ABSTRACT
Similarly attending to the unseen or unquestioned, Panagiotis Kanellopoulos and Niki Barahanou’s chapter locates work conducted within the inclusive, democratic ethos within a neoliberal music education landscape, examining participatory policies of music cultural institutions as technologies of governance that serve to instrumentalise the arts and co-opt progressive education ‘in service of an entrepreneurial logic’. This, they argue, constitutes a ‘hatred of democracy’ (Rancière, 2006) whereby the radical potential of creative pedagogical encounters is neutralised and rendered impotent. Thus, they call for policymakers and educators to reconsider the role of the incalculable that resides ‘in art or love, friendship or thought’ (Nancy, 2010, p. 17) that may lay the groundwork to revive the subversive qualities of creativity that have been at the very core of the Creative Music in Education tradition.
