{"title":"Music, literature, and community: Reflections on a framework for learning through and from Aboriginal and Torres Strait Islander music","authors":"Thomas Fienberg","doi":"10.1177/1321103x231192311","DOIUrl":null,"url":null,"abstract":"Inspired by a desire to explore ways in which non-Indigenous Australians can meaningfully connect with Aboriginal and Torres Strait Islander peoples, this article reflects on my doctoral studies and the role educators can have in holding space for First Nations peoples to directly contribute toward the creation of mutually rewarding teaching and learning experiences. It specifically evaluates the processes involved in establishing and implementing a project centered on my senior secondary music class as the students engaged in the collaborative reworking of two songs shared by Ngiyampaa composer and dancer, Peter Williams. The article is intentionally reflexive as it interrogates the journey and motivations behind conducting the study. As a non-Indigenous teacher-researcher, I table three foundational pillars behind my personal growth in understanding Aboriginal and Torres Strait Islander histories and cultures: the music, the academic literature, and most importantly, the local community. The article then discusses the challenges and factors that lead to the success of the musical interactions in the doctoral study—a process understood as co-composition—and critically, the transformative learning experiences gained as reciprocal relationships were forged during various stages of the project. Rather than promoting co-composition as a pedagogical strategy, this article encourages a heuristic approach to increased and effective inclusion of Aboriginal and Torres Strait Islander music in secondary music classes. By setting out in autoethnographic form the experience of implementing a considered, decolonial, and ethical approach to learning from and through Aboriginal and Torres Strait Islander music, I hope to encourage educators to imagine themselves in a narrative of their own, one that includes their students and members of the local First Nations community, leading to rich and rewarding musical collaborations and ongoing fruitful relationships.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.3000,"publicationDate":"2023-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Research Studies in Music Education","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1177/1321103x231192311","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
引用次数: 0
Abstract
Inspired by a desire to explore ways in which non-Indigenous Australians can meaningfully connect with Aboriginal and Torres Strait Islander peoples, this article reflects on my doctoral studies and the role educators can have in holding space for First Nations peoples to directly contribute toward the creation of mutually rewarding teaching and learning experiences. It specifically evaluates the processes involved in establishing and implementing a project centered on my senior secondary music class as the students engaged in the collaborative reworking of two songs shared by Ngiyampaa composer and dancer, Peter Williams. The article is intentionally reflexive as it interrogates the journey and motivations behind conducting the study. As a non-Indigenous teacher-researcher, I table three foundational pillars behind my personal growth in understanding Aboriginal and Torres Strait Islander histories and cultures: the music, the academic literature, and most importantly, the local community. The article then discusses the challenges and factors that lead to the success of the musical interactions in the doctoral study—a process understood as co-composition—and critically, the transformative learning experiences gained as reciprocal relationships were forged during various stages of the project. Rather than promoting co-composition as a pedagogical strategy, this article encourages a heuristic approach to increased and effective inclusion of Aboriginal and Torres Strait Islander music in secondary music classes. By setting out in autoethnographic form the experience of implementing a considered, decolonial, and ethical approach to learning from and through Aboriginal and Torres Strait Islander music, I hope to encourage educators to imagine themselves in a narrative of their own, one that includes their students and members of the local First Nations community, leading to rich and rewarding musical collaborations and ongoing fruitful relationships.
期刊介绍:
Research Studies in Music Education is an internationally peer-reviewed journal that promotes the dissemination and discussion of high quality research in music and music education. The journal encourages the interrogation and development of a range of research methodologies and their application to diverse topics in music education theory and practice. The journal covers a wide range of topics across all areas of music education, and a separate "Perspectives in Music Education Research" section provides a forum for researchers to discuss topics of special interest and to debate key issues in the profession.