Examensarbete 15 hp. Lärarexamen

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Uppsatsen ämnar undersöka processen kring skapandet av ett kulturarv, detta görs utifrån analys av föreningen Svenska Ungdomsringen för Bygdekulturs tidning Hembygden. Uppsatsen undersöker i huvudsak hur folkdansen beskrivs i Hembygden. Det görs med utgångspunkt i Stefan Bohmans modell över hur kulturarv skapas samt med nationalistiska tankegångar som nationalismens Janusansikte. Slutsatsen visar att föreningen med sin verksamhet försökte skapa ett kulturarv av folkdans.

The use of motion capture, virtual reality and 3D animation are widely used within the entertainment sector, and simulation for training in a variety of industries. As the knowledge and technology for digital visualizations are continuously improving, the interest and areas of application are growing as well. An increasing amount of research has been conducted lately within the area of application for dance and dance pedagogy, and this study aims to investigate the possibilities that are within this area of visualizations for dance. We prepared a simple visualization prototype using recorded motion capture data of two dancers. In the next stage, participants got to discuss the prototype in an interview format. Based on the data gathered from the interviews, we could conclude some opportunities, limitations and areas of application for dance visualizations using motion capture. The conclusion was that motion capture has many opportunities to be used as a tool in dance education, given that the visualizations are done with enough level of detail This study is laying a foundation for continued research within the area, and gives an idea of the current interest among dancers who are active in dance education. / Användningen av motion capture, virtual reality och 3D animering är vida använt inom underhållningsbranschen och simulering som träning inom olika branscher. Medan kunskapen och tekniken inom digitala visualiseringar fortsätter utvecklas, så ökar även intresset och applikationsområdena. På sistone har mer forskning inom applicering på specifikt dans och danspedagogik gjorts, och den här studien fortsätter undersöka möjligheterna som finns inom området. Genom att ta fram enkla visualiseringar av dans inspelat med motion capture, användes detta som material som deltagarna i studien fick diskutera kring under en intervju. Utifrån dessa kunde slutsatser dras kring de användningsområden deltagarna såg med visualiseringarna, samt möjligheter och begränsningar. Slutsatsen var att motion capture har stora möjligheter för att fungera som ett verktyg i dansundervisning, om visualiseringarna görs tillräckligt utförliga och detaljerade. Den här studien lägger en grund för fortsatt forskning inom området och ger en bild av det nuvarande intresset bland dansare som har undervisning och pedagogik inom dans som sysselsättning.

This study aims to investigate how dance teachers who are educated in Swedish folk dance are reflecting and thinking over the body and the use of bodily self-awareness in their teaching. Furthermore it wants to examine whether the use of somatic principles can act as a tool to support the ideas which dance teachers express. Four folk dance teachers have been interviewed as qualitative empirical material. These interviews have been transcribed and analyzed using codes and categories. The result of the study provides an image of the body as it is seen in folk dance today and points out similarities between that picture and somatics. Folk dance and somatics treat the whole body as a single unit and strive towards a relaxed and functional way of moving. Since folk dance and somatics have these similarities the possibility of using somatic principles in folk dance, such as training to gain consciousness of the body and its different parts to be able to relax actively, is discussed. However the result of this study shows how a rather small part of folk dance teachers think, since it only provides the opinions of four different teachers.

Denna uppsats handlar om folkkulturens mening och dess relation till nationalism. Högerradikala partier prioriterar frågor om kultur och vill bevara traditioner och återvända till ett etniskt homogent Sverige. Kaminsky menar att folkkulturen per definition är kopplad till nationalism genom sin relation till historia och önskan om att bevara. Men samtidigt demonstrerar utövare av folkkultur mot nationalism. Det tycks finnas en konflikt om folkkulturens mening och därför är syftet med denna uppsats att närmare undersöka hur meningen av folkkultur konstruerats diskursivt i samhällsdebatten och inom folkmusik- och folkdansrörelsen. För att besvara syftet har 6 intervjuer genomförts och analyserats tillsammans med två dokumentärprogram och 15 debatt-, och nyhetsartiklar, onlinematerial såsom hemsidor och inlägg i Facebookgrupper, samt en del direkta inblickar i fältet i form av etnografiska observationer. Jag har använt mig av Laclau och Mouffes diskursteoretiska perspektiv för att analysera hur mening konstrueras diskursivt och kampen om mening som enligt detta perspektiv är att betrakta som politisk. För att analysera den affektiva dimensionen av denna kamp har jag använt mig dels av psykoanalytiska bidrag om njutande och fantasier och dels av Ahmeds sätt att förstå känslor som sociala och analysera vad känslorna gör. Analysen har visat att folkkulturens mening är mångtydig och präglas av en konflikt. En del utövare försöker genom att betona genrens ständiga föränderlighet och öppenhet undkomma eller utmana en nationalistisk användning och meningskonstruktion. Samtidigt finns inom fältet också traditionsbärare eller bevarare, vars synsätt på bevarande på vissa sätt kommunicerar med en nationalistisk nostalgi. De utmanar istället den nationalistiska diskursen genom att konstruera folkkulturen som inkluderande och intresset för den egna kulturen som en del av en öppenhet för andras.

How can articulating dance in practice, problematize the notion of an expanded concept of choreography at Stockholm University of the Arts? What approaches are needed to make different perceptions of dance as phenomena contribute to the development of the field? These are the questions of the study and they are examined through dancing. The examination builds upon a relation between comprehension and constitution, and the question, if we ever are comprehended? Placing my dancing body in center of the research gave rise to a position which yielded the required perspective. When dancing, the stance of “representing a genre” was assumed, taken and explored concretely, “folkdance”within the context of Stockholm University of the Arts. Researching by dancing allowed for the exposition of the practice so that it could be reflected upon with someone else. Five meetings in the dance studio facilitated the articulation of practices and approaches through the process of learning from an other. Moving in theoretical circles through different realms and allowing these circles to intersect in practice, the work achieves its critical point of view in relation to choreography and the field of dance. The expanded notion of choreography is critiqued using theories which deals with ideas of universal practice and exclusion. The work looks for a constructive way to fill an empty space that is perceived within the epicenter of the expansion. It fills this space with dance and works with choreography as a critical practice that acknowledges the specific and intense physical work which must be invested by any body in order to find a way of being in the world. In maintaining an ambivalent relation to the practice there is an urge, to move on in dance through choreography, to find ways in which agency can constitute the subject within discursive context, and to reflect upon aesthetic, political and pedagogical consequences of the ideas that arise. By searching for further ways to articulate difference in dance, the study contributes to the field of contemporary dance pedagogy.

The Relevance of Dance in Folk Music Education The aim of this study was to investigate why and how dance and dance teaching can be relevant in educational programmes in folk music in Sweden. Many of these programmes include dance within them and that fact, in combination with my observation that there is an underlying cultural assumption that dance and music belong together, inspired this research. I wished to look at the function of dance within folk music programmes, and music teachers’ observations of how dance affects their students’ playing. The study has been conducted through qualitative interviews with four music teachers from different institutions, covering three themes: the purpose(s) of including dance in this kind of education, if and how they can see that the students have use for the dance knowledge in their playing, and how they look at the connection between dance and music in this genre. The result shows that there are several reasons for teaching dance as a part of educational programmes in folk music and also that the music teachers themselves use references to dance in their music teaching. These reasons can give dance pedagogues information about how some music teachers think dance is relevant and can be used in the planning of dance teaching. In conclusion, there is a discussion of how this study can be a part of understanding and developing pedagogy within the folk music genre.

This study aims to examine how the phenomenon of connection in Swedish folkdance is experienced and formulated by dancers. Connection is a big part of all couple dances, yet not many have concrete descriptions of it. The empirical data comes from two practical workshops with a focus group in which the participants got to dance and then directly discuss or write down their thoughts. The analysis of the material, which consists of notes and recordings, results in five themes: physical touch and its role in connection, metaphors and inner pictures of connection, technical aspects to create connection, a biomechanical approach and dancing in relation to one’s dance partner. In addition to those themes, the study generates perspectives with which the topic can be studied further. The biomechanical perspective can help understand the logics and functions of a couple dance and the metaphorical perspective appeals to the intuitive part of learning. This study is performed in a Swedish folk dance context but might be relevant to other couple dances as well, both to see similarities and differences in how the topic of connection is taught and discussed in the respective contexts.

This thesis is based on my own experiences of dancing Halling, a type of folk dance. Halling is commonly referred to as a male or masculine dance. This has been entangled in the problems I have had with the dance, as I have felt uncomfortable performing all the movements to their full extent. Therefore, I have researched my experiences of this dance through a practical study with a focus on specific movements that I have struggled with. Combining the findings of my practical study with theories about feminism, gender and masculinity has shown me that, while my problem is complex, it is nevertheless possible to structure into two parts of my own understanding. The first part concerns the movement that make up the dance. Through my research I was able to deal with some of the problems that I had with specific movements, and this led me to the conclusion that the movements of Halling in themselves do not have to be problematic in a gendered way. The second part concerns Halling within its context, and the way that its representation and the expectations surrounding it affect me and my dancing. The study has also shown me that being a pedagogical role model is a very complex situation where it is not only important for me to be aware of the choices I make but also the person I am in the teaching situation. / <p>En video presenterades även i samband med examination av arbetet och innehas av författaren.</p>