This paper is an examination of how you as pedagogue can strengthen students self-esteem. I have acknowledge that there are possibilities to do this by the art of dancing. I want to with this paper to give a deeper understanding that shows of how you as a pedagogue can strengthen students self-esteem by using dance at junior level. To answer this question I have used this questions:- Can dance strengthen students self-esteem by the art of dancing and if that is so how can this be done?- What pedagogical attitude can be to an advantage when the goal is to strengthen students self-esteem.I have chosen to use ten qualitative interviews which brings up my questions at hand.

Mainstream contemporary phenomenology understands the phenomenology of movement and dance through ?the lived body? of Merleau-Ponty. This paper rather suggests a phenomenology of movement and dance based on an understanding through ?the danced body? with ability to meta-feeling. It is here argued that we need to use a phenomenology of dance to understand the phenomenon of movement whatsoever.

There is respect for the history of dance and my aim is to find out how the history affects the dancing youth today. The design of the dance lesson is often of a traditional stereotypical manner, both didactic and methodic, and it rarely appears to be questioned. I have danced for almost 20 years and I am a part of this tradition of movements, music, language and way of ?being?. My ambition with this study is to go outside my own experience and offer insight and an overall picture of a, for the outsider, closed world.

The essay is an effort to examine and define three examples of liminal dance performances through an aesthetic, hermeneutic and semiotic analysis. The examples are three dance or liminal performances, made by three different choreographers and performed at ?Moderna Dansteatern? and ?Dansens Hus? in Stockholm during September and October 2005. In the effort to determine the liminal and cross-over in the performances, the analysis focus on aspects such as: the character of the work, choreography, the use of scenery, stage light, requisites, conception of place and interior room, the use of costume and mask, the use of different media as text, pictures, film, and music or not using any these, and the interaction with the audience. The analysis depends on a historical background and the use of literature in the subject.

I work on a lighting design for a dance performance to be on tour. A lighting design adapted for three different conditions was made: - One comprehensive where I allow myself a great deal of creative freedom, adapted for the stages with major technical conditions. - One smaller version for stages with less equipment and with less time for preparation on site. - One design for very simple conditions. I also examine the specific differences between typical theatrical lighting design and typical dance lighting design, and the best way to prepare for the hands-on stage design phase..

The first main purpose of this essay is to describe the situation of young women today here in this part of the world concerning influences from commercial media.The second purpose with this essay is to investigate if dance could be used as a tool against all these sterotyped and superficial pictures and ideals in the industy of commersial media.With some questions I also want to get closer to the answer if dancing is a way for young women to get insight knowledge. I also describe women from dance history who experienced that dance filled them up with energy but also environment where there was oppression.This essay has a gender perspective.The methods are manly based on literature studies but information is also gathered from the Internet and from one film.My results are that dance is a very constructive way to give the young woman that force which is needed when meeting media pictures everywhere. It gives her self-confidence, body awareness, joy and strength in life..

The purpose of this work is to explore the artistic processes of an ensemble where a musician and one or more dancers play together, either by improvising or by interpreting music that is written for the ensemble. The main themes are about finding ways to work with written material and still keep the communication between the music and the dance alive. The author is also interested in finding ways of identifying himself in the medium of dance although he is a musician. The result of this work can be seen in this text and in the attached film material..

The purpose of this paper is to examine how the arrival of class society is expressed in the social dance of high society during the second half of the eighteenth century. The study is based on the idea that culture and society develope in interaction; that changes in the economic, political and social life determine the cultural expressions as well. What I wish to examine is whether cultural themes from the developing bourgeois culture ? individualism, to be precise ? is expressed in the social dance during the second half of the eigthteenth century. // The study shows that public balls definitely gave people a chance to show off on the dance floor in spite of social rank.

There is a common belief that the arts contain knowledge of creativity that can enrich the business world. Similarly, the arts are in need of additional support from the private sector and know-how of business practices. In short, there is a need for mutual understanding. With my background as a dancer paired with my studies at the Stockholm School of Economics I have taken the challenge of bringing the two worlds closer together. By changing a social system, like an organization, it is possible to get a better understanding of it.

Denna rapport är en reflekterande text som behandlar verket Dance 4 Romance. Spelet är skapat utifrån ett high-concept med fokus på att skapa ett spel där två olika genrer möts för att skapa en spännande och ny upplevelse. Arbete är baserat på en tidigare spelidé jag har haft. Texten och verket är ett resultat av mitt examensarbete under våren 2009 vid Högskolan i Skövde.Genom speltestning, undersökningar och feedback under arbetet med Dance 4 Romance har jag fått relevant information som behövts för att kunna ta fram ett intressant spelkoncept och som har hjälpt mig att kunna svara på min problemformulering.Slutsatsen är att det går att ta fram ett intressant spelkoncept genom att kombinera dansspel och äventyrsspel. Utmaningen ligger i att få till balansen mellan båda genrerna och att skapa en underhållande spelidé.

This report is a hermeneutic analytical study of a practical pedagogical situation. For three occasions I observed my own practice as a dance teacher and how a moment, choreographic approach in the governing documents for upper secondary school GY11 was executed in a group of dance students. The part is formulated in the course objectives for the courses on the arts program under the topic Dansgestaltning with focus on choreographic approach. The study is based on a socio-cultural thinking but also takes into account the prevailing gender theories and focuses on how the process of formulation level, through the transformation level is portrayed in the realization level of the dance regarding choreographic approach. The study illustrates educational research from both a dance perspective and a school development perspective.

ABSTRACTThis essay has as its main purpose to examine how teachers handle teaching in art, after the governments steeredocuments and goals to reach.To find out about it I have done interviews with four teachers. I have made a study of litterature to introduce some different teaching methods that is more or less meaningful and useable. The result of the examination was different from what I expected. The interviews showed that the four teachers work in varios ways after their own conditions. They have different experiences and also have different opinions about what is most important in the art teaching.

The purpose of the study is to examine and problematize how the ego affects musicians and dancers. Important factors that shape the ego is the artists educational background and experience within the artistic subjekt. Hence, the purpose is also to find out how these factors affecting the ego. I wanted other artists practitioners? thoughts on the subjekt, therefore I chose to interview four people, two musicians and two dancers.

Uppsatsen undersöker hur maskulinitet framställs i de två ungdomsromanerna Tusen gånger starkare och Dance on my grave. Den visar vilka olika maskuliniteter som representeras i romanerna och hur dessa konstrueras och bevaras med hjälp av gruppen, miljön och språket..

In search of a stage language that resonates in historical disciplines, I have explored the possibility to expand my performing arts through the language of Indian classical Odissi, through different forms of storytelling. In my work I have focused primarily on two projects inspired by the original scripts of Macbeth by William Shakespeare and Breaking Bad by Vince Gilligan. I have outlined examples of methods and techniques used in the process.The work also shows how Odissi has evolved from a religious and philosophical tradition of temple dance; into modern stage theatre performance.The work aims to connect Odissi with western performing art. In this process I have been using my own knowledge about Odissi as a tool in combining both the traditions, a fusion in action.I will physically examine the artistic idiom, the characteristics, the actions and deeds found in stylized Odissi imagery and symbols, traditionally used to embody mythological and epic stories. A rendezvous between East and West.