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22.01.2024
Shanti Suki Osman ist seit 2020 wissenschaftliche Mitarbeiterin für Musikpädagogik am Institut für Musik der Carl von Ossietzky Universität Oldenburg. Sie arbeitet unter anderem zu den Themen intersektionale diskriminierungskritische Musikpädagogik, Diversität im Musikstudium und Feminismen, akustische Künste und populäre Musiken. Ihre Dissertation befasst sich mit den Erfahrungen von Schwarzen Frauen* und Frauen* of Colour in deutschen Musikhochschulen. Shanti Suki Osman ist eine Künstlerin, die mit Gesang, Ton und Radio an den Themen Identitäten, Macht und Marginalisierung, Antirassismus und Feminismen, arbeitet.
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Shanti Suki Osman has been a research assistant for music education at the Institute of Music at Carl von Ossietzky University Oldenburg since 2020. She works on topics such as intersectional and critical music pedagogy, diversity in music studies and feminisms, acoustic arts and popular music. Her dissertation deals with the experiences of Black women* and women* of colour in German music conservatories. Shanti Suki Osman is an artist who works with song, sound and radio on the themes of identities, power and marginalisation, anti-racism and feminisms.
The concept of intersectionality stems from Black feminist theory and recognises the reality of multiple and simultaneously existing forms of discrimination (Crenshaw, 1989; Hill Collins, 2008; Combahee River Collective, 2017). Intersectionality as an approach and consideration in music education in Germany has experienced a recent surge and researchers and practitioners from this field are also encountering hip-hop culture and music, including its accompanying problems and possibilities, in the classroom (Siedenburg,2022). Hip-Hop feminism is a feminism that seeks to create a more nuanced and practice-based approach to dealing with intersectional marginalised perspectives and knowledge production (Morgan, 1999; Lindsey, 2015; Knight Steele, 2021). In this workshop, I want us to consider some developments of hip-hop feminist theory – including bringing the wreck (Pough, 2004), Digital Black Feminism’s threading and stitching (Knight Steele, 2021) and kinetic orality (Gaunt, 2006) – and suggest how these methods and concepts can contribute to a critical intersectional (hip-hop) music education. I will be drawing on research recently conducted for an article.
You can find an introductory video to the workshop here.
22.01.2024,
10-12h
via zoom and in English
Registration: info@communitymusicnetzwerk.de
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