WEEK 13 (YEAR 1 Semester 2) -- Decolonising Music Education Through Culturally Responsive Teaching Practices

The last week of term concluded with what seemed a very relaxed jamming session. Tom invited us into the lecture room. The lights were dimmed, there was a chord progression projected onto the front board, and instruments were set up in a circle, ready to be played. We could choose between keyboards, guitars, bass, and various percussion. Tom kept the talk to an absolute minimum and we just played, with a few directions to improvise or play in groups of specific instruments.

As we became more familiar with the song, Tom kept adding layers of detail. The chord progression was based on H.E.R.'s song "I Can't Breathe". We sang through the verses and chorus. We talked about the meaning of the song, and almost everyone had heard of George Floyd.

We then looked at "I Can't Breathe" by Dobby. The first song had an atmosphere of healing. This one was visceral, angry and confrontational. We discussed both songs in groups, looking at the differences and similarities. 'Has anyone heard of David Dungay?' Only a couple of us said 'yes'.

Toward Transcultural Practice

This session challenged us to move beyond acknowledging diversity to engaging in conversations about difficult topics. What Tom modelled here was what Schippers (2005) calls a transcultural approach to music education -- not just recognising that different musical cultures exist, or making loose connections between them, but engaging in an exchange of ideas, and confronting uncomfortable truths.

The pedagogical choice to begin with music-making rather than the lecture was significant. By the time we realised we were playing a song about police brutality and systemic racism, we were already part of the music. This embodied what Abril (2013) describes as creating a "social learning community" where students feel safe to explore difficult content together.

Whose Stories Get Told?

The contrast between the two "I Can't Breathe" songs revealed something profound about Australian society. George Floyd's death sparked global protests and became a household name. David Dungay was a Dunghutti man who died in custody in 2015 -- also saying "I can't breathe", and still remains largely unknown, even in Australia.

My group discussed how the unresolved anger in Dobby's track (featuring Barkaa, a Barkindji woman) speaks to an issue that has been systematically silenced. While the world rallied for George Floyd, Australia has largely failed to reckon with over 500 Aboriginal and Torres Strait Islander deaths in custody since the 1991 Royal Commission. The difference in tone between H.E.R.'s reflective healing and Dobby's visceral anger reflects profound social issues: one addresses a tragedy that received global attention and led to convictions; the other addresses ongoing, unresolved injustice that most Australians don't even know about.

Implications for My Practice

This session forced me to examine my own lesson plans and units of work. Am I choosing repertoire that allows students to see themselves and their communities reflected? Am I creating space for difficult conversations about injustice, racism, and systemic inequality? Or am I, like Tom suggested many teachers do, avoiding these topics because they make me feel uncomfortable?