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Telling Stories: Countering Narrative in Art, Theory and Film
Editor: Jane Tormey and Gillian Whiteley
Date Of Publication: May 2009
Isbn13: 978-1-4438-0532-2
Isbn: 1-4438-0532-7
Trespassing disciplines and binding together practice and theory, Telling Stories: Visual Practice, Theories and Narrative crosses strange territories and occupies liminal spaces. It addresses a contemporary preoccupation with narrative and narration, which is being played out across the arts, humanities and beyond, and considers how visual and performative encounters contribute to thinking. How might they tell theories? Telling Stories results from a series of symposia, held at Loughborough University School of Art and Design in 2007. The programme included papers, screenings and performances and was based around the convenors’ shared interests in Peggy Phelan’s notion of ‘performative writing’ and in the examination of inter-disciplinary forms of narrative and counter-narrative. It specifically focused on three aspects - experimental forms of Theories and Criticism, Objects and Narrative and the particular form of the Cinematic Essay and explored how the performative move could also be said to apply to forms of contemporary art practice: to what photography, film, objects wish to say. This resulting edited collection presents contemporary making and writing practices as multi-faceted, interdisciplinary and trans-medial and is indicative of an attitude that sets out to encounter the world, its social conditions, its global perspectives and the nature of aesthetic discussion that is no longer confined by formalism.
Jane Tormey lectures in Critical and Historical Studies at Loughborough University School of Art and Design. Her research explores how art practice exchanges ideas with other disciplines. She co-edits the electronic journal TRACEY - Contemporary Drawing Research. She is currently completing a book entitled Contemporary Photographic Realism: practice and theory (Manchester University Press).
Gillian Whiteley is a curator and lecturer at Loughborough University School of Art & Design. Her interests focus on trans-disciplinary practices in socio-political contexts, from cultural activism in the 1960s to contemporary practice. She recently published in H. Crawford (ed) Artistic Bedfellows: Histories, Theories and Conversations in Collaborative Art Practices (2008) and is currently completing Junk: Art and the Politics of Trash (IB Tauris).
Price Uk Gbp: 39.99
Price Us Usd: 59.99
Sample pdf (including Table of Contents)
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From Navigating Music and Sound Education
“We rarely have the opportunity and time to engage with the practicalities of music teaching through the lens of evidence-based practice. This book provides us with a wonderful exception that is accessible to beginning and established teachers. It contains a wide range of stimulating and thought-provoking material that draws on real-world experiences and events, which are contextualised, informed and structured by theory. This is a powerful combination that we can visit again and again for insight and inspiration. Congratulations to all involved, particularly the editors for shaping such a valuable contribution!”
—Professor Graham F. Welch, University of London; President, International Society of Music Education
“Navigating music and sound education draws together a range of issues increasingly acknowledged to be at the basis of reflective and effective music learning and teaching: social settings, cultural dimensions, gender, indigeneity, varying cognitive approaches, inter-disciplinary connections, technology, types of learning, and creativity. It opens up areas of pedagogy that go beyond classroom methodology to acknowledge student individuality and encourage music learning and teaching grounded in the reality of students’ musical and social lives. It will be invaluable for those training to become educators and for teachers already in the field.”
—Associate Professor Peter Dunbar-Hall, University of Sydney
“This book brings an important contribution to music teacher education as it challenges the readers to rethink their paradigms of music education. It highlights the importance of preparing a reflective teacher, autonomous, creative and conscious of the multifaceted and multicultural locus in which they will work. The book also draws on the importance for music teachers to consider the context in which they work, and establish a dialog between local musical traditions, informal music practices and global trends of music teaching and learning. Most importantly, all chapters are in one way or another derived from research carried out on specific areas, thus stressing the importance of the research informed practice in music education.”
—Professor Liane Hentschke, Federal University of Rio Grande do Sul, Brazil; International Society of Music Education Immediate Past President
Many readers will appreciate Steve Dillon and Kathy Hirche’s description of the future of education in their work with dynamic technological contexts.
Navigating Music and Sound Education is a wonderful guide and resource for pre-service music teachers, for teachers in the field, and for teacher educators.
It offers a range of fresh perspectives on the state of music education as it is and as it might be. Kari K Veblen
Navigating Music and Sound Education is an ambitious project which features current research from 20 individuals whose professional identities run the gamut from musician to songwriter to student to educator to music therapist to ethnomusicologist. The book’s scope is perhaps the most exciting aspect of Navigating Music and Sound Education.
Kari K Veblen
University of Western Ontario
British Journal of Music Education
October 2011
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