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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.
    Billberg, Amanda
    Stockholm University of the Arts, Dance Department. c.off.
    We As A Thing2019Independent thesis Advanced level (degree of Master (Two Years)), 5 credits / 7,5 HE creditsStudent thesis
    Abstract [en]

    Soup night special with Alice and Amanda / We As A Thing / Tell Me Your Fantasy

    ABSTRACT

    We As A Thing is a project that focuses on female experiences around desire, intimacy and fantasy. The project is an experiment with ideas of the self as well as a play of infinite boundaries between bodies, materials and temporalities. Tangling through a multiplicity of possible articulations and re-articulations, fantasy acts as a potentially subversive force. From within the physical experience of the female body – from her skin and blood – the project interweaves bodies of knowledge and desire, whilst in dialogue with conceptions of the feminized body and the narratives of those who inhabit them.

    The presentation of my practice will manifest in a shared performance night with fellow NPP student Alice MacKenzie, where the performance We As A Thing – made in collaboration with Ellinor Ljungkvist – will be one part, a participatory workshop-evening of conversation and collective knitting named Tell Me Your Fantasy and the booklet, We As A Thing,that will be available at the encounters.

    Alongside, I convey an ongoing interest in and exploration of collective formats and sustainable ways of working with others – where participation in itself acts as a collaborative strategy.

    The different materials in the presentations emanate from a series of one on one conversations that I have had with women and non binary persons during the past two years. The dialogical texts in the booklet, are responses to that multitude of voices and are attending thoughts on sexual fantasies, power structures, distress, resistance and possible futures.

  • 4.
    Champlin, Andrew
    Stockholm University of the Arts, Dance Department.
    Just Past (work in progress)2019Independent thesis Advanced level (degree of Master (Two Years)), 5 credits / 7,5 HE creditsStudent thesis
    Abstract [en]

    Continuous access to dance studios during the MA inspired me to unpack my relationship to spaces of that nature. By inviting people to be with me in a restrictive room designated for play/movement, and particularly ballet, how can I shape the conventions through which my body is seen in relation to existing discourses about bodies and subjects? Experimenting with ballet forms and encounters with contemporary art, my presentation speculates on how the studio as a social and political environment constitutes bodies as well as a way of looking at bodies as sites of encrypted knowledge. The invitation is to be inside encrypted knowledge, to come in to a social and political place – the studio – a place where I work, and where others work, to consider how one arranges ones’ self in relation to space; real, virtual or speculative. The performance proposes a mode of imagination that suspends the desire to know exactly where things (generally speaking) belong. That opening, like a pause, is a performative situation where I question the place of labor in relation to the imperative for the dancer’s body to be progressive. This work offers insights into my artistic reflection on aesthetics, which involves practices of teaching movement, performing, drawing, filming, editing, framing, composition and technique. 

  • 5.
    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.

  • 6.
    Graff, Jens
    Stockholm University of the Arts, Dance Department.
    Dansarens yrkesidentitet2007Report (Other academic)
  • 7.
    Granato, Thiago
    Stockholm University of the Arts, Dance Department.
    From Klauss to Katherine(s), a performative reading installation2019Independent thesis Advanced level (degree of Master (Two Years)), 5 credits / 7,5 HE creditsStudent thesis
    Abstract [en]

    From Klauss to Katherine(s) is a performative reading installation made by the dance artist Thiago Granato in correspondence with seven other choreographers. It is part of his Choreoversations project. It consists of an archival re-enactment of an exchange of fictional letters between dead choreographers, animated by living ones. How can fiction guide us in dealing with the presence of those who are no longer among us?

     

    This practice explores different ways of creating a performative contract through an imaginary link formed between the writer's body, the body of the letter, and the body of the one who reads it. In this context, fiction is used as a way to organize alternative realities. 

    This fictional exchange allows a temporary identification that brings into communication imaginary situations, historical information, facts and speculations across different times and places. It supports the possibility that history coexists with fiction in an entanglement of real and imagined lived experiences. The letters perform a transmission of memories and affects passed through bodies in the act of writing and reading. 

    In this installation, Thiago is present alongside the fictional letters and archival material. The letters take on the agency of performance, while Thiago becomes a living document of the creative process. 

  • 8.
    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)
  • 9.
    Guido, Mirko
    Stockholm University of the Arts, Dance Department.
    Fictioning Hamlet: Dialogues and Diffractions2019Independent thesis Advanced level (degree of Master (Two Years)), 5 credits / 7,5 HE creditsStudent thesis
    Abstract [en]

    Fictioning Hamlet: Dialogues and Diffractions is my ongoing research shared in room 402 at Linnégatan 87, the 15-16-17 May 2019, as a choreographed environment of situations and relationships. It includes participatory practices, texts, audio-video materials and live performance. These were articulated through a research process I embarked on in the spring of 2018: surprised by the sense of shame I felt when realising I did not know the story of Hamlet, I began dealing with questions about power dynamics between dominant narratives and individual imaginaries. Through the process, I increasingly applied participatory approaches, and staged situations based on strategies of ‘re-fictioning’ as a practice for the construction of alternate realities. My choreographic practice appears via the navigation of the many materials, methods and contexts involved in the process, and in the way they change, respond, and adjust in relation to each other. My idea of expanded choreography begins with thinking the work as a performance device, in which I build-in conditions where response is not only possible, it is what makes the work. My role as author is decentralised in favor of relational thinking. Ethical dimensions of responsivity, responsibility, and inter-subjective relationships lie at the core of this practice. I am committed to working responsively and confronted with and by the complexities each situation and context produce. For this presentation I aimed at making evident, explicit and present the dynamic process of intrasubjective and intersubjective relations that are at the core of this process.

  • 10.
    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’.

  • 11.
    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.

  • 12.
    Lilja, Eva
    Stockholm University of the Arts, Dance Department.
    DOCH 1963-20132013Collection (editor) (Refereed)
  • 13.
    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. 

  • 14.
    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. 

  • 15.
    Mackenzie, Alice
    Stockholm University of the Arts, Dance Department.
    Coating the Ridges of Her Gums2019Independent thesis Advanced level (degree of Master (Two Years)), 5 credits / 7,5 HE creditsStudent thesis
    Abstract [en]

    I have been developing my artistic practice in relation to queer and feminist science studies, speculative-fiction and performance. The practice enfolds fiction, poetry and movement scores along with scent extraction, fermentation and sound(ing) as methods of relating to place, time and intimate intra-action. The event at c.off is one manifestation of an ongoing practice and research, a moment for something to be made visible. In preparing for the presentation I have been focusing on developing my knowledge and skills in making sound, and on the relationship between my writing practice and my performance practice. Webs of community and making spaces for meeting are also important elements of my ongoing practice and its presentation. This has included actively engaging with other artists whose work with intimate intra-actions spark curiosity and excitement in me.

    Literary references include Audre Lorde’s notion of ‘the erotic’; Donna Haraway’s writings on the tentacular entanglements and response-ability of living and dying well together in the Chthulucene; Ursula K. Le Guin’s Carrier Bag of Fiction theory; and the Lilith’s Brood trilogy by Octavia E. Butler.

    I am collaborating with Siriol Joyner on sound design. The presentation of my work takes place in a shared event with Amanda Billberg. There will be beetroot soup. And fermentation. Not in the same bowl.

  • 16.
    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.

  • 17.
    Olk, Benedict
    Stockholm University of the Arts, Dance Department.
    Eclipse2019Independent thesis Advanced level (degree of Master (Two Years)), 5 credits / 7,5 HE creditsStudent thesis
    Abstract [en]

    Through a regular and ongoing studio practice I draw on my personal dance history as material in an attempt to understand the affective and performative aspects of devotion in dancing Cunningham technique. Recalling and amplifying the ghostly present and presences in a film recording of a single Cunningham technique class, I have been exploring the spectral remains in the transmission of a dance technique, from recording of living bodies to a digital, publicly-available video and then to my corporeal reinterpretation of that video. By continuously repeating the same material over the course of nearly two years I have developed a multilayered understanding of the material, which allows me to depart from and return to the class through associative portals. I bilocate between the physical site of practice and the space of recall, between an action from the class and the memory of that action. These slippery materials propose to invert the traditional choreographic relationship to presence, and instead call upon memory, absence, and dislocation to provide a relationship to movement through time and space. 

    Additionally I will share a collection of texts written at various points throughout the two year process of this study in order to offer insight into this poetic and personal practice. 

  • 18.
    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

  • 19.
    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) (Refereed)
    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.

  • 20.
    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.

  • 21.
    Soares, Andre
    Stockholm University of the Arts, Dance Department.
    Practicing Beings: Weathers inTrans-Formation [0. field] to kin2019Independent thesis Advanced level (degree of Master (Two Years)), 5 credits / 7,5 HE creditsStudent thesis
    Abstract [en]

    Embodiment, felt awareness and intention are addressed through forms of invitations, prompting experiences of Being. The stances of appreciation are explored through encounters. The weather-beings as ongoing environments of relational exchange, to re-form matter as material and immaterial through ways of trust and touch. 

    This practice invites contemplation and encounters to the surroundings and inner perceptions. Improvisation is applied as a responsive activation mode of possibilities to encourage connective beings, allowing the in-material to reveal. What’s hidden? How to re-connect, to re-member? Which senses are lost or not activated? How to rescue the natural in artificial life? 

    Spirituality is approached choreographically throughout several perspectives like archives, light, drawings, dances, writings, photos, sculptures, sound installations, walks and other materials called “clicks” manifesting intercessions of sense-making, affect and attention. This ongoing installation hosts and investigates resilient and benevolent bodies/worlds for performative inner and outer spaces _ studio/forest. 

    How to reanimate “to keep in touch”? How to reenergise a common sense expression that hosts bodily potential to contact and re-connect.

  • 22.
    Soumah, Sara
    Stockholm University of the Arts, Dance Department.
    Traces and Resonance: A rhythmical investigation of traces2019Independent thesis Advanced level (degree of Master (Two Years)), 5 credits / 7,5 HE creditsStudent thesis
    Abstract [en]

    Fylkingen, 14 and 15 May 2019

    The materials of my practice are; listening - inwards and outwards, rhythm, intuition, shifting offocus and presence, decomposing knowledge and relating to- and recognizing origin and traces ofknowledge. My practice is a kind of a rhythmical investigation of intuition and traces that I carry,transformed and interpreted in me. The practice peels off layers of habits and movement patternsfrom different dance- and rhythm traditions and gives me time and space to explore my own danceexpression. It also makes me reflect more on postcolonialism and how I can include decolonizationin my practice and life. I work with improvisation and use film/a camera to intuitively pick outmovements, or parts of movements, that I want to explore further. This method is repeated untiI Ifeel the process is complete.In my presentation I give form to what/where the practice is right now, even though it continues tobe in constant movement and transformation: like sharing a picture of a process. At the same timecreating a solo piece has pushed the development of my practice forward, as I wanted and felt wasneeded. It also brings in other parameters as dramaturgy, duration, space, lighting and how torelate to the audience - this has stressed the importance of clarity concerning presence in thelistening and shifting between inner- and outer focus.

  • 23.
    Ståhle, Anna Karin
    Stockholm University of the Arts, Dance Department.
    Dansnotation: ett kommunikationsmedel2005Book (Other academic)
  • 24.
    Vilkaitytė, Austėja
    Stockholm University of the Arts, Dance Department.
    Half & half: RETROSPECTIVE/ HONEST/ DIGNITY/ HOLDING BACK/ spirit2019Independent thesis Advanced level (degree of Master (Two Years)), 5 credits / 7,5 HE creditsStudent thesis
    Abstract [en]

    Half & half

     

    11th May, studio 10th

    RETROSPECTIVE

     

    14th May, studio 16th

    HONEST

     

    15th May, studio 16th

    DIGNITY

     

    16th May, studio 16th

    HOLDING BACK

     

    19th May, studio 9th

    spirit

     

    Dear audience,

    welcome to my performance practice.

    I am exploring a reality that cannot be fast forwarded, that takes time in its boredom, that allows happenings to appear, which are there already - inscribed memories in the bodies of the space.

    I want to allow the unknown to manipulate (my) body, to choreograph appearing expressions and sounds entangled with past archives of the life of a contemporary dancer.

    I want to play a 'hybrid performativity’ - to slide the ‘performameter’ up and down with intensities morphing from charades in the living room, to a power point presentation, to a ‘Hamlet’ theatre play.

    I want to choreograph the situation where we are right now.

    I want to dance DIGNITY, HONEST, SPIRIT, EMOTIONAL, TRUST, where every mimic, every action, every tear and every feeling are my movements. I always like dancing RETROSPECTIVE.

    Whichever series you choose to come to - this performance reality is for us all to participate in and experience.

    Let’s meet there.

    Sincerely

    Austėja Barbora Vilkaitytė

  • 25.
    Westberg, Anna
    Stockholm University of the Arts, Dance Department.
    My body will not be archived: on Ulf Gadd and his work: A performance lecture and a ritual of remembering2019Independent thesis Advanced level (degree of Master (Two Years)), 5 credits / 7,5 HE creditsStudent thesis
    Abstract [en]

    Being a dancer is being a bridge. Dancers bridge time and space, and the choreographic intention to an audience. In my practice I build a memory bridge for a person who meant a lot to me as a dance student, and to Swedish culture in general in the 70s and 80s. He died in 2008. Today his name is seldom mentioned. His name is Ulf Gadd. 

    My method consists of conversations with people who knew and worked with him. I glean from archives, read articles and watch the little video documentation that is preserved. In the dance studio I practice listening through dancing to musical scores from some of Gadd’s works. I dig through my embodied, sedimented dances in order to understand what Ulf Gadd signifies for me today. My presentation takes on the format of a performance lecture. In addition, I create a booklet about him in which the design mirrors the programs from the theatre house he worked in. This visual essay is an aspect of storytelling, functioning as a point of departure for and an extension of the choreographic practice. In doing this, I align myself with Ulf Gadd’s educational mission and his belief in the role of culture in building a good society for all. I present a piece of Swedish dance history unrightfully forgotten. 

  • 26.
    Wilfing, Brigitte
    Stockholm University of the Arts, Dance Department.
    FABULATORY: a fabulous etymology of gestures as an archival futuring practice2019Independent thesis Advanced level (degree of Master (Two Years)), 5 credits / 7,5 HE creditsStudent thesis
    Abstract [en]

    FABULATORY - a fabulous etymology of gestures as an archival futuring practiceA performative in.formation, an in.formulation of my artistic research.In the Fabulatory, analyses and narration meet in peculiar temporalities. Circling theethics of forgetting, fabulation is used as a way to memorize the future throughimagining the past, for speculative futuring and other mnemotic practices. Storytelling isthe vehicle to remember how to remember, how knowledge is shared, formulated,stored. It proposes a laboratory of cultural labor, a fact.orat.ory of meaning production.For re@lections and confabulations, a fabrication of fables and ineffables.The performance choreographs an extended text that quotes and references into thespace through dance and other media, holding my research on gestures with its past andfuture ghosts and companions. From inside-out outside-in, like F. G. Lorca’s octopuses,the event is a meeting of text and body archives, entangling ways of thinking,symbolizing and ‚present-ing'.The Fabulatory sets out to situate my artistic research on gesture as an archival futuringpractice that links pasts and futures to promote mutable narratives on the basis of mycultural and personal history and to create new and strange perspectives on his_tory andmine. Af@irming that, in the end, everything comes down to the story we tell ourselvesand others.

  • 27.
    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.

  • 28.
    Östberg, Lisa
    Stockholm University of the Arts, Dance Department.
    Fade to white2019Independent thesis Advanced level (degree of Master (Two Years)), 5 credits / 7,5 HE creditsStudent thesis
    Abstract [en]

    AbstractLisa Östberg2019Fade to whiteDOCH Studio 16An installation, come and go as you like.May 18, 15.00-16.00May 19, 18.00-19.00The presentation contains evidence of an after-the-fact practice. In using storytelling onthe border of reality and fiction through the entry point of a personal sphere, the aim isto question what constitutes the present and highlight the nature of belief. The practiceitself has mostly been in the form of filmmaking and performance work while thepresentation consists of research/artwork/examples in relation to those practices. Thepresentation is also an attempt to reflect my artistic research around inheritance.The presentation as well as the practice works around an ambiguous sense of comedy:comedy functioning as the tour guide of something troubling that would be harder todisplay without that joke.

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