SHOSHANNA GOTTESMAN
Shoshana Gottesman devotes her time to the exploration and development of dialogical musical spaces as locations for youth-led conflict transformation. By combining her years of experience in the fields of music education and values-based education with her studies in peace building and human rights education from Teachers College, Columbia University, Shoshana has enjoyed invaluable experiences in teaching budding musicians, teacher and facilitator preparation courses, program and curriculum writing, and publishing. The cross-section of critical pedagogy, music education, values-based education, education philosophy, and curriculum writing are her current exploratory spaces of play. Shoshana has worked with Israeli-Palestinian music education – encounter dialogue programs, such as Heartbeat and The YMCA Jerusalem Youth Chorus, in addition to Cultures in Harmony-Atlas Music Festival, and the Nawa Music Center in Taybieh. The methodologies she uses are continuously being developed and explored as a violist and music educator – activist.
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We are Here—هون إحنا –כאן אנחנו—Within the Same Binational Educational Process, but in Differing Intersectional Power
Dynamics... So Where are We?
Dynamics... So Where are We?
What is needed or is missing within our critical pedagogies, anti-oppressive curricula, and
practice in binational music education spaces? Within the intergroup oppression complex of
Israel-Palestine, there is an intermingling web of factors of occupation, systemic injustice,
minority marginalization, patriarchy, and colonialism, enabling the Israeli-Palestinian conflict to
continue in complex ways, affecting race, gender, sexual orientation, ethnicity, and religious
affiliations circuitously. Challenging this requires dually making space for curricula development
alongside dialectic conversations about how co-creation through dialogical musical spaces and
musicking (Small, 1999) compliments educational dialogue as they both revolve around
interpersonal and intergroup dynamics, requiring employing intersectionality.
practice in binational music education spaces? Within the intergroup oppression complex of
Israel-Palestine, there is an intermingling web of factors of occupation, systemic injustice,
minority marginalization, patriarchy, and colonialism, enabling the Israeli-Palestinian conflict to
continue in complex ways, affecting race, gender, sexual orientation, ethnicity, and religious
affiliations circuitously. Challenging this requires dually making space for curricula development
alongside dialectic conversations about how co-creation through dialogical musical spaces and
musicking (Small, 1999) compliments educational dialogue as they both revolve around
interpersonal and intergroup dynamics, requiring employing intersectionality.