The field of peacebuilding is ever growing and expanding with new partnerships forming between state and non-state actors through more creative ways of access enabled by advancing technological platforms. Amidst a rather negative media that seems to be more willing to tell stories of conflict, rather than stories of peacebuilding and reconciliation, it is incredibly important to create a stronger emphasis on exposing communities to the integral activism that is occurring perhaps even in their own backyards.
As the field of peacebuilding continues to grow, so too does the development of critical peacebuilding education increasingly with a focus on music and the expressive arts. One such example of this was brought to my attention recently.
The grammy winning Colombian musician Juanes, a familiar name in my own music library, recently partnered with the United States Institute of Peace Global Peacebuilding Center (GPC) to address his activism as a musician and peacebuilder through music. This partnership, between state and non-state actor nonetheless with music as a medium for social activism, perked my interest. Not only does this partnership facilitate and serve as an example of the many ways in which music can be utilized as a tool for social activism, but in addition it is a resource perfect for the classroom readily accessible through the Internet and technology.
Searching further on the GPC website, I found a short video segment created by GPC recognizing the importance of youth and peacebuilding pointing to the growing power of youth via social media and technology.
In the music classes I teach on Tuesdays and Thursdays at KIPP Star Middle School in Harlem, I used both the GPC’s Juanes video segment and the Bukra fi Mishmish music video, written and performed by Israeli and Palestinian youth members of Heartbeat, as examples of how music is powerful. From there, we asked ourselves: what is our Hope List? What do we hope for ourselves, our families, our communities, our world? Our Hope Lists, which will ultimately serve as the foundation of the last song(s) of the semester, were shared via an exercise called a Sensitivity Line (to view, please visit the KIPP Star Musical Collective blog).
The Sensitivity Line is a group performance exercise that was taught to me by PYE- Global: Partners for Youth Empowerment during the Seeds of Peace-Educators Course I attended last August. The Sensitivity Line gives each student the spotlight to shine, yet while in a group atmosphere with group support. By putting the student constructively “on edge”, the interest in delivering a rewarding outcome in front of peers increases the student’s affinity for self-efficacy, thus building self-confidence, too.
I was impressed with the overall results of this classroom activity on many levels. My students:
1. Had fun!
2. Learned new aspects about music, musicmaking, and peacebuilding.
3. Deepened their understanding about themselves, their peers, and their communities.
4. Expressed critical consciousness, solidarity, and imagination.
5. Were constructively put “on edge” by performing through the Sensitivity Line
6. Experiencing the concepts of drafting and process.
I look forward to the possibility of many more classroom activities such as this one, which facilitate growth and creativity, while teaching about and for the subjects on hand. After all, great partnerships and imagination made this classroom activity possible.
(And by great partnerships, I am also referring to the genius and loving nature of my best friend who created the idea of the Hope List.)
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One thought on “Structure and Creativity: Learning about and for Peacebuilding & Musicmaking”
I find your information very interesting and thoughtful.
I wonder why I don’t see your name anywhere as the writer.