Experiences and Perceptions of Multiculturality, Diversity, Whiteness and White Privilege in Music Teacher Education in Mid-Norway – Contributions to Excluding Structures

This article focuses on how staff in musical teacher education institutions experience and perceive the terms multiculturality, diversity, whiteness and white privilege, and how this might contribute to excluding structures. The author suggests through a post-qualitative rhizomatic analysis some ways through which excluding structures might be maintained, some touchpoints between different fields of practice, and some marginal practices with enough power to create alternative norms. The author also suggests some points of immanence, what can be seen as remaining within (unspoken of) the practices and a list of possible excluding practices and/or possible consequences for the marginalized groups.

El Bondage con Cuerdas y las Corporalizaciones Afectivas: Un Análisis Rizomático

El bondage con cuerda, también conocido como shibari o kinbaku, es una práctica incorporada comúnmente asociada con BDSM (acrónimo de Bondage and Discipline, Dominance and Submission, Sadism and Masochism, en español, Bondage y Disciplina, Dominación y Sumisión, Sadismo y Masoquismo) en entornos académicos y no académicos. Sin embargo, el BDSM y discursos orientados al sexo no son inherentes a la práctica. Más bien, son solo dos formas potenciales de enmarcar el bondage con cuerdas, cuya pertinencia depende de cómo los practicantes eligen imaginarse a sí mismos y sus prácticas. Sin embargo, como la teoría feminista y queer ha argumentado, la identidad como una construcción social fija a menudo sirve objetivos normativos y regulatorios (Butler, 1990, 1993; Sedgwick, 1990). Basándose en el trabajo de campo de los autores, este artículo argumenta que el bondage con cuerdas funciona a través de relaciones afectivas, las cuales permiten a los practicantes pensarse a sí mismos fuera de estructuras identitarias de conexión, si así lo desean. En lugar de implicarse con problemáticas de las políticas de la identidad, los miembros pueden compartir sensaciones afectivas sentidas a través de la experiencia incorporada, dirigidas tanto hacia la cuerda como hacia otros cuerpos. Además, las percepciones afectivas del tiempo de los practicantes se ven alteradas 67Rope Bondage and Affective Embodiments: A rhizomatic analysis // Iris-Carmina Ordean // Heath PenningtonCHANGEpor sus experiencias corporales de bondage con cuerda que a menudo producen un estado de flujo (Ambler et al., 2017; Csikszentmihalyi, 1991; Newmahr, 2011). La práctica afectiva del bondage con cuerdas y las corporeidades autorreflexivas múltiples de los practicantes mientras interactúan con y a través de la cuerda incitan a los autores hacia un modelo rizomático de análisis (Deleuze y Guattari, 1987; Massumi, 1987). Tal modelo funciona en contra de las jerarquías de tiempo e identidad, que se desglosan a través de intercambios afectivos. Una comprensión rizomática de los patrones de crecimiento del bondage con cuerdas también puede informar estudios futuros sobre cambios no canónicos que ocurren en la práctica sin necesitar que esos cambios estén relacionados con los orígenes ostensibles del bondage de cuerdas en el Japón feudal, orígenes construidos cronológicamente para validar la existencia de la práctica.

Rethinking relationships with curriculum by engaging with foxes and sharing stories in early childhood spaces

Nunangat pedagogies concern the adoption of teaching practices informed by relationships with land, water and ice. In this article, the researcher examines an opportunity to disrupt Global North dominance in the Inuit homeland through engagements with fox. Nunangat methodologies require consultations with Elders and hunters especially concerning knowledge that is not accessible via the Internet or at the library. A rhizomatic analysis is used to connect the presentation of the various research narratives and analysis of encounters with fox. These strategies are employed to facilitate occasions to re-conceptualize early childhood practices in ways which enable recognition of the vitality and viability of local Indigenous ways of knowing and being.

Separation, the Sound of the Rhizomatic Ney, and Sacred Embodiment

Chapter 2 demonstrates the depth to which rhizomatic analysis can be utilized with a single sound and word: Hû. I study Hû as a sound, as instrument technique for the end-blown reed flute, the ney, as sacred embodiment, and as representative of the city of Istanbul. This chapter also offers a history of Sufism in relation to contemporary Turkish classical music production. This chapter challenges secular discursive and theoretical frameworks used to analyze Turkish classical music as I focus on Hû as a case study to demonstrate how we can identify spirituality and melancholy in something as small as a single sound.

Introduction

The Introduction offers an overview of the theoretical stakes of the book and uses rhizomatic analysis as a framework to define the four persistent topics that run throughout the internal chapters. The first rhizome examined is “Turkish classical music” as an invented tradition; the second rhizome is the archive of melancholies in Turkish. The third rhizome attends to the rich academic landscape of affect theory and studies of affect/emotion/feeling, as the chapter demonstrates why a focus on affective practice is the most appropriate and necessary approach to understanding Turkish classical musicians’ emotional and musical lives. The fourth rhizome interrogates Islamic belief and spiritual practices that are affixed in musicians’ senses of musical meaning.

Dancing the ‘Data’

This article traces a process of combining dance and narrative text into performance ethnography. It focuses on how interviews collected during an ongoing research project on serious contemporary dancers' experiences with injuries can ‘be danced’ in a research presentation. The author reflects how the empirical material from the interviews informed a narrative text that, combined with contemporary dance choreography interpreted through Deleuzian rhizomatic analysis, was included into live performance ethnography. The author concludes with a need for an on-going experimentation with the dancing body, theory, and writing in qualitative research.