Denna studie behandlar hur dansbaserad gruppträning kan utmana rådande heteronormer inom motionsidrotten. I dagens samhälle finns en tydlig hälsoklyfta inte bara mellan kvinnor och män utan även mellan de som faller in under heteronormen och de som bryter mot den. HBTQ-personer saknar arenor för fysisk aktivitet där de känner sig trygga och välkomna vilket leder till att träningen uteblir och en negativ inverkan på deras fysiska , psykiska och sociala hälsa.  Genom en autoetnografi har jag som forskare använt queerteorin för att utmana heteronormativa stereotyper vid skapandet av ett gruppträningsbaserat danspass. Under den kreativa processen har jag fört dagbok och reflekterat över de val som gjorts. Danspasset är inspirerat av modern dans och poängen har varit att hitta koreografier som upplevs könsneutrala eller åtminstone utmanande av heteronormen. Fokus landade på en pedagogik som motarbetade det heteronormativa och som med rörelser utmanade stereotypiska könsindelningar som maskulint eller feminint. Resultatet av studien pekar på att en symbios av innehåll, rörelser, pedagogik och musik behövs för att lyckas utmana heteronormerna. Dansbaserad gruppträning influerad av modern dans ökar, mer än andra dansformer, möjligheten att skapa dansträning med en känsla av könsneutrala rörelser där tillfällen att leka med könsuttryck finns. Studien visar även att instruktörens inställning till heteronormer kan uppmärksammas och justeras med enkla medel. Jag anser att det trots tydliga ramverk för skapandet av gruppträning är möjligt att producera ett gruppträningsbaserat danspass som utmanar heteronormen och på så vis blir välkomnande och öppet. Det kan locka HBTQ-personer och heterosexuella män att våga delta utan att känna sig dömda eller bortgjorda.  Vidare anser jag att det behövs mer kvalitativ forskning inom området för att ytterligare stärka behovet av förändring och utmaning av samhällskonstruktioner och heteronormer. / This study deals with how dance-based group training can challenge prevailingheteronormativity in exercise. In today's society there is a clear health gap not only betweenwomen and men but also between those who fall under the heteronormativity and those whobreak it. LGBTQ people lack arenas for physical activity where they feel safe and welcomed,which leads to training failing and a negative impact on their physical, mental and social health. Through an autoethnography, as a researcher, I have used queer theory to challengeheteronormative stereotypes when creating a group exercise-based dance session. During thecreative process, I kept a diary and reflected on the choices that were made. The dance pass isinspired by modern dance and the point has been to find choreographies that are perceived asgender neutral or at least challenging by the heteronormativity. The focus landed on a pedagogythat countered the heteronormative and that with movements challenged stereotypical genderdivisions such as masculine or feminine. The results of the study indicate that a symbiosis of content, movement, pedagogy and musicis needed to successfully challenge the heteronormativity. Dance-based group traininginfluenced by modern dance in relation to other dance forms increases the opportunity to createdance training with a sense of gender-neutral movements where there is the opportunity to playwith gender expressions. The study also shows that the instructor's attitude to heteronormativitycan be noticed and adjusted with simple means. I believe that despite a clear framework for the creation of group training, it is possible toproduce a group training-based dance pass that challenges the heteronormativity and thusbecomes welcoming and open. It can attract LGBTQs and heterosexual men to dare toparticipate without feeling judged or lost. Furthermore, I believe that more qualitative research is needed in this area to further strengthenthe need for change and challenge of social constructions and heteronormativity.

Ordet formspråk återkommer i flera kursplaner i det estetiska programmet med inriktning dans. Men inom modern release-baserad golvteknik, som undervisas på flera gymnasieskolor i Sverige, finns det mycket lite forskning om vad detta kan innebära.  Syftet med denna studie är därför att analysera likheter i rörelser som undervisas på golvnivå inom stilen releaseteknik för att diskutera vad begreppet grundläggande formspråk inom modern release-baserad golvteknik kan innebära.        Metoden som används är videoobservation och kvalitativ innehållsanalys. Fyra filmer från användarplattformen YouTube analyseras. Vid analysen tillämpas en modell inspirerad av Labans rörelseanalys. Teoretiska perspektiv som tyst kunskapande, kunskap i handling och reflekterande praktik används för att ytterligare förstå empirin. Resultatet visar 30 rörelselikheter uppdelade i tre teman och sju kategorier som kan användas både som en checklista för rörelser att lära ut i klassrummet och som ett ramverk för utforskande av dynamiska kvaliteter. Exempel på olika sätt att förmedla rörelselikheterna ges, underbyggda av tidigare forskning.   Slutligen diskuteras resultaten utifrån synen på dans som tyst kunskap och vad bristen på ett gemensamt språk kan innebära. Samt vikten av att förstå begreppet formspråk både som en estetik och ett utforskande hos eleverna.

This thesis aims at identifying and exploring properties and design aspects of human movement when used as interaction modality between people and technology. The work has been carried out with a multidisciplinary approach and combines theories, methods and practices from various areas such as modern dance, pedagogy, behavioural science, human computer interaction and research through design. The research question asked in this work is: Which communicative aspects and properties of human full-body movement are important when designing for movement-based interaction, and how could such design be accomplished? This question has been dealt with through carrying out an explorative study of people experiencing dance-based human movement. The informants used were participants on a dance course called Physical Expression. On the basis of this study the following aspects of human movement were identified and discussed: Movement imitation, Movement generation, Natural movements, The meaning of movement, Personal space, Self-confidence, and Movement literacy. These notions were further explored, in relation to movement-based interaction design, through the design and implementation of an interaction concept and a research prototype called BodyBug. BodyBug can be described as an artefact that initiates and maintains bodily movements through its need to be fed with movement input. It gives the users a possibility to create and explore three-dimensional movements within a personal interaction space, both individually and in groups. BodyBug is a small device but does not necessary create small-scale interaction and movements The main findings from this research can be summarised in four theoretical notions that are related to human movement as a dynamic and communicative process: Movement Literacy, Personal Interaction Space, Imitate-React-Express and Social Acceptability. These notions reflect aspects of human movement such as the ability to verbalise, describe, sense and express intentions through human movement; the physical and emotional space we create when moving; the naturalness and understanding of movement; and finally, the social impact of movement. The design and implementation process of the interaction concept exemplifies how we can apply knowledge and physical experiences of human movement in concrete design for movement-based interaction. The design process of BodyBug is therefore described as a holistic design process. It also argues for the importance of, and need for, multidisciplinary competencies and contributions throughout the whole design process. This work has shown that making use of movement as interaction modality means to provide possibilities for getting to know one’s own movement pattern and thus utilising the kinaesthetic sense and kinaesthetic awareness. However, since movement-based interaction is still in its early phase, we need more experiences and physical examples of this kind of interaction in order to develop an increased knowledge of human movement as design material. We also need to further investigate how movement-based interaction is experienced, and to continue the search for the essence and physical grounding of human movement in relation to technology and computational artefacts. Some of the biggest challenges are to design for movement-based interaction without loosing the aspects of individual preferences and differences in movement, and to preserve the spontaneity and ambiguity in human movement. As shown in this thesis, one approach to deal with these issues is to design for the pleasure of motion. / <p>QC 20100913</p>

In this master’s thesis, the dance artist Adorée Villany's hitherto unexplored performances in Sweden 1914–1920 have been reconstructed and interpreted. Villanys naked dance aroused both interest and a lively debate in the Swedish press. She labelled her art “Reform Dance” and thus formed a part of the emerging modern dance movement. By moving beyond the morality debate surrounding her performances, visual and performative aspects of her dances and photographs are made visible.    In her art, Villany strived to bring dance forms from ancient culture to life. Her embodiment of images from ancient Egypt can be understood employing Warburg's concepts Pathosformula and Nachleben, explaining how art works through artistic imagery and form can resurrect emotions from another time. Villany's dance piece Salome’s dance has been reconstructed and analysed through a joint reading of the source materials film, texts and photographs. Here, Warburg's concept of Denkraum was proven productive as a theory and method.

In this essay the research question; “How is the body movement de ned in times of democracy due to technology? “will be explored. e process will include a theoretical research on the de nition of democracy in relation to digitalization. e outcome of this project will be in the form of a performance with a con- temporary dancer. e purpose of this project will be to invite the audience to question the limitations and freedoms the digitalized world imposes on our political system and our body movement.