Page 14 - CJNov_Dec24

Music, Dialogue, and Empathy: Theories of Peacebuilding in Choral Education and Beyond

Practical Strategies for of which being a paper game where each person is giv-
Conflict Transformation en a piece of paper. The idea is to encourage them to
As choral educators, the following hands-on exercis- find the breadth of noises one can make with a piece of
es may offer actionable ways to integrate conflict trans- paper. Crumpling, tearing, rubbing it together, blowing
formation principles into choral rehearsals or the mu- on it, shaking it, hitting it, etc. Students find there is an
sic classroom. These activities may not only enhance amazing amount one can do with a sheet of paper.
students’ musical abilities but also have the potential to These three components—initiate, imitate, or ob-
cultivate essential life skills such as communication, col- serve—are actually an intentional facilitation tech-
laboration, mindfulness, and empathy. Note: framing nique, as students are encouraged to make something
and facilitating is key to the success of these activities. up or do something they saw someone else doing. By
How we frame experiences can either foster creativity framing it as initiate, observe, or imitate, it helps the
and safety or hamper it. Likewise, facilitation can cre- participants to conceptualize what they do as a part of
ate a brave environment to try new things, or it can the whole, even though it’s an individual thing. That
make it feel hostile toward participation. way, as they are making up a sound with the paper or
something else, they are also thinking about it as a way
1. Breathing and Snapping to lead others to make that sound, and they are more
Invite students to notice their natural breathing. In aware of what others are doing around them.
between the inhale and exhale, have them snap their
fingers or give a light tap on their knee. Following 4. Group Improvisation and Drum Circles
each inhale, they can snap before they exhale. Invite Improvisation can be practiced vocally, instrumen-
them to close their eyes if that is better. What occurs tally, and in drum circles. There are many ways this
is a beautiful rhythmic composition, representing each can be led and encouraged, so here are just two strate-
person and their breath. This exercise may be used as a gies for use with voices and/or instruments. The group
prelude to rehearsal, allowing students to center them- can be divided into smaller groups and given different
selves and establish a communal mindset. Their ability simple motives. Encourage them to start to deviate or
to focus may increase, as well as their awareness of con- embellish, no longer needing to replicate the given mo-
nection within a group. tive. Alternatively, you can invite one student to come
up with a simple ostinato (such as a bass line) to repeat
2. Positive Visualization continuously. As students hear that main line, they can
Guide students through visualization exercises where start to add another line or complementary phrases.
they imagine themselves successfully singing together This way, all phrases and motives are developed or-
or achieving some type of goal. Encourage students to ganically. Neutral syllables are typically used. This can
share their visualizations and experience with one an- take time for students to feel comfortable and empow-
other, promoting empathy and understanding. Alterna- ered to sing in this type of way. Group improvisation
tively, lead them through a specific visualization—such fosters creativity, communication, and adaptability, em-
as walking onstage before choral assessments—so they powering students to explore new musical possibilities
are prepared and know they can succeed, working to- together.
ward a common goal. Drum circles are one of the most effective, acces-
sible, and popular ways to encourage group improvisa-
3. Initiate, Imitate, Observe tion. Give each student a percussion instrument—or let
The basis of this activity is to facilitate a group of them choose one—and sit in a circle. Start the group
students around one rule: they either initiate a sound, with a simple rhythm. Invite students to model that
imitate a sound someone else initiated, or observe what rhythm, and then start to add other complementing
others are doing. Those are the three categories of ac- rhythms as they become comfortable. Encourage stu-
tions; otherwise, there are no other rules. This facilita- dents to listen to one another and respond creatively.
tion technique can be used in many creative ways, one Pass the focal point around by encouraging individuals

12 CHORAL JOURNAL November/December 2024 Volume 65 Number 4