Arguing for cultural responsiveness in the classroom

What does it mean to be culturally appropriate? What is the difference between cultural appropriation and cultural appreciation? What does it mean to be culturally responsive?

Each of these questions could likely be the topic of its own paper, with as many definitions for the terms as people willing to write about it. The easiest one to tackle is the difference between cultural appropriation and appreciation. Appropriation is most commonly defined as the improper use of some part of a culture by someone outside of that culture. Appreciation is when a part of a culture is used in a way that is approved by the members of that culture. An example of cultural appreciation is a 2nd grade class learning how to do a Chinese dragon dance while learning about the Lunar New Year. But where is the line between appreciation and appropriation? Could this example be interpreted as appropriation? Are learning environments automatically exempt from appropriation if the teacher has good intentions? Or must more care be used to avoid misuse of the activity?

In Bonnie Wade's book Thinking Musically, she divides the chapters into sections such as "Thinking about Pitch" or "Thinking about Time" flipping upside down the ideas that Western classically trained musicians have when conceptualizing music outside that canon. But most importantly, she starts with "Thinking about People" indicating that what makes music universal is the humans at the center of it. As Elliott and Silverman purport in "Music Matters" for musical praxis, people must be at the center. And from this perspective it seems obvious that music education, and inclusion of music outside the agreed tradition is not only acceptable, but necessary. From this side of the issue we could argue that all music learned in school is appreciated through learning, as the 2nd graders learn to appreciate the artistry of experienced dragon dancers.

However, is that all there is to being culturally appropriate in the classroom? What about the high school whose band traditions include the campy "native American war song" (especially in a state where a significant Native American population lives)? How about the suburban almost exclusively white school being taught by a white teacher decides to delve into African American pop music and rap? Does the St. Olaf choir get a pass on singing spirituals with a distinct classical sound because Dr. Anton Armstrong happens to be African American?

To be culturally appropriate in the classroom setting is to be culturally responsive to the realities of the people in the room and outside the room. Educators jobs should not be to avoid the hard realities of these questions but to face them in a thoughtful way that honors all of the people involved. In this way, the teacher must exercise their expert status and have or acquire technical and contextual knowledge of the culture students are learning about, as Estelle Jorgensen says in her chapter about rule and law. But also as Jorgensen says in her chapter about "Seashore and Energy" teachers must also be flexible and open to the reality that there might be other experts including the students who can contribute to a more authentic experience. Being culturally appropriate and responsive avoids appropriation when all the humans (composer, artist, teacher, student, audience) are respected throughout the process.

Music in our Schools Month

The title of this post is "Music in our Schools Month" which feels a little surreal because there's no school happening right now. Not happening in any real way, that is. Everything we do right now, all our little routines, our complex and intricate web of functioning society has just commenced a massive shift to maybe save a large portion of our most vulnerable population.

And because schools have shut down and moved online for now, I've seen many music teachers express frustration about how does one even teach an ensemble class online? Death by worksheet? Creative projects? Theory websites and playing tests? And almost overnight a plethora of ideas came forth. Shared documents, Facebook groups, links to Pinterest boards and dedicated websites. Survival. Give our supervisors and administrators an excuse to keep paying us though they must surely know this is not ideal for any sort of teaching and learning.

Among my professional performer and artist freelance friends, I see two themes: First, they are justifiably worried about how they will pay their bills. They express gratitude for significant others who can float them or gratitude for day jobs that will squeak them through for now. Others who are not so lucky to have that cushion don't know where help will come from but are putting on a brave face and doing the best they can. Second, they are all continuing to make art, even if just for themselves---because it keeps them sane in a world that feels more and more like it's completely upside down.

I'm also taking philosophy of music education this term for my PhD program and we keep coming back to why is music different? Why educate in the arts at all? And I think THIS. THIS SITUATION IS WHY WE DO THIS. Forget about the theory worksheets for now. How are students using music to get them through this terrible time? How are we as music educators encouraging them to use music to get through this? How will they use it to get through hard times in the future? THAT is the purpose of educating in the arts. Not for better math scores. Not because it helps them get into college. Because it's part of their humanity. Because we can rage through it. Because we can weep through it. Because we can laugh through it. Because we can unite through it.

Music in Our Schools Month and every month always.

And to end this post, I'd like to play one of the first songs I ever learned on guitar: A communion song that was written by my high school choir director. I had already decided to be a music teacher before I took his class, but it was largely because of my experience there that I ended up teaching choir (although I did also teach band for a while). I decided not to sing in this video because I can't find the CD and I don't remember all the words, my guitar playing isn't as secure as piano (ha!), and also because I didn't trust myself to not cry. It's been a day.