Music Festivals as Community Learning and Development
Chapter 2. Refolkus: Arts-Based Community Learning and Development
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REFOLKUS: ARTS-BASED COMMUNITY LEARNING AND DEVELOPMENT
Folk music no longer signifies what it once did, an anthropologically located music-machine for the production of autonomous subjectivity. The 20th century’s industrial revolution—Taylor’s 1911 Principles of Scientific Management actualized by Ford’s mass production facilities married to mass marketing—has transformed the production and sale of everything from automobiles to Zambonis. Nothing has been left unaltered by these changes, including the production of subjectivity.
Wendell Berry, the well-known cultural critic, poet, and farmer, compellingly argued, as long ago as 1977, that the American industrial philosophy of growth at all costs was negatively impacting the cultivation of food and the “unsettling of America” was an ecological crisis that was, at its very root, a crisis of culture defined as the relations between people and the world, the production of sustainable ecosphere. He argued that “a healthy culture is a communal order of memory, insight, value, work conviviality, reverence, aspiration. It reveals the human necessities and the human limits. It clarifies our inescapable bonds to the earth and to each other” (43). Berry’s idea prefigures that of Wade Davis and of recent writing on the anthropocene or my own predatory anthropocene. For Berry, a sustainable anthropocene (ethnosphere-biosphere) emerges from a system where a member of the ← 13 | 14 → community acts with responsibility and reciprocity in a culture of belonging. In Belonging: A Culture of Place, bell hooks (2009) wrote: “To live in communion with...
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