Ekman 1984

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Aug 4, 2024, 2:49:50 PM8/4/24

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KarlWilhelm Alexander Ekman (born 1984) is a Swedish ballet dancer and choreographer. His choreographies have been performed by Les Ballets de Monte Carlo, the Boston Ballet, Pacific Northwest Ballet, the Semperoper Ballett, the Nederlands Dans Theater, the Norwegian National Ballet, the Royal Swedish Ballet, the So Paulo City Ballet [pt], the Sydney Dance Company, and the Wiener Staatsballett. For some of them he has designed sets and costumes or composed the music.[1]

Ekman trained at the Royal Swedish Ballet school in Stockholm. At 15 he danced at Europa danse in France and discovered many international choreographers. At 16 he began his professional dance career and joined the Royal Swedish Ballet. One year later he moved to The Netherlands to join the Netherlands Dance theatre 2 in Den Haag, and after that Cullberg Ballet in Stockholm. After 5 years as a professional dancer when he was 21 he decided to become a choreographer on full-time and began his freelancing career.[2][3]

He was a host of the Swedish radio program Sommar in 2015.[4] In 2013 he received an Olivier Award nomination for his choreography of the original work Cacti. His other notable works include Tyll, A Swan Lake, and Episode 31.

Ekman trained at the Royal Swedish Ballet School from 1994 to 2001. He danced at the Royal Swedish Opera from 2001 to 2002 and then at the Nederlands Dans Theater II from 2002 to 2005. He danced for the Cullberg Ballet from 2005 to 2006, where he made his debut as a choreographer.[5]

A Swan Lake is a full-length work created by Ekman. It is created for The Norwegian National Opera & Ballet. Ekman created it together with Henrik Vibskov. The music is composed by Mikael Karlsson. Ekman created A Swan Lake on stage with company by filling the stage with 5,000 liters of water.[15][16]

Midsummer Night's Dream ballet was choreographed by Alexander Ekman in 2015 and directed by Mikael Jnsson. The music was created by Mikael Karlsson. Ekman created it for the Royal Swedish Ballet inspired by the customary Swedish Midsummer Eve festival. It has been described as a free interpretation of Shakespeare's play.[17][18]

COW is another ballet by Ekman. It features eleven successive scenes. In this ballet Ekman related human behavior in everyday life to the behavior of Cows. It is composed by Mikael Karlsson. Cow is choreographed by Alexander Ekman himself. Music was created by Mikael Karlsson, costumes by Henrik Vibskov, light by Fabio Antoci video by TM Rives.[19]

Ekman created 'PLAY' together with Karlsson which creates a unique bond between dance and music. Play was created for the Paris Opera Ballet. It is a dance music theatre piece that recalls the age of childhood. It is written and directed by Ekman himself.[20]

Ekman created Cacti in 2010. It is one of the successful pieces. In Cacti 16 dancers together creates rhythms. In 2010, Queen Beatrix of the Netherlands gave Cacti as a gift to the royalties of Norway on a state visit in Oslo. In 2010 it was nominated for best new dance production for Swan award in Netherlands.[21][19][22]

During the past decades, theorists and researchers have offered a wide range of perspectives on the nature and development of emotion. Toward one end of a continuum, theorists define emotions in terms of specific patterns of feeling and behavior organized by innate neurological pathways and biological substrates (Ackerman, Abe, & Izard, Chapter 4, this volume; Ekman, 1984; Izard & Malatesta, 1987; Panksepp, Knutson, & Pruitt, Chapter 3, this volume; Tomkins, 1962, 1984). At the other end, theorists suggest that emotions consist of socially constructed syndromes of cognition, feeling, and action (Averill, 1982; Mancuso & Sarbin, Chapter 12, this volume; Oatley, 1992; Shweder, 1994). A component systems approach to emotions (Scherer, 1984, 1994) holds out the possibility of integrating these two diverse traditions. From this view, emotional episodes consist of multiple component processes and systems that mutually regulate each other at the biological, psychological, and sociocultural levels of functioning. In what follows, we elaborate on a component systems approach to emotional development, focusing specifically on the development of pride as a social, self-evaluative emotional experience. Thereafter, we report the results of a preliminary study assessing developmental changes in pride-relevant behavior of infants and toddlers as they interact with their caregivers in achievement-related tasks.

In the debate between mood and emotion, moods can be distinguished from emotions in terms of duration and, presumably, also in terms of the neuronal circuits involved that direct and maintain each of these different affective states.

While there is no agreement on how long an emotion lasts, most experts studying the difference between mood and emotion recognise that moods last longer. For Ekman (Ekman, 1984), emotions are short, usually lasting from fractions of a second to minutes at most. Thus, when we talk about an emotion lasting for a long period of time (hours), we are more likely to be summing up emotional events that are nevertheless part of a mood, which remains more or less constant in intensity and with the same characteristics over that period of time. Moods, however, can last for hours, sometimes even days, and can be difficult to remove. It is important to note that if a mood persists for weeks or months, however, it is not a mood, but is more correctly identified as an affective disorder.

When in an irritable mood, people perceive the world around them in a way that allows, if not requires, an angry response, as if they were looking for an opportunity to freely express emotion related to their mood.

Another characteristic used to discuss the differences between moods and emotions concerns facial expressions. Moods do not possess their own unique prototypical facial expression whereas many emotions do. An irritable mood is inferred when many facial expressions of anger are observed, but there is no distinct facial expression of irritability itself, and this applies to all other moods, emotional personality traits or affective disorders.

For Ekman, most people can specify what triggered an emotion, but are unable to do so for a mood. Triggers can come from the external environment or from memories or images that pop up in our minds. They can also be imagined.

Dance ICONS is a global network for choreographers of all levels of experience, nationalities, and genres. We offer a cloud-based platform for knowledge exchange, collaboration, inspiration, and debate. Dance ICONS is based in Washington, D.C., and serves choreographers the world over.

AE: My parents are both very interested and curious about anything cultural, and education was important to them. As a child, I was already dancing around the house. Fortunately, my mother noticed this, and she sent me off to the Swedish Ballet School.

AE: I struggled with the everydayness, the routine. I love change, and for me, it was tough to have to do the same thing every morning as we did in the ballet class. Later, when I worked in companies, repeating the same thing in rehearsals and performances was also very challenging for me. I was so bored with the school that I decided to leave. I arranged a meeting with the Director, Petter Jacobsson, at the Opera House, and he offered me a contract. So, I was able to leave school two years early and join the company.

AE: We all get a great many ideas, but then we have to make space for them. The really tricky part is to know which ideas will reach out and also which ideas will go well together. Simply having ideas is not such a big part of it. Of course, you need a great idea, but you also need to craft it in the right way. In this way, I try to compartmentalize my creation.

AE: Yes, it can be, and I needed to find some sort of psychological construct to deal with the success. I have to do this to continue. Otherwise, it will hold me back and I will be doomed to a life of pressure and expectation.

ICONS: You have done a lot of work with the Royal Swedish Ballet, but you also work with leading companies across the world. What are the challenges between the familiar and the new, and what does each bring to the table?

ICONS: When you do take on the role of film director, what does this add to the creative process? For instance, in COW you were filming in the streets of Dresden and in the River Elbe.

Alexander Ekman (Sweden, 1984) had a traditional ballet education and transition to the Royal Swedish Ballet, before spreading his wings. From 2002-2005 he danced with NDT2, one of the most innovative and exciting youth companies. He tried his hand at choreography, with a prize-winning entry Swingle Sisters at the prestigious International Choreography Competition of Hannover in 2005. Then, during his subsequent engagement with Cullberg Ballet, he made the shift from a performer to a creator.

Ekman is the recipient of the prestigious German Faust Award, (COW, 2016) and The Swedish Media Award: Inventor of the Year (Midsummer Night's Dream (2015). He has received nominations for the Dutch Zwaan Award 2012 and the London Olivier Awards, 2013 both for Cacti. His mercurial temperament and fertile imagination thrive on creation and innovation. His major collaborations make extravagant use of theatrical devices to create surreal worlds, and central to his work is the desire to delight an audience and hold its attention.

The primary cause of the annual variation in transport in the ACC is the freshwater runoff whose maximum occurs in autumn (Schumacher and Reed, 1980; Royer, 1981, 1982). The major source of this runoff is along the east and north coast of Alaska, before the ACC enters Shelikof Strait. Estimates of geostrophic transport based on CTD data from 20 occupations of seven stations along section 1 and collected between March 1985 and June 1988 yield a mean and standard deviation of 0.59 0.32 10 m s. The reference levels used for geostrophic transport calculations vary across the section (Reed and Schumacher, 1989; Fig. 2). There were no CTD surveys during winter. The maximum of 1.18 10 m s occurred in October 1985. The mean and standard deviation compares favorably with values estimated from current records: = 0.81 0.59 10 m s, or = 0.85 0.68 10 m s.