Abstract
In light of recent discussions on the importance of shared visions in teacher education, this inquiry raises necessary questions as to whose visions shape unified and shared visions, and whose remain absent, unspoken, or silenced in the margins. The starting point for this inquiry was a set of visions for music education in Nepal that were co-constructed with over 50 musician-teachers working in the Kathmandu Valley, during a series of 16 workshops guided by Appreciative Inquiry’s 4D cycle. Despite the challenges female musician-teachers encounter in their pursuit of music in Nepal, no reference to these injustices was apparent in the resulting shared visions. This inquiry therefore engages with the nature and possible causes of this lack of reference, leaning on economist and philosopher Amartya Sen’s (2009) idea of justice and social-cultural anthropologist Arjun Appadurai’s (2004) notions of the capacity to aspire and the capacity for voice. The critical (Kuntz, 2015) and reflexive (Alvesson & Sköldberg, 2009) work guiding this inquiry suggests that while the workshops were guided by the aim to be inclusive, the need to come to consensus when co-constructing shared visions both reflected and obscured the injustices experienced by female musician-teachers. The article concludes by offering insights for music teacher education.
Highlights
I wanna be a musician, Just like any guy
It has been argued that “a unified vision for music teacher education is the means for advancing our work and meeting all of the challenges that we are facing” (Orzolek, 2015, p. x), and Corresponding author: Danielle Shannon Treacy, Sibelius Academy, University of the Arts Helsinki, P.O
The starting point for this inquiry was a set of shared visions for music education in Nepal that were co-constructed with musician-teachers1 working in the Kathmandu Valley during a series of Appreciative Inquiry workshops I facilitated in 2016
Summary
I wanna be a musician, Just like any guy. I wanna be just as good as him, Play just as good as he is playing, And not get questioned Because I’m a girl.It has been argued that “a unified vision for music teacher education is the means for advancing our work and meeting all of the challenges that we are facing” (Orzolek, 2015, p. x), and Teachers That music teachers would use a variety of teaching and learning techniques in the classroom to make learning easier for students because no one method will work for every teacher or every student.Music institutions To have properly designed music organizations with enough instruments, proper classes, etc.Collaboration To create a music community that brings all music lovers to work together and create professionalism. To develop unity between the major music institutions in Nepal so that activities become more controlled, efficient. To develop an internationally recognized music and music education (music teacher training) course in Nepal through affiliations with an outside university for Nepali, eastern and western musics.Society That music would be an included (and valued) subject in schools. To live in a society where music is valued, including where people recognize that music is vital, where the social stigma has been overcome and where music is for all. The starting point for this inquiry was a set of shared visions (see Table 1) for music education in Nepal that were co-constructed with musician-teachers1 working in the Kathmandu Valley during a series of Appreciative Inquiry workshops I facilitated in 2016 (see Treacy, 2020).
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