Diskurser om norsk dansekunst anno 2016
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- Institutt for musikk 
In this thesis I have taken a closer look at a debate that occurred in Norwegian newspapers online, in December 2016, in the aftermath of the publication of the dance history book Bevegelser – Norsk dansekunst i 20 år – by Dance Information Norway - the national resource centre for the art of dance. The title can be freely translated to «Movements – Norwegian Dance Art during 20 years». Despite its title, the book mainly focused on the dance “genre” contemporary dance. It was heavily criticized for ignoring jazz dance and its proponents. To some extent – the editor agreed that this form and its people could have been given more space. However, the two parties disagreed about the way they had been presented and the amount of presentation that could be expected in this type of history book. My interest in this debate was to identify and problematize the discources – in the media debate – that can be seen to exclude jazz dance from concept of dance art – using Norman Fairclough’s critical discourse analysis, in combination with Margaretha Järvinen’s interpretation of Bourdieu’s theory of classification, as well as Barry Barnes’ constructivist theory where he criticizes a reformed version of the Enlightenment project. This theory was brought into the analysis after I had identified the main concepts used in the news media. At first I analysed chosen news articles in a relatively detailed manner – trying to discover the concepts and the different constellations of meanings presented by the participants. In the second analysis I contextualised the discourses towards other relevant texts, representing the same concepts. In my conclusion I found that both the specific and generalized version of most of the identified discourses could be attributed to the discourse of the reformed Enlightenment project. This discourse means that the concepts of tradition or routines are opposed to the concepts of development and critical reflection. Also, the concept of contemporary dance for a large part embraces the logic within the Enlightment project. The problem is that this understanding of contemporary dance is closely associated with the understanding of dance art, leading to different forms of exclusion in the political field of culture, including the history book of Dance Information Norway. However, Barry Barnes` argues that reflection is something that can be attributed to tradition and routines as well – using a constructivist approach to the understanding of human interaction. I therefore suggest that the concept of dance art should divide itself more carefully from the logic of the Enlightenment project.