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Arts & Communication Relational response to racism

a. Performing the spiritual with excellence in respect students to be analytical thinkers and to feel comfortable
for the original singers with discussions in a free market of ideas. It will also help
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b. Discussing and assessing the performances to them develop empathy for others. 56
understand the personal meaning of the music Finally, our students deserve the truth on any topic
for each individual at an age-appropriate level. We have the responsibility to
After developing the indicators, the objectives can be be scholarly and study, to have the correct facts, and to
written and aligned. As an example, I wrote two possible be honest in our presentations. 4,8,13,20,43 There have been
objectives with the alignment to the descriptors in situations where educators withhold information or lie
parenthesis: to enhance specific agendas or belief systems. I saw the
• Learners will identify the meaning of the biblical problem this caused among some of my students who were
imagery used in “The Welcome Table” and other unaware of fundamental facts on specific topics because
spirituals. (1a, 2b) they were deemed contrary to what is commonly accepted
• Learners will perform the spirituals at an appropriate or politically expedient. It is our responsibility to encourage
tempo with dynamics that they decide upon based on students to scrutinize and pursue truth constantly.
the interpretation of the text. (1b, 2a)
• Learners will perform the spiritual as a ring dance 6. Critical theory and the relational mindset
with stomping and clapping to empathize with the In 2022, I presented an abbreviation of this paper at the
performances of the enslaved Gullahs. (2a, 2b) 35 International Society for Music Education World
th
• Learners will write one to two paragraphs about the Conference, which was held online due to COVID-19
suffering of the enslaved Gullahs and how it impacted restrictions in Australia. After the presentation, the
the words and music of “The Welcome Table.” (2b, 1a) moderator asked if there were any questions or comments.
• Learners will video record their performance of “The Although I knew many attendees were in the virtual room,
Welcome Table” and assess the recording to improve it was silent. That was a surprise because I anticipated that
the performance. (3a) we would all be able to share our diverse views. (I had
• Learners will interpret “The Welcome Table” along friends later tell me that if they had been at my session, they
with a piece of music of their choice that is similar and would have been afraid to comment). After several pleas
share their interpretations in a small group. (3b) from the moderator, one attendee commented, “I believe
After aligning objectives to the relational mindset you can teach CRT along with the relational mindset.”
descriptors, procedures and activities can be developed “Thank you for commenting,” I replied. “I wanted to
to meet both the objectives and the descriptors. While offer a different approach than critical theory to address
developing the activities, I would like to offer several other racism. Of course, you are welcome to try teaching both
ideas for music educators and educators in other fields. critical theory and a relational mindset, but please consider
First, music, or any subject being taught, must always be the this – the critical theory is based on power. And, how
central focus of the lesson. Too often in activist teaching, effective are power struggles when building relationships?”
music becomes secondary to the agenda and ideology I did not hear a reply from the attendee to my comment,
being propagated. 32,33 Students come to us to learn music nor could I see the responses in the room. I do remember
or any other subject matter, and we shortchange them if the moderator saying, “I had never thought about that.” I
they are not learning music. Second, because relationships hope I offered the attendees ideas to ponder and implement
are contextual, the information and practices of a relational in their classrooms.
mindset should enhance the musical performance while
also challenging the students to think multidimensionally After the conference, the attendee’s comment caused
and holistically. Furthermore, all should strive to perform me to contemplate, “Can critical theory and the relational
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as best as possible with respect for the music and the mindset co-exist as a framework or lens for educators? Are
people who initially performed the music. To do anything they contradictory or complimentary?” Because there will
less is to diminish the value of the music and perhaps the always be new variants of critical theory, and other theories
people of the music. Third, relationships flourish with will be developed, I wanted to offer a means of evaluation.
freedom but wither under control, which usually appears Therefore, I challenge all of us to consider several questions
through guilt or name-calling. Therefore, it is essential to to compare critical theory or any other theory with the
5,6
allow time for students to express their opinions in a music relational mindset.
classroom yet to listen to and respect others’ stories even if Does the framework (or theory) cause you to see
there is profound disagreement. The time will enable the students as groups with like-mindedness based on a single

Volume 2 Issue 1 (2024) 5 https://doi.org/10.36922/ac.1234