Studien syftar till att få en förståelse för danslärares förhållningssätt till begreppen kropp, genus och etnicitet inom ramen för kursen Dansteori i gymnasieskolan. Det undersöks huvudsakligen med hjälp av det intersektionella perspektivet samt den normkritiska pedagogiken som teoretiskt ramverk. Detta i kombination med olika perspektiv på begreppen kropp, genus och etnicitet utifrån olika teorier. Studien är kvalitativ och innefattar skriftliga och muntliga webbaserade intervjuer med danslärare. Analysen utgår från en hermeneutisk tolkning. Studien visar att danslärarna förhåller sig likartat till begreppens funktion i undervisningen. De kan användas som verktyg för att förankra dansen i samhället eller för att synliggöra respektive vidga normer. Resultaten pekar också på att alla danslärare i undersökningen ser begreppen som sociala konstruktioner inom sin undervisning. Vilken plats de får i undervisningen ser olika ut. Några behandlar dem som icke återkommande moment och som ett redskap för eleverna medan andra låter dem vägleda utformningen av den egna undervisningen. Det senare ger upphov till en mer normkritisk pedagogik som utmynnar i ett vidgande av normer. / The study seeks to get an understanding of how dance teachers at secondary schools approach the concepts of body, gender, and ethnicity within the course ‘Dance theory’. This is examined through the norm critical approach and intersectionality as the main theoretical framework. Moreover, theoretical perspectives on body, gender and ethnicity are presented. This qualitative study involves oral or written digital interviews for collecting data and uses the hermeneutical perspective as the method for analysis. The results show that dance teachers regard the concepts as socially constructed and approach them in a similar way. It is also made visible that the concepts of body, gender and ethnicity are used as a tool for connecting dance to society in general, or to either highlight or transform social norms. Furthermore, differences also appear since the concepts seem to have various positions in their teaching and for whom the concepts are considered as an instrument. Some dance teachers deal with the concepts as non-recurring elements while others allow them to influence the whole teaching practice. The latter seems to lead to more norm- breaking activities.

“To understand why we are doing what we do now” – a qualitative study of dance historyteaching within the course Dansteori. This essay illustrates how teachers at upper secondary schools relate to teaching dance history within the course“Dansteori”, focusing on the aim that students should critically review different dance history writings. The study uses interviews and open-ended questionnaires, and the material have been analyzed qualitatively and discussed inrelation to historical thinking and norm-critical pedagogy. The study shows that a historical-scientific perspective is important in how teachers talk about the subject, but less important when it comes to what students should gain fromtheir studies. Instead, a general knowledge of dance history and an ability to connect ones dancing to a historical context, is at the center. The study also shows a conflict between the content and the time given as well as the student’s maturity. In relation to the theoretical perspectives, the historical-scientific perspective is prominent. By contrast, the norm-critical perspective is not as clear, and as I understand it, the critical scrutiny lies primarily within the norm rather than as a means of looking outside the Western box. The next challenge is therefore to not only review the conditions for how history is created, but also to question and change the structures that create knowledge.

This essay illustrates how teachers at upper secondary schools relate to teaching dance history within the course “Dansteori”, focusing on the aim that students should critically review different dance history writings. The study uses interviews and open-ended questionnaires, and the material have been analyzed qualitatively and discussed in relation to historical thinking and norm-critical pedagogy. The study shows that a historical-scientific perspective is important in how teachers talk about the subject, but less important when it comes to what students should gain from their studies. Instead, a general knowledge of dance history and an ability to connect ones dancing to a historical context, is at the center. The study also shows a conflict between the content and the time given as well as the student’s maturity. In relation to the theoretical perspectives, the historical-scientific perspective is prominent. By contrast, the norm-critical perspective is not as clear, and as I understand it, the critical scrutiny lies primarily within the norm rather than as a means of looking outside the Western box. The next challenge is therefore to not only review the conditions for how history is created, but also to question and change the structures that create knowledge.