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Home » Book Summary » Section 3: Healing and Education
Chapter 9 - Music behind Bars: Testimonies of Suffering, Survival and TransformationKjell SkyllstadInspired by a letter from a prisoner serving a long term sentence
in a US high security jail, the article takes a close look at the
way prison experiences are mirrored through songs from different
times and places. The author then proceeds to explore the use of
music in projects of rehabilitation, focusing on educational prison
programs designed to help inmates find cultural roots anew, develop
empathy with victims, and finally prepare for a life in freedom.
Chapter 10 - Healing Cultural Violence: Collective Vulnerability through Guided Imagery with MusicVegar JordangerThe aim of this chapter is to explore in depth a particular case
in Crimea, organized and facilitated by the author, during which
Guided Imagery with Music (GIM) was introduced at a critical phase
of a dialogue with Chechen, North-Ossetian and Russian participants
and to understand the processes that took place. Specifically, we
want to demonstrate the transformation of group emotional tensions
into a flowing ‘moment’ called collective vulnerability
by Neimeyer and Tschudi (2003). We will also clarify the contributions
of David (2005) and Tomkins (1992) to a theoretical understanding
of these processes.
Chapter 11 - Music Therapy: Healing, Growth, and Inner PeaceMaria Elena Lopez VinaderThis chapter explains how music is used for healing and rehabilitation
in Music Therapy and also how it is used to create a culture of
peace. The frameworks for treatment A continuum of awareness as
well as Logotherapy and the Transcend Method are defined and illustrated.
The work of Music Therapists for Peace is presented with concrete
experiences in this innovative field of using the power of music
for peace.
Chapter 12 - Managing Conflicts through Music: Educational PerspectivesKjell SkyllstadBased on the historical and theoretical foundations of music education,
the results of his 3 year school research initiative in 18 Oslo
primary schools, and his life time experiences as a music ethnologist
and music educator, the author develops a consistent theory of music
as an agent for conflict prevention and transformation in the multicultural
school and community at large. Special emphasis is put on the function
of music playing as a vehicle for cooperative learning in classroom
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