Getting unstuck: the One World Youth Arts Project, the music education paradigm, and youth without advantage

Mantie, Roger

doi:10.1080/14613800802547706

Cited by 20 publications

(24 citation statements)

References 1 publication

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“…5. Mantie (2008), for example, documents how youth in the One World Youth Arts Project in Toronto engaged in processes of inner exploration through musical production that allowed them to rewrite themselves and their identifications. Also, certain approaches to integrating cultural production processes into the classroom, such as the one articulated by Weiss and Lichtenstein (2008), provide a starting point for an iterative approach to integration that hinges on processes rather than effects, providing spaces for students and teachers to reimagine themselves and their relationships.…”

Section: The Arts As Cultural Practice and The Rhetoric Of Cultural Pmentioning

confidence: 99%

Why the Arts Don't Do Anything: Toward a New Vision for Cultural Production in Education

Gaztambide‐Fernández¹

2013

Harvard Educational Review

112

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In this essay Rubén A. Gaztambide-Fernández uses a discursive approach to argue that mainstream arts in education scholarship and advocacy construes "the arts" as a definable naturalistic phenomenon that exists in the world and is available to be observed and measured. In the course of his analysis, he examines how this construction is employed through what he calls the rhetoric of effects as part of the mainstream discourses used in arts in education research today. He describes how this positivistic rhetoric masks the complexity of those practices and processes associated with the arts, limiting the possibilities for productively employing such practices in education. In addition, he explores how discourses of the arts both arise out of and continually reify hierarchical conceptions of artistic practices in education and broader society. He concludes by proposing an alternative rhetoric of cultural production, arguing that moving toward this new way of understanding practices and processes of symbolic creativity is critical for expanding our vision for the arts in education. And Mr. Karp turns to me and he says, "Okay, Morales. What did you feel?" And I said. .. "Nothing I'm feeling nothing." And he says, "Nothing Could get a girl transferred." They all felt something, but I felt nothing. Except the feeling that this bullshit was absurd!-Diana Morales, from A Chorus Line

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Section: The Arts As Cultural Practice and The Rhetoric Of Cultural Pmentioning

confidence: 99%

Why the Arts Don't Do Anything: Toward a New Vision for Cultural Production in Education

Gaztambide‐Fernández¹

2013

Harvard Educational Review

112

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“…Walduck, 2005;St. John, 2006;Mantie, 2008). Teachers may lack confidence in teaching composing (e.g.…”

Section: Introductionmentioning

confidence: 99%

Envisioning collaborative composing in music education: learning and negotiation of meaning inoperabyyou.com

Partti

Westerlund

2013

Brit. J. Music. Ed.

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This qualitative instrumental case study examines collaborative composing in the operabyyou.com online music community from the perspective of learning by utilising the concept of a ‘community of practice’ as a heuristic frame. The article suggests that although informal music practices offer important opportunities for people with varied backgrounds to participate in the production of art works, and may thus represent and illustrate important aspects of the community life of the society, they do not necessarily provide ideal models for the music classroom. Based on the analysis of the operabyyou.com community, we discuss conditions for collaborative composing when aiming to design educational settings that support the students' construction of identity and ownership of musical meaning.

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“…It means that our powers of making music for ourselves have been hijacked and the majority of people robbed of the musicality that is theirs by right of birth. (p. 8) Critical theorists have examined ways in which music education has been grounded in assumptions about who is recognized as a musician, and what music should look like in a school setting (Gaztambide-Fernandez, 2010;Gould, 2007;Kratus, 2007;Mantie, 2008). While the National Association for Music Education (NAfME; 2018) states that its mission is to promote music education by encouraging the study and making of music by all people, many critical theorists have identified ways in which this right of identity is being denied to those on the sociocultural margins of society (Gaztambide-Fernandez, 2010;Gould, 2007;Mantie, 2008).…”

Section: Explainedmentioning

confidence: 99%

Exploring the Music Identity Development of Elementary Education Majors Using Ukulele and YouTube

Smith

Secoy

2019

Journal of Music Teacher Education

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The purpose of this instrumental case study was to understand how learning to play the ukulele influenced the music identity of elementary education majors. Eighteen participants (17 females, 1 male) from two universities created YouTube playlists and recorded solo ukulele performances for their YouTube channel. Music identity perceptions were collected via writing reflections, video recorded class sessions, and focus group interviews. We found that students’ early life experiences informed their beginning-of-semester perceptions of music identity (past selves), while in-class experiences contributed to higher levels of music competence and participation, and meaningful shifts in music identity (present and future selves). Music teachers should consider how the ukulele and YouTube may be used to promote individual expression, accountability, and self-directed learning. We encourage music teacher educators to use music biographies and YouTube as tools for culturally responsive teaching while creating safe spaces for the music identity development of less experienced/confident musicians.

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Getting unstuck: the One World Youth Arts Project, the music education paradigm, and youth without advantage

Cited by 20 publications

References 1 publication

Why the Arts Don't Do Anything: Toward a New Vision for Cultural Production in Education

Why the Arts Don't Do Anything: Toward a New Vision for Cultural Production in Education

Envisioning collaborative composing in music education: learning and negotiation of meaning inoperabyyou.com

Exploring the Music Identity Development of Elementary Education Majors Using Ukulele and YouTube

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