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Exploring how text understanding evolves through interaction in a dramatext-based student theatre production, the present study takes its theoretical point of departure in sociocultural and dialogical approaches to meaning making and creativity. Video data from a Swedish upper secondary school allowed us to follow transitions of text understanding in the artistic shaping of characters from drama text to stage text. We analyze a special kind of communicative side project: short, recurrent student-initiated role-plays, embedded in teacher-led activities. The joint text understanding that was established in these side projects proved productive in the emergent shaping of the stage text.

The aim of this article is to examine responses to a project that aspires to further genderequal jazz scenes in Sweden and the US. The project brought together actors at various levels of the industry: cultural agencies, commercial organizers, activists, and artists. Our analysis -with special focus on resistance voiced -is based on observations, interviews with organizers, and a documentary about the project. The project's central ambition was to make women in jazz visible in order to change a structural imbalance where men still take up most of the space on stage. This ambition was, however, complicated as different actors resisted a female-male binary, and thus the very idea of "women in jazz". The resistance was played out through gender equality discourses of either unity or diversity, varying in relation to national context and generation. The article also discusses visibility as a central but also problematic aspect for gender equality efforts in music.

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