5 Published results of the research project
7.4 Enduring inspiration from Nepal
The overarching research question guiding this project was, “How can musician-teachers’ co-constructing of visions contribute knowledge about the development of FRQWH[WVSHFL¿FPXVLFWHDFKHUHGXFDWLRQLQDVLWXDWLRQRIIDVWSDFHGVRFLDOFKDQJHDQG globalization?” This question extends beyond the context of Nepal. Thus, counter to the positioning of non-western contexts as objects of study and European civilizing missions (e.g. Dasen & Akkari, 2008), Nepal has been positioned throughout this project as a source of inspiration for the development of music education globally. This
has led to contributions to understandings of music and music education in general, to developing music teacher professionalism, and to music teacher education and music education research.
Researching music education in Nepal has emphasized how music and music education are not neutral but entangled with various historical, political, economic, and socio-cultural complexities. These entanglements have been highlighted by various globally relevant questions raised in this work. Questions have been raised, for example, concerning the valuation–and therefore the status and legitimacy– of musics, musicians, music teachers and music education in all contexts. Similarly, questions have been raised regarding assessment, and particularly the implications of standardised testing. Due to Nepal’s extreme diversity and rapid rate of societal change, the need for music teachers who are able to ethically navigate past, present and future musical practices has also be highlighted. Moreover, this project has also raised questions about how to develop music teacher professionalism in contexts with no government-recognized music teacher education. In such contexts, the necessity of supporting opportunities for in-service music teacher professional development KDVEHHQPDJQL¿HG,WLVWKHUHIRUHYLWDOWKDWPXVLFLQVWLWXWLRQVGHYHORSVWUXFWXUHVWR VXSSRUWRQJRLQJFROODERUDWLYHOHDUQLQJUHÀHFWLRQDQGQHWZRUNLQJIRULQVHUYLFHPXVLF teachers, perhaps in the form of a music teacher community. For this reason, it is hoped that the momentum from the International Society for Music Education South Asia regional conference that took place in November 2019 and brought together administrators, professors, lecturers, musician-teachers and researchers from a range of music institutions and innovative projects in the Kathmandu Valley, as well as diverse global contexts, can be supported and maintained. This conference was particularly LQÀXHQWLDOIRUPHDV,ZDVIXUWKHULQVSLUHGby the local presenters, and the work they are doing in their communities. As already mentioned, the level of professional responsibility (Solbrekke & Sugrue, 2011) demonstrated by these and other musician-teachers in the Kathmandu Valley is something that music musician-teachers in other contexts could also take inspiration from.
5HVHDUFKLQJPXVLFHGXFDWLRQLQ1HSDOKDVDOVRR൵HUHGLQVSLUDWLRQIRU music teacher education and music education research. Based primarily on the workshops I facilitated in the Kathmandu Valley, this dissertation has proposed WKDWWKHLQWHUFRQQHFWHGFDSDFLWLHVRIHQYLVLRQLQJUHÀHFWLQJLQTXLULQJDQGOHDUQLQJ collaboratively could be developed and nurtured in pre- and in-service music teacher education (see Section 6.2). While these capacities emerged as central to workshops in Nepal, I suggest that they may be equally relevant when developing music teacher
education in other contexts. Indeed, I suggest that these capacities may have potential for helping the music teacher education profession globally more successfully face the challenges of intensifying diversity and uncertainty, and work towards more transformative and socially just music education. This dissertation has also highlighted a number of methodological and ethical complexities that may help other
cross-cultural music education researchers. In addition to those issues raised in the individual articles, the discussion (see Section 6.3) suggested the need for researchers to balance DSSUHFLDWLYHDQGFULWLFDODSSURDFKHVUHÀHFWRQWKHHWKLFVRILQTXLU\DVLQWHUYHQWLRQ in cross-cultural research, navigate aspirations and obstacles to collaboration, and be prepared to be changed by the process.
2YHUDOOWKLVUHVHDUFKSURMHFWKDVHPSKDVLVHGWKHLPSRUWDQFHRILPDJLQLQJ GL൵HUHQWSRVVLELOLWLHVIRUZKDWPLJKWEHDQGWKHGL൶FXOWLHVRIGRLQJVR'HVSLWH WKHLUFKDOOHQJHVHQJDJLQJLQGLDORJXHJURXSUHÀHFWLRQDQGFRFRQVWUXFWLQJYLVLRQV are valuable tasks for music educators, and despite the risks of absent and silent voices, shared visions and goals provide necessary guidance when working together as a community. Thus, making shared and individual visions and goals explicit may EHDFULWLFDO¿UVWVWHSLQWHDFKHUFRPPXQLWLHVDVKDVDOUHDG\EHHQDUJXHGLQUHJDUG to ensemble practices in the arts (e.g. Gaunt & Treacy, 2019). In addition, teacher FRPPXQLWLHVZRXOGEHQH¿WIURPXQGHUVWDQGLQJenvisioning as an ongoing and incomplete process, considering co-constructing visions, rather than co-constructed YLVLRQV±YLVLRQVDVHQGVLQYLHZ'HZH\/:UDWKHUWKDQ¿[HGHQGV±DQGVXEMHFWLQJ WKHVHYLVLRQVWRRQJRLQJUHÀHFWLRQFULWLFDOLQTXLU\UHQHJRWLDWLRQDQGUHYLVLRQ
:KLOHJURXSUHÀHFWLRQDQGGLDORJXHPD\FRQWULEXWHWRFKDOOHQJLQJELDVHVDQG LPDJLQLQJGL൵HUHQWSRVVLELOLWLHVRQHRIWKHPRVWVXUSULVLQJDVSHFWVRIWKLVUHVHDUFK SURMHFWKDVEHHQMXVWKRZGL൶FXOWLWLVWRIDFLOLWDWHVSDFHVWKDWLQFOXGHERWKZLGH participation and wide representation–rather than spaces that risk strengthening the status quo. At the project’s outset, I had felt that my experiences growing up in a very diverse city and living and working abroad in intercultural settings for over a decade would support me in facilitating inclusive workshops. Moreover, I engaged in extensive preparation focusing on methodological and ethical deliberations. However, the workshops that I facilitated still marginalized some of the participants and their perspectives, and it took me some time to be able to recognize this. It also proved challenging for me to see what and who might be marginal, especially as I was gaining cultural knowledge and therefore learning about the societal complexities possibly H൵HFWLQJRXULQWHUDFWLRQVDWWKHVDPHWLPHDV,ZDVIDFLOLWDWLQJWKHZRUNVKRSV7KXV although this particular project is approaching its end, I continue to ask myself how
,FRXOGKDYHIDFLOLWDWHGWKHZRUNVKRSVGL൵HUHQWO\VRWKDWPRUHGLYHUVHSHUVSHFWLYHV would have been represented in the visions, and how I could have noticed the silences VRRQHUVRWKDWZHFRXOGKDYHUHÀHFWHGRQWKHPEHIRUHWKHZRUNVKRSVHQGHG7KHVH are questions that I take with me in my work as a music teacher and teacher educator.
Moreover, since I was not teaching music during this project, it has raised questions about who I might now be and how I might now teach as an elementary school music teacher. Equally important has been the reminder of the necessity to pause, UHÀHFWLQTXLUHDQGHQJDJHLQFROODERUDWLYHGLDORJXHDVDWHDFKHUDQGUHVHDUFKHU The project has raised my awareness that engaging in this kind of work will always be an incomplete process full of mistakes, “absences, blind spots, and invisibilities”
(Carducci, Pasque, Kuntz, & Contreras-McGavin, 2013, p. 6). It is only through an RSHQQHVVWRFRQWLQXRXVO\DQGSXEOLFO\UHÀHFWRQFULWLTXHDQGUHIRUPRXUSUDFWLFH±
DQGHQFRXUDJHVWXGHQWVWRGRWKHVDPH±WKDWRXULQTXLULHVPD\D൵HFW³ERWKZKDWZH know and how we live our lives” (Kuntz, 2015, p. 12), and thereby our ability to work together towards greater participation and equality for a more ethical and equitable future.
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