Vilma Timonen is a lecturer of folk music in Sibelius Academy. She has worked in various musical settings and has been one of the pioneers to use the traditional finnish instrument kantele in different ways. She was one of the first kantele artists to play the electric kantele and has especially focused on developing the role of the kantele as a diverse band instrument. Vilma Timonen has given concerts in Spain, Venezuela, Columbia, the U:S:A., Japan, Portugal, Zambia and Tanzania and has had a comprehensive career as a kantele musician in dance and theatre productions.
Tutkimus ja julkaisut
Timonen, Vilma: Grassroots globalization in co-developing music teacher education in Nepal – Corroborating cultural diversity, change and equality
The purpose of this doctoral study is to produce ‘networked knowledge’ (Hakkarainen 2013) of intercultural collaboration dealing with cultural diversity, change and equality in the process of cocreating music teacher education in Nepal. Concretely, the study aims to construct institutional structures, collaboration between teachers and leadership as a prerequisite for making action-plans, and come up with pedagogical solutions, appropriate in the context of the Nepal Music Center (NMC) in Kathmandu. During the process, the researcher together with Nepali practitioners and co-researchers will learn to identify challenges and opportunities related to the development of local practices in Nepal, Finland and beyond. This Participatory Action Research (PAR) will be designed collaboratively during shared research and teaching processes (Herr & Anderson 2005) and the research questions will be specified during the collaborative work. The research follows multimethod data collection, and the data is collected mainly via conversations, observations, interviews,
workshops and various kinds of team work conducted and planned collaboratively with the Nepali practitioners. The knowledge produced is used particularly, albeit not only, to develop music teaching and learning in Nepal and other similar contexts that are interested in codeveloping formal music education practices. As such the study aims to exemplify processes of ‘grassroots globalization’ (Appadurai 1996, 2005).