The Academic Chair Jonet on Social Action & Music-Making
Promotor: Prof. dr. Francis Maes
Chair holder: Prof. dr. An De bisschop
More than ever, the world needs societies that embrace diversity, inclusion, and equity. Time and again, music and music making appear to be a powerful tool that can be used to promote such humanistic values, to bring hope and to foster determination.
About the Academic Chair Jonet
The Academic Chair Jonet on Social Action & Music-Making [1] been since October 2022 created at Ghent University (UGent) and University of Applied Sciences and Arts Ghent (HOGENT). The academic Chair aims to conduct critical research in the diverse domain of socially engaged music practices, and to contribute to the further development of music practices which tap into the empowering nature of music making to generate social impact and help build a society which values and fosters diversity, inclusiveness, and equity.
In addition, and building on this research, the chair will contribute to the training and professional growth of musicians and cultural workers who wish to engage in facilitating music making and social action.
In doing so, the chair not only responds to a growing need for more in-depth research but also for high-quality and sustainable training in the domain of music making and social action. Indeed, despite the emergence of many social music projects in recent years, both nationally and internationally, and despite an ever-growing number of musicians and cultural workers who want to be active in this field, this need is pertinent in view of advancing this domain.
CESAMM – Centre for Social Action & Music Making
To organise and facilitate its activities, the chair establishes the Centre for Social Action and Music Making (CESAMM). As currently no research and training centre dedicated to his domain exists, this centre will hold a unique position in the world.
Spearhead of the CESAMM is the synergy between research and practice through intense collaboration between scholars and practitioners, between arts and science and between research and artistic-educational initiatives.
Promotor of the chair is Prof. dr. Francis Maes, professor of musicology at Ghent University. The first chair holder and founder of the Academic Chair was Prof. dr. Lukas Pairon. The current chair holder is Prof. dr. An De bisschop, professor at Ghent University in the Department of Art, Music and Theatre Sciences and lecturer at HoGent. Dr. Filip Verneert is attached to the chair as Postdoctoral Researcher. Prof. dr. Luc Nijs is closely involved in the chair as visiting professor.
Drs. Tina Reynaert started in November ’23 as a Phd-researcher, Drs. Sarah Goldfarb is doing a joint Phd research with ULB and Drs. Yonatan Volfin is preparing his Phd.
The creation of the Academic Chair is made possible thanks to the financial support of 2 main sponsors – the VGP Foundation and the Fondation Futur 21 – and of 6 major music centres, which will also take on the role of ‘hubs’ to bring together practitioners of social and community music projects in their region: Brussels Philharmonic, deSingel, Concertgebouw Brugge, De Centrale, Handelsbeurs, and the Klara Festival.
[1] The title of the academic chair is named after Martine Jonet, president of the Fondation Futur 21 (first sponsor of the academic chair).
Latest news
Mind the Body! Towards Embodied Strategies and Participatory Musicking in Intercultural Settings. 29 April 2025
29 April 2025 | Gele Zaal, Koninklijk Conservatorium Antwerpen
A practice-based research seminar initiated by Drs. Georgia Nikolaou (Royal Conservatoire Antwerp – AP / University of Antwerp) & Drs. Tina Reynaert (CESAMM – Academic Chair Jonet / Ghent University). Supported by: ARIA (UA), CORPoREAL – Royal Conservatoire Antwerp (AP), CESAMM – Academic Chair Jonet (UGent), De Singel
Participatory music making has gained a lot of attention in recent years reflecting the importance of access to cultural participation for all members of the society, regardless of their background. At the same time, the number of artists that engage in participatory music projects has been steadily increasing, creating the need for responsive and comprehensive training programs. Research shows that artists that engage in intercultural participatory music practices face multiple challenges such as language barriers, different musical grammars and backgrounds. Besides, they come across other contextual jeopardies that are likely to occur in transient contexts, such as in asylum centers, immigration detention centers and facilities for unaccompanied refugee minors. To overcome these barriers, responsive facilitation and participant-led designs for musical workshops are the main concern for facilitating artists in their quest to create safe spaces and acts of hospitality.
In this research seminar we explore how Embodiment can be implemented as a basic condition for inclusivity within participatory music making and what are the benefits for participants and facilitators. In the context of Music Making, Embodiment refers to the integration of bodily movement and sensory experiences in the dynamic process of learning, creating and performing music. It underscores the pivotal role of the body in shaping our acquisition of knowledge and lived experiences. Importantly, integrating bodily movement transcends mere procedural steps; it becomes a powerful medium for artistic expression. Indeed, this approach overcomes barriers related to instrument availability and it invites individuals without extensive instrumental skills to embark on a collective journey of exploration and experimentation that fosters inclusivity and participation.
Through interactive lectures and practical workshops, the participants of this research seminar will become acquainted with musicking strategies that involve the body and ultimately obtain a basic, hands-on toolkit to accommodate their practices from an embodied perspective. Following the keynote speech by Prof. Ailbhe Kenny on responsive facilitation in refugee accommodations, a first workshop will focus on embodiment through singing and movement in a group. In another workshop facilitating artists will be introduced to soundpainting, a form of collective improvisation. To wrap up the seminar, a panel consisting of the speakers and workshop leaders will synthesize all insights and elaborate further on questions from participants.
Programme
9:30 – 10:00 Doors open, registration
10:00 – 10:20 Introduction by Drs. Georgia Nicolaou & Drs. Tina Reynaert
10:20 – 11:10 Keynote Speech by Prof. Dr. Ailbhe Kenny (Mary Immaculate College, University of Limerick)
11:10 – 11:30 Coffee break
11:30 – 12:30 Workshop 1: Embodiment through Singing and Movement with Andria Antoniou (vocalist – dancer – educator, Voice Hub, London)
12:30 – 13:30 Lunch
13:30 – 14:30 Workshop 2: Collective Improvisation with Hashem Kabreet (percussionist – workshop leader, Orchestre Partout, Amsterdam)
14:30 – 14:45 Coffee Break
14:45 – 15:45 Panel discussion: How meaningful is embodiment in intercultural music practices? Moderators: Prof. dr. An De bisschop & Hans van Regenmortel
Information on Speakers
Musicking while Waiting: Music within asylum seeking centres
Keynote Speech by Prof. Ailbhe Kenny
The research I draw from for this presentation is at the beginning of the post-migration phase, where people have left their homes, reached a destination country but are still living in the ‘limbo space’ of seeking refugee status. Narratives are thus nestled within this asylum system where people and families are waiting for a decision on their request for sanctuary. By turning our attention to the socio-musical spaces within the accommodation centre walls, we gain insights into how such spaces are created and negotiated as well as how identities are formed, informed, and potentially transformed while living within and through asylum seeking systems. Essentially, I argue that asylum seeking centres are unique contexts, or new musical worlds, where music is made, embodied and shared.
Prof. Dr. Albhe Kenny is an Associate Professor in Music Education at Mary Immaculate College, University of Limerick, Ireland and an Irish Research Council Laureate. She is currently the PI on ‘Music in the Intercultural School: Uncovering Spaces for Agency and Belonging’, a four-year project funded by an Irish Research Council Starting Laureate award. Kenny has led numerous professional development courses for teachers and is actively involved in community projects which include directing the MIC Children’s Choir and working in asylum seeker centres (Song Seeking Project).
Embodiment through Singing and Movement – Andria Antoniou
In times of transition, displacement, and cultural adaptation, the voice and body can serve as anchors of identity, grounding us in the present while offering a means of connection and belonging. In this workshop, participants will explore how singing and movement can bypass language barriers, release tension, and foster a sense of inner and collective safety. Through guided breathwork, movement, vocal improvisation, and circle singing, they will experience the power of resonance and shared creativity, creating a space where self-expression and community intertwine.
Led by Finnish-Cypriot vocalist, dancer, and educator Andria Antoniou, this workshop is informed by her ongoing research into the role of voice, breath, and movement in enhancing psychophysiology and emotional well-being. As the founder of Voice Hub in London, Andria is committed to using participatory music-making as a bridge between cultures, helping individuals reclaim their voice, rediscover their agency, and transform their sense of displacement into an act of belonging.
Collective Improvisation through Sound-painting – Hashem Kabreet
Hashem Kabreet is a Syrian-Dutch percussionist, trainer, and workshop leader working in AZCs across the Netherlands. He collaborates with organizations such as Sounds of Change, Raw Resonance, Art Root Collective, Orchestre Partout, and Fort van de Verbeelding.
During our research seminar, he will present an interactive lecture exploring how and why he integrates embodied music activities—such as body percussion, sound walks, and the Kobrani method—into his workshops in AZCs. The session will conclude with a Q&A and a collective moment of reflection.
Practical
29 April 2025
9:30 – 16:00
Gele Zaal, Koninklijk Conservatorium Antwerpen
Desguinlei 25, 2018 Antwerpen
This is an English spoken event, free of charge.
Lunch and coffee will be provided.
Registration is required by 22 April 2025 through the following link:
https://docs.google.com/forms/d/e/1FAIpQLSclwug7CyboUitGGLdD0RmkfxLEnnOSnZMtAVhsQa3LXD9nyA/viewform?usp=header
For further information and questions please contact: tina.reynaert@ugent.be or georgia.nikolaou@ap.be