
Contents
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Social Movements and the Digital World Social Movements and the Digital World
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Feminist Activism, Feminist Cyber-Activism, and Feminist Cyber-Artivism Feminist Activism, Feminist Cyber-Activism, and Feminist Cyber-Artivism
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Case Studies in Feminist Musical Cyber-Artivism Case Studies in Feminist Musical Cyber-Artivism
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Pussy Riot Pussy Riot
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k.d. lang’s “So in Love” k.d. lang’s “So in Love”
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Playing For Change Playing For Change
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Feminist Musical Cyber-Artivism and Music Teaching and Learning Feminist Musical Cyber-Artivism and Music Teaching and Learning
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Notes Notes
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References References
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16 Feminist Cyber-Artivism, Musicing, and Music Teaching and Learning
Get accessMarissa Silverman is an associate professor at the John J. Cali School of Music, Montclair State University. A Fulbright Scholar, her research agenda focuses on dimensions of music philosophy, artistic interpretation, community music, and interdisciplinary curriculum development. Dr. Silverman is author of Gregory Haimovsky: A Pianist’s Odyssey to Freedom (University of Rochester Press, 2018) and co-author of the 2nd edition of Music Matters: A Philosophy of Music Education (Oxford University Press, 2015). She is co-editor of The Oxford Handbook of Philosophical and Qualitative Assessment in Music Education (Oxford University Press, 2019), Artistic Citizenship: Artistry, Social Responsibility, and Ethical Praxis (Oxford University Press, 2016) and Community Music Today (Rowman & Littlefield, 2013).
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Published:08 October 2020
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Abstract
This chapter asks an important, yet seemingly illusive, question: In what ways does the internet provide (or not) activist—or, for present purposes “artivist”—opportunities and engagements for musicing, music sharing, and music teaching and learning? According to Asante (2008), an “artivist (artist + activist) uses her artistic talents to fight and struggle against injustice and oppression—by any medium necessary. The artivist merges commitment to freedom and justice with the pen, the lens, the brush, the voice, the body, and the imagination. The artivist knows that to make an observation is to have an obligation” (p. 6). Given this view, can (and should) social media be a means to achieve artivism through online musicing and music sharing, and, therefore, music teaching and learning? Taking a feminist perspective, this chapter interrogates the nature of cyber musical artivism as a potential means to a necessary end: positive transformation. In what ways can social media be a conduit (or hindrance) for cyber musical artivism? What might musicing and music sharing gain (or lose) from engaging with online artivist practices? In addition to a philosophical investigation, this chapter will examine select case studies of online artivist music making and music sharing communities with the above concerns in mind, specifically as they relate to music education.
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