Profiles

Ylva Lorentzon. Foto: Niklas Björling.

Ylva Lorentzon

Universitetslektor

View page in English
Arbetar vid Barn- och ungdomsvetenskapliga institutionen
Telefon 08-120 762 25
E-post ylva.lorentzon@buv.su.se
Besöksadress Svante Arrhenius väg 21A
Rum 408
Postadress Barn- och ungdomsvetenskapliga institutionen 106 91 Stockholm

Om mig

Vikarierande lektor

Avdelningen för barn- och ungdomsvetenskap, Centrum för barnkulturforskning

Undervisning

Ylva undervisar framförallt i Barnkultur på både grund och avancerad nivå, men också i Masterprogrammet i Barn- och ungdomsvetenskap och i förskollärarprogrammet.

Forskning

Nyckelord

Barnkultur, kulturpolitik, kultur, etnografi, scenkonst, praktik, praktikarkitektur, status, legitimering, barndom, barnperspektiv, barnets rättigheter.

 

Forskningsintressen

Mina forskningsintressen rör barnkultur och kulturpolitik på olika sätt, hur kulturpolitiska initiativ omsätts i praktik och hur kulturpolitik görs i vardagspraktik. Mitt avhandlingsprojekt handlade om barnkulturproduktion och barnkultur som konstnärligt område. I relation till kultur i allmänhet åtnjuter barnkultur som regel lägre status och påverkas starkt av vuxnas tolkningsföreträde och vuxna idéer om barn och barndom. På det viset kan barnkultur uppfattas som ett politiskt laddat konstnärligt område som påverkas av maktasymmetrier. Ambitionen i avhandlingen är att undersöka hur den här laddningen görs och är aktiv i sociala processer då kultur för barn produceras och baseras på ett längre etnografiskt fältarbete.

Intresset för hur kulturpolitik görs i olika sammanhang i relation till barn och unga som målgrupp är fortfarande i fokus för min forskning. Jag har också intresserat mig för hur begrepp som barnperspektiv tolkas och omsätts i praktik inom kulturinstitutioner.

 

 

Publikationer

I urval från Stockholms universitets publikationsdatabas
  • Avhandling (Dok) Öppna världar, slutna rum
    2018. Ylva Lorentzon (et al.).

    This doctoral thesis is about child culture and status, power and social relations in everyday practice. The aim is to explore the everyday practice within the production of performing arts and problematize what is at stake in the practice with regard to child culture as an artistic field. The research focuses on how the everyday practice is organized, how status-power influences the practice, and lastly, the potential relevance that the everyday practice within the production of performing arts has for understanding child culture as an artistic field. 

    The thesis ethnographically explores the everyday practice of a theater. The fieldwork was performed in a section that produces performing arts for children and young people. The practice is analyzed and interpreted through the practice theory of Theodore Schatzki, Stephen Kemmis et al.’s methodological concept of practice architecture and Theodore Kemper’s theory on status-power. Other important concepts are child culture, culture and childhood. 

    The analysis shows the everyday practice as organized around an artistic objective that is simultaneously artistically and pedagogically oriented. This split orientation of the objective sets the section apart from the other artistic sections within the theater. The artistic objective generates important status for a production aimed at children and young people. However, compared to other sections within the institution, this section has differing material and economical prerequisites, which complicates, and sometimes obstructs, the process of asserting artistic status within the theater. The weaker material and economical arrangements underlines the importance of positive social relatings (Kemmis’ term), social status and the maneuvering of power-relations within the theater, in order to ensure artistic, technical and material resources. 

    The practice appears organized in a practice tradition that displays a firm artistic hierarchy, and this illuminates how what is understood as artistic rather than pedagogical or technical in nature always carries a higher status within the practice. This is significant in the work of the section, since large parts of their production are presented as pedagogical rather than artistic projects, and therefore generate lower artistic status. Yet, the analysis also shows a third kind of policy related status being generated by the production of the section. The section and its production is a central part of legitimizing the production of the theater regarding cultural policy, state bureaucracy and funding. Its production therefore upholds a kind of policy related status within the institution. 

    The analysis reveals three kinds of status in the practice, one social, one artistic and one related to cultural policy. The weaker power position and lower artistic status of child culture creates dependence of visibility within the theater. It also shows child culture and pedagogy as deeply intertwined phenomena, with pedagogy both diluting and obscuring the production of artistic status while simultaneously generating possibilities for the policy related kind of status within the institution. Thus while pedagogy can generate low artistic status, the analysis shows it can also be understood as creating a radical artistic potential within child culture as an artistic field.

Visa alla publikationer av Ylva Lorentzon vid Stockholms universitet

Senast uppdaterad: 3 juni 2019

Bokmärk och dela Tipsa