Los conocimientos de los grupos indígenas han sido marginados y excluidos por medio de un sistema basado en una visión de mundo que perpetúa el colonialismo. Los estadosnación, con el apoyo de cuerpos académicos, reconocen y avalan formas del saber asumidas como «superiores», que marginan los conocimientos de las culturas indígenas. Es apremiante considerar una filosofía educativa que ponga al centro los saberes y cosmovisiones de las culturas locales. En este escrito, discuto la implementación de la propuesta filosófica de Styres (2017) centrada en la Tierra (Land-centred), en la educación musical. Esta postura parte de la premisa de que los conocimientos indígenas tienen la misma valía que los promovidos desde los centros hegemónicos occidentales. Esta perspectiva busca descentrar el papel del eurocentrismo que avala o niega formas del saber, al mismo que (re)centra los conocimientos indígenas y sus cosmovisiones. Palabras clave: Filosofía centrada en la Tierra, educación musical, saberes indígenas.
{"title":"(Re)centrando las Perspectivas Indígenas en la Educación Musical en América Latina","authors":"Héctor Miguel Vázquez Córdoba","doi":"10.22176/act18.3.172","DOIUrl":"https://doi.org/10.22176/act18.3.172","url":null,"abstract":"Los conocimientos de los grupos indígenas han sido marginados y excluidos por medio de un sistema basado en una visión de mundo que perpetúa el colonialismo. Los estadosnación, con el apoyo de cuerpos académicos, reconocen y avalan formas del saber asumidas como «superiores», que marginan los conocimientos de las culturas indígenas. Es apremiante considerar una filosofía educativa que ponga al centro los saberes y cosmovisiones de las culturas locales. En este escrito, discuto la implementación de la propuesta filosófica de Styres (2017) centrada en la Tierra (Land-centred), en la educación musical. Esta postura parte de la premisa de que los conocimientos indígenas tienen la misma valía que los promovidos desde los centros hegemónicos occidentales. Esta perspectiva busca descentrar el papel del eurocentrismo que avala o niega formas del saber, al mismo que (re)centra los conocimientos indígenas y sus cosmovisiones. Palabras clave: Filosofía centrada en la Tierra, educación musical, saberes indígenas.","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"22 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86635239","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The recent South African student movements calling for ‘decolonized’ university curricula and campuses are the most audible and visible symptoms of the failure to transform the country’s higher education system since the democratic dispensation of the early 1990s. Specifically focusing on the role of music scholarship, practice, and departments within South Africa’s higher education institutions, this paper discusses the implementation of socially aware and critically engaged music research in a historically white university. It does so through the lens of a new institute for music practice and research that is committed to challenging the prevailing Eurocentric cultural hierarchy within its host institution, encourages meaningful interaction with the South African arts, and is informed by decolonial thought. The author writes from the perspective of a researcher who has been intimately involved in the direction and governance of the newly opened institute, and has witnessed the various institutional frustrations and barriers that have obstructed the institute’s progress. The paper concludes that the transformation of embedded institutional cultures of exclusion depends on transforming institutional structures in which academic disciplines are practiced. Research institutes could be pivotal in effecting such change.
{"title":"Music Research in a South African Higher Education Institution","authors":"G. Walker","doi":"10.22176/act18.3.144","DOIUrl":"https://doi.org/10.22176/act18.3.144","url":null,"abstract":"The recent South African student movements calling for ‘decolonized’ university curricula and campuses are the most audible and visible symptoms of the failure to transform the country’s higher education system since the democratic dispensation of the early 1990s. Specifically focusing on the role of music scholarship, practice, and departments within South Africa’s higher education institutions, this paper discusses the implementation of socially aware and critically engaged music research in a historically white university. It does so through the lens of a new institute for music practice and research that is committed to challenging the prevailing Eurocentric cultural hierarchy within its host institution, encourages meaningful interaction with the South African arts, and is informed by decolonial thought. The author writes from the perspective of a researcher who has been intimately involved in the direction and governance of the newly opened institute, and has witnessed the various institutional frustrations and barriers that have obstructed the institute’s progress. The paper concludes that the transformation of embedded institutional cultures of exclusion depends on transforming institutional structures in which academic disciplines are practiced. Research institutes could be pivotal in effecting such change.","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"132 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89730113","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This special issue is framed conceptually and contextually, and expands on the theorization undertaken by authors from a North-South border perspective. In the first section, I explain foundational decolonial terms, while I suggest political meanings and implications of the rising interest in decolonization in music education scholarship. In the following section, I discuss practical challenges brought by Western-based ontology and epistemology in music socialization, from my particular border position as colonized/colonizer. I close the article with a call for decolonization for music education practitioners, and researchers in both the global North and South.
{"title":"The Day after Music Education","authors":"Guillermo Rosabal-Coto","doi":"10.22176/act18.3.1","DOIUrl":"https://doi.org/10.22176/act18.3.1","url":null,"abstract":"This special issue is framed conceptually and contextually, and expands on the theorization undertaken by authors from a North-South border perspective. In the first section, I explain foundational decolonial terms, while I suggest political meanings and implications of the rising interest in decolonization in music education scholarship. In the following section, I discuss practical challenges brought by Western-based ontology and epistemology in music socialization, from my particular border position as colonized/colonizer. I close the article with a call for decolonization for music education practitioners, and researchers in both the global North and South.","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"9 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73008762","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The word decolonization often is used metaphorically in scholarship in the humanities to describe an array of processes involving social justice, resistance, sustainability and preservation. We argue against using decolonization as metaphor because decolonization demands a level of political engagement different from other social justice projects. Decolonization refers to a radical transformation in relations of power, worldviews, and, in an academic context, our role as scholars and our relationship to the university system as an industry. This article interrogates how the word decolonization has been used by ethnomusicologists in previous publications and argues that a discourse of decolonizing music studies and ethnomusicology should not propagate the term as a descriptive signifier while overlooking the issues mentioned above. Excerpts from interviews with three former Society for Ethnomusicology (SEM) presidents are presented for readers to interpret how these people in seats of power are thinking about decolonizing music studies. We conclude by suggesting ten practical approaches and projects that begin to address what decolonization involves and how it can be done.
{"title":"Decolonization for Ethnomusicology and Music Studies in Higher Education","authors":"L. Chavez, Russell P. Skelchy","doi":"10.22176/act18.3.115","DOIUrl":"https://doi.org/10.22176/act18.3.115","url":null,"abstract":"The word decolonization often is used metaphorically in scholarship in the humanities to describe an array of processes involving social justice, resistance, sustainability and preservation. We argue against using decolonization as metaphor because decolonization demands a level of political engagement different from other social justice projects. Decolonization refers to a radical transformation in relations of power, worldviews, and, in an academic context, our role as scholars and our relationship to the university system as an industry. This article interrogates how the word decolonization has been used by ethnomusicologists in previous publications and argues that a discourse of decolonizing music studies and ethnomusicology should not propagate the term as a descriptive signifier while overlooking the issues mentioned above. Excerpts from interviews with three former Society for Ethnomusicology (SEM) presidents are presented for readers to interpret how these people in seats of power are thinking about decolonizing music studies. We conclude by suggesting ten practical approaches and projects that begin to address what decolonization involves and how it can be done.","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"46 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85671281","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"String Quartet as Autoethnography: The Writing of Out of the Snowstorm, an Owl (2014–17)","authors":"Lucy Hollingworth","doi":"10.22176/act18.1.147","DOIUrl":"https://doi.org/10.22176/act18.1.147","url":null,"abstract":"","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"89 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81481586","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"I played for my father","authors":"M. O'sullivan","doi":"10.22176/act18.2.190","DOIUrl":"https://doi.org/10.22176/act18.2.190","url":null,"abstract":"","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"40 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77970507","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Being able to play the guitar and sing one’s favorite songs is often an unrealized adolescent dream. Guitar Express is a group music making approach that aims to enable people to realize this dream and develop an identity of amateur musician regardless of age. This is achieved through the use of an alternate tuning of the guitar and a variety of 'tricks' that are being constantly developed to address individual and group needs. The following paper is informed by arts-based research and attempts to provide a general impression of the Guitar Express group approach. Based on the expressions of adults and senior aged adults who have participated in one or more of its groups—as well as the verbal contributions and interpretations of two teachers, a collaborating psychologist, and myself as initiator and supervisor of the program—the major benefits for the Guitar Express participants are, that a) it functions as a means for them to express and regulate their emotions, b) it counteracts feelings of isolation, c) it allows them to experience deeply personal and shared group moments, d) it provides opportunities for dealing and preparing for various kinds of losses, e) it helps people accept personal limitations while searching for alternative solutions, f) it improves the quality of everyday life through its infusion with collective musicking, and g) acts as motivator for involvement in a social music activity. At a more general level, the Guitar Express group experience may be seen as a musically driven journey into the linearity and circularity of time; it may revitalize the participants' memories of their 'songs of deserts', transforming them to oases in personal life-stories, re-enabling connections with the past and augmenting meaningfulness in the present.
{"title":"Guitar Express: Accompanied “Songs of Deserts”1 as Oases in Life-long Memory Journeys","authors":"Ioanna Etmektsoglou, Kiki Kerzeli, Katerina Vlachoutsou","doi":"10.22176/act18.2.25","DOIUrl":"https://doi.org/10.22176/act18.2.25","url":null,"abstract":"Being able to play the guitar and sing one’s favorite songs is often an unrealized adolescent dream. Guitar Express is a group music making approach that aims to enable people to realize this dream and develop an identity of amateur musician regardless of age. This is achieved through the use of an alternate tuning of the guitar and a variety of 'tricks' that are being constantly developed to address individual and group needs. The following paper is informed by arts-based research and attempts to provide a general impression of the Guitar Express group approach. Based on the expressions of adults and senior aged adults who have participated in one or more of its groups—as well as the verbal contributions and interpretations of two teachers, a collaborating psychologist, and myself as initiator and supervisor of the program—the major benefits for the Guitar Express participants are, that a) it functions as a means for them to express and regulate their emotions, b) it counteracts feelings of isolation, c) it allows them to experience deeply personal and shared group moments, d) it provides opportunities for dealing and preparing for various kinds of losses, e) it helps people accept personal limitations while searching for alternative solutions, f) it improves the quality of everyday life through its infusion with collective musicking, and g) acts as motivator for involvement in a social music activity. At a more general level, the Guitar Express group experience may be seen as a musically driven journey into the linearity and circularity of time; it may revitalize the participants' memories of their 'songs of deserts', transforming them to oases in personal life-stories, re-enabling connections with the past and augmenting meaningfulness in the present.","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"5 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87799650","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Music teachers in the United States are grappling with educational policy changes that include Common Core implementation, standardized testing, and new teacher evaluation and certification models. The focus on assessment and measurement in education is set against a global backdrop of violence, xenophobia, political strife, and profound human suffering. These overwhelming and complex dynamics can leave music educators questioning their local, national, and global significance. In an effort to reconnect with the essence of our profession, this multimedia paper/presentation addresses two existential questions for music education. What is at the heart of music teaching? In the end, what is significant about what we do? Using a range of literature and media including Antoine de Saint-Exupéry’s The Little Prince, RadioLab’s SPACE broadcast, Parker Palmer’s The Courage to Teach, Elizabeth Alexander’s poem Praise Song for the Day, audio and video recordings from the soundtrack of a sibling relationship, and my own music teaching experiences, this multi-media work examines these existential questions about music education through the lenses of love and loss; challenging future music educators to think about what is significant, big, and lasting in music education at a time when it is easy to feel small, helpless, and overwhelmed. By pondering our role as educators on the largest possible scale, we gain perspective that brings into focus the profound impact that music education can have on our most intimate and cherished relationships.
美国的音乐教师正在努力应对教育政策的变化，包括共同核心的实施、标准化考试、新的教师评估和认证模式。教育中评估和衡量的重点是在暴力、仇外心理、政治冲突和人类深重苦难的全球背景下设立的。这些压倒性的和复杂的动态可以让音乐教育家质疑他们的地方，国家和全球意义。为了重新连接我们专业的本质，这篇多媒体论文/报告解决了音乐教育的两个存在问题。音乐教学的核心是什么?最后，我们所做的事情有什么意义?这部多媒体作品运用了一系列的文学和媒体，包括Antoine de saint - exupsamry的《小王子》、RadioLab的SPACE广播、Parker Palmer的《The Courage to Teach》、Elizabeth Alexander的诗《赞美之歌》、一段兄弟姐妹关系的录音和录像，以及我自己的音乐教学经历，通过爱与失去的镜头来审视音乐教育中存在的问题;挑战未来的音乐教育家思考什么是重要的，大的，持久的音乐教育在一个时候，很容易感到渺小，无助，不堪重负。通过最大限度地思考我们作为教育者的角色，我们获得了一个视角，使音乐教育对我们最亲密和最珍视的关系产生的深远影响成为焦点。
{"title":"“Anything Essential is Invisible to the Eyes”: A Meditation on Love, Loss, and the Deeper Hearted Case for Music Education","authors":"Colleen A. Q. Sears","doi":"10.22176/act18.2.116","DOIUrl":"https://doi.org/10.22176/act18.2.116","url":null,"abstract":"Music teachers in the United States are grappling with educational policy changes that include Common Core implementation, standardized testing, and new teacher evaluation and certification models. The focus on assessment and measurement in education is set against a global backdrop of violence, xenophobia, political strife, and profound human suffering. These overwhelming and complex dynamics can leave music educators questioning their local, national, and global significance. In an effort to reconnect with the essence of our profession, this multimedia paper/presentation addresses two existential questions for music education. What is at the heart of music teaching? In the end, what is significant about what we do? Using a range of literature and media including Antoine de Saint-Exupéry’s The Little Prince, RadioLab’s SPACE broadcast, Parker Palmer’s The Courage to Teach, Elizabeth Alexander’s poem Praise Song for the Day, audio and video recordings from the soundtrack of a sibling relationship, and my own music teaching experiences, this multi-media work examines these existential questions about music education through the lenses of love and loss; challenging future music educators to think about what is significant, big, and lasting in music education at a time when it is easy to feel small, helpless, and overwhelmed. By pondering our role as educators on the largest possible scale, we gain perspective that brings into focus the profound impact that music education can have on our most intimate and cherished relationships.","PeriodicalId":29990,"journal":{"name":"Action Criticism and Theory for Music Education","volume":"11 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83660714","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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