EXPLORING APPROACHES TO CREATIVITY AND CO-CREATION IN SOCIALLY ENGAGED MUSIC MAKING by Tuuli Elisa Wallenius

In this research I have explored approaches to creative music-making in a social context through a practical case-study and by analyzing educational approaches to socially engaged music making. I carried out and developed a concept of pedagogical practice for the context of working in a socially engaged intercultural music project. The project took place in a rural area of north-eastern Brazil.  The research shows that the improvisation-based pedagogical method that I introduced is an applicable methodology for the context. Methods of learning by ear and working with improvisation were found to be easily engaging ways to collaborate with the group. Leading the groups by using hand-signals was an applicable way of communicating with the group, which I experienced lead to a more intuitive, focused, and flowing creative process. This research states that a learner-based approach and pedagogical improvisation are key elements in working in the context of socially engaging music making.  In addition, this research clarifies and brings to light theories and methods of practice from the field by introducing current research and scholars.  With this work I hope to inspire other music educators and facilitators of socially engaged music projects to seek for ways to implement artistic work and creativity into educational work, and to be reminded of the potential that education has in combatting the social problems of our society.

REFLECTION AND CONCLUSION

SUMMARY

In this research I have explored approaches to creative music-making in a social context through a practical case-study and by analyzing educational approaches to socially engaged music making.

I carried out and developed a concept of pedagogical practice, which was designed for the context of working in a socially engaged intercultural music project in Brazil. The research shows that the improvisation-based pedagogical method that I introduced is an applicable methodology for the context. Methods of learning by ear and working with improvisationwere found to be easily engaging ways to collaborate with the group. Leading the groups by using hand-signs, inspired by thetechniques of vocal painting, was an applicable way of communicating with the group, which I experienced lead to a more intuitive, focused and flowing creative process.

In addition to the pedagogical methods, the research shows other aspects that I experienced are required from the facilitator of projects like this. I found that the approaches to facilitation written in the resources of this study, were present in the practical situations. In addition to the approaches written in the theory chapter, I experienced that being able to improvise and compose music were also important. The ability to pedagogically improvise, react to sudden changes and to be able to prepare musical material for a specific context by composing, were methods that also support the concepts of learner-based teaching.

Looking back at the process, while being content with how it turned out, I also see how the process could have been done differently. First of all, in terms of working in an intercultural context, I am sure better skills in the local language would help in many ways. It would help being able to communicate with the students, and to make a deeper connection with them. Secondly, it would be helpful in practical ways, being able to better understand and communicate aspects regarding organizing, timetables, and possible changes. Being alone as a foreigner and not understanding the local language also brought up feelings of being excluded as well as emotional tiredness at times. I was focusing on not getting stuck with those feelings and felt like I managed to adapt and enjoy the moments, but here and there I was in a coping-mode due to the unfamiliar condition. Being in a mode of coping, is of course notideal when looking at longer term projects for example. Having said that, this project would have not been possible without the support of all the open- and warm-hearted, genuine friends and colleagues I found in Brazil.

Although it istypical in qualitative research for perspectives to form throughout the process, I noticed that it also brought challenges in terms of constructing this research. I kept finding more and more resources, as well as possibilities of what to focus on. The amount of information I was taking in made me feel like there are too many and too little perspectives at the same time. As if I would have so much to say, that I am not able to say anything. Those contradictory feelings have followed me throughout this process. On the other hand, it was necessary to have an evolving research approach because the context of my case-study was so ’enigmatic’. The unexpectedness of the project and the new cultural surrounding required above all flexibility and adaptivity from me and my study methods.

This research changed my perspectives in many ways, giving me a new understanding of the impacts of socially engaged music, and made me see and remember, the potential that education and music can have in combatting social challenges in our society. This research also clarifies and brings to light other methods of practice, thoughts and values from current research,scholarsand practitioners from the field of socially engaged music making.

At some stages of the process, I have felt like managing to connect strings of the many approaches of this fragmented field, but on the other handas Brydie-Leigh Bartleet (Pairon, 1/2021, 19:45) mentioned, in this growing but fragmented field, many researchersand practitioners are likely to be making the same discoveries and efforts, moving in isolated circles. SIMM is working on this phenomenon with international comparative research, which is currently being developed (Pairon, 1/2021, 20:17). It seems to me that many are still unpublished, but I look forward to discovering future publications and insights.

If I was to do further research on the topic, I would like to research the case of Aldo Parisot closer, over a longer timeframe. In this workmy focus was mainly on my ownperspective, but I also had in mind the idea of asking for the students’ perspectives through interviewing or inquiry forms. Within this timeframe it was not possible, so that would be something to continue from in further research.

One of the music teachers in the project hadalso started learning music in a social music context in her childhood. I think one possible aspect for further research would be to focus on the experiences of these kinds of musicians, and to look intowhat kinds of pedagogical methods they have experienced during their journey. Looking at the impacts of cultural colonizationand how it is seen by the student could also be a possible viewpoint.It could be interesting to look into their experiencesin those projects that are often focused on western classical musicand what kind of a role local music styles play. In the project of this research, the focus was on classical music, but in my eyes there seemed to be a focus on repertoire from different music styles of Brazil.

Inspired by Ryynänen’s doctoral thesis (2011), I would be motivated to work to collaborate with a local professional from the field of social education on research that is more deeply focused on the social impacts of the music project.Ryynänen’s research, that is situated in Brazilian urban peripheries, shows that through the dialogicality of education processes and creative activities, educational aims suited to support young people growing up in difficult surroundings can be achieved. I would be interested in looking closer into what kinds of pedagogical methods connected to music and improvisation could be implemented into a project as such.

I have a vision that this kind of an idea could be the basis for a possible future doctoral research project. Inspired by the current research of SIMM (SIMM 2017), it could also combine several community-based projects and comparative international perspectives. As Ryynänen states (2007), the phenomena she is working around in her work is applicable to any other country as well. She explains that the socio-pedagogical phenomena in Brazil are not detached or infinitely distant from the context of socio-pedagogical approaches in youth work in Finland, mentioning problems concerning lack of parents’ time and presence that children are suffering from because of intensive work-orientation for example (Ryynänen, 2017, pp. 126).

This project opened an experience and a perspective of working in a socially engaged project, but it’salso an example of reaching out toward one’s aspirations and dreams. I have been dreaming of travelling to Brazil and engaging in the Brazilian culture for over ten years. That dream encouraged me to apply to study at the global music department and overcome fears and obstacles along the way.

Last, but not least, this experience opened my eyes to see a different way of living, a society with different kinds of policies, structures, poverty that is not possible to be noticed, but also warmth, generosity, kindness and goodwill of the kind I have not experienced before. As a musician and educator, I feel encouraged to continue searching for ways that I can do my part in working towards a better, more equal, and happier world.

Thank you for reading! I hope this work can inspire other music educators and facilitators of social music projects to seek for ways to implement artistic work and creativity into educational work, and to be reminded of the potential that education has in combatting the social problems of our society.

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