Teaching
At the heart of my teaching is improvisation — not as a genre, but as a method for thinking and relating in real time.
I design learning environments as ecologies of practice where embodied experimentation and conceptual analysis are interwoven. My current artistic research directly informs this pedagogy, providing a methodological scaffolding of modular tools and relational strategies that can be adapted across disciplines.
Central to my approach is the conviction that learning flourishes when methods are made explicit yet remain open to transformation. I use process questions and usefully vague ideas as enabling constraints that invite students to explore multiple pathways, cultivate self-reflection, and develop a heightened sensitivity to context. Inspired by thinkers like Deleuze, Haraway and Dewey, I see knowledge as relational, provisional, and performative.
My role as a teacher and leader is therefore to cultivate spaces where students and colleagues feel empowered to develop not just as skilled practitioners, but as response-able and collaborative artist-researchers.
Courses at KMH
Creative Improvisation
Ensemble course using original exercises — verbal instructions, graphic scores — to develop differentiation, contrast and superimposition. Students learn to balance conscious control with spontaneity, coincidence, and rapid response. Emphasis on non-judgmental listening, playfulness, and shifting between structural reference frames.
Listening Across Limits
Explores listening as a relational and political practice. Topics include habitual modes of listening and the priming of perception, neurodiversity and multisensory listening, decolonial perspectives on attention (Robinson, guest listening), the materiality and ecology of sound, Deep Listening (Oliveros), and affect and untranslatability (Glissant). Develops practices of attending across difference.
Co-creation and Relational Practices
Examines the ethics and politics of working together across difference — in art and beyond. Topics include modes of co-creation, relational asymmetry, decolonial and feminist posthumanist frameworks (response-ability), cross-disciplinary and cross-genre collaboration, structured improvisation, neurodiversity, and sustainability. Develops capacities for being with others in generative and response-able ways.
Creative Ear Training
Ear training beyond conventional pitch and rhythm recognition to include micro-rhythm, intonation and timbre. Inspired by North-Indian raga, African rhythmic concepts, folk traditions, jazz, and Western art music. Listening framed as a creative act.
Core artistic research curriculum
Konstnärlig forskningsförberedande kurs 1 & 2. ~140 students per year across all master's programmes. Introduces artistic research methods, epistemological concerns (situated knowledge, etc.), decoloniality and neurodiversity, and writing practices.