Tears of the Collective: Healing Historical Trauma through Community Arts

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dc.contributor.author Rakena, Te Oti en
dc.date.accessioned 2019-10-08T08:48:46Z en
dc.date.issued 2019-07 en
dc.identifier.citation Action, Criticism and Theory for Music Education 18(2):130-46 Jul 2019 en
dc.identifier.issn 1545-4517 en
dc.identifier.uri http://hdl.handle.net/2292/48472 en
dc.description.abstract In this chapter, I advocate that culture matters in music education and should be a measure we consider when we assess the quality of music-making in the community. Community arts education can address a multitude of social issues that impact marginalised communities if viewed through an appropriate lens. I propose historical trauma as an appropriate lens for a (post)colonial context. It provides a framework for disrupting music education practices in university music programmes, and reconsidering the competencies that need to be emphasised when training conservatory educated performers to be community music facilitators. This text is a story, written in the style of a genealogical narrative (whakapapa kōrero). It moves through a specific body of experiences, interconnected stories, contexts and emotions, a process identified by indigenous social work researchers as a culturally appropriate healing intervention for indigenous communities. If you are looking for a bullet-pointed exposition of suitable procedures to employ in your work, you are missing the point. In the past we indigenous academics have made it very easy for other academics and researchers to access our knowledge, but to appreciate the new knowing offered in this text you will have to work a little harder. You will need to shift your cultural paradigm and any academic bias to a world where you are not given direct answers, but rather you are encouraged to listen (and with the audio examples provided I mean that literally), reflect, become aware of your physical reactions, open yourself to the spiritual dimension and consider how these words and sounds may impact your future thinking. Most importantly, I hope this chapter will allow you to understand and share the un-mourned grief of the indigenous people in your (s)p(l)ace. en
dc.publisher Southern Illinois University Edwardsville en
dc.relation.ispartofseries Action, Criticism and Theory for Music Education en
dc.rights Items in ResearchSpace are protected by copyright, with all rights reserved, unless otherwise indicated. Previously published items are made available in accordance with the copyright policy of the publisher. en
dc.rights.uri https://researchspace.auckland.ac.nz/docs/uoa-docs/rights.htm en
dc.rights.uri https://creativecommons.org/licenses/by/4.0/ en
dc.title Tears of the Collective: Healing Historical Trauma through Community Arts en
dc.type Journal Article en
dc.identifier.doi 10.22176/act18.2.130 en
pubs.issue 2 en
pubs.begin-page 130 en
pubs.volume 18 en
dc.rights.holder Copyright: The author en
pubs.author-url http://act.maydaygroup.org/volume-18-issue-2/act-18-2-rakena/ en
pubs.end-page 46 en
dc.rights.accessrights http://purl.org/eprint/accessRights/OpenAccess en
pubs.subtype Article en
pubs.elements-id 779176 en
pubs.org-id Creative Arts and Industries en
pubs.org-id Music en
pubs.record-created-at-source-date 2019-08-16 en
pubs.online-publication-date 2019-07-01 en


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