Popular music and (r)evolution of the classroom space

Niknafs, Nasim; Przybylski, Liz

doi:10.4324/9781315613444-32

Cited by 3 publications

(5 citation statements)

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“…assumes the role of arbiter. This formation sits at odds with the ground up approach to learning described by Niknafs & Przybylski (2017) in their exploration of education within political music contexts, instead positioning the band as a proxy for the teacher. In other words, the distribution of knowledge within this model reverts to a hierarchical set of relationships in which Switchblade professes a certain understanding of the world that audience members can passively listen to or (as many within the audience do) repeat those same words and ideas back to the performers.…”

Section: The Construction Of Knowledge Within/through Diy Performancementioning

confidence: 89%

“…Building on this DIY approach to cultural production, scholars have explored the intersection of punk scenes and education under the banner of punk pedagogy. The majority of this research has examined the potential influence punk culture might have on schools, asserting that the anti-authoritarian ideology of punk and DIY culture can act as a means towards a more communal and agentic approach to formal education (Khan-Egan, 1998;Miklitsch, 1994;Niknafs & Przybylski, 2017) which in turn empowers formerly alienated students (Haenfler, 2012;Sirc, 1997). But punk pedagogy literature also reimagines DIY scenes and "punk places" (ad hoc music venues, anarchist collectives, zine libraries, etc.)…”

Section: Punk Pedagogymentioning

confidence: 99%

“…According to Makagon (2015), this occurs because practitioners of DIY music conceptualize venues and punk places as physical spaces that embody the egalitarian aims of punk and DIY. As Niknafs & Przybylski (2017) attest, the reimagining and reconfiguration of physical learning spaces (classrooms, DIY venues, etc.) not only shapes the pedagogies within learning ecologies but can also acts as its own form of political activism.…”

Section: Punk Pedagogymentioning

confidence: 99%

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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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Section: The Construction Of Knowledge Within/through Diy Performancementioning

confidence: 89%

Section: Punk Pedagogymentioning

confidence: 99%

Section: Punk Pedagogymentioning

confidence: 99%

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The aesthetic pedagogies of DIY music

Woods

2020

Review of Education, Pedagogy, and Cultural Studies

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“…Given the aforementioned normative, hegemonic practices and expectations in the context of US American schooling, we describe how her approach as a compassionate music teacher (Hendricks, 2018) exemplifies a punk pedagogical ethos – going against the grain of the system, with an unrelenting focus on students’ joy and humanity, recognizing and honoring them as individuals and as a community who matter, as more than soon-to-be cogs in a capitalist economic machine (Apple, 2012; Giroux, 2020; Moir, forthcoming). This is certainly not the first essay to look towards a more emancipatory, student-centered approach in or through music education (Kallio, 2018; Niknafs and Przybylski, 2017; Wright, 2019), but we hope that the context and vignettes below add richness and vibrancy to the growing chorus of resistance to homogenous, anti-artistic practices of quashing students’ voices in – ironically – choral contexts, among other settings. We continue with an exploration of literature centering love as a punk pedagogical starting point.…”

Section: Music Education In the United Statesmentioning

confidence: 99%

Where is the Love, y’all? Punk Pedagogy in High School Choir

Lee

Smith

2023

Research in Education

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Capitalism and its offspring, neoliberalism, are omnipresent in modern and postmodern societies. Illich, Giroux, and McLaren, among others, point to the futility and inequity of current models of education that focus on standardization, vocationalism, and conformity. Running counter to these powerful hegemonic systems, critical pedagogues and educational philosophers such as hooks and Silverman follow philosophers Frankfurt and Wolf in identifying a teaching approach rooted in love. Such an ethic embodies a robust, punk confrontation to potentially damaging, dehumanizing institutional norms perpetrated by current systems of schooling (Hewitt & Smith, 2020). The authors present and discuss vignettes as a duoethnographic study of one teacher’s work with a high school choir in Colorado Springs, USA, through which she works to engage young people as compassionate artistic citizens (Elliott & Silverman, 2015; Hendricks 2018). By teaching with love and by modeling love, she teaches young people to love, embracing what Noddings (2005) identifies as an ethic of care. This choral community demonstrates the messy, anarchist ideal that Wright (2019) highlights as a necessary future for music education, wherein the educator diverts from teaching solely to standardized expectations to address the affiliative needs of her students through a love that desires good for her students (Fromm, 1956; Noddings, 2005)

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“…Although some studies do position DIY music venues as unique learning environments (Tucker, 2012;Woods, 2021a), extant literature on "punk pedagogy" (or the study of education within and related to punk and DIY music) has generally focused on the translation of music-based cultural politics into formal classrooms (Miklitsch, 1994;Miner & Torrez, 2012;Niknafs & Przybylski, 2017) or how individuals construct and share knowledge within music scenes and through musical artifacts (Cordova, 2016;Dines, 2015;Niknafs, 2018;Woods, 2021b) without considering the role of venues themselves. This happens in spite of the emphasis on materiality within DIY music research (Klett & Gerber, 2014;Makagon, 2015;Verbuc, 2014).…”

Section: Abstract Pedagogy Of Place Punk Pedagogy Diy Music Maker Edu...mentioning

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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Popular music and (r)evolution of the classroom space

Cited by 3 publications

References 0 publications

The aesthetic pedagogies of DIY music

The aesthetic pedagogies of DIY music

Where is the Love, y’all? Punk Pedagogy in High School Choir

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

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