Cello Lessons and Teargas: War, Peace and Music Education

Hassler, Laura; Nicholson, Chris

doi:10.1057/978-1-137-55585-4_26

Cited by 3 publications

(4 citation statements)

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“…This connects into the idea that songwriting and storytelling through song, involve the imagination and enable participants to re-write a narrative of healing (Kumm, 2013). Cultural traditions are also seen as significant in healing for those who have experienced trauma (Burnard et al 2018;Hassler and Nicholson 2017;Laurila and Willingham, 2017). Projects such as Music Action International, where participants are survivors of war, torture and forced migration, facilitates songwriting that enables individuals to connect into their musical and cultural traditions supporting a strong sense of cultural democracy within the group (Burnard et al 2018).…”

Section: Healingmentioning

confidence: 94%

“…Both Wölfl (2016) and Howell (2018) acknowledge the positive psychosocial benefits of group music participation for those who have experienced trauma. Music making has also been identified as a way of overcoming trauma through collective experience as it can help develop empathy (Burnard et al 2018;Hassler and Nicholson 2017;Marsh 2019). Silverman and Elliot assert that music can ''re-memory' the community […] to positively shift their community's identity […] and to reframe their autobiographical selves ' (2018: 379).…”

Section: Positive Social Changementioning

confidence: 99%

“…Burnard et al further this idea by describing that in making music together, there is an increase in 'people's ability to connect and heal ' (2018: 234). This link betewen music and healing from trauma is also explored by Hassler and Nicholson (2017) where facilitated group processes are central to the notion. If music making enables participants to let go of trauma through participation (Laurila and Willingham 2017), it is possible to envision how community music can not only provide relief from suffering, but can become a 'potent source of hope, emancipation and health' (de Quadros 2011: 66).…”

Section: Healingmentioning

confidence: 99%

“…The Oxford Handbook of Community Music (Higgins and Bartleet 2018), additional community music literature (Higgins 2012;Higgins and Willingham 2017) and select chapters and journal articles (Garrido et al 2015;Hassler and Nicholson 2017;Hesser and Bartleet 2020;Murray and Lamont 2012;Osborne 2009Osborne , 2017. Whilst music and trauma are strongly connected within music therapy literature, and I have drawn from a couple of sources to support this article (Ahonen 2007;Ansdell 2014;Austin 2015), my focus is intentionally on community music practice, thereby informing the decision to choose literature for the review exclusively from within community music scholarship.…”

Section: Introductionmentioning

confidence: 99%

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Hidden voices: Towards a trauma-informed framework of community music practice

Birch

2022

International Journal of Community Music

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As the field of community music scholarship continues to evolve, opening up a dialogue around music making with trauma survivors and implementation of trauma-informed practice is both timely and critical. Whilst there has been an acknowledgement of the presence of trauma connected to specific contexts, community music literature has not yet begun to respond to the potential prevalence of trauma within any community music setting. As a field in which music projects will often be operating with groups of vulnerable people, trauma-informed practice is beginning to be acknowledged, but without a broad base of research to support training and implementation. As a community musician working with known trauma survivors, it is my assertion that the question of whether pedagogic frameworks should be developed in order to promote safe and appropriate practices needs to be addressed, especially where traumatic experience can remain hidden, but still be profoundly impactful. This article explores the origins of trauma-informed practice as well as providing an example framework from the York St John University Prison Partnership Project. A literature review of community music scholarship explores the potential benefits of music making for those who have experienced trauma and emerging themes are examined through the lens of trauma-informed practice. This article also suggests that trauma-informed practice could be integrated more widely within community music in order to: (1) acknowledge that in any group or context, statistically, a number of participants are likely to have experienced trauma; (2) acknowledge that because trauma is often hidden, having an understanding of manifestations of trauma responses will better equip practitioners; (3) understand that trauma-informed practice enables practitioners to work reflexively and responsively within their groups, thereby building solid foundations on which to develop safe and secure environments in which music making can flourish.

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