Abstracts
Abstract
Ten years after the Taman Siswa (Garden of Students) schools were founded in 1922, the Dutch colonial government declared them Wilde Scholen (Wild Schools) for operating without government certification. Taman Siswa educators resisted the designation, eventually repealing the ordinance, as an act of rebellion against colonization. Decades after Indonesia achieved independence, Taman Siswa continues to work towards decolonization by focusing on student self-governance and local wisdom, two core pedagogies of Taman Siswa founder Ki Hadjar Dewantara that are practised daily in music classrooms. Ultimately, I argue for a closer examination of Taman Siswa as an educational institution striving for decolonization in complex regional, national, and global systems.
Résumé
Dix ans après que les écoles Taman Siswa (Jardins d’étudiants) aient été fondées en 1922, le gouvernement colonial néerlandais les déclare Wilde Scholen (Écoles sauvages) pour opérer sans certification gouvernementale. Les éducateurs de Taman Siswa ont résisté à cette désignation, abrogeant finalement l’ordonnance, comme un acte de rébellion contre la colonisation. Des décennies après que l’Indonésie eut accédé à l’indépendance, Taman Siswa poursuit son oeuvre vers la décolonisation en se concentrant sur l’autonomie des élèves et sur le savoir local, deux pédagogies fondamentales du fondateur de Taman Siswa, Ki Hadjar Dewantara, qui sont pratiquées quotidiennement dans les cours de musique. Finalement, je propose un examen plus approfondi de Taman Siswa en tant qu’institution éducative aspirant à la décolonisation de complexes systèmes régionaux, nationaux et internationaux.
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Appendices
Biographical note
Gillian Irwin is a doctoral candidate in ethnomusicology at the University of California, Davis. Her current work follows the implementation of the newest national curriculum in Indonesia and its impact on music classrooms in high schools in Yogyakarta, Central Java, taking particular interest in local definitions of right morality, traditional music practice, regional meaning-making, and the pressures of globalization. She is the recipient of two Fulbright grants to Indonesia and a Bilinski Dissertation Writing Fellowship.
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