choreography: on the one hand movement is extended beyond the human body by including the agency of nonhuman performers, and on the other hand, movement is expanded into animaginary and virtual space thanks to ‘language choreography’.

  • 7.
    Kodama, Hokuto
    Stockholm University of the Arts, Dance Department.
    I speak, I lie, I admit2018Independent thesis Advanced level (degree of Master (Two Years)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This essay accompanies Hokuto Kodama’s choreographic work Untitled (I speak, I lie, I admit), following its creation process. Through investigating the process of subjectivation of dancers using the theory of Michel Foucault, the essay questions the conventional tendency to ignore the relationship between linguistic activity and choreographed dance. The argument moves on to criticize the naïve view that takes silent image as innocent, through the image analysis of Roland Barthes. This critique is combined with careful analysis of the system in which performative utterance works, making it possible to discuss performativity of image and act through the works of Jacques Derrida and Judith Butler. This speculation meets with Foucault’s idea of government, leading the argument back to the system of societal constitution of subject through performance. The essay closes with an emphasis for the importance to resist against performativity of mass-information that shapes our perception, under the current society of control.

  • 8.
    Lilja, Eva
    Stockholm University of the Arts, Dance Department.
    DOCH 1963-20132013Collection (editor) (Refereed)
  • 9.
    Lindström, Sara
    Stockholm University of the Arts, Dance Department.
    Portraiture as a choreographic method and framework2018Independent thesis Advanced level (degree of Master (Two Years)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This thesis describes the use of portraiture as a choreographic method, and which ideas or notions such method comes to adress. 

  • 10.
    Ljungkvist, Ellinor
    Stockholm University of the Arts, Dance Department.
    She puts her claws in you:2018Independent thesis Advanced level (degree of Master (Two Years)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The throw-an-object-practice is one of the practices that were useful to use as it helped us to express our anger. To get our emotions out! The way we throw depends on what we are angry at. The rhythm and force, and how much you want to destroy and hurt. 

  • 11.
    Notér Hooshidar, Annika
    Stockholm University of the Arts, Dance Department.
    Vem får dansa?: en studie av en konstnärlig process i en inkluderad dansensamble2017 (ed. 1)Book (Refereed)
    Abstract [sv]

    Annika Notér Hooshidars projekt ”Vem får dansa? En studie om kommunikation i en inkluderande dansensemble” ingår i forskningssamarbetet DANSResearch och har som mål att bidra till ökad kunskap om inkludering och tillgänglighet vid högskolan. Det övergripande syftet är att undersöka hur dans kommuniceras i arbete med dansare med funktionsvariationer, med specifikt fokus på kommunikation och interaktion mellan gruppens medlemmar. Projektet redovisades skriftligt, samt genom ett antal presentationer på olika orter och en paneldiskussion. Annika är lektor i dansinterpretation och i modern och nutida dans.

  • 12.
    Roos, Cecilia
    et al.
    Stockholm University of the Arts, Dance Department.
    Elam, Katarina
    Högskolan Väst.
    Foultier, Anna Petronella
    Stockholms universitet.
    Ord i tankar och rörelse: dansaren och den skapande processen: konstnärlig och humanistisk forskning i samverkan. En delrapport2012Report (Other academic)
    Abstract [sv]

    Forskningsprojektet "Från rörelse ur reflektion i tillblivelse: Dansaren och den konstnärliga processen" startade januari 20 I O med ett tre rigt forskningsstöd från Vetenskapsrådet. Forskargruppen har bestått av Katarina Elam, fil.dr. i estetik och universitetslektor vid Högskolan Väst, Anna Petronella Foultier, doktorand i filosofi på Stockholms Universitet, Chrysa Parkinson professor i dans på DOCH, Cecilia Roos professor i interpretation på DOCH, samt Cecilia Sjöholm, profes­sor i estetik på Södertörns högskola. Vårt övergripande syfte har varit att ur ett såväl praktiskt som ett teoretiskt perspektiv - belyst genom dansarens arbete med ett uruppförande - nänna oss en förståelse och ett begreppsliggörande av den konstnärliga processen genom exemplet dans. Å ena sidan finns dansarens ini­frånperspektiv; å andra sidan betraktarens utifrånperspektiv. Genom en dialog mellan dem, i ett slags dubbel rörelse kan ytterligare lager av förståelse för det till-kropp-kommande framträda.

    Ursprungligen beskrev vi projektet enligt följande:

    I utgångspunkten för arbetet med det som ska interpreteras analy­serar dansaren rörelsematerialet med hjälp av en inre och en yttre blick som inte syftar till att förklara utan nännast till att göra undersökningen mer komplex. Mellan dessa perspektiv - ett intui­tivt och ett medvetet - pendlar dansaren i sin utforskning. Den inre blicken bär på minnen, upplevelser, vilja och kreativitet, den yttre snarare på en kalkylerande rationalitet som avläser och regi­strerar. I rörelsen mellan dessa skapas en glipa, eller ett utrymme, där perspektiven samtidigt sammanfogas. Det här är ett tillstånd i ständig förskjutning där ett absolut gehör för situationens möjlig­heter eftersträvas. Dit navigerar dansaren medvetet och i den pro­cessen gör hon de val som ligger till grund för hennes tolkning. Där manipulerar hon med tiden mellan tanke och handling, intent­ion och impuls, för att låta ett då och ett nu mötas. Ett slags vidgat moment som pekar mot något utan att visa vad det är och det är egentligen mer som en medveten handling i stunden än som ett tillstånd. Det är just denna process som vi har för avsikt att verba­lisera och begreppsliggöra.

    Hur vi idag väljer att beskriva, gestalta och artikulera resultatet av vår forsk­ningsprocess är individuellt. Våra olika perspektiv har alltid varit närvarande i diskussionerna och vad vi har sett och talat om har tveklöst färgats av detta. Likafullt har ofta en annan bild eller beskrivning av en företeelse kunnat kasta nytt ljus över den egna uppfattningen; begrepp har slipats på och getts nya inne­börder genom våra långa och återkommande samtal. Dessa samtal har förts så äl under regelrätta seminarier som vid våra fysiska träningspass eller framför en dansvideo. Vi har även haft möjlighet att delta vid ett antal internationella konferenser 1 för konstnärlig forskning vilket ibland har lett till nya vändningar i diskussioner­na. Vår förhoppning nu är att våra samlade individuella erfarenheter ska komma att generera nya ideer kring förkroppsligad kunskap och kreativitet. Cecilia Roos, Katarina Elam och Anna Petronel/a Foultier, november 2012

  • 13.
    Roos, Cecilia
    et al.
    Stockholm University of the Arts, Dance Department.
    Foultier, Anna PetronellaStockholm University of the Arts, Dance Department.
    Material of movement and thought: reflections on the dancers´s practice and corporeality2013Collection (editor) (Other academic)
    Abstract [en]

    The articles in this volume have grown out of a research project entitled "FromMovement out of Reflection in Becoming: The Dancer and the Creative Process",gathering both professional dancers and theoreticians, and funded by theSwedish Research Council. The overall goal of the project was to approach anunderstanding and a conceptualization of the artistic process of the dancer, takingthe work in the creation ofina Christe!Johannessen's choreographic pieceNOW SHE KNOWS as a point of departure.The focus was both that of the dancer from within the process, and that ofexterna! observers. These viewpoints were not deadlocked hut rather aimed atan interaction and a dialogue between the theoretical and the practical levels.The research methods grew out of an at times quite intimate teamwork wherethe participants' different approaches came to cross and intersect.A number of issues were explored: How does the dancer work in the processwhere the dance takes shape? How does the understanding of a movementmaterial shift through the actual performing of it? What is it to understandor experience a movement from the perspective of the performer? What is itto understand or experience a movement from the perspective of the spectator?What kind of body is the dan ing body and how can it create a variety ofmeanings? Through what concepts are we to think the dancer's practice andcorporeality?The anthology contains essays by Cecilia Roos, Anna Petronella Foultier,Chrysa Parkinson, Katarina Elam, Cecilia Sjöholm, and Irene Hultman.

  • 14.
    Roos, Cecilia
    et al.
    Stockholm University of the Arts, Centre for Research. Stockholm University of the Arts, Dance Department. Tensta Konsthall.
    Saleh, Farah
    Brown University.
    Zaides, Arkade
    Independent Choreographer, Tel Aviv.
    Bodies of evidence: a reader2016Conference paper (Refereed)
    Abstract [en]

    Bodies of Evidence focuses on the body and movement in bordering processes. It revisits current debates on borders and bordering events linked to migration and mobility in Sweden and on a global level. It also reacts on deep changes in the order of the world, such as political and societal crisis and conflicts, structural violence, accessibility and environmental calamities, which inherently challenge the way in which borders are produced, perceived, represented, aestheticized and legitimized. Here, borders appear not only as lines of separation. Much more, as dynamic and performative spaces of encounter, they introduce the question of our individual and collective involvement, responsibility and agency in the process.

    Bodies of Evidence holds a trans-disciplinary perspective and engages in the co-existence of different voices. The four-days event adopts specific strategies and methodologies, formats and disciplines, travelling between choreography, human rights and scientific research: What is the choreography of bordering experiences, and what is the status of affect, empathy and sensing in bordering processes? What is ‘speakable’, what is ‘expressable’ by and through the body and movement? How do we deal - as citizens, artists, thinkers, researchers, students, public - with the ethical and political implications of our actions? How can we take a position while being aware of the violence and consequences of our inscriptions?

    With a.o. Antonia Augugliaro, Khaled Soliman Al Nassiry & Gabriele Del Grande, Meriç Algün Ringborg, Kamal Aljafari, Malin Arnell, Ramsay Burt, Anna Efraimsson, Emily Fahlén, Kristin Flade, Frédéric Gies, GLÄNTA, Gian Maria Greco, Monika Halkort, Agri Ismaïl, Anne Juren, Mahmoud Keshavarz, Shahram Khosravi, Hagar Kotef, Peter Mills, Sandra Noeth, Daniel Peltz, Nicola Perugini, Peter Bo Rappmund, Cecilia Roos, Farah Saleh, The Silent University, Josefine Wikström, Arkadi Zaides, Christina Zetterlund as well as the students of the Master's programme in film and media at Stockholm University of the Arts.

    A study circle is organized in cooperation with The Silent University.

    A reader with additional working material will be available by mid December.

    Bodies of Evidence is made by the Master Programme in Choreography at Stockholm University of the Arts: Researcher/Curator: Sandra Noeth Curatorial Team: Anna Efraimsson, Peter Mills Coordination/Production: Frédéric Gies, Ingela Stefaniak PR/Commmunication: Tove Hellkvist

    Funded by Stockholm University of the Arts and supported by Tensta konsthall/Silent University.

  • 15.
    Ståhle, Anna Karin
    Stockholm University of the Arts, Dance Department.
    Dansnotation: ett kommunikationsmedel2005Book (Other academic)
  • 16.
    Ölme, Rasmus
    Stockholm University of the Arts, Dance Department. KTH, Skolan för datavetenskap och kommunikation (CSC), Medieteknik och interaktionsdesign, MID. Dans- och cirkushögskolan.
    From Model to Module: A move towards generative choreography2014Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The thesis engages in Choreography and Dance Technique by delineating the concepts and practices that the artistic research project MODUL has generated. A modular method of choreographing is articulated. The MODUL method of choreography starts by making a topographical movement analysis of the context that the work engages with. This analysis results in an identification of the different agencies at work within the context approached. They are considered as Choreographic Agents and as elements of the modular assemblage. The choreographic act then performed consists of a re-articulation of the relations between the different elements. The MODUL method links movement practice and art production as the topographical movement analysis is also applied to, and conceptualised through, the body.

    In terms of dance technique the MODUL method works with the same topographical movement analysis to explore bodily functionalities as Choreographic Agents. The technique is called Body-Self Attunement and aims at tuning the self, understood as the symbolic body, with the biological body. Body-Self Attunement does not try to unify the symbolic body and the biological body but affirms the gap as generative. The term Generative Choreography is coined in order to emphasise the performative aspect of choreography that is not defined by what it is, but what it does.

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