Monthly Archives: April 2016

Realizing intercultural capital through intercultural education: prospects and limitations

Abstract

Nowhere does the need to appreciate a diverse range of different intercultural experiences appear more obvious than in the context of intercultural education. Yet, in times of neoliberal hegemony over educational politics and policies, less socioculturally dominant and often more colloquial funds of intercultural knowledge risk to suffer continued institutional marginalization and curricular obliteration. To counter such forms of symbolic violence and to create learning environments that value a wide range of processes of intercultural capital realization, intercultural education needs to overcome ideas of “bad habitus” and “good reflexivity”, for they prematurely discredit the value of people’s practical sense, while failing to problematize the sociocultural contingency of their reflexive capacities. In a critical appropriation of Bourdieu’s conceptualization of human agency, the present article highlights the reconcilability of reflexivity and habitus, with a particular interest in processes of intercultural capital realization and the (unfulfilled) potential of intercultural education.

 

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Welcome! Please find information here on past and current events, we also share photos and publications in the blog, any questions or contributions please get in touch on our contact page.

Many thanks.

International Women’s Day Celebration 2016

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For full PDF view here.

To book for event click here.

International Women’s Day Intercultural Event

On 9 March, Professor Pam Burnard convened a spectacular showcase of performances as part of the Creativities, Interculturality and Gender (CIG) series she co-ordinates, jointly with the College and the Education Faculty. The evening was a celebration, exploring diverse ways of performing to promote arts-based research.

IWD Intercultural Arts Event -WOW Fringe Event

  • Professor Pam Burnard, convenor of the Homerton CreatInG series

Performers were invited to share their insights into the journey to progress equality and social justice through arts-based research, and to experiment with the physical setting of performance, using space, light, sound, and intercultural dialogue.  Performances included explorations of the experiences of trafficked women through poetry, a recording of a community poem written by 17-year-old participants in the Fearless Futures programme reflecting upon society’s inequalities, and a piano-flute duet inspired by the rhythms of “landscapes that inspire and shape lives”.

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  • Homerton’s Charter Choir performing “Let all the world in every corner sing” by Greta Tomlins

The unifying theme of the CIG series has been how discourses of creativity, culture, and gender can connect, and how the roles of these subjects can inform different fields of interest.  In earlier events, Hanna McCloskey (Founder and CEO of Fearless Futures) explored tensions in current discussions about gender equality by asking whether we still need ‘1960s tools’ to address the problem in the 21st century, and whether there are alternatives which might accelerate the pace of change. Maria Lusitano Santos addressed how creativity and gender interplay with the emergence of the sharing economy, and the coming together of business, sharing, and social value.

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The CIG series will continue until June, culminating in the third international Building Interdisciplinary Bridges Across Cultures (BIBAC) Conference, jointly held by Homerton and Churchill Colleges and the Faculty of Education.

A selection of films were presented at the event, images shown below:

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More photos from the event can be viewed here in our gallery.

Gender and Music Composition: A Study of Music, and the Gendering of Meanings

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In this study claims that music communicates gendered meanings are considered, and relevant literature is reviewed. We first discuss the nature of meaning in music, and how it is constructed and construed. Examples of statements of gendering in the literature are cited, and the problems identified by writers who have questioned their validity are considered. We examine the concepts underlying terminology that has been used in inconsistent and contradictory ways. Three hypotheses are posed, and tested by means of two listening tasks. Results are presented that indicate that gendering is not inherent in musical structures, but is contributed to the perceptual event by the listener.

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