Towards a possible geometry of (music) educational relations – situated (musical) bodies Cecilia Ferm-AlmqvistIn my PhD-work (Ferm, 2004, 2006) I was interested in interaction that made musical among 10-12 years old possible. The phenomenon of music teaching and learning interaction showed to be constituted by five themes, namely how the teachers related to the incorporated musical knowledge of the pupils; in which ways the teachers were open to the initiatives of the pupils; how musical experience was made possible; how the acts of the pupils were handled; and finally, which symbols that were used in the interactions. The philosophical base for the study was mainly Merleau-Ponty ́s phenomenological thinking, where human beings are seen as living bodily subjects. The bodily aspect of interaction in the music classroom, was only one part, or aspect, of the result though. In later studies, focusing female guitar playing students in upper secondary school ensemble education, it has become obvious though, that girls behave, and are encouraged to behave in more immanent ways than boys. They seem to have been, and be, less encouraged to stretch their bodies, and become musical human beings. Instead they become the second musical sex (Ferm-Almqvist, 2017 a, b; Ferm-Almqvist & Hentschel, 2019). During my work with the problem of how to create space for girls playing the electric guitar in educational settings, I have continually been wondering about how to create educational rooms, and educational relations in ways that let all pupils, independent of sex, to run their projects, transcend as musical bodies, and become what they already are. I have been approaching this theme from different philosophical angels, and at the same time taken part of on-going studies regarding educational relations that have encouraged my wonder even more.