5 research outputs found
Culture in international development : the role of Concerts Norway in the India-Norway music cooperation (2002–2017)
No full textAuthor's accepted manuscript.Available from 19/11/2021.This is an Accepted Manuscript version of the following article, accepted for publication in Development in Practice. Korum, S. & Subramaniam, B. (2020). Culture in international development: the role of Concerts Norway in the India-Norway music cooperation (2002–2017). Development in Practice, 30(8), 1114-1128. https://doi.org/10.1080/09614524.2020.1732301.acceptedVersio
Music in International Development : The Experience of Concerts Norway (2000–2018)
No full textPaper I and Paper III is excluded from the dissertation with respect to copyright.Paper I will be available from 19/11/2021.Paper III will be available from 13/05/2022.This article-based doctoral thesis contributes to the multifaceted debate concerning the role of music in “development.” By development, I refer to the international aid sector and the deliberate actions of states and/or development agencies to promote equity between various localities and between social groups or classes in the Global South, previously referred to as developing or third world countries. Development studies is an academic field of its own, but it is interdisciplinary in nature, due to heterogenous understandings of what it means and what it takes to create such equity. Applying an academic lens that bridges development studies with musicological thought as well as peace studies and postcolonial theory, my work addresses questions about “arts development” versus general views on development assistance in a bid to unpack a particular asymmetry between mainstream development models and the need to strengthen—and therefore empower—the arts sector in the interests of its sustainability. There are, in fact, perpetual tensions between “two opposing professional paradigms: the largely intuitive, practice-led world of the arts and the increasingly evidence-based, bureaucratically driven approaches of international development” (Dunphy 2013: 3). This study examines how these tensions were negotiated by Concerts Norway (Rikskonsertene), a governmental music organization and key cultural partner of the Norwegian Ministry of Foreign Affairs, between 2000 and 2018. In this period, Norway branded itself as a pioneer and principal international funder of cultural expression as a tool for development, based on a distinct twin-track policy seeking to value the social utility of art as well as the art itself. My thesis offers an academic exploration of the ways in which three musical development projects were initiated and conducted by Concerts Norway together with local partners in Palestine, India, and Sri Lanka. The origins and development goals of these three projects differed, in the sense that they were each based on distinct geographical contexts and needs. Yet, many of the key program features were the same. This study shows how Concerts Norway and its local partners contributed to strengthening cultural infrastructure in these countries, especially in the concert, festival, and educational fields. Their collaborations furthermore facilitated the transfer of artistic and technical skills, as well as the documentation and preservation of intangible heritage. They were also deemed to be successes by external development evaluators. Yet, a close look at the operational mechanisms of these projects reveals that their framing as “development” initiatives narrowed the scope of their potential agency. The current development system, despite its good intentions, is imbued with outdated binary conceptions and inherited colonial hierarchies, in addition to a result-based management approach that does not work particularly well for the arts. I therefore argue here that the mainstreaming of these musical activities as development limited rather than enhanced their potential furtherance of equity. A central theoretical contribution of this research is a “post-development framework for music and social change”—that is, a proposal suggesting how a rethinking and restructuring of such projects might contribute to a more humane and fairer global (art) world. The framework pays particular attention to local assessments and processes of change. It urges stakeholders and artists to continuously—and reflexively—analyze their own positions, identities, attitudes, and power relations within the project’s structure, as well as its musical repertoire, teaching methods, and performance arenas. It also opens up for a wider assessment of development “results” than what is currently undertaken.publishedVersio
Bang drums until the cement softens : International music collaboration in Palestine
No full textpublishedVersio
The Sound of Reconciliation? Musical and sociocultural harmony in the Sri Lanka Norway Music Cooperation
No full textpublishedVersio
L’enseignant sénégalais face au programme d’histoire du second cycle : perception et pratiques en classe
No full textOppgaven tar for seg historieformidling på videregående skole i Senegal, Vest-Afrika. Landet fikk status som uavhengig stat i 1960 etter å ha vært kolonisert av Frankrike i 104 år. Jeg har forsøkt å finne svar på hva slags type samfunnsborger den uavhengige staten tar sikte på å forme gjennom dagens historieundervisning i Senegal og hvilken rolle læreren har i denne prosessen.
Analysen baserer seg på et to måneders forberedende feltarbeid i Dakar i 2006, samt et seks måneders opphold i 2007. Jeg har observert 70 historietimer (i by, i mindre by og på landsbygda) og dybdeintervjuet ulike aktører i skolesystemet, deriblant rektorer, lærere og studenter/elever ved lærerhøgskolene og i videregående skole, pedagogiske rådgivere, funksjonærer i utdanningsdepartementet (også en tidligere minister) samt senegalesere som arbeider i internasjonale organisasjoner.
Den nasjonale opplæringsloven (1991) og gjeldende læreplan i historie (2004) definerer dannelsen av homo senegalensis (’idealborgeren’) slik: idealborgeren skal være bevisst sitt eget samfunns tradisjoner og særpreg samtidig som han retter et åpent blikk ut mot verden. Læreplanen henter derfor emner både fra den nasjonale og den globale historien.
Til tross for at mange lærere uttrykker sterkt engasjement for faget, holder ikke utdanningsnivået alltid følge med entusiasmen, og læreplanens visjon og innhold er ikke tilstrekkelig godt kjent. Dette skyldes bl.a. den mangelfulle lærerutdanningen (som også kan være totalt fraværende: mange ansettes uten pedagogisk utdanning). Diktat er fortsatt den mest utbredte undervisningsformen – til tross for at læreplanen legger opp til aktiv bruk av didaktisk materiale og en høy grad av elevdeltakelse i undervisningen. Mange lærere greier heller ikke å avslutte alle forelesningene før skoleårets slutt. Likevel kan ikke lærergruppen alene holdes ansvarlig for situasjonen. Knappe økonomiske ressurser og omfattende streiker som hindrer fremdrift i undervisningen i henhold til planen, er også avgjørende for manglende kvalitet på historieundervisningen.
En annen viktig årsak til at planens intensjoner ikke realiseres, er at det ikke finnes noe nasjonalt produsert læreverk i historie for den videregående skolen. Skolebøker produsert i Frankrike utgjør i skrivende stund eneste form for didaktisk materiale tilgjengelig for lærere og elever på dette nivået. Disse er utarbeidet for den franske læreplanen og ikke den senegalesiske. Synet på afrikansk historie generelt og på senegalesisk historie spesielt er også nødvendigvis farget av øynene som ser.
Det er grunn til å tro at selv om utarbeidelsen av et nasjonalt læreverk i historie kunne bedret fagsituasjonen i Senegal, ligger nøkkelen til en mer effektiv og tilpasset historieopplæring like mye i et klarere samsvar mellom teori i lærerutdanningen og praksis i skolene, bedre faglig og pedagogisk oppfølging, samt en økt bevisstgjøring rundt bruken av didaktisk materiale – ikke bare produksjonen av det
