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Chapter 2 From Boy in a Boat to Searching for Song
In: My Body Was Left on the Street
Chapter 3 Displacement and Music Education
In: My Body Was Left on the Street
Part 4 Land(s) and Culture
In: My Body Was Left on the Street
Part 1 The Setting
In: My Body Was Left on the Street
Chapter 1 Charting the Land(s)-scape(s)
In: My Body Was Left on the Street
In: My Body Was Left on the Street
Part 2 Process/Pedagogy
In: My Body Was Left on the Street
Volume Editors: and
Displacement, relocation, dissociation: each of these terms elicits images of mass migration, homelessness, statelessness, or outsiderness of many kinds, too numerous to name. This book aims to create opportunities for scholars, practitioners, and silenced voices to share theories and stories of progressive and transgressive music pedagogies that challenge the ways music educators and learners think about and practice their arts relative to displacement.
Displacement is defined as encompassing all those who have been forced away from their locations by political, social, economic, climate, and resource change, injustice, and insecurity. This includes:

- refugees and internally displaced persons;
- forced migrants;
- indigenous communities who have been forced off their traditional lands;
- people who have fled homes because of their gender identity and sexual orientation;
- imprisoned individuals;
- persons who seek refuge for reasons of domestic and social violence;
- homeless persons and others who live in transient spaces;
- the disabled, who are relocated involuntarily; and
- the culturally dispossessed, whose languages and heritage have been taken away from them.

In the context of the first ever book on displacement and music education, the authors connect displacement to what music might become to those peoples who find themselves between spaces, parted from the familiar and the familial. Through, in, and because of a variety of musical participations, they contend that displaced peoples might find comfort, inclusion, and welcome of some kinds either in making new music or remembering and reconfiguring past musical experiences.

Contributors are: #4459, Efi Averof Michailidou, Kat Bawden, Rachel Beckles Willson, Marie Bejstam, Rhoda Bernard, Michele Cantoni, Mary L. Cohen, Wayland “X” Coleman, Samantha Dieckmann, Irene (Peace) Ebhohon, Con Fullam, Erin Guinup, Micah Hendler, Hala Jaber, Shaylene Johnson, Arsène Kapikian, Tou SaiKo Lee, Sarah Mandie, David Nnadi, Marcia Ostashewski, Ulrike Präger, Q, Kate Richards Geller, Charlotte Rider, Matt Sakakeeny, Tim Seelig, Katherine Seybert, Brian Sullivan, Mathilde Vittu, Derrick Washington, Henriette Weber, Mai Yang Xiong, Keng Chris Yang, and Nelli Yurina.
The series is intended to serve as a forum for highlighting creative solutions to educational challenges, especially in relation to equity, justice and inclusion.

Our conception of education is not limited to schooling and we have a particular interest in different and new perspectives. Works from scholars working in a range of fields are included, as are contributions from interdisciplinary research and emerging areas of research. Books in this series contribute to extending educational and social theory and developing frameworks that explore change and progress as well as the identification of new research agendas and interests.
The Series Editors are pleased to invite proposals for their book series, Innovations and Controversies: Investigating Educational Change. We welcome proposals for edited, sole-authored or co-authored books. Interested colleagues can contact the series editors at Kitty.TeRiele@utas.edu.au, André De Quadros, Fiona MacDonald.
In: Poking the WASP Nest