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Since February 2019, the „Katholische Erwachsenenbildung“ has been collaborating with the Institute of Music of the University of Applied Sciences Osnabrück. An institute for adult education provides the framework for a concept in which German as a second language lessons are accompanied by musicalisation. In line with elemental musical practice, whole-body experiences with voice, movement, and body-percussion play an important role. Students with the career goal of „Educating Artist“ work alongside language teachers in this project, and are mentored by university teachers. The young musicians gain monitored teaching experience and have a great opportunity to witness and help shape the linguistic and social integration of refugees.
A consequence of increasing migration is that a large number of people need to learn the language of the country of immigration. Music and language are phenomenons that share many common characteristics, such as melody, rhythm, and timbre. Music draws attention and can cause positive emotions. Music and movement are deeply rooted in the communication of emotional states und are considered to be the evolutionary biological basis for language. Thus the close relationship between language, music, and dance is evident: They all rely on differentiating perception, are able, as systems designed for social interactions, to connect people, and allow for both collective and individual expression.
The contents and procedures of the lessons are documented in a digital diary. The entire team meets at regular intervals, in order to reflect on the experiences and conduct further planning. For these purposes, video documentation of the lessons is also used. The project will end in November 2019 with a language exam; a musical final presentation is also planned. By then at the latest, findings will be available as to if and how the musical course content was able to support language acquisition. The collaboration enables the partners to realize the combining of different objectives (learning a second language, cultural participation and music making) by bringing experts together.
Wenn von kultureller Teilhabe die Rede ist, wird oft institutionalisierte (Hoch)Kultur in den Mittelpunkt gestellt: Es geht um Kunstvermittlung, Theater und Museumspädagogik, Leseförderung, musikalische Bildung usw. Die alltäglich rezipierte populäre Kultur – BlockbusterFilme, Serien, Romanhefte, Games, populäre Musik – kommt deutlich weniger in den Blick, doch es ist diese Kultur, die für die meisten Menschen in den westlichen Gesellschaften relevant ist, an der sie teilhaben. Obwohl der Aufstieg populärer Kultur in die Feuilletons und die Forschung schon vor Jahrzehnten begann, ist sie in den Konzepten und Programmen zu kultureller Bildung und Teilhabe noch immer marginalisiert.Was bedeutet das Ausblenden der populären Formen und Formate von Kultur und ihrer Rezipientinnen und Rezipienten für das Konzept kultureller Teilhabe? Kann man Menschen erreichen, deren Interessen und Expertisen im landläufigen Verständnis von Kultur nicht vorkommen? Und wie muss man Teilhabe denken, damit daraus kein Gewähren eines Zugangs, sondern ein Austausch wird?