JULIET HESS & DEB BRADLEY
Juliet Hess is an assistant professor of music education at Michigan State University, having previously taught elementary and middle school music in Toronto. Her forthcoming book, Music Education for Social Change: Constructing an Activist Music Education, explores the intersection of activism, critical pedagogy, and music education. Juliet received her Ph. D. in Sociology of Education from the Ontario Institute for Studies in Education at the University of Toronto. Her research interests include anti-oppression education, activism in music and music education, music education for social justice, and the question of ethics in world music study.
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Deborah Bradley received a Ph.D. in Sociology and Equity Studies in Education from OISE/UT in 2006. She was Assistant Professor in the Dept. of Curriculum and Instruction at the University of Wisconsin-Madison from 2006 – 2010; she also taught at the University of Toronto from 1997-2005 and 2010 – 2014. She retired from UW-Madison in 2010 and continues to research issues of equity and social justice in music education. Dr. Bradley’s research has been published in many noted music education journals, including Philosophy of Music Education Review, Journal of Aesthetic Education, Music Education Research, and Action, Criticism, and Theory for Music Education, and several Oxford book chapters. She also serves with Scott Goble as Co-Editor for the journal, Action, Criticism, and Theory for Music Education.
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#MeToo and Dewey’s (Ambiguous) Theory of Experience
Trauma’s ubiquity in society leads to an acknowledgement that damaging experiences likely affect more students than they leave untouched. Dewey acknowledged the importance of the past throughout his theorizing of experience and simultaneously recognized that students need to draw upon past experiences in new learning encounters. In this paper, we argue that Dewey may have unknowingly opened the door to account for the possibility of traumatic experience affecting learning. We acknowledge the potential of music to prompt a trauma response and seek to explore ways that music education may also provide a mechanism for working through difficult and traumatic pasts.