11 - 16 of 16 Chapters
[“Shrug off the old lies, dare what you don’t dare … rejoice, rejoice in the terror, follow it where you’re afraid to go … take the plunge, you’re on the right trail!” (1991, 40) urges Hélène Cixous. This chapter takes up Cixous’ refusal to oblige and reproduce the colonial system in writing in...
[Autoethnographic methodologies allow the author/authors to use the heart as a means to listen, learn and love. This Pasifika Girl sways in the liminal and collectively constructs in the third space and Va’ (Samoan for spaces in-between). Historical trauma often is a barrier in moving forward;...
[This chapter takes the author’s singerly experience as a site for gleaning knowledge of the performing self through embodiment, and the relationship between composers, scores and the realisation of contemporary notated musical works. The specific focus of the chapter is the author’s...
[When a newly written score comes to a musician there may be different learning strategies the performer must employ. With no recordings to influence, no performance tradition passed through generations of teachers to respect and draw on, the performer must rely on their experience and embodied...
[This chapter considers how reflective practice demonstrates a cyclical potential; of self-reflexivity and reviewing personal, critical processes, and maintaining ongoing capacities for exploration and discovery. The chapter views the self-critical and self-affirming processes of an improvising...
[We are living in a time of uncertainty and for many people around the world that uncertainty is marked by fear and violence. The need for creativity in crafting selves and cultures and futures is made ever more urgent by and because of these uncertain times. That creativity demands both...
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