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Methods and Forms of Writing in Relation to Artistic Practices

Methods and Forms of Writing in Relation to Artistic Practices

This course is aimed at those of you who want to develop an independent writing practice that sits alongside your artistic practice.
The photo portrays the author Ursula K. Le Guin whose texts are part of the course. Photo by Marian Wood Kolisch, by Oregon State University via Wikimedia Commons. The photo is cropped.

‘Beneath memory and experience, beneath imagination and invention, beneath words, there are rhythms to which memory and imagination and words all move.’ Ursula K Le Guin, The Wave in the Mind (2004)

About the course

This interdisciplinary course aims to cultivate independent reading and writing practices amongst those with different artistic backgrounds. The main format of the course consists of workshops, seminars, and lectures in which you will be introduced to different forms and methods of writing. You will be given time to experiment with these formats as well as give feedback on each other’s texts.

Focus in the course will be on the letter form, speech writing, auto-fiction, the essay and different forms of performative writing. Alongside guest lectures, you will read, discuss, and respond to texts by thinkers, writers, and artists such as Ursula K. Le Guin, Audre Lorde, Toni Morrison, Virginia Woolf and many more. Additionally, guest artists will visit class to discuss their own particular approach to writing alongside their artistic practice. Recent guests have included: Kah Bee Chow, Alice McKenzie, Viktorija Ilioska, Éireann Lorsung, Alexis Steeves, Sara Kaaman, and others. 

Teacher

Laressa Dickey is a dance artist, writer, and bodyworker based in Stockholm whose recent projects explore the politics of care, the effects of state violence on the human body, and space junk. Her work spans disciplines and modalities. She’s the author of the poetry books Syncopations and Twang. Together with sound artist Andrea Steves, she published Radio Graveyard Orbit, a speculative book about space junk. For Bergen Assembly 2019, she and her partner Ali Gharavi created How to Pass Time With No Reference, an multi-media installation about their experiences inside/outside the Turkish prison system. A longtime student of somatic practices and research, her artistic research has been supported by the Kone Foundation; she researches the dancer's use of language and the writer's use to/for dance. She’s a member of the performative collaboration MISLEADING SUBJECTS and teaches occasionally at Stockholm University of the Arts. 

Information

Study period: 10 November 2025–14 December 2025

Education scope: 7,5 credits

Teaching language: English

Study location: Distance

Study pace: 100 %

Subject area: Dance

Application period: 17 March 2025–15 April 2025

Course syllabus/programme syllabus:Download

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Course director: Chrysa Parkinson

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