The work revolves aorund the notion of the artist as a jester. In 6 parts the text points to both (art) history and contemporary art. The form resembles to an extent the structuring of the later solo-exhibition and seeks to prevent a linear reading and as such, form becomes content. / [I examensarbetet ingår utställningen "Sans Sheriff":] The graduation show comprised a diverse selection of works from the entire duration of teh education, ranging a.o. painting, sculpture, installation, photography. At the core of the show was a strategy to reject of the creation of an artistic identity - such as a visual trademark - and rather letting hints and distractions be the leading notion. / <p>Exam work consists of a written essay part and a formed/interpreted part.</p>

Dance teaching as embodied multimodal practice A study about communication and interaction in dance teaching. The overall aim of this study is to increase the knowledge about how communication and interaction between students and teachers is manifested in dance teaching and learning, with a special focus on the students’ agency and how that can be assumed to affect their conditions for learning. In a dance class, teachers and students engage in the dance practice by using different semiotic modes of communication; body movements and gestures, touch, hearing, gaze, sound and speech. The teaching and learning situation can be described as a complex multimodal configuration of signs in different time and space based modes. The object of study is to examine students’ and teachers’ interaction and communication in detail, with a focus on how different semiotic resources are being used and how that affects the design of the dance class. The data consist of video recordings of dance classes in dance college education and more specifically the daily dance practice, the dance class. Video recordings were made in jazz dance, contemporary dance and ballet classes. These genres are, in various degrees, bearers of a tradition of dance teaching where students repeat the movement material that the teacher demonstrates. I base my choice on the fact that this is a common way of teaching dance both in dance college education and elsewhere.  By using a multimodal analysis, different modes of communication and their interplay were brought into focus. Employing the perspective of a social semiotic multimodal theory the analyzed data were interpreted and discussed.  The result has shown the importance of the body in communication and interaction between students and teachers in dance teaching and learning. Communication and interaction involve and combine different embodied semiotic resources. Signs are being made, interpreted and remade/redesigned with, through and in the body. The way the teachers use their voices in combination with body movements and gestures in instructions and feedback, makes these resources appear hierarchically more important than the verbal language. The result shows that the students make rhetoric choices in their learning processes. It is shown by the way they choose to attend to what the teacher communicates. The students’ choices in responding are mostly by showing how they understand. Further the results show that the teacher is responsible for the overall design of the dance class. The study material consists mostly of movements that the teacher has created in relation to a genre’s esthetics, the teacher chooses what aspects to focus on and how time is disposed. The students’ agency seems limited in terms of how they can affect and influence the design of the dance class. This means that the knowledge that is produced to a great extent is dependent on the teacher’s choices, her esthetic values and her own knowledge. From a didactic point of view this needs to be addressed in dance education in terms of how dance classes are designed, it concerns questions of esthetics, values and power.

This study highlights the complex ways in which children engage with semiotic resources during designed dance activities. The study explores how preschool children aged four to five use semiotic resources during dance activities. The aim is to investigate the children's use of symbolic expressions and the communicative dynamics involved. Grounded in social semiotic theory, with a focus on meaning making and transduction, this study uses observation as a method to collect qualitative data from a selected group of child participants. The analysis, grounded in social semiotic analysis, reveals that children create meaning through different semiotic resources, which include different signs and symbols. These can take the form of physical expressions where children's creativity, imagination, emotional expression and social interaction are the basis. The results show that through the three designed dance activities, children mainly used semiotic resources such as gestures, gazes, sounds, facial expressions and verbal expressions to create meaning. By exploring the semiotic resources used and their application in these interactions, it can contribute to the research and one can gain a deeper understanding of children's communicative and symbolic expression during dance activities. The study has potential implications for educational strategies that can promote children's social and cognitive abilities. / Denna studie belyser de komplexa sätten där barn engagerar sig med semiotiska resurser under designade dansaktiviteterna. Studien utforskar hur förskolebarn i åldrarna fyra till fem år använder semiotiska resurser under dansaktiviteter. Syftet är att undersöka barnens användning av symboliska uttryck och de kommunikativa dynamikerna som är involverade. Förankrad i social semiotisk teori, med fokus på meningsskapande och transduktion, använder denna studieobservation som metod för att samla kvalitativa data från en utvald grupp av barndeltagare. Analysen, förankrad i social semiotisk analys, avslöjar att barn skapar mening genom olika semiotiska resurser, vilket innefattar olika tecken och symboler. Dessa kan ta formen av fysiska uttryck där barns kreativitet, fantasi, känslouttryck och sociala interaktion är grunden. Resultaten visar att genom de tre designade dansaktiviteterna använde barn främst semiotiska resurser som gester, blickar, ljud, ansiktsuttryck och verbala uttryck för att skapa mening. Genom att utforska de semiotiska resurser som används och deras tillämpning i dessa interaktioner kan det bidra till forskningen och man kan få en djupare förståelse för barns kommunikativa och symboliska uttryck under dansaktiviteterna. Studien har potentiella implikationer för utbildningsstrategier som kan främja barns sociala och kognitiva förmåga.