Title: Impact of rules in category ladies formation on choreography in acrobatic rock'n'roll Obejctive: The aim of this work is to compare content changes of final choreographies in acrobatic rock'n'roll in category ladies formation from World Championships held in 2016 and 2017. Furthermore it analyses whole situation in terms of next development and evaluation in the world. Method: Research was accomplished by surveying and content analyse. Research was made with the aid of videos of ladies formations in acrobatic rock'n'roll from World Championships held in 2016 and 2017. Results: Based on read literature and received information from videos I decided that new rules from 2017 had not had main influence on choreographies on World Championship in ladies formations in the same year. Keywords: Acrobatic rock and roll, choreography, evaluation

The main purpose of this essay is to reflect on my degree project process whose main question was to wonder around choreographing drama and using feelings and emotions as dance material. Being able to approach the question, the text is written in the format of a play, here in four acts, the fourth act being the performance part of the degree project called Act Four: Scene of Sentimentality. Another focus of this text is to elaborate on the performance-making process and describe its methods such as Walking-Actions, Face Dance and The Tag of Pain. In the text I am referencing several artists that have somehow dealt with drama and/or emotions in their work for example Meg Stuart, Elina Pirinen and Pina Bausch. One of my methods for choreographing drama was to create contradictions. In this essay the strategy for creating contradictions was taking in an "enemy", here it being the 1960s minimalism and the so-called ‘neutrality’ in contemporary dance, and then arguing against the enemy. The essay ends with a meditation on the connection between emotions and dancing.

This text is the second part of a Bachelor's degree project, dealing with the artistic research and presentation, peripheral dancing, conducted as the first part of the project. The research started from a question: Can one challenge, rethink and explore the peripheries, centres, and orientations of and through one's dancing? The work is perceived through the context of Stockholm University of The Arts, specifically through the lens of the BA in Dance Performance programme. In choosing this context, the essay looks at teachers, classes, authors, and theories encountered in the programme. The different aspects of the research, the physical, sounding, and writing practice, are discussed in dialogue with two main references: Queer Phenomenology: Orientations, Objects, Others, a book by British-Australian writer and scholar Sara Ahmed, and We Should All Be Dreaming: Words Make Worlds, a publication by feminist art community UrbanApa. After describing the physical presentation of the research, the essay questions how one can rethink the peripheries and centres of the stage. Furthermore, the work is placed into the context of artists and artworks challenging who and what art is placed in institutions in Sweden and other Nordic countries. The second part of this text offers a toolbox, diving into the physical research of the project, describing scores and materials, as well as references and influences. / <p>Presentation:</p><p>January 17th, 2023</p><p>Stockholms Konstnärliga Högskola, Brinellvägen 58, Stockholm</p>

As many veterans of musical theatre strive to keep a stronghold on the traditional form of the art with shows like "Oklahoma," "Show Boat" and "Carousel," we must recognize the life of said art form must also appeal to the mindset of new generations. In 1973, a rock musical began making waves in London's theatrical community. "The Rocky Horror Show" was like nothing anyone had seen before. The show had a plot but was presented like a rock show. The characters paid homage to a youthful faction of society wanting to express its individualism. Musicals continue to explore new avenues and bring new faces to the theatre. Shows such as "Rent," "Saturday Night Fever" and "Wicked" have garnered interest from a younger audience. Songs from these shows are appealing to the masses just as the songs from "Oklahoma" and "Carousel" did in the 1940's. A growing interest in musical theatre by the younger population can pique their interest in discovering other musicals. One way to satisfy this piqued interest is by infusing a youthful or modern energy to shows that can be adapted to the senses of this younger generation. "Oklahoma" or "Carousel" might not adapt well by being set in the 21st century. But "The Rocky Horror Show" already exudes a timeless energy with its nod to popular culture (its rock music influence). As musical theatre transforms with its audiences, so can some of its well-known shows.

Limited training exists for young, aspiring choreographers who wish to work in the realm of musical theatre. University programs turn you away if your focus is not on concert dance and few good books can be found on library shelves to gain knowledge. Most books that do exist are very outdated and lack the practical knowledge and information necessary to become a successful musical theatre choreographer today. This research will help to determine whether a methodology can be developed for training musical theatre choreographers. The research data collected stems from the creative minds of choreographers and performers. A select group of professional musical theatre choreographers completed surveys in regards to the craft. Three of the participants were observed using their creative teaching strategies in rehearsals. Furthermore, selected performers responded to a set of questions in regards to the selected participants' strategies. All of the collected data was analyzed to determine which choreographic methods and strategies result in the most successful rehearsal periods and products. The favored methods and strategies, as well as other information, assisted with recognizing the necessary knowledge that an excellent musical theatre choreographer must possess. That knowledge was divided into elements that will make up the courses within the desired methodology. The conclusion finds that a methodology for training musical theatre choreographers is obtainable, consisting of the study of the determined elements. With the development of a text and a university to pioneer the program, aspiring choreographers will have a way to gain beneficial knowledge and experience in the craft of musical theatre choreography.

"Microservices" is an architectural and organizational style in software design and development in which there is a composition mechanism for independent microservices to call, communicate, and message each other within an application. The microservices composition approach makes design easier to scale, faster to develop, and can accelerate the introduction of new features into applications. To satisfy business requirements, selecting the proper composition style is important for software development; otherwise, application development may fail. The objective of this research is to investigate the hybrid method for composing microservices and compare it with other composition approaches (choreography and orchestration), using quality metrics from the software engineering and business process modeling literature. More precisely, we make use of coupling, cohesion, and scalability metrics to analyze BPMN models representing e-commerce scenarios modeled as microservice compositions. This thesis follows the five steps: research problem identification and objectives, requirement analysis and system design, model design and development, model testing and deployment, and evaluate our BPMN models representing microservice compositions. We develop multiple BPMN workflows as artifacts to analyze choreography, orchestration, and hybrid styles for the microservices composition of e-commerce scenarios. We propose several hybrid models by integrating orchestrations and choreographies in the same workflow. We created a series of small, mid-sized, and end-to-end workflows of e-commerce scenarios. At the tool level, we use the Camunda Modeler, Camunda Platform 8 (as the automation process engine), and Amazon Web Services (AWS) to design, develop, and deploy our models. Finally, we use our calculations of the coupling, cohesion, and scalability measures to reveal an understanding of modeling microservices choreography, orchestration, and hybrid approaches, and we discuss when to use a specific approach for microservices composition. We have found from the evaluation that our proposed models are less tightly coupled compared to those modeled using orchestration and choreography. However, we also discovered that the orchestration style offers better scalability and a lower ratio of coupling and cohesion compared to choreography and hybrid approaches.

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This dissertation explores literary-theoretical constructions arising from the consideration of certain non-narrative linguistic strategies and applies them to dance analysis. My intent is not only to provide new, functional tools for dance scholars and writers, but also to alter the theoretical terms themselves: by employing literary critical language beyond its original purpose, I hope to locate the limits of that language as it applies to dance. Moreover, I strive to identify the ways moving bodies complicate concepts normally applied to static and disembodied text. In this way my research moves in two directions: adding a specific theoretical lens to the dance-writing toolbox, and, in turn, using dance to sharpen and focus that lens. I have chosen two theoretical constructs--Julia Kristeva's explication of the semiotic aspect of language and her characterization of the abject--because of the ways they address the unsayable through body, repetition, and rhythm. Kristeva's texts, Desire in Language (1981) and Powers of Horror (1982), provide the dissertation's primary theoretical frameworks. The first text puts forth key concepts about heterogeneous meaning within her conceptualization of the semiotic; the second addresses meaning that exceeds language, and the self, and arises out of the abject (a crisis of the subject when confronted with a breakdown of boundaries between self and other). Both concepts are relevant to dance, emerging from the materiality/substance of language rather than from language as a phantom structure that ideas are placed into. This dissertation grapples with how dance strives to express that which exceeds "paraphrasable" meaning from three vantage points: 1) the assessment of the critical reception of historic choreography (Paul Taylor's Big Bertha) that plays simple narrative against the horror of the unknown; 2) an examination of participants' communications during the choreographic process of innovative choreographer, Gabrielle Lamb, and how research material was transformed during that process; 3) the documentation of my own struggle to express the unsayable during the creation of a hybrid dance/textual piece. These perspectives require different analytic strategies: 1) the casting of an artwork's meaning in historical and cultural contexts, 2) the parsing of the language used to communicate meaning between participants during the creative process, 3) the self-chronicling and reflective analysis of meaning-making during the conception and execution of a hybrid work. My objective is to show how Kristeva's theoretical constructs play out in different types of dance analysis and how the lack of a certain strain of theoretical language in dance discourse has left a hole where discussion might profitably ensue. I seek to use Kristeva's texts and post/modern techniques of the body to offer a multi-layered and technically invested understanding of dance rather than an aphoristic and imagistic one: one that substitutes multiple, specific bodies and their actions for a single idealized institution of the beautiful. / Dance