Informations film. Filmproduktion: Michel Thomas

Kulturskoleklivet vid Musikhögskolan i Malmö Är du redo att ta ett kliv och utforska nya möjligheter? Få barn, unga och idéer att växa? Är du nyfiken på att bidra till en kulturskola för alla? Inom Kulturskoleklivet vid Musikhögskolan i Malmö erbjuds ett flertal kurser och utbildningar av olika längd och omfattning. Här ryms vår nya kulturskolepedagogutbildning, men även ett antal fristående kurser. Här finns fortbildningschans för verksamma pedagoger och en möjlighet för ny inspiration, ökad bredd eller ämnesfördjupning.

Kurserna ges vid Musikhögskolan och i de didaktiska kurserna inom scenkonst i samarbete med Malmö universitet. Om Kulturskoleklivet En av utmaningarna för den svenska kommunala musik- och kulturskolan är att rekrytera utbildad personal. Det finns ett stort behov av att förstärka kompetensen så att kulturskolans verksamhet kan breddas och utvecklas till en mer likvärdig kulturskola. Regeringen har därför gjort en satsning, med start hösten 2019, på nya utbildningsplatser med särskild relevans för kulturskolan. Det kan handla om såväl fristående kurser som större kurspaket eller nya utbildningar. Lunds universitet är ett av totalt 6 lärosäten i landet som fått del av regeringens medel och Musikhögskolan i Malmö besitter den kompetens som krävs för att utbilda pedagoger till en kulturskola i utveckling.

Salvador Dalí & Walt Disney’s animated Film, Destino, Music of Pink Floyd

In 1945, Walt Disney and Salvador Dalí began collaborating on an animated film. 58 years later, with Dalí long gone and Disney gone longer still, it came out. The delayed arrival of Destino had to do with money trouble at the Walt Disney Studios not long after the project began, and it seems that few laid eyes on its unfinished materials again until Disney’s nephew Roy E. Disney came across them in 1999. Completed, it premiered at the 2003 New York Film Festival and received an Oscar nomination for Best Animated Short Film. Now, fifteen years later, we know for sure that Destino has found a place in the culture, because someone has mashed it up with Pink Floyd.

Unlike The Wizard of Oz, which has in Pink Floyd’s Dark Side of the Moon the best-known inadvertent soundtrack of all time, the seven-minute Destino can hardly accommodate an entire album. But it does match nicely with ”Time,” Dark Side of the Moon‘s fourth track, in length as well as in theme.

Though in many ways a more visual experience than a narrative one — if completed in the 1940s, it might have become part of a Fantasia-like ”package film” — Destino does tell a story, showing a graceful woman who catches the eye of Chronos, the mythical personification of time itself. This allows the film to indulge in some clock imagery, which one might expect from Dalí, though it also includes clocks of the non-melting variety.

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Only with ”Time” as its soundtrack does Destino include the sound of clocks as well. All the ringing and bonging that opens the song came as a contribution from famed producer Alan Parsons, who worked onDark Side of the Moon as an engineer. Before the album’s sessions, he’d happened to go out to an antique shop and record its clocks as a test of the then-novel Quadraphonic recording technique. The transition from Parsons’ clocks to Nick Mason’s drums fits uncannily well with the opening of Destino, as does much that follows. ”Every year is getting shorter, never seem to find the time,” sings David Gilmour. ”Plans that either come to naught or half a page of scribbled lines.” Though Disney and Dalí came up with much more than half a page of scribbled lines, both of them probably assumed Destino had come to naught. Or might they have suspected that the project would find its way in time?

Composed Of: Ding Ke from Nowness

A kaleidoscopic snapshot of a music composer who writes the soundtrack of his life.

London-based director and writer Edward Paginton shares this visual portrait of Chinese composer Ding Ke in his adopted home of Paris. By exploring the film musician’s interactions with the world around him, Paginton visualizes Ke’s ability to create music for cinema inspired by the noise and activity of everyday life. 

“We live in a richly dense visual world”

“We live in a richly dense visual world,” says the director. “Every image we encounter carries a unique emotive value.” Paginton echoes this sentiment by presenting the film as a kaleidoscopic snapshot of different locations around Paris that eventually combine to represent Ke’s multilayered and creative mind. 

“I wanted to communicate how fleeting these images and interactions can be,” the director continues, “but also how significant they are in shaping our world view and expression of it.”