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Lag på lag av hjemsøkelse: – Effekten av Ghosting i Jack Thornes "The Motive and the Cue"
Full text linkOver 20 years has passed since Marvin Carlson defined the concept of ghosting in the seminal book The Haunted Stage. Carlson suggests that the theatre is obsessed with ghosts, both in many of the actual stories it tells, but also in the ways stories, people, spaces and production modes are constantly reused and recycled. This article discusses a production in which ghosting was particularly important: The 2023 National Theatre Production of Jack Thorne’s play The Motive and the Cue, a play about the rehearsal process for the famous 1964 production of Hamlet directed by John Gielgud and starring Richard Burton. The article discusses the intricate ways in which this production was ghosted both by Shakespeare’s Hamlet, but also by British theatre history and theatre traditions more generally. Carlson’s term is used together with Chantal Mouffe’s ideas of critical art to discuss the effects of ghosting in the production, and to ultimately argue that the production firmly contributed to the dominant consensus in British theatre
Cuando Canta el Mbira\u27ká: Conocimientos Plurales de “VOCES-MUJERES” en el Ámbito de la Musicoterapia
No full textEste estudo apresenta uma reflexão acerca de meu percurso apoiado na Musicoterapia Social e Comunitária nas rodas de mulheres. A partir da musicalidade e do cuidado que devém do gesto afetivo, do cantar poético-ancestral indígena, da palavra sentida e entoada coletivamente, discorro sobre aspectos importantes à minha prática, cujo sentido e relevância buscam referências que anseiam por desconstruir estereótipos impostos ao saber sonoro-musical originário. Esse escrito tem caráter qualitativo e apoia-se em pesquisas de cultura imaterial que se transmitem de geração em geração por meio da oralidade e da memória, a partir da literatura de informação e textos relacionados. São apresentadas reflexões e propostas para as vivências musicoterapêuticas realizadas naroda de mulheres, que considerem, particularmente, a diversidade cultural e promovam a validação de saberes comunitários.
Comentário Editorial
Nósnos identificamos com as perguntas que Silviane nos traz, escritas em primeira pessoa: Como posso criar espaços de cuidado baseados em práticas não hegemônicas? Como posso ser um profissional de saúde mental sem levar em conta as questões de raça, gênero e classe social? Como os programas de musicoterapia (de graduação e pós-graduação) reconhecem as subjetividades das pessoas negras, indígenas e periféricas? Como é ser estudante e desenvolver uma carreira profissional quando não se sente representado nos espaços de formação e de trabalho? Estamos abertos a outros conhecimentos, de outras culturas, ou estamos presos a uma linguagem que não nos permite propor ou imaginar novas possibilidades de ligação entre as pessoas e com o seu ambiente?Pensamos que a autora desafia, com essas perguntas, muitas das posições de privilégio que naturalizamos diariamente. E nos leva a refletir não apenas com nossas ferramentas analíticas, mas também dando espaço aos conhecimentos e experiências ancestrais, míticos e também poéticos.Este estudio presenta una reflexión sobre mi trayectoria basada en la musicoterapia social y comunitaria en los círculos de mujeres. A partir de la musicalidad y el cuidado que emana del gesto afectivo, del canto poético-ancestral indígena, de la palabra sentida y entonada colectivamente, discuto aspectos importantes de mi práctica, cuyo sentido y relevancia buscan referencias que anhelan deconstruir los estereotipos impuestos al saber sonoro-musical originario. Este escrito tiene carácter cualitativo y se basa en investigaciones sobre la cultura inmaterial que se transmite de generación en generación a través de la oralidad y la memoria, a partir de la literatura de información y textos relacionados. Se presentan reflexiones y propuestas para las experiencias musicoterapéuticas realizadas en el círculo de mujeres, que tienen en cuenta, en particular, la diversidad cultural y promueven la validación de los conocimientos comunitarios.
Comentario Editorial
Resonamos con las preguntas que Silviane nos trae, escritas en primera persona: ¿Cómo puedo crear espacios de cuidado basados en prácticas no hegemónicas? ¿Cómo puedo ser un profesional de la salud mental sin tener en cuenta las cuestiones de raza, género y clase social? ¿Cómo los programas de musicoterapia (de pregrado y posgrado) reconocen a las subjetividades de las personas negras, indígenas y periféricas? ¿Cómo es ser estudiante y desarrollar una carrera profesional cuando uno no se siente representadoen los espacios de formación y de trabajo? ¿Estamos abiertos a otros saberes, de otras culturas, o estamos atrapados en un lenguaje que no nos permite proponer o imaginar nuevas posibilidades de vinculación de las personas entre sí y con su entorno? Pensamos que la autora desafía, con estas preguntas, a muchas de las posiciones de privilegio que naturalizamos cotidianamente. Y nos impulsa a reflexionar no sólo con nuestras herramientas analíticas, sino también haciéndoles un lugar a los saberes y experiencias ancestrales, míticas y también poéticas.This study presents a reflection on my journey supported by Social and Community Music Therapy in women’s circles. Based on the musicality and care that comes from affectionate gestures, poetic-ancestral indigenous singing, and words felt and sung collectively, I discuss important aspects of my practice, whose meaning and relevance seek references that aim to deconstruct stereotypes imposed on original sound-musical knowledge. This writing is qualitative in nature and is based on research into intangible culture that is transmitted from generation to generation through oral tradition and memory, based on informational literature and related texts. Reflections and proposals are presented for music therapy experiences carried out in women’s circles, which particularly consider cultural diversity and promote the validation of community knowledge.
Editorial Comment
We resonate with the questions Silviane brings us, written in the first person: How can I create spaces of care based on non-hegemonic professional without taking into account issues of race, gender, and social class? How do music therapy programs (undergraduate and graduate) recognize the subjectivities of Black, Indigenous, and marginalized people? What is it like to be a student and develop a professional career when you do not feel represented in training and work spaces? Are we open to other knowledge, from other cultures, or are we trapped in a language that does not allow us to propose or imagine new possibilities for connecting people with each other and with their environment?We believe that, with these questions, the author challenges many of the positions of privilege that we take for granted on a daily basis. She encourages us to reflect not only with our analytical tools, but also by making room for ancestral, mythical, andpoetic knowledge and experiences.
Mentoring and supervision as interactive encounters: A phenomenological and enactive knowledge base for reflection
No full textArtikkelens kunnskapsbidrag er å utvide det kognitive kunnskapsgrunnlaget i veiledningsfeltet til også å inkludere betydningen av kroppsliggjort (embodied) kognisjon i undervisning og veiledning. Ved å anvende fenomenologisk og enaktiv teori til å analysere refleksjonsnotater og intervjuer med lærerstudenter etter praksisperioder, presenteres tre situasjoner som synliggjør studentenes affektive og interaffektive erfaringer, samt hvilken betydning disse erfaringene får for studentenes valg i undervisnings- og veiledningssituasjoner. Artikkelen drøfter hvordan fenomenologiske og enaktive perspektiver bidrar med en forståelse av veiledning som interaffektive møter, og med det bidrar inn i diskusjonen om hvordan kroppsliggjort kognisjon kan være sentral i videreutvikling av veiledningsfeltets forsknings- og kunnskapsgrunnlag. Artikkelen bidrar med begrepene affektivitet, interaffektivitet, kroppslig resonans, emosjoner, kroppslige minner og kinestetisk bevissthet som kan anvendes i et profesjonsspråk til å reflektere over kroppens og emosjonenes betydning for samspill og meningsskaping i undervisning og i praksisveiledning.The article\u27s knowledge contribution is to expand the cognitive knowledge base in the field of supervision to also include the importance of embodied cognition in teaching and supervision. By applying phenomenological and enactive theory to analyse reflection notes and interviews with teacher students after practice periods, three situations are presented that highlight the students\u27 affective and interaffective experiences, as well as the significance these experiences have for the students\u27 choices in teaching and supervision situations. The article discusses how phenomenological and enactive perspectives contribute to an understanding of supervision as interaffective encounters and thereby contribute to the discussion of how embodied cognition can be central to the further development of the research and knowledge base in the field of supervision. The article contributes with the concepts of affectivity, interaffectivity, bodily resonance, emotions, bodily memories and kinesthetic consciousness that can be used in a professional language to reflect on the importance of the body and emotions for interaction and meaning-making in teaching and in practice supervision
Sentimentalisering som didaktisk innholdskomponent i dialogbasert pedagogisk veiledning
Full text linkInnenfor nordisk forskning har pedagogisk veiledning som forskningsfelt fått økende oppmerksomhet de siste årene. I den sammenheng er det også flere som innenfor veiledningsfeltet har skrevet om følelser og deres betydning i veiledning. Denne artikkel bygger dels på Helleves (2023) doktorgrad som har bidratt med en konseptualisering av lærerstudenters emosjonelle erfaringer som en form for sentimentalisering bestående av de fire komponentene: intensjonalitet, intersubjektivitet, kroppslige følelser og kroppslige spor. I tillegg bygger den på et autoetnografisk studie av mine erfaringer med å invitere inn lærerstudenters sentimentalisering som didaktisk innholdskomponent i dialogbasert pedagogisk veiledning. Studiets teoretiske perspektiver er knyttet til Dan Zahavis (2003) beskrivelse av intersubjektivitet og Peter Goldies (2000, 2009) forståelse av emosjoners intensjonalitet. Resultatet av denne studien viser sammenhengen mellom det å betrakte lærerstudenters emosjonelle erfaringer som en form for sentimentalisering og det å trekke disse erfaringene inn som en didaktisk innholdskomponent i pedagogiske veiledning.In Nordic educational research, the field of educational guidance has received increasing attention in recent years. In this context, several scholars have written about emotions and their significance in guidance. This article partly builds on Helleves (2023) doctoral dissertation, which has contributed to the conceptualization of teacher students\u27 emotional experiences as a kind of sentimentalization consisting of four components: intentionality, intersubjectivity, bodily feelings, and bodily traces. Additionally, it draws from an autoethnographic study of my experiences in incorporating teacher students\u27 sentimentalization as a didactic content component in dialog-based educational guidance. The study\u27s other theoretical perspectives are linked to Dan Zahavi\u27s (2003) description of intersubjectivity and Peter Goldie\u27s (2000, 2009) understanding of the intentionality of emotions. The results of this study reveal the connection between viewing student teachers\u27 emotional experiences as a form of sentimentalization and incorporating these experiences as a didactic content component in educational guidance
Past tense morphology of North American Icelandic
No full textThe study focuses on the past tense morphology of North American Icelandic to answer the questions of how faithful the past tense construction is to the pre-immigration variety, in what way the speakers deviate from the expected past tense form, and whether they tend to overgeneralize one verb formation over another. The results show that the tense system is still quite robust and that deviations are rare. When deviations do occur, the speakers tend to use another form of the verb from elsewhere in the verbal paradigm, rather than overgeneralizing particular past-tense rules
Understanding language contact: A comprehensive methodological approach to studying the Volga Germans in Argentina
No full textThe current article provides an overview of the mixed-methods design, including online research, qualitative interviews, quantitative questionnaires, visual documentation and participant observation in three Argentine provinces, applied in the context of the research project “Collective Identity Construction in Migration: A Case Study of the Language Contact Situation of Volga Germans in Argentina” (Ladilova 2013). The aim of this study was to conduct a formal analysis of language contact phenomena, with a special focus on transference and code-switching, as well as an in-depth exploration of the construction of collective identity. From the extensive dataset of 96 narrative interviews and almost 450 questionnaires, the final analysis focuses on 12 narrative interviews and 381 questionnaires, offering a nuanced understanding of the dynamics of language contact and cultural preservation among Volga Germans in Argentina. I will discuss the processes of (a) developing the methodology during the study, (b) selecting the data that I finally decided to include in the analysis, and (c) bringing together the different types of data in the article
Opplæring av skriveveiledere med utgangspunkt i konfluent pedagogikk
No full textThis article presents a best practice example of training writing mentors in higher education, specifically at Oslo Metropolitan University. The training program is presented in detail to enable readers to adapt and apply it in their own contexts. The underlying pedagogical source of inspiration for the training is confluent pedagogy, a form of discovery learning which seeks to integrate intellectual, affective, and psychomotor processes. Confluent training aims to make these three elements conflate towards the same aim: learning. The training employs active participation methods, enabling writing mentors to personally engage with the teaching material. This experiential approach, combined with reflective practices, ensures that the acquired knowledge becomes personally meaningful rather than merely something to be memorized and repeated
„My Tune: Musiktherapie aus UNSEREN Perspektiven“: Eine gemeinsame Reflexion des Forschungsprozesses
No full textParticipatory research is an increasingly popular research approach in music therapy. It allows diverse perspectives to be included in the research process thereby affording agency to all participants. Yet, it is challenging to involve various actors at all stages of a research project, including dissemination. In the My Tune project we used a co-creative approach, where young people, music therapists, and caregivers were involved as coresearchers. Within the project we developed a tool for reflecting on music therapy processes from the clients’ perspectives. At the end of the project, we strived to find a way of involving as many participants as possible in the composition of a common article. Two group discussions were held, where project participants conjointly reviewed the My Tune project. In the qualitative analysis of these discussions, key topics were identified, such as motivations, conditions for success, challenges, lessons learned, personal benefits, and characteristics of participatory research. These findings reflect the experiences of the participatory collaboration from diverse perspectives. They give an insight into the research process and refer to the resulting My Tune tool, offering important impulses for future participatory research.
Funding
We are grateful that the Ludwig Boltzmann Gesellschaft [Ludwig Boltzmann Society] supported this project by funding it as part of the Patient and Public Involvement andEngagement in Research 2021 call.
Acknowledgements
We would like to thank our colleague Elsa Campbell for proof-reading the manuscript.Partizipative Forschung gewinnt in der Musiktherapie zunehmend an Bedeutung. Sie ermöglicht die Einbindung verschiedener Perspektiven und gesteht dabei allen Teilnehmenden Handlungsmacht zu. Es ist jedoch herausfordernd, verschiedene Akteur:innen in allen Phasen eines Forschungsprozesses einzubinden – auch in der Dissemination und Verbreitung der Ergebnisse. Im Projekt My Tune nutzten wir einen cokreativen Ansatz, bei dem junge Menschen, Musiktherapeut:innen und Bezugspersonen als Co-Forschende eingebunden waren. Gemeinsam entwickelten wir ein Tool zur Reflexion von Musiktherapieprozessen aus Klient:innenperspektive. Als zu Projektende ein Artikel verfasst werden sollte, suchten wir einen Weg, um die Mitarbeit so vieler Teilnehmender wie möglich zu gewährleisten: Wir führten zwei Gruppendiskussionen durch, in dem Teilnehmende gemeinsam den Projektverlauf reflektierten. In derqualitativen Analyse dieser Diskussionen wurden zentrale Themen identifiziert, wie etwa Motivationen, Gelingensbedingungen, Herausforderungen, Lehren aus weniger Gelungenem, persönliches Profitieren von der Mitarbeit und Merkmale partizipativer Forschung. Die Ergebnisse spiegeln die Erfahrung der kollaborativen Mitarbeit aus unterschiedlichen Perspektiven wider, geben Einblick in den Forschungsprozess und beziehen sich auch auf das My Tune-Tool. So liefern sie wichtige Impulse für zukünftige partizipative Forschung.
Förderung
Wir sind dankbar dafür, dass die Ludwig Boltzmann Gesellschaft das Projekt durch eine Förderung im Rahmen des Patient and Public Involvement and Engagement in Research 2021- Calls unterstützte
Jimmy\u27s Archive
No full text‘50 years ago today they landed on the moon... and I\u27m still waiting for that future’.
Jimmy\u27s Archive provides an intimate portrait of home, place and aging in a rapidly changing urban landscape. It also contributes to practices of multi-modal anthropology in which collaborative media production actively involves interlocutors in shaping the direction and products of research. While the editing in the film was done by Robert Deakin (interspersed by collaborative screenings and feedback sessions), the ‘on set’ direction saw Jimmy improvising on camera and Robert filming with minimal intervention. As Jimmy delves into his collections of memorabilia, the film’s narrative unfolds through a combination of agency and serendipity
Apresentação do Curso de Pós-Graduação em Musicoterapia e Espectro Autista: Formação e Especialização Para Musicoterapeutas da América Latina
No full textEn el presente artículo, las directoras de la formación y autoras de este escrito,describen las principales características respecto del Curso de Posgrado de Musicoterapia y Espectro Autista, formación académica de posgrado destinada a capacitar a profesionales musicoterapeutas para brindar atención a la población infantojuvenil en el espectro autista. La formación se lleva a cabo desde el año 2014 hasta la actualidad en la Universidad Hospital Italiano de Buenos Aires (U.H.I.B.A.), realizándose nueve ediciones hasta el año 2024. Se fundamenta en base a la conceptualización, sistematización y aplicación práctica de distintos modelos y orientaciones, así como métodos e intervenciones, y teniendo como punto de partida la experiencia clínica adquirida con la población. Se mencionan los eventos significativos relativos a los inicios y el desarrollo de la formación, las unidades temáticas del programa de estudios, las metodologías de enseñanza-aprendizaje implementadas, la valoración del alumnado, así como la construcción de evidencias en la región latinoamericana. El principal propósito es dar a conocer la experiencia adquirida en su creación e impacto en la comunidad local y regional, así como dar cuenta de los desaf íos atravesados. Asimismo, que pueda tomarse como referencia que inspire y promueva la construcción de futuras formaciones destinadas a musicoterapeutas, buscando la especialización de la disciplina en diversas áreas de aplicación y con distintas poblaciones.
Comentario Editorial
La cuestión de la formación académica representa un enorme desafío para América Latina. Muchos son los colegas que, habiendo estudiado en Europa y Estados Unidos, regresan a sus países de origen para ejercer la profesión. Frecuentemente, quienes desean estudiar musicoterapia se trasladan desde localidades pequeñas hasta las ciudades capitales para cursar los estudios de educación superior y luego regresan a ellas. ¿Cómo se da esa experiencia de aprendizaje, vivida entre el desarraigo y la vuelta al hogar? Las autoras de este trabajo muestran el recorrido seguido en la creación de un curso de posgrado en Argentina que se vio favorecido por el formato híbrido que se impuso en la pandemia por COVID 19. Es un ejemplo de los efectos virtuosos del mundo hiperconectado en el que vivimos, en el que los conocimientos disciplinares se difunden muy rápidamente y en el que se nos invita a una apropiación crítica de ellos, atenta a la singularidad de las situaciones en las que ejercemos la profesión.Neste artigo, as diretoras da formação e autoras deste texto descrevem as principais características do Curso de Pós-Graduação em Musicoterapia e Espectro Autista, formação acadêmica de pós-graduação destinada a capacitar profissionais musicoterapeutas para atender crianças e jovens no espectro autista. A formação é ministrada desde 2014 até o presente na Universidade Hospital Italiano de Buenos Aires (U.H.I.B.A.), com nove edições realizadas até 2024. Baseia-se na conceituação, sistematização e aplicação prática de diferentes modelos e orientações, bem como métodos e intervenções, tendo como ponto de partida a experiência clínica adquirida com a população. São mencionados os eventos significativos relacionados com o início e o desenvolvimento da formação, as unidades temáticas do programa de estudos, as metodologias de ensino-aprendizagem implementadas, a avaliação dos alunos, bem como a construção de evidências na região latino-americana. O principal objetivo é divulgar a experiência adquirida em sua criação e impacto na comunidade local e regional, bem como relatar os desafios enfrentados. Além disso, que possa ser tomado como referência que inspire e promova a construção de futuras formações destinadas a musicoterapeutas, buscando a especialização da disciplina em diversas áreas de aplicação e com diferentes populações.
Comentário Editorial
A questão da formação acadêmica representa um enorme desafio para a América Latina. Muitos colegas, depois de estudarem na Europa e nos Estados Unidos, retornam aos seus países de origem para exercer a profissão. Frequentemente, aqueles que desejam estudar musicoterapia se mudam de cidades pequenas para as capitais a fim de cursar o ensino superior e depois retornam às suas cidades de origem. Como é essa experiência de aprendizagem, vivida entre o desenraizamento e o retorno ao lar? As autoras deste trabalho mostram o percurso seguido na criação de um curso de pós-graduação na Argentina, que foi favorecido pelo formato híbrido imposto pela pandemia da COVID-19. É um exemplo dos efeitos virtuosos do mundo hiperconectado em que vivemos, no qual o conhecimento disciplinar se difunde muito rapidamente e no qual somos convidados a uma apropriação crítica desse conhecimento, atentos à singularidade das situações em que exercemos a profissão.In this article, the directors of the training program and authors of this paper describe the main features of the Postgraduate Course in Music Therapy and Autism Spectrum, a postgraduate academic program designed to train music therapists to provide care to children and adolescents on the autism spectrum. The training has been offered since 2014 at the Italian Hospital University of Buenos Aires (U.H.I.B.A.), with nine nine editionsplanned through 2024. It is based on the conceptualization, systematization, and practical application of different models and approaches, as well as methods and interventions, and takes as its starting point the clinical experience acquired with the population. Significant events related to the beginnings and development of the training program are mentioned, as well as the thematic units of the study program, the teaching-learning methodologies implemented, the assessment of the students, and the construction of evidence in the Latin American region. The main purpose is to sharethe experience gained in its creation and impact on the local and regional community, as well as to report on the challenges encountered. Also,that it can be taken as a reference that inspires and promotes the development of future training programs for music therapists, seeking specialization in the discipline in various areas of application and with different populations.
Editorial Comment
The issue of academic training represents an enormous challenge for Latin America. Many colleagues who have studied in Europe and the United States return to their countries of origin to practice their profession. Often, those who wish to study music therapy move from small towns to capital cities to pursue higher education and then return to their hometowns. How does this learning experience unfold, between uprooting and returning home?The authors of this paper describe the process of creating a postgraduate course in Argentina, which was facilitated by the hybrid format imposed by the COVID-19 pandemic. It is an example of the virtuous effects of the hyperconnected world in which we live, where disciplinary knowledge spreads very quickly and where we are invited to critically appropriate it, attentive to the uniqueness of the situationsin which we practice our profession