This column continues the abstracts from the poster session at the 2012 MMC. Congratulations again to all presenters.
Self-Identified LGBT Music Teachers and the Creation of ‘Safe Space’ for their Students: A Review of Literature
Andrew McGuire, The University of Michigan
In the growing body of lesbian, gay, bisexual and transgender (LGBT) literature in education, the gender identity of LGBT teachers has been the focus of research in education, rather than their role as an educator. (Biegel, 2010; Denton, 2009). Literature on the creation of safe spaces in school is also increasing. LGBT students and teachers have been associated with anti- bullying campaigns nationwide (Biegel, 2010; Bloomberg, 2011; Buchanan, 2011; Chicago Board of Education 2010). The presumption that LGBT teachers could create a safe classroom space, due to their personal experiences, has been addressed in research (Boostrom 1998; DeJean, 2007; Mufioz-Plaza, Quinn, Rounds 2002). In the emerging literature, music teachers can create classrooms, which students describe as feeling safe (Fitzpatrick & Hansen 2010). The LGBT music teacher, as a subcategory, has not been highlighted in the context of studies about LGBT educators.
The purpose of this review is to discuss self- identified LGBT music teachers creating a safe space in their classrooms. The literature will be discussed in the following themes: a) LGBT teachers, b) Frameworks likely to create safe spaces in the classroom, and c) The music teacher.
“Being out” for LGBT teachers means a commitment to “radical honesty” (DeJean, 2007). LGBT teachers, “... participated in open and honest dialogue with their classes and individual students. Radical honesty entailed truthfulness” (DeJean, 2007, p. 63). By the nature of their affirmations of sexual orientation, LGBT teachers show truthfulness and honesty (Lipkin, 2001; Meyer, 2007; Munoz-Plaza, Quinn & Rounds, 2002). This honesty could help facilitate conversation leading to safe spaces in their classrooms.
“Safe space” has been widely used to describe a number of environments, collective feelings, and physical spaces (Boostrom, 1998; Holly & Steiner, 2005; Russell, S. T., McGuire, J. K., Lee, S., Larriva, J. C., & Laub, C., 2008). In education, according to Boostrom (1998), the term ‘safe space’ is not a methodology but a way of describing teaching. The quality of the interactions between teachers, students, peers and physical space can be described as a safe space (Holly & Steiner, 2005). Taking into account the LGBT teacher and their commitment to radical honesty one can see connections between the teacher and creation of a safe space.
In music, Fitzpatrick & Hansen (2010) report, “All of our participants [students] referred to feeling
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safe or accepted within their high school music classes.” (p. 10). This describes the safety students feel in music. Because the music teacher promotes and creates the music classroom culture, analogous to Holly and Steiner and DeJean’s, the music teacher can be influential in creating a safe space.
Considering the literature on safe spaces, LGBT teachers, and music teachers’ relationships can be observed. If LGBT teachers possess the radical honesty and truthfulness to build and maintain safe space classrooms and music teachers are enabled classrooms described as safe then, can we infer the self-identified LGBT music teacher could create a safe space in their music room? Insights into this and related questions will surface in this review of literature.
A History of the Michigan School Band and Orchestra Association: 1959-2009
Ken Moore, Boston University
The purpose of this study was to extend the documented history of the Michigan School Band and Orchestra Association (MSBOA) by providing a chronological account of the organization from 1959 to 2009 with historical context and insight into circumstances and individuals that influenced and shaped the organization during that period. Official records, Association publications, and first- hand accounts are compiled into a narrative of the organization. The study is a continuance of a previous historical examination of the formative years (1934-1959) of the MSBOA by James Burnham Hause. Formed in 1934, the MSBOA evolved from the need for leadership in school instrumental music and gave teachers the power to govern activities that affected their students through debate and the democratic process. The primary goal of the founders was to raise standards of musical performance through “competition-festivals.”
The history of the MSBOA from 1959 to 2009 can be drawn into four periods. During the first period (1959 to 1973), the MSBOA abandoned its long-held practice of remaining autonomous to become a department of the Michigan Education Association; this decision was a post-Sputnik reaction to gain academic credibility and become “more than just a festival association” (a mantra used by MSBOA leaders of the period) by focusing on such matters as curriculum development and the creation of string programs.
The organization began the second period (1973 to 1984) by separating from the Michigan Education Association and assuming an introspective posture, which led to a continual emphasis on revising its festival systems, especially the band and orchestra festival. After the celebration of its fiftieth anniversary in 1984, the MSBOA entered
Outreach to Research
Terese Volk Tuohey, Research Editor
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