New neighbors Powerpoint Presentation
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The powerpoint from the VT FOLKLIFE CENTER presentation on the New Neighbors Music Project. August 1st 2012 (Evangeline Mee and Sarah Yahm)
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New neighbors Powerpoint Presentation
- 1. New Neighbors Music Project Vermont Folklife Center Sarah Yahm and Evangeline Mee
- 2. Guiding Questions • What role does music play in the lives of New American youth? • Does music bridge barriers? • What conversations can music generate? • Does making music create new relationships?
- 3. Our Fieldwork Process • Why fieldwork matters: – Qualitative – Local and individualized – Reveals effects of policy change – Nuanced and Dynamic • Burundians and Somali Bantu – Prevents stereotyping and promotes positive change
- 4. Community Stakeholders • Who did we talk to? – Music Teachers – Educators – Youth – Community Activists – Policy Makers – Musicians • What did we learn from them?
- 5. Music Teachers • Nellie Mae Diversity and Equity Conference – Want New American Music in classrooms – Obtain International Instruments – Learn “New American” Standards – Bring in “traditional” musicians – Gain cultural competence
- 6. Community Activists • “Nice is not enough” • Tokenizing • Empowering students
- 7. Youth • Music Matters – Puru’s Tabla • Vibrant and active New American youth music scene – Paying for studio time • Music crosses cultures to forge friendships – Puruat Colchester High School • Rap in particular is the common language – Sagar • “Mix tape model” • Music is a primary form of expression and storytelling • Music is a way to adapt and form new identity – Said: “We’re in Vermont, but we’re also all around the world. When we’re in the studio singing in our own languages, we’re home. We’re good.”
- 8. Takeaway • Music is already informally functioning as a tool for intercultural conversations and could be used effectively in schools • Experiential education can be effective in creating connections across culture • Hip hop is the ideal genre
- 9. Why Hip Hop? • Relevant • Cheap • Flexible • Syncretic
- 10. Theoretical Framework • Songprint: “a song repertoire distinctive in *a person’s+ culture, age, and personality as unique in its configuration as a fingerprint or footprint” (Vander 1988: xi) – Safe (but not simplistic) way to talk about identity and families – Window in to complex conversations about culture – Interdisciplinary
- 11. Songprint 1. Students as family and cultural historians – Oral histories – Fingerprint handout 2. Creative expression through songwriting/producing (whatever creative outlet works for them) – Mix tape model: music producer David Cooper calls it advanced Karaoke.
- 13. Discussion Questions – What is the first song that you learned? – Where did you learn it and who taught it to you? – What is your “home music,” and the music you listen to with your friends? Are they they same or different? Do they overlap? – Do you share your home music with your friends? Why or why not? – How does your home music reflect what you and your family believe in and value? – List three songs that reflect who you are?
- 14. Make your own songprint
- 16. Moving Forward • Forging Partnerships: – Youth – Musicians – Educators – Administrators – Funders – Community Partners • Piloting Curriculum • Leading teacher workshops
- 17. Our Recommendations • Work collaboratively with a targeted English Teacher, Social Studies Teacher, and Music teacher to model different aspects of this curriculum • After School Programs – (e.g.Laura Clemmons Shades of Ebony) to collaboratively “try out” and write this curriculum. • Pilot with 9th grade team • Find funds for a part time project coordinator • Lead a workshop on New American music at the Vermont Music Educator’s Association on October 8th which connects traditional musicians with music teachers • Facilitate instrument purchase
- 18. Conclusion: Discussion Questions • How can you see yourself intersecting with this project? • Making connections – instruments • Recommendations? • Observations?
Notas do Editor
- Qualitative exploration: We’re not bringing statistics, we’re adding a human face to stats. discovery, open ended listening. Putting a human face on quantitative experience.2. Localizes and individualizes policy change: Push for Arts Integration and Cultural Competency but what does that look like on the ground? How do these abstract policy changes actually affect students on the ground? How are they perceived in New American communities? 3. the often unseen ripple effects within communities of policy change4. nuances between New American communities that are often glossed over in quantitative studies (Burundian girls didn’t go on walkout) 5. Prevents stereotyping and promotes positive change: This type of data can help prevent tokenizing and stereotyping (Garang and Jeetan examples)Examples: tokenized and Africans associated with music and parents concerned with literacy
- Instruments – in order to feel comfortable to explore and succeed students need to see familiar instruments. This will encourage students to take music class and interact with “native Vermonters” 2. “New American” Standards – what’s the equivalent of “The Beatles?” What music can students learn in a basic guitar class that will be familiar?3. Bringing in “traditional” musicians into schools: No written sheet music bc songs exist in oral tradition, so they can’t teach themselves4. Gaining cultural competence in relation to music – workshops with teachers and traditional musicians and we have the connections to make that happen -Music teachers describing trying to incorporate a Somali Bantu song but not understanding that it can only be sung by men
- 1. “Nice is not enough” – celebrating cultural difference isn’t sufficient to move people past stereotypical anxieties and misconceptions about those different from themMomos (Nepalese Dumplings)2. Tokenizing – Refugees are more than their tragic experiences and the local color they provide. Students are tired of being forced to perform their stories and culture for others – from immigration officials to classrooms. They are excited (like all teenagers) to tell their stories on their own terms and to not be defined by other people’s narratives about them.3. Empowering students: all students need skills, equitable classroom, need to know that they can do anything.
- 2. Vibrant and active New American youth music scene in Chittenden County that is so far not connected to the schools (They’ve been paying for their OWN STUDIO TIME.)5. There is a lot of energy behind what music producer david cooper calls “the mix tape model” which will be discussed later6. Music is a primary form of expression and storytelling and has been a huge outlet for many New Americans7. Music is a way for them to make sense of their new lives and creatively combine their culture of origin with American pop cultureSaid: “We’re in Vermont, but we’re also all around the world. When we’re in the studio singing in our own languages, we’re home. We’re good.”
- “Recent studies have demonstrated that effective “Anti-racist intercultural education requires experiential learning methodologies to promote appreciation of diversity, mutual understanding, and critical analysis”(http://www.inis.gov.ie/en/JELR/education.pdf/Files/education.pdf).
- 1. Relevant (popular in the best sense) – common global language among youth2. Cheap - It is a way for students without resources to make music who don’t have the money for instruments. 3. Flexible - Their new experiences don’t necessarily mesh with strictly defined traditional forms of expressive culture4.Syncretic – It provides a way for students to incorporate aspects of their culture of origin in a “cool” way
- about identity. A safe way to tackle these tricky questions of the way our personal tastes and sense of self are influenced by cultural and family history and traditions. Because students may be embarrassed (home culture is exposing) this is a safe way to talk about your homelife because it’s an assignment and it allows you to talk about what you’ve reisisted and grown away from as well as what you identify with…
- “Refugees” are expected to tell their stories over and over again but not on their own terms. Among the youth we talked to there is a great deal of enthusiasm behind narrating their story ON their own terms. This has just as much import for white students Kadou reciting a little bit of his poem
- We have a concept and activities and we’re looking for collaborating partners to help us develop a curriculum which harnesses this energy and enthusiasm and brings it into the schoolsShades of Ebony and other after school programs to collaboratively write curriculum and generate contentWorking with the 9th graders at BHS for interdisciplinary workFlynn?Working with a core group of educators in History/English/social Studies/Music to try out aspects of this and a coordinator