Traumas Resisted and (Re)Engaged: Inquiring into Lost and Found Narratives in Music Education (Landscapes: the Arts, Aesthetics, and Education, 36)

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. Acknowledgements Contents Editors and Contributors Locating Profound Sensitivity and High Intensity in Facing Trauma in Music Education 1 Running Wild 2 Pioneering the Integration of Trauma Studies and Narrative Inquiry 3 Establishing Roots in Narrative Inquiry 4 Connecting Narrative Inquiry with Scholarly Work in Music Education 5 Locating Profound Sensitivity and High Intensity 6 Inquiring into Lost and Found Narratives in Music Education 6.1 Separation Revisited 6.2 (Re)Engaging with Lost and Found 7 Retelling and Reliving Lost and Found Narratives in Music Education References Separation Revisited When Grief Takes Hold: Unravelling Narrative Beginnings 1 When Grief Takes Hold: Unravelling Narrative Beginnings 2 A Dull Ache 3 Coming to Narrative Inquiry 4 Body Mapping as a Site for Vulnerability 4.1 The Hush of Vulnerability 5 Temporal Movement 5.1 Ruptured Writing 5.2 Pulling on Relational Courage 5.3 Avoiding Academization 6 Holding Grief 7 My Brave Heart References Unpublished (Re)Becca: Exploring the Professional Impact of Personal Trauma Through Narrative Beginnings 1 Introduction 2 Narrative Inquiry 2.1 Product and/or Process 2.2 Experience as Knowledge 2.3 Five Design Considerations 3 Trauma 3.1 Research Interests 3.2 Definition 3.3 Research Puzzles 4 Narrative Beginnings 4.1 Professional Identity: Rebecca at Work 4.2 Personal Identity: Becca at Home 4.3 My Trauma 4.4 Pedagogical and Creative Changes 5 Research Justifications 5.1 Social 5.2 Practical 5.3 Personal 5.4 Moving Forward as (Re)Becca References Inhabiting Music from Absence: Rethinking the Possibilities of Music Education in Veracruz, México 1 Introduction 1.1 Xalapa, Veracruz, January 27, 2018 1.2 Sayula de Alemán, Veracruz, December 16, 2019 2 A Starting Point, from the Plural of the First Person 3 Walking Around Trauma: Documentary Research 4 Art as Accompaniment 5 Music Education as a Support in Trauma Processes 6 Method of Inquiry 6.1 Voices of Absence 7 TíoBad, Defense of Life with Dignity and Justice 8 Re-inhabiting Through Music Education 8.1 Pedagogy of Memory and Music Education References Verlust, Idée Fixe, and Teufelsmühle: Trauma Inside and Outside of a Music Education Researcher 1 Prélude Quasi Non Mesuré (... Where the Pianist and Researcher Try Out the Instrument, Style, and Key) 2 Trauma Outside and Inside Music Education 3 Narrative Inquiry in the Form of a Four-Movement Quasi Partello-Sketch 3.1 Arioso Dolente (... into the Sauna Out of the Map [BWV 245, 30. Aria]) 3.2 Rondo (... in My Solitude Entering the Fellowship of the Ill) 3.3 Andante (... “ ‘Emancipating’ the Dissonance:” The Christmas Gift of Revisiting Chopin) References Reclaiming Musical Identities Confounded by Injury and Damage 1 Introduction 2 The Research Project 2.1 Participants 2.2 Data Collection and Analysis 3 Developing the Performer Identity 3.1 Jenny 3.2 Katy 3.3 Claire 3.4 Skylar 4 Trauma as an Undermining Force and Reconstructing Identity 4.1 Jenny 4.2 Katy 4.3 Claire 4.4 Skylar 5 Resonances Across the Narratives 6 Conclusion References Research from the Eye of the Hurricane: Slow Sensitivity as Resilient Re-engagement in Research After Physical Trauma 1 Introduction 1.1 Trauma and Resilience ... 1.2 ... as Narrative Inquiry 2 Lived Inquiry in the Eye of the Hurricane 2.1 The Story Begins 2.2 Afforded Qualities or Research Design 2.3 Slow: “... and the Only Urges I Had Were for Rest, Calm, and Stillness” 2.4 ... Sensitivity: “... Nor Could I Remember Having Been Closer to Absolute Pitch” 3 Discussion 3.1 Slow Sensitivity 3.2 Narrative Agendas—A Quest Narrative? 3.3 Topic or Structure, Tale or Telling—Analyzing Narrative or Narrative Analysis 3.4 Dot and Line—Poetry or Narrative, Poetry as Narrative 4 Conclusion References (Re)Engaging With Lost and Found Shifting Landscapes of Experience: Temporality and a Narrative Conceptualization of Trauma 1 Beginning in Experience 1.1 Nathalie 1.2 Tobias 1.3 Learning Together 1.4 Our Shared Research Puzzling 2 Situating Our Emergent Theoretical Understandings of Trauma 2.1 Shifts in Understanding Trauma 2.2 Shifts in Understanding Trauma-Informed and Trauma-Sensitive 3 Trauma, Temporality, and Music Education 3.1 Stories of Teacher/ing, Stories of Trauma, and the Conduit 3.2 Narrative Inquiry and Temporality 3.3 Trauma, Temporality, Music, & Music Education 4 Movements Toward a Narrative Conceptualization of Trauma 4.1 Retelling and Reliving Stories of Trauma and Trauma Stories 4.2 Tobias’ Stories in Moving Toward a Narrative Conceptualization of Trauma 4.3 Naming the Void 4.4 Temporal Interruptions in Tobias’ Trauma Stories 4.5 Understanding Infolding in a Narrative Conceptualization of Trauma 5 Forward-Thinking Possibilities for (Music) Teachers’ Forward-Looking Stories 5.1 Forward-Looking Possibilities for Pre- and In-service Teacher Education 5.2 Forward-Hoping References A Narrative of Disability and Inclusion in Germany: Implications for Trauma-Informed Inclusive Classroom Education in Music 1 Dad—A Personal Narrative of Disability 2 Narrative Inquiry as a Methodological Framework for Understanding Inclusion 3 A Brief History of Inclusion and Disability in Germany 4 The Binary of Dis/ability and Its Visibility in Music 4.1 Trauma and Disability 4.2 Trauma-Informed Care Principles and Inclusive Practice 4.3 Trauma and the Inclusive Classroom in Music 5 Conclusions for the Inclusive Trauma-Informed Music Classroom References The Use of Trauma-Informed Community Music Practice in Enabling Narrative Through Songwriting 1 Introduction 2 Narrative Inquiry: A Methodological Frame 3 Trauma-Informed Practice 3.1 Narrative Interlude One 4 Safety 4.1 Narrative Interlude Two 5 Trustworthiness 5.1 Narrative Interlude Three 6 Collaboration 6.1 Narrative Interlude Four 7 Empowerment 7.1 Narrative Interlude Five 8 Choice 9 Conclusion References The Conceivable Traumas of Narrative Inquiry in Music Education 1 Running Wild, Still 2 The Double-Edged Sword of Narrative Inquiry in Music Education 3 The Negative Capacity of Narrative Inquiry 4 The Liminal Space of Time 5 The Temporal Nature of Experience: There Is No End to the Story... 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