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Home , Ecomusicology, Music education

Multicultural Perspectives through & Sustainability Education

Roger Coss

Humanity has recently steered itself Barlow, 2005). However, explicit discussion briefly summarize Reimer’s synergistic into an era of environmental instability on the role of is being education—specifical- where the is ravaged of its natural largely neglected. What are the roles and ly his discussion of the feeling dimension resources, where the of living responsibilities of music educators in ad- of music—and demonstrate how the is decreasing everyday, and dressing the impending ecological crisis? of multicultural where a rapidly growing human popula- The purpose of this article is to discuss is increasingly recognizing the role of emo- tion has become a driving factor in an implications for the relationship of music tions in teaching and . Utilizing impending ecological crisis (Rockström et education to education for sustainability Reimer’s philosophy, I will conclude with a al., 2009; Steffen et al., 2011). Research within the framework of multicultural discussion of music education in education is increasingly focusing on the roles and education.1 Bennett Reimer’s (2003) syn- for sustainability through a multicultural responsibilities of public schooling in ergistic philosophy of music education perspective. addressing this crisis (Cassell & Nelson, provides a conceptual lens through which 2012; Nelson, 2010; Orr, 2004; Stone & to make this connection in a way that not Multicultural only keeps to the integrity of music edu- Environmental Education cation as a discipline, but also addresses Roger Coss is a K-12 educator issues in multicultural education. The ecological crisis is being framed as and a doctoral student I will first discuss how the field of mul- a “cultural crisis” in which people are encul- in currciulum and instruction ticultural environmental education is mak- tured to think and live in relationship to the at the Benerd School of Education ing to address multicultural issues world and the people that surround them at the of the Pacific, in education for sustainability. I will then (Martusewicz, Edmundson, & Lupinacci, Stockton, California. 2011, p. 8). Driving this cultural crisis is

MULTICULTURAL EDUCATION 20 A Multicultural Interdisciplinary Inquiry a conflict of values—values of economic multicultural environmental education ed in five fundamental aspects of musical and technological salvation rather than “highlights the importance of reaching experience: feeling (or emotion)2; creating; ecological responsibility (Callenbach, 2005). out to culturally diverse populations and making meaning; cultural and historical Within this is a technology-dependent hope of understanding, respecting, and utilizing context(s); and multiple intelligences. that requires a new way of thinking, what their perspectives in environmental edu- Particularly significant in the intent of this Cassell and Nelson (2010) argue is “a fun- cation” (p. 28; see also Cole, 2007; Grass, article is a focus on the feeling dimension. damental transformation in support of the 1994, 1995; Peter, 1998). He argues for the “emotional dimension development of a new paradigm, a new lens In her exploratory study of both of music as being a defining characteris- through which the Western mind can adjust non-profit and university multicultural tic of it” and is the “basis for its power to its view of society, education and learning, environmental education programs in the heighten, sustain, refine, and extend hu- citizenship, and the of human habi- U.S., Marouli (2002) found in this field the man emotional ” (p. 73). Music reaches tation on Earth” (p. 183). emergence of two theoretical traditions: its fullest potential through immersion Public schools can help our current (1) the movement into this emotional world. “value structure evolve toward a more with its recognition and representation It is because of the traditional West- viable long-term approach to systemic of the worldviews of marginalized people ern idea of reason, not emotion, being the global problems” (Edwards, 2005, p. 23). Superficial reforms such as adding an environmental unit or having a once-a- A significant focus in education for sustainability year field trip outdoors are not part of the is on the recognition of the socio-cultural dimension solution to the problem. Rather, as Nolet for addressing the impending ecological crisis. (2009) argues, we need a “fundamental change in the educational ” (p. There already exists an empirical, theoretical, 418). Educators are now being challenged and pedagogical tradition for addressing these socio-cultural issues to think afresh their own roles and re- through the lens of multicultural education. sponsibilities in preparing students to live in an era of increasing environmental decay (Nelson, 2010). (e.g., Lewis & James, 1995); and (2) mul- epitome of human functioning that music Stevenson et al. (2013, p. 2) identifies ticultural education that values “cultural has been relegated to extra-curricular five general characteristics of education pluralism and aims for cross-cultural un- status in educational frameworks. How- for sustainability: derstanding” (Marouli, 2002, p. 32). ever, understandings of the relationship between intellect, intelligence, and emo- u It questions ideological norms and as- tion have begun to shift (Reimer, 2003, p. sumptions on the nature and purpose(s) of Reimer’s Feeling Dimension 75). We have too long thought of emotion education—in particular the relationship of Music between education and ethics—and views as an unnecessary dimension of concep- these as fundamental to environmental Bennett Reimer’s (2003) synergistic tualizing intelligence. Rather, “emotions education (Jickling & Wals, 2013). philosophy of music education provides a work hand-in-hand with our rational philosophical base upon which to discuss mind,” creating a sort of co-dependent u It embraces a complex, interdisciplin- how music education addresses multicul- and reciprocal relationship between the ary understanding of the relationships tural issues in a way that stays true to two (Robinson, 2011, p. 186). If, then, one between people, society, and the environ- its uniqueness as an form. He argues dimension of the musical experience is for ment (Edwards, 2005). that “every experience of art, whether the enhancement, extension, and deepen- u It is concerned with not only knowledge creating it or sharing it, ‘makes special’ in ing of humanity’s felt emotional experi- and values, but also with fostering the the way only art can accomplish” (p. 69). ences, music education serves to enhance means and opportunities for taking ac- The uniqueness of the musical experience, the effectiveness—as well as expand the tion on environmental and sustainability then, lies in its focused engagement with opportunity—for musical involvement to issues (Coss, 2013). the world of sounds, as opposed to strictly all individuals. u Teaching and learning occurs not only visual, textual, or movement-based expe- in formal institutional settings such as riences. This philosophy is “synergistic” Emotions in Multicultural schools and classrooms, but also in infor- in how it applies a pluralistic stance on Environmental Education mal and public contexts (Sobel, 2004). historically contended concerns in the u It embraces both local and global per- philosophy of music—including music as Emotions are of paramount impor- spectives (Gough, 2013). formed sounds, music as practice, music tance in students’ reflections on beliefs, as a means for social change, the bound- norms, values, and assumptions of their A significant focus in education for aries of music and music education, and own culture, though they have been sustainability is on the recognition of the the relationship between music and utili- traditionally omitted from education for socio-cultural dimension for addressing tarian values. “The central task of music sustainability frameworks (Boiger & Mes- the impending ecological crisis. There al- education,” he proposes, “is to make mu- quita, 2012; Harré, Armon-Jones, Lutz, & ready exists an empirical (Gaughan, 1996), sical experience in all its manifestations Averill, 1986; Martusewicz, 2001; Zeyer theoretical (Grass, 1995), and pedagogical as widely available to all people, and as & Kelsey, 2013). Sinha (2010) notes that (Liao, Larke, & Hill-Jackson, 2011) tradi- richly cultivated for each individual, as drawing out discomforting emotions from tion for addressing these socio-cultural possible” (p. 69). students, such as guilt, anger, resentment, issues through the lens of multicultural Reimer’s (2003) philosophy is ground- fear, or ambivalence flowing from social, education. As defined by Marouli (2002),

FALL 2013 21 Sustainability Education cultural, racial, political, or religious divi- and social skills (p. 63). Justifying music end result, but rather a means for more sions within society, serve as a conduit for education as such requires valuing it as fully engaging in the feeling dimension. students’ ability to interpret the world a means rather than an end. Rather, as It is through actual engagement with the around them and respond to others in more Reimer argues, it is for the enhanced en- sounds of music itself that awareness of socially aware ways (p. 112). Engagement gagement in the emotional world of musi- feelings is most authentically felt. of emotions in learning contexts not only cal sound that music education should be facilitates student reflection, but is also justified. Immediation viewed as a transformative act. “Educa- Turner and Freedman (2004) discuss Reimer’s second principle is that mu- tion of emotions,” argues Wang (2008), “is music as a “tool,” that it “builds empathy,” sic does not serve a “mediating function,” crucial to destabilizing social hierarchies and that it serves to “inspire environmental as words, numbers, or which privilege rationality, logic, control, action and advocacy” (p. 45). Allen (2012) symbols do (2003, p. 95). Musical sound is and, thus, dominance” (p. 11). argues that contributes to primarily meant to be felt, not to symbolize Education for sustainability is chal- an interdisciplinary approach of “learning and portray some idea, message, or belief. lenging educators to rethink thinking about the natural world” and will poten- Reimer (2003) explains that: and learning with a wider conception of tially “bridge disciplines in creative ways intelligence in mind (Cassell & Nelson, to improve students’ analytical reasoning The way music accomplishes its affective 2010; Goleman, 2009; Goleman, Bennett, and environmental problem-solving skills” presence to us is not, at root, by pointing & Barlow, 2012). It is on this legitimiza- (p. 193). Ramsey (2002) discusses a role us to something outside its inherent na- tion of emotion that Daniel Goleman of music in environmental education as ture as ‘sounds-in-meaningful-configura- tions,’ but by taking us into these sounds builds his idea of ecological intelligence. “a tool that can make both teaching and directly and thereby into the cultural He states that “just as social and emo- learning more interesting” (p. 195). Though meanings they have embodied. (p. 95) tional intelligence build on the abilities to these authors begin to scratch the surface take other people’s perspective, feel with on the role of music education in education Witnessing them, and show our concern, ecological for sustainability, the conversation needs intelligence extends this capacity to all to be shifted towards the role of music in Reimer’s third principle emphasizes natural systems” (Goleman, 2009, p. 44).3 the world of emotional experience. the cultural-sharing aspect of the feeling Emotional intelligence is beginning to be Furthermore, if music education fo- dimension—the reciprocal relationship seen as necessary to cultivate the ways of cuses on multicultural issues in education between maker and hearer. He empha- thinking necessary to promote sustainable for sustainability, then it needs to do so sizes the importance of not only making values and behaviors (Goleman, Barlow, & through the actual emotional experiences musical sounds by , performers, Bennett, 2010; Michael, 2005). of the students. Any discussion on the or improvisors, but also sharing them. role(s) of music education should keep the “Music,” argues Reimer, “is a culture- Addressing Multicultural Issues uniqueness of the musical experience at creating and individual-creating act, and the forefront of teaching and learning. For those who witness are key players in its through the Feeling Dimension full functioning” (p. 97). of Music these reasons I again implore educators to seriously consider the importance of a His use of the term “witness” refers In what ways are multicultural issues philosophical base upon which to ground to the “inner construction of feeling” that addressed through Reimer’s feeling di- their . I agree with Reimer’s must necessarily occur between the music mension of musical experience? How does argument that the engagement into the maker and receiver. Both players have a addressing these issues fit in an education feeling dimension of music is what com- role. Music educators are to “help reveal for sustainability framework? It is first promises that uniqueness of the musical to both and listeners more and necessary to ring a note of caution against experience. more of the inherent workings of music so articulating the role of music education in that the possibilities of feeling they contain utilitarian terms. Reimer (2003) so timely Framework for the Education become more available” (p. 98). reminds music educators fighting to keep of Feelings their practice in schools that: Challenging Binaries Building on the work of cultural through Music Education Advocacy arguments, intended to per- anthropologist Robert Armstrong suade the larger community to support As discussed above, the field of music programs as part of schooling (1975), Reimer presents a tripartite framework for teaching for the education multicultural environmental education rather than as an out-of-school activity legitimizes and recognizes emotions as for those who choose it, have tended to of feelings: focus on whatever values happen to be crucial for engaging and questioning stu- important to people at various , at- Direct Representation dents’ own culture as well as essential for tempting to convince people that music building cross-cultural understandings. can serve those values and therefore Reimer’s (2003) first principle of The very inclusion of music education in should be allowed a place at the education teaching for the education of feelings is educational contexts directly challenges table. (p. 63) that the feeling dimension is most fully the traditionally-held emotion/reason di- experienced through “direct engagement He mentions several of these utilitarian chotomy. This duality is being challenged, with the sounds of music themselves” as Wang (2008) argues: values: raising test scores, improving spa- (p. 95). Aspects of music education such tial-temporal reasoning, making people as knowledge of , historical The dynamics of emotions in multicultural “smarter,” supporting pedagogy in other facts, philosophy, and cultural background education is an important issue. Such disciplines, and improving self-discipline attention, however, does not isolate the information are not themselves the desired role of emotion in pedagogy, but calls for

MULTICULTURAL EDUCATION 22 A Multicultural Interdisciplinary Inquiry

the unity of intellect and feeling in the statement above, “everyone can be ar- “music education attempts to enhance the classroom to open up a creative dwelling tistic.” effectiveness by which people are able to space in which both and students Reiterating Reimer’s philosophy of extend their musical involvements” (p. 89). can risk personal and cultural transforma- music education, the central task is to Thus the inclusion and emphasis of music tion. Such is a vision of sustainable and creative multicultural education. (p.16) make the experience of music available education in the school chal- to “all people” (2003, p. 69). This can be lenges the false reason/emotion dichotomy. Inclusion and legitimization of emotions through composing music about the place I have also provided empirical evidence on through music education challenges the in which students’ daily are situated how the musical experience can and does hegemonic epistemology of reason over in, through performing music that reflects build cross-cultural understanding. that of emotion. the imbedded values and cultural ways of The most essential problems facing thinking within a particular community, humanity—including the maintaining Cross-Cultural Understanding or through developing an appreciation for of a habitable planet for future genera- through Music Education the variety of musical styles present in tions—requires an interdisciplinary way a place through listening to music. It is of thinking (Sternberg, 2008). Capra Music affords students the opportu- through these activities that students have (1999) has already hit the mark in stat- nities to place themselves into the lived experiences of distant from their own. Joseph (2012) demonstrates how Music affords students the opportunities music serves to “address cultural diver- sity and build intercultural relations and to place themselves into the lived experiences understandings” when he teaches his of cultures distant from their own. Australian students to sing, dance, and play African music (p. 9). He argues that a meaningful experience of place, or as ing that “the can be a powerful tool “the teaching and learning of African music Reimer (2003) states, “what music means, for…enhancing the emotional dimension allows students to develop and increase then, is everything a person experiences that is increasingly being recognized as their knowledge, skills, and understanding when involved in it” (p. 165). an essential component of the learning towards each other” (p. 1). In addition, music is increasingly process” (p. 5). In doing so, however, edu- River of Words (ROW) is an interna- being examined as a “generative force in cators must be careful not to capitalize tional K-12 program that invites students human development and social bonding” (pun intended) on music for purposes that to practice place-based learning through (Shelemay, 2011, p. 381; see also Anshel music is not most authentically suited for. an environmental and art contest & Kipper, 1988; Cross, 1999; Hannon & Music education could easily slip right on the theme of watersheds. “Children,” Trehub, 2005; Kreutz, Bongard, Rohmann, back into the role of the Cinderelian explains Pamela Michael, cofounder and Hodapp, & Grebe, 2004; Patel, 2010). For stepchild of schools that music educators executive director, “engage the world with example, the activities of Public Art Workz have always fought against. their whole selves—conscious and uncon- (Detroit, Michigan) use visual art to chal- scious, emotional and cognitive” (Michael, lenge the “deep cultural assumptions about Notes 2005, p. 111). She further explains: why Detroit suffers from poverty, racism, 1 Education for sustainability is by no and blight, and the role of violence in the Our strategy was to create rich sensory means a universally understood and un-con- experiences for students, encouraging city’s problems” (Martusewicz, Edmund- tended term. Similar terms along this topic them to explore their communities and son, & Lupinacci, 2011, p. 293). include “schooling for sustainability” (Stone, imaginations—weaving in natural and 2010), “sustainability education” (Nolet, 2009), cultural history— and to synthesize what Conclusion “” (Goleman, Bennett, & Bar- they had learned and observed into line low, 2012; Orr, 1992), “environmental education” and verse…. We tried to add elements of In this article, I have argued for a (Stevenson, Wals, Dillon, & Brody, 2013; Turner wonder, discovery, interpretation, dexter- multicultural environmental education & Freedman, 2004), and even the provocative ity, and surprise to learning, and to pro- perspective on the role of music educa- “pedagogy for survival” (Cassell & Nelson, 2012). mote our belief that while not everyone While I am in no way attempting to argue that can be an artist, everyone can be artistic. tion in addressing an expanding local and global ecological crisis. In using Reimer’s these terms are synonymous, for the purpose (pp. 113–114) of this article I am choosing to use the term synergistic philosophy of music education This program demonstrates Reimer’s de- education for sustainability. as a foundation, curriculum development 2 Reimer (2003) makes a distinction be- scription of the purpose of the arts noted in education for sustainability can incorpo- tween the terms emotions and feelings. Emo- earlier—to “make special.” Students can rate music education to address the multi- tions are a “broad level of awareness,” whereas experience through composing, perform- cultural issues of the ecological crisis. Emo- feelings are “the actual, specific awareness of ing, improvising, listening, and many tions are being increasingly recognized as what is transpiring and its connection with the other activities. When we experience a a critical component of multicultural en- details of whatever is triggering it” (p. 77). “Feel- place through rhythm, melody, harmony, vironmental education. It is in the context ing carries the generality of an emotional state to the level at which particulars are noticed, and tone colors, we embody that place and of emotional experience that music most the feelings attached to it through music. processed in awareness, and therefore made authentically exists, so relying solely upon conscious” (p. 211). The feeling dimension is the Music filters our emotional experiencing auxiliary utilitarian justifications of music subjective part of emotions—where language of a place. This does not have to happen education does not keep to the integrity ceases to adequately articulate our experiences. thorough an international competition, of music education as a discipline. I agree It is the role of music to “refine and extend” either. As Pamela Michael notes in the with Reimer (2003) when he states that these emotional experiences into a more felt awareness of our experience” (p. 81).

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3 However, Reimer questions Goleman’s Journal, 5(1), 6-9, 26. with the earth: Environmental education (2009) treatment of emotion as a distinct intel- Goleman, D. (2009). Ecological intelligence: and the arts. In M. Stone & Z. Barlow (Eds.), ligence in stating that “what is dealt with in How knowing the hidden impacts of what Ecological literacy: Educating our children that book [Emotional Intelligence] is, essentially, we buy can change everything. New York: for a sustainable world (pp. 111-125). San emotion rather than feeling. Music and the arts Broadway Books. Francisco: Sierra Club Books. are not mentioned” (Reimer, 2003, p. 212). For Goleman, D., Barlow, Z., & Bennett, L. (2010). Nelson, T. (Ed.). (2010). Education and the envi- a more detailed discussion of this, see Reimer Forging new norms in : From ronment [Special issue]. Education (2003, p. 211-214). emotional to ecological intelligence. Teacher Quarterly, 37(4). Education Quarterly, 37(4), 87-98. Nolet, V. (2009). 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