In this qualitative practice-based research meanings of angularity in Africanist aesthetics and ”angular music” are studied. The insights of the studies are processed in several bodily practices and ”being angular” develops into a dance didactic tool for jazz dance. The bodily practices through which being angular is shaped are the following: creative writing, dance improvisations, and the development of a dance art pedagogy practice for jazz dance.  The aim of the study is to understand the meaning of being angular in a jazz dance context, to give a perspective on jazz dance teaching and contribute to the deepening of dance skills in jazz dance. In the study, I collaborate with co-researchers who were students from the Norwegian culture school. The research questions are: With what approaches can ”being angular” be achieved to be meaningful in jazz dance teaching? How can "being angular" as a dance didactic tool contribute to deepen dance skills and artistic development in jazz dance?  The knowledge generation takes place through the practical exploration and the methodological process is derived from Tone Pernille Østern's theoretical understanding of researching with art. ”Å forske med kunsten” (To research with art) is an umbrella term forpractice-led and artistic research.  Being angular develops into a tool that connects dance didactic methods with dance artistic methods in jazz dance teaching. Being angular contributes to the act of collective learning and gives a broadened perspective on jazz dance teaching. / I denna kvalitativa praktikbaserade forskning studeras betydelser av angularity i afrikanistisk estetik och ”angular music”. Insikterna av studierna bearbetas i flera kroppsliga praktiker och formar paraplybegreppet ”vara angulär”. De kroppsliga praktikerna som vara angulär formas genom är följande: kreativt skrivande, dansimprovisationer och utvecklingen av en danskonstpedagogisk praktik för jazzdans.  Studiens syften är att förstå innebörder i att vara angulär i en jazzdanskontext, ge perspektiv på jazzdansundervisningen och bidra till att danskunskaper i jazzdans kan fördjupas.  Undersökningen är gjord i ett samarbete med medforskare, som var elever från den norska kulturskolan. Undersökningens frågeställningar är: Med vilka tillvägagångssätt kan att ”vara angulär” uppnås för att få betydelse i jazzdansundervisning? Hur kan att ”vara angulär” som dansdidaktiskt verktyg bidra till fördjupade danskunskaper och konstnärlig utveckling i jazzdans?  Kunskapsgenereringen pågår i det praktiska utforskandet och jag har valt Tone Pernille Østerns teoretiska förståelse om att forska med konsten som metodologisk process. ”Å forske med kunsten” är ett paraplybegrepp för praktikledd och konstnärlig forskning. Vara angulär utvecklas till ett verktyg som kopplar samman dansdidaktiska metoder med danskonstnärliga metoder i jazzdansundervisning. Vara angulär bidrar till kollektivt lärande och ger ett bredare perspektiv på jazzdansundervisning.

This is a study on embodied rhythm and how it can be formulated and made into concepts. The study also focuses on how didactic resources are used in relation to embodied rhythm in jazz dance teaching. The work with this study took its starting point in the strong physical experience of dancing jazz dance and the problems in being able to talk about the rhythmical aspects of that experience in didactic contexts. Through studies of rhythm within many different fields a base of knowledge was created. Some examples of the different fields are music theory, cultural history, psychology, didactics, socio cultural theories as well as in dance theory. The knowledge base was used to develop concept that relates to embodied rhythm and didactic resources used in relation to that. The concepts were applied in observations of jazz dance classes and the usefulness and relevance of the concepts were tested. The study presents the concepts as a tool for discussions on embodied rhythm, for working with rhythm as part of dance teaching, for development of dance didactics and as a way to make the strong physical and rhythmical experience of dancing jazz a bit easier to address verbally.

Title: Elements of dance techniques in floor exercise in women artistic gymnastics Objective: The main objective of this master thesis is an analysis of elements of dance techniques in women finalists of floor exercise in all four Olympics games from 2004 to 2016. Methods: In this master thesis content analysis and observation has been used. These methods were used to collect and evaluate necessary data. Results: The results bring an overview of individual approach of floor exercise finalists of each olympic games from 2004 to 2016 to dance elements depending on selected criteria. Futhermore they also compare the overall use of dance elements in particular olympic games with others and indicate the effect of the time interval between games on the frequency of presence of dance elements in the reports. Based on the results it is possible to predict the use of dance elements in floor exersice in the future. Keywords: dance, report, classical dance, contemporary dance, jazz dance, folk dance

This study intends to highlight jazz dance in Sweden and its early establishment during the 1960’s and the 1970’s. The questions of issue are, ”How has the tradition of Swedish jazz dance been conveyed?”, ”What are some expectations and perceptions on jazz dance among upper-secondary school students who study dance?” and ”Is there a correlation between the tradition of Swedish jazz dance and upper-secondary school students’ perceptions on the genre?”. The study is a combination of a literature review and a focus group interview. The literature review maps the establishment and development of jazz dance in Sweden. The focus group consists of three upper-secondary school students who study dance. As a result, both the literature review and the focus group advocate for a historiographical perspective in jazz dance education. The students wish to see education in jazz dance techniques as well as jazz history during the practical classes. According to the pioneers, the cultural heritage and history of jazz is essential for the understanding of the artform. Therefore, it is relevant for teachers in jazz dance to educate their students on the theoretical aspects of the genre to connect the physical practices to the heritage.

The purpose of this essay is to inspire and find ways to incorporate different time signatures in jazz dance education. Through literature studies, a focus group and an own analysis leading up to the meeting with the focus group, I founded a base of knowledge, but also material to analyze. By comparing my different sources of information, I found that the different time signatures, have different qualities, but they are also affected by other factors such as the instruments, singing and how it is performed. During the meeting with the focus group, I also found that music and dance is personal and that feeling calm and secure with the music is important to be able to move freely to it. In the discussion I could see that there are a lot of ways that you can use different time signatures in jazz dance education. Some examples were to expand your musicality and musical knowledge, but also to highlight and use certain qualities in the different time signatures to develop your dynamic practice.

This study investigates how participants in dance education describe their experiences of a phenomenon called ”existential presence” with the help of jazz dance and what didactic factors makes it possible for them to experience it. With theory of the phenomenology-related lifeworld, the didactic relation map, and interview with low standardized questions as a method, came the results that show how the presence could be described in many different ways, how different individuals have different needs for the phenomenon to be possible, and that jazz dance and its strong relationship to the music is a possible opening for the presence to be.

This study aims to explore the defining characteristics of jazz dance as a genre with the ambition of reaching a deeper understanding of the art form as well as clarifying the foundations for my own jazz dance teaching. Using a qualitative research method, the study examines the perceptions of four dance educators, each with experience in dancing and teaching different forms of jazz. Drawing on a phenomenographic perspective, the study identifies variations in perceptions through semi-structured interviews and categorization. The findings present six descriptive categories of important components within jazz dance including Body and Music Interplay, Relevant Music Choices, Freedom, Play and Individuality, Contrasting Dynamics, Technical Finesse and Body Control, and Interaction and Expression. Furthermore, the study discusses the challenges of defining jazz dance but highlights the significance of embodied musicality and Africanist aesthetics as key elements of the art form, as well as emphasizing the concept of "swing" as central to jazz and the perception of “jazziness”. In conclusion the study shows a broad variety in perceptions which contribute to an increased awareness and understanding of jazz dance as well as providing tools for communication in jazz dance teaching. Ultimately the study encourages further research on the topic.

Ervin Schulhoff in the interwar cultural context for needs of modern school This thesis deals with life and works of a Czech-German music composer of the interwar period Ervin Schulhoff. The first part of the thesis is concerned with composer's life in the interwar cultural context, the second part focuses on his works. Detailed attention is paid to the period when Schulhoff was influenced by interwar avand-garda movement, particularly by Dadaism and jazz dance music and also Neoclassicism. The third part handles the issue of the use of Schulhoff's work related to his life at nowaday school and brings some ideas and possibilities of use in school music lessons with intersubject overlap. All work is completed with sheet music examples and images serving for better illustration of the subject. In the Appendices are included more pictures and photographs illustrating the composer's life and also the list of Ervin Schulhoff's compositions.

No description available.

Syftet med denna studie är att undersöka en dokumenterad respektive konstnärligt filmad metod för instudering av jazzdansmaterial, på ett sätt som samspelar med det egna sättet att lära. Undersökningen har gjorts genom intervjuer, film och observationer med hjälp av en danspedagogstudent. Litteraturen inom ämnet har varit begränsad vilket inneburit en kunskapsinhämtning från flera kunskapsfält. För att analysera materialet har jag använt en tematisk analys samt ett observationsschema med fokus på dansanalys av följande jazzdanskomponenter etablerade av Katarina Lundmark: bredd &amp; höjd, precision, timing, koordination och musikaliskt uttryck (2011). Analysen av intervjuerna resulterade i totalt 10 teman, varav 4st tillhörande respektive filmmetod. Observationerna jämförde två jazzdansfraser som båda filmats vid två tillfällen med en veckas mellanrum och skapade ett resultat för hur vardera jazzdanskomponent påverkade gestaltningen i respektive jazzdansfras. Ett av studiens fynd visar att arbetet med film som instuderingsmetod kräver ett tydligt situerat syfte där de inre processerna aktivt samspelar med de yttre processerna. / The purpose of this study was to investigate a documenting respectively screendance recorded rehearsal method for jazz dance material, in a way that interacts with one's own way of learning. The study has been done through interviews, film and observations with the help of a student in dance pedagogy. The literature on the subject has been limited, which led into the gathering of literature from several fields. To analyze the material, I have used a thematic analysis as well as an observation scheme combined with a focus on dance analysis of the following jazz dance components conducted by Katarina Lundmark: width &amp; height, precision, timing, coordination and musical expression (2011). The analysis of the interviews resulted in a total of 10 themes, of which 4 belongs to the respective filming method. The observations compared two jazz dance phrases that were both filmed on two occasions one week apart from each other and created a result for how each jazz dance component affected the performance in the respective jazz dance phrase. One of the study's findings shows that working with film as a rehearsing method requires a clearly situated purpose where the internal processes actively interact with the external processes. / <p>Angivet datum ovan för presentation är ifrån min opponering, uppsatsen godkändes först den 21 juni 2024, när revideringsarbetet till följd av opponeringen var avklarat. </p>