feature Continued from page 37


our current practices and policies result in underrepresentation of minoritized groups in secondary ensembles. Are we ready to examine and change our systems and practices?


Culturally Responsive Pedagogy. Cul- turally responsive pedagogies reject deficit mindsets about minoritized communities, “…acknowledg[ing] the value of the cul- tural heritages of differing groups, both in terms of curriculum content and in terms of how these respective cultural legacies influence students’ attitudes, dispositions and ways of learning” (Lind & McCoy, 2016, p. 18). Thus, culturally responsive pedagogies emerge from teachers learning about – and developing strategies for con- necting music education to – the cultures present in their school and community. Culturally responsive teaching is validat- ing, comprehensive, multidimensional, empowering, transformative and eman- cipatory (Gay, 2010, in Lind & McCoy, 2016, p. 17).


There is very little diversity at my school… Do I really need to think about this? As I researched Wisconsin’s student popu- lation, I did notice that WI has less racial/ ethnic diversity than other states. Never- theless, I must answer this question with a resounding “YES,” for three reasons: 1) Race and ethnicity are only two of the many ways that students are diverse. For example, your school has students who are male, female, LGBTQ. Furthermore, diversity is often invisible: your school has students who have exceptionalities, students with varied SES, students who practice different religions (or no religion), etc. 2) Equity- and justice-oriented mind- sets celebrate reductions in harm. Even if you teach nearly all White, nearly all middle/upper middle class suburban kids, a failure to recognize the identities of the “few” students is potentially harmful. 3) If somehow you teach in a setting made up entirely of the dominant culture (which is not really possible, see #1 and #2), your students are heading out for life in our very


38


diverse country. There is very little poten- tial harm in creating music education that reflects and embraces human diversity, and very much for students to gain.


I was taught to treat everyone the same – that ignoring difference was polite and fair. Aren’t we creating divisions by labeling people? Well, first, we know that teachers/schools do not treat everyone the same. For rea- sons ranging from unconscious bias to cultural norms, most aspects of school life, including discipline referrals, rates of diagnosis for special education, and achievement are highly correlated with gender and race. Moreover, children are already learning about human diversity… they are inundated with negative and harmful messages about race, ethnicity, gender and ability (etc.) every day. When we as teachers do not explicitly model and discuss respect for and valuing of cultures, genders and music, we are allowing these messages to remain unchallenged. While we certainly should not single out or to- kenize a child on the basis of a difference, our instruction should reflect awareness and valuing of all students in the room. The way that we talk, the materials we choose, the behavior we expect, and our relationships with families and the com- munity should reflect our commitment to understanding and valuing our students as whole people.


This is so complex…


Where do I even start? Sometimes a “di- versity/inclusion” mindset is a good place to start. Find out how the demographics of your classes compare to the school as a whole (gender, race/ethnicity, students with IEPs, students who receive free/re- duced lunch, etc.). If you notice a group is underrepresented in a class or your program, try to find out why. For more equity/justice-oriented changes, in addi- tion to implementing culturally responsive pedagogy, you could try to:


• Restore voices silenced by the traditional canon of music educa- tion literature and pedagogy. Seek


“Find out how the demographics of your classes compare to the school as a whole (gender, race/ethnicity, students with IEPs, students who receive free/ reduced lunch, etc.).”


out music from WI, the U.S. and around the world, created by di- verse peoples and composers3


.


• Value oral/aural traditions and learning styles alongside written forms, e.g., by teaching music from aural traditions aurally.


• Blur the line between school and community by partnering with lo- cal musicians and dancers – invite them as guests, collaborate with them for performances, etc.


• Adapt instructional practices and materials to meet individual mu- sic learning needs of all students, including not only students with IEPs, but also students with reli- gious differences. Sitting out of music making is likely an accept- able adaptation only if a student’s IEP specifies it is necessary due to sensory or emotional/behavioral needs.


• Offer entry points to music classes for all students at all levels.


• Ameliorate the effects of SES by considering: transportation (to concerts, before and after school events, etc.), cost of instruments, cost of uniforms, etc. How many of these things are so essential to music education that they should hold someone out of participation?


January 2018


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