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Singing The Rights We Do Not Possess
1
"A dissensus is not a conflict of interests, opinions or values; it is a division inserted in ‘common sense’: a dispute over what is given and about the frame within which we see something as given. Women [during the French revolution], as political subjects, set out to make a two-fold statement. They demonstrated that they were deprived of the rights that they had thanks to the Declaration of Rights and that through their public action that they had the rights denied to them by the constitution, that they could enact those rights. They acted as subjects of the Rights of Man in the precise sense that I have mentioned.
They acted as subjects that did not have the rights that they had and that had the rights that they had not. This is what I call a dissensus: the putting of two worlds in one and the same world."
(Ranciere 2003, p.69)
Social
Re-integrative Model
"The world you make inside your head is the one you see around you...
...but the one that you see is the one that you make."
(Rickie Lee Jones, 1989)
"Before recorded music became ubiquitous, music was, for most people, something we did."
(David Byrne, 2012)
MUSIC
in three dimensions
Participation-as-Performance
Performance-as-Participation
Praxial;
Participatory
Aesthetic;
Presentational
Singing The Rights We Do Not Possess
The Rights of Community Music
Dancing the rights we do not possess...?
Community Music
In naming CM, we either establish a claim to rights that CM does not possess, which is therefore void, or we establish a claim to rights that CM already has, which is a tautology.
All Music Is Equal
(but some is more equal than others)
https://www.erasmusplus.org.uk/grundtvig-projects
Quality is
Situational
Monastery of Our Lady of Health, Garrovillas de Alconetar
Dave Camlin, Sage Gateshead, UK
dave.camlin@sagegateshead.com
"Pathways to an elusive
Dissensus
Consensus"
"The essence [of politics] is the manifestation of dissensus as
the presence of two worlds in one."
(Ranciere 2003, p.37)
'We encountered a persistent difficulty in drawing together the views of participants into a consistent, coherent account of CM and its activities and practices. The only consistency lay in the diversity of experience. The reluctance to be defined functions as a more or less deliberate strategy for keeping artistic, and most importantly commercial, options open.' (Rimmer, 2012)