This chapter continues the discussion of taste begun in the previous chapter, considering how tastes are socially distributed. This issue is usually discussed with reference to the work of Bourdieu in music sociology, but this chapter suggests another, more fruitful, path based upon the importance of mutual influence in social networks and Blau’s conception of social space. Much of the chapter is devoted to a discussion of the ways in which music both reflects and reproduces existing social divisions. However, it concludes with a discussion of the ways in which music might bridge and help to narrow social divisions.

This chapter introduces the book, outlining its main argument, setting it in context and providing a brief summary of the content of the chapters which follow.

This chapter picks up on the idea of the mainstream, introduced in the previous chapter, and also the concept of ‘music worlds’, briefly discussed earlier in the book. It elaborates further upon both, developing a concept of a musical universe comprising both a mainstream and multiple alternative music worlds. The chapter concludes with an empirical demonstration of some of these ideas.

Continuing and further developing the theme of meaning from the previous chapter, this chapter explores how music is used by listeners, particularly in the context of their identity work, and how this affects their tastes. It is argued that our stronger musical preferences are often for pieces, artists or genres who have in some way become bound up with our identities and the ongoing work of maintaining them.

This chapter picks up and further develops the idea of ‘networks’, which has been introduced in earlier chapters. Drawing upon formal social network analysis and the body of literature associated with it, it explains how we might think about networks in relation to music, how and why they develop and why they are important. There is an extended discussion of social capital and its relevance to music.

Chapter 1 makes the case for considering dance in relation to peacebuilding, based on an interrogation of existing research from across a range of fields of study. The chapter explores how growing interest and research in arts-based peacebuilding highlight the importance of utilising multiple pathways in the pursuit of peace. It also examines how, globally, dance and music are recognised as important facilitators of social cohesion and the creation and expression of culture. Recognising these components, the chapter considers theories and practices of dance and peacebuilding, including discussions of embodiment and empathy, among other key relevant concepts; this exploration provides a context for understanding how and where dance and peacebuilding meet. The chapter argues for the recognition of the importance of the role of dance in encouraging diverse forms of communication, in building relationships across difference, and in engaging the participation of diverse actors in local, national and international forums. Finally, the field is outlined by exploring a basic typology of six categories proposed to understand efforts at dance-based peacebuilding (therapeutic; artist-led social change or protest; community-led social change or protest; collective forms; educational; and diplomatic).

Chapter 2 discusses the role of young people in peacebuilding and the ways in which dance plays a part in this process. Previous research has identified the importance and political significance of young people in peacebuilding. Simultaneously, international organisations such as the United Nations have made steps towards increasing the opportunities and support for young people in peacebuilding endeavours, locally and globally, including through the passage of UN Security Council Resolution 2250 on Youth, Peace and Security in 2015. Despite these efforts, and the extent to which youth are immersed in conflict both as recipients of violence and as perpetrators, young people remain on the sidelines of peace initiatives and are not sufficiently recognised and engaged in policy, theory or practice. The research conducted for this book suggests that dance can constitute an effective, inclusive pathway to support youth participation in peacebuilding, especially when incorporating elements of peer leadership. At the same time, the data gathered across the three case studies highlights the importance of including options for peace, reconciliation and social transformation that are age appropriate, gender sensitive, culturally relevant and flexible.