Search results for ""author ajay heble""

Building on the concept of a "teaching community," Heble and his contributors explore what it might mean for teachers and students to reach outside the walls of the classroom and attempt to establish meaningful connections between the ideas and theories they have learned and the broader community beyond campus. Utilizing a case study approach, the chapters in this volume are conceptually and practically useful for teachers and students involved in thinking about and implementing community-based forms of teaching and learning. Classroom Action links teaching and research in genuinely innovative ways, and provides a range of dissemination strategies to inspire broad-based outcomes and impact among a diverse range of knowledge-users. It marks a major advance on the ways in which the relationship among pedagogy, human rights, and community-based learning has hitherto been theorized and practiced. The community-based learning at the centre of Classroom Action prompts a radically new means of thinking about what teachers do in the classroom, and how and why they do it.

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Building on the concept of a "teaching community," Heble and his contributors explore what it might mean for teachers and students to reach outside the walls of the classroom and attempt to establish meaningful connections between the ideas and theories they have learned and the broader community beyond campus. Utilizing a case study approach, the chapters in this volume are conceptually and practically useful for teachers and students involved in thinking about and implementing community-based forms of teaching and learning. Classroom Action links teaching and research in genuinely innovative ways, and provides a range of dissemination strategies to inspire broad-based outcomes and impact among a diverse range of knowledge-users. It marks a major advance on the ways in which the relationship among pedagogy, human rights, and community-based learning has hitherto been theorized and practiced. The community-based learning at the centre of Classroom Action prompts a radically new means of thinking about what teachers do in the classroom, and how and why they do it.

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In People Get Ready, musicians, scholars, and journalists write about jazz since 1965, the year that Curtis Mayfield composed the famous civil rights anthem that gives this collection its title. The contributors emphasize how the political consciousness that infused jazz in the 1960s and early 1970s has informed jazz in the years since then. They bring nuance to historical accounts of the avant-garde, the New Thing, Free Jazz, "non-idiomatic" improvisation, fusion, and other forms of jazz that have flourished since the 1960s, and they reveal the contemporary relevance of those musical practices. Many of the participants in the jazz scenes discussed are still active performers. A photographic essay captures some of them in candid moments before performances. Other pieces revise standard accounts of well-known jazz figures, such as Duke Ellington, and lesser-known musicians, including Jeanne Lee; delve into how money, class, space, and economics affect the performance of experimental music; and take up the question of how digital technology influences improvisation. People Get Ready offers a vision for the future of jazz based on an appreciation of the complexity of its past and the abundance of innovation in the present. Contributors. Tamar Barzel, John Brackett, Douglas Ewart, Ajay Heble, Vijay Iyer, Thomas King, Tracy McMullen, Paul D. Miller/DJ Spooky, Nicole Mitchell, Roscoe Mitchell, Famoudou Don Moye, Aldon Lynn Nielsen, Eric Porter, Marc Ribot, Matana Roberts, Jaribu Shahid, Julie Dawn Smith, Wadada Leo Smith, Alan Stanbridge, John Szwed, Greg Tate, Scott Thomson, Rob Wallace, Ellen Waterman, Corey Wilkes

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An imaginative and passionate synthesis of form and function, Landing on the Wrong NOte goes beyond mainstream jazz criticism, outlining a new poetics of jazz that emerges not from the ivory tower but from the clubs, performances, and lives of today's jazz musicians.

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Drawing on original interviews with improvising musicians, on critical pedagogy and cultural studies, and on the authors’ personal histories with improvised music as a form of activism, community-based pedagogy, Jamming the Classroom examines how the teaching and learning of improvisational musical practices can be understood as vital and publicly resonant acts that generate new forms of knowledge, new understandings of identity and community, and new imaginative possibilities. The book takes its cue not just from the learning in conventional classrooms and credentialing institutions but also from the work that happens in and through broader communities of practice. Heble and Stewart ask how the improvisational practices of artists and the internal educational endeavors within community groups model—and enact—new forms of community-making and critical thinking, as well as what it means to theorize the pedagogy of improvised music in relation to public programs of action, debate, and critical practice and the context of material practices and struggles for institutional authority.

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Times change, lives change, and the terms we need to describe our literature or society or condition—what Raymond Williams calls “keywords”—change with them. Perhaps the most significant development in the quarter-century since Eli Mandel edited his anthology Contexts of Canadian Criticism has been the growing recognition that not only do different people need different terms, but the same terms have different meanings for different people and in different contexts. Nation, history, culture, art, identity—the positions we take discussing these and other issues can lead to conflict, but also hold the promise of a new sort of community. Speaking of First Nations people and their literature, Beth Brant observes that “Our connections … are like the threads of a weaving. … While the colour and beauty of each thread is unique and important, together they make a communal material of strength and durability.” New Contexts of Canadian Criticism is designed to be read, to work, in much the same manner.

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In People Get Ready, musicians, scholars, and journalists write about jazz since 1965, the year that Curtis Mayfield composed the famous civil rights anthem that gives this collection its title. The contributors emphasize how the political consciousness that infused jazz in the 1960s and early 1970s has informed jazz in the years since then. They bring nuance to historical accounts of the avant-garde, the New Thing, Free Jazz, "non-idiomatic" improvisation, fusion, and other forms of jazz that have flourished since the 1960s, and they reveal the contemporary relevance of those musical practices. Many of the participants in the jazz scenes discussed are still active performers. A photographic essay captures some of them in candid moments before performances. Other pieces revise standard accounts of well-known jazz figures, such as Duke Ellington, and lesser-known musicians, including Jeanne Lee; delve into how money, class, space, and economics affect the performance of experimental music; and take up the question of how digital technology influences improvisation. People Get Ready offers a vision for the future of jazz based on an appreciation of the complexity of its past and the abundance of innovation in the present. Contributors. Tamar Barzel, John Brackett, Douglas Ewart, Ajay Heble, Vijay Iyer, Thomas King, Tracy McMullen, Paul D. Miller/DJ Spooky, Nicole Mitchell, Roscoe Mitchell, Famoudou Don Moye, Aldon Lynn Nielsen, Eric Porter, Marc Ribot, Matana Roberts, Jaribu Shahid, Julie Dawn Smith, Wadada Leo Smith, Alan Stanbridge, John Szwed, Greg Tate, Scott Thomson, Rob Wallace, Ellen Waterman, Corey Wilkes

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The Fierce Urgency of Now links musical improvisation to struggles for social change, focusing on the connections between the improvisation associated with jazz and the dynamics of human rights struggles and discourses. The authors acknowledge that at first glance improvisation and rights seem to belong to incommensurable areas of human endeavor. Improvisation connotes practices that are spontaneous, personal, local, immediate, expressive, ephemeral, and even accidental, while rights refer to formal standards of acceptable human conduct, rules that are permanent, impersonal, universal, abstract, and inflexible. Yet the authors not only suggest that improvisation and rights can be connected; they insist that they must be connected. Improvisation is the creation and development of new, unexpected, and productive cocreative relations among people. It cultivates the capacity to discern elements of possibility, potential, hope, and promise where none are readily apparent. Improvisers work with the tools they have in the arenas that are open to them. Proceeding without a written score or script, they collaborate to envision and enact something new, to enrich their experience in the world by acting on it and changing it. By analyzing the dynamics of particular artistic improvisations, mostly by contemporary American jazz musicians, the authors reveal improvisation as a viable and urgently needed model for social change. In the process, they rethink politics, music, and the connections between them.

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The Fierce Urgency of Now links musical improvisation to struggles for social change, focusing on the connections between the improvisation associated with jazz and the dynamics of human rights struggles and discourses. The authors acknowledge that at first glance improvisation and rights seem to belong to incommensurable areas of human endeavor. Improvisation connotes practices that are spontaneous, personal, local, immediate, expressive, ephemeral, and even accidental, while rights refer to formal standards of acceptable human conduct, rules that are permanent, impersonal, universal, abstract, and inflexible. Yet the authors not only suggest that improvisation and rights can be connected; they insist that they must be connected. Improvisation is the creation and development of new, unexpected, and productive cocreative relations among people. It cultivates the capacity to discern elements of possibility, potential, hope, and promise where none are readily apparent. Improvisers work with the tools they have in the arenas that are open to them. Proceeding without a written score or script, they collaborate to envision and enact something new, to enrich their experience in the world by acting on it and changing it. By analyzing the dynamics of particular artistic improvisations, mostly by contemporary American jazz musicians, the authors reveal improvisation as a viable and urgently needed model for social change. In the process, they rethink politics, music, and the connections between them.

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