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Coda 2017 Program Katalog Lett
1 Thank you For tickets and registration CODA festivalen takker alle bidragsytere, samarbeidspartnere, medarbeidere og alle våre www.codadancefest.no frivillige som har vært med på å løfte #codafestival frem årets festival. Takk! CODA Oslo International Dance Festival The CODA festival wishes to thank our patrons, collaborating partners, colleagues and volunteers, KOLOFON - COLOPHON Vulkan 1, 0182 Oslo all of whom have contributed to making this year’s festival happen. [email protected] Thank you! Greetings from the CODA team CODA OSLO INTERNATIONAL DANCE FESTIVAL BIDRAGSYTERE / CONTRIBUTORS VULKAN 1 KULTURRÅDET N-0182 OSLO OSLO KOMMUNE WWW.CODADANCEFEST.NO DEN NORSKE AMBASSADE LONDON CODA OSLO INTERNATIONAL DANCE FESTIVAL 2002 – 2017 DEN NORSKE AMBASSADE PARIS GRUNNLEGGERE / FOUNDERS ODD JOHAN FRITZØE & LISE NORDAL OSLO KOMMUNE DANSENS HUS, RIKSSCENEN, PRODA / ROM FOR DANS, STYRET / MEMBERS OF THE BOARD INSTITUT FRANCAIS NORVÈGE VULKAN 1, OSLO, SCHOUS KULTURBRYGGERI, MARSTRANDGATA 8, OSLO, TORGER ØDEGAARD, STYRELEDER/ PAVILION DANCE SOUTH WEST WWW.DANSENSHUS.COM TRONDHEIMSVEIEN 2, OSLO, WWW.PRODA.NO CHAIRMAN OF THE BOARD FRITT ORD TRAM 11, 12, 13 TO SCHOUS PLASS, BUS 54, WWW.RIKSSCENEN.NO WWW.ROMFORDANS.NO HELGE SKANSEN, NESTLEDER/ 34 TO MØLLERVEIEN TRAM 11, 12, 13 TO SCHOUS PLASS TRAM 11, 12, 13 TO BIRKELUNDEN. BUS TO DEPUTY CHAIRMAN BILKOLLEKTIVET DÆLENGA. BUS 20, 21, TO KØBENHAVNGATA LARS JACOB HOLM DB SCHENKER VIGDIS LIAN PS HOTELL BÆRUM KULTURHUS, BLACK BOX TEATER, KULTURHUSET I OSLO, PERNILLE BØNKAN COMFORT HOTEL BØRSPARKEN CLAUDE MONETS ALLE 27, 1307 SANDVIKA, MARSTRANDGATA 8, OSLO, YOUNGS GATE 6, OSLO, WWW.BLACKBOX.NO WWW.BAERUMKULTURHUS.NO WWW.KULTURHUSETIOSLO.NO KUNSTNERISK LEDELSE / ARTISTIC CURATOR CODA 2017 LISE NORDAL DOCUMENTATION TRAIN R10, R11, L1 & L12 FROM OSLO CEN- TRAM 11, 12, 13 TO BIRKELUNDEN. -
Report No. 15 (2008–2009) to the Storting
Report No. 15 (2008–2009) to the Storting Interests, Responsibilities and Opportunities The main features of Norwegian foreign policy Table of contents Introduction. 7 5 The High North will continue Norwegian interests and globalisation . 8 to be of special importance The structure of the white paper . 9 to Norway . 49 5.1 Major changes in the High North Summary. 10 since the end of the Cold War. .. 49 5.2 The High North will continue to be Part I Challenges to Norwegian a major security policy challenge . 51 interests . .15 5.3 A greater role for the EU and the Northern Dimension . 52 1 Globalisation is broadening 5.4 International law issues . 53 Norwegian interests . 17 5.5 Cross-border and innovative 1.1 Globalisation and the state . 18 cooperation in the High North . 54 1.2 Globalisation is a challenge to 5.6 Increasing interest in the polar Norway . 18 areas and the Arctic Council . 55 1.3 Norway is becoming more closely involved in the global economy. 20 6 Europeanisation and Nordic 1.4 Norway’s broader interests . 22 cooperation . 57 6.1 The importance of the EU . 57 2 The downsides and 6.2 Further development of the EU . 59 counterforces of globalisation . 24 6.3 Europeanisation defines the 2.1 Globalisation includes and excludes 24 framework . 60 2.2 The new uncertainty of globalisation 6.4 Agreements and cooperation . 60 – new security policy challenges. 26 6.5 Fisheries policy. 63 2.3 Threats to Norway from global 6.6 Broad Nordic cooperation . 63 instability . 27 6.7 The Council of Europe and the OSCE . -
Look to Norway™ Current Norwegian Foreign Cultural Policy — Ola Kveseth Berge Ola K
University College of Southeast Norway Look to Norway™ Current Norwegian foreign cultural policy foreign cultural policy Norwegian Current Look to Norway™ Faculty of Humanities, Sports and Educational Sciences — Doctoral dissertation no. 26 2017 Ola K. Berge Look to Norway™ Current Norwegian foreign cultural policy — Ola Kveseth Berge Ola Kveseth Ola K. Berge Look to Norway™ Current Norwegian foreign cultural policy A PhD dissertation in Culture Studies © 2017 Ola K. Berge Faculty of Humanities, Sports and Educational Sciences University College of Southeast Norway Kongsberg, 2017 Doctoral dissertations at the University College of Southeast Norway no. 26 ISSN: 2464-2770 (print) ISSN: 2464-2483 (electronic) ISBN: 978-82-7206-445-6 (print) ISBN: 978-82-7206-446-3 (electronic) This publication is, except otherwise stated, licenced under Creative Commons. You may copy and redistribute the material in any medium or format. You must give appropriate credit provide a link to the license, and indicate if changes were made. http://creativecommons.org/licenses/by-nc-sa/4.0/ deed.en Print: University College of Southeast Norway Cover Photo: Ola K. Berge Berge: Look to NorwayTM Current Norwegian foreign cultural policy Preface In 2009, being the first assignment as a rookie researcher at Telemark Research institute, I conducted a small project on the international work of the performing arts organization, the Performing Arts Hub Norway (PAHN). The project aimed at finding trends and tendencies concerning what art and artists who travel where and -
Norwegian Art and Crafts Teachers' Conceptions of Creativity
Journal for Research in Arts and Sports Education Peer-reviewed article Vol. 4 | Nr. 1 | 2020 | pp. 1–18 Norwegian art and crafts teachers’ conceptions of creativity Brynjar Olafsson* University of South-Eastern Norway Abstract This study investigates Norwegian art and crafts teachers’ conceptions of creativity through the responses to a questionnaire from 791 teachers in compulsory education. The curriculum in Nor- way for compulsory education emphasizes the development of creativity in the art and crafts field more than in the other core subjects. However, the curriculum does not offer a clear definition of creativity or how creativity-related goals should be reached. According to prior research, teachers express different ideas about what creativity involves, and their conceptual understanding can affect their teaching practices. Results indicate that teachers hold beliefs that are in misalignment with recent literature, and a better conceptual understanding could support them in emphasizing cre- ativity in the classroom. This applies especially to individual creative capacity, assessment, and the role played by domain knowledge in education. Keywords: Art and crafts education; compulsory education; Norway; creativity Received: May, 2019; Accepted: November, 2019; Published: February, 2020 Introduction Creativity is recognized as a fundamental skill that is indispensable in a complex and ever-changing digital age (Craft, 2011). For this reason, the issue of creativity is receiv- ing increased attention within compulsory education in many countries (Beghetto & Kaufman, 2017). According to a recent Norwegian study, leaders of innovative production companies often identify creativity and experience as more important than formal education when seeking new employees (Svare, 2014). Despite creativity being highlighted in the national curriculum (Ministry of Education and Research, 2006), Gjærum and Gran (2016) posit that the Norwegian compulsory education system tends to depress creativity and demotivate students with significant emphasis on theoretical subjects. -
The Evolution of Scandinavian Folk Art Education Within the Contemporary Context
The Evolution of Scandinavian Folk Art Education within the Contemporary Context A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Mary Etta Litsheim IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Dr. Shari L. Peterson, Adviser December 2010 © Mary Etta Litsheim 2010 i Acknowledgements My thanks and appreciation go to Dr. Shari L. Peterson, graduate adviser and inspiring educator; Dr. Rosemarie J. Park, Dr. James M. Brown, and Dr. Karen L. LaBat, members of my Ph.D. committee who model excellence respective of the University of Minnesota; Jan DeNoble, loyal and accomplished teacher, editor. Also to Dr. Howard Y. Williams, the initial inspiration for my interest in the field of adult education; and Dr. Gary N. McLean, my first coach in the rigors of academic research. All supported me in their teaching, research, and vigor for affecting and challenging intellectual development. Most important, my thanks and gratitude go to Jim, Mary Sara, and Scott, who supported me behind the scenes as if they too were engaged in the process. Last, but not least, Ruby and James Rorris, Esq. My gratitude to Dr. Marion Nelson, my mentor in spirit who inspired me from the day I met and heard him speak at the Revitalization of Ethnic Arts and Crafts Conference in 1996. I still have my notes. ii Abstract Folk education in Scandinavia evolved through the influences of political, social, and cultural change in 18th and 19th century Denmark. Danish high society supported the academic rigor of the German education system and expressed little interest in sustaining the rural folk and its culture. -
Nordic Countries
2017 THE NORDIC COUNTRIES MADE IN 2017 NO BORDERS We in the arts can take centre stage and show that the ability to collaborate is one of the finest things in humanity, and is crucial for our survival. The Nordic countries have a long-standing tradition of working together, and the MADE IN project, its catalogue and website, is a small yet great example of that. Artists, leaders and promoters in the performing arts from five countries have come together to jointly present their information on what they are all doing right now and in the near future. This is the fifth edition, and for the first time, we’ve decided not to list the catalogue by country, as we chose to fully commit to our manifesto for no borders between Nordic performing arts organisations. You are all welcome to start your communication with any of us, as in front of you is a network of fearless artists not unlike their Viking ancestors. ÅSA EDGREN Editor in Chief, MADE IN the Nordic Countries 2017 3 CONTENT MADE IN 2017 - No Borders 3 CONTENT 4 - 5 THE NORDIC COUNTRIES & CITIES 6 MAP 7 ABOUT MADEIN-THEWEB.COM 8 - 9 ARTISTS, COMPANIES & PROJECTS 10 - 121 Aaben Dans 10 Andersson Dance/Örjan Andersson 12 Arja Tiili Dance Company 14 Art of Spectra 16 Björn Säfsten 18 Black Box Dance Company 20 Byström Källblad 22 Carte Blanche 24 Charlotta Öfverholm/Age on Stage 26 Charlotte Engelkes Production 28 Christina Tingskog/Relative Dance Production 30 Cinnober Teater 32 Cirka Teater 34 Cirkus Cirkör 36 4 CONTENT ARTISTS, COMPANIES & PROJECTS cont. -
Line Tørmoen Cv Engelsk-Kopi
CV LINE TØRMOEN Born: 20.10.1971 Kristine Bonnevies vei 0592 Oslo, Norway E-mail: [email protected] Mobil: 951 17 158 http://skuda.no/kunstnerkatalog/dansere/item/644-line-tormoen Foto: John Andresen Education: 1990-1993 Oslo National Academy of Arts (BA -Dance) 1987-1990 Fagerborg videregående skole Selected work as a dancer: zero visibility corp.: Choreographer Ina Christel Johannessen 2018 Who told you this room exists, premiere November 2018 , Dansens Hus 2017 Frozen Songs, Hålogaland teater Piano Piano tour Germany, Switzerland 2016 …it's only a rehearsal, Wiesbaden, Germany Future, Dansens Hus, Oslo The Guest, Theatre Silvia Monfort Paris 2015 The Guest, Dansens Hus, Oslo Piano Piano, Stadtsteatern Stockholm 2014 …it's only a rehearsal played at Sadler's Wells, UK 2012-2014 Terra 0 Motel, Again, and Leave2House the performances have been played in Norway, Sweden, Denmark, Finland, Germany, Belgium, France, England, Czech Republic, Italy. 2011-2014 (im)possible has been played at The Cultural Rucksack for lower secondary schools 2010 Now she knows 2009 Thief-after-clip 0 (zero) 2008 It was November 2008 37, 5 the opening of Dansens Hus 2006 (but) that night I found her very alluring 2006 I have a secret to tell you (please) leave with me 2004 The terror of identification 2003 ...it ś only a rehearsal Has been played close to 200 times on Norwegian tour with "Riksteatret", Swedish tour with "Dansnettet”, played in the whole of Europe, in Sydney Opera House, Australia, New York, USA, and Toronto, Canada 2001 Confession time 2000 Suppose this time, I see what he saw Jo Strømgren Kompani 2018 The road is just a surface, Anja Garbarek/Jo Strømgren kompani 2013-2014 Artistic performance talk with the showing of "Naboen" Touring in the Cultural Rucksack for lower secondary schools 2009 ”Naboen” the dance film In 2010 the film received Rose d'or in Switzerland, Arts Documentary and Performing arts. -
Minnesota Painters of Norwegian Background, 1870-1970 / Marion J
Minnesota Pai nters of N o An exhibition, Painting by No Minnesota painter of Norwegian background ever gained Minnesotans of Norwegian the stature of Ole Rolvaag in literature, Knute Nelson in poli - Background, 1870 –1970 , tics, or F. Melius Christiansen and his St. Olaf choir in music, opened at the James J. Hill but Norwegian Americans have contributed significantly to the House, St. Paul, on April 1. state’s visual arts. Rather than making reputations as ethnic Guest-curated by Marion artists, they have been a well -integrated part of the Minnesota Nelson and sponsored by the art scene from its beginnings. Settling in Minneapolis in the Minnesota Historical Society, 1880 s, Peter Lund, Haakon Melvold, and Herbjorn Gausta were the exhibit will remain open among the state’s first professional artists and showed their through October 14 , 2000 . work in its earliest exhibitions. 1 The following images are The affiliations of the Norwegian immigrant painters were selected from the work of largely with American art groups. In 1910 the professional 28 artists on view in this artists’ organization known as the Attic Club was founded in and lively show. Minneapolis by a visiting artist from San Francisco, who was serving as assistant director of the school of art. The watercolor- ist and stained-glass designer Andreas R. Larsen, originally from Norway, was a mainstay of this organization from its founding to its demise in about 1930 . Artists of Norwegian background were also well represented in the Minnesota Artists Association, founded in 1937 , and the somewhat more radical Artists Union, 74 rwegian Background, 187 0–1970 organized at about the same time. -
Eros and Thanatos in Norwegian Art Nouveau Tove Kristin Lande Stiftelsen Kulturkvartalet; Jugendstilsenteret and KUBE
Strand 3. Les Fleurs du Mal: Style in a Troubled Age Eros and Thanatos in Norwegian Art Nouveau Tove Kristin Lande Stiftelsen Kulturkvartalet; Jugendstilsenteret and KUBE Abstract The worship of fertile and pure youth in Art Nouveau iconography, with its frequent symbols such as rosebuds, eggs, and the shy gaze of maidenhood, is well documented. However, as the Austrian writer Stefan Zweig tells us in his autobiographical novel The World of Yesterday (1942), the Art Nouveau movement was as much a youthful revolt that explored taboos and the limits of established attitudes as it was an aesthetic movement devoted to the worship of beauty and innocence. How is this represented in Art Nouveau iconography in the visual arts? Using Sigmund Freud’s theoretical concepts of Eros and Thanatos, which address phenomena like the subconscious, morality, decadence, desire, sexual liberation and sexual identity, I will focus on the movement’s darker side, with special reference to Norwegian Art Nouveau. Keywords: Rebellious, Kristiania Bohemians, Taboos, Erotic, Death, Intoxicants, The subconscious, Femme fatal, Male seduction, Liberation 1 The worship of fertile and pure youth in Art Nouveau iconography, with its frequent symbols such as rosebuds, eggs, and the shy gaze of maidenhood, is well documented. However, as the Austrian writer Stefan Zweig tells us in his autobiographical novel The World of Yesterday (1942), the Art Nouveau movement was as much a youthful revolt that explored taboos and the limits of established attitudes as it was an aesthetic movement devoted to the worship of beauty and innocence. How is this represented in Art Nouveau iconography in the visual arts? Using Sigmund Freud’s theoretical concepts of Eros and Thanatos, which address phenomena like the subconscious, morality, decadence, desire, sexual liberation and sexual identity, I will focus on the movement’s darker side, with special reference to Norwegian Art Nouveau. -
Works by Norwegian-American Artists
Works by Norwegian-American Artists: During the late 19th and early 20th centuries, about three hundred individuals were considered Norwegian- American artists, "who felt they had to speak to express their feelings by creating some object," (Rolf H. Erickson, 1986). While a universally accepted definition of "Norwegian-American art" has not been determined, the definition followed by the Chicago Norske Klub of 1920 still serves us today. Norwegian- American art was then defined as "painting and sculpture produced by artists with Norwegian backgrounds." Over 180 works in the Luther College Fine Arts Collection concentration were created by Norwegian- American artists. Fifteen of these artists were born in Norway and emigrated to America while fifteen other artists are American but have a strong Norwegian background. Their works form a significant component of the Collection, especially meaningful since Luther College was founded by Norwegian immigrants. Some of the art works in the Norwegian-American Collection also are components of other Named Collections. The fifteen artists born in Norway are Sigvald Asbjørnsen (sculptor and painter from Oslo); Arne Berger (painter from Valdres); Emil Biorn (painter from Oslo); Ben Blessum (painter from Marstein, Romsdalen); Nils Saebjørn Buttedahl (actor and sculptor from Lier); Herbjørn Gausta (painter from Tinn, Telemark); Claus Hoie (print-maker and painter from Stavanger); Tarkjel Landsverk (stone artisan, painter, and carver from Seljord, Telemark); Marie Løkke, aka Mrs. Finn Mathiesen (painter from Oslo); Elizabeth Maurland (potter from Oslo); Karl Peter Andreas Ouren (painter from Halden); Gulbrand Sether (painter from Saerslovbygda, Elverum); Yngvar Sonnichsen (painter from Oslo); and Svend Rasmussen Svendsen (painter from Nittedal). -
Crossroads of the World
CroAtsthse roads Woof trhe ld For more than 60 years St. Olaf College students have studied at the University of Oslo’s International Summer School, a place that fosters multicultural understanding and goodwill between nations. By David McKay Wilson Photographs by Sissel Drevsjø greta berg ’10 grew up in minnesota surrounded by Norwegian–American culture. She ate lutefisk at Christmas, wore a colorful bunad on Norwegian Constitution Day, listened to her grand- father’s tales about Norway and immersed herself in the traditions of her ancestral homeland at Skogfjorden summer camp in northern Minnesota. But she’d never stepped foot on Norwegian soil until this summer, when she joined five St . Olaf students and three faculty members at the 62 nd session of the International Summer School (ISS) at the University of Oslo. There she studied Norwegian art and literature, joined in discussions with students from around the world, tried out the Norwegian language on the streets of Oslo and took a four-day trip through the mountains to the rural fjord villages of western Norway with students from several nations, many of whom experienced snow for the first time. Berg’s trip to Vestlandet was among the highlights of her six-week session at the International Summer School, a program that blends rigorous academic course - work with cultural and social events and peace-building experiences. St . Olaf College students travel and study the world over, but the continu - ing participation of Oles at the International Summer School reinforces the special link between St . Olaf and Norway. The school thrives on the sprawling University Field work is crucial to many of the ISS courses. -
Illicit Trade in Cultural Artefacts Ved Stranden 18 DK-1061 Copenhagen K
Nordic Council of Ministers TemaNord 2017:533 Illicit trade in cultural artefacts in cultural trade 2017:533 Illicit TemaNord Ved Stranden 18 DK-1061 Copenhagen K www.norden.org Illicit trade in cultural artefacts This publication is a report from the Nordic expert conference “Illicit trade in cultural artefacts. Stronger together: How can Illicit trade the Nordics join forces to stop the illegal import and export of cultural objects?” which was held in Oslo, 2 to 3 December 2015, following an initiative of the Nordic Ministers of Culture. The in cultural objective of the conference was to explore the potential for a closer Nordic collaboration in order to better meet the states’ obligations under international cultural conventions and the artefacts UN Security Council’s Resolution 2199 on measures to prevent financing of extremist groups and their activities. A number of knowledgeable speakers shared their insights into current Stronger together: How can the Nordics global challenges as regards cultural heritage protection. A join forces to stop the illegal import particular concern is the ongoing looting in war-torn areas in the Middle East. The conference resulted in 13 joint follow-up and export of cultural objects? recommendations. Illicit trade in cultural artefacts Stronger together: How can the Nordics join forces to stop the illegal import and export of cultural objects? TemaNord 2017:533 Illicit trade in cultural artefacts Stronger together: How can the Nordics join forces to stop the illegal import and export of cultural objects? ISBN 978-92-893-4997-0 (PRINT) ISBN 978-92-893-4998-7 (PDF) ISBN 978-92-893-4999-4 (EPUB) http://dx.doi.org/10.6027/TN2017-533 TemaNord 2017:533 ISSN 0908-6692 Standard: PDF/UA-1 ISO 14289-1 © Nordic Council of Ministers 2017 Cover photo: Bjørn Egil Halvorsen/Aftenposten/NTB Scanpix Print: Rosendahls Printed in Denmark Although the Nordic Council of Ministers funded this publication, the contents do not necessarily reflect its views, policies or recommendations.