Badass practice - Ett utforskande av kroppsligt självbestämmande : en praktikbaserad studie kring koreografi och didaktikt ur intersektionella och dekoloniala perspektiv

This study investigates the integration and expression of bodily experiences within the creative process behind badass practice. Employing a practice-based research methodology, it seeks to explore the development and enhancement of self-determination in choreographic processes, drawing on interdisciplinary dialogues with authors and artists from intersectional and decolonial perspectives. The research is iterative and subverts linear progression, evolving through various phases of reflection, practice, and response to external stimuli, including presentations and performances. Initial practical sessions examined existing and new elements of badass practice, leading to the creation and refinement of a structured score. Subsequent stages included presenting a practice presentation at the Within Practice festival and developing the drag performance Shykira, each informing the research inquiry. The methodology is underpinned by concepts such as Barbara Sutton's Poner el Cuerpo and Gloria Anzaldúa's Mestiza Consciousness, allowing a critical examination of bodily engagement, self-determination and resistance within performance art and education contexts. Results reveal key insights into the embodiment of resistance and vulnerability (Poner elle Cuerpx), the utilization of humor and performativity to challenge normative narratives, and the navigation of identity through Anzaldúa's notions of hybridity and boundary crossing (Mestizx consciousness). The research highlights the potential for queer orientations and decolonial aestheTics/aestheSis to inform and progress educational practices, promoting inclusivity and fostering holistic understandings of identity and learning. Ultimately, this study underscores the need for a diverse representation within academic settings and emphasizes how hybrid identities and decolonial theory can dismantle colonial legacies embedded in dance and educational frameworks. The findings offer a lens for educators and practitioners to support and amplify the presence and voices of marginalized groups within the field.