DOCSLIB.ORG

Dansk Musikforskning Online / Særnummer 2015 Danish Musicology Online / Special Edition 2015

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dansk Musikforskning Online / Særnummer 2015 Danish Musicology Online / Special Edition 2015 DANSK MUSIKFORSKNING ONLINE / SÆRNUMMER 2015 DANISH MUSICOLOGY ONLINE / SPECIAL EDITION 2015 MUSIKCENSUR RESEARCHING MUSIC CENSORSHIP Introduction 3 Tore Tvarnø Lind Blasphemy Cries over Pussy Riot’s “Punk Prayer” 7 Thomas Solomon Self-censorship as Critique: The Case of Turkish Rapper Sagopa Kajmer 37 Kjetil Klette Boehler How Live Cuban Popular Dance Music Expresses Political Values in Today’s Cuba 55 Ursula Geisler Political Music Censorship: Some Remarks on Nazi Music Regulations 1933-1945 77 Antti-Ville Kärjä Cultural Politics of Music Censorship in ‘Post-Soviet’ Finland 91 Kristine Ringsager “It Ain’t Shit About the Music!” Discussions on Freedom of Expression in Relation to Rap Music in Social Work 109 Johannes Frandsen Skjelbo Jamaican Dancehall Censored: Music, Homophobia, and the Black Body in the Postcolonial World 131 Note on the contributors 155 Guest editors: Helmi Järviluoma and Jan Sverre Knudsen (The Nordic network Researching Music Censorship) Editorial board: Martin Knakkergaard, Mads Krogh, Søren Møller Sørensen Dansk Musikforskning Online Særnummer, 2015: Musikcensur / Danish Musicology Online Special Edition, 2015: Researching Music Censorship ISSN 1904-237X © forfatterne og DMO DMO publiceres på www.danishmusicologyonline.dk Udgivet med støtte fra Forskningsrådet for Kultur og Kommunikation Introduction When the NordForsk-funded network Researching Music Censorship (RMC) was initiat- ed in 2010, it was obvious that music censorship was not decreasing. There were severe confl icts over freedom of expression in various parts the world, but also a growing awareness of issues concerning control and regulation of the arts. Censorship could be observed in areas of confl ict and political tension as well as in politically stable re- gions like the Nordic countries. Today we experience that censorship of the arts is an issue of increasing social and political signifi cance. We feel that have been heading in the right direction when assuming that it is essential to direct academic scholarship towards issues of censorship, freedom of expression and human rights in relation to the arts, in our case music. The objective of the RMC network has been to contribute with an academic ap- proach through the development of multifaceted, scientifi cally based research. At the outset, the aim of the network was stated as follows: “[...] to question the often un- complicated and simplifi ed defi nitions of the concept in popular discourse, and based on a fi rm understanding of music as a socially organised means of communication and through identifi cation and documentation of discourses on restrictions and reg- ulations in musical expression, the participating researchers will examine global, re- gional and local frameworks for music censorship”.1 As the contributions to this issue clearly demonstrate, research on music censor- ship is, on the one hand, concerned with social and political issues. Since censorship plays a part in struggles concerning class, race, gender and religion, the study of cen- sorship inevitably involves a focus on power relations; on the mobilisation and im- plementation of power both by the censors and those being censored. On the other hand, the study of music censorship is obviously also about music. It directs our at- tention towards the particular potential of music to articulate and communicate atti- tudes and opinions in ways that surpass what can be accomplished by use of the spo- ken word. Music may serve to empower or distribute a social or political message, but additionally, by way of association or representation, music may constitute a message in itself and can hence be studied both as a medium and as a message. Thus, we have seen that the object of censorship may be both the lyrical content of particular songs and the artists that perform them, but also entire music genres or even the perform- ance of music as such. The RMC network was offi cially brought to an end in late 2014, but the rich out- comes are only now starting to appear. The network has consisted of a total of 48 scholars and PhD researchers from all the Nordic countries plus associated researchers from other parts of the world. Their varied academic backgrounds include the fi elds of popular music studies, music education, ethnomusicology and religious studies. We 1 RMC Website, accessed 4 Feburary, 2015: http://rmc.ku.dk. DANISH MUSICOLOGY ONLINE SPECIAL EDITION, 2015 • ISSN 1904-237X SPECIAL EDITION · 2015 RESEARCHING MUSIC CENSORSHIP 4 are confi dent that the activities of the network have created a new awareness of the signifi cance and ramifi cations of the study of music censorship and artistic freedom of expression in the Nordic countries and beyond. Through conference presentations, papers and articles RMC members have shared their research perspectives with peers, and through media appearances and teaching at universities and university colleges they have raised public attention to the topic. Based on the many presentations at seminars and conferences organised by RMC, 25 articles were selected for publication in four forthcoming books and special jour- nal issues. The seven articles published in this issue of Danish Musicology Online are the fi rst publications coming out of the network. In our fi rst article, based on the repercussions following Pussy Riot’s performance of “Punk Prayer” in the Christ the Savior Cathedral in Moscow, Tore Tvarnø Lind dis- cusses different notions of blasphemy in view of religious and political discourses in Russia. He shows us how censorship and persecution of the group can be under- stood as a response to their intrusion into sacred space, their political critique, the “imagined violence” of their act, and fi nally, their feminist agenda. Thomas Solomon’s article questions the understanding of self-censorship as merely a capitulation to the censoring forces. Through a case study of the Turkish rapper Sagopa Kajmer (also known as DJ Mic Check) Solomon argues against a “victimology approach”, claim- ing that self-censorship potentially opens up space for creative practice, even involv- ing a critique of censorship itself. In his article on Cuban popular dance music as an expression of political values, Kjetil Klette Bøhler invites the reader to join and refl ect together with the political theorists Arendt and Rancière on the aesthetic polis space. Through his ethnomusicological fi eldwork and careful music analysis Bøhler shows how grooves and melodies shape opinions, values and preferences potentially critical of the state, thereby contributing to participatory democracy in Cuba. Ursula Geisler explores institutionalized music censorship enforced by the Third Reich in Germany. Her article summarises the laws and principles enforced by two specialized cultural institutions assigned with the task of controlling and limiting music in relation to a variety of issues, including Jewishness, Bolshevism and atonality. Geisler draws a com- plex picture of the Nazi regime’s pervasive control system and its strategies of cultural concessions and prohibitions. With a focus on censorship and self-censorship in Finn- ish news paper journalism Antti-Ville Kärjä discusses cultural politics in view of major societal changes in “post-Soviet” Finland. Analysing more than 400 newspaper articles from Helsingin Sanomat Kärjä identifi es four different censorship discourses related to music after the abolition of the Soviet Union. Kristine Ringsager investigates the use of rap music in social integration work among ethnic minority youth in Denmark. She discusses some of the obvious tensions between agencies that are ideally offered by such projects and the often provocative expressions promoted by the young rap performers themselves. In effect, Ringsager suggests that social work of this kind can be understood as a strategy of “repressive tolerance” and part of a dominant ideology. Johannes Frandsen Skjelbo explores the Danish debate following the near cancella- tion of a controversial concert with the Jamaican dancehall artist Sizzla. From a post- SPECIAL EDITION – RESEARCHING MUSIC CENSORSHIP · 2015 5 colonial perspective, Skjelbo discusses the controversy in view of freedom of speech and the protection of minorities as well as notions of the black body and black music. During the past years we have moved from a vague and, perhaps, too rigid under- standing of music censorship towards a much broader idea of it. We have become ac- quainted with the many ways in which music censorship is articulated and exercised in different locations, as well as a variety of perspectives on the how it can be ap- proached in scientifi c research. As guest editors of this special edition we hope these insights are useful to you as a reader. Many people have contributed to the completion of this special issue. We would like to thank the authors for their inspiring article contributions, the peer reviewers for their valuable comments and suggestions, Mads Krogh and the DMO editors for their patience and for supporting the idea of a special issue, NordForsk for funding the net- work over four years, and fi nally, RMC leader Annemette Kirkegaard and Jonas Otter- beck for excellent cooperation and the great atmosphere in the organizing committee. Helmi Järviluoma and Jan Sverre Knudsen The Nordic network Researching Music Censorship SPECIAL EDITION – RESEARCHING MUSIC CENSORSHIP · 2015 TORE TVARNØ LIND Blasphemy Cries over Pussy Riot’s “Punk Prayer” Christianity, to put it bluntly, is the religion that made blasphemy popular.1 If the state is so closely identifi ed with the religion it has established and the head of the state is also the head of the church, then to subvert the doctrine of the established church is to undermine the authority of the state itself.2 Introduction Cries of blasphemy directed at Pussy Riot still echo, asserting that a delicate line some- where between the sacred and the profane has been crossed in ways causing offense to the Russian Orthodox Church and Christian Orthodox believers. These accusations of blasphemy and concern for people’s religious convictions have been countered by those who defend freedom of speech and the important role played by activist art in legally criticizing state and church politics.
Load more

Recommended publications
  • SKIVLISTA 3-2018 Hello Music Lovers, the Following Items Will Be Sold on Open Auction Which Means You Can Ask About Leading Bids by Phone Or Mail
    AUCTION – AUKTION SKIVLISTA 3-2018 Hello music lovers, The following items will be sold on open auction which means you can ask about leading bids by phone or mail. Please send your starting bids by mail, phone or post before the last day of auction. Hoppas allt är bra med er och era skivspelare. Här kommer en ny lista och jag hoppas du hittar något intressant till Auction deadline is Tuesday, March 27, 2018 at 22.00 / 10 PM Central samlingen. Jag har reflekterat över att vissa artister som tidigare brukade vara mycket efterfrågade nu är tämligen European time (20.00 / 8 PM UTC/GMT) svårsålda. Två bra exempel är Elvis och Spotnicks. Visst, jag förstår att det är ointressant om man redan har alla STOPPDATUM ALLTSÅ TISDAGEN DEN 27 MARS 2018 KL. 22.00 SVENSK skivorna på listan i samlingen. Men då ser jag heller ingen anledning att aktivt leta efter skivor med dessa artister för SOMMARTID. att eventuellt hitta något ni saknar. Det bästa är om ni som bara vill ha Elvis eller någon annan artist skickar en lista på vad ni har eller vad ni söker. Jag hjälper gärna till att leta fram skivor ni saknar men att lägga ner tid och resurser 7" SINGLES/EPs FOR AUCTION på att köpa in speciella artister som ni ändå aldrig köper verkar knappast meningsfullt. Men kom gärna med förslag på vad ni vill se mer av i mina listor. Någon speciell musikgenre? Minimum bid (M.B.) is SEK 50 / US$ 8 / € 6,- / £ 5 unless otherwise noted . Rutan har fått en fettknöl på huvudet bortopererad i dag men är nu hemma igen, pigg och glad.
    [Show full text]
  • IFPI Norges Årsrapport
    Musikkåret 2017 IFPI Norges årsrapport SIGRID Foto: Petroleum Records Design: Anagramdesign . no Innhold årsrapport 2017 Innledning ................... 3 KYGO ....................... 5 Sammendrag av musikk- undersøkelsen 2017 ........... 6 Statistikk..................... 7 Fornyelse av opphavsretten i Norge og Europa – del 2 ..... 10 Cezinando ................... 11 Spellemann 2017 ............ 12 Astrid S..................... 14 United Screens – Topplista.... 15 Hkeem & Temur ............. 16 FORSIDE: Alan Walker ................. 17 Streaming topp20 2017 ...... 18 Streaming, norsk topp20 2017 19 SIGRID Album topp20 2017......... 20 Norges nye popkomet tok oss med storm Radio topp20 2017 .......... 21 Totalsalget av innspilt med låten «Don’t Kill My Vibe» i 2017. Hun fikk mye oppmerksomhet internasjo- Gabrielle .................... 22 musikk i Norge går opp nalt og var både på «The Tonight Show Seeb ....................... 23 2,1 % fra 2016 til 2017 starring Jimmy Fallon» og «The Late Late Troféoversikt 2017 ........... 24 Show with James Cordon». Etter flere kon- og streaming står nå serter både i Norge og i utlandet, har hun IFPI Insight 2017............. 26 for hele 85 % av salget. også vært opptatt med å lage sin debut Vidar Villa................... 27 album som forhåpentligvis kommer ut Dagny ...................... 28 i 2018. Hun var nominert til to priser under Spellemann 2017 og vant prisen for Årets IFPI Norge .................. 29 Nykommer & Gramostipend. 2 Innledning 2017 var et nytt godt år i norsk musikkindustri og nordmenn fortsetter å streame musikk som aldri før. Totalsalget av innspilt musikk i Norge er opp 3,7 % fra 2016 til 2017 og streaming står nå for hele 85 % av salget av innspilt musikk i Norge. Årstallene for 2017 viser at det ble solgt Det totale fysiske salget (CD, vinyl osv.) innspilt­­ musikk for hele kr.
    [Show full text]
  • KA Kat 1-313
    Hovedkatalog Sist oppdatert 23. januar 2020 Nome Antikvariat www.nomeantikvariat.no Hovedkatalog Oppdatert 23. januar 2020 Velkommen til ny katalog. Dette er en ajourført utgave av vår tidligere hovedkatalog, pluss en del nytt, tilsammen 4319 titler. Denne katalogen inneholder bare en liten del av samlingen vår. Flere titler finnes i Bokliste-katalogen. I tillegg har vi mye litteratur som ikke er lagt ut på internett enda. Så hvis det er ting dere er på jakt etter, og ikke finner i katalogene, er det bare å ringe eller sende et brev eller en e-post. Bestilte bøker sendes vanligvis i posten med giro. I noen tilfeller brukes postoppkrav eller forskuddsbetaling. Porto kommer i tillegg.Vi tar forbehold om at enkelte titler kan være utsolgt. God bokjakt! Boken er en venn for livet, en uselvisk venn å leve sammen med og som ikke bråker. - Ignacy Krasicki Nome Antikvariat E-post: [email protected] Øvre Verket Tlf: 35 94 54 51 3830 Ulefoss Mobil: 97 16 37 88 Bankgiro: 2650.07.12103 VIPPS: 94072 Org. nr. 985 191 883 Åpningstider: Onsdag til fredag kl. 11 - 16, lørdag kl. 11 - 15. I sommersesongen: Tirsdag til søndag kl. 12 - 17. 2 Innhold SKJØNNLITTERATUR....................................................................................................................5 - NORSK SKJØNNLITTERATUR......................................................................................................5 - UTENLANDSK SKJØNNLITTERATUR............................................................................................44 - NORSK KRIM OG SPENNING.....................................................................................................71
    [Show full text]
  • <Title of Work, Centered
    Der Unterricht für die Unterschicht: Voices from the Margins in German Gangster Rap by Alexandra Smith, BA A Thesis In GERMAN Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Approved Anita McChesney Chair of Committee Stefanie Borst Charles Grair Dominick Casadonte Interim Dean of the Graduate School May, 2013 Copyright 2013, Alexandra Smith Texas Tech University, Alexandra Smith, May 2013 ACKNOWLEDGMENTS This thesis would not have been possible without the guidance and assistance of several individuals who have contributed their time and support in the preparation and completion of this project. First and foremost, I would like to express my deepest gratitude to my thesis advisor and chair of my committee, Dr. Anita McChesney. Her unwavering support, guidance, and encouragement have been utterly invaluable to me throughout my time in the Texas Tech University German program. Moreover, her invaluable wisdom, insight, and unwavering patience have aided me on every level throughout the creation of this work in particular. Her example will continue to serve as a source of inspiration for me as I further my education and professional development. I would also like to thank my committee members, Dr. Charles Grair and Dr. Stefanie Borst, for sharing their vast knowledge with me, both in- and outside of class, and especially for contributing their invaluable feedback to this project. I would also like to thank Dr. Marlene Selker for helping me to develop my knowledge of German literature and culture via courses on both the undergraduate and graduate level, as well as in person.
    [Show full text]
  • Litteratur – Yeah, Yeah!
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by NORA - Norwegian Open Research Archives Litteratur – yeah, yeah! Om popmusikkens plass og funksjon i norske skjønnlitterære prosatekster Andreas Titlestad Masteroppgave i nordisk litteratur Institutt for lingvistiske og nordiske studier Universitetet i Oslo Våren 2006 Veileder: Frode Helland Innhold 1 INNLEDNING ...................................................................................................... 4 1.1 Oppgavens metode og struktur.............................................................................................................. 4 1.2 Popmusikk – en definisjon ..................................................................................................................... 9 2 FIKTIVT BAND – FIKTIV FAN.......................................................................... 11 2.1 Morten Jørgensen og Sennepslegionen ............................................................................................... 12 2.1.1 Et kollektiv av individualister ............................................................................................................ 13 2.1.2 Sex, drugs & rock’n’roll – Sennepslegionen og rockemytene ........................................................... 16 2.1.3 (Sub)kultur ......................................................................................................................................... 22 2.2 Ole Idar Kvelvane og Astronautar......................................................................................................
    [Show full text]
  • Den Nasjonale Minneseremonien Etter 22. Juli 2011
    Den nasjonale minneseremonien etter 22. juli 2011 Jan Sverre Knudsen Innledning Terrorangrepene i Regjeringskvartalet i Oslo og på Utøya ble etterfulgt av en lang rekke offentlige arrangementer, de fleste med musikalsk statlige minneseremonien holdt i Oslo Spektrum med opptredener ved noen opptreden som en vesentlig uttrykksform. 21. august 2011 ble den offisielle av Norges mest kjente og populære artister. Dette arrangementet, med 6000 landene, er tema for dette kapitlet. inviterte tilskuere i salen og direkte fjernsynsoverføring til alle de nordiske - En statlig seremoni av dette slaget vil ofte ha et klart uttrykt formål defi nert av arrangøren — i dette tilfellet Kulturdepartementet og den norske regjering — men henspiller gjennom symboler og handlinger også på langt overlappende betydninger på en gang. Mens seremoniens grunnleggende mer enn det som uttrykkes eksplisitt, og vil kunne bære i seg flere ulike og idé dreide seg om å nå ut til sørgende mennesker, hadde arrangementet forståelse, og forsvar av politiske føringer om kulturelt mangfold og inklude- åpenbart også andre betydninger — nasjonal konsolidering, transnasjonal med en traumatisk hendelse, men i en videre forstand dreide det seg også ring. Det var en anledning for alle nordmenn til å finne trøst og forsone seg MUSIKK ETTER 22. JULI SKRIFTSERIE FRA SENTER FOR MUSIKK OG HELSE, VOL 7 NMH-PUBLIKASJONER 2014:5, SIDE 49– 72 JAN SVERRE KNUDSEN om utformingen av vår kulturelle identitet ved at seremonien produserte og formidlet forestillinger om nasjonal bevissthet. Med utgangspunkt i de ulike, og til dels overlappende formålene med sere- monien vil dette kapitlet ta for seg det musikalske programmet, utvalgte opptredener og reaksjoner i media.
    [Show full text]
  • The Protection and Promotion of Musical Diversity
    THE PROTECTION AND PROMOTION OF MUSICAL DIVERSITY A study carried out for UNESCO ∗ by the International Music Council Richard Letts, Principal Investigator June 2006 ∗ This study is made available to the public with the prior agreement of UNESCO. CONTENTS Preface 6 Introduction 8 The countries from which information was received 13 Executive summary 15 ADDRESSING THE TERMS OF REFERENCE 28 1. Musical diversity and human rights 29 1.1 International human and cultural rights conventions 29 1.2 From the consultants’ reports 33 1.3 Freemuse: a watchful ear 42 2. Musical diversity and sustainable development 44 2.1 Music in development, development of music 44 2.1.1 The developed and developing worlds 45 2.1.2 Cultural development vs. industry assistance 46 2.1.3 Musical diversity and development 47 2.2 Music in development 47 2.2.1 Music as a source of funds for non-music 48 development projects 2.2.2 Music as a tool of advocacy for development 48 2.2.3 Music as a lure to involve people in development 48 programs 2.2.4 Music as an element in non-music development 49 2.3 Development of a music industry 51 2.3.1 Some research studies and theoretical papers 51 2.3.2 Development projects 55 2.3.2.1 The forms of development 55 2.3.2.2 Targets for support 58 2.4 The use of music to alleviate poverty or the conditions 66 contributing to poverty 3. Musical diversity and peace 72 4. The standards regulating musical diversity 79 4.1 Possible forms of regulation impacting on musical diversity 80 4.2 Examples of the current application of regulations to 82 affect musical diversity 4.2.1 Broadcast 83 2 4.2.2 New media and e-commerce 91 4.2.3 Education 93 4.2.4 Subsidies 98 4.2.5 Copyright 102 5.
    [Show full text]
  • Xmas - Joes List 215 Titel, 13,9 Std., 1,38 GB
    Seite 1 von 6 -Xmas - JOEs List 215 Titel, 13,9 Std., 1,38 GB Name Dauer Album Künstler 1 Abide with me 4:49 Rock Of Ages... Hymns & Faith - Amy Gr… Grant Amy 2 Abschied 4:07 Meine Zeit - Rainhard Fendrich - 2010 (… Fendrich Rainhard 3 All i ask of you (ft Cliff Richard) 4:12 Music Of The Night - Comp 1998 (CD2-… Brightman Sarah 4 All i want for Christmas is you 3:53 This Christmas - Jessie James Decker - 2… Decker Jessie James 5 All i want for Christmas is you 3:28 Christmas In Bossa - Comp 2008 (RS) Mangabeira Marcela 6 All that matters 4:18 Diana Princess of Wales Tribute - Comp … Richard Cliff 7 Alle Macht den Gefühlen 4:14 Es Lebe Das Laster - Udo Jürgens - 200… Jürgens Udo 8 Almaz (LP Version) 4:07 Kuschelrock 18 CD1 - 2004 (CD) Crawford Randy 9 A altmodischer Hund 4:41 Zeit - STS - 1995 (VA-VBR) S.T.S. 10 Always on my mind 3:38 Kuschelrock 19 CD2 - 2005 (RS) Presley Elvis 11 Always on your side 4:15 Wildflower - Sheryl Crow - 2005 (RS-VBR) Crow Sheryl 12 Always on your side (ft Sting*) 4:11 Hits And Rarities - Sheryl Crow - Comp … Crow Sheryl 13 Am Ufer des Himmels 3:46 Grundlsee - Die Seer - 2012 (IT-256) Die Seer 14 Angels in waiting 3:37 Tammy Cochran - Tammy Cochran - 20… Cochran Tammy 15 Another year has gone by 3:25 These Are Special Times - Celin Dion - 1… Dion Celine 16 Armstrong 2:44 Just A Singer - Lobo - 1974 (RS-256) Lobo* 17 Athair ar neamh 3:42 The Memory Of Trees - Enya - 1995 (CD… Enya 18 Auld lang syne 3:46 Christmas In The Sand - Colbie Caillat - … Caillat Colbie 19 Auld lang syne 5:16 Greatest Hits Fogelberg Dan 20 Aus der Ferne (From a distance) 4:27 (YT-256) Alexander Peter 21 Away in a manger (Once in royal David'… 4:44 Happy Xmas - Eric Clapton - 2018 (VA-3… Clapton Eric 22 Be still and know 3:53 Be Still And Know..
    [Show full text]
  • Our Changing World
    “The future has an ancient heart” CARLO LEVI Pari Perspectives Ideas in Science, the Arts, Spirit and Community Issue 3 / March 2020 Our Changing World Pari Perspectives Friends of the Pari Center Issue 3 / March 2020 Our Changing World By becoming a Friend of the Pari Center you will continue to receive the Pari Center quarterly journal Pari Perspec- tives. We know many of you would like to become more Pari Perspectives is a quarterly journal involved in supporting the work of the Pari Center. By published annually in September, December, taking out a membership at a cost of 30 euros per annum March and June by The Pari Center. (from the date of purchase) you will be allowing our not-for-profit organization to continue with its established Editors projects and to start new ventures, including this journal. Kristina Aleksandra Janavicius Maureen Doolan The Pari Perspectives journal will be free of charge to all Friends. In addition, those who have purchased a member- Editorial Board ship will receive a discount on any events they may choose Alessandro Barbieri to attend at the Pari Center within the year. Caroline Pawluk Eleanor Peat To become a friend you can register through our website or James Peat Barbieri in person at the Pari Center. Genny Rabazzi Your membership fee will entitle you to: Design and Layout Andrea Barbieri • a digital copy of the quarterly Pari Perspectives • a 10% discount on all events at the Pari Center The Pari Center • access to a Members Area of our website which will Via Tozzi, 7 include blogs, discussion groups, and a library of past 58045, Pari (GR) issues of Pari Perspectives Italy Email: [email protected] Website: www.paricenter.com To Contribute We welcome new contributors.
    [Show full text]
  • Citizenship Learning and Engagement of Muslim Youth Activists in Toronto, Canada
    “WHEN YOU WITNESS AN EVIL ACT, YOU SHOULD STOP IT WITH YOUR HAND.” CITIZENSHIP LEARNING AND ENGAGEMENT OF MUSLIM YOUTH ACTIVISTS IN TORONTO, CANADA by Sameena Eidoo A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Curriculum, Teaching and Learning Ontario Institute for Studies in Education of the University of Toronto © Copyright by Sameena Eidoo (2012) “WHEN YOU WITNESS AN EVIL ACT, YOU SHOULD STOP IT WITH YOUR HAND.” CITIZENSHIP LEARNING AND ENGAGEMENT OF MUSLIM YOUTH ACTIVISTS IN TORONTO, CANADA Doctor of Philosophy 2012 Sameena Eidoo Graduate Department of Curriculum, Teaching and Learning University of Toronto Abstract This thesis is about being young, Muslim and politically engaged in contemporary Toronto, Canada. Young Muslims attempting to come to terms with the complex and contradictory promises of Canadian citizenship must confront what it means to “be Canadian”—a national identity marked by historical legacies of oppressions, and shaped by ideals of western liberal democracy. Post-9/11 Canada is marked by intensified suspicion and repression of Muslims and those who “look like” Muslims. This thesis examines how 18 young people, ages16 to 29, who self-identity as “Muslim” and “activist” learned “to reflect and act upon the world in order to transform it” (Freire, 1970). Through life history interview methods, this study attempts to capture how the participants had come to their political activism, critical experiences of learning inside and outside of schools that they understood as influential in shaping their political subjectivities and practices, the range of issues of injustice that concerned them, and the various actions they took to address those issues.
    [Show full text]
  • Island Sun Sanibel
    Read Us Online at IslandSunNews.com NEWSPAPER VOL. 17, NO. 37 SANIBELSanibel & CAPTIVA & Captiva ISLANDS, Islands FLORIDA MARCH 19, 2010 MARCH SUNRISE/SUNSET: 19 7:33 • 7:38 20 7:32 • 7:39 21 7:31 • 7:39 22 7:30• 7:40 23 7:29 • 7:40 24 7:28 • 7:41 25 7:27 • 7:41 Sanibel-Captiva Cares Items Up For Auction anibel-Captiva Cares is celebrat- ing its 10th anniversary with San Old Florida themed gala this Sunday, March 21 at The Sanctuary. To date the group has raised $2.5 million to benefit The Children’s Hospital of Southwest Florida. Items will be auctioned off throughout the evening in both live and silent auc- tions. A Give-To-Give auction provides an opportunity to buy The Children’s Hospital the items it needs most. Two highlights of the live auction are an original painting by Darryl Pottorf and a hand-carved and hand-painted wood carving by Jim Sprankle. Pottorf was the featured artist of the first Sanibel-Captiva Cares event in 2001. Sprankle has contributed pieces to every year’s gala. While tickets are sold out to the event, bids can be placed in advance or via phone the night of the event. Call 472-2082 or email [email protected] before Sunday for more details and a full listing of auction items. Happiness Lives - Consequence of a Doc - a Hat - and a Cat by Darryl Pottorf American Goldfinches by Jim Sprankle Car Show Mystery Comedy Saturday Coming To The On Sanibel Schoolhouse he Royal Shell Companies and pening at The Herb Strauss Performance Plus join forces this Schoolhouse Theater March 25 TSaturday, March 20 for the 2nd Oand running through April 24 annual Tahitian Gardens Car Show at is the British musical mystery comedy 1975 Periwinkle Way.
    [Show full text]
  • Musikk Etter 22. Juli 22
    Redaktører: Jan Sverre Knudsen Marie Strand Skånland Gro Trondalen Musikk etter 22. juli Musikk etter 22. juli dreier seg om sterke opplevelser knyttet til musikk – opplevelser som griper og nærer oss, samler eller Musikk etter 22. juli forstyrrer oss. Det handler om musikk som overlevelse. I noen tilfeller i helt bokstavelig forstand, om flyktende ungdommer fra Utøya som synger sammen for å makte å svømme videre. Det dreier seg om å handle gjennom musikk som en del av det individuelle og kollektive arbeidet med å bearbeide sorgen og komme seg videre i livet; om anerkjennelse, tro på fremtiden, og om eksistensielle dimensjoner i møtet mellom musikk og mennesket. Det handler om hvordan musikk formidler verdier og idealer i samfunnet, men også om musikkens plass innen- for de destruktive ideologiske forestillingene som lå til grunn for angrepene denne mørke fredagen i Norges historie. Musikk etter 22. juli er skrevet av forskere fra en rekke ulike felt: populærmusikkstudier, litteraturvitenskap, religionsviten- skap, musikk og helse (musikkterapi) og medievitenskap. Norges musikkhøgskole Slemdalsveien 11 PB 5190, Majorstua Skriftserie fra Senter for musikk og helse, vol. 7 NO-0302 OSLO ISSN 1893-3580 NMH-publikasjoner nmh.no ISBN 978-82-7853-092-4 2014:5 Musikk etter 22. juli Redaktører: Jan Sverre Knudsen Marie Strand Skånland Gro Trondalen Skriftserie fra Senter for musikk og helse, vol. 7 NMH-publikasjoner 2014:5 Musikk etter 22. juli Redaktører: Jan Sverre Knudsen, Marie Strand Skånland, Gro Trondalen NMH-publikasjoner 2014:5 Skriftserie fra Senter for musikk og helse, vol. 7 © Forfatterne og Norges musikkhøgskole Artiklene er fagfellevurdert. Redaktørene har likt fordelt redaktøransvar.
    [Show full text]