Playing in the Borderlands: The Transformative Possibilities of Queering Music Therapy Pedagogy
DOI:
https://doi.org/10.15845/voices.v19i3.2679Abstract
Suonare nelle terre di confine: le possibilità trasformative della pedagogia musicoterapica queering*
La pedagogia musicoterapica è tradizionalmente definita da ruoli e strutture rigidi, comprese le categorie fisse di identità insegnante/allievo, le sistematiche gerarchie di conoscenza e comunicazione, le pratiche di gatekeeping culturale e musicale, nonché le standardizzazioni di competenze musicali, cliniche e professionali. Queste strutture rappresentano confini strettamente definiti, i quali limitano sia coloro che entrano nella professione, sia come noi comprendiamo la variabilità umana e le conoscenze accettabili in campo musicoterapico.
Questo articolo sfida gli stakeholder educativi a destabilizzare vecchie e oppressive categorizzazioni e spostarsi in spazi liminali generativi, come l’opportunità di sperimentare relazioni radicalmente inclusive. Infatti, noi crediamo che queste relazioni siano la chiave del processo di apprendimento trasformativo per comprendere noi stessi, gli altri e i mondi in cui abitiamo. In ciò impegniamo la letteratura della teoria queer per stabilire i principi chiave del "queering" come pratica attiva applicabile oltre il genere e la sessualità, al fine di includere altre categorie di identità socialmente costruite quali razza e disabilità. Quindi, passiamo oltre le stesse categorie di identità per affrontare pratiche educative sistemiche e istituzionali. Per questo attingiamo dal concetto di Gloria Anzaldúa di frontiere come spazio generativo di liminalità, decostruendo quei confini che limitano un accesso pieno e autentico all'interno degli spazi di insegnamento, apprendimento, pratica, comunicazione, lavoro, relazione, ‘musicking’, movimento e vita; il concetto di Maria Lugones di viaggiare nel "mondo", come giocosità e percezione amorevole; Il concetto di meraviglia di Luce Irigaray; gli scritti di Carolyn Kenny sul campo di gioco, i quali illustrano come quando suoniamo in musicoterapia siano necessari contenitori e confini aperti a molteplici, fluidi modi di essere e di porsi in relazione.
* Relativo all’eccentricità sociale rispetto alle definizioni di normalità codificate dalla cultura dominante, anche in riferimento all’orientamento sessuale e all’identità di genere.
Traduzione di Claudio Cominardi
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