Hostname: page-component-586b7cd67f-t8hqh Total loading time: 0 Render date: 2024-11-29T10:53:04.931Z Has data issue: false hasContentIssue false

Renegotiating Identity Markers in Contemporary Halling Practices

Published online by Cambridge University Press:  12 May 2020

Abstract

Contemporary halling, seen in theatrical dance works by the Norwegian choreogaphers Hallgrim Hansegaard and Sigurd Johan Heide, exists in a fluid interplay between traditional dance and influences from other cultures. This article examines how typical halling moves are negotiated and “remixed” through practices taking place inside and outside of the Nordic sphere. Hansegaard and Heide can be seen as representatives of “wayfinding artists,” influenced by migrant practices through moving, “wayfinding” in and out of the Nordic region.

Type
Articles
Copyright
Copyright © 2020 Dance Studies Association

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Works Cited

Bakka, Egil. 1978. Norske Dansetradisjonar. Oslo: Samlaget.Google Scholar
Bakka, Egil, and Ranheim, Ingar, eds. 1995. Handlingsplan for Folkemusikk og Folkedans. Trondheim, Norway: NTNU Trykk.Google Scholar
Bakke, Marit. 2003. “Cultural Policy in Norway.” In The Nordic Cultural Model, edited by Duelund, Peter, 147179. Copenhagen: Nordic Cultural Institute.Google Scholar
Barker, Martin. 2006. “I Have Seen the Future and It Is Not Here Yet …; or, On Being Ambitious for Audience Research.Communication Review 9 (2): 123–41.CrossRefGoogle Scholar
Brennan, Mary. 2015. “Nord Dance at Traverse, Edinburgh.” The Herald, November 23. Accessed March 1, 2018. https://www.heraldscotland.com/arts_ents/14098167.dance-review-norddance-at-traverse-edinburgh/.Google Scholar
Chakravorty, Pallabi. 2010. “Remixed Practice: Bollywood Dance.” In Dance Matters: Performing India, edited by Pallabi Chakravorty and Nilanjana Gupta, 169184. New Dehli, India: Routledge.Google Scholar
“Dansegruppen Kartellet.” n.d. Kartellet. Accessed February 18, 2019. http://kartellet.org/.Google Scholar
Fensham, Rachel, and Kelada, Odette. 2012. “Situating the Body: Choreographies of Transmigration.Journal of Intercultural Studies 33 (4): 395410.CrossRefGoogle Scholar
Fiskvik, Anne Margrete. 2013. “Halling as a Tool for Nationalist Strategies.” In Bodies of Sound: Studies across Popular Music and Dance, edited by Dodds, Sherril and Cook, Susan C., 85102. London: Ashgate.Google Scholar
Folkedal, Halldis. 2009. “Den kvinnelige hallingdansaren. Om kropp, kjønn og seksualitet i norsk folkedans.” MA diss. NTNU Trykk, Trondheim, Norway.Google Scholar
“Halling – ikke bare for men.” 2009. GD. May 15. Accessed February 13, 2019. http://www.gd.no/kultur/halling-ikke-bare-for-menn/s/1-934610-4333021.Google Scholar
Hammergren, Lena. 2011. “Dance and Democracy in Norden.” In Dance and the Formation of Norden, edited by Vedel, Karen, 175196. Trondheim, Norway: Tapir Akademisk Forlag.Google Scholar
Hansegaard, Hallgrim. 2017. Interviewed by the author, Bondeungdomslaget (BUL), Oslo, Norway. Digital recording. April 9. Private archive.Google Scholar
Heide, Sigurd Johan. 2017. Interviewed by the author, NTNU, Department of Music and Dance, Trondheim, Norway. Digital recording. February 21. Private archive.Google Scholar
Heide, Sigurd Johan. 2019. Interviewed by the author, NTNU, Department of Music and Dance, Trondheim, Norway. Digital recording. March 15. Private archive.Google Scholar
Hylland Eriksen, Thomas. 2010. Ethnicity and Nationalism: Anthropological Perspectives. 3rd ed.London: Pluto Press.Google Scholar
Karoblis, Gediminas, Sigurd Heide, Siri Mæland, and Okstad, Kari Margrete. 2016. “Performer-Audience Interaction: A Potential for Dance Art.” Accessed January 17, 2020. https://www.researchcatalogue.net/view/60494/60495.Google Scholar
Ness, Sally Ann. 2008. “Conclusion.” In Migrations of Gesture, edited by Noland, Carrie and Ness, Sally Ann, 259280. Minneapolis: University of Minnesota Press.Google Scholar
Noland, Carrie. 2009. Agency and Embodiment: Performing Gestures / Producing Culture. Cambridge, MA: Harvard University Press.CrossRefGoogle Scholar
“Om FRIKAR – FRIKAR – Draumefangaren.” n.d. Frikar. Accessed February 20, 2019. http://www.frikar.com/no/kompani/om-frikar/.Google Scholar
Reason, Matthew, and Reynolds, Dee. 2010. “Kinesthesia, Empathy, and Related Pleasures: An Inquiry into Audience Experiences of Watching Dance.” Dance Research Journal 42 (2): 4975.CrossRefGoogle Scholar
Scolieri, Paul. 2008. “Global/Mobile: Re-orienting Dance and Migration Studies.Dance Research Journal 40 (2): vxx.CrossRefGoogle Scholar
Tyler, Kieron. 2013. “Sound Check Norway: Norway's Folk Music— From the Outside.” Music Norway. Accessed February 15, 2019. http://musicnorway.no/2013/11/25/norways-folk-music-from-the-outside/.Google Scholar
Vedel, Karen. 2014. “Strategic Mobility and Wayfinding Artists: Performing the Region.” In Nordic Dance Spaces: Practicing and Imagining a Region, edited by Vedel, Karen and Hoppu, Petri, 4978. Surrey, UK: Routledge.Google Scholar