This dissertation treats the choreographic works of Julian Algo (1899-1955), a ballet master in the Royal Opera house in Stockholm 1931-1952, whose experience and education were from Theatertanz, and Swedish dance history about his works. Theoretically it is inspired by post-modern historiography (Jenkins, Munslow, White), queer theory (Sedgwick, Doty, Rosenberg) and research about masculinities in dance (Burt). The first chapter is an introductory survey of Algo’s career in Germany. It shows that in Duisburg Algo was recognized as a choreographer with ballet skills, and like other choreographers within German “Theatertanz” he tried to establish new styles through mixing old ballet and modern dance. The chapter also answers question about reception and about whom Algo cooperated with. The second chapter consists of seven analyses in which I deal with the “gusto” and “playfulness” of Algo’s works in Stockholm 1931-1938. These ballet productions are analysed with focus on the concept of queer and gender, also pointing out their good reception and that they in Stockholm were described as modern. Some of the male characters are suggested to be related to dandyism. The chapter also shows that anti-Semitism and scepticism against foreign influences were expressed in the theatre magazine Scenen [The Stage] and that it is relevant to assume that these articles influenced the development in the Opera house. The third chapter shows that Algo’s ballet productions in the book The Swedish ballet (Rootzén1945) was described from a view of classical ballet’s preferences. Now, in 1945, Algo's choreographies from the 1930 were dismissed as being of mixed-genre and lacking ballet skills. Although this chapter in the book was criticised by contemporary critics, it is obvious that it has been of great influence for authors of ballet history in the 2.nd half of the century.

Through an online survey conducted with Swedish high school dance teachers, the contents which make up the dance history course, a mandatory part of dance theory, is mapped out. The guidelines and regulations to which Swedish dance teachers must adhere when constructing the syllabus in the dance history course is broad, and by quantitative method, this study maps out areas where there is broad concurrence between respondents, and areas of greater disparity. By way of an intersectional perspective, the relative richness of historical background within, and among the different styles is brought into historical context. The theory Historical consciousness is used to analyse the consequences of the result in relation to the students’ opportunities to develop an identification with dance history. The result show broad similarities among the respondents, alluding to a general consensus of the contents of the dance history classes. The differences are found in how the individual styles of dance are taught, where hip hop to a greater extent lacks named historical persons, present in ballet and modern dance. Other findings are a predominance of men as named historical figures compared to women and a disproportional focus on the jazz’ early history compared to more contemporary movements.

“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.