Editorial

<abstract xmlns="http://www.w3.org/1999/xhtml">The aim of this article is to explore embodied practices of memory in Strindberg’s drama <italic>A Dream Play</italic> from a dance perspective. It is demonstrated that a profound exploration of this hitherto underexplored perspective can provide a fuller and more critically productive understanding of the drama. Even if in recent years international Strindberg studies has moved away from narrowly text-oriented and biographical approaches to his work, and toward multimedia, visual and multisensory aspects of it, dance and choreography are still rare topics within the field. In the article we first look at how Strindberg employed dance in the dramatic text for <italic>A Dream Play</italic>, and then expand on his dance contexts. Thirdly, we turn to a TV version of <italic>A Dream Play</italic> from 1980 to explore in particular how the waltz, an immensely popular dance form in Strindberg’s time, evokes and embodies cultural memories in the production. What is presented in the article draws on and further expands our work within the project «Dream-playing across borders: accessing the non-texts of Strindberg’s A Dream Play in Düsseldorf, 1915–18 and beyond», at the University of Gothenburg.</abstract>

Waltzing with Strindberg: Exploring Practices of Memory in A Dream Play

<abstract xmlns="http://www.w3.org/1999/xhtml">The participatory dance performance <italic>STEHBLUES</italic> was created by the duo of Ninel Çam (an artist) and Chris Schaal (a filmmaker), who travel to different cities, mark a 2m x 2m area in a public space, and display an illustrated sign that lets passersby know that they can dance with the standing-and-waiting artist if they want. Chris Schaal documents the performances through still images and videos. Moving images are live-streamed to the World Cafe in Stuttgart.In <italic>STEHBLUES</italic>, the artist stands in the midst of the marked field in a public space, waiting until a stranger is willing to slow-dance with her. As soon as someone volunteers, a relationship is created in this sphere of dance and becomes an ephemeral part of the city, of the culture, of the world. <italic>STEHBLUES</italic> travels to different cities that have invited this project to be part of their culture or to cities with which the artists feel a connection.</abstract>

Stehblues–Do You Want to Dance with Me?

Cracking Circles

<abstract xmlns="http://www.w3.org/1999/xhtml">In 2016, I published a book in Danish ‘Koreografens blik – En performativ koreografisk metode til skabelse af en interkulturel forestilling’. This article is a short presentation of this book. The book qualifies the choreographer’s view, that is, it examines and articulates the choreographic process from idea to product. Because of my dual role as choreographer and scholar, my analysis takes practice-based research and artistic research as its points of departure. On the basis of courtship dances, I have created an intercultural dance performance entitled ‘Sommerfuglen’ (‘The Butterfly’). The performers are dancers and musicians from Tanzania, Vietnam and Denmark. Courtship dances have a ritual status in all three cultures. I analyse the translocal process of the development of an intercultural dance performance in which local Tanzanian courtship dance features are analysed. The focal point of the translocal analysis are artistic and social practices that support the dance performance. What changes occur from translocal practice and/or dialogue? How can they be used in a global dialogue? The theories and methods used to analyse performative choreographic practice have their origins in performative anthropology, performance studies and theories of performativity.</abstract>

The Choreographer’s View

How Artistic Research Becomes Public

AHEAD OF PRINT

Volume 15 (2024): Issue 1 (June 2024)

Volume 14 (2023): Issue 2 (December 2023)

Volume 14 (2023): Issue 1 (June 2023)

Volume 13 (2022): Issue 2 (December 2022)

Volume 13 (2022): Issue 1 (June 2022)

Volume 12 (2021): Issue 2 (December 2021)

Volume 12 (2021): Issue 1 (June 2021)

Volume 11 (2020): Issue 2 (December 2020)

Volume 11 (2020): Issue 1 (June 2020)

Volume 10 (2019): Issue 1-2 (December 2019)

Volume 9 (2018): Issue 2 (December 2018)

Volume 9 (2018): Issue 1 (June 2018)

Volume 8 (2017): Issue 2 (December 2017)

Volume 8 (2017): Issue 1 (June 2017)

Volume 7 (2016): Issue 2 (December 2016)

Volume 7 (2016): Issue 1 (June 2016)

Volume 6 (2015): Issue 2 (December 2015)

Volume 6 (2015): Issue 1 (June 2015)

Volume 5 (2014): Issue 2 (December 2014)

Volume 5 (2014): Issue 1 (June 2014)

Volume 4 (2013): Issue 2 (December 2013)

Volume 4 (2013): Issue 1 (June 2013)

Volume 3 (2012): Issue 2 (December 2012)

Volume 3 (2012): Issue 1 (June 2012)

Volume 2 (2011): Issue 1 (December 2011)

Volume 1 (2010): Issue 1 (December 2010)

Nordic Journal of Dance

 Nordic Journal of Dance – practice, education and research was established in 2010 within a network called DENN: Dance in Education Nordic Network  The goals and values of DENN are:  “Bringing together expertise across borders, sharing ideas about pedagogical strategies and concrete methods, promoting exchange in dance teacher training across the Nordic countries, promoting dialogue, opening doors and collaborating.”  The DENN network aimed at establishing a Nordic Journal of dance practice, research, containing both peer reviewed research articles, and practice related articles from the field of dance in education in general, in a Nordic context. Nordic Journal of Dance is thus a Nordic collaboration between researchers within dance, dance history, pedagogy, artistic research and more, connected to relevant institutions in all the Nordic countries. These researchers are all represented in the editorial board.  The purpose of the journal is to: Develop the quality of dance practice, education and research in the Nordic context. Exchanging experiences and knowledges in the doing, learning and teaching of dance/movement. Strengthening the Nordic perspective on movement, dance and education. Giving researchers a place to present their work and increasing the quality of publications within dance research.  Nordic Journal of Dance represents one of very few opportunities for researchers to publish their work. It is the only journal focusing on dance research in a Nordic context. Our impression is that it has a substantial impact. NOFOD – Nordic Forum for Dance Research is also a collaborator, having two representatives in the editorial board.  Archiving  Sciendo archives the contents of this journal in Portico - digital long-term preservation service of scholarly books, journals and collections.  Plagiarism Policy  The editorial board is participating in a growing community of Similarity Check System's users in order to ensure that the content published is original and trustworthy. Similarity Check is a medium that allows for comprehensive manuscripts screening, aimed to eliminate plagiarism and provide a high standard and quality peer-review process. 