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Culturally responsive practice is the most impactful lever we can pull towards equity in music education.
But what exactly does it mean for there to be “equity in music education”? What does it mean to utilize a lens for “diversity, equity, and inclusion”?
The “Alphabet Soup” of terms
I’ve spent a lot of time recently sitting with an “alphabet soup” of terms: DEIAB, CRT, CRME, CRP, diversity, equity, inclusion, access, belonging, and cultural responsiveness, mostly.
One thing that has been really clear as I travel to speak, facilitate professional development, and consult with music teachers all around the country and internationally is the triggering that happens when these terms come up.
And I know why the terms are triggering to some folks: there’s so much confusion about what the terms mean, and perhaps worse, misinformation. Many music teachers don’t know what the terms mean at all which leads to a “watering down” of their application, or just plain steering away so that they don’t cause offense.
Add that to our current political landscape, the passing of divisive concept laws & policies, and other legislation that is banning books and folks being able to embrace their own humanity, it’s no wonder that the “alphabet soup” of terms causes so much confusion and worry.
But here’s the thing: music educators everywhere believe that music is for everyone. In fact, this is the question I often ask folks at the beginning of my sessions and I have yet for someone to admit out loud that they don’t believe this.
So, then the question is, why does the idea of providing access, including everyone, and providing a diversity of thought & experiences, cause so much discomfort for music teachers?
Even well-meaning music teachers who know that they need to embrace DEIAB, and adopt it into their practices & mindset, are sometimes shaken up when pressed to explain their thinking and their instructional approaches.
As I’ve been sitting with this, I think it all boils down to the need for knowledge & clarity. Music educators need to have crystal clear clarity on what these terms mean, and more specifically what they mean for music education and their music programs.
Knowledge is power, and I really think the big issue here is not intention, but a lack of knowledge and clarity.
In today’s article, let’s talk specifically about what diversity is and it’s role in a culturally responsive and equitable music education.
Diversity in Music Education
When you hear that word, many things may come up for you, but according to the Merriam-Webster Dictionary, diversity means “the condition of having or being composed of different elements.”
It’s important to note that diversity includes race and ethnicity, but it’s not only about race. It’s also important to note that one person alone, or one piece of repertoire cannot be “diverse” by itself.
I often hear folks say things like “we want to make sure we choose diverse composers” or “we want to have diverse repertoire”, but they’re using it as code to avoid saying the thing that really needs to be said.
Some of us are so uncomfortable with talking about race and ability, for example, that rather than naming it for what it is, choosing repertoire that’s written by Black, Brown, Indigenous, or Asian composers for example, folks will say “diverse”. But again, one person, one musician, one composer, one piece of repertoire is not ‘diverse’ on it’s own.
If you’re finding that you’re saying the word ‘diverse,’ instead of naming race or ability, or language, that requires some personal self-reflection.
The School Dance Analogy
You can also think of diversity like this: in the professional development workshops I do with music teachers, I like to use the analogy of a school dance. Maybe you’ve attended a party or a dance before, let’s say your high school’s annual school dance.
Diversity is ensuring that everyone gets invited to the dance. Not just some of the kids, but every kid gets invited, and they know when and where the dance will be, and all the details about the dance.
Diversity is important, because we want our music ed spaces to be inviting to all of our students. When you look around a space and it doesn’t reflect any pieces of your identity, it’s hard to feel like you’re welcome there. Nobody wants to be the only one.
What I see through my consulting work with music teams across the country is that music programs that have a hard time attracting and retaining students often have a diversity issue because the program is only inviting to a very particular kind of student. The repertoire, the activities, the practices, and procedures only appeal to a certain kind of student, and as a result, other students are repelled because they don’t feel welcome and thus don’t participate.
Putting Diversity into Practice & Action
If we want to tackle diversity head on in our music programs, we have to make sure that we are inviting everyone. Our music education spaces need to look welcoming and inviting to everyone and that means we have got to be diverse.
Specifically, we must be:
- Diverse in the way we run our programs. There must be space for a variety of perspectives in terms of what the procedures and policies are. The “my way or the highway” approach is not going to work.
- Diverse in the racial/gender/ability/language makeup of the composers and musicians we teach about. Remember, one piece alone, or including one composer does not suddenly mean your music program is diverse. Instead, seek to normalize a wide range of musicians, composers, and genres as commonplace in your music program.
How are you putting diversity into action in your music program?
I would love to hear your thoughts on how you’re putting diversity into action in your music program! Share in the comments below!
Also, let me know what you think of this article! If you haven’t already, be sure to sign up for my email newsletter where I send blog articles and other resources and tips each week to help support you ensure all of your young musicians thrive by centering equitable and culturally responsive practices in your music program!
Until next time,
Ashley
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