Nurturing as an active Stance of Care and Resistance
(2025)
author(s): Asrafun Nahar Ruhin
published in: Research Catalogue
- Research document of the Royal Academy of Art, The Hague, 2025
- Master Artistic Research
This research begins with memories of monsoon rains in my hometown, stray dogs disappearing after municipal “relocations,” and the recurring ache of loss. These personal moments ground a broader inquiry into nurturing as an active form of care and resistance. Positioned within artistic practice, nurturing emerges not as passive sentiment but as embodied engagement with both human and more-than-human worlds.
Structured through three interconnected acts—re-assembling, re-cognition, and refusal—the work examines how care often collapses under human-centered hegemony yet persists as a regenerative force in creative practice. Reflecting on feminist theorists such as María Puig de la Bellacasa and Gloria Anzaldúa, the study critiques the violence of anthropocentric agencies, where more-than-human beings are used as utility or resources. Through case studies of Dominique White’s shipwreck forms, Maksud Ali Mondal’s installations, and my own ritual work with termite mounds, this research explores how material practices can restore hidden labor, amplify muted voices, and resist extractive narratives.
This research embraces diverse complexity, uncertainty, and situated approaches above linear solutions. It focuses on practices like Bengali women’s ephemeral crafts and collective practices like the Gram Art Project to center marginalized ways of knowing. In doing so, it reimagines art as an ethico-political negotiation. It is an act of attunement to grief, land, and layered histories.
Rather than offering closure, this research stays with the trouble. Nurturing becomes a subtle, subversive, and ongoing dialogue within existing dominant hegemony. It allows working with exploited things, collective grief, and discluded concerns. In an era of clichéd ecological concern, nurturing is not a static ethic, but a resistance lies within contentious mundane rituals that fertilize a ruined soil.
The E(c)lect(r)ic Guitar in The Mechanical Forest
(2025)
author(s): Vidar Schanche, Per Zanussi, Jonas Howden Sjøvaag
published in: University of Stavanger
Abstract
The E(c)lect(r)ic Guitar in The Mechanical Forest is my investigation into how to expand my improvisational palette as an electric guitarist, by working with compositional techniques and concepts used in composed contemporary western art music. In my work, I have focused on incorporating movement, microtonality, as well as multimedia composition techniques and application of technology, both in the performance as well as in the creative process. A key focus of my artistic practice has been exploration of the transcorporeal nature of my relationship with the guitar. This has resulted in creative work which has grown from a deep focus on the materiality of the guitar and the visual, tactile (touch) and kinetic (movement) aspects of sound production.
Research Questions
1 How can I use compositional techniques and concepts from contemporary composed western art music to expand my palette as an improvising guitarist?
2 How can I transfer musical techniques and concepts, which often are used in a strictly predetermined environment, to a musical situation where improvisation is an important element in the performance.
3 How can I reconfigure/extend the electric guitar, and how can the reconfigured/extended guitar reshape the way I create and perform music?
Minnekommisjonen: dokumentasjon
(2025)
author(s): Andreas Røst
published in: University of Agder, Faculty of Fine Arts
Digital dokumentasjon av utstillingen Minnekommisjonen
Sonidos de la tierra Sesión 01
(2025)
author(s): Paola González-Vargas
published in: Research Catalogue, CIDEA, Universidad Nacional
En la sesión 01, que se realizó el 02 de mayo de 2022 experimentamos con la transformación de datos sismográficos desde el registro sonoro, creando dos audios para realizar una instalación inmersiva de sonido.
Dance pedagogical practices in contemporary times: a new BA in Dance Pedagogy
(2025)
author(s): Camilla Reppen
published in: Research Catalogue
The Bachelors’s Programme in Dance Pedagogy at Stockholm University of the Arts, Sweden, have gone through a major restructuring leading to an updated program, on demand by students and staff.
This exposition gives you an overview of the process of changing the program during the years 2020 - 2023. It guides you through the phases of the change project, highlights documents governing and forming the changes made, and links to research that were conducted during the project period and that deepened the knowledge created through the change process.
Our first step was to listen into the field’s concerns and ideas about dance education today. We scanned the field for signals of change and created a collaborative map of dance pedagogical practices in contemporary times. From this map we derived design principles and scenarios for a new BA in Dance Pedagogy. After a workshop series with students of the department, it was decided that the new program should be based on the hybrid research methodology A/R/Tography. A new educational plan and course plans were created for the new BA. Courses corresponding to the positions as artist, researcher, and teacher of A/R/Tography were developed for the program, and dance genre specific courses were also created. All new courses of the program combines theory and practice, and students are prepared for a changing and complex work life combining artistic, teaching and researching practice.
This exposition is part of the peer-reviewed article: Østern, T. P., Reppen, C., O’Connell, S., & Daneberg, M. (2025). Choreographer/researcher/teacher: Developing a/r/tography as an approach to dance pedagogy at Stockholm University of the Arts in a professional learning community of teachers. Nordic Journal of Art & Research, 14(2). https://doi.org/10.7577/ar.5460
På tvers av grenser - et kunstnerisk utviklingsarbeid med inspirasjon i folkemusikken fra Balkan
(2025)
author(s): Marko Mitrovic
published in: University of Agder, Faculty of Fine Arts
Denne masteroppgaven utforsker hvordan elementer fra bulgarsk, serbisk og nord-makedonsk folkemusikk kan brukes som inspirasjon i skapelsen av nye komposisjoner innen rytmisk musikk. Hovedproblemstillingen er: Hvordan kan elementer innen folkemusikken fra Bulgaria, Serbia og Nord-Makedonia brukes til å skape nye verk som reflekterer både tradisjon og innovasjon?
For å besvare oppgaven har jeg brukt kunstnerisk utviklingsarbeid med autoetnografiske innslag. Oppgaven bygger komprovisasjon og refleksjon gjennom praksis. I tillegg til dette inkluderer oppgaven også innspill fra hovedinstrumenttimer med folkemusiker Jovan Pavlovic. Kunstig intelligens har blitt brukt som støtteverktøy for struktur, idéutvikling og språkvask.
Fire egenkomponerte verk utgjør kjernen i det empiriske materialet, hvor hvert verk bygger på bestemte musikalske elementer fra øst-balkansk folkemusikk. Disse komposisjonene forankres i etnomusikologiske teorier fra Timothy Rice, samt ser vi på historiske og musikkteoretiske vinklinger fra Øst-Balkan.
Gjennom arbeid med prosjektet har jeg kommet frem til noen funn som jeg presenterer i kapittel 5.
Det er en hårfin balanse mellom respekt for det tradisjonelle og kunstnerisk nyskapning.
Oppgaven konkluderer med at det er fullt mulig å skape nye musikalske verk som både speiler tradisjon og åpner for innovasjon. Gjennom kunstnerisk praksis og kritisk refleksjon kan man bidra til faglig utvikling og egen kunstnerisk identitet.
