Intercultural Education

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Music and intercultural dialogue rehearsing life

performance at school

Maria de São José Côrte-Real

To cite this article: Maria de São José Côrte-Real (2011) Music and intercultural dialogue
rehearsing life performance at school, Intercultural Education, 22:4, 317-325, DOI:
10.1080/14675986.2011.617424

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Intercultural Education
Vol. 22, No. 4, August 2011, 317–325

Music and intercultural dialogue rehearsing life performance at

school
Maria de São José Côrte-Real*

Instituto de Etnomusicologia, Faculdade de Ciências Sociais e Humanas, Universidade

Nova de Lisboa, Lisbon, Portugal

The performing arts can play a key role in intercultural education in a variety of
contexts. New creative initiatives are constantly developed, but there is still little
theory to support such initiatives. The fusion of Ethnomusicology and Education
offers a particularly fruitful perspective as a theoretical dimension to the work
being done. This article looks at teacher education and school management and
their relationship to intercultural education, collaborative interaction, perfor-
mance-related behaviour and creative production. The article takes the project
music, synergies and interculturality as the starting point for a deeper analysis
of these issues.

As práticas performativas podem representar um papel fundamental na Educação

Intercultural em vários contextos. Novas iniciativas têm sido testadas neste senti-
do mas o suporte teórico é escasso. A fusão entre a Etnomusicologia e a Edu-
cação pode ser particularmente produtiva neste domínio, produzindo dimensão
teórica para o trabalho a realizar. Este artigo considera a formação de professores,
a gestão escolar, e o seu relacionamento com a Educação Intercultural nas per-
spectivas da interacção colaborativa, do comportamento performativo e da prod-
ução criativa. Refere o projecto Música, sinergias e interculturalidade como ponto
de partida para análises futuras.
Keywords: education; Ethnomusicology; music; intercultural dialogue; school;
performing arts

Introduction: performance, culture, Ethnomusicology and education

The state of knowledge regarding the fusion of Ethnomusicology with the educa-
tional sciences, especially where the use of music in general education is con-
cerned, is rather limited in scope. If we contrast this with the enormous impact
that music has on the daily lives of students of all ages, we can ask why educa-
tional theory does not take more notice of this art form and how it can be turned
into a powerful educational tool. Although many programmes, projects and initia-
tives take place in schools around the globe, the theoretical literature on the topic
remains underdeveloped. It is therefore not surprising that school management
and decision-makers tend to be unfamiliar with the educational potential for art
and music at a time when conservative ideological winds have been downplaying

*Email: saojose@fcsh.unl.pt

ISSN 1467-5986 print/ISSN 1469-8439 online

Ó 2011 Taylor & Francis
http://dx.doi.org/10.1080/14675986.2011.617424
http://www.tandfonline.com
318 M.S.J. Côrte-Real

the importance of music and the performing arts in education, both in Europe and
North America. The increasing diversity found in urban schools on these conti-
nents calls for innovative strategies and music may play an important role in tak-
ing full advantage of this diversity. The collaborative, active and creative
dimensions of education can be enhanced through music. The relationship of
music to culture (and hybrid culture) and identity offers an opportunity within the
educational realm to assist young people in their attempts to reach their full
potential and succeed in society.
The field of Ethnomusicology studies music as a human phenomenon, as human
expression. Though an initial focus was on isolated and somewhat ‘deviant’ com-
munities, since the 1970s there has been increasing interest in novel hybrid musical
expressions that have emerged from multicultural urban areas. The recent study of
music and migration (see e.g. Baily and Collyer 2006; Côrte-Real 2010) has devel-
oped conceptual and theoretical tools that can be particularly meaningful for the
education field. The model put forward by Merriam in The Anthropology of Music
(1964, 32) serves as a good starting point for theoretical discussions on the topic.
His model draws attention to the study of music as culture and examines how
music concepts, behaviours and products relate. Work by Reyes-Schramm (1979)
and others take the analysis further. Reyes has developed the foundations for the
study of ethnicity and human interaction through musical expressions in urban
multicultural environments. Kingsbury (1988) looked at a school as a cultural sys-
tem, questioning music, talent and performance. Seeger (1987, 84) asks the perti-
nent questions of What? Who? How? Where? When? To whom? and Why? do
people make music.
The fusion of Ethnomusicology and Education allows for the development
of Kingsbury’s notion of textured understanding, considered as a structure of
interwoven elements (http://www.thefreedictionary.com, accessed 30 November
2010) of life seen as a performance event. In this sense, the informed use of
any kind of music experience at school will serve the educational task in the
democratic and critically developed ambiance defended by Woodford (2005).
Among recent achievements regarding the relationship between the two areas of
inquiry, the book Facing the Music by Huib Schippers (2010) at the Oxford
University Press describes his experiences in different educational settings
throughout the world and provides reflections and documents for applied situa-
tions such as interview guidelines, pedagogical strategies and bibliographies.
Even more recently, the panel Music and Education: New Challenges in a
Changing World organized by Côrte-Real at the International Conference Music
and Knowledge in Transit, at the Universidade Nova de Lisboa in October
2010 (http://www.e-cultura.pt/NoticiaDisplay.aspx?ID=2888, accessed 30 Novem-
ber 2010), discussed the fusion of the two academic areas for the benefit of
intercultural education. Emeritus professor Jagdish Gundara, president of IAIE
and UNESCO Chair for Intercultural Education and Teacher Education, chaired
the panel, and Patricia Campbell, Vice President of the Society for Ethnomusi-
cology, Donald E. Peterson Professor of Music at the University of Washing-
ton, discussed the presentations. The use of music as a privileged tool for
intercultural communication was stressed and advocated, referring to the inter-
cultural character of most music, highlighting the added value of this pedagogi-
cal resource in need of conceptual and theoretical production (conference
proceedings due for publication in the future).
 Intercultural Education 319

School problems and hopes

Though the importance of non-verbal behaviour in communication is now well
accepted in psychology (see, e.g. Kupperbusch et al. 1999, 17), it is largely
ignored in educational contexts. Expressive behaviour in general is almost absent
in the pedagogical repertoire of public schools (see, e.g. Bamford 2006). Some of
key reasons relate to inadequate curricula, inadequate teacher education, inade-
quate school buildings, facilities and environments. My own teaching practice,
especially with 9–11 year olds, has confirmed such shortcomings, at least in the
Portuguese context.
Another, more impactful reason perhaps, is the Western dichotic model that
separates mind and body. This model, long dominant in the west, and gaining
hegemonic status throughout the world, can be interpreted as resulting from a lack
of academic respect for fields outside of what have thus far been the mainstream
canons of educational policy associated with intellectual reasoning. However, con-
temporary society with its diversity demands the development of new competenc-
es for general education (see also the theory by Gardner [1991] on multiple
intelligences). Among them is the skill of awareness, referring to the ability to
perceive, feel and be conscious of ourselves, others, objects, events and patterns
that surround us. This involves both the mind and body, embedded not only in
reason but also in emotion.
The performing arts, especially those involving music, dance and drama may
be particularly effective in the development of this awareness. Though they have
proven their value around the globe they have been compartmentalized in separate
vocational schools and even here conservative methods and repertoires are the
norm.

Ethnographic representations and their methodology: the MUSSI project

I will now turn to some of my own work to illustrate the general observations
made above. My own role had three dimensions: I was team leader, a per-
forming actor and a researcher in Ethnomusicology and education. There is a
more lengthy discussion of the MUSSI project in Volume 19.1 of Intercultural
Education (Côrte-Real 2008), so I will only highlight the main characteristics
below.
MUSSI stands for Music, Synergies and Interculturality.1 It was a pilot project
that I developed during my postdoctoral research to study the use of music and per-
formance practices in elementary school education.2 Based on the theoretical
insights of Banks et al. (2001), Banks (2003) and Parker (2003) regarding demo-
cratic teaching and multicultural education, it stressed the importance of the equilib-
rium between diversity and unity in relationships strategies.
Quantitative and qualitative research-action procedures were the key research
methodologies used in the project. The most difficult part of this project was
drawing the interest of decision-makers and involving them in the project itself.
The intense and rich hands-on experience involved what I would like to refer to
as ‘clinical reasoning methods’. This terminology, borrowed from the medical
education field, includes understanding the dissimilar linguistic and cultural back-
grounds of the learners, an emphasis on pace and clarity of speech and a pre-
sentation of conceptual frameworks instead of detailed discourse on subjects
320 M.S.J. Côrte-Real

(Dhaliwal 2009), as well as reinforcing the expressiveness of body behaviours,

spoken word and musical sounds. In this sense, the workshop participants –
teachers, performing actors and pupils – undertook a very active and meaningful
role in the project. The conditions were always challenging. The work spaces at
school had to be re-created every week. Desks and chairs were removed from
classrooms, library services were momentarily interrupted, and moving outdoors
if weather permitted, etc. The venues for public presentations posed similar chal-
lenges: a huge circular stage in a local shopping centre, a large space in front
of the screen of one of the local cinemas, a huge outdoor stage, a charming
chapel and the old cloisters of what is now a local municipal museum. These
challenging conditions did promote the fluidity and creative work within the pro-
ject. With respect to music and movement, the variety was enormous: hip-hop;
sacred songs and baroque canon influenced sounds; makwayela dance from
Mozambique; Tchaikovsky piano accompanied creative dance; current bollywood
dances from New Delhi; traditional melodies on violins accompanied by guitars;
newly composed pieces for flute, drums and voices; spoken and unspoken dia-
logues; storytelling; group expressions of rhythmic and melodic nature using
musical instruments such as violins, guitars, flutes and drums, as well as a
diversity of body and vocal work of different sorts.
The project and hence the study took place in Loures, in the urban border-
lands of industrial Lisbon. The school here catered to a highly multicultural
population. The project started with a survey of performing art practices being
used in each school. Sixty-three elementary schools (first cycle), and 11 second
and third cycle schools, to which they were administratively connected, were
visited and their managers briefly interviewed.3 No less than 87.3% responded
to the questionnaires that were distributed. The analysis of the questionnaires
revealed that teachers felt their education had not prepared them for using the
performing arts in school. Room availability, lack of equipment, lack of quali-
fied experts and class size were among the other commonly mentioned prob-
lems. Many teachers did acknowledge, however, that the performing arts could
be beneficial. They mentioned the development of aesthetic sensibilities, the
development of citizenship values, the quest for new learning tools, the devel-
opment of body movement and coordination, intercultural sensitivity, developing
respectful attitudes towards others, as well as creating a positive and relaxing
atmosphere among the children.
Three consultative meetings took place after the survey phase. Teachers, repre-
sentatives from local associations, private companies and local artists with experi-
ence in education were invited to a daylong meeting, in order to include multiple
stakeholders and to discuss what was needed for performing practices to take place
at school. The meetings were supported by the municipal educational services. Due
to municipal support, a cooperative network came into existence between two
schools. The local branch of a Portuguese private company, provided financial sup-
port for individual artists as well as art teachers from local music, dance and theatre
groups and schools.
The study, which looked at the various aspects of the project, covered the three
years that the project was undertaken. Perhaps the main outcome was a growing
awareness, at many levels, that a more global vision was needed, instead of tradi-
tional academic compartmentalized education that artificially separates contents and
individuals at school.
 Intercultural Education 321

Research questions leading to theoretical perspectives

Collaborative interaction
Among the research questions, three were directly connected to the main theoreti-
cal perspectives, relating to the use of the performing arts to promote intercultural
dialogue in educational settings. The first research question was: which webs of
meaning are interconnected for educational purposes? The question is based on
Geertz’s (1973, 5) definition of culture, which states that it is the web of mean-
ings that men weave and in which he is sustained. This web seems larger and
more complex than ever with the advent of the World Wide Web. Geertz further
stressed that in order to succeed we need to interpret the meanings that surround
and suspend us. Consequently, it seems reasonable that we help children in school
develop their interpretative skills, acting with others in multifarious and collabora-
tive ways. The performing arts allow us to go beyond characters, numbers, shapes
and colours, providing education in musical sounds, movement and a variety of
relationships. Aesthetic decisions and creative proposals become the substance of
our daily work at school. Mind and body become involved in reasoning proce-
dures that do not exclude emotions and can provide for what I would term tran-
scendental experiences. These are critical in an ever-changing society that is
becoming increasingly more diverse, a society that demands flexibility, dynamism
and creativity.
The process within MUSSI was dynamic, cooperative and inclusive. Instead
of borrowing from isolated disciplines, the project was grounded in an interdis-
ciplinary approach that highlighted the interrelations between separate curricular
subjects. What had previously been considered either general or vocational edu-
cation was developed jointly within the same public school, with community
support, in the presence of both teachers and performing actors from outside
the school. Pupils and teachers discovered competences they never imagined
they had. Part of the process involved integrating the emotional into the intel-
lectual sphere. Emotions were seen as positive expressions that could lead to
further understanding. There was a place for intellectual reasoning and emo-
tional action, and of course, for bodywork, the most visible dimension of
MUSSI. Sound, animation, fun, responsibility, but also certain levels of frustra-
tion, collaboration and novelty were frequently mentioned. These activities were
all very new to almost everybody involved. This grass-roots work gave rise to
a theoretical conclusion that arose from this first question: the performing arts
function as effective means to connect diverse sub-cultures or webs of meaning
at schools.

Performing arts behaviour

The second research question was: how does one best promote efficient communi-
cation at various levels? It is important to stress here that the performing arts, such
as music, dance and drama are not necessarily good pedagogical tools for all pur-
poses. A key factor that makes them more or less valuable as educational tools is
how we communicate through them. Education and Communication scientists have
written about different communication paradigms and their respective effects on the
construction of individual identities (e.g. Bertrand and Valois 1999; Buckingham
2003; Sfez 2004; Littlejohn and Foss 2008). Barone (2008) identifies three commu-
322 M.S.J. Côrte-Real

nication paradigms with very different, potentially opposite, results in education.

Depending on the communicational strategy developed, the results may ultimately
be centred on the transmission of dominant values and knowledge; on the construc-
tion of the individualized subjects and on the creation of communities of people
and emerging modes of life, respectively (48).
In the MUSSI project, the workshops made use of various communication
techniques. The strategies were developed through the collaboration between the
external performing actor and a teacher. This led to multiple outcomes – there
were no methodologies imposed by the coordinating team. The variety of work
developed in the various workshops showed the versatility of the performing
arts in what Gardner (1983) has referred to as multiple intelligences: Linguistic;
Logical-mathematical, Musical, Bodily-kinesthetic, Spatial, Inter-personal and
Intrapersonal intelligence. The novelty of using physical position and activity
as a learning technique, making use of tactile communication, were completely
new realms of behaviour for the participants. Many students felt this ‘work’
was very cool.
It created emotional ties and channels of trust between pupils, performing actors
and teachers and improve levels of self-confidence among the children. In many
cases, a focus on these ignored multiple intelligences turned so-called ‘problematic
pupils’ into experts and highly collaborative peers. Teachers were genuinely sur-
prised by what the children were capable of.
Different types of communication were tested in this project. Using concepts
developed by Michael Polanyi in the 1960s (1966, 1969) often deployed in man-
agement training in large companies (Nonaka 2005), we observed that different
instances of tacit as well as explicit knowledge took place. The theoretical conclu-
sion derived from this research question is: the performing arts are extraordinarily
suited for employing different communication strategies.

Creative production
The third and last question related to the effectiveness of the performing arts as a
pedagogical tool for creative production and intercultural education. To what extent
and why are the performing arts effective for intercultural dialogue? Do they allow
for the development of individual and group talents and creative capacities? Are
they helpful in constructing dynamic and fluid individual identities (e.g. Bauman
1996, among others)? Can we educate young people for the global vision as Edgar
Morin (2009) urges us to do? With Simon Frith (1996) I stress that people’s identity
is mobile and that the educative work with music helps to understand this intri-
cately dynamic process.

Music (as well as related performing practices) constructs our sense of identity
through the direct experiences it offers of the body, time and sociability, experiences
which enable us to place ourselves in imaginative cultural narratives. Such a fusion of
imaginative fantasy and bodily practice marks also the integration of aesthetics and
ethics. (Frith 1996)

In line with the above, the MUSSI project embraced an OPEN (order, perception
of difference, emotion and novelty) strategy of education and arts (Côrte-Real
2006). Each phase of the MUSSI project included three different moments:
 Intercultural Education 323

(1) Collaborative conception/composition.

(2) Separate rehearsals.
(3) Joint public presentations.

Educative work involving arts was developed together by teachers and students
from different classes and grades, run by a performing actor from outside the
school.
The human nature of music and the musical nature of human beings, central to
ethnomusicological thought for a long time, was discussed by Blacking (1973) in
How Musical is Man? On the last page of his book, Blacking (1973, 115) proposes
that the source of cultural creativity is the consciousness that springs from social
cooperation and loving interaction. That consciousness or awareness which springs
from social cooperation is of paramount importance for intercultural education. The
more engaged and free the relationship is, the better the creative results. Hence, the
theoretical conclusion derived from the last research question states that the
performing arts are effective for intercultural dialogue because they stem from
artistic relationships involving different human beings in social contexts.

Conclusions
MUSSI tested a new educational model that engaged performing actors, teachers
and pupils, working with unpredictable situations and with a global perspective,
promoting different levels of freedom in individual and group activities, and involv-
ing rational, emotional and physically challenging rehearsals. Through the concep-
tion and rehearsal of imagined narratives, using a variety of performing arts, it
promoted individual as well as group responsibility in compositional, interpretive
and representational activities at school, preparing pupils for predictable and less
predictable life in society. The performing arts, within such a context, promote
intercultural dialogue through a variety of means, enabling us to meaningfully
explore new insights. Morin (1999, 2009)4 advocates for good educational practice
and defines this as the valorization of error and illusion, of pertinent knowledge, of
teaching the human condition, of considering an earthy identity, of facing uncer-
tainty, of teaching comprehension and ethics, and finally of respecting human
gender.
MUSSI lets us understand that performing practices, linking theory to practice
and practice to theory in a creative, responsible, active, motivated and motivating
way, nurture intercultural dialogue. The performing arts, here involving music,
dance and drama, make use of spaces where boundaries are less defined, and where
solidarity and responsibility constantly interact with new contextual proposals in
need of creative processes and products.
Regarding the importance of this project for the participants, we can point to the
overwhelming positive feedback from experienced school directors. The performing
arts were valued and recognized as important for the school curriculum – proving to
be effective for both intercultural and special needs education, but also beyond these
types of education. The research associated with the project revealed improved
grades, a qualitative increase in indicators of happiness as well as engagement with
the school. Further improvements related to peer-to-peer relation issues in the school,
pupil to teacher relations and family–school relations. The outdoor performances
attracted community support for the school in different ways. The deep economic
324 M.S.J. Côrte-Real

crisis experienced by Portugal since 2008, however, has negatively impacted possi-
bilities for the project to be repeated or strengthened. Central government directives
do not prioritize the integration of the performing arts into school activities.
The impact of the project on the students, their families, teachers and the school
personnel can still be felt through the local, national and international recognition
the project has received, but also in the networks that have been created (see Costa
and Côrte-Real 2010). National, as well as local, educational policies have, how-
ever, been reticent to acknowledge the benefits of such projects as MUSSI. Thus
the challenge to convince policy-makers to embrace a less traditional and more
effective view of education, especially during economically harsh times, continues.

Notes
1. MUSSI was the name of a she-cat, one of the first characters invented of the project’s
year of launch.
2. I especially express here my gratitude to Carlos Cardoso, my academic advisor for this
project. I would further like to thank all who participated in MUSSI as well as Jorge Mur-
teira (who also edited a film), Maria da Luz Costa and Luis Gomes among many others.
3. In Portugal, the correspondence of Basic Education cycles and student ages are as fol-
low: first cycle, 6–10; second cycle, 10–12; third cycle, 12–15.
4. In a keynote speech at a colloquium in Viseu, Portugal, on 22 May 2009, Edgar Morin
proposed that each government should create its own Observatory of Inequalities, eco-
nomic in nature, to list and to reduce them every year.

Notes on contributor
Maria de São José Côrte-Real is associate researcher, European Program Science (Fundação
para a Ciência e Tecnologia), at the Instituto de Etnomusicologia, Faculdade de Ciências
Sociais e Humanas, Universidade Nova de Lisboa, with MA and PhD in Music:
Ethnomusicology from Columbia University, New York, and a Pos-Doc in Educational
Sciences in the Escola Superior de Educação de Lisboa / Universidade Nova de Lisboa.

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