These questions are based on the readings cited at the end of each section.
Questions
July 7th - Treweek et al. and Baldwin Readings
1. The Treweek et al. article references the vast library of media that portrays people with autism in an exaggerated light, and calls upon the participants to discuss their preconceptions regarding people with autism. The first two questions ask: “1. (a) What do you think the stereotypes of people with autism are?... 2. (a) Think about a person with autism. Is this person like the stereotypes that you have mentioned in question 1?” (p. 762)
Stating in the introduction that perceptions may be informed through stereotypes, asking participants to describe those stereotypes, then asking them to discuss the accuracy of those stereotypes is a leading question. So, how did the researchers control for the Hawthorne effect in this study, if at all? And if they didn’t control for it, should this study be considered flawed?
2. Addressing conclusions:
Does the wide age range – spanning over 4 decades – and small sample pool, allow for an accurate assessment of current societal views? Would a wider range of participants (including non-verbal) have better illustrated the researcher’s heterogenous statement? Is one participant stating, “they probably like support bullying of people that have it” sufficient evidence to make the conclusion “stereotypes leading to the exclusion/bullying of autistic people”.
3. Baldwin’s article lists multiple organizations who engage in community music making through lessons, events and partnerships, with people from a variety of age groups and with disabilities. While these organizations, and their goals, and program styles demonstrate their current focus on inclusive music making, we wonder about how these programs began, any hurdles they encountered and their growth since their inception. Additionally, we inquire about their funding and the avenues from which they receive their financial support.
How did these programs originate in their communities and what growth have they experienced to develop their programs to where they are today? What financial support do they rely on and how has the financial aspect helped grow or hinder their programs?
References
Baldwin, A. (2017, January). Community music-making for everyone via performing ensembles: here are five groups that make an inclusive, musical difference in their communities. Teaching Music, 24(3), Retrieved from https://link-gale com.proxy1.lib.uwo.ca/apps/doc/A478140469/AONE?u=lond95336&sid=AONE&xid=8e62265f
Treweek, C., Wood, C., Martin, J., & Freeth, M. (2019). Autistic people’s perspectives on stereotypes: An interpretative phenomenological analysis. Autism, 23(3), 759–769. Retrieved from https://doi.org/10.1177/1362361318778286
July 8th - Mitchell and Ansdell
1. Ansdell (2002) asks “what is happening to music therapy as community music encroaches?”, resulting in a swing away from group therapy toward therapy with individuals. However, since 2002 the opportunities for individuals to create and publish music (eg. Garage Band, Soundtrap, Bandlab, YouTube, Facebook) have become ubiquitous, so now the same could be said of individual musical opportunities pushing back at music therapy. Within the spectrum between individual and group therapies, where does music therapy as a practice situate itself, and how has it felt the pressures from both sides?
2. In Mitchell (2019), the success of the Coffee Houses at the mental health facility is attributed to context and atmosphere, with staff mentioning these coffee houses would “not go over as positively” (p. 8) in other settings, like a community school.
What aspects, that support the success of this coffee house, are viewed as unattainable for other settings? What factors of this coffee house event, if any, could be applied to other settings to allow for a similar success?
3. Within the realm of music therapy, there seem to be conflicting models. The model of traditional music therapy can be seen as coming from a medical point of view, thus legitimizing it as a therapy that can be used in a clinical atmosphere. Ansdell (2002) describes it as an environment with a problem and a potential cure. Music is seen as a tool for expressing feelings and it's the job of the music therapist to interpret the client's musical outcomes and how they relate to the problem being treated. Community music therapy on the other hand seems to follow a social approach to disability by including others in the process. Making music with others takes a primary role in this process with the therapist accessing their skills as a musician first while the psychology aspect becomes secondary.
Should music therapists approach their work through a moral or professional lens and what are the implications of each approach? In what ways does this change the outcomes for the clients participating in each form of music therapy?
References
Elizabeth Mitchell. (2019). Community Music Therapy and Participatory Performance. Voices : a World Forum for Music Therapy, 19(1). https://doi.org/10.15845/voices.v19i1.2701
Gary Ansdell. (2002). Community Music Therapy & The Winds of Change. Voices : a World Forum for Music Therapy, 2(2), np. https://doi.org/10.15845/voices.v2i2.83
July 12th - DeVito, Telles, & Hidalgo
1. Kuchinski (DeVito et al., 2020, p. 23), the fine arts teacher mentions in their response to assessment "It is our goal to produce an educated audience."
What is the purpose of educating the audience and for what genre or style of music is this necessary?
What assumptions are hidden within this statement?
2. De Vito states "When students share their culture online, it is not expected to (sic) for the international educators to have a technically accurate rendition of Hip Hop or playground game song in the context of the culture of the Rawlings students" (pp. 20-21). However, Young (2008) considers the appropriation of the art of a culture without full appreciation for the aesthetic and historical relevance of that art to be morally concerning. How was and is cultural appropriation of the art of other cultures considered within the Rawlings program? Furthermore, how is the cultural art of Rawlings considered in the international programs (ie. Canada, Guinea, Taiwan, etc.)?
Additional reference:
Young, J. (n.d.). Cultural appropriation and the arts [electronic resource] / James O. Young. Blackwell Pub.
3. With the increase in departments and policies policing “non-inclusive” speech and action from schools and government, how are the many dichotomies between increasingly risqué popular media and modern education policies dealt with? In other words, is bringing in hip-hop and religious songs going to work with school policies?
References
DeVito, D., Telles, T., & Hidalgo, B. (2020). Culturally responsive research projects in a Title I elementary center for fine arts. Visions of Research in Music Education, 35, 1-28.
July 14, 2020 - Bradley, Chavez & Skelchy, and Stanton
Questions, July 14, 2020
According to Bradley (2012) “for those excluded from school performance groups, for those who struggle to find relevance in school music curricula, and for those unable to hear ‘their’ music in school, music education operates as a colonizing discourse” (p. 7). How can a teacher address and ensure students are finding relevance in school music curricula while walking the line of appropriation?
Bradley (2012, p. 420) mentions the threat of multiculturalism on music education, yet in the commercial setting this is an area that teachers are encouraged to explore and consume as suggested by curriculum. The ideas of multiculturalism in music as a separate category for sale seems to perpetuate the colonial stereotypes of this "world music" and how we integrate and view it in the classroom. For example, purchasing a book on Chinese music for guitar for the specific use of furthering student ability to perform and to actively make music from this culture.
What are publishers and composers doing in this area to change how we place colonial perspectives on non-Euro centred musics?
The presence of Western classical music varies among institutions. Schools like Berklee College of Music in Boston have included many non-Eurocentric musical education opportunities and paths for decades. They are taught by those who grew up with, and professionally specialize in, this music. If schools like Berklee have made progress absent of modern decolonization ideas—and in fact, remain consistently more progressive in practice—how does the literature translate to action? To what extent do you believe this is an inherently Canadian, or Canadian academic/education system issue?
References
Bradley, D. (2012). Good for What, Good for Whom?: Decolonizing Music Education Philosophies. In The Oxford Handbook of Philosophy in Music Education.
Chávez, L., & Skelchy, R. P. (2019). Decolonization for Ethnomusicology and Music Studies in Higher Education. Action, Criticism & Theory for Music Education, 18(3).
http://act.maydaygroup.org/volume-18-issue-3/act-18-3-chavez-and-skelchy/
Stanton, B. (2018). Musicking in the Borders: Toward Decolonizing Methodologies. Philosophy of Music Education Review, 26(1), 4–23.
July 16, 2020 - Benedict
1. Benedict writes: “When it comes to speaking about religions, those of us who live and teach in a secularized democratic state have learned that while state mandates may sanction talking about religion, we are frightened to death of causing any of uproar” (p. 118). If the dominant religion had so many influences on our Western civilization, why are we so fearful to bring this up in class? Where did this fear come from? Where did it begin?
2. In the Benedict article (2021, p.120) there is mention of educators carefully manoeuvring around religious issues. Why do the opening exercises of school and the playing of O' Canada create a closed environment that does not welcome the viewpoint of others or open up the space for dialogue?
3. Teachers are encouraged to be inclusive and represent their community within the western dominated curricular and religious (read Judeo-Christian) context. However, presenting contributions from outside of that context may tokenize alternative practices by making them tangential to a western dominated situation (Hess, 2015). How does one appropriately represent local cultural and religious perspectives without appearing to tokenize those contributions within the colonized framework of the curriculum?
Benedict (2021). Educating for Belief and Nonbelief. NP.
Hess, J. (2015). Decolonizing music education: Moving beyond tokenism. International Journal of Music Education, 33(3). pp. 336–347.
July 16, 2020 - Sensoy & DiAngelo
Jason's questions and ideas:
So much of teaching in a public school is being part of a unified team working in the best interests of the students. However, raising concerns with social inequality with the school environment will undoubtedly cause some others to perceive my ideas as confrontational. While I have no problem being an outcast for the right reasons, this could result in workplace conflict, and even result in me being seen as a troublemaker. How do I navigate the need for equity within a system that moves at a glacial pace?
I work in a building where the overwhelming majority of new hires are young, Caucasian, blonde women (seriously). When the issue was addressed in the past the administrator claimed they "hired the most qualified person for the job". How should I address this blatant hiring bias given the power structures of the public system and my perceived position of privilege as a cisgender white male?
"You mean I have to watch everything I say?" (p.192) You're darn right you do! Language indicates thoughts, ideas, prejudices, hopes, and so many other things. And as a role model within the education system that language can empower or defeat a student without you even realizing it... So watch everything you say. Consider the impact of every word, large and small, and recognize that those words have so much power over ideas and thought, and choose them wisely
Marysia's questions and ideas:
1. The politics of language: “What do they want us to call them now?” “You mean I have to watch everything I say”? (Sensoy and DiAngelo, 2017, p. 192). It’s not watching everything you say, its’ being conscious of what you say. This can involve simply changing a word or a pronoun, and once you do it a few times, it becomes second nature. It makes an incredible difference in helping someone feel included, valued and seen within their community.
2. “Politics has no place in schools” (Sensoy and DiAngelo, 2017, p. 186). It is important to address issues affected by political decisions, and how they have influenced different communities. In the age of social media and the internet, kids and youth are glued to these platforms, and often don’t question what they read online. Educators should address the effects and influences of past and present political issues on communities, and, teach students to examine sources critically, along with “how” to think vs. “what” to think.
3. “I feel so bad and I don’t know what to do” (Sensoy and DiAngelo, 2017, p. 197). This is a phrase that in the education context can be seen as “there’s not enough resources” or “there’s no professional development”, as if we are expecting someone to hand us a “how to” guide. It’s easy to find an excuse, or to blame a system for lack of supporting materials. While resources and pro-d are helpful, saying “I don’t know what to do” in an era of the internet, is an excuse, as there are materials out there, we just need to put in the time and effort to seek them out.
Chantel's questions and ideas:
1. The Sensoy and Di Angelo chapter (2017, p. 186) speaks on the argument that publicly funded schools are neutral. It also continues to explain the purpose of education in this context as preparing students to be democratic citizens. Why does this response to education continue to support the politically charged atmosphere of education and its policies? What about this is allowing schools to re-enforce structural hierarchy?
2. "School is not a place to teach values." (Sensoy & Di Angelo, 2017, p. 186) There is a fear to discuss religion, yet schools teach values in the form of character education. What about this separation creates a false sense of positive school culture? What implied message is this sending to students?
3. The common argument made is that we live in a modern society and people have choices (Sensoy & Di Angelo, 2017, p. 194). This way of thinking does not acknowledge socio-economic status, intergenerational trauma or the conditions placed upon those choices. Why is there a stigma behind identification and labelling? What is the power dynamic in receiving supports once identified?
Sensoy, O., & DiAngelo, R. (2017). Is everyone really equal? : an introduction to ke concepts in social justice education / Özlem Sensoy and Robin DiAngelo. (Second edition.). Teachers College Press.
Adam's questions and ideas:
Dr. Bradley (2012) states, “The language of critical theory, despite good intentions of theorists and pedagogues, may paradoxically reproduce the epistemological colonialism it seeks to disrupt, while its practitioners inadvertently assume roles as colonizers.” However, Portland State University professor, and grievance studies hoax author, Peter Boghossian (2020) while referring to DiAngelo says, “At some point, in the near future, we will look back and marvel at how so many people were hoodwinked by such an obvious charlatan.” If we don’t believe this is the case, what would critical theory without “good intentions,” look like? Who would we expect to critique it?
Boghossian, Peter [@peterboghossian]. (2020, July 15) At some point, in the near future, we will look back and marvel at how so many people were hoodwinked [Tweet]. Twitter. https://twitter.com/peterboghossian/status/1283510691089924096
Bradley, D. (2012). Good for What, Good for Whom?: Decolonizing Music Education Philosophies (Vol. 1). Oxford University Press. https://doi.org/10.1093/oxfordhb/9780195394733.013.0022
Numerous black intellectuals including Chloe Valdary (2019), Coleman Hughes (2020), Thomas Chatterton Williams (2019), and John McWhorter (2020) are highly critical of DiAngelo’s writing on race (and critical theory more generally). Why are rebuttals to strawmen offered, and not legitimate criticisms from those – based on the author’s own argument – who are better qualified to speak?
Hot And Spicy Words. (2020, June 25). Coleman Hughes on White Fragility [Video]. YouTube. https://www.youtube.com/watch?v=TR7AcRdws0U&feature=emb_logo
McWhorter, John. (2020, July 15). The Dehumanizing Condescension of White Fragility. The Atlantic.https://www.theatlantic.com/ideas/archive/2020/07/dehumanizing-condescension-white-fragility/614146/
Valdary, Chloé S. [@cvaldary]. (2019, April 23) My challenge to Robin DiAngelo (“white fragility”) is to consider the dehumanizing effect of being told your existence is a [Tweet]. Twitter. https://twitter.com/cvaldary/status/1120724402448896000
Williams, Thomas Chatterton. (2019, April 24). Skin Deep. The American Scholar. https://theamericanscholar.org/skin-deep/#.Xw_TdZ5KiHt
The authors try to address political allegiance in academia; even if one was to agree with their suspiciously convenient argument about “knowledge”, why has it shifted so heavily in the last 30 years (Haidt, 2016)? Dr. Bradley’s (2012) critical theory critique citation comes from 1989, which coinsides with the observation that there's been a shift away from challenging these perspctives.
Bradley, D. (2012). Good for What, Good for Whom?: Decolonizing Music Education Philosophies (Vol. 1). Oxford University Press. https://doi.org/10.1093/oxfordhb/9780195394733.013.0022
Haidt, Jonathan. (2016, January 6). New Study Indicates Existence of Eight Conservative Social Psychologists. Heterodox Academy. https://heterodoxacademy.org/new-study-indicates-existence-of-eight-conservative-social-psychologists/