This article focuses on the working conditions-including everything from the terms of employment ... more This article focuses on the working conditions-including everything from the terms of employment to the rehearsal situation-of freelance dancers and of dancers within companies. 1 My experience both as a freelance dancer and as a rehearsal director for ballet (repertoire) companies-with more stable institutional structures and dancers on longer contracts-will serve as a point of departure. I hope to uncover some procedures and methods in these different regimes and discuss how they might bear upon the future for dance as an arts field.
This article discusses and presents insights gained through the research project To let things un... more This article discusses and presents insights gained through the research project To let things unfold (by catching the centre) conducted by Jan Burkhardt and Cecilia Roos between 2016-2018 and financed by Stockholm University of the Arts. The research started with the pilot study Gestures of Exchange with us sharing an interest in how performers exchange methods during an artistic process and our aim was to explore different ways of articulating this process. In this study we realized that our interest was rather in how we can experience each other’s methods through sensation. This realization brought us into To Let Things Unfold (by Catching the Centre), a project in which we have been working on expanding the notion of sensation and practicing different ways in which experiences of sensation can be used as a material in choreographic processes. The questions we have asked ourselves are: What is the role of sensation in choreographic processes? In what ways are sensations exchanged...
The articles in this volume have grown out of a research project entitled “From Movement out of R... more The articles in this volume have grown out of a research project entitled “From Movement out of Reflection in Becoming: The Dancer and the Creative Process”, gathering both professional dancers and theoreticians, and funded by the Swedish Research Council. The overall goal of the project was to approach an understanding and a conceptualization of the artistic process of the dancer, taking the work in the creation of Ina Christel Johannessen’s choreographic piece NOW SHE KNOWS as a point of departure.
The focus was both that of the dancer from within the process, and that of external observers. These viewpoints were not deadlocked but rather aimed at an interaction and a dialogue between the theoretical and the practical levels. The research methods grew out of an at times quite intimate teamwork where the participants’ different approaches came to cross and intersect.
A number of issues were explored: How does the dancer work in the process where the dance takes shape? How does the understanding of a movement material shift through the actual performing of it? What is it to understand or experience a movement from the perspective of the performer? What is it to understand or experience a movement from the perspective of the spectator? What kind of body is the dancing body and how can it create a variety of meanings? Through what concepts are we to think the dancer’s practice and corporeality?
The anthology contains essays by Cecilia Roos, Anna Petronella Foultier, Chrysa Parkinson, Katarina Elam, Cecilia Sjöholm, and Iréne Hultman
Forskningsprojektet "Fran rorelse ur reflektion i tillblivelse: Dansaren och den konstnarlig... more Forskningsprojektet "Fran rorelse ur reflektion i tillblivelse: Dansaren och den konstnarliga processen" startade januari 20 I O med ett tre rigt forskningsstod fran Vetenskapsradet. Forskargruppen ...
In the spring of 2011, I posed a few questions to Chrysa Parkinson, upon reading some of her earl... more In the spring of 2011, I posed a few questions to Chrysa Parkinson, upon reading some of her earlier writings. The discussion between us developed into an email conversation that was revised with t ...
Bodies of Evidence focuses on the body and movement in bordering processes. It revisits current d... more Bodies of Evidence focuses on the body and movement in bordering processes. It revisits current debates on borders and bordering events linked to migration and mobility in Sweden and on a global le ...
This volume presents both theory- and practice-based approaches to questions concerning the embod... more This volume presents both theory- and practice-based approaches to questions concerning the embodiment of meaning. Exploring phenomena of “sense”, that is, the opening of meaning in sensible configurations, the texts also address the “medial” structures – at once aesthetic, bodily and technical – that condition our access to whatever makes sense to us. The texts show in various ways how the phenomena at issue call for a trans-disciplinary research that, side by side with theoretical or philosophical questioning, gains essentially from the innovative and experimental possibilities of artistic research.
In this article1 I am discussing how traditions are reenacted by dance revival and reconstruction... more In this article1 I am discussing how traditions are reenacted by dance revival and reconstruction. My starting point is the experience I have of restaging choreographic works by the Swedish choreographer Per Jonsson (1956-1998), of whose artistic production I am in charge. Through examples from working with repertoire, I will develop my thoughts around how new interpretations of a movement material reformulate the tradition and inform the present. I will also discuss how dancers of today are researching and developing new methods for processing a movement material. This in turn leads to new ways of dealing with quality, dynamics and timing in reconstruction of a written material.
This article focuses on the working conditions-including everything from the terms of employment ... more This article focuses on the working conditions-including everything from the terms of employment to the rehearsal situation-of freelance dancers and of dancers within companies. 1 My experience both as a freelance dancer and as a rehearsal director for ballet (repertoire) companies-with more stable institutional structures and dancers on longer contracts-will serve as a point of departure. I hope to uncover some procedures and methods in these different regimes and discuss how they might bear upon the future for dance as an arts field.
This article discusses and presents insights gained through the research project To let things un... more This article discusses and presents insights gained through the research project To let things unfold (by catching the centre) conducted by Jan Burkhardt and Cecilia Roos between 2016-2018 and financed by Stockholm University of the Arts. The research started with the pilot study Gestures of Exchange with us sharing an interest in how performers exchange methods during an artistic process and our aim was to explore different ways of articulating this process. In this study we realized that our interest was rather in how we can experience each other’s methods through sensation. This realization brought us into To Let Things Unfold (by Catching the Centre), a project in which we have been working on expanding the notion of sensation and practicing different ways in which experiences of sensation can be used as a material in choreographic processes. The questions we have asked ourselves are: What is the role of sensation in choreographic processes? In what ways are sensations exchanged...
The articles in this volume have grown out of a research project entitled “From Movement out of R... more The articles in this volume have grown out of a research project entitled “From Movement out of Reflection in Becoming: The Dancer and the Creative Process”, gathering both professional dancers and theoreticians, and funded by the Swedish Research Council. The overall goal of the project was to approach an understanding and a conceptualization of the artistic process of the dancer, taking the work in the creation of Ina Christel Johannessen’s choreographic piece NOW SHE KNOWS as a point of departure.
The focus was both that of the dancer from within the process, and that of external observers. These viewpoints were not deadlocked but rather aimed at an interaction and a dialogue between the theoretical and the practical levels. The research methods grew out of an at times quite intimate teamwork where the participants’ different approaches came to cross and intersect.
A number of issues were explored: How does the dancer work in the process where the dance takes shape? How does the understanding of a movement material shift through the actual performing of it? What is it to understand or experience a movement from the perspective of the performer? What is it to understand or experience a movement from the perspective of the spectator? What kind of body is the dancing body and how can it create a variety of meanings? Through what concepts are we to think the dancer’s practice and corporeality?
The anthology contains essays by Cecilia Roos, Anna Petronella Foultier, Chrysa Parkinson, Katarina Elam, Cecilia Sjöholm, and Iréne Hultman
Forskningsprojektet "Fran rorelse ur reflektion i tillblivelse: Dansaren och den konstnarlig... more Forskningsprojektet "Fran rorelse ur reflektion i tillblivelse: Dansaren och den konstnarliga processen" startade januari 20 I O med ett tre rigt forskningsstod fran Vetenskapsradet. Forskargruppen ...
In the spring of 2011, I posed a few questions to Chrysa Parkinson, upon reading some of her earl... more In the spring of 2011, I posed a few questions to Chrysa Parkinson, upon reading some of her earlier writings. The discussion between us developed into an email conversation that was revised with t ...
Bodies of Evidence focuses on the body and movement in bordering processes. It revisits current d... more Bodies of Evidence focuses on the body and movement in bordering processes. It revisits current debates on borders and bordering events linked to migration and mobility in Sweden and on a global le ...
This volume presents both theory- and practice-based approaches to questions concerning the embod... more This volume presents both theory- and practice-based approaches to questions concerning the embodiment of meaning. Exploring phenomena of “sense”, that is, the opening of meaning in sensible configurations, the texts also address the “medial” structures – at once aesthetic, bodily and technical – that condition our access to whatever makes sense to us. The texts show in various ways how the phenomena at issue call for a trans-disciplinary research that, side by side with theoretical or philosophical questioning, gains essentially from the innovative and experimental possibilities of artistic research.
In this article1 I am discussing how traditions are reenacted by dance revival and reconstruction... more In this article1 I am discussing how traditions are reenacted by dance revival and reconstruction. My starting point is the experience I have of restaging choreographic works by the Swedish choreographer Per Jonsson (1956-1998), of whose artistic production I am in charge. Through examples from working with repertoire, I will develop my thoughts around how new interpretations of a movement material reformulate the tradition and inform the present. I will also discuss how dancers of today are researching and developing new methods for processing a movement material. This in turn leads to new ways of dealing with quality, dynamics and timing in reconstruction of a written material.
Uploads
Papers by Cecilia Roos
The focus was both that of the dancer from within the process, and that of external observers. These viewpoints were not deadlocked but rather aimed at an interaction and a dialogue between the theoretical and the practical levels. The research methods grew out of an at times quite intimate teamwork where the participants’ different approaches came to cross and intersect.
A number of issues were explored: How does the dancer work in the process where the dance takes shape? How does the understanding of a movement material shift through the actual performing of it? What is it to understand or experience a movement from the perspective of the performer? What is it to understand or experience a movement from the perspective of the spectator? What kind of body is the dancing body and how can it create a variety of meanings? Through what concepts are we to think the dancer’s practice and corporeality?
The anthology contains essays by Cecilia Roos, Anna Petronella Foultier, Chrysa Parkinson, Katarina Elam, Cecilia Sjöholm, and Iréne Hultman
The focus was both that of the dancer from within the process, and that of external observers. These viewpoints were not deadlocked but rather aimed at an interaction and a dialogue between the theoretical and the practical levels. The research methods grew out of an at times quite intimate teamwork where the participants’ different approaches came to cross and intersect.
A number of issues were explored: How does the dancer work in the process where the dance takes shape? How does the understanding of a movement material shift through the actual performing of it? What is it to understand or experience a movement from the perspective of the performer? What is it to understand or experience a movement from the perspective of the spectator? What kind of body is the dancing body and how can it create a variety of meanings? Through what concepts are we to think the dancer’s practice and corporeality?
The anthology contains essays by Cecilia Roos, Anna Petronella Foultier, Chrysa Parkinson, Katarina Elam, Cecilia Sjöholm, and Iréne Hultman