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power structures which subordinate them, with strategies of educational integration into the system itself, and yet whom seek to transform it radically. The chapter aims to cover a type of approach absent from certain specialized literature on the topic: to trace the monitoring of ← 7 | 8 → youth in situations of racial, class and gender subordination or stigmatization, who pursued projects of “libertarian education” at secondary school level, in line with the perspective of “consciousness raising” conceived by the educator Paulo Freire. Stauber presents a range of

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, 268 dramatistic approach to education 276 equipment fetish 267 ethical aesthetics 274 film production ecology 287 film school 10 , 31 , 37 , 68 , 81 , 125 , 152 , 161 , 202 , 226 , 264 – 268 , 270 , 271 , 273 – 278 , 281 – 283 , 285 , 286 , 288 Film School as Unique Potential 265 film script development 267 film theory 269 , 275 Freire, Paulo 275 Full Sail 268 , 269 Gibson, Ben 266 i. Burke and the Curriculum 271 ii. Burke and Ethical Enhancement 273 iii. Burke and Film Education 278 Laermans, Rudi 285 Latour, Bruno 287 , 313

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. 152 Eva Koethen: Zwischen Bild, Sprache und Theorie oder: der Versuch einer ‚inklusiven‘ Ästhetik. In: Eva Koethen: Kunst im Bildungsprozess , a. a. O., S. 27. 153 Vgl. Eva Koethen / Christine Hümpel-Lutz: Elementarästhetisches Lernen und Identitätsbildung. Zwischen körperlich erfahrbaren Räumen und medialen Erlebniswelten balancieren. In: Joachim Dabisch (Hg.): Internationale Pädagogik. Paulo Freire und das Bildungswesen. Freire-Jahrbuch 8, Oldenburg: Paulo Freire 2006, S. 134, Anmerkung 9. 154 Schmid vertritt eine Philosophie der Lebenskunst als

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, 150 , 190 , 200 , 212 , 272 , 277 , 292 , 331 , 339 Foucault, Michel 39 , 50 , 111 , 113 , 187 , 198 , 306 , 309 , 310 freedom ix – xiv , 4 , 10 , 25 , 40 , 47 , 49 , 81 , 82 , 135 , 136 , 152 , 153 , 154 , 167 , 180 , 183 , 185 , 193 , 194 , 196 – 197 , 198 , 203 , 204 , 205 , 208 , 209 – 210 , 212 , 216 , 245 , 255 , 257 , 269 , 299 , 334 , 342 , 347 Freire, Paulo 161 , 168 , 173 , 186 , 198 French horn 264 , 265 , 267 , 270 – 273 , 305 French Revolution 39 fundamentalism xii , 18 , 227 funeral

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„Community Music“ 92 wieder, die die Teilhabe aller Interessierten am Musikleben in der Tradition von John Dewey, Maria Montessori, Carl Rogers und Paulo Freire ermöglichen will. 93 „Community music facilitators […] are committed to the idea that everybody has the right and ability to make, create, and enjoy their own music.“ 94 Zu „Communities of practice“ 95 oder „musikalischen Praxisgemeinschaften“ 96 mit flexiblen Strukturen und unterschiedlichen Lern- und Sozialformen können soziokulturelle Jugendzentren und Musikschulen ihr je Eigenes beitragen, denn „[k

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: Trentham Books, 1998. p. 149. 10 Freire. Pedagogy of the Oppressed . 1996. pp. 47–90. 11 This technique reflects Augusto Boal’s use of ‘photo-voice’ in Boal, A. Theatre of the Oppressed . McBride, C. and Leal, M.-O. (trans.) London: Pluto Press, 2000. pp. 120–142; These techniques are also used by Robb, S., O’Leary, P., Mackinnon, A., Bishop, P. Hope, the Everyday and Imaginary Life of Young People on the Margins . Australia: Wakefield Press. 2010; also see Chapter 4 of this thesis for more detail. 12 As also discussed by Boal, A., The Rainbow of Desire, the

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receive it (Huba & Freed, 2000). Freire (1972) coined the term banking education for this methodology, whereby knowledge is “deposited” in the student’s consciousness. Banking education leaves very little room for the student’s participation in shaping knowledge. The student ← 58 | 59 → can only be a recipient of the canons that are delivered by his or her teacher. Needless to say, although learning can take place within this teaching paradigm, its potential for transformative learning is very low. I think to avoid this problem one can recruit ideas from the

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, 119 , 131 , 162 , 208 , 231 , 246 , 290 flux 201 – 5 folk music 111 , 112 , 191 , 244 – 5 , 300 – 1 form 16 , 73 , 81 , 100 – 2 , 124 , 125 , 194 , 195 formalist 179 , 222 , 224 Foucault, M. 1 , 23 – 4 , 110 , 118 , 126 , 141 , 234 Foundation Music 307 – 9 fractal design 206 fragmentation 5 , 56 , 59 , 73 , 125 n, 256 , 288 , 326 frame 59 , 141 , 156 , 278 – 9 , 293 , 321 , 324 , 326 – 7 , 333 freedom 64 , 76 , 82 , 93 , 96 – 8 , 99 , 102 , 125 , 167 – 8 , 200 , 316 , 341 – 2 Freire P. 231 , 232 , 318

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temptation of dependency. The play’s recognition of the neo-colonial dependency of Africa on the Western world is a call for the social order to change. Mda, like the Brazilian adult educator, Paulo Freire, has blasted the concept of a “culture of silence;” he abhors this for he regards it as inimical to the growth and progress of a small developing country like Lesotho. He urges the people to speak out against intolerable behaviour and corrupt practices. By condemning dependency, he encourages hard work and self-reliance. He views unnecessary dependence on aid as a

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Development Officer at Voice (my emphasis). 25 Freire. The Pedagogy of the Oppressed . 1996. p. 78. 26 Key theme throughout Foucault. Discipline and Punish . 1979. 27 A S.M.A.R.T target is an abbreviation for: Specific, Measurable, Attainable, Realistic and Time Bound. Gantt charts are used to show activities (tasks or events) displayed against time. Both of these techniques are used as project management tools within formal business arenas. 28 As was the focus of leading social care policy at this point. 29 Extracts of the young peoples’ work