Haku

Inspired by Karen Barad’s understanding of diffraction as a methodology and experiments in moving across time and space with diffraction I will in this text experiment with diffraction as a method for performance. On the ...

This chapter examines evidence from the research on one-to-one learning and teaching contexts. We conceptualise one-to-one vocal and instrumental teaching as an informal professional discipline that may vary across contexts ...

This article introduces a piece of choreographic writing. It likewise discusses the kind of site-specific choreographic process of opening up to what in everyday life is not apparent and left in the shadows that generated ...

This chapter describes the pedagogical possibilities and offers practical examples of receiving and responding to music through movement, and learning through and from kinesthetic experience, in music teaching and learning ...

The immediate impulse for writing this chapter was a small work for bass voice and piano written by the famous Russian composer Dmitri Shostakovich. The composition, whose text (aside from a quotation from Alexander Pushkin) ...

The article considers how the scene in the scenic presentation can constitute a twofold instance of interruption—not only as an intervening element within a performance but also as something that may interrupt it entirely—and ...

Theodor W. Adorno’s ideas on jazz and Igor Stravinsky’s neoclassicism (1936; 1949; 1963) are notorious for their strident criticism, pathologizing metaphors and prejudicial language. What has been overlooked, however, is ...

This chapter offers a compelling overview of male dance students’ predicaments of masculinity in Finland. The chapter provides a much-needed insight into fear, coping, and peer support in male dancing by focusing on young ...