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Professor Dance Interpretation, University College of Dance
 
Cecilia Roos is a dancer and researcher  and she was inaugurated professor at the University College of Dance in 1st January 2008.
She has been honored with several scholarships and distinctions from among others, The Swedish Arts grants committee, The Swedish Academy, The City of Stockholm, Carina Ari foundation, Rolf de Maré and Sandrews grant committee. In the year of 2006 she was the guest of honour at the Dance Biennal in Gothenburg and was later that year rewarded with Swedish Theatre Critic’s Danceprice.
Her research deals with the practical knowledge of the dancer and ways of developing methods when working with a movement material. She has published a number of articles and are at the moment writing a book on the subject.
Cecilia Roos has had a number of commissions of trust in Swedish Arts counsil and The foundation for the culture of the future. At present she is the Chairman of the Committee for artistic research and development in the Swedish Research Council.
 


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comments

Exposition: Voice (a retracing) (01/01/2012) by Vida Midgelow et al.
deleted account 1CR 07/12/2012 at 12:44

The submission “Voice (a retracing): an emerging lexicon” is of interest for the field of dance. But not only dance as it deals with improvisation as the artefact, which is an art form that can bring together different artistic expressions.

The importance of trying to conceptualize a creative process, and what that brings to the process itself, is visible in the recorded discussions that are one of the parts of the exposition. Here conceptualising, as a method in the making, clearly shows through.

The submission is framing the issue that the research project is exploring in an interesting way even if it doesn’t show that much innovation in the content of the video.

It struck me, not so much in the video product but in the recorded discussions, how different experiences and interpretations of a word in relation to practice effects ones choices in a creative process. For example when Midgelow and Williams discuss traces (one of their words in the emerging lexicon) she mentions layers and he talks about linearity. For me, that gave a necessary resonance to the video and made me understand their practice as research.

One can say that the exposition, but maybe not the research itself, opens up for new knowledge just because of the way the viewer can take part in the artist’s discussions.

It would have been beneficial for the viewer with some video-cuts from Midgelow’s movement improvisations. Not edited, just the “raw material”. That would have given the viewer a possibility to follow the traces that are described in the discussions as the paths in the process from movements through words into sounds and moving image. Midgelow mentions very briefly her way of moving compared to Williams’ way of describing how he composes. It would have been interesting with a more developed discussion from Midgelow regarding her ideas around movement improvisation.

The contradiction in how to capture the nature of improvisation without losing contact with the moment/movement is problematized in a thorough and humble way, which holds my interest and makes me curious, throughout the discussions.




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