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CFP: Decolonizing Pedagogies Special Theme Issue of Intersections

Monday, September 17, 2018   (0 Comments)
Posted by: Stephanie Sturgis
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Intersections: Canadian Journal of Music

Call for Proposals: Decolonizing Music Pedagogies: a special issue guest-edited by Robin Attas (Queen’s University) and Margaret E. Walker (Queen’s University)

Recent decades have seen significant interest in the re-evaluation and reform of higher education music programs and curricula. Questions of diversity, access, social justice and pedagogical strategies within and beyond the core music curriculum are regularly raised at roundtables, conferences, and publications in numerous music disciplines. While such work is important, much of it has yet to engage convincingly with the topic of decolonization.

The term decolonization is polysemous and its meaning can shift widely depending on the context. For instance, in education, Marie Battiste (2013) has advocated for a “trans-systemic ethical space” for decolonization, where Indigenous and European knowledge systems are brought into an equal and ethical encounter (103); Tuck and Yang (2012), on the other hand, argue forcefully that Settler (non-Indigenous) peoples must not equate decolonization with metaphorical or tokenistic gestures. Nation-states also impact the discussion: in the United States and elsewhere, decolonization often forefronts the colonial legacy of the mid-Atlantic slave trade, while in Canada, the “Calls to Action” of the Truth and Reconciliation Commission (2015) have galvanized individuals and institutions across the country to reconsider the relationships between Indigenous and Settler peoples.

This special issue aims to connect music disciplinary conversations around curricular and pedagogical reform with interdisciplinary discussions of decolonization, broadly and loosely defined, through a focus on decolonial music pedagogies: ways of decolonizing existing music pedagogies and ways in which pedagogies themselves can do decolonizing work. Questions this issue seeks to address include, but are not limited to:

  • What current pedagogical strategies already support a decolonial orientation, and what new strategies might need to be developed?
  • How might decoloniality intersect with or affect current disciplinary epistemologies, ontologies and professional practices?
  • What is the role of professional societies, associations, and cultural organizations in promoting or resisting curricular decolonization?
  • How do historical pedagogical methods of music education (e.g., the conservatory model; master-apprentice modes of instruction) at the undergraduate and/or graduate level intersect with decolonial pedagogies?
  • What administrative choices (admissions policies, monetary support, pre-requisite training, etc.) might need to be reconsidered in light of decolonization?
  • How can theories of settler colonialism and colonialism/decolonialism intersect with music pedagogy?
  • What are the impacts of music curricular reform on institutions of higher education more broadly, and/or on society at large?
  • How might colonial/decolonial music pedagogies impact music students’ learning?

We seek a broad range of written work across all musical disciplines: submissions might take the form of research articles, histories, case studies, critical examinations, opinion pieces, reports on explorations and first steps, reflective essays, and other forms of writing.

Please send expressions of interest/abstracts (approx. 250 words) to margaret.walker@queensu.ca by 5 October 2018.

Completed articles will be due by 30 April 2019. Final acceptance will be subject to double blind peer review, with notices sent in fall 2019 and publication anticipated in early 2020.

Intersections: Canadian Journal of Music, formerly Canadian University Music Review, a peer-reviewed bilingual journal, was founded in 1980 by the Canadian University Music Society. As the principal Canadian outlet for refereed scholarly research, it is supported by the Social Sciences and Humanities Research Council of Canada.


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