Exploring equal opportunities: Children’s experiences of the Swedish Community School of Music and Arts

Jeppsson, Cecilia; Lindgren, Monica

doi:10.1177/1321103x18773153

Cited by 18 publications

(20 citation statements)

References 44 publications

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“…The moderator's task during a focus group conversation is to guide the conversation around the focus of the study while encouraging an open atmosphere (Knodel, 1993). These ideals guided me as I initially presented the results of a previous study (Jeppsson & Lindgren, 2018) and thereafter took a significantly less prominent role. I tried to encourage an open and generous conversation climate through active listening and follow-up questions.…”

Section: Methodsmentioning

confidence: 99%

“…A point of departure for this study is the cultural and social reproduction (hereafter reproduction) found in the Swedish kulturskolor (Community Schools of Music and Arts) due to an overrepresentation of Swedish-born children with well-educated parents who in many cases practiced an art themselves (Jeppsson & Lindgren, 2018). Cultural reproduction can be defined as the intergenerational reproduction of cultural values, while social reproduction stands for the social and economic status transferred from one generation to the next.…”

Section: Introductionmentioning

confidence: 99%

“…Some research describes the Swedish kulturskolor as marked by exclusion to some extent (Rostwall & West, 2001;Tivenius, 2008) with limited openness to change (Gustafsson, 2000;Tivenius, 2008); and difficulty reaching children who are not from the ethnic Swedish middle class (Elofsson, 2009;Hofvander Trulsson, 2004). Based on the inclusive ideals articulated on the political level and the depiction of kulturskola as marked by social stratification (Jeppsson & Lindgren, 2018) it is of vital interest to highlight the teachers' perspectives on this issue. In this investigation of the kulturskolor teachers' perspectives on the extent to which they are able to disrupt social and cultural reproduction and the opportunities available are traced.…”

Section: Introductionmentioning

confidence: 99%

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Music teachers’ perspectives on their chances to disrupt cultural and social reproduction in the Swedish Community Schools of Music and Arts

Jeppsson

2020

nrme

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This study sheds light on music teachers’ perspectives on their chances to disrupt cultural and social reproduction in music education in the Swedish Community Schools of Music and Arts (kulturskolor, sing. kulturskola). Focus group conversations were carried out involving 18 teachers at five such schools. As a point of departure, the analysis of the conversations applied the theoretical perspective of Bourdieu with an emphasis on the concepts explicit versus implicit pedagogy and Bernstein’s corresponding concepts visible and invisible pedagogy. The analysis discusses explicit versus implicit assumptions interwoven in the teachers’ accounts of their efforts. The teachers describe it as difficult to challenge social structures. Based on marketing efforts vis-á-vis families from immigrant backgrounds, the teachers point to differing understandings of the significance of participation in the programmes. The teachers’ descriptions point to opportunities that stem from efforts to facilitate children taking part in music education in cooperation with compulsory schools, teaching practice habits and more general behaviours, and initiatives to reach parents and children from immigrant backgrounds with information. The descriptions show explicit as well as implicit components, often in terms of implicit assumptions embedded in an explicit framing. Reflection upon implicit assumptions is suggested as a means to develop more radical strategies to disrupt cultural and social reproduction in the Swedish kulturskolor.

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Section: Methodsmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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Music teachers’ perspectives on their chances to disrupt cultural and social reproduction in the Swedish Community Schools of Music and Arts

Jeppsson

2020

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“…This requires awareness of the inclusive and exclusive processes at work in our societies and classrooms, the processes that frame who speaks, who listens and who is heard, when and how, and who and what remains in the silences; and the ability to challenge and disrupt these, rather than continue to reproduce them. Indeed, recent articles in this journal have called for the need to challenge issues like social stratification (Jeppsson & Lindgren, 2018) and to better recognize and support minority students, such as the LGBTQ community (Palkki & Caldwell, 2018). Importantly, this work requires pauses , “sit[ting] still long enough to see clearly what we need to reach beyond” (Patel, 2016, p. 88).…”

Section: Insights For Music Teacher Educationmentioning

confidence: 99%

“Because I’m a girl”: Troubling shared visions for music education

Treacy

2019

Research Studies in Music Education

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In light of recent discussions on the importance of shared visions in teacher education, this inquiry raises necessary questions as to whose visions shape unified and shared visions, and whose remain absent, unspoken, or silenced in the margins. The starting point for this inquiry was a set of visions for music education in Nepal that were co-constructed with over 50 musician-teachers working in the Kathmandu Valley, during a series of 16 workshops guided by Appreciative Inquiry’s 4D cycle. Despite the challenges female musician-teachers encounter in their pursuit of music in Nepal, no reference to these injustices was apparent in the resulting shared visions. This inquiry therefore engages with the nature and possible causes of this lack of reference, leaning on economist and philosopher Amartya Sen’s (2009) idea of justice and social-cultural anthropologist Arjun Appadurai’s (2004) notions of the capacity to aspire and the capacity for voice. The critical (Kuntz, 2015) and reflexive (Alvesson & Sköldberg, 2009) work guiding this inquiry suggests that while the workshops were guided by the aim to be inclusive, the need to come to consensus when co-constructing shared visions both reflected and obscured the injustices experienced by female musician-teachers. The article concludes by offering insights for music teacher education.

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“…Given that systems of schooling similar to the Norwegian SMPA exist in all the Nordic countries, research contributions come from Norway, Sweden, and Finland and explore a variety of topics. For example, recent studies have looked into different understandings of SMPA teaching as a separate profession (Aglen & Karlsen, 2017; Angelo, 2012; Holst, 2013; Jordhus-Lier, 2018) as well as matters of access, the right to education, and inclusion/exclusion related to SMPA (ArtsEqual, 2017; Bjørnsen, 2012; Heimonen, 2004; Jeppsson & Lindgren, 2018; Kleppe, 2013; Laes & Schmidt, 2016; Trulsson, 2010). In a discourse analysis of the Norwegian curriculum framework for the SMPA, Ellefsen (2017) identified and investigated areas of discursive tension related to conceptualisations of musical knowledge and competence.…”

Section: Introductionmentioning

confidence: 99%

Discourses of diversity in music education: The curriculum framework of the Norwegian Schools of Music and Performing Arts as a case

Ellefsen

Karlsen

2019

Research Studies in Music Education

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In this article, we enquire into the language of diversity as it is currently in use in the field of music education, by way of exploring the social and educational ambitions of the Norwegian system of extra-curricular, Schools of Music and Performing Arts. We take as our case the recently launched governing document of this particular educational system, named Curriculum framework for schools of music and performing arts: Diversity and deeper understanding. Analysing this document as a discursive statement, and through a Foucauldian theoretical lens, we investigate the meanings of “diversity” enacted within and across the various textual-discursive contexts of the curriculum framework, identifying and exploring four nodal points of signification, namely: 1) diversity understood as difference in students’ ethno-cultural backgrounds; 2) diversity of educational opportunities and modes of expression; 3) diversity and/or/as deeper understanding; and 4) diversity of learning arenas and contexts: entrepreneurial expectations. The discussion of the findings is conducted in dialogue with a historical understanding of the Norwegian Schools of Music and Performing Arts’ societal mandate and approach to diversity as well as various understandings of diversity within the international field of music education research. We conclude by pointing out that the macro-level institutional strategy and aim of emphasising and encouraging diversity cannot be understood as fulfilled before it has been sufficiently operationalised and has trickled down into the everyday actions of teachers and students. Only then is it implemented as a tool accessible on the micro-level and with the potential to enhance students’ participation and agency.

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Exploring equal opportunities: Children’s experiences of the Swedish Community School of Music and Arts

Cited by 18 publications

References 44 publications

Music teachers’ perspectives on their chances to disrupt cultural and social reproduction in the Swedish Community Schools of Music and Arts

Music teachers’ perspectives on their chances to disrupt cultural and social reproduction in the Swedish Community Schools of Music and Arts

“Because I’m a girl”: Troubling shared visions for music education

Discourses of diversity in music education: The curriculum framework of the Norwegian Schools of Music and Performing Arts as a case

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