{"title":"Towards decolonial pedagogies of world music","authors":"J. Roy","doi":"10.1080/17411912.2021.1985562","DOIUrl":null,"url":null,"abstract":"ABSTRACT Recent scholarship has addressed the roles epistemological colonialism plays in music education. Following several publications on decoloniality in music studies and education, this article discusses how ethnomusicological pedagogies and scholarly practices can engage in unsettling practices of critique and creative action that attend to sites of oppression beyond the reflexes of tokenism, nativism, and other ‘settler moves to innocence’. This article presents some pragmatic directions that come out of the critiques highlighted therein, inspired by pedagogical practices proposed by Chérie Rivers Ndaliko, Marco Cervantes and L.P. Saldaña, and others. This includes a three-module lesson facilitating students through the examination of coloniality in the musical histories of a place, the challenging of coloniality in the practice and consumption of musics today, and the creation of entirely different musical possibilities that re/centre students’ lived experiences, his-/her-/their-stories, and ancestries.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"31 1","pages":"50 - 69"},"PeriodicalIF":0.2000,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Ethnomusicology Forum","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/17411912.2021.1985562","RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
引用次数: 0
Abstract
ABSTRACT Recent scholarship has addressed the roles epistemological colonialism plays in music education. Following several publications on decoloniality in music studies and education, this article discusses how ethnomusicological pedagogies and scholarly practices can engage in unsettling practices of critique and creative action that attend to sites of oppression beyond the reflexes of tokenism, nativism, and other ‘settler moves to innocence’. This article presents some pragmatic directions that come out of the critiques highlighted therein, inspired by pedagogical practices proposed by Chérie Rivers Ndaliko, Marco Cervantes and L.P. Saldaña, and others. This includes a three-module lesson facilitating students through the examination of coloniality in the musical histories of a place, the challenging of coloniality in the practice and consumption of musics today, and the creation of entirely different musical possibilities that re/centre students’ lived experiences, his-/her-/their-stories, and ancestries.
期刊介绍：
Articles often emphasise first-hand, sustained engagement with people as music makers, taking the form of ethnographic writing following one or more periods of fieldwork. Typically, ethnographies aim for a broad assessment of the processes and contexts through and within which music is imagined, discussed and made. Ethnography may be synthesised with a variety of analytical, historical and other methodologies, often entering into dialogue with other disciplinary areas such as music psychology, music education, historical musicology, performance studies, critical theory, dance, folklore and linguistics. The field is therefore characterised by its breadth in theory and method, its interdisciplinary nature and its global perspective.
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