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No. 25 / October 2005 NOFOD NYHETSBREV ISSN 1398-9200 www.nofod.org NORDISKT FORUM FÖR DANSFORSKNING NYHETSBREV NR: 25 – OCTOBER 2005 DEAR MEMBERS, After years of discussing and planning, NOFOD finally has a website of its own. Although the current site is quite sim- ple, it is still a step forward. Evidently, the Newsletter is no longer an effective way of distributing information, but the website will be more and more important in the future. Therefore, it is clear that we must develop the site all the time and make it function in multiple ways. It is, however, a question of money in many respects. In order to create a site that both looks good and functions effectively, we must have resources. I believe this is one of the most current issues we must discuss in Stockholm next January and also elsewhere in the near future. Furthermore, we must discuss the future of the Newsletter and its relation to the website. Whatever ideas you might have concerning these and other issues, we in the board are more than happy to hear them. And really, in Stockholm, we have a great forum for long discussions about the future of NOFOD. See you there! /Petri Hoppu, FIN Can you recall and remember how it has been in A WORD FROM THE CHAIR Reykjavik, Trondheim, Copenhagen? We can do it again! And then we continue to Helsinki in 2008! Yes. Greetings from me - it is a very busy semester We do not give up just because we are a small lan- at University of Copenhagen! guage area in the northern part of the globe. No. We continue to search and re-search and when we finish that, we research the research. I hope you have all checked out the website - nofod.org. Karen and I have just returned That is great! Nordic dance research is certainly not from another boardmeeting in Stockholm sleeping among ice bears and winter depressions! where we are looking forward to see many of We at the Stockholm end of Scandinavia really wel- you in January 2006. It promises to be a great come you all NOFOD members to a jammed confer- conference - not least thanks to the Swedish ence that will open January 12th at the museum for arrangement committee and The Carina Ari dance, Dansmuseet, right in the center of town where foundation. their current exibition will be available for us to enjoy. It is the video maker Jonas Åkerlund, famous with dance videos for artists like Madonna and others, that Yours Sincerely, has a collection of videos on exhibit. Next day we enter Inger Damsholt Danshögskolan, the University College of Dance, and the rest is future action, including the last night party. Report from the Conference Organizers Well, in a more serious manner I would like to wel- come you to Stockholm in January 2006. Our work with the NOFOD 2006 Conference is mov- ing along just fine. We can look forward to, in the probably bleak January of 2006, warm up with 36 / Nina Lundborg, S papers, move around in 4 work shops, study 3 posters and investigate a lecture demonstration!!! All in three days!!! IPEDA - Erasmus Intensive Programme Da den lille russisk-engelske balletpædagog Vera Dance analysis for New Ethnochoreologists Volkova ankom til København i 1951 som gæstelærer ved Den Kgl. Ballet, havde hun allerede internationalt 7,5 ECTS ry for at kunne skabe verdensstjerner. Margot Fonteyn, Erik Bruhn og Rudolf Nureyev var blandt de berøm- Dance Studies, Norwegian University for Science and teste, der fandt råd og perfektion i hendes Technology, Trondheim inspirerende og gennemstrukturerede klasser. November 24 – December 5 2005 Vera Volkova (1905-1975) var uddannet på Smolnij The Norwegian University of Science and Technology Instituttet i Skt. Petersborg og fra 1920 på Skolen for (NTNU), Trondheim Norway has been granted Eras- Russisk Ballet med lærere som Nicolaj Legat og mus funding for IPEDA 2005 - Intensive Programme Agrippina Vaganova. En turne bragte hende i 1925 til in Ethnochoreology and Dance Anthropology focusing Japan og Shanghai og derfra videre til England i 1936. on Dance Analysis. The program will be run by the Her tog hun lærerdiplom fra den emigrerede Nikolaj Department for Music, Programme for Dance Studies Legats skole i London, og i 1942 åbnede hun sin egen at NTNU in cooperation with 9 other European Uni- skole i West Street, der tiltrak prominente balletstjerner versities and with several guest lecturers. både fra hele det gryende engelske balletliv, fra Paris, Monte Carlo og New York. It is part of a series of courses for new ethnochoreolo- gists initiated, planned and taught by dance scholars Da Volkova kom til København i 1951 lød kontrakten and university lecturers within the International Coun- på tre måneder. Hun blev i knap 25 år og dedikerede cil for Traditional Music and its Study Group on Eth- hele sin kunstneriske og pædagogiske vision til Den nochoreology. The course will have some of the same Kgl. Ballet - til sin død i 1975. Volkovas betydning for materials as the course in 2004 but also some new udviklingen af Den Kgl. Danske Ballet er indiskutabel. topics and lecturers. Hun reformerede skolen, løftede kompagniets tekniske standard og tilførte en stilfornemmelse, der placerede The course can also accept university teachers in Den Kgl. Ballet på niveau med verdens førende ballet- dance studies as observers to the course as far as kompagnier. space permits. Den Kgl. Danske Ballet nød desuden godt af Volkovas To get more information about the course: http://mime.hf.ntnu.no:9080/rff/IPEDA/ mange internationale kontakter, hvilket skaffede ko- or please contact reografer som f.eks. Lichine, Ashton og Balanchine til Anne Evjemo at the Norwegian university of Science København. and Technology, Dance studies Email: [email protected] Bogen er blevet til på grundlag af efterladte papirer og Phone: 73 59 64 93 brevvekslinger suppleret med interviews med dansere, Fax: 73 59 65 73 og det er forfatteren Alexander Meinertz' fortjeneste, at Vera Volkova toner lyslevende frem af tekstmosaik- ken. En engelsk bearbejdning er under udarbejdelse. /Majbrit Hjelmsbo/DK Call for Items in General Assembly NOFOD will have its general assembly in Stockholm th on the 13 of January, 2006. Anyone willing to suggest Trials and tribulations of Icelandic dance items in the agenda is asked to send the proposals to Inger Damsholt by the 9th of December, 2005. In the second half of August a shock wave hit the Board Icelandic dance world. The minister of culture and education announced that the Icelandic Ballet School would be closed for good at the end of this school year, that is in June 2006. The main reason seems to be that Alexander Meinertz: Vera Volkova - En such a state supported school did not fit into the policy dans af uskyld og erfaring and ideas of this minister where privatisation is the golden word. The Icelandic Ballet School has for some Forord af John Neumeier. 280 sider. Det Schønbergske time been the only school in the country that offers Forlag, 2005. ISBN 87-570-1656-9 continuous education from the age of nine and up and this does not fit the general educational system that is minister has been under a lot of pressure since this divided into primary education, supported by the local decision was announced, both from artists and the communities, and further education financed by the general public, but so far there is no indication that this state. decision will be withdrawn. The Icelandic Ballet School was established in 1952 as /Ingibjörg Björnsdóttir, IS a school attached to the National Theater and as such received state support. In 1990 it broke away from the theater and has since been run as an independant Music, Living Body and (E)motion school where students paid reasonable fees but at the same time the state gave it a good support. Nearly all A research project at the Department of Music Anthro- Icelandic dance professionals, be it dancers, teachers or pology, University of Tampere, Finland choreographers, have received their dance education in this school. Among them we can mention Helgi Singers produce their voice through body’s inner Tómasson the director of the San Francisco Ballet. movements. The players feel tacitly their instruments as well as features of musical style. Dancers transform This news came at the same time as the 3rd Reykjavík in their bodies audible music to a kinaesthetic-visual Modern Dance Festival was held which featured many form. Music has the ability to signify by referring to new works by Icelandic choreographers and showed basic experiences of the embodied human being, and clearly the fertility and growth of artistic dance in the much of the expressive power of music emerges origi- country. nally from the domain of the corporeal. The Icelandic Academy of the Arts started a new one The purpose of the project Music, Living Body and year course in dance this autumn in association with (E)motion is to examine the meaning of the living body the Icelandic Dance Company. This, of course was in producing and receiving music and dance. Based on greatly welcomed, but as the first six students were practical and theoretical knowledge of music, and by beginning their studies the news of the closure of their applying the phenomenological method, the project old school got out. There seems to be a huge focuses on developing new ways of researching musi- contradiction in all this. The Icelandic Ballet School cal experience. Applying the phenomenological has fed the Dance Company since its establishment in method, the project focuses on developing new meth- 1973 so where will the dancers and the students of the ods of researching musical experience.
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