Phil Jenkins

In a democracy, disadvantaged group members may experience emotions dissimilar to those of dominant group members. Alison Jaggar calls emotions such as these, outlaw emotions. Interestingly, recent emotion research findings actually accord with Jaggar’s conclusions. In this paper, I argue that members of marginalized, subordinated groups in a democracy, with their enhanced sense of the difference between the promise of equality and the reality of inequality, tend to have more knowledge than dominant group members in political situations, and therefore should be considered even more valuable as leaders than members of dominant groups.

In a democracy, disadvantaged group members may experience emotions dissimilar to those of dominant group members. Alison Jaggar calls emotions such as these, outlaw emotions. Interestingly, recent emotion research findings actually accord with Jaggar’s conclusions. In this paper, I argue that members of marginalized, subordinated groups in a democracy, with their enhanced sense of the difference between the promise of equality and the reality of inequality, tend to have more knowledge than dominant group members in political situations, and therefore should be considered even more valuable as leaders than members of dominant groups.

This paper aims to examine how specific aspects of Bakhtin's theoretical perspective might inform our understanding of improvisation. Moreover, it outlines the possible educational implications of such a perspective. Specifically, a sketch of a Bakhtinian conception of improvisation is proposed, a sketch which emphasizes the cultivation of an attitude of consciousness that leads to an understanding of improvised music making as an obligation to explore the unknown, to search for freedom through the responsibility to attend to the uniqueness of irrevocable musical acts. Moreover, emphasis is given to the potential of improvisation to create a music-making context that counters monologic musical discourses, providing a site of resistance to fixity and closure. It is argued that improvisation is dialogic exactly because it creates a very special sense of interaction, which is characterized by unfinalizability and openness. At the same time, improvisation is in need of temporary finalizations which occur through the presence of the audience and the musicians' struggle to raise their minds 'above' their playing, looking at their music from outside and getting 'back in' again. It is hoped that such a perspective might provide the necessary theoretical tools for re-thinking the role of improvisation in music education. A Bakhtinian view on the experience of improvisation would, it is suggested, be educationally valuable exactly because it regards improvisation not as a problem-solving method but a problem-positing approach: as a musical practice that involves children and young people in the experiential pursuit of freedom and the understanding of the "ought" of imagining ways forward, countering monologue by allowing the flourishing of a polyphony of unmerged voices, constituting a distinctive chronotope which provides the possibility of an enactment of everyday living in musical terms. The decision to improvise marks the initiation of a search for a public musical space which is marked by the absence of fear, where exploration of musical freedom is pursued, where everything might happen but not anything goes.