This essay follows closely the process of making the work for my degree project. The aim of the text is to reflect as much as possible the entire journey of my thinking and doing, demonstrating how one of the main concepts of the work, metamorphosis, served the final purpose of the project, to build a world for bizarre creatures made of colorful piles of clothes. The methods used were looking for inspiration material online i.e. a performance by Ingri Fiksdal, several drag performers, or a music video by the band Primus, bringing in Posthuman theory and decolonial thinking as well as readings on the grotesque, including writers like Rosi Braidotti, María Lugones, and Sara Cohen Shabot respectively, taking an excessive amount of notes on diary form, and playing dress-up in the studio. The information that surfaced while all the above was combined, is presented in quite a raw form here, not as one smooth text, but as chunks that mirror where my process was at each moment. More so than anything else, this essay demonstrates the messiness of a/my artistic process and acts as a mind map of interests as they get closer to some kind of crystallization. / <p>This master work includes both a performing and a written part.</p>

In this essay, I document and reflect on a process of creating a twenty-minute performance called That Time I Swam in a Storage Room (2021), with dreams as its source material. The essay is written in the form of a series of log-book-like entries, which offer an insight into how the work developed throughout each week during the nine-week working period. The process described in this essay, is centred around individual explorations, through reading and try-outs, as well as studio-sessions together with a four-person working group consisting of Ane Carlsen, Anton Hedevang, Jane Sievänen and Heta Asikainen. In the essay, I give an account of how the explorations are executed; by using tools and methods derived from Dadaists and Surrealist art movements, such as the cut-up technique and automatic writing. Fragments of methods from other thinkers and psychoanalysts are also applied in order to harvest dream-images and further work with the content of the dreams, such as Sigmund Freud’s dream interpretation and Carl Jung’s active imagination. The essay ends with reflections on the process of creating the performance. / <p>This master work includes both a performing and a written part. </p>

The main purpose of the essay is to serve as a documentation of my research practice on the movement of the tailbone and its connections to my dancing body. The essay is being written from my personal perspective which springs out of my interest in the importance of using the tailbone whilst dancing. In the first part of the text I have included personal information to the reader about where my interest in the movement of the tailbone arose. One of the methods during the research was to write a process diary as a way to combine a physical practice and writing practice. This process diary is now a big part of this essay. In the essay you as a redear can follow how the research has transformed and changed throughout working time on the project. The second part of the essay reflects on the process of researching the tailbone-ing movement practice and what the practical presentation should look like. In the last pages of the essay you find a choreographic score which is both a documentation of the practice as well as a score to perform it. Working on the essay opens up new possibilties for further research on the importance of the tailbone and the pelvic floor in the dancing body. / <p>This master work includes both a performing and a written part. </p>

Classical music performance has long been perceived as the domain of people with talent. This pervasive way of thinking can inhibit individuals from reaching their true musical potential. I argue that this problem has to do with the habitual performing and teaching practices based upon the body-mind dualism, which ignores intrinsically connected qualities of the performing body and mind. In this project, I aimed to understand the intrinsic malleable capacity, or my terms, the malleable inner self, as the intrinsic measurement for lifelong learning and growth in the context of musical performance and its pedagogy. Through autoethnographic narrative inquiry with the life story interview method as a methodological lens, I used the Korean cellist Ms. Lim’s 30- year transformative journey as an essential testimony. This project arises from a way of knowing I have turned to, the move from practice to theory, which I came to believe opens up a mode of inquiry that offers continuous growth, as did Ms. Lim’s lifelong transformative journey. In my reimagination of Ms. Lim’s narrative—in which I redefine her transformative journey as a musical pilgrimage—the self is the “capacity within.” I cultivated the idea of the entirety of the musical self, underlying a sense of wholeness or a sense of the self as a musical whole, the pinnacle of the restored capacity that comes with the body-mind/self- music unity. In this sense, the malleable inner self or the malleable capacity within is the foundational condition to be restored to experience the entirety of the musical self or a sense of the self as a musical whole. I further reimagined, from the transformative learning perspective, how this restored self/capacity can reflect understanding of an essential pedagogy, breaking out of the extrinsic measurement-oriented pedagogical structure in the context of musical performance. I conclude that every individual musician at all levels retains an inherent, malleable musical capacity, which can be restored from the unified, liberated mind-body as the ultimate musical entity. With the capacity-building perspective, my study demonstrates that students and teachers can open their own doors for ultimate lifelong transformation and growth by restoring the malleable inner self, turning away from the long-standing perspectives in classical music performance and its pedagogy.

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.

Creating immersive performance design using mycorrhizalstructure methodology and iceberg theory in circusperformance settingsWhat is immersive performance design and what role does ithave in a performance-based setting and frame? Does it holdthe possibility and capability of challenging the frame in whichwe normally perform?The focus of my research is to explore the boundaries of howwe approach devising performance with particular attentionto the relationships in space and the proximity of objects andparticipants within this. I am to create a performance-basedmilieu in which spectators, practitioners, the space andobjects are in symbiosis. A space of symbiosis where no oneperson has a different status from the other, but a space thatallows for people holding different roles. The performer andthe audience, the object and the body. My definition ofsymbiosis draws inspiration from the mycorrhizae funginetwork as a starting point for me to mould a methodologyadapted to a performative setting. To this milieu I incorporateother factors and concepts, such as the role of text, thedialogue of the still and quiet and how our senses-experienceaffect our perception. I attempt to weave these concerns intomy circus practices

In September 2018 I started my research project at the Master of contemporary circus practices at DOCH, Stockholm. Much has happened since then. 2018 turned into 2021. The school changed its name to SKH. The world turned into a pandemic battle zone. I turned into a mother of two. Little things, big things. Life.The following is a compilation of material from the last 2½ years. It is made like this to provide insight into an unusual process. A research project where the obstacles during the process ended up being the theme of the project.It is structured as followed:Old text material is kept in its original shape, even when it is painful (!) for me to go back and read it. I have shortened some sections and deleted irrelevant parts even though I know that what seems irrelevant today can become relevant tomorrow. Repetitions will likely occur, some on purpose, others not.Old texts taken from school reports are in blue like this. Blue, for me the color of balance. When I balance on my hands, I see myself in and surrounded by blue shades when I maintain balance and in white when I fall.Extracts from a diary written during this writing process are in red like this. Blood red. Written during a lockdown where I felt quite melodramatic hence the color.A script I wrote to my classmates is in green, the color of... hope? Definitely of new life.New reflections are added, some to explain the research further, others to engage in a critical dialogue with my voice of the past. All new thoughts are in black like this. These texts are the narrator of the story, the guide of the exhibition, the detective of the disappeared meaning, the curator of the mess

My research is about Rope Design. The design of, but more importantly, by and with the ropes. I have worked with ropes all my life, in many ways; sailing, circus, rigging, knots, etc. They have had a big impact on me and my life. In my research I am looking at what they can do and who or what they can be. On stage, in my practice and in my daily life. With me, as well as without me. I want to find an equal partnership with them, where I acknowledge that we both have agency and where both of us constantly keep changing and learning from each other. I am discovering how they can change my movement and the way I look at the world.

Syftet med studien var att undersöka danslärares uppfattningar om dansundervisning och lärande i dans. Undersökningen är kvalitativ med datorstödd intervju som vald metod. Studien baseras utifrån sociokulturell teori med betoning på lärande. Data analyserades med utgångspunkt i tematisk analys och hermeneutisk tolkningsmetod. I studien framkom att interaktion och samspel mellan lärare och elev är den framträdande faktorn för kognitivt lärande och kunskapsutveckling. Vidare framkom att dansläraren ska vara tydlig i sin undervisning, uppmärksamma alla elever, ge individuell feedback under lektionstid för att eleverna ska tillgodogöra sig kunskap för att utvecklas på en nyanserad nivå. Läraren ska även planera och anpassa sin undervisning utifrån de elever läraren möter för att tillgodose deras kunskapsnivå. Det framkom även att med danslärarens genuina förmedlande av lust och glädje främjas elevers lärande. Detta har visat sig inspirera och göra elever nyfikna, vilket har medfört nya förutsättningar för att kunna motivera elever att själva vilja utforska dans och utveckla självförtroende att uttrycka sig med sin kropp.

Magister Artium - MA / Scholarship on theatre in South Africa has shown how under the Apartheid government theatrical practices were divided into different genres such as protest theatre, township theatre, black theatre, mainstream theatre etc. In many ways theatre today presents the same fractures and polarisations: community and mainstream theatre. This study investigates ways in which black theatre artists from marginalised and disadvantaged communities with and without formal training negotiate themselves within theatre spaces in Cape Town. Discussing and analyzing the works and the trajectories of two case-studies: the Ukwanda Puppet and Design Company and the Back Stage Theatre Production Company, I attempt to demonstrate how works of arts that awkwardly sits with labels such as “community” or “mainstream” theatre are emerging more and more in the Cape Town theatre scene.