Abstract and Keywords
Choral music is frequently regarded as the most widespread form of participatory music making and is increasingly regarded as a locus for personal agency, community bonding, and social change. However, the dominant aesthetic paradigm, choice of repertoire, leadership dynamic, and relationship of performance to stage and location speak to an exclusionary practice. The chapter discusses the nature of choral practice and refers to the nature of exclusion as situated in concepts of justice and Boal’s artistic process for the oppressed. The second part of the chapter presents two case studies in community choral music grounded in social inclusion. The two cases are situated in the American incarceration system and an Arab town in Galilee.
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