Ignite

Grunge

Self and Other

“Outsider is a commonly used term to describe people to a new place or people who do not know the ways of a place.” Benedict

Grunge musicians are often viewed as outsiders in our music classrooms. They do not know the ways of our “place.”

Self and Other

• “Outsiders are often despised and suspected of being trouble makers.”

Music educators often see students who aren’t familiar with the European tradition as “other” and “outsiders.”

Therefore Grunge music is often despised by music educators and has no “place” in our classrooms

Self and Other

• Grunge participants are outsiders in the fact that they do not know how to act or understand the culture of the Western European based music classroom.

Self and Other

Self and Other

• Perceived lack of skills and understanding? • Do we as music educators perceive ourselves

with a lack of skills and understandings to see ourselves as the others?

• Or do we see our students with a lack of skills and understanding necessary to conform to our Western European culturally based classroom?

Self and Other

• Do our beliefs and our assumptions somehow perpetuate this viewed “lack of skills and understanding?”

• Are we constantly trying to conform students into a nice little music box that is a direct replica of our experiences?

Self and Other

• What exactly are the “appropriate skills” necessary to succeed in our classrooms?

• Who decides what skills are necessary?

Self and Other

• Benedict states that a “particular model of cultural transmission and method serves to punish students instead of celebrating diversity and negates the cultures that students bring into our classroom.”

Deficit Model

Blaming students for our perceived “lack of skills and understanding?”

Deficit model

• “Deficit based approached often miss the expertise that exist in our communities and families, viewing instead outside experts the only ones capable of fixing our problems.”

Color Blind Pedagogy

Not necessarily racial discord, but there is often a distinction between the social classes that perform Western European and Grunge music.

Color Blind Pedagogy

“…the music studied should reflect the multi-musical diversity of America’s pluralistic culture. It should include a broad range of genres, styles, and periods, including music from outside art music traditions….”

Place

• “Value and meaning are not inherent in any space or place—indeed they must be created, reproduced, and defended from heresy.”

• Value and meaning don’t automatically happen. Just because a student comes to our class does not imply that our curriculum will automatically hold meaning and importance to them

Place

• “Places become places through and in the lived experiences and interpretations of those who experience them.” Dr. Stauffer

• Does grunge music have any place in our music curriculum? Is there space for experiencing grunge in our classrooms?

Place

• “Place-conscious learning is grounded in the real and proximate, not in abstract and remote

• What is real and proximate to Grunge musicians?

What is real and proximate to music educators?

• How do we reconcile the two?

Place

• “A population not being served.” Mariachi is example of place-based curriculum.

• A Grunge ensemble is an example of place-based curriculum.

Place

• Difficulties exist in reconciling Grunge and places in our music classrooms

Do we have capacity and resources?

Place

• Place-based curriculum allows for reason of being. It enables students to engage in music and to acquire musical skills in knowledge

Place

• It also allows students to relate human understandings and personal growth that emanate from engagement in music making.

• Asks who, what and how