CUMIN: Contemporary Urban Music for Inclusion Network

当代城市音乐（嘻哈、grime、当代R&B等）可以说是世界上最多人听的音乐（《独立报》），估计全球有15亿人听舞蹈/电子音乐（IMS 2019年报告）。尽管如此，嘻哈甚至被“经常排除”在流行音乐教育之外（流行音乐教育杂志，2(1/2)），更不用说主流音乐课程了。在英国，目前的国家音乐课程强调“伟大作曲家和音乐家的音乐”。近几十年来，一些摇滚和流行音乐在学校里找到了一席之地，但当代城市音乐（通常是一种更加民族/种族多样化的音乐）仍然被边缘化，不仅在学校，在主流文化中也是如此。鉴于艺术和音乐在教育和我们生活中的价值的大量令人信服的研究证据（APPGAHW 2017; Bruin and Burnard 2018; Biesta; Dewey; Vygotsky; Routledge Reader on music Sociology of music 2015），我们需要问的是，与当代城市社区更相关的音乐和艺术是否可能对这些社区更有吸引力。当代城市环境是民族和种族多元化的，但学校和主流文化/社会却将最流行的当代城市音乐置于边缘：例如，选择Grime艺术家Stormzy作为2019年格拉斯顿伯里音乐节的头条新闻，遭到了主流流行音乐界一些人的强烈抗议。文化认同问题（Hall 1996）以及围绕种族和音乐的问题（Gilroy 1993）仍然对生活经验至关重要。研究人员表明，文化包容感可以影响学校的出勤率、行为和态度，并有助于使所有年龄和种族的个人都有归属感（Count Me in 2002; NESF 2007; Voices of Culture 2018）。使用当代城市音乐的项目能否对教育/社会包容产生重大影响？如果是这样，我们如何才能最好地衡量这种影响？个人和小型组织（例如Grime Pays， Noise Solution， In Place of War和其他在支持案例中列出的组织）将成为计划中的当代城市音乐包容网络（CUMIN）的主要项目合作伙伴，他们已经开始证明他们对当代城市音乐的使用能够产生影响。这种音乐甚至被用于美国的文化外交（Katz 2019）。然而，一个资助的网络将允许这些实践者之间的知识交流，其基础是对实践的批判性审查和世界领先的影响衡量指南。CUMIN将把知识交流和严格衡量影响作为其创新讲习班和在资助期结束时举行的大型会议的核心。每个工作坊将邀请一位或多位来自当代城市音乐领域的实践者，并将汇集音乐制作人、消费者、社会项目组织者以及专家研究人员的声音。关于影响的测量，Anna Vignoles教授和Sonia Ilie博士（都来自剑桥大学）将在研讨会1中发挥关键作用，展示现有的测量方法是可用的，以及如何最好地应用/适应cumin附属组织。迄今为止，当代城市音乐在CUMIN附属项目的公认成功中所起的作用尚未得到充分的理论化：它们以不同的方式展示了影响（例如，通过WEMWBS衡量的健康和福祉的改善），但该领域的从业者之间关于为什么它们具有这种影响的知识交流有限。因此，从业者非常需要见面，公开分享他们的经验，并围绕当代城市音乐对社会参与的价值共同创造新的知识：这些项目是如何实现如此积极的社会参与水平的？

Contemporary urban music (hip-hop, grime, contemporary R&B and more) is arguably the most listened to music in the world (The Independent), with an estimated global audience of 1.5 billion for dance/electronic music (IMS report 2019). Nonetheless, hip-hop is 'frequently excluded' from even popular music education (Journal of Popular Music Education, 2(1/2)), let alone the mainstream music curriculum. In the UK, the current National Curriculum for Music places emphasis on 'music from great composers and musicians'. Some rock and pop has found a place in schools over recent decades, but contemporary urban music (a far more ethnically/ racially diverse music, typically) remains marginalised, not only in schools but also in mainstream culture. Given the wealth of compelling research evidence on the value of the arts and music in education and for our lives (APPGAHW 2017: Bruin and Burnard 2018; Biesta; Dewey; Vygotsky; Routledge Reader on the Sociology of Music 2015), we need to ask whether music and arts which are more relevant to contemporary urban communities might be more engaging to those communities. The contemporary urban environment is ethnically and racially diverse, yet schools and mainstream culture/society leave the most popular contemporary urban music at the margins: the choice of Grime artist Stormzy for Glastonbury headliner in 2019, for example, met outcry from some within the mainstream popular music establishment. Questions of cultural identity (Hall 1996) and around race and music (Gilroy 1993) remain of crucial importance to lived experience. Researchers have shown that a sense of cultural inclusion can impact on attendance, behaviour and attitude in schools and help to make individuals of all ages and ethnicities feel that they belong (Count Me In 2002; NESF 2007; Voices of Culture 2018). Can projects using contemporary urban music impact significantly on educational/social inclusion? If so, how can we best measure this impact?Individuals and small organisations (e.g. Grime Pays, Noise Solution, In Place of War and others listed in the Case for Support), who will be key project partners in the planned Contemporary Urban Music for Inclusion Network (CUMIN), have already begun to demonstrate that their use of contemporary urban music enables impact. This music has even been used for US cultural diplomacy (Katz 2019). However, a funded network would allow knowledge exchange between such practitioners, based on critical examination of practice and world-leading guidance on measurement of impact.CUMIN will place knowledge exchange and rigorous measurement of impact at the heart of its innovative workshops and its large-scale conference at the end of the funded period. Each workshop will feature one or more practitioner from the contemporary urban music field, and will bring together the voices of music producers, consumers and social project organisers, as well as expert researchers. Regarding the measurement of impact, Prof Anna Vignoles and Dr Sonia Ilie (both Cambridge University) will play a key role in Workshop 1 by showing what existing measures are available and how best they could be applied/adapted by CUMIN-affiliated organisations.To date, the role contemporary urban music plays in the recognised successes of the projects which are affiliated to CUMIN has been under-theorised: they have demonstrated impact in different ways (for example, improvements to health and well-being measured through WEMWBS), but there is limited knowledge exchange amongst practitioners in the field as to why they have this impact. There is a great need, therefore, for practitioners to meet, publicly share their experiences and co-create new knowledges around the value of contemporary urban music for social engagement: how is it that these projects achieve such positive levels of social engagement?