Nasim Niknafs – författare

The Oxford Handbook of Feminism and Music Education brings together a wide range of international scholars, practicing music teachers and educators, policymakers, and community musicians to conceptualize, analyze, and critique the personal, social, cultural, political, ethical, and therapeutic practices and problems in music education through feminist perspectives. The book offers global critical perspectives on a wide range of conceptual and practical issues in music education as they apply to various forms of feminist perspectives in music teaching and learning within schools and communities.The central aims of this volume are to engage with readers' understandings of and critical thinking about feminist perspectives on the problems, opportunities, and "spaces and places" that music educators and community music facilitators encounter, and to elucidate the concepts and practical strategies they employ to improve various aspects of music teaching and learning around the world through feminist lenses. This book helps current and future music educators, community music facilitators, arts and music activists, and solidarity workers to understand the many varieties and potentials of music teaching and learning, as described by the world-renowned scholars and practitioners in this book. It further invites readers to consider how traditional forms of musical pedagogies can be transformed in ways that will make them more mindful of and empathetic toward the personal and musical aims and desires of music students, musicians, and musical communities and collectives. This book will be of interest to teachers, scholars, administrators, advocates, and solidarity workers who wish to redefine, refine, and redesign music teaching and learning practices.

This book focuses on the traumatic experiences within and through music that individuals and collectives face, while considering ways in which they (re)engage with their traumas in educational settings. The chapters delve into the physical, psychological, philosophical, sociological, and political aspects, as they relate to the reciprocal influences of trauma on musical practices and education.  Readers are immersed in topics related to societal violence, physical injuries, grief, separation, loss, death, and ways of working through these in educational and artistic situations. In the introductory chapter, the co-editors draw attention to theoretical matters related to trauma through narrative inquiry in music education. The first section of the book, Separation Revisited, brings together notions of separation, focusing on how loss is emotionally and physically manifested when death, grief, and bodily injury are experienced. In the second section, (Re)Engaging with Lostand Found, readers are encouraged to imagine new possibilities considering trauma and loss in educational and musical spaces. These pieces offer deliberate ruminations moving the discourse toward (re)engagement in and through music education and artistic contexts. The co-editors conclude the book by drawing attention to narrative inquiry’s double-edged nature in stories of trauma and how the retelling of lost and found narratives offers a way to imagine lives otherwise—lives not smothered by grief and horror—through the conceivable reliving of unfathomable stories of experience. This book emerges from the 7th International Conference on Narrative Inquiry in Music Education (NIME7), October 2020, co-hosted by Brock University, Faculty of Education and the University of Toronto, Faculty of Music, Ontario, Canada.