走向世界音乐的非殖民化教育学

IF 0.2 1区艺术学 N/A MUSIC

Ethnomusicology Forum Pub Date : 2021-10-15 DOI:10.1080/17411912.2021.1985562

J. Roy

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引用次数: 0

摘要

最近的学术界讨论了认识论殖民主义在音乐教育中的作用。继几篇关于音乐研究和教育中的非殖民化的出版物之后，本文讨论了民族音乐学教育学和学术实践如何参与令人不安的批判和创造性行动，这些批判和创造性行为超越了象征主义、本土主义和其他“定居者走向无辜”的反应，关注压迫的场所。这篇文章提出了一些务实的方向，这些方向来自其中强调的批评，灵感来自Chérie Rivers Ndaliko、Marco Cervantes和L.P.Saldaña等人提出的教学实践。这包括一堂三模块的课程，帮助学生学习一个地方音乐史上的殖民主义，当今音乐实践和消费中殖民主义的挑战，以及创造完全不同的音乐可能性，以重新/集中学生的生活经历、他/她/他们的故事和祖先。

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Towards decolonial pedagogies of world music

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.

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来源期刊

Ethnomusicology Forum MUSIC-

CiteScore

1.10

自引率

25.00%

发文量

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.