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Konceptuellt scenkonstarbete (Conceptual Project in Performing Arts)

(SKÅB10, 7,5hp)

The course Conceptual Project in Performing Arts (SKÅB10, 7,5 credits, course syllabus SE) will be led by Mia Habib  during week 31 - 35, 2020, as an online course in english. International student were welcome to apply.

Some of the students will present their work during week 34 and 35 at venues of their chosing. Read more here

This summer course will be based on the ongoing performance project “How to die – Inopiné” and its´ research segment Displacement Curriculum. The course will consist of a seminar with various lecturers, developing a conceptual performance work under guidance, a public showing as well as a written reflection. 
Inside of this new kind of displacement we are experiencing in this moment of history, where bodies cannot be gathered together in a physical space, we will share space, reflections, practices and speculations- at a distance.


Teaterhögskolan i Malmö, Sommarkurs 2020, Konceptuellt scenkonstarbete, Mia Habib
How to die - inopiné, foto Tale Hendnes
How to die - inopiné, foto Tale Hendnes

This is a time we have not yet imagined. We can practise, we can prepare for the unexpected. How to die is a multidisciplinary exploration of ecological grief, cultural panic and a sense of collapse.

( How to Die - Inopiné)

Title: How to die/ Displacement Curriculum No. IV

How to die - Inopiné/ Displacement Curriculum is a transdisciplinary investigation, developed between Umeå and Oslo, about ecological grief, cultural panic, and a feeling of collapse. The collective of dancers, scientists, sound, light, and costume designer and a choreographer, have interviewed, discussed with and given workshops to several inhabitants and institutions around these three thematics. In February 2020 the project premiered at Norrlandsoperan in Umeå with a full evening dance piece and The Displacement Curriculum – The Symposium at Umeå school of architecture. In 2021 the project publication will be launched and the project is continuously shifting formats and places.

The artists-researchers behind How to Die - Inopiné/ The Displacement Curriculum propose: “The challenge is learning how to become attuned and stay open, not continue producing infrastructures with the mindset of control, command, and exploitation that have gotten us to this point in the first place; how to bring into being forms and structures that enable us to become present within change that is unfolding dynamically; – to stay soft and responsive, to listen and absorb, to move and be moved.”

The Course

The first week of this summer course will take form as an online seminar based on The Displacement Curriculum. The seminar demonstrates methods for collective, transdisciplinary thinking on themes that have been central in the project: displacement and volatility as a common horizon of humanity. The seminar specifically shares methods of blending bodily conditionings and theoretical decenterings of disciplinary knowledge that has shaped this project. A series of talks will be shared, all of them shedding light on various forms of structures be it spatial, physical, political, social, colonial or ecological.

Teaterhögskolan i Malmö, Sommarkurs 2020, Konceptuellt scenkonstarbete, Mia Habib
How to die - inopiné, foto Tale Hendnes
How to die - inopiné, foto Tale Hendnes

The Displacement Curriculum was first shared as a four-day workshop with students at the Umeå School of Architecture in the fall of 2019 and later as a course for students at Iceland Academy of Arts. Like the workshop itself the online seminar will be a cycle of presentations, dialogues, and participatory physical practices given by artists and researchers from How to die - Inopiné/ Displacement Curriculum.

The entrance into developing a conceptual performance work under guidance will be looking at practices moving towards merging body and material, the animate and the inanimate, human and non-human actors, rooted in the themes and methods shared in the online seminar. These practices are shared from the performance framework of How to Die - Inopiné which circles around leaving anthropocentric practices which places the human or the individual in the center.

Artists and researchers who have developed the research with choreographer/ dancer Mia Habib and research curator Namik Mackic: Ashkan Sepahvand, Marie Kraft, Harald Beharie, Asher Lev, Anna Pehrsson, Nina Wollny, Ingeborg Olerud and Jassem Hindi.


Mia Haugland Habib (1980, Houston) is an Oslo-based dancer, performer and choreographer working at the intersection of performance, exhibitions, publications, lectures, teaching, mentoring and curating. Habib has collaborated internationally with artists such as Jassem Hindi, Guilherme Garrido, Julie Nioche, Rani Nair, Brynjar Bandlien. She danced with Carte Blanche, The Norwegian National Company of Contemporary Dance, from 2017-2018, for whom she also made a commissioned work. Habib’s work has been presented amongst other places at:  Burgtheater in Vienna, LaMaMa Moves! in New York, PICA in Portland, Tanz im August, Dance House Oslo, Aerowaves 2015, Black Box Theatre Oslo, BIT Teatergarasjen, Theatre Freiburg, Tanzhaus nrw Dusseldorf, Spielart Festival, Gothenborg Dance and Theatre festival, On Marche Festival Marrakech, I’TRÔTRA Festival Antananariv. Habib holds an M.A in conflict resolution and mediation from Tel Aviv University and a choreography education from Oslo National Academy of the Arts.

Teaterhögskolan i Malmö, Sommarkurs 2020, Konceptuellt scenkonstarbete, Mia Habib
Mia Habib, foto Tale Hendnes
Mia Habib, foto Tale Hendnes

Habib makes work that speaks to the major concerns of our time. She engages broad audience and local communities across social, political, and artistic spheres and in private, domestic, and public spaces. Over the last 15 years, her practice has taken her to dance houses, opera stages, galleries, public spaces, private houses, religious buildings, squats, and sites of protest and conflict around the world, including an installation on the border fence between the US and Mexico, a solo in the mountains of Iraq, a healing dance in someone's living room, and a large-scale work for 68 people on an opera stage. Habib looks for spaces where her work can interact with different audiences and with the realities of local communities. Habib is currently working on her project “How to Die – Inopiné” involving artists and researchers across disciplines to interact with local communities and seeking a shared mode of articulating an intellectual response to migration, the cultural panic and ecological grief that pervade our world. This is a co- production with Norrlandsoperan, Umeå, Sweden and Dance House, Oslo, Norway among others. During 2020 and 2021 Habib is touring her piece “ALL - a physical poem of protest”.
Read more on web site

Biography guest lecturer

Namik Mackic (1978, Mostar) is urbanist, designer, educator, curator, and artist. His design and artistic research practice studies vectors of landscape dynamics and migration as sources of alternative patterns of urbanization and futures of collective form. A graduate of the Master in Design Studies program at Harvard University Graduate School of Design, he is currently Assistant Professor at The Oslo School of Architecture and Design, and Managing Editor for an upcoming multi-author publication from Southern California Institute of Architecture, on Los Angeles 1980–2020. He was previously visiting instructor at Massachusetts Institute of Technology School of Architecture + Planning, guest critic at Rhode Island School of Design, and Research Associate with the Harvard Mellon Urban Initiative. His writings have appeared in New Geographies, The Metropolitan Laboratory, and Sursock Museum’s publication Elements for a World.

Names of other guest lecturers from the project: TBC.

SHORT BIOS ARTISTIC TEAM AND CO-RESEARCHERS who have been involved in the process

Harald Beharie (1992, Sandnes) has worked freelance with choreographers as Mia Habib, Ingri Fiksdal, Heidi Jessen and Kristine Gjems. Since 2016 he has also been a part of Carte Blanche, The Norwegian National Company of Contemporary Dance. Harald has been working on his own projects since graduating. Together with Julie Moviken and Charlott Utzig, he is a part of the dance/performance collective - De Naive. The groups work is social and mostly one-time happening oriented. He also has an ongoing collaboration with Louis Schou Hansen since 2014.

Asher Lev (1981, Toronto) is a dancer and choreographer whose works have toured in festivals in Europe, Israel, Canada and the U.S. He danced for Batsheva in Tel-Aviv, Carte Blanche, The Norwegian National Company of Contemporary Dance and in many projects across Europe. He has an M.A. in Choreography from the Amsterdam University of the Arts. Together with his partner, Irina Lavrinovic, Lev is invested in teacher plants, Sufi Spinning Practice, sitting and moving meditation and ecstatic Breathwork.

Anna Pehrsson (1973, Boliden) has danced with Alias compagnie and Cullberg Ballet, with choreographers such as Edouard Lock, Jefta van Dinther, Eszter Salamon, Deborah Hay and Benoît Lachambre. Since 2016 she also creates her own work of which the solo Crisp. Come Now we Falling will premiere in 2020. She is active as a mentor and rehearsal director in different constellations and has taught at Balletacademy, DOCH Choreography Department, Dansalliansen, Bronnbacher Stipendium, Germany, and at the Hong Kong Academy for Performing Arts.

Nina Wollny (1980, Bremen) is now based in Trondheim. She studied contemporary dance at the Rotterdam Dance Academy/Codarts, in the Netherlands. She has worked for the company anoukvandijk dc as a dancer, rehearsal director and artistic assistant for more than 10 years. Since 2012 Nina is working with several different choreographers in Europe, among others with the German choreographer Jenny Beyer, and enjoys teaching dance and movement classes at schools, companies and open studios. 

Ali (1994, Afghanistan), is a fashion designer with a BA from the Oslo National Academy of the Arts. Today he works for different clothing brands in Stockholm and this is his second collaboration with Mia Habib Productions. Ali´s work deals with thematics around power and resistance. With Afghani clothing culture as a backdrop Akbari poses questions through his work around who the power is and how it dresses. 

Jassem El Hindi (1981, Jeddah), a French/Palestinian artist living in Norway. Performer, writer, sound maker. El Hindi is the author of several pieces and he has made records, sound installations and sound pieces for numerous choreographers around the world. Within the field of performance, he collaborates with Keith Hennessy, Ligia Lewis, Simone Aughterlony and Mia Habib. His writings have been published in various reviews and books. With “Minor Matter”, Ligia Lewis was the winner of the Bessie Award for whom Hindi did the sound design. 

Steinunn Ketilsdottir (1977, Reykjavik) is a dance artist who works as a performer, choreographer, teacher and organizer. She moves through, dance, text, and thought and is devoted to creating exploratory spaces. Through her practice she investigates how expectations affect the way we move through our lives. Steinunn holds a BA in Dance from Hunter College NY and an MA in Performance Studies from NYU where she was honored with the Performance Studies Award.

Ingeborg Staxrud Olerud (1981, Gjøvik) is a Norwegian light designer and gardener educated within theatre science and development studies at the University of Oslo and at Vea - the state vocational school of gardening. She uses both light and plants as material for magnifying and dwelling on processes of human ecologies in different spaces. Main collaborators: Goksøyr & Martens, Ingri Fiksdal and Mia Habib.

SHORT BIOS RESEARCHERS who have been involved in the process

Ashkan Sepahvand (1984, Tehran) is a writer and artistic researcher based between Berlin (DE) and Oxford (UK). Previously, he has worked as Adjunct Lecturer at the Hochschule für Künste Bremen (2018-19), as Research Fellow at the Schwules Museum (2016-17), where he curated the exhibition Odarodle - an imaginary their_story of naturepeoples, 1535-2017, and at Haus der Kulturen der Welt (2012-14), where he co-edited the publication Textures of the Anthropocene: Grain, Vapor, Ray (The MIT Press, 2015). His work and writings have been presented at the 58th Venice Biennale, dOCUMENTA (13), Sharjah Biennials X & 13, Gwangju Biennale 11, Ashkal Alwan, Sursock Museum, and ICA London, amongst others. Currently, he is pursuing a DPhil in Fine Art at the Ruskin School of Art and St. John’s College, University of Oxford, where he is a Clarendon-AHRC Scholar.

Marie Kraft (1967, Göteborg) is an architect and professor of architecture at the Umeå School of Architecture and Malmö University. She lives and works between Paris, Malmö, and Rome. In her pedagogical and research practice she has been particularly focusing on the urban form of the built environment that has resulted from cross-cultural exchanges, and the social dynamics that inform them – whether that be the Arab-Norrman city core of Palermo or the Belleville neighborhood in Paris.


För att bli antagen till kursen skall den sökande ha grundläggande behörighet för högskolestudier eller motsvarande.
Särskild behörighet är kurser om minst 60 hp inom scenkonstområdet med konceptuell inriktning. samt kurser om minst 60 hp inom scenkonstområdet med konceptuell inriktning.
I ansökan ska bifogas ett personligt brev med motivering till önskan att delta i kursen samt projektbeskrivning.


Urvalet sker genom personligt brev med projektbeskrivning där konstnärlig praktik värderas högt. Kursansvarig och examinator ansvarar för urvalet.


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Konceptuellt scenkonstarbete
(Conceptual Project in Performing Arts)

(SKÅB10, 7,5 credits)
Summer cours week 31-35, 2020

Apply via

Course syllabus (in swedish)

Marta Malmsten
marta [dot] malmsten [at] thm [dot] lu [dot] se