Music, Equity & Social Justice

The general purpose of this column is to provide a place where those of us engaged in education for social justice may share resources, and discuss through the dialogue forum issues related to educating for social justice.

As the coordinator of a column dedicated to social justice, I’d like to begin by letting readers know where I stand. My particular interest is in anti-racism pedagogy, also known in some corners of the world as critical multiculturalism. Anti-racism is a form of critical pedagogy, defined as an action-oriented, educational and political strategy for institutional and systemic change that addresses the issues of racism and the interlocking systems of social oppression (sexism, classism, heterosexism, ableism). Although sharing many things in common with multiculturalism, anti-racism education addresses oppression at the systemic and institutional level, whereas (liberal) multiculturalism locates the need for change within individuals. Putting the onus for change on the individual leaves systemic oppressions intact and self-perpetuating. Because there are so many multiculturalisms, and individual understandings of the term can vary greatly, I prefer to make use of the language of anti-racism rather than critical multiculturalism. When I use the term multiculturalism, I usually mean the liberal form commonly advocated for by school boards and governments.

Anti-racism acknowledges the intersections of oppression, but maintains race as the primary lens for analysis. Therefore, when our discussions or questions turn to issues more specifically focused on gender, I may from time to time call in reinforcements from my friends from GRIME (Gender Research in Music Education), or my friends in various departments of women’s studies, special education, sociology, or cultural studies to help us sort out the issues.

So, how do music and anti-racism education fit together? It seems like a perfect fit to me, since I am passionate about many of the world’s musical practices. What better way to deconstruct racism and other oppressions with our students than through the varied and wonderful ways humans make music? Gayatri Spivak once asked, “Can the subaltern speak?” My answer is, Yes – particularly when she’s singing (or playing an instrument, or dancing …).

I anticipate some great cybertalk with ya’ll …