Accomplished studies in HIGHER ARTS EDUCATION (30 HEC)
HPE 303 Professional Teaching Skills: Assessment and Examination
University of Gothenburg, Gothenburg 5 HEC 2016-02-05 2016-05-13
Kursens övergripande syfte är att ge högskolepedagogiska kunskaper så att deltagarna på ett kvalificerat sätt kan resonera kring, planera för, utveckla, genomföra och utvärdera olika former av bedömning och examination. I kursen belyses och problematiseras relationen mellan kunskapsutveckling, undervisning och bedömning/examination. Myndighetsutövande aspekter och implikationer av examinationsförfaranden av skilda slag behandlas. Vidare anläggs komparativa aspekter på bedömningsfrågor, med särskilt fokus på jämförelser mellan discipliner, institutioner och traditioner. (Bedömning och Examination)
HPE 202 Supervision for the Experienced Supervisor in Third Cycle,
Univ. of Gothenburg, Gothenburg 5 HEC/4 days 2014-01 2014-08
Kursen Handledning för erfarna handledare i forskarutbildning, 5 hp (HPE202), är särskilt avpassad för professorer och erfarna handledare i forskarutbildningen. Det är kollegor som fört fram minst två doktorander till disputation. Kursen inleds med ett lunch-till-lunch-internat. Internatet följs senare upp med fler träffar.
HPE 201 Supervision in Postgraduate Programmes
Univ. of Gothenburg, Gothenburg 5 HEC 2013-10 2013-12
After completion of the course the student is expected to be able to: Knowledge and understanding – be oriented of national and local surveys about the doctoral students' experiences and views about postgraduate studies - describe central and local rules and regulations of relevance to postgraduate studies account for the objectives, policies/syllabi, organization and realization of one’s own postgraduate programme. Skills and abilities - demonstrate how the individual study plan can be applied as a tool for planning, realization and a follow-up of postgraduate education - apply research-based literature to describe and analyze particular aspects of supervision - argue for the significance of a dialogue and mutual understanding concerning commitments in the supervision relation Judgement and approach - display a reflective approach to one’s own role as supervisor and related aspects such as gender equality, equal treatment and the student perspective - exemplify ethical dilemmas during the supervision of doctoral students estimate complications and credits of supervisor and assistant supervisor systems The course was examined based upon a written assignment.
HPE 103 Teaching and Learning in Higher Education 3: Applied Analysis
Univ. of Gothenburg, Gothenburg 5 HEC 2013-09 2013-12
The overall aim is for students to enhance their knowledge and ability to analyse, debate and develop teaching and learning on the basis of research and proven experience, and demonstrate this in an independent paper which provides an account of pedagogical development in higher education. The overarching theme of the course is reflective knowledge of teaching and learning in higher education. This theme is discussed, interrogated, and analysed continuously throughout the course. The reflection of participants is documented in an independent paper which provides an account of a project to develop higher education. The course was examined based upon the assignment of a seminar paper with the title:"Artistic dissertations observed as 17th century Operatic Mad Scenes: Using Metaphors for Organizing a Pedagogical Framework for Higher Performing Arts Education based on Artistic Research". (See PDF) This paper was developed into a series of peer-reviewed conference papers presented at international conferences during 2014-15 including:
Belgrano, Elisabeth (2014) Learning and Teaching Through Madness: Using the Metaphor of a 17th Century Operatic Mad Scene for Supervision in Higher Performing Arts Education Based on Artistic Research, (Performance presentation), 1st International Conference: Performative Teaching, Learning and Research, University College Cork, 29 May-1 June
Belgrano, Elisabeth (2014) Learning and Teaching Through Operatic Madness, ORCiM Seminar ‘From Output to Impact’, Orpheus Instituut / Advanced Studies & Research in Music Korte Meer 12 9000 Gent Belgium, 19-20 November. Proceeding: https://www.researchcatalogue.net/view/155614/155615
Belgrano, Elisabeth & Gunve, Fredric (2015) Madness and the Bastard in Motion: Learning/Teaching through Performance Studies, 7th Teacher’s Academy (ELIA), ENACT: learning in/through the Arts, Tilburg, The Netherlands, 10-12 May
HPE 102 Teaching and Learning in Higher Education 2: Discipline Specific Pedagogy
Univ. of Gothenburg, Gothenburg 5 HEC 2011-01 2011-05.
The overall aim of the course is to strenghten the students' skills to analyse, plan, discuss and develop university education and courses on the basis of science and proven experience. The course focuses on the organisation and planning of courses and subcourses. Conditions, goals, contents, methods, examinations, teaching, the students' independent studies as well as implications of different course designs are among the aspects discussed in the course. Different aspects are studied from different perspectives and the relationships between them are discussed. The syllabus as a document is in focus. The course was examined based upon a course curriculum titled: "The performing 17th century voice, 7,5 Higher Education Credits", First Cycle.
HPE 101 Teaching and Learning in Higher Education 1: Basic Course
Univ. of Gothenburg, Göteborg 5 HEC 2009-09 2009-12
The specific aim of the basic course is to provide foundational knowledge of learning theories for higher level education and of society’s goals and regulations for the education. The aim of the course is also to provide ethical awareness in relation to issues such as view of human beings, approach, responsibility and
the rule of law. The course generated a written examination assignment with the Swedish title: "En alternativ OPERAUTBILDNING. Skiss till en pedagogisk scen för vidgad dialog mellan vokal praktik och teori".
EXPERIENCES as VOICE COACH, LECTURER, SUPERVISOR,
OPPONENT, EXAMINER in HIGHER EDUCATION
1995-
Individual voice coaching, interpretation/technique, early vocal music, performance studies
2007-
Lecturer, supervisor, opponent, examiner within the fields of music performance, artistic research, performative practices, creative writing, music drama, choral pedagogy, teachers training programme in music, visual arts and crafts (slöjd), on candidate, master and doctoral levels, Faculty of Fine, Applied and Performing Arts, Univ. of Gothenburg / Norwegian Academy of Music in Oslo and Tromsø.
Specification of courses and tasks:
- Choir pedagogy, Student independent project, (supervisor)
- Academy of Music and Drama, GU, LEV300, Specialization Aesthetic Educational Activity, First cycle, 30 HEC (Supervisor and examiner)
- School of Design and Crafts (HDK), GU, LAU390/395, General Education Field 3, Examination Paper, First/Second Cycle,
15 HEC (Supervisor and examiner)
- School of Design and Crafts (HDK), LBD500, Specialization, Visual Arts, Interdisciplinary Examination Course, 15 HEC (Supervisor and examiner)
- School of Design and Crafts (HDK), GU, LGBD1G, Degree Project 1 for Teachers in Upper Secondary School, First cycle, 15 HEC (Supervisor)
- School of Design and Crafts / Dept. for Pedagogy, Communication and Learning, LÖXA1G, Examination paper for preschool teachers, 15 HEC, First cycle (Supervisor)
Summer course, 2015:
HDKSSR, Spelets Regler/ Rules of the Game, 15 HEC, HDK (Seminars, Workshops, Supervising)
Selected SEMINARS and PEER-REVIEWED INTERNATIONAL CONFERENCE PRESENTATIONS
2013
- "Sourcing Madness in a 17th Century Operatic Mad Scene: A Performing Method Exhibiting a Cabinet of Vocal Wonders",
EPARM III (European Platform Artistic Research in Music), Lyon, 18-20 April
2014
- "Learning and Teaching Through Madness: Using the Metaphor of a 17th century Operatic Mad Scene for Supervision in Higher Performing Arts Education Based on Artistic Research", 1st International Conference: Performative Teaching,
Learning and Research, University College Cork. 29 May- 1 June
- "Mattering through Vocal Lamentation = Building and Articulating through Sensuous Knowledge" Swedish Research
Council (VR) yearly symposia on artistic research 2014, Högskolan i Borås, 27-28 November
2015
- Collaboration with artist and senior lecturer Fredric Gunve (HDK), 7th Teacher's Academy (ELIA), ENACT: Learning in7trough the Arts, Tilburg, The Netherlands, 10-12 May
- "MADNESS as METHOD: An intra-active encounter between 17th century operatic madness, artistic research and posthuman theories", Creativity: Method or Madness? 4th International PG conference, College of Arts and Humanities,
The University of Glasgow, 26-27 May
- "Vansinne som metod: Ett intra-aktivt möte mellan vansinnesakten från en 1600-talsopera, konstnärlig forskning och posthumanistisk teori" (CUL-seminarium), Centre for Education Science and Teacher Research, GU, September 2015
- Konsten att möta: från intution till examen i konst/vetenskap/lig högre utbildning,
Högskolepedagogisk konferens, Göteborgs universitet, HKG 2015, 22 Oktober
2016
- Introduction to Practical Knowledge, Lecture, Stockholm School of Dramatic Arts /Stockholm University of the Arts, April 12
ORGANISER / CO-ORDINATOR INTERNATIONAL SYMPOSIA on Teaching and Learning in Higher Arts EDUCTION
- "Intra-active Learning and Teaching through Performance Processes. An encounter between New Materialism, Nomadic Theories, Pedagogical and Performative Arts and the Posthuman", Participants: Prof. Dennis Atkinson (Goldsmith University of London, UK), Dr. Hillevi Lenz Taguchi (Stockholm University), Magdalena Gorska (The Posthumanities Hub, Linköping University), David Medalla (Performance Artist, London/NYC/Paris). 23 April, 2015. University of Gothenburg. A collaboration between HDK/BVK/Cross Faculty Group for Performance-Performativity/Cross Faculty Group for Aesthetic Learning Processes).
Departing from my practice as an artistic researcher I am particularly interested in the role of the performing artist in a teaching / learning situation. I am currently developing knowledge models based on my artistic research, applicable for learning through aesthetic practices within the environment of arts education.
"To TEACH is to PERFORM!" ...
... has been one of three strands within the Cross-Disciplinary Faculty Group of Performance/Performativity, hosted and supported by The Faculty of Fine, Applied and Performing Arts, University of Gothenburg. The Group has been active since fall 2013 and curated by Elisabeth Belgrano/HSM and Fredric Gunve/HDK (as well as by Jason Bowman/valand during the academic year 2013/14). The strand has generated seminars, workshops, lunch talks and international symposia. For more information: konst.gu.se/fakulteten/faultetskollegium/performanceperformativity
OTHER RELEVANT INFORMATION
Between 1 August 2015 - 7 Feb 2016 I was employed at HDK (50%) as a Project Co-ordinator (Projektsamordnare, validering), for supervising, co-ordinating and supporting teachers at HDK in their processes of validating higher pedagogical experiences.
Ett kursförslag:
Undersökande performativitet genom teori och gestaltande praktik – för forskarstuderande, 7,5 högskolepoäng, helfart
Belgrano, E. & Gunve, F. (2014) Madness and Bastard in Motion. (Learning and teaching through entangled intra-active meaning-making)
Letter of recommendation, dr. Tarja Karlsson-Häikiö, Academy of Design and Crafts, Univ. of Gothenburg
Letter of Recommendation, Prof. Tomas Grysell, Head of Pedagogical Development and Interactive Learning, University of Gothenburg
Embarking on an eductional journey in higher arts education, often asks for a close reading of a personal artistic practice. It's about finding other forms for translating a specific doing. Making sense of the senseless or that which might at first seem impossible to describe. As a (performing) artist, the actual performance itself can in many ways become the liberating tool. Presenting an artistic practice as an explorative performing method of the personal meaning-making process. Or in other words, performing the process of understanding and figuring out the tacit knowledge or the obvious unspoken steps imprinted in every bodily act part of a certain artistic practice.
Practice takes no consideration of genre, classification or other identity. It is practice itself that is counted for. This is an important radical aspect to consider for a learning artist. It is crusial in an artistic investigation to allow for a maximum of openness in body as well as mind. Vagueness should be the source of inspiration rather than an obstacle. An affirmative /performative approach is encouraged for best results.
Voice, where is your source?
Tell me,
From darkness,
Or from deep down below the neck and throat?
From above my belly?
Are you air?
Are you movement,
Or are you just vibrating chord?
The tongue protects the entrance,
and the soft palate is your guard.
I can not see you,
But hear your sound and sense a breath,
Touching my skin the moment you sound.
When we want to describe the various kinds of things we do as human beings with human bodies, it can be useful to distinguish between practice and technique. For our purpose here, practice will refer to the actual concrete examples drawn from human life and activity. A practice is always located in a specific time and place and enacted by particular individuals and groups. [...] Practice is a fundamental concept of embodied research, but it is not repeatable. Each moment of practice is unique.
(Spatz 2017:7)
Entering an artistic vocal practice with a full holistic engagement will have many faces and colours. In every case it means entering a context surrounding the actual quest/ion. This might be to find a certain terminology or glossary for explaining part of a process, or allowing the practical voicing to be the guide into an investigation. This might involve finding doors or windows into yet-to-be-found spatio/temporal landscapes.
This learning process is on-goingly supervised.
Reflection through dialogue has commonly been a method for defining methodological structures and systematic dynamic discourses. By comparing and mirroring advances and results in learning and research processes, the reflective dialogue becomes a tool for measuring achievements and goals. Reflection looks back on patterns and movements as objects separated from the subjective standpoint. The reflective step is an important dynamism in a student / supervisor dialogue.
Another approach relevant to advancements in an action-driven dialogical process is based on a diffractive methodology. This methodology calls for an intra-active dialogue between student and suprvisor.
Intra-active methodology allows us to not describe the various kinds of things we do as human beings with human bodies. Instead intra-action means a developement of performative entanglements based on agential cuts.
(Belgrano 2018)
When the description of technique refuses to limit itself to an established vocabulary of technical terms and instead uses poetic language to evoke more subtle or esoteric aspects of embodied practice, it may become a kind of 'performative writing'.
(Spatz 2017:22)
A dialogue based on an artistic / feminist critical pedagogical approach:
- Artistic research: providing models for learning and meaning-making through artistic practice
- Extended learning through feminist new materialist theories and terminology with reference to pedagogy
- Poetic audio /visual / performative languages: learning through alternative forms of 'Writing' as trans-lative performance processing
(currently only in Swedish...)
Med utgångspunkt i det konstnärliga görandet och gestaltandet av kunskap skapas insikter, upplevelser och erfarenhet kring materialiserande av kraft och form. Ett pågående performativt artikulerande genom sinnlig närvaro, en öppenhet och ett bejakande inför det som ännu inte definierats. Förmågan till kunskapande ligger till grund för utveckling av estetisk verksamhet. I en akademisk kontext där strävan efter att bygga broar mellan forskning och utbildning i allra högsta grad är väsentlig, ser jag som en av pedagogens uppgifter just att poängtera och förhöja själva mötandet mellan olika performativa kunskapsformer och göranden. För vad är inte performativt? Att skriva och att sätta ord på ting och göranden i allra högsta grad; att producera tankar som möjliggör samtal; att skissa på idéer som kommer inflygande som farkoster från yttre rymdens okända mörker. De blir alla på olika vis delar av en performativ kunskapsprocess. Jag vill med min pedagogiska verksamhet utveckla det performativa analysverktyget genom gestaltande processer sammansnärjda i ett innerligt och medvetet formulerande av ord, texter och uttryck. Inget nytt om man ser till den stora mängd konstnärlig forskning som idag formas i konstnärliga laboratorier. Eller varför inte – i alla forskningsmiljöer. Men ännu är steget ibland långt mellan konsten och vetenskapen. Och detta trots en stor efterfrågan av gränsbrytanden och transdisciplinära möten.
Som pedagog utmanas jag av frågan: Hur möts det vetenskapliga och konstnärliga genom ord och texter? Till exempel i en examensuppsats. Eller varför ska de mötas, för visst är det inte nödvändigt? Eller? Min uppfattning är att ett kritiska förhållningssätt bör tillåtas att resa sig långt bortom maktstrukturer sprungna ur ett dikotomiserat kulturarv. Jag förs genom detta påstående vidare in i nya frågor. Är reflektionen verkligen en gemensam nämnare i det performativa artikulerandet? Blir reflekterandet den naturliga konstnärliga metoden för att förstå hur kunskapande blir till? I ett diffraktivt sammanläsande av praktisk gestaltning, nymaterialism och posthumana teorier vill jag tillsammans med studenter skapa 'rumstid' (spacetimes, see Barad 2010) för utformande av onto-epistemologiska kontexter och ‘språkformanden’ - platser där kritiskt bejakande tas tillvara utifrån diffraktiv metodik, i vilken reflektionen naturligtvis får en given plats. Genom handledning och seminarier blir min avsikt att tillåta texter och gestaltningar att i full skala få slungas in i varandra eller beröras av varandra – liksom upplevelsen av luften och energin som formas genom nästan osynliga/ohörda viskningar alldeles nära någons kind. Det handlar om att uppfatta de event som uppstår genom diffraktion som i sin tur ger upphov till en oändlig mängd möjligheter och nya riktade rörelser. Jag vill inspirera studenterna att granska det ‘profetiska’ i motståndet och inte vika undan. För vad innebär ‘kritik’ egentligen, om inte ett vägskäl? En plats som finns inom oss alla där vi måste bita ifrån, ta beslut och agera - göra - även om allt ändå för oss i motsatt riktning än vad som var planerat från början. Som handledare och pedagog blir jag det motstånd som ibland verkar styra, som ibland sitter tyst och lyssnar, som ibland säger ’men varför’? Eller som kanske rent utav reser sig och går ett varv genom rummet. Bara så där. Mötandet mellan pedagogen och studenten kan innebära en sammanflätning av ett flertal roller, ett flöde mellan tankar, ögon, öron, ord och gester. När orden och gesterna är sagda och berörda blir rummet helt och redo. Även om allt verkar ligga i spillror på det svarta labbgolvet. Detta mötandet-i-sig bidrar till en holistisk grund som i sin tur ger större spelrum för reflektion över/genom praktisk/t kunskap/ande.
När det performativa gestaltandet väl mejslats fram och synliggjorts återstår organiserandet, strukturerandet och formandet av den praktiska kunskapen för att begripliggöra den ibland kaotiska process som konstnärlig bildning kan innebära. Konstnärliga forskningsresultatet visar på modeller och metoder för konstnärliga processer som kan inspirera andra konstnärer i sina praktiker, men också andra pedagoger som i sin tur ska förmedla metoder och modeller för estetiska läroprocesser bland sina elever. Här ligger kanske den allra största pedagogiska utmaningen på konstnärlig/vetenskaplig grund. En utmaning som utvecklas mer och mer allt eftersom konstnärlig forskning hittar sina vägar och syften. Vi står fortfarande i början av denna utveckling …
Arlander, A. (2014) Om metoder i konstnärlig forskning / On Methods on Artistic Research. In: Method Process Reporting, Articles, Reviews and Reports of the Ongoing Development on Artistic Research, AR Yearbook 2014, Swedish Research Council (s. 12-39) (In Swedish & English)
Arlander, A. (2014) “From interaction to intra-action in performing landscape”. In: Beatriz REVELLES BENAVENTE, Ana M. GONZÁLEZ RAMOS, Krizia NARDINI (coord.). "New feminist materialism: engendering an ethic-onto-epistemological methodology.” Artnodes. No. 14:26-34
Barad, K. (2007) Meeting the universe halfway. Quantum physics and the entanglement of matter and meaning. Duke Univ. Press, Durham & London
Barad, K (2010) Quantum Entanglements and Hauntological Relations of Inheritance: Dis/continuities, SpaceTime Enfoldings, and Justice-to-Come, Derrida Today 3.2 (2010): 240–268, DOI: 10.3366/E1754850010000813© Edinburgh
Barad, K. (2014) Diffracting Diffraction: Cutting Together-Apart. Parallax 20.3:168-185
Belgrano, E. (2011) "Lasciatemi morire" o faró "La Finta Pazza": Embodying Vocal Nothingness on Stage in Italian and French 17th century Operatic Laments and Mad Scenes, ArtMonitor, Göteborgs universitet
Bornemark, J. & Svenaeus, F (red.) (2009) Vad är praktisk kunskap? Södertörns Studies in Practical Knowledge 1, Södertörns högskola, Huddinge, Introduktion
Coessens, K., Crispin, D. and Douglas, A. (2009) The artistic turn: a manifesto. Available from OpenAIR@RGU
Dahlén, L. (2012) Jag går från läsning till gestaltning. Beskrivningar ur en monologpraktik, Diss. ARtMonitor, Göteborgs universitet, Gidlunds förlag
Haseman, B. (2006) A Manifesto for Performative Research. Media International Australia incorporating Culture and Policy, theme issue "Practice-led Research"(no. 118):pp. 98-106
Lilja, E. (2015) Konst, Forskning, Makt – En bok om konstnären som forskare/ Art, Research, Empowerment. On the Artist as Researcher. Regeringskansliet. (English)
Spatz, B. (2017) Embodied Research: A Methodology, Liminalities: A Journal fo Performance Studies. Vol 13, No 2
Thomaidis, K. (2017) Theatre and Voice. Palgrave
Thomaidis, K. & Butcher, S. (2016) '"The Voice is the Guide to the Experience as Well as tge Experience Itself": An interview with non zero one'. Journal of Interdisciplpinary Voice Studies 1.1:71--84