“多样性”浪潮:音乐院校的兴趣趋同与表演“觉醒”

Juliet Hess
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引用次数: 0

摘要

继2020年夏天警察德里克·肖文(Derek Chauvin)残忍谋杀乔治·弗洛伊德(George Floyd)之后,美国和加拿大各地音乐学校对所谓“多样性”倡议的兴趣激增。在这篇文章中,我提出了德里克·贝尔(1995)的利益趋同原则——批判种族理论(CRT)的一个关键原则——以探索高等教育音乐机构中白人和黑人、土著和有色人种(BIPOC)群体在“多样性工作”中可能存在的利益趋同。我考察了音乐机构在这个时候的“觉醒”表现,然后考虑Sara Ahmed(2012)所说的“非表演”,以质疑白人利益与BIPOC社区利益的趋同。最后,我提出了通过改变高等音乐教育机构的课程和政策来利用这种兴趣趋同的方法。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The Surge Toward “Diversity”: Interest Convergence and Performative “Wokeness” in Music Institutions
Following the brutal murder of George Floyd by police office Derek Chauvin in summer 2020, interest in so-called “diversity” initiatives in schools of music across the U.S. and Canada has exploded. In this article, I put forward Derrick Bell’s (1995) principle of interest convergence—a key tenet of critical race theory (CRT)— in order to explore a possible convergence of interests in “diversity work” between white and Black, Indigenous, and People of Color (BIPOC) groups in higher education music institutions. I examine music institutions’ performances of “wokeness” at this time and then consider what Sara Ahmed (2012) calls the “nonperformative” to interrogate the convergence of white interests with the interests of BIPOC communities. To conclude, I put forward ways to capitalize on this interest convergence through curricular and policy change in higher education music institutions.
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