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Journal articles on the topic 'Music Education Sweden'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 February 2022

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1

Georgii-Hemming, Eva, and Maria Westvall. "Music education – a personal matter? Examining the current discourses of music education in Sweden." British Journal of Music Education 27, no. 1 (2010): 21–33. http://dx.doi.org/10.1017/s0265051709990179.

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The embedding of informal practices in music education in school relates to significant issues concerning students' engagement, participation, inclusion and the role of the teacher. This article addresses these issues by presenting and discussing current music education in compulsory comprehensive schooling in Sweden. It does so by drawing upon music pedagogical research, music education studies conducted during the last 10 years and national evaluations. Examples of practice from upper secondary schools are also used to clarify and illustrate the issues under consideration. It has been said t
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Stålhammar, Börje. "School and Music-school Collaboration in Sweden." British Journal of Music Education 14, no. 3 (1997): 237–50. http://dx.doi.org/10.1017/s0265051700001224.

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How do we channel teenagers' interest in music? What guides our music teaching today, and what possibilities are there for development and change? These questions have given me occasion to take a closer look at the situation of music teaching today.Many teachers have asked themselves how we in the comprehensive school and the music school can look after the zest and creative power which are often exhibited by teenagers when they perform music freely, not under the direct control of a teacher. I have also, on quite a number of occasions during lessons, registered resignation and tedium on the p
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Paynter, John. "Music Education in the Nordic Countries." British Journal of Music Education 4, no. 3 (1987): 251–52. http://dx.doi.org/10.1017/s0265051700006082.

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Possibly because very few teachers in Britain are fluent readers of Scandinavian languages while, on the other hand, the majority in the academic professions in Norway, Denmark, Sweden, Finland and Iceland speak and read – not infrequently write – English, the flow of thinking about music education and its developments often appears to be one way.Yet although it may be true to say that, over the last twenty years or so, music educators in the Nordic countries have drawn quite a lot of inspiration from beyond their own borders (Finland and Sweden tending to look towards Hungary; Norway, Iceland
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Lundin, Anna, and Anette Sandberg. "The music in Swedish preschools." British Journal of Music Education 18, no. 3 (2001): 241–50. http://dx.doi.org/10.1017/s026505170100033x.

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This article is a field investigation of the musical memories of preschool teachers and child minders, their experiences and interest in working with music in preschools. It is part of a larger international research project at Mälardalens University, Sweden. The original component of analysis is adults' memories of play. (Sandberg, 2001.) Participants also interpreted their own musical memories and defined music. Under the umbrella entity, WRP (Women's Researchers in Play and Disability) participating project partners were from the USA, Brazil, South Korea, Taiwan and Sweden. Participants rep
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Ferm Thorgersen, Cecilia, Geir Johansen, and Marja-Leena Juntunen. "Music teacher educators’ visions of music teacher preparation in Finland, Norway and Sweden." International Journal of Music Education 34, no. 1 (2015): 49–63. http://dx.doi.org/10.1177/0255761415584300.

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In this study we investigated the visions of 12 music teacher educators who teach pedagogical courses called instrumental pedagogy and classroom music pedagogy in three music academies in Finland, Norway and Sweden. The data were collected through individual, semi-structured qualitative interviews. Drawing on Hammerness’ concept of teachers’ vision we concentrated on the educators’ visions of good music pedagogy teaching, an ideal graduate, and visions of their subject as a whole, as well as how those visions can be extended to denote some characteristics of the teaching traditions at play. Th
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Karlsen, Sidsel. "BoomTown Music Education and the need for authenticity – informal learning put into practice in Swedish post-compulsory music education." British Journal of Music Education 27, no. 1 (2010): 35–46. http://dx.doi.org/10.1017/s0265051709990180.

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The article reports on a 2-year higher education music programme for young rock musicians in Sweden called BoomTown Music Education. The pedagogical philosophy behind this programme is developed from the findings of two Swedish music education researchers, and the programme exemplifies how knowledge about popular musicians' learning strategies in informal contexts can be utilised when designing post-compulsory music education. The aim of the article is to problematise the BoomTown environment in relation to its informality and authenticity. In addition to a description of the programme, the au
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Jeppsson, Cecilia, and Monica Lindgren. "Exploring equal opportunities: Children’s experiences of the Swedish Community School of Music and Arts." Research Studies in Music Education 40, no. 2 (2018): 191–210. http://dx.doi.org/10.1177/1321103x18773153.

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This article explores the social stratification of the Swedish Community School of Music and Arts, which offers voluntary extra-curricular arts education to children in Sweden, and children’s experiences of attending the school. A survey was executed where sixth-graders in Sweden were asked about their experiences of the school and about background factors such as their gender, country of birth, parents’ level of education and family involvement in the music and arts. The results show that the typical Swedish Community School of Music and Arts student is a Swedish-born girl with well-educated
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de Boise, Sam. "Gender Inequalities and Higher Music Education: Comparing the UK and Sweden." British Journal of Music Education 35, no. 1 (2017): 23–41. http://dx.doi.org/10.1017/s0265051717000134.

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Whilst the impact of gender inequalities has been studied in relation to music education, especially in the UK, relatively little has been written about their impact on higher music education (HME). This article compares data on HME programs and courses, in the UK and Sweden, from 2010 to 2014. It looks at similarities and differences in the numbers of men and women who applied to HME subjects, compared to those who were offered a place on their chosen program or course, in both nations. Through this it demonstrates that whilst a Swedish HME appears to show less institutional discrimination ag
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Sharavtseren, Tserenjigmed. "Factors, obstacles, mechanism and development directions for the professional music education in Mongolia." Problems of Modern Education (Problemy Sovremennogo Obrazovaniya), no. 4, 2020 (2020): 225–38. http://dx.doi.org/10.31862/2218-8711-2020-4-225-238.

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The article presents the results of the study of training music art professionals and music teachers in Mongolia. The comparative analysis of music education in Germany, Sweden, Israel, China, Japan and Russia is conducted. Prospective measures of development of professional music education in Mongolia are suggested. Factors, obstacles, mechanism and directions of development of the Mongolian State Conservatory – the first Mongolian academic higher education institution for training professional musicians – have been identified. The mechanism of the development of professional music education
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Ehrlin, Anna, and Olle Tivenius. "Music in preschool class: A quantitative study of factors that determine the extent of music in daily work in Swedish preschool classes." International Journal of Music Education 36, no. 1 (2017): 17–33. http://dx.doi.org/10.1177/0255761417689920.

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The aim of this article is to highlight what opportunities a six year old in preschool class in Sweden might have for participating in and being inspired by music. We ask the following question: What factors determine how music teaching is conceived and carried out in preschool class? The present study is quantitative in character, and data were collected by means of a survey sent out to all teachers working with preschool classes in a Swedish city. We have brought a hermeneutic approach to bear on our comprehensive interpretations. Our conclusion, and the answer to the research question, is t
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West, Tore, and Anna-Lena Rostvall. "A Study of Interaction and Learning in Instrumental Teaching." International Journal of Music Education os-40, no. 1 (2003): 16–27. http://dx.doi.org/10.1177/025576140304000103.

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Eleven brass and guitar lessons in Sweden were videotaped, transcribed, and analyzed to investigate how teachers and students used speech, music, and body language; to what they focused their attention during the lessons; and how this affected student learning. A detailed description of each lesson was analyzed using cognitive concepts of experiencing and learning music, as well as concepts of educational genres of speech and music use. Five hours of video of 4 teachers and 21 students were minutely described and analyzed. The results of the study reflect how music during the lessons was broke
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Tillborg, Adriana Di Lorenzo. "Disabilities within Sweden’s Art and Music Schools: Discourses of inclusion, policy and practice." Policy Futures in Education 18, no. 3 (2019): 391–409. http://dx.doi.org/10.1177/1478210319855572.

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The aim of this paper is to investigate the discourses that emerge when Sweden’s Art and Music School leaders talk about the inclusion of pupils with disabilities in relation to policy. A starting point is that both earlier studies and policy documents have revealed inclusion problems within Art and Music Schools. The research question is: how are Art and Music School practice, policy and inclusion of pupils with disabilities connected within and through leaders’ discursive practices? The data are based on three focus group conversations with a total of 16 Art and Music School leaders from nor
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Mykhaskovа, Marina. "FOREIGN EXPERIENCE OF PROFESSIONAL TRAINING OF THE FUTURE MUSIC TEACHERS." Continuing Professional Education: Theory and Practice, no. 1 (2020): 74–79. http://dx.doi.org/10.28925/1609-8595.2020.1.11.

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The article deals with the comparative analysis of the system of music training of pedagogues-musicians abroad (in the countries of the European Union, Scandinavian countries, United States of America, People’s Republic of China and Japan) in particular, comparing these systems and selecting the most valuable experience for implementation in Ukraine. Particular attention is paid to the structure of music teacher education in Poland, Latvia, Finland, Germany, Hungary, Austria, Czech Republic, Slovak Republic, Sweden, Iceland, Norway, Great Britain, America, People’s Republic of China, Japan. Th
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Ruiz, Guillermo, and Antonio García Álvarez. "Music Education at Hospital Schools in Spain and Sweden: Paths Between Governing and Knowledge." European Education 48, no. 4 (2016): 258–73. http://dx.doi.org/10.1080/10564934.2016.1239297.

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Angelo, Elin, Øivind Varkøy, and Eva Georgii-Hemming. "Notions of Mandate, Knowledge and Research in Norwegian Classical Music Performance Studies." Journal for Research in Arts and Sports Education 3, no. 1 (2019): 78–100. http://dx.doi.org/10.23865/jased.v3.1284.

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Policy changes and higher education reforms challenge performing musician programmes across Europe. The academisation of arts education means that classical performance programmes are now marked by strong expectations of research paths, publications, and the standardisation of courses, grades and positions. Drawing on interviews with ten teachers and leaders within the field of higher music education, this article discusses notions of mandate, knowledge and research in classical performance music education in Norway. Against the backdrop of academisation, the aim of this article is to illumina
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Brändström, Sture, Johan Söderman, and Ketil Thorgersen. "The double feature of musical folkbildning: three Swedish examples." British Journal of Music Education 29, no. 1 (2012): 65–74. http://dx.doi.org/10.1017/s0265051711000374.

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The purpose of this article is to analyse three case study examples of musical folkbildning in Sweden. The first case study is from the establishment of the state-funded Framnäs Folk High Music School in the middle of the last century. The second case study, Hagström's music education, is from the same time but describes a music school run by a private company. The third case study concerns a contemporary expression of folkbildning, namely hip-hop. The theoretical framework that inspired this article stems from the work of Pierre Bourdieu. The double feature of folkbildning appears in terms of
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Hanner, Charlotte. "Education for art librarianship in the Nordic countries." Art Libraries Journal 19, no. 2 (1994): 7–8. http://dx.doi.org/10.1017/s0307472200008737.

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Big changes in the educational system of Sweden took place in 1992/1993 because of political changes in the government. Earlier the government and parliament made decisions about course details at the different universities, and research education was offered only by the universities, and not by the colleges. In the early 1970s the College of Librarianship in Borås was commissioned by the government to offer a two-year academic level supplementary course in librarianship. Until the spring term in 1993, education for librarianship in Borås changed course several times, and five years ago course
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Borgström Källén, Carina Lena Marie, and Birgitta Sandström. "Kropp, blick och plats – konstruktioner av dans- och vokalundervisning." Educare - vetenskapliga skrifter, no. 2 (June 20, 2019): 73–92. http://dx.doi.org/10.24834/educare.2019.2.5.

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By focusing on dance and on the voice as a music instrument, and applying a gender perspective, this article problematizes constructions of dance and music education – arenas where girls and women are in the majority. The result is based on the meta-analysis of a common issue found in four qualitative studies, three conducted at the aesthetic programs at upper-secondary schools in Sweden and one conducted in higher music education. The studies were produced through participatory observation, video-documented teaching situations, discussions with teachers about critical incidents, focus group d
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Tagg, Philip. "Gerard Kempers (1948–2005): a personal statement." Popular Music 25, no. 2 (2006): 319–21. http://dx.doi.org/10.1017/s0261143006000894.

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I first met Gerard in 1975 in Örebro (Sweden) at the Nordic Piano Teachers' annual conference and workshops. Both of us were like fish out of water in discussions about the best fingering techniques to use in Beethoven sonatas. I had been asked to talk about popular music education and Gerard was on the lookout for fresh ideas for his art college in Lelystad. ‘I didn’t have a clue what you were actually saying' (in Swedish), he told me, ‘but it seemed to make sense’. What Gerard said he was trying to achieve in his college made perfect sense to me. He was determined to democratise music (and m
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Sæther, Eva. "When minorities are the majority: voices from a teacher/researcher project in a multicultural school in Sweden." Research Studies in Music Education 30, no. 1 (2008): 25–42. http://dx.doi.org/10.1177/1321103x08089888.

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21

Holmgren, Carl. "The conditions for learning musical interpretation in one-to-one piano tuition in higher music education." Nordic Research in Music Education 1, no. 1 (2020): 103–31. http://dx.doi.org/10.23865/nrme.v1.2635.

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Research has indicated that one-to-one teaching in higher music education in Western classical music typically favours technical over interpretive aspects of musicianship, and imitation of the teacher’s rather than the student’s explorative interpretation. The aim of the present study is to investigate students’ and teachers’ understandings of how musical interpretation of Western classical music is learned in this context. Semi-structured qualitative interviews with six piano students and four teachers in Sweden were conducted and hermeneutically analysed using haiku poems and poetical conden
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Ferm Almqvist, Cecilia, and Linn Hentschel. "The (female) situated musical body." Per Musi, no. 39 (April 11, 2019): 1–16. http://dx.doi.org/10.35699/2317-6377.2019.5288.

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The starting point for the study presented in this article is constituted by experiences of using Simone de Beauvoir’s philosophy and Iris Marion Young theories aiming to describe and understand the becoming of musical women in Swedish schools. Earlier research conducted outside the area of music shows that Beauvoir’s theories can help to explain – and provide means of change for – situations where there is a risk that traditional gender roles will be conserved. A majority of gender studies in the field of music education are based on the performativity theory of Judith Butler. In comparison,
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Chandler, Michael D. "Improvisation in Elementary General Music: A Review of the Literature." Update: Applications of Research in Music Education 37, no. 1 (2018): 42–48. http://dx.doi.org/10.1177/8755123318763002.

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Improvisation is an area of interest to both music education researchers and music educators alike. The purpose of this literature review was to examine extant studies related to improvisation at the elementary level. Selected research included the nature of improvisation, the amount of instructional time and activity type used, the development of improvisation skills with age, and the effect of improvisation on other skill areas. Findings indicated that children chose their own musical and social roles when there was minimal teacher intervention. Most teachers agreed that improvisation was im
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Kim, Chaek. "Rethinking the Disjunctive Schooling Fields of Popular-World Music Education: Based on the Comparative Field Research in Gambia and Sweden." Korean Association for the Study of Popular Music, no. 23 (May 30, 2019): 95–128. http://dx.doi.org/10.36775/kjpm.2019.23.95.

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Thorgersen, Ketil. "Whoa.Nu: (Re)Constructing and Learning Swedish Hip-Hop Online." Education Sciences 10, no. 12 (2020): 381. http://dx.doi.org/10.3390/educsci10120381.

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Whoa.nu started in 2000 as a community where members discussed all aspects of hip-hop in Sweden. The community became the most important place not only for discussions among members but also for releasing free albums and songs to the public and for arranging events. Moreover, the site was an educational hub for members to learn about hip-hop. The core of Whoa.nu was the community, wherein the communicating environment of members developed as artists, audience, and critics. Whoa.nu was not only a place for individuals’ learning processes and development but a place where Swedish hip-hop evolved
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Menezes, Isabel. "Participation Experiences and Civic Concepts, Attitudes and Engagement: Implications for Citizenship Education Projects." European Educational Research Journal 2, no. 3 (2003): 430–45. http://dx.doi.org/10.2304/eerj.2003.2.3.8.

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This article considers participation experiences of 14 year-old and upper secondary students in six European countries that were involved in the International Association for the Evaluation of Educational Achievement (IEA) Civic Education Study: the Czech Republic, Norway, Portugal, Slovenia, Sweden and Switzerland, countries that vary in their history of institution of democratic regimes. Participation has been considered as a crucial dimension of citizenship, and experiences within civil society are viewed as a relevant opportunity for developing personal and social resources essential for t
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Lönnerblad, Malin, Ingrid van't Hooft, Klas Blomgren, and Eva Berglund. "Nationwide, population-based study of school grades in practical and aesthetic subjects of children treated for brain tumour." BMJ Paediatrics Open 4, no. 1 (2020): e000619. http://dx.doi.org/10.1136/bmjpo-2019-000619.

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BackgroundChildren treated for brain tumour (hereafter termed paediatric brain tumour survivors (PBTS)) often need extra support in school because of late-appearing side effects after their treatment. We explored how this group of children perform in the five practical and aesthetic (PRAEST) subjects: home and consumer studies, physical education and health, art, crafts and music.MethodsIn this nationwide population-based study of data from the Swedish Childhood Cancer Registry and Statistics Sweden, we included 475 children born between 1988 and 1996, diagnosed with a brain tumour before thei
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Serdiuk, Ya O. "Amanda Maier: a violinist, a pianist, a composer – the representative of Leipzig Romanticism." Aspects of Historical Musicology 17, no. 17 (2019): 232–48. http://dx.doi.org/10.34064/khnum2-17.15.

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Background. The performance practice of recent decades demonstrates an obvious tendency to expand and update the repertoire due to the use of the works of those composers whose pieces had “lost” over time against to the pieces of their more famous contemporaries. At the same time, in sociology, psychology, culturology, gender issues are largely relevant. Musicology does not stand aside, applying the achievements of gender psychology in the study of composer creativity and musical performing (Tsurkanenko, I., 2011; Gigolaeva-Yurchenko, V., 2012, 2015; Fan, Liu, 2017). In general, the issue of g
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Burkė, Aistė. "Links between the Aesthetic Education Environment of Schools and Pupils’ Artistic Self-Expression." Acta Paedagogica Vilnensia 42 (July 12, 2019): 99–128. http://dx.doi.org/10.15388/actpaed.42.7.

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For a child, the school is like a separate “state” in which they are fully educated and influenced by a variety of environments, including aesthetic education. The significance of the environment in which the learner lives, matures, and creates has been found to be enormous. In Lithuania, there is a well-established “package” of environmental requirements for general education schools – educating, safe, functional, ergonomic, aesthetic. This article analyzes the relationship between the aesthetic education environment of the school and pupils’ artistic expression. Is it possible to develop the
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Wiers-Jenssen, Jannecke. "What Brings International Students to Norway?" Journal of International Students 10, no. 1 (2020): ix—xii. http://dx.doi.org/10.32674/jis.v10i1.1888.

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Norway has experienced a substantial influx of students in the 21st century. The number of students with foreign citizenship has increased from just over 5,000 in 2000 to more than 23,000 in 2018, as seen in Figure 1 (DBH, 2020). This growth may seem like a paradox, given that Norway has few well-known higher education institutions, high living expenses, a language not widely understood, and a geographical location at the northern fringes of Europe.
 Figure 1: Number of Bachelor and Master Students in Norway with Foreign Citizenship 2000–2018
 So why do students choose Norway? A deli
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Di Lorenzo Tillborg, Adriana, and Live Weider Ellefsen. "Policy and leadership discourses in Sweden’s Art and Music Schools: the inclusion of refugee children." Music Education Research 23, no. 3 (2021): 348–61. http://dx.doi.org/10.1080/14613808.2021.1929138.

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Johansson, Karin, and Eva Georgii-Hemming. "Processes of academisation in higher music education: the case of Sweden." British Journal of Music Education, December 21, 2020, 1–14. http://dx.doi.org/10.1017/s0265051720000339.

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Abstract Higher music education (HME) in Europe is multifaceted due to the great variety of legal frameworks, conservatory histories and practices. However, following the Bologna declaration in 1999, traditional conservatories are gradually transforming into research-based institutions, which means combining advanced performer training with artistic research. After a background on academisation in the higher education of classical, professional musicians, this article reports on a Swedish case study of meanings assigned to academisation in HME. Findings show that it is defined and justified as
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Johansson, K., and E. Georgii-Hemming. "Processes of academisation in higher music education: The case of Sweden – CORRIGENDUM." British Journal of Music Education, February 11, 2021, 1. http://dx.doi.org/10.1017/s026505172100005x.

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Browne, Emily. "“Working in Concert”: Examining Music’s Role in Cross-Curricular Education." Inquiry@Queen's Undergraduate Research Conference Proceedings, May 24, 2018. http://dx.doi.org/10.24908/iqurcp.11507.

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The purpose of this presentation is to investigate the power of the cross-curricular teaching and learning practice while exploring the relationship between music and other subject areas in an educational environment. In recent years, the curriculum of countries such as Sweden, Australia, and the United Kingdom, has placed greater emphasis on utilizing the cross-curricular learning and teaching practice. This progressive pedagogy strives to engage students by connecting different curricular areas within an activity or lesson. Students have the opportunity to engage in a deeper form of learning
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Jansson, Dag, Anne Haugland Balsnes, and Colin Durrant. "The gesture enigma: Reconciling the prominence and insignificance of choral conductor gestures." Research Studies in Music Education, August 2, 2021, 1321103X2110317. http://dx.doi.org/10.1177/1321103x211031778.

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Curious as to why conducting gesture are both acknowledged and ignored by choral singers, this article investigates the enigmatic nature of the act of conducting. Education and research are biased toward gestural aspects of the choral conductor role. At the same time, research shows that gestural skills rank strikingly low compared with other musical skills and interpersonal skills. This study endeavors to unpack this enigma, based on 40 interviews with choral singers and conductors in Norway and Sweden. Taking a phenomenological approach, analysis of the fieldwork reveals that singers are mor
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"ISME Research Commission, Nineteenth International Seminar on Research in Music Education, August 3-9, 2002, University of Gothenburg, Gothenburg, Sweden." Research Studies in Music Education 16, no. 1 (2001): 75–76. http://dx.doi.org/10.1177/1321103x010160010103.

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Sulz, David. "News, Awards, and Announcements." Deakin Review of Children's Literature 4, no. 1 (2014). http://dx.doi.org/10.20361/g2x31f.

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Probably, you are enjoying the wonderful summer by reading books, books, and more books. We, too, are busy reading and enjoying summer so the news this time around is brief.In June, Barbro Lindgren was awarded the Astrid Lindgren Memorial award at the Stockholm Concert Hall. This award, founded in 2002 by the Swedish Arts Council, is the world’s largest award for children’s and young adult literature at 5 million SEK (about $700,000 CAD). If it sounds suspicious that a Swedish writer with the same surname as the Swedish award’s Swedish namesake has won, rest assured that it truly is open to th
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Hoad, Catherine, and Samuel Whiting. "True Kvlt? The Cultural Capital of “Nordicness” in Extreme Metal." M/C Journal 20, no. 6 (2017). http://dx.doi.org/10.5204/mcj.1319.

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IntroductionThe “North” is given explicitly “Nordic” value in extreme metal, as a vehicle for narratives of identity, nationalism and ideology. However, we also contend that “Nordicness” is articulated in diverse and contradictory ways in extreme metal contexts. We examine Nordicness in three key iterations: firstly, Nordicness as a brand tied to extremity and “authenticity”; secondly, Nordicness as an expression of exclusory ethnic belonging and ancestry; and thirdly, Nordicness as an imagined community of liberal democracy.In situating Nordicness across these iterations, we call into focus h
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"Abstracts: Language learning." Language Teaching 40, no. 4 (2007): 337–45. http://dx.doi.org/10.1017/s0261444807004594.

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07–533Anh Tuan, Truong & Storch Neomy (U Melbourne, Australia; neomys@unimelb.edu.au), Investigating group planning in preparation for oral presentations in an EFL class in Vietnam. RELC Journal (Sage) 38.1 (2007), 104–124.07–534Bada, Erdogan & Bilal Genc (U Çukurova, Turkey; erdoganbada@gmail.com), An investigation into the tense/aspect preferences of Turkish speakers of English and native English speakers in their oral narration. The Reading Matrix (Readingmatrix.com) 7.1 (2007), 141–150.07–535Beasley, Robert (Franklin College, USA; rbeasley@franklincollege.edu), Yuangshan Chuang &am
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Fuller, Glen. "The Getaway." M/C Journal 8, no. 6 (2005). http://dx.doi.org/10.5204/mcj.2454.

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 From an interview with “Mr A”, executive producer and co-creator of the Getaway in Stockholm (GiS) films:
 
 Mr A: Yeah, when I tell my girlfriend, ‘You should watch this, it’s good, it’s a classic, it’s an old movie’ and she thinks it’s, like, the worst. And when I actually look at it and it is the worst, it is just a car chase … [Laughs] But you have to look a lot harder, to how it is filmed, you have to learn … Because, you can’t watch car racing for instance, because they are lousy at filming; you get no sensation of speed. If you watch the World Rally Champi
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Fredericks, Bronwyn, and Pamela CroftWarcon. "Always “Tasty”, Regardless: Art, Chocolate and Indigenous Australians." M/C Journal 17, no. 1 (2014). http://dx.doi.org/10.5204/mcj.751.

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Black women are treated as though we are a box of chocolates presented to individual white women for their eating pleasure, so they can decide for themselves and others which pieces are most tasty (hooks 80). Introduction bell hooks equates African-American women with chocolates, which are picked out and selected for someone else’s pleasure. In her writing about white women who have historically dominated the feminist movement, hooks challenges the ways that people conceptualise the “self” and “other”. She uses a feminist lens to question widespread assumptions about the place of Black women i
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