Aligning Culturally Responsive and Trauma-Informed Pedagogies in Elementary General Music

Abstract

In elementary general music, the need for culturally responsive pedagogies and trauma-informed practices may coexist. Creating an environment and developing instruction in ways that are both culturally responsive and trauma-informed may be possible, because both approaches share common theoretical underpinnings and practices. In this article, we review the research on culturally responsive music education and trauma-informed practices and make practical suggestions for implementing these pedagogies in elementary general music classes.

Keywords

culturally responsive pedagogies early childhood elementary general music music education trauma-informed pedagogies

I recently returned to teaching elementary general music after taking 10 years raising my children, earning a master’s degree, and teaching part-time in community music school settings. Perhaps because of my experiences with families in early childhood music classes, or my graduate work, or my connections to my own children, I noticed in my new school a shared connection among many students and some staff that I was not a part of. Any teacher new to a building could feel this to some extent. A new teacher joins a community that existed before they arrived. Still, it became apparent to me that I was not a part of this community in more ways than just my newness. I am a white woman who grew up listening to socially conscious folk music from the 1960s and 1970s along with classical orchestral and choral repertoire. My new school’s students are racially diverse and culturally diverse. They listen to a broad range of musics—predominantly 21^st- and late–20th century mainstream pop musics, including country and hip-hop.

In addition to the diversity of races and cultures in my school, there is just as much diversity in home and family environments. I have students who speak a different language at home than they do at school. I also teach students who are dealing with a variety of traumas. Multiple students are supporting parents with terminal cancers. I teach students who have witnessed violence, or who are survivors of physical or sexual abuse. I have several students living in extreme poverty and students whose parents are incarcerated.

I realize that my personal music world is different from that of my students, and I want to find ways to make music class meaningful for all of my students. I value the music world of each student and respect each child’s individual learning needs and goals. It is my goal for each of my students to leave my class believing themselves to be musicians, understanding their personal musical world, and also feeling comfortable engaging with the rest of the world’s musics.

My desire to connect with my students and better meet their needs led me to seek out new information. Specifically, I wanted to know if culturally responsive pedagogies and trauma-informed practices could coexist in elementary general music instruction. I worked with a local professor to design a summer study focused on culturally sustaining pedagogies and trauma-informed practices and how they might be extrapolated into music teaching and learning. Using my summer research, we cowrote this article. In it, we examine peer-reviewed literature—including both research and interest articles—on culturally responsive music education and trauma-informed practices and make practical suggestions for implementing these pedagogies in elementary general music.

Culturally Responsive Music Education

Researchers have studied culturally responsive, relevant, and sustaining pedagogies for decades (Lind & McKoy, 2016). Gay (2010) defined culturally responsive teaching as “using the cultural knowledge, prior experiences, frames of reference, and performance styles of ethnically diverse students to make learning encounters more relevant to and effective for them” (p. 31). Culturally responsive teaching has three fundamental components: high expectations, cultural competence, and critical consciousness (Ladson-Billings, 2009). By holding to these three principles, culturally responsive teachers have the opportunity to make their classes more validating, comprehensive, multidimensional, empowering, transformative, and emancipatory (Gay, 2010). Culturally responsive teaching creates more equitable education and treats diversity as a resource rather than a liability (Lind & McKoy, 2016). Recently, Paris and Alim (2017) proposed that teachers should strive to be culturally sustaining by proactively creating learning environments that move beyond cultural relevance or responsiveness to actively perpetuating and fostering students’ cultural practices.

Culturally responsive teaching primarily is a mind-set, not a methodology (Bond, 2017; Kelly-McHale, 2019; Lind & McKoy 2016). This means that being culturally responsive requires a desire to connect with students, a willingness to learn new pedagogies and content in order to meet student needs, and self-examination, particularly about biases and stereotypes. It is different from multiculturalism because it is student-centered rather than resource-centered (Walter, 2018), and connects culturally valid music experiences and classroom learning (Abril, 2009). Synthesizing decades of research, Brown-Jeffy and Cooper (2011) suggested a framework for a comprehensive culturally responsive education. Their framework consists of five interrelated themes: identity and achievement, equity and excellence, developmental appropriateness, teaching the whole child, and student–teacher relationships. Using the framework can help preservice and active teachers reflect on how race and other cultures of reference, which may include class, gender, religion, ethnicity, nationality, and/or sexual orientation, interact in education.

Music is an integral part of culture, so music education is uniquely positioned to be culturally responsive and even culturally sustaining. Bond (2017) reported that the majority of recent research on cultural responsiveness in music education is with teacher education/preservice training. For example, McKoy et al. (2017) found that providing active teachers with professional development helped build an awareness of the influence of culture on their students, encouraged them to see existing student knowledge as important and useful, and increased the likelihood that the teachers would implement culturally responsive strategies within their classes. Preservice and active music teachers alike must be encouraged to develop, and experience models of, a culturally responsive mind-set, for one cannot effectively teach what one has not experienced (Bond, 2017).

Culturally Responsive Secondary Instrumental Music

Researchers have studied culturally responsive teaching in instrumental music education from the perspectives of both context and content. Examining the context of successful instruction, Fitzpatrick (2011) found that urban band teachers valued personal knowledge of students, schools, and communities; used special skills to find “creative solutions to urban problems” (p. 241); maintained high expectations for students; and achieved high student outcomes. Abril (2009) conducted a case study of a middle school instrumental teacher who developed a mariachi program to better serve students in a school with a growing Hispanic population. Based on this case study, Abril suggested that traditional band/orchestra programs might benefit from offering non-Western performing ensembles that are related to student cultures and interests. Similarly focused on content, Boon (2014) not only endorsed the integration of students’ personal listening and movement habits into school string instruction but also cited specific music styles and elements to consider, based on the tastes of the African American students in this study and others (e.g., Fitzpatrick, 2012; Ladson-Billings, 2009; Shaw, 2012). Bond (2017) cautioned, however, that teachers should not make assumptions or assertions about the music tastes or desires of entire people groups. Overall, findings suggested teachers should honor the diverse cultural experiences of their students through both content (e.g., repertoire) and context (e.g., learning environment or classroom structure).

Culturally Responsive Secondary Choral Music

Researchers studying culturally responsive choral education also examined both content and context. Shaw (2015) examined teachers’ perceptions and students’ perceptions (Shaw, 2016) of culturally responsive choral education. In the first study, Shaw corroborated Fitzpatrick’s (2011) findings that culturally responsive teachers rely on an intimate knowledge of their students and have a rich understanding of the interaction between content and varying cultural contexts in their classrooms. In contrast, while students in the 2016 study did perceive instruction as responsive to cultural diversity, they also identified diversity as a potential barrier to successful culturally responsive teaching. When a teacher chooses to respond to the needs of one cultural group, “it can result in missed opportunities” for others (Shaw, 2016, p. 64). This finding emphasizes the importance of continuous relationship building and the persistent application of a culturally responsive mind-set in all planning.

Considering culturally responsive choral content, Bond (2014) offered seven strategies for choral instruction that reflect the core tenets of culturally responsive teaching: (a) know the students, (b) build on student strengths, (c) connect home and school experiences, (d) use a wide variety of musics, (e) present music in its social and political context, (f) acknowledge and share multiple perspectives, and (g) encourage a sense of community with high expectations. With the aid of example scenarios, Shaw (2012) provided suggestions for choosing repertoire, considerations for rehearsals, ideas for building sociopolitical awareness, and a vision for curriculum design demonstrated as a multiyear spiral model. Throughout these examples Shaw centered on the theme of “allowing students to share the role of expert” (p. 77) by consulting an individual with personal experience that can inform the class, or through individual responses to group experiences. Like Brown-Jeffy and Cooper (2011), both Bond (2014) and Shaw (2012) emphasized that culturally responsive education is not simply an add-on or a single facet of teaching. It must be embedded throughout context, content, and pedagogy.

Culturally Responsive Elementary General Music

Several peer-reviewed interest articles offered guidance to teachers interested in being more culturally responsive. Kelly-McHale (2019) suggested greeting and learning about each student, examining cultural biases, letting students share, and offering visual representations in instruction. She also provided suggestions for selecting class content in a culturally responsive way, such as learning what music students experience at home or beyond school, examining and contextualizing repertoire, and reflecting on personal music biases. Kelly-McHale’s suggestions align with instructional strategies such as chunking, scaffolding, exit surveys, and think-pair-share activities that Walter (2018) highlighted as “best practice” strategies to facilitate culturally responsive teaching (see Sidebar 1). Wiens (2015) suggested that culturally responsive elementary music education should intertwine with the concept of place by ensuring not only that activities were culturally informed but also that the configuration of spaces and the styles of interaction connect to community cultures. Abril (2013) reminded teachers that culturally responsive pedagogy is not only about repertoire selection, it is also about a contextual understanding of the school in which learning occurs and about conceiving learning as socially constructed. Thus,

[a] . . . unit on Peruvian music can be taught in a culturally responsive way in any school, with students of any cultural background, as long as the teacher assists students to make connections between their musical cultures and those beyond their experiences, and help[s] all students deepen their musical skills and understanding. (p. 9).

Sidebar 1

Instructional Strategies

Chunking: breaking concepts and skills down into smaller, more manageable pieces. In music, this could mean using whole-part-whole instruction to teach repertoire: introduce a song in its whole form (words, melody, rhythm), teach the song in parts through tonal and rhythm pattern instruction and phrasing, finally guide students to put the patterns and phrases together to perform the whole song.

Scaffolding: moving students progressively towards greater understanding. This can be done through sequential instruction, which includes thinking about what readiness skills students need to achieve a goal, for example, listening and singing before reading and writing.

Exit surveys: a time for reflection at the end of each lesson to enhance learning but also to strengthen relationships. These can be pencil/paper or informal sharing. You could try the following prompts: “Name one thing you are taking with you from class today.” “How did you use your musicianship today?” “What was your favorite part of music class today?” “What do you know now that you didn’t before class?”

Think-pair-share or turn-and-talk: ways to engage students in dialog individually, in a small group, and with the class at large. Relationship building is not only between the teacher and individual students, it is also among students and teacher.

We were unable to locate peer-reviewed research articles (a) describing enacted experiences of elementary general educators who are learning to be more culturally responsive, (b) examining student experiences in—or perceptions of—culturally responsive elementary general music education, or (c) illustrating promising practices for culturally sustaining pedagogies in K–5 elementary music classes. Because culturally responsive teaching primarily is a mindset, not a methodology (Bond, 2017; Kelly-McHale, 2019; Lind & McKoy 2016), culturally responsive practices should vary by location and population. However, educators who are new to this way of thinking may struggle without concrete examples of how to structure the environment or activities in an elementary music classroom. Because our focus in this article is examining potential parallels between culturally responsive music education and trauma-informed practices, before we offer specific classroom strategies, we first define trauma and suggest possible frameworks for use in music education settings.

Trauma-Informed Music Education

Just as culture is a small word that represents a multifaceted expression of identities, trauma is an equally complex concept. According to the Substance Abuse and Mental Health Services Administration (SAMHSA; 2014),

Trauma results from an event, series of events, or set of circumstances that is experienced by an individual as physically or emotionally harmful or threatening and that has lasting adverse effects on the individual’s functioning and physical, social, emotional, or spiritual well-being. (p. 7)

Studies suggest that by the age of 16, more than two thirds of children have experienced a traumatic event (Copeland et al., 2007), and as many as half of children may have that experience before the age of 5 (Egger & Angold, 2004). Traumatic events can be isolated or ongoing, interpersonal or environmental, overt or nuanced, lived or witnessed (Blaustein, 2013). Some examples of potentially traumatic events include abuse, violence, natural disasters or terrorism, death or anticipation thereof, assault, neglect, accidents, or illness (SAMHSA, 2016).

Not all children who experience trauma develop posttraumatic stress, but those who do can demonstrate a variety of symptoms based on their age and development (National Child Traumatic Stress Network Schools Committee, Zero to Six Collaborative Group, 2010). The effects of trauma can range from mild to severe challenges with appropriate social emotional behavior, learning struggles or reduced academic achievement, and even delayed developmental milestones in concentration or memory (National Child Traumatic Stress Network Schools Committee, 2008). Children suffering adverse effects from trauma are more likely to fail a grade, be suspended or expelled, or receive special education services (Wolpow et al., 2009). Fortunately, schools are uniquely situated to intervene (Brunzell et al., 2016).

Recognizing the presence of trauma and acknowledging how it affects individuals, trauma-informed educators seek to provide a safe, supportive system in which each individual can achieve to their fullest potential (SAHMSA, 2014). In 2001, Fallot and Harris proposed five main goals for trauma-informed care: safety, trustworthiness, choice, collaboration, and empowerment. To achieve these goals, schools must first provide training for staff, adjust policies and procedures, and examine disciplinary systems (Carello & Butler, 2015; Plumb et al., 2016; Ridgard et al., 2015). Many elementary schools have embraced the trauma-informed care model by implementing positive behavior interventions and supports and social-emotional learning strategies (Plumb et al., 2016).

Another way to mitigate the effects of trauma in children is through music therapy, which is “a goal-directed process in which music is used to improve, maintain, or restore a state of well-being” (Bruschia, 1987, p. 5). Few researchers have examined applications of music therapy with children who have experienced trauma. Hilliard (2007) studied grief and behavior management with children ages 5 to 11 who had experienced recent bereavement. The study compared the use of traditional social work–based group therapy with a music therapy program using Orff-Schulwerk teaching methods for therapeutic purposes. The results indicated that music therapy may reduce grief-related behavior problems in young children. Music therapy has differing goals, methods, and licensure from music education (Salvador & Pasiali, 2017), yet in the absence of music education–specific research, results from music therapy research may be extrapolated for classroom use by music teachers. Specifically, Hilliard’s (2007) findings support the widely held belief that music making and musical interactions help children express emotions and process their feelings. To understand and apply teaching strategies informed by music therapy, educators would benefit from music education–specific research on trauma-informed systems and practices.

McConnico et al. (2016) developed a framework for trauma-sensitive instruction in an early childhood education setting. Although they did not design or study the Supportive Trauma Interventions for Educators (STRIVE) Framework in a music education context, many of its principles can be applied in the music classroom. In designing and studying the STRIVE framework, the researchers aimed to meet student and teacher needs while also addressing the overall structure of the school environment. The goals of the framework are to increase teacher awareness and understanding of trauma in early childhood students, provide strategies and interventions for classroom use, and increase learning opportunities for students by meeting student needs. While this study was limited in size and scope, the findings suggested that the STRIVE program helped teachers develop stronger relationships with students, which in turn enhanced socioemotional development. We did not find any peer-reviewed research or interest articles specifically on music education and trauma-informed practice.

Intersection of Culturally Responsive and Trauma-Informed Instruction

In the first author’s music room, needs for culturally responsive and trauma-informed pedagogies coexist. Creating an environment and developing instruction in ways that are both culturally responsive and trauma-informed may be possible because both approaches share common elements: a deep understanding of self, including biases and background; a deep understanding of students, including needs, preferences, and home life; the validation and empowerment of student voice through collaborative and independent learning; and a safe and trusting environment that holds students to high expectations. Understanding that culturally responsive and trauma-informed instruction must be individualized and cannot be generalized across multiple contexts, we offer the following specific suggestions to help educators begin creating these practices in elementary general music classes.

Implications for Elementary Music Education

Research in music aptitude reveals that anyone has the potential to achieve musically, yet achievement or talent is often misconstrued as indicative of potential. (Shouldice, 2014). To be culturally responsive and trauma sensitive, teachers must believe that all students are capable of success (Ladson-Billings, 2009) and must approach instruction from an affirming perspective rather than a deficit mindset (Villegas & Lucas, 2007). Teachers should strive to develop unconditional positive regard for their students, in other words, demonstrating patience and “warm caring,” regardless of a student’s situations or behaviors. To also be trauma-informed, teachers must understand their own stress responses in order to provide “consistent, proactive, and welcoming invitations” to relationship building in the classroom (Brunzell et al., 2015). Journaling and observing video recordings of your own classroom practices are both useful ways of engaging in this reflective process. Visiting the classroom of a colleague and asking them to return the favor is another way of providing insight into one’s teaching practices (see Sidebar 2).

Sidebar 2

Strategies for Reflection

Collecting specific data can give journaling and video reflections focus.

Questions to ask could include the following:

Whom did I call on?

Whom did I stand near?

How did I build relationships with individual student(s)?

What choices did I give the students today?

What challenges did I offer (how did I keep expectations high)?

When did my classroom management follow what I have learned about as trauma-informed practices and when did it not?

What musics were familiar to students from home/radio? What musics were reflective of student heritage cultures?

Whom did I interact with in a positive, affirming way, and whom did I shut down?

How was my frame of mind reflected in my demeanor? Did that help or hinder the learning environment?

Routines and activities designed to develop a deep understanding of students can be woven throughout the music curriculum. Elementary general music teachers often teach hundreds of students each week, so building connections and cementing strong relationships can be a challenge. Teachers can foster deeper understanding of students’ thoughts and opinions by incorporating all or some of the following strategies and routines:

Playing name games—not only to learn names but also to encourage individual student responses through singing, chanting, or moving. These games can be drawn from community cultural traditions.

Providing individualized salutations (high fives, fist bumps, waves, etc.) or asking students to point at a feelings chart upon entry invites individual expression and provides insight into student dispositions before class begins.

Allowing for student sharing time at the end of each class not only reinforces learning outcomes but encourages reflective thinking and affords teachers yet another chance to connect with students.

Identifying three positives at the end of each activity, class period, or unit provides teachers with insight into the student experience and can foster a spirit of gratitude in the students (Brunzell et al., 2015).

These consistent routines can combine with high behavioral expectations and predictable limits to not only allow music educators a better understanding of students as individuals but also create a safe and welcoming space for students experiencing trauma.

Taking the time to get to know students on a personal level in itself is validating and empowering for students. Class content can provide so many more opportunities in various musical ways. Singing, chanting, and movement activities within music instruction allow for individual response and improvisation/composition activities offer an outlet for sharing original musical ideas. Circle songs or dances may segue into restorative justice circles that provide an outlet for students to share their thoughts and opinions. Mindfulness meditation may help students focus on their feelings and communicate them at the start or end of a class.

Including student music preferences in the elementary music class can allow for “students [as] partners with teachers in learning rather than mere recipients of knowledge and information” (Abril, 2013, p. 8). Diversity should be represented through repertoire chosen not just for desired learning outcomes but based on student familiarity and cultural context. This means that music educators should find out what musics students are listening to and also incorporate popular musics from local radio stations as well as musics from student home and heritage cultures. Listening and performing activities can incorporate a plethora of genres, instruments, and vocal styles. Teachers who include guitars, banjos, and others in the study of string instruments affirm the value of such instruments in most popular music styles. Teachers who acknowledge the strength of belt singing, the smoothness of gospel/soul singing, AND the fullness of classical singing can make meaningful connections to student experiences and build confidence that may even motivate new exploration and experimentation.

Integrating the above strategies can make a music classroom into a safer space for students to take learning risks. Yet the effort should be never-ending. What is true at the beginning of the year may no longer be by the end of the year, and change is a constant from year to year. Relationship building and teacher reflection should be ongoing processes. Opportunities for student sharing and personal connections should be woven into the curriculum throughout the year. Every part of the music program should be perpetually examined through the lens of a culturally responsive and trauma-informed mindset.

Conclusion

I set out to develop a deeper understanding of how to better engage with the diverse population of students in my school, something an increasing number of teachers must be prepared to address (Bond, 2017). Fortunately, the principles of both culturally responsive teaching and trauma-informed practices overlap in a number of ways that are accessible for an elementary music teacher. The frameworks of both culturally responsive and trauma-informed pedagogies are designed to optimize the learning environment so all students may reach their fullest potential. For this reason, many of these strategies may also be responsive to students of varying abilities. Further research could be conducted to examine how universal design for learning overlaps with culturally responsive and trauma-informed instruction.

“Music teachers have the capacity to move beyond materials and repertoire to delve more deeply into the intricacies of culturally situated music expression” (Lind & McKoy, 2016, p. 20). Music teachers also have an opportunity for relationship building and collaborative learning that can develop through prolonged interactions over the course of years. Understanding the overlap between culturally responsive and trauma-informed teaching allows teachers to address a greater spectrum of student needs within the music class both for the sake of student musicianship and, more importantly, for the sake of student well-being.

Footnotes

Declaration of Conflicting Interests

The author(s) declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article.

Funding

The author(s) received no financial support for the research, authorship, and/or publication of this article.

ORCID iD

Karen Salvador

Author Biographies

Carin A. McEvoy teaches early childhood music through the Michigan State University Community Music School. She also teaches second through fifth grade music for East Lansing Public Schools. Mrs. McEvoy uses singing, movement, instruments and more to develop musicianship in each student, and is always seeking new ways to connect and engage each individual.

Karen Salvador is Assistant Professor of Music Education at Michigan State University, where she teaches courses on early childhood and elementary music education and directs early childhood programs at the Community Music School. Her research bridges music teacher education and instructional practices, focusing on increasing responsiveness and equity in music education. Previously, Dr. Salvador taught general music, choir, and drama.

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