Browsing by Subject "nykytanssi"

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  • Moisio, Saara (2021)
    Purpose–This article examines how spectators describe their expectations of contemporary dance by referring to action. Through discussing a qualitative audience study, the article argues that spectators always have an expectation of being affected by performances they attend. This expectation can guide their interest in attending performances of certain genres instead of other possible ones on offer. Additionally, the article points out how spectators can actively manage their expectations in order to be affected. Design/methodology/approach–The study is based on 21 in-depth interviews with spectators at a dance venue, a company and a festival in Finland. The analysis of the interviews combines thematic analysis with metaphor analysis. Employing the paradigm of enaction and the concept of affordances, this article approaches expectations as embodied and dynamic, created in interactions between artists, producers and spectators. Findings–The analysis shows that when speaking about their expectations of performances, spectators use bodily and spatial metaphors. Focusing on metaphors reveals how, for the spectators, performances afford a possibility for action that affects them. The interviewed spectators describe that contemporary dance is“not set in its ways”, and therefore it keeps them“awake”and their thoughts do“not fossilize”. This way, they understand contemporary dance as a genre that affords a possibility to be affected by allowing a freedom of own interpretation and surprising experiences if they desire such. Originality/value–Concentration on the metaphors of language offers a deeper understanding of the active nature of spectators’ expectations. Understanding how spectators describe their expectations by referring to action that enables the shaping of their emotions and thoughts can help the development of arts marketing and audience engagement. Keywords: Expectations, Affordances, Enaction, Metaphor analysis, Contemporary dance, Qualitative audience research
  • Lehtipuu, Evianna (Helsingfors universitet, 2016)
    Tutkielman aiheena on sosiaalinen koreografia. Työssä selvitetään, mitä käsitteellä tarkoitetaan 2010-luvun Suomessa, kun aiempaa tutkimusta aiheesta ei juurikaan ole. Sosiaalista koreografiaa käsitellään työssä sekä käsitteenä että ilmiönä. Aihetta lähestytään laajasti tanssintutkimuksellisesta näkökulmasta, vaikka sosiaalisen koreografian ei välttämättä tarvitse olla tanssia. Aikalaistutkimuksena tutkimus maalaa kuvan siitä, minkälainen käsitys sosiaalisesta koreografiasta on tutkimuksen tekohetkellä. Tutkimus perustuu pitkälti primääriaineistojen hyödyntämiseen ja varta vasten kerättyyn aineistoon. Aihetta on lähestytty kahden esimerkkitapauksen kautta sekä valikoiduille tanssialan ammattilaisille suunnatulla kyselyllä, johon vastasi seitsemän vastaajaa eri puolilta Suomea. Esimerkkitapaukset ovat Favela Vera Ortizin Koreografin vastaanotto sekä Jenni Koistisen Minun nimeni on -projekti, joiden yhtymäkohtia muihin ilmiöihin analysoidaan ja sitä kautta hahmotetaan sosiaalisen koreografian piirteitä. Esimerkkitapausten pohjalta perusteella sosiaalinen koreografia on saanut vaikutteita koreografi Michael Klienin ja dramaturgi Steve Valkin ajatuksista, nykytanssiin vaikuttaneista ilmiöistä ja tekijöiltä, kuten paikkasidonnaisuus ja Judson Dance Theaterin koreografit, ja toisaalta yhteisötanssista ja soveltavasta taiteesta. Tutkimuksen perusteella sosiaalisen koreografian piirteisiin kuuluu laajentunut tekijyys ja demokraattisuus mutta myös ammattilaisuuden korostaminen. Tutkimuksessa tehdyn kyselyn perusteella käy selväksi, että sosiaalinen koreografia voidaan ymmärtää monella tavalla. Mikään yksittäinen toinen käsite ei kyselyn perusteella toimi synonyyminä sosiaaliselle koreografialle. Sosiaalista koreografiaa ei voi tunnistaa liikekielestä tai muusta ulkoisesta merkistä, vaan olennaiseksi nousevat tekijöiden intentio ja kysymyksen asettelu. Teoksiin ja projekteihin voi sisältyä ympäristön havainnointia tai ihmisten välisten suhteiden ja vuorovaikutuksen painottaminen. Sosiaalinen koreografia voidaankin hahmottaa paitsi suhteessa tanssin traditioon, myös laajemmin kehollisena ja liikkeellisenä yhteiskuntakritiikkinä.
  • Byström, Vilja (Helsingin yliopisto, 2020)
    This thesis investigates strategy formation and its use in the Saint Petersburg contemporary dance community. In Russia the 1920s was the golden era of contemporary dance, however, this period only lasted for a few years. As the development of the industries, modern and contemporary forms were hindered by political and societal changes. During these ambiguous times, only classical ballet and folk dance were widely accepted in the country. Still today, there is inequality in the Russian dance field between different genres since classical ballet as well as folk dance are provided government support both financially and through educational opportunities. As a result, restrictive policies and uncertainty appear in the everyday life of contemporary dance practitioners and they are part of a somewhat divided community. The main research question of this thesis is ‘How do actors in the Saint Petersburg contemporary dance industry understand their mission and what kind of strategies do they have in their use to pursue this?’. This study aims to understand their strategic planning processes; to identify the community’s current engagements in strategic management and how the actors utilize operational tools such as SWOT analysis or the inspection of goals and mission statements within the organizations. In addition, the study analyzes how these objectives can be transformed for the benefit of the industry. This research is a qualitative case study and its primary data are five semi-structured interviews conducted in Saint Petersburg in July 2019 with local contemporary dance practitioners and professionals. The materials are analyzed using applied thematic analysis and grounded theory. This study contributes to the theoretical discussions of strategic management in arts organizations and oversees how the power of a mission statement is understood and operational planning tools are used. There is still a need for actions in building sustainable infrastructure in order to ensure the continuation of financial support for contemporary dance. The main results of this research suggest that the organizations have become aware of the tools they need to use to influence and ensure the future of contemporary dance in Russia. An objective of the dance community is to increase individual engagement of contemporary dance in order to elevate this visibility of the discipline amongst decision-makers and new audiences. By not focusing on internal competition, the actors in Saint Petersburg can turn their skills into resources for the whole industry. This thesis will help to demonstrate the attempts of these professionals and the whole community and lastly, bring new topics of advocacy into discussion among the actors in the Saint Petersburg contemporary dance community, institutions and the whole cultural and creative sector in Russia.