“Khas-o-Khâshâk” 1 : Anarcho-Improv in the Tehrani Music Education Scene

Niknafs, Nasim

doi:10.4324/9781315276250-3

Cited by 3 publications

(7 citation statements)

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“…It went beyond musicking (Small, 1998). It was, as I also have argued elsewhere (Niknafs, 2017a), broader than only having music as a subject matter. It was a necessary part of our cultural education (Gaztambide-Fernández, 2013).…”

Section: Mode Of Inquirymentioning

confidence: 74%

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Music education as the herald of a cosmopolitan collective imperative: On being human

Niknafs

2019

International Journal of Music Education

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Even though scholars have pointedly embraced ethical matters in music education within the global context, there has been relatively little attention paid to the concept of cosmopolitanism. While keeping in mind that the concept of cosmopolitanism is a complex and multifaceted phenomenon that can be read and implemented in many ways, the aim of the current narrative inquiry is to highlight the significance of the human connection—a notable feature of moral cosmopolitanism, and by extension, cosmopolitanism from below—inherent in, and possibly the most prominent aspect of music education practices, regardless of their position in the formal–informal spectrum of such practices. In this context, music education becomes a lifestyle—whose participants cultivate their ethical sensitivities toward human connection—that has the capacity to alleviate the human sufferings occurring globally. By telling the life stories of Behzad Khiavchi, the lead musician of a trans-Iranian band, this article aims to highlight the cosmopolitan collective imperative, a fundamental characteristic of music education, as the harbinger of a more caring world.

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Section: Mode Of Inquirymentioning

confidence: 74%

“…Elsewhere I have extensively discussed the contemporary history of music education in Iran after the 1979 Revolution (Niknafs, 2016, 2017a, 2017c, 2018). Music has never been a part of an official discourse in public education in Iran and engaging with music has always been a precarious endeavor.…”

Section: Music Education After the 1979 Revolution: An Overviewmentioning

confidence: 99%

Music education as the herald of a cosmopolitan collective imperative: On being human

Niknafs

2019

International Journal of Music Education

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“…In this case, the conversation allowed Schwartz to not only describe how she conceptualizes her own work, but also to understand how others view her performances. Schwartz therefore draws on DIY music pedagogy’s propensity for identity development (Dines, 2015; Malott & Carroll-Miranda, 2003; Niknafs, 2018) as she learns about the relationship between her onstage and offstage identity through this conversation and can use that knowledge to develop her practice.…”

Section: Resultsmentioning

confidence: 99%

The Pedagogy of Gear Touchers: Unearthing Modes of Teaching Within and Through DIY Venues

Woods

2023

Teachers College Record: The Voice of Scholarship in Education

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Background: Within the body of literature on do-it-yourself (DIY) music scenes, researchers have routinely placed an emphasis on the role of material space in shaping the sociocultural and musical practices of punk music and other related genres. Scholars have also examined the teaching and learning processes of these musical subcultures under the banner of “punk pedagogy” scholarship. However, investigations into the intersection between these two strands of research need to occur because theories of punk pedagogy have largely overlooked the role of physical space within the educative practices of DIY music. Research into the thematically related space of the maker movement amplifies this need, because maker education scholars have repeatedly shown the multiple ways that materials and space shape how individuals learn through DIY production. Research Questions: I use this paper to attend to the following questions: How do DIY music venues shape the pedagogical practices of DIY music scenes? And in what ways do those pedagogies align with the ideological and ethical aims of these communities? By focusing on learning within DIY venues, I consider multiple forms of musical production outside of the context of a specific genre (i.e., punk). This study therefore provides insight into the mechanisms through which individuals learn and how those mechanisms relate to the physical affordances of these spaces. Research Design: To address these questions, I conducted a year-long comparative case study into two intertwined music series centered on noise music (an experimental subgenre within DIY music’s broad umbrella) and located in two separate DIY venues. Although each of the 13 events in this series included both a workshop and a concert, I focus my analysis on the concert portion of the series to explore a common site of interaction within DIY scenes. Through open and iterative qualitative analyses of field notes generated from observations of concerts in the series and interviews with featured artists and audience members, I provide a nuanced understanding of learning within DIY music venues and the role that both material space and technologies play in shaping that process. Conclusions: Drawing on this analysis, I contend that the stageless design of DIY venues provides a physical affordance that allows “gear toucher conversations” to occur. These conversations involve audience members engaging performers in discussions about the music technologies they use mere seconds after they finish performing, thus linking this pedagogical moment to the material attributes of the venue. However, these conversations reinscribe masculine notions of technology and undermine DIY music’s egalitarian politics, a finding that mirrors critical research into maker education. This work therefore calls on both researchers and practitioners to contend with the pedagogies of place and the educative processes that emerge out of situated technologies to further the liberatory praxes that DIY production can produce.

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“…as educational spaces that embody these ideologies. DIY scenes in particular act as a space for individuals and communities to develop countercultural ideologies and political philosophies through identity development, community building, and cultural production (Niknafs, 2018;Romero, 2019;Torrez, 2012). Cordova (2017) conceptualizes this pedagogical process as "educative healing," an ongoing practice in which DIY cultures create space for participants to critically examine and unlearn oppressive and dominant discourses.…”

Section: Punk Pedagogymentioning

confidence: 99%

“…do just that: proposing a singular ideology and set of responses with which others should identify. For Niknafs (2018), this enactment of a liberatory or utopian music pedagogy (Wright, 2019) exists within the machinations DIY scenes, but G.L.O.S.S. 's aesthetic pedagogies also seem to undermine these anarchic aims.…”

Section: The Construction Of Knowledge Within/through Diy Performancementioning

confidence: 99%

The aesthetic pedagogies of DIY music

Woods

2020

Review of Education, Pedagogy, and Cultural Studies

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Despite the growing interest in punk pedagogy, or the examination of the educative practices of do-it-yourself (DIY) music and punk culture, extant literature has failed to investigate the embedded pedagogies and curricula within the performative aesthetics of these musical contexts.In this paper, I address this oversight by placing DIY and punk pedagogy literature in conversation with writings on relational aesthetics and Freirean aesthetic theory. In doing so, I propose that the aesthetics pedagogies of DIY music can both uplift and undermine the liberatory nature of punk music and DIY culture. By way of example, I analyze performances by hardcore band G.L.O.S.S. and percussionist Sarah Hennies. While both artists rely on relational aesthetics, the varying use of speculative spaces (McClure, 2013) and conflicting epistemological assumptions lead to divergent responses from the audience that align with the Freirean concepts of codifications and the banking model of education (Freire, 1970;1973).

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“Khas-o-Khâshâk” 1 : Anarcho-Improv in the Tehrani Music Education Scene

Cited by 3 publications

References 0 publications

Music education as the herald of a cosmopolitan collective imperative: On being human

Music education as the herald of a cosmopolitan collective imperative: On being human

The Pedagogy of Gear Touchers: Unearthing Modes of Teaching Within and Through DIY Venues

The aesthetic pedagogies of DIY music

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