The practices and perception of music creation have evolved with the cultural, social and technological contexts of music and musicians. But musical authorship, in its many technical and aesthetic modes, remains an important component of music culture. Musicians are increasingly called on to share their experience in writing. However, cultural imperatives to account for composition as knowledge production and to make claims for its uniqueness inhibit the development of discourse in both expert and public spheres. Internet pioneer Philip Agre observed a discourse deficit in artificial intelligence research and proposed a critical technical practice, a single disciplinary field with “one foot planted in the craft work of design and the other foot planted in the reflexive work of critique. … A critical technical practice rethinks its own premises, re-evaluates its own methods, and reconsiders its own concepts as a routine part of its daily work.” This volume considers the potential for critical technical practice in the evolving situation of composition across a wide range of current practices. In seeking to tell more honest, useful stories of composition, it hopes to contribute to a new discourse around the creation of music.
Bloody Woman is bloody good writing. It moves between academic, journalistic and personal essay. I love that Lana moves back and forward across these genres: weaving, weaving – spinning the web, weaving the sparkling threads under our hands, back and forward across a number of spaces, pulling and holding the tensions, holding up the baskets of knowledge. Tusiata Avia This wayfinding set of essays, by acclaimed writer and critic Lana Lopesi, explores the overlap of being a woman and Sāmoan. Writing on ancestral ideas of womanhood appears alongside contemporary reflections on women's experiences and the Pacific. These essays lead into the messy and the sticky, the whispered conversations and the unspoken. As Lopesi writes, 'Bloody Woman has been scary to write... In putting words to my years of thinking, following the blood and revealing the evidence board in my mind, I am breaking a silence to try to understand something. It feels terrifying, but right.' These acts of self-revelation ultimately seek to open up new spaces, to acknowledge the narratives not yet written, and the voices to come.
Throughout the 21st century, various craft practices have drawn the attention of academics and the general public in the West. In Craft is Political, D Wood has gathered a collection of essays to argue that this attention is a direct response to and critique of the particular economic, social and technological contexts in which we live. Just as Ruskin and Morris viewed craft and its ethos in the 1800s as a kind of political opposition to the Industrial Revolution, Wood and her authors contend that current craft activities are politically saturated when perspectives from the Global South, Indigenous ideology and even Western government policy are examined. Craft is Political argues that a holistic perspective on craft, in light of colonialism, post-colonialism, critical race theory and globalisation, is overdue. A great diversity of case studies is included, from craft and design in Turkey and craft markets in New Zealand to Indigenous practitioners in Taiwan and Finnish craft education. Craft is Political brings together authors from a variety of disciplines and nations to consider politicised craft.
This far-reaching volume analyzes the social, cultural, political, and economic factors contributing to mental health issues and shaping treatment options in the Asian and Pacific world. Multiple lenses examine complex experiences and needs in this vast region, identifying not only cultural issues at the individual and collective levels, but also the impacts of colonial history, effects of war and disasters, and the current climate of globalization on mental illness and its care. These concerns are located in the larger context of physical health and its determinants, worldwide goals such as reducing global poverty, and the evolving mental health response to meet rising challenges affecting the diverse populations of the region. Chapters focus on countries in East, Southeast, and South Asia plus Oceania and Australia, describing: · National history of psychiatry and its acceptance. · Present-day mental health practice and services. · Mental/physical health impact of recent social change. · Disparities in accessibility, service delivery, and quality of care. · Collaborations with indigenous and community approaches to healing. · Current mental health resources, the state of policy, and areas for intervention. A welcome addition to the global health literature, Mental Health in Asia and the Pacific brings historical depth and present-day insight to practitioners providing services in this diverse area of the world as well as researchers and policymakers studying the region.
Taking its cue from Deleuze's definition of minor cinema as one which engages in a creative act of becoming, this collection explores the multifarious ways that music has been used in the cinemas of various countries in Australasia, Africa, Latin America and even in Europe that have hitherto received little attention. The authors consider such film music with a focus on the role it has played creating, problematizing, and sometimes contesting, the nation. Film Music in 'Minor' National Cinemas addresses the relationships between film music and the national cinemas beyond Hollywood and the European countries that comprise most of the literature in the field. Broad in scope, it includes chapters that analyze the contribution of specific composers and songwriters to their national cinemas, and the way music works in films dealing with national narratives or issues; the role of music in the shaping of national stars and specific use of genres; audience reception of films on national music traditions; and the use of music in emerging digital video industries.
A major new history of craft that spans three centuries of making and thinking in Aotearoa New Zealand and the wider Moana (Pacific). Paying attention to Pakeha (European New Zealanders) , Maori, and island nations of the wider Moana, and old and new migrant makers and their works, this book is a history of craft understood as an idea that shifts and changes over time. At the heart of this book lie the relationships between Pakeha, Maori and wider Moana artistic practices that, at different times and for different reasons, have been described by the term craft. It tells the previously untold story of craft in Aotearoa New Zealand, so that the connections, as well as the differences and tensions, can be identified and explored. This book proposes a new idea of craft--one that acknowledges Pakeha, Maori and wider Moana histories of making, as well as diverse community perspectives towards objects and their uses and meanings.
This book examines experiences of home improvement in the UK and Aotearoa New Zealand, providing valuable insight into the ways in which people make and maintain home in social, material and economic context. Drawing on in-depth interviews, examining both DIY projects and projects carried out by professional handymen, Rosie Cox explores how home improvement fits into wider social relationships and structures of inequality. Consideration is given to the importance of such work for gender and national identities, and how these identities are related to material contexts and the forms and fabric of homes. The book also highlights how home improvement can be a rewarding and valuable form of work, as well as an unrewarding and alienating endeavour. It will be of interest to scholars from a range of disciplines including anthropology, sociology and human geography.
This book examines agentic approaches by which teacher educators navigate a highly regulated environment. It investigates how teacher educators are responding to such regulation by employing approaches such as exploratory and case study research designs. This book analyzes qualitative and quantitative data to understand the diverse, innovative and critical perspectives of teacher educators who are guided by state and federal level initiatives to enhance the quality Initial Teacher Education (ITE) programs. Prominent educational theoretical perspectives are also used in this book to inform data analysis and to illuminate the empirically based findings. This book showcases research-informed insights for the global education community from leading researchers from across a number of teacher education institutions, locally and otherwise. By adopting an ‘activist’ approach, this book positions teacher educators’ research and contribution to the field as agentive and pro-active.
Understanding the Te Whāriki Approach is a much–needed source of information for those wishing to extend and consolidate their understanding of the Te Whāriki approach, introducing the reader to an innovative bicultural curriculum developed for early childhood services in New Zealand. It will enable the reader to analyse the essential elements of this approach to early childhood and its relationship to quality early years practice. Providing students and practitioners with the relevant information about a key pedagogical influence on high quality early years practice in the United Kingdom, the book explores all areas of the curriculum, emphasising: strong curriculum connections to families and the wider community; a view of teaching and learning that focuses on responsive and reciprocal relationships with people, places and things; a view of curriculum content as cross-disciplinary and multi-modal; the aspirations for children to grow up as competent and confident learners and communicators, healthy in mind, body, and spirit, secure in their sense of belonging and in the knowledge that they make a valued contribution to society; a bicultural framework in which indigenous voices have a central place. Written to support the work of all those in the field of early years education and childcare, this is a vital text for students, early years and childcare practitioners, teachers, early years professionals, children’s centre professionals, lecturers, advisory teachers, head teachers and setting managers.
This book is a narrative exploration of embodied ways of knowing through dance. Discussing theoretical perspectives such as phenomenology, feminism and postmodernism, it offers the reader a comprehensive theoretical understanding of a range of approaches within cultural and performance studies that remains grounded in personal narratives and lived experiences. By using narratives that relate to dance making, improvisation and dance pedagogy, as well as moving in the wider world, the author explores a variety of themes including cultural and personal identity, dance and performance, knowledge and power, pedagogy and activism. Comprised of nine chapters, this book is a combination of higher theoretical ideas and relatable personal and local narratives that provide the reader with a comprehensive exploration of embodied ways of knowing as a basis for their own creative action in the world.
Working with nature - and not against it - is a global trend in coastal management. This ethnography of coastal protection follows the increasingly popular approach of "soft" protection to the Aotearoa New Zealand coast. Friederike Gesing analyses a political controversy over hard and soft protection measures, and introduces a growing community of practice involved in projects of working with nature. Dune restoration volunteers, coastal management experts, surfer-scientists, and Maori conservationists are engaged in projects ranging from do-it-yourself erosion control, to the reconstruction of native nature, and soft engineering "in concert with natural processes". With soft protection, Gesing argues, we can witness a new sociotechnical imaginary in the making.
