Sounds of Hope, Sounds of Change: Improvisation, Pedagogy, Social Justice
Sounds of Hope, Sounds of Change: Improvisation, Pedagogy, Social Justice
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希望之声、变革之声：即兴创作、教育学、社会正义
DOI：
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发表时间：
2008
期刊：
影响因子：
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通讯作者：
Ellen Waterman
中科院分区：
文献类型：
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作者：
A. Heble;Ellen Waterman
通过音乐教育来实践政治抵抗、谈论社会正义和激进化公众理解意味着什么？音乐教学的努力，尽管有试图边缘化或遏制它们的力量，如何才能激活批评和灵感的各种能量？这种努力如何在建设充满活力和可持续的社区以及在培养对更美好未来的希望方面发挥关键作用？事实上，随着艺术家、教育家和实践网络不断寻找创新策略来扩大我们有价值的知识基础，激进主义者对主流共识假设的破坏在当代文化中采取了许多尖锐的形式。在这篇社论中，我们想建议，特别是音乐即兴创作，为发展一种跨越文化和社会鸿沟的强大和替代性的教学法提供了丰富的可能性，使我们能够想象实现社会正义和有意义的社区参与感意味着什么。作为一种强调实时创造性决策、冒险和参与者之间合作的音乐实践，即兴创作，正如我们杂志迄今为止介绍的许多作品所表明的那样，一再坚持其不和谐的力量。它故意混淆了熟悉的假设框架。如果情况确实如此（正如我们所相信的那样），反对派政治经常把对艺术实践形式的忠诚作为其最突出的表现之一，而这些艺术实践形式不能被占主导地位的理解结构轻易地同化，那么我们相信，即兴表演实践本身就可以被理解为反叛性知识生产的积极形式。那么，即兴创作实践在多大程度上、以何种方式促进了对文化倾听的承诺，促进了社区范围的扩大，促进了新的信任关系和社会义务？如果按照亨利·吉鲁的观点，我们不仅从课堂内知识的传播的角度来理解教育学，而且从更广泛的角度来理解教育学，即“知识产生的复杂过程，有意义地学习技能，塑造身份，调动欲望，批判性对话成为公共互动的中心形式”（xi），那么，在何种程度上（以及以何种方式），即兴音乐实践可以被理解为至关重要的（并在理论上引起共鸣的）教学行为，这些行为产生了新的知识形式，对身份和社区的新理解，以及新的想象可能性？呈现和推广即兴音乐的各种文化（和教育）机构如何塑造我们对公共文化、记忆和历史的理解？
What does it mean to practice political resistance, to speak of social justice, and to radicalize public understanding through music education? How can pedagogical musical endeavours, despite the forces that seek to marginalize or contain them, work to activate diverse energies of critique and inspiration? How might such endeavours play a crucial role in building vibrant and sustainable communities, and in fostering hope for a better future? Activist disruptions to mainstream consensual assumptions, indeed, take many trenchant forms in contemporary culture, as artists, educators, and networks of practice continue to find innovative strategies to enlarge our base of valued knowledges. In this editorial, we’d like to suggest that musical improvisation, in particular, offers rich possibilities for developing a robust and alternative pedagogy that reaches across cultural and social divides, and that enables us to imagine what it might mean to achieve social justice and a meaningful sense of participation in community. As a musical practice that accents realtime creative decision-making, risk-taking, and collaboration among its participants, improvisation, as much of the work that has hitherto been profiled in our journal makes clear, has repeatedly insisted on the very force of its out-of-tuneness. It has purposefully confounded familiar frameworks of assumption. If it is the case (as we believe it is) that oppositional politics often takes as one of its most salient manifestations an allegiance to forms of artistic practice that cannot readily be assimilated using dominant structures of understanding, then improvisatory performance practices, we believe, may themselves be understood as activist forms of insurgent knowledge production. To what extent, and in what ways, then, might improvised creative practice foster a commitment to cultural listening, to a widening of the scope of community, and to new relations of trust and social obligation? If, following Henry Giroux, we understand pedagogy not just in terms of the transmission of knowledge within classrooms, but more broadly as “the complicated processes by which knowledge is produced, skills are learned meaningfully, identities are shaped, desires are mobilized, and critical dialogue becomes a central form of public interaction” (xi), then to what extent (and in what ways) might improvisational musical practices be understood as vital (and publically resonant) pedagogical acts which generate new forms of knowledge, new understandings of identity and community, new imaginative possibilities? How do the kinds of cultural (and pedagogical) institutions that present and promote improvised music shape our understanding of public culture, of memory, of history?