| 148251. |
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| 148252. |
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| 148253. |
- Sæther, Eva
(författare)
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Spelmanslag för integration – svensk folkmusik, El Sistema och ”kulturell allemansrätt"
- 2018
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Konferensbidrag (refereegranskat)abstract
- I Malmö startade El Sistema 2013 i två skolor i Holma och Kroksbäck, områden där 33% av invånarna är födda utomlands. Initiativet var ett led i att skydda ”den kulturella allmansrätten” (Lorensson, 2013) för alla och att på längre sikt inkludera fler stadsdelar. Det skulle snart stå tydligt att de omsorgsfullt valda sex musiklärarna hade fått en balansakt att manövrera: dels är de konstnärliga målen högt ställda och dels förväntas de förbättra levnadsvillkoren för de som lever i socialt utsatta områden. Idag har verksamheten vuxit till att omfatta fyra skolor, och några av de lärare som varit med från starten har detta läsår (2017-2018) startat ett spelmanslag för att med svensk folkmusik nå den dubbla målsättningen. Under höstterminen 2017 gjorde jag ett fältarbete – som en av deltagarna i detta spelmanslag, tillsammans med barnen och lärarna. När El Sistema landar i olika utbildningstraditioner, formas det av lokala tolkningar – som till exempel El Sistemas spelmanslag i Malmöförorten Kroksbäck. I Sverige har El Sistema kommit att handla mycket om att främja integration. 2016 startades till exempel i Göteborg en El Sistema orkester för nyanlända flyktingar. Kulturskolor i 35 svenska kommuner har startat El Sistema, därmed nås ungefär 9.000 barn (El Sistema Sverige, 2017). I alla dessa kommuner bedrivs musikundervisningen utifrån den uttalade målsättningen att främja interkulturell dialog. På hemsidan står under rubriken ”plattform ” att El Sistema verkar för integration, demokrati, jämlikhet och mångfald: ”El Sistema använder det musikaliska mötet som en möjlighet för interkulturell dialog, och bjuder in barn och familjer som inte självklart är delaktiga i kulturlivet.” Syftet för det pågående fältarbetet är att bidra med ny kunskap kring ungas erfarenheter av El Sistema, med särskilt avseende på inkludering av barn i socialt utsatta områden. Fältarbetet innebär också fortsatt metodarbete i form av musikaliskt deltagande i El Sistemas spelmanslag, för att utveckla sensitiva metoder (Sæther, 2015) i utforskandet av barnens identitetsbyggande. Studien avser även att ge insikt i hur aktivt musikaliskt deltagande påverkar barns liv och identitetsbyggande. Slutligen är syftet att undersöka den svenska folkmusikens funktion i El Sistema Malmö. Den specifika forskningsfrågan för denna presentation är:Hur förhåller sig medlemmarna (barnen) i El Sistemas spelmanslag till svensk folkmusik som redskap för integration?
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| 148254. |
- Saether, Eva, et al.
(författare)
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The art of stepping outside comfort zones: Intercultural collaborative learning in higher music education.
- 2013
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Ingår i: Collaborative learning in higher music education. Why, what and how?. ; , s. 37-48
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Bokkapitel (refereegranskat)abstract
- In higher music education, all over the world, there has been an increased interest in reshaping the curriculum in order to provide the tools needed by musicians and music teachers in order for them to function in a global society. Many institutions have opened up to new genres like traditional folk music, world music, jazz and popular music. As a consequence, new didactic and pedagogic perspectives have found their way into teaching practices and students have been exposed to a multitude of different approaches to teaching and learning. The Nordic joint master study program GLOMAS is an effort in this direction.
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| 148255. |
- Sæther, Eva, et al.
(författare)
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The art(s) of getting lost : Halting places for culturally responsive research methods
- 2021
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Ingår i: The Politics of Diversity in Music Education. - 2214-0069 .- 1573-4528. - 9783030656164 - 9783030656195 - 9783030656171 ; , s. 15-27
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Bokkapitel (refereegranskat)abstract
- This chapter revisits the ideas of radical empiricism and sensuous scholarship, embedded in current music education research. Focusing on the development of methodological implications of cultural responsiveness and arts-based research methods, the chapter argues for epistemic openness. The discussion is located within the author’s own experiences of course development for Swedish music teacher students in Gambia, field studies in multicultural classrooms in Sweden, and research design that includes the fiddle, opening up for music to ask the questions. Borrowing from anthropological research the concepts of radical empiricism and sensuous scholarship, music education researchers might find useful tools to approach project planning, to perform the analysis of the material and to communicate the results in culturally responsive forms that inform both research and praxis. By studying music transmission with culturally sensitive research methods, this chapter suggests possibilities to do more than observing and reporting. There is a possibility to engage with different knowledge systems and politics, in all types of retrieved material – and to generate inclusive knowledge building.
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| 148256. |
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| 148257. |
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| 148258. |
- Sæther, Eva, et al.
(författare)
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The kraptr of aging folk musicians : Mental practice for the future
- 2021
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Ingår i: Music Education as Craft : Reframing Theories and Practices - Reframing Theories and Practices. - 2214-0069 .- 1573-4528. - 9783030677039 - 9783030677060 - 9783030677046 ; , s. 207-217
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Bokkapitel (refereegranskat)abstract
- This chapter rests on participant observation and interviews from Malungs folkhögskola, the distance education “Folkmusik fiol”, led by the doyen of Swedish folk music pedagogy, Jonny Soling. With his life-long experience of fiddle education for grown-ups, Soling has unique knowledge of holistic fiddle didactics. At the age of 73, he still attracts course participants from all ages and all parts of Sweden, and many of these students are aged 60 plus. What is it that inspires these aging folk musicians to invest time and energy in challenging further training? What are the characteristics of the kraptr in folk music and of Jonny Soling? In the invitation to contribute to this book, Magne Espeland introduces an expanded notion of craft, giving space to a multiplicity of interpretations. The shared continental and old English use is associated with power, physical strength and skill. With the old Norse kraptr, virtue is added to the list. In this chapter, another dimension is suggested, opening up for ethical dimensions of sharing knowledge, including the experience that comes with age.
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| 148259. |
- Saether, Eva
(författare)
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The Oral University. Attitudes to music teaching and learning in the Gambia.
- 2003
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The present study seeks to examine attitudes to teaching and learning among jalis in the Gambia. Although this is the main focus, the horizon of which the study is carried out, analysed and discussed, is the development of music teacher education in Sweden during the last three decades, and of which I have been a participant. The intention of the study is to expand current views on music teaching and learning so that teachers will be better equipped to work and function in a multicultural society. Specifically, the intention is to open the doors to the Mandinka approach to music education, in order to illuminate their philosophy of music teaching. The research question is: What are the attitudes to music teaching and learning in the Gambia, and in what ways are the jalis experiences of, and attitudes towards music and music education expressed? This study concerns cultural meetings on a number of levels: between people, between institutions and between literal and oral worlds of knowledge. The methodology chosen reflects these meetings: all results stem from the travels that I and my informant and co-researcher jali Alagi Mbye have made visiting musicians in the Gambia and, during a long period, moving in and out of each others cultures. The core of the empirical data consists of observations and interviews with jalis and other Gambian musicians. The emic and the etic perspectives of these interviews are reflected in different ways. In one of the interviews my main informant, jali Alagi Mbye, acts as a co-researcher, thereby opening up new dimensions to the study. In this interview, it is the accompaniment of the 21-stringed kora that leads the conversation, just as much as the questions. Because of the multifaceted content of this interview, the full transcript and a CD-recording is attached in the appendix. The results show that the oral jali tradition is in some respects both structured and formalised. Hence, it is described as ‘the Oral University’. Delving deeper into the conversations with the musicians ‘inside’ and ‘outside’ the jali musical culture, the thematic outcome is differing. While the ‘insiders’ highlight the intellectual dimension of music education expressed in thoughts on culture and identity, and with references to the Sunjata orature, the ‘outsiders’ highlight the practical instrumental training dimension of music education, expressed, for example, by praising ‘the art of not talking’ as a way of teaching, and claiming that the master level and position is reached when people start to dance to your playing. In conclusion, these differences in attitudes to music teaching and learning reflect different ways of expressing knowledge.
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| 148260. |
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