| Summary: | Recent studies of female guitar students in upper secondary school ensemble education suggest that girls behave, and are encouraged to behave, in more immanent ways than boys. They seem to receive less encouragement to stretch their bodies and become full musical human beings. Instead they become the second musical sex. During the course of my work with the problem of how to create space for girls playing the electric guitar in educational settings, I have continually found myself wondering how to create educational spaces and relations in ways that let all pupils, independent of sex, realize ideas, transcend as musical bodies, and become what they already are. If teachers and pupils are interrelated bodies, teachers must be aware of how they use their bodies when it comes to creating space for all pupils to develop and stretch out their bodies. The actions of the music teacher, as a musical body, must be balanced in relation to the other musical bodies in the room, as well as to physical preconditions, goals, visions, and expectations of the students. In this article, I want to delve into the subject of bodily interaction, teachers’ responsibilities, and questions of intentional educational bodily relations. The aim is to share my close reading of Young’s philosophical thinking regarding gender structures and especially female comportment, motility, and spatiality, and develop a set of prerequisites for intentional bodily (music) educational relations. With a starting point in research-based inspiration and motivation for conducting the current philosophical investigation, I share my close reading of Young’s theories regarding female situated bodies. Continually I relate to excerpts from two interviews with female guitar students, exemplifying musical body-relational experiences. Finally I share and reflect upon a developed thinking about mindful bodily (music) educational relations.
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