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  • 1.
    Balic, Sofia
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    Rösträtts värdegrund2014In: Rösträtt: musik på barns villkor / [ed] Ylva Holmberg, Stockholm: Gehrmans , 2014Chapter in book (Other (popular science, discussion, etc.))
  • 2.
    Balic, Sofia
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    Scenrum/Klassrum eller Like a bridge over troubled waters: När konstnärer, lärare och dramapedagoger samverkar2015Conference paper (Other (popular science, discussion, etc.))
  • 3.
    Balic, Sofia
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education. University of Chester, UK.
    Three craftsmen: Skills and handling of teaching, artistry and drama2015Conference paper (Other academic)
    Abstract [en]

    To practice and master a craft, to possess a craftsmanship, is about managing materials, tools and specific techniques in a creative process that leads to a product. During the process the craftsman make interpretations and assessments based on knowledge, experience and skill, which gives a certain quality in the result. But what if the craftsman is a teacher, an artist, or a drama pedagogue? The attempt of the paper is to describe the characteristics of these professions in relation to craftsmanship.

    In the paper theories of practical knowledge, craftsmanship and tacit knowledge are presented. The concept of a subject’s professional object is explained as something that the profession possess special knowledge of, the task the profession is to achieve (Carlgen & Marton, 2005). The professional object is staged performance for actors, learning for teachers and suggestively altered understanding through impersonation for drama pedagogues. The other components connected to the craftsmanship of the three professions are discussed and then summarized in a table. 

    The actors and the teacher’s craftsmanship differ quite a lot. The professional object, the material and the product are completely different from each other. The skills of the drama pedagogue are similar to both the teacher and the actor. Common to all professions is that the process is about action, though the teacher’s action is pedagogical and the actor’s action is creative.

    The paper is part of the dissertation work "Professional encounters in art and learning". The focus is on collaborative projects where schools and Art institutions work together, using drama as part of the process. 

  • 4.
    Cedervall, Sofia
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education. University of Chester, UK.
    Encounters as-if: Educational role play as tool for analysis2017Conference paper (Other academic)
    Abstract [en]

    The paper focus on how the Swedish drama method Educational role play can work as a tool in analysis of data in a case-study. The analysis is part of a research project studying professional encounters when teachers, artists and drama pedagogues collaborates. Educational role play is similar to other forms of role plays such as forum theatre and psychodrama. The participants use their own experience and the play combines thought, emotion and action (Nilsson & Waldemarsson, 2010). The facilitator can use various techniques such as shadowing, sculpture, role change and teacher-in-role. Issues such as how the roles relate to each other, how they communicate and what options for action that becomes visible are investigated. In this way, Educational role play could make an interesting method for analysis since the thesis wants to describe the individuals, their driving forces and how they are affected when interacting with other professions. But – who’s truth are we dealing with?

    The paper also reflects on how Educational role play relates to the definition of Ethnodrama, i.e. the practice of dramatizing the data by creating a script (Lawrence, 2015). Instead of a complete script, the facilitator writes a text that provides the participants with a short description of the situation and a brief instruction on the role. This includes social expectations and what is important for the role. The script will be improvised and is influenced by the participants, how they interact and what they use of their own experience.

     

  • 5.
    Cedervall, Sofia
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education. University of Chester, UK.
    On the stage floor: Mission and role of drama pedagogues working in professional theatres2014Conference paper (Other academic)
    Abstract [en]

    Based on an interview study of two drama pedagogues in Sweden who work in professional theatres, the paper describes their background, mission and role. In the interviews a multifaceted role emerges. The drama pedagogues mission is primarily externally educational and communicative/coordinating but also internally educational and coaching. By using theories by Lave & Wenger (1998) and Janik (1996) it doesn´t come clear that the drama pedagogue’s are part of a community of practice of their own. They are building bridges or works as bridges between art and school but do not seem to have a collective context as drama pedagogues. Their basic education may be relevant to what community of practice they feel most at home in; school culture, artistic culture or drama culture. Through auto-ethnographic-inspired poems the drama pedagogues' personality and role are interpreted. The poems imply that the two drama pedagogues are differently secure in their roles within the artistic sphere. It is also possible to interpret the drama pedagogue’s role in reflecting the theme of the artistic work.

  • 6.
    Cedervall, Sofia
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education. University of Chester.
    Put them in play - a story about stories.: Rollspel som analysmetod i ett forskningsprojekt2017Conference paper (Other academic)
  • 7.
    Cedervall, Sofia
    University of Chester, UK.
    Vishetens vägval - Filosofiska perspektiv på metod2015Conference paper (Other academic)
    Abstract [sv]

    Metodval är inom forskning en delikat fråga. I den bästa av världar handlar valet om att hitta verktyg som hjälper oss att besvara frågor och upptäcka "sanningen" i det som beforskas. Valet handlar också om vad som passar forskningsfrågans natur. Är det lämpligast att använda en linjal, ett decilitermått eller en intervju för att bedöma fenomenets beskaffenhet? Det kan också finnas mer krassa anledningar till metodval. Inte minst den tid och den ekonomi som står till förfogande. Oavsett varför en metod väljs är det viktigt att förhålla sig kritiskt till den. Jag vill i det här pappret med stöd av teoretisk filosofi diskutera och reflektera mina egna metodval i ett pågående avhandlingsprojekt.  Jag har i projektet kombinerat case study med etnografi och narrativ metod i syfte att undersöka mötet mellan konstnärer, lärare och dramapedagoger i konstnärliga och lärande processer. Vad händer när filosofiska frågor och filosofiska perspektiv möter forskningsmetoden? Forskningsmetod i sig kan ses som en del av teoretisk filosofi eftersom den syftar till att ge möjliga svar på frågor som "hur får vi kunskap?" och "hur vet vi att något är sant?" (Lindholm, 1999). På så sätt blir temat för pappret möjligen motsägelsefullt. Men eftersom jag ser en risk i att jag har allt för stor tilltro till att mina metodval ger ultimata svar och visar "sanningen" finns det all anledning att kritiskt granska dem utifrån den grund forskningsmetod vilar på. Det vill säga filosofiska frågor.

  • 8.
    Cedervall, Sofia
    et al.
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    Szatek, Elsa
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    Arts-based research: drama som forskningsmetod2017Conference paper (Other academic)
1 - 8 of 8
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