>Dr. Graham Sattler, Dr Phil Mullen
>Chieko Mibu & Ryota Hamashima
>Cheng Cheng LI
>Hear & Found
>Takuma Kakitsuka
Hear & Found
Since 2018, Hear & Found has been established, we aim to erase the existence of discrimination, especially for the indigenous people in order to increase social equality by using creativity and cultural heritage as a main driving force. This is a new initiative social enterprise in Thailand and we’re dealing with complex issues. But we believe in our ethos that everyone can be friends and socially connected.
As a “Creative Cultural Agency”, we’re always seeking for our roots through music and sound in order to tell another side of life’s stories by using the creative approach, designing forms of connectivities and communication. Therefore, everyone has the opportunity to connect to it, like we do.
In the past 2 years, we connected people from around the world and the number of indegenous and folklore fans is getting higher and higher, as we gained from 100 to 4,500 audiences. We’ve found that perceptions have been changed through “understanding” then the fans support the local products more, which leads to local economic impact. This is how we’re narrowing the gap of discrimination.
Cultural Continuity and Community Music in Yiddish Culture
——Chieko Mibu & Ryota Hamashima
The purpose of this research is to examine the role and significance as cultural continuity and community music from the insight of Klezmer music, which is a part of "Yiddish Culture". The culture of immigrated Jews to Eastern Europe around the 16th century is called “Yiddish Culture”. Eastern European Jews had formed Jewish settlements and built their own cultural system. However,“Yiddish Culture” experiences two extinctions by Jewish persecution like Pogrom and the Holocaust. The revival of “Yiddish Culture” has been mounted since the 1980s, and today its workshops and cultural festivals are taking place all over the world. Klezmer music is not a mere cultural tradition that preserves folklore music, nor just one music genre of world music. From references and fieldwork on activities of revivalists, it is considered that“Klezmer music” has a role as a communication tool for the formation and transmission of Jewish identity, and is music that is still functioning in the community. In addition, the workshops and music festivals held at various places are also becoming a tool to form communities that connects people around the world. Owing to its historical characteristics, it was hardly any concerned in the past research in musicology in Japan. However, from the perspective of community music, it has great significance, and this research is originally an attempt to summarize its history and the meaning of their activities first in Japanese.(234words)
Passion, participation and process: A community music leadership road-trip in non-metropolitan Australia
——Dr. Graham Sattler, Dr Phil Mullen
Community music (CM) as inclusive educational practice is managed and facilitated in the non-metropolitan regions of New South Wales (Australia) by a network of community owned and operated organisations identified as Regional Conservatoriums. Unique to New South Wales, the seventeen Regional Conservatorium are located in smaller cities and larger rural service centres that range in population from just under 8,000 to 33,000. Over a two-week period in August 2018, two CM practitioner researchers embarked on a professional learning tour, comprising a series of one-day training session visits to seven of these organisations, engaging with educators and management in relation to their community music education practices, principles and leadership at the local level; with the additional objective of evaluating the network’s collective awareness of musical inclusion, and offering some tools and strategies for an enhanced CM leadership environment. Four core CM leadership skills - group pedagogy, music performance, entrepreneurship and advocacy -provided the theoretical underpinning of the interactive training; and networks of relationship, within and extending from the individual organisations’ communities, were explored through informal and semi-formal surveys of the educators in each location. This presentation charts the five stages of the project: rationale, purpose, process, data collection and outcome, and explores the significance of the findings in the context of the desirability of a structural underpinning of outlook and approach juxtaposed with the isolation faced by like-organisations serving teaching and learning communities that are separated by many hundreds of kilometres and varied sociocultural and socio-economic settings. Issues highlighted through the researchers’ field notes and participant evaluation data, and offering opportunity for further enquiry, include organisational isolation, community perception of historical conservatorium roles, resourcing, and the challenges and desirability of reshaping service models to better articulate a core commitment to CM as inclusive music practice.
LI Cheng Cheng
Li Cheng-cheng devoted to education in Tibetan areas. During her university life, she managed the voluntary teaching project and served as a voluntary teacher and principal for four consecutive years. Apart from teaching, she has spontaneously organized clothes donations to Tibet. From 2013 to 2016, she was honored as the Outstanding Volunteer of the Hong Kong Volunteer Alliance for four consecutive years. She founded a charitable organization ‘Wild Strawberry Charity.’ She received the Bronze award from the Hong Kong Volunteer Alliance. Li was selected as the ‘Outstanding Chinese Research Team’ by ‘South Review’ (an academic journal) as she researched ‘How Ethics Minority Education Contributes to Social Economy’ through field investigation and analysis. In 2018, she teamed up the students to Tibet again for the Tibetan Rap Program. During the journey, they visited several great Tibetan rappers who helped students to finish their musical works.