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Community Music As Folkbildning: a Study of a Finnish Cultural Association in Sweden

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Community Music As Folkbildning: a Study of a Finnish Cultural Association in Sweden IJCM 10 (1) pp. 45–58 Intellect Limited 2017 International Journal of Community Music Volume 10 Number 1 © 2017 Intellect Ltd Article. English language. doi: 10.1386/ijcm.10.1.45_1 JOHAN SÖDERMAN University of Gothenburg MARIA WESTVALL Örebro University Community music as folkbildning: A study of a Finnish Cultural Association in Sweden ABSTRACT KEYWORDS This article explores the relationship between community music, folkbildning and folkbildning music making in Sweden. This is exemplified by a case study of a Finnish associa- community music tion in contemporary Sweden. The article takes, as its point of departure, the specific Finnish association question: what meaning do musical activities have for its participants in the context migration experiences of a Finnish association in Sweden? Informants from the Finnish association consist life-long musical of members of a senior dance group (65–80 years old) and a music group (50–65 learning years old). The fieldwork and methodological approach is inspired by the ethno- non-formal/informal graphic tradition, and the methods of data collection involve qualitative semi-struc- learning tured interviews in groups, as well as field notes. The findings reveal that dancing is the main activity in the association and through dance activities the participants (as adult beginners) started to play instruments within the association’s frame- work. This process promotes life-long musical learning and strengthened health. The participants’ migration experiences in combination with the musical activities in the association have an impact on their individual and collective identities, and their 45 4_IJCM_10.1_Soderman & Westwall_45-58.indd 45 2/15/17 10:12 AM Johan Söderman | Maria Westvall 1. This case study is part participation in a musical community develops a sense of purpose, empowerment of a larger, overall research study that and autonomy. investigates the functions of music in various ethnic-based associations in Sweden. INTRODUCTION In this article we explore the relationship between community music, folkbild- ning (e.g. popular adult education) and music making among members in a Finnish association in Sweden. Adult and senior music education is a fairly non-researched area within the field of music education. When people in Sweden, with ethnic minority backgrounds, wish to organize through ethnic associations, they encounter the Swedish educational tradition of folkbildn- ing. Through state funded and institutionalized folkbildning, they are intro- duced to study associations that enable the members to self-organize a range of activities designed to preserve certain elements of cultural heritage. One particular example of this are the Finnish dance and music groups, which will form the basis of this article. The types of musical engagement and organization that we will investi- gate, could be seen as a community music practice in the Nordic context, in that they emphasize educational values, life-long music learning and musi- cal collaboration and participation. Community music practices are generally connected with grass-roots movements, but in Sweden, as well as in some of the other Nordic countries, national and local governments promote funding to strengthen community music initiatives (Veblen and Olsson 2002; Karlsen et al. 2013). Such support covers various areas of community music activities such as amateur choirs, orchestras, rock bands and, as in this case, ‘ethnic- based’ associations. The latter can be regarded a top-down example of ‘[…] a belief in the value and use of music to foster intercultural and interpersonal acceptance and understanding’ (Veblen and Olsson 2002: 731), as well as a recognition of diasporic musical communities. This approach to folkbildning and community music highlights an intersection between ‘top-down’ and ‘bottom-up’ initiatives that influence the interaction of informal and non- formal music learning processes in Nordic community music practices. This article explores how ideas and values of folkbildning and commu- nity music are interconnected. This is exemplified by a case study of a Finnish association in contemporary Sweden. The article takes as its departure the specific question: What meaning do musical activities have for its participants in the context of a Finnish association in Sweden?1 Introducing Swedish folkbildning Sweden has a history of popular movements and liberal adult education, collectively named folkbildning. The concept evolved from the German tradi- tion of bildung, yet, in the Swedish context the stress on public access and equal opportunities was extended by adding the prefix folk (people) (e.g. Brändström et al. 2012). The educational approach of folkbildning has influ- enced public ideological trends as well as specific organizations – especially in relation to cultural activities and education (Harding and Nordvall 2015). Whilst the movement started as a loose collection of organizations and philo- sophical precepts, by the end of the 1800s and in the early 1900s, the ideas of folkbildning started to gain ground in Sweden – and, gradually, folkbildning came to be institutionalized with state-funded folk-high schools and study associations developed within the organization of folkbildning (Bjurström 46 International Journal of Community Music www.intellectbooks.com 47 4_IJCM_10.1_Soderman & Westwall_45-58.indd 46 2/15/17 10:12 AM Community music as folkbildning 2013). Today, there are ten established study associations within the infra- structure of folkbildning in Sweden. These are all national organizations with local branches spread across all parts of the country. Approximately 800,000 people participate in different forms of aesthetic activities organized and funded by study associations, for example dancing, music playing or visual arts (Folkbildningsrådet 2015). In addition, there are 151 folk high schools in which adults can study to acquire various compe- tencies, either aiming towards further formal education or to specialize in a certain field, for instance in the arts (Folkbildningsrådet 2015). These folk high schools are some of the main institutions, which deal, particularly, with the long-term unemployed. Study associations are also encouraged by national and local government to engage newly arrived refugees in their activities. Regardless of political affiliation, Swedish politicians over time have tended to agree on the role of folkbildning as a means to creating a more socially sustainable society, as well as its role in contributing to a higher national standard of education (Göransson 2010). PARALLELS OF FOLKBILDNING AND COMMUNITY MUSIC The pedagogical philosophy within folkbildning, even in the institutionalized form it occupies today, differs significantly from traditionally more hierarchi- cal forms of education. Similarily, the philosophy of community music differs from formal music education, for example due to its stress on the importance of self-education which includes aspects such as the interests and motiva- tions of the individual in voluntary learning settings. As a concept, commu- nity music is characterized by creative, collaborative group processes of music making, in which interaction between individuals is more central than individ- ual music making (Higgins 2007). In line with the philosophy of folkbildning, community music also emphasizes the importance of participation leading to empowerment (Higgins 2007; Schippers and Bartleet 2013). In other words, community music making can be described as a way of practicing citizen- ship through musical and social interaction and collaboration. In the Swedish context practicing citizenship is carried out through the infrastructure of folk- bildning, which, likewise, is driven by democratic ideals, that makes it consid- ered to be a radical educational philosophy, according to Rydbeck (1997). Community music stresses the importance of informal and non-formal elements. Eshach (2007) differentiates between informal and non-formal learning, where informal learning only exists outside all kinds of organiza- tional/formal settings. Non-formal learning, according to Eshach (2007), takes place in institutions and organizations outside of traditional school contexts. Churches, organizations and study associations can be examples of non-formal learning environments. However, there is no noticeable agree- ment among scholars and practitioners that community music practices generally are located outside formal music settings (Silverman 2009; Karlsen et al. 2013). The same can be applied to folkbildning, which is not organ- ized through formal curricula or based on grades. The variety of approaches may relate to the settings where music communities are located (e.g. the place where people live) as well as political and institutional policies. For instance, community music in the British context has been synonymous with expres- sions of ‘cultural democracy’ and often operates outside the formal institu- tions, whereas community music activities in Sweden are often enabled through top-down funding, yet driven by the folkbildning idea of access for 46 International Journal of Community Music www.intellectbooks.com 47 4_IJCM_10.1_Soderman & Westwall_45-58.indd 47 2/15/17 10:12 AM Johan Söderman | Maria Westvall all. This encourages both formal and informal initiatives, such as municipal- ity music and arts schools, local orchestras, brass bands, cultural associations, pop and rock groups, hip hop communities, music festivals, etc. (Heiling 2000;
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