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Inspiring change for social justice with Miroslav Pavle Manovski Ph.D.

Arts-Based Research, Autoethnography, and Music Education: Singing Through a Culture of Marginalization By Miroslav Pavle Manovski Ph.D.
Photo contributed by Miroslav Pavle Manovski Ph.D.

Title: Arts-Based Research, Autoethnography, and Music Education: Singing Through a Culture of Marginalization
Author: Miroslav Pavle Manovski
Publisher: Sense Publishers
Publish Date: April 25, 2014
ISBN: 9789462095137

Tell us a little bit about your writing and educational background

Baritone Miroslav Pavle Manovski PhD is an artist, musician, independent scholar, voice teacher, and public school K-12 music educator. Miroslav holds a Bachelor’s of Music Degree and a Master’s of Music in Performance (Voice) Degree from the University of Michigan in Ann Arbor as well as a Philosophy Doctorate Degree in Music Education from Oakland University in Rochester, Michigan. He is also the author of Snapshot Reflections: Targeting Young Boys Singing Girls’ Songs in School (Journal of Gender, Education, Music, and Society [GEMS], Volume 6, Number 3, November 2013), co-chair of Gender Research in Music Education [GRIME] international, and the recipient of the 2013 Outstanding Dissertation Award from the Arts-Based Educational Research [ABER] Special Interest Group of the American Educational Research Association [AERA]. Miroslav makes presentations and keynote addresses at universities as well as national and international conferences.

What is your book about?

Miroslav Pavle Manovski, Ph.D. This book first started out as a qualitative research project aiming to analyze significant events during my post-graduate private voice lessons in contrast to my earlier private voice lessons and school-musical life experience. Since then, it has evolved into a groundbreaking book that invites students, teachers, parents, teacher educators, and artists to vicariously engage within multiple intersecting life events a part of my holistic journey into quest to find my voice––literally and figuratively––upwards of my initial private voice lessons. I found myself working in ways that reflect and story from genuine snap-shots portraying my negotiated and fluid identity within roles that transcend socio-cultural or normalized frames of being and becoming. Such a process naturally beckoned me to weave together those experiences in-between my artistic, personal, and scholarly life within public and private educational institutions.

Why should readers read your book?

Miroslav Pavle Manovski, Ph.D. If you have ever felt ashamed, hopeless, unworthy of belonging, bullied, lonely, misunderstood, overwhelmed, or if you or others in your community have ever contemplated suicide: this book is for you. In a way, creating this work has been my lifeline and I hope it can be of some good use to many others who yearn for reprieve or heartened reminder that they are not alone, but connected and important. Likewise, while I sustained a hybrid undertaking of both self and socio-cultural reflection, I hope to have positively enabled any reader to comprehend nothing less than two kinds of prevailing love: the love of music in a child and then adult, the love for a music teacher who also teaches someone how to live more fully through music and the arts. In turn, this process unveils how art was and is an active participant in my life, and the book is curated in such a way as to allow room for inquiry and meaningful connection amidst prior or current trauma experienced.

For example, when readers participate with this powerful work, they get to feel the first hand account of what it feels like to be mercilessly bullied as a child and student for perceived effeminate characteristics and to the canon of ways we may be able to rescue ourselves––to positively transform––from prior wreckage a part of all our lives.

It also has the capacity to inspire important change for social justice and intends to exemplify an intertwining of the autobiographical and the theoretical with an array of academics from diverse academic fields.

Additionally, the text itself teaches through the expressive forms it embodies––primarily literary forms, but also photography and even sheet music.

Moreover, this candid experience provides a testament for all stakeholders in education to be attentive to the hidden and overt-biased life of people abused or silenced––including children born from immigrants––while coaxing readers to deliberate about their own hidden or overt desires, fears, losses, and ambitions… empathically and sensitively interacting within such collaborations.

Did you have any obstacles while writing this book? What were they?

Miroslav Pavle Manovski, Ph.D. Yes. Though natural to me, my work would probably not be considered traditional as it blurs scholarly genres and wades through topics many still consider taboo within the field of music education and beyond. Often, I have been advised to pick a safer topic of study––perhaps one that is less personal, less uncomfortable, quantitative, or one that focuses more narrowly on students’ experience of learning in the classroom only––noting that the hetero-normative culture of my community may reject my approach, passion, or pursuit of fleshing-out such liberating work. However, once I began this qualitative process, I realized it may be potentially harmful to ignore the emergent themes embedded within all of my data and knew it would cheat the reader to withhold significant details or relevant findings I had come to know.

Is this your first book?

Miroslav Pavle Manovski, Ph.D. Yes.

Are you working on any projects right now?

Miroslav Pavle Manovski, Ph.D. I am working on another study that more deeply showcases my experience as a music educator/researcher, including experiences working with students I have had the opportunity to collaborate with in K-12 public school learning communities. Of course, this process will be a part of my continued practice and progress as a musician, as––for me––the one practice usually informs and supports the other; I often feel that art and science in my research are one and the same.

What is your advice for writers wanting to turn authors out there?

Miroslav Pavle Manovski, Ph.D. Overall––no matter what––keep writing and listen to your gut while improving your craft. Most times my writing process has also been lonely or misunderstood, so I encourage everyone to mindfully practice often and hopefully with other trustworthy champions or experts. This is most times easier said than done, though when the healthful balanced mix of collaborative people comes to fruition, the process is just wonderful.

What made you become a writer?

Miroslav Pavle Manovski, Ph.D. Like singing, writing is something I have always practiced and usually taken refuge in.

Who is your favorite author and why?

Miroslav Pavle Manovski, Ph.D. Oh my goodness: I have so many favorites and will probably forget someone very important in this question. I was very much influenced by the late Maya Angelou––I was lucky to have permission to reprint her poem Still I Rise in my 2012 dissertation––Tom Barone, Mary Beattie, Ruth Behar, Kate Bornstein, Elliot Eisner, Carolyn Ellis, Maxine Greene, Bell Hooks, Patricia Leavy, Max von Manen, Nell Noddings, Laurel Richardson, Jeannette Winterson, just to name a few. Like all of my favorite books for children, movies, musical composers, poets, I work to broaden my mind and thinking with those people whose work resonate with me; those people who were somehow able to enable me to feel and to feel deeply that which I may not have been aware of until I came across their meaningful work.

Where can we find you?

Miroslav Pavle Manovski, Ph.D. Graciously, Sense Publishers is currently offering FREE SHIPPING AND HANDLING for my book via the link below:

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