A matter of race and gender: An examination of an undergraduate music program through the lens of feminist pedagogy and Black feminist pedagogy

Abstract

<jats:p> Feminist pedagogy, originating in social constructivism and critical theory, offers an instructional approach for a more democratic and diverse curriculum and pedagogy. Extending from feminist pedagogy is Black feminist pedagogy, which offers a more specialized instructional approach for underrepresented populations in education. Both feminist pedagogy and Black feminist pedagogy foster a unique intersection for institutions of higher education whose historic mission integrates race and gender as part of its targeted efforts. This study examines ways feminist pedagogy and Black feminist pedagogy are integrated into the undergraduate music program at Spelman College, a historically Black college for women. Using Barbara Coeyman’s four principles of traditional feminist pedagogy for women’s studies in music and the general music curriculum (i.e., diversity, opportunities for all voices, shared responsibility, and orientation to action) as a theoretical framework, the following three components were examined for this study: content (curriculum and course design), context (structural influences of gender and race), and pedagogy (classroom instruction and learning outcomes). The analysis of data ascertained through triangulated measures of interviews, observations, and document collection provided suggestions as to how music educators can design and teach within a music environment that is socially and culturally inclusive for all students. </jats:p>

A Black feminist study of freedom, community care, and self-definition among Black college women attending predominantly White institutions.

“…However, in regard to academics, Black women who do not actively seek out antiracist courses and professors at PWIs may primarily encounter deficit-based or whitewashed versions of history that overlook the significant ways that Black individuals have contributed to U.S. society. While these types of liberatory courses and experiences do exist (Chapman-Hilliard & Beasley, 2018; Grissom-Broughton, 2020), we urge more universities to offer specific resources and recognition to faculty who infuse liberatory pedagogies into their course design, such as Black feminist theory (Grissom-Broughton, 2020; Melonas, 2021) or texts on Black life and Black creativity (Mims et al, 2022; Mustaffa, 2021).…”

Pedagogical practices, curriculum development, and student experiences within postsecondary music education: A systematic literature review

“…Five studies were dedicated to studying how power relations regulated music discourses, ideologies, and the competition for space, program policy, and practice. Two of these studies focused on postcolonial, feminist, and Black feminist lenses and sought to uncover hegemonic music dialogues and how they are being (re)produced or can be addressed by higher education institutions and the people acting within them (Grissom-Broughton, 2020;Thielsch, 2020). This falls in line with the manner in which Thielsch (2020) defines postcolonial higher education teaching as: To critically discuss the benefits and challenges that derive from using a postcolonial approach in higher education and why and how this can promote the decolonization of university teaching and learning.…”

“…The final two studies employed theories undergirding instructional practices that cultivate student engagement. In particular, the role of questioning in Miguel and Carvalho's (2016) music analysis approach framed their inquiry of dialogic learning processes, and Narita's (2016) research employed Green's (2008) hybrid framework and Freire's (1972) view of dialogue to investigate students' informal, collaborative, and autonomous learning.…”

“…This observation was reflected in case studies, multiple case or cross-case studies designs, ethnography, and a mixed-method study. Five studies used case study design to analyze teachers’ and students’ perceptions of studio-based learning, music analysis, and instrumental and vocal music pedagogy (Burwell, 2016; Simones, 2017; Miguel & Carvalho, 2016) and to implement postcolonial and feminist-informed approaches (Grissom-Broughton, 2020; Thielsch, 2020). Researchers also selected ethnography to document the differences in students’ attitudes toward learning music at the university while considering their different backgrounds (Feichas, 2010; Narita, 2016).…”

Editorial

“…This has resulted in some very popular issues—most notably Volume 42, Issue 2 (July 2020), and Volume 43, Issue 3 (July 2021). The July 2020 issue, published at a time of racial unrest across the world, addressed issues at the intersection of music education and race (Grissom-Broughton, 2020; Kruse, 2020), gender (Grissom-Broughton, 2020), social justice diversity and inclusion (Bjørnsen & Woddis, 2020; Crawford, 2020; Ellefsen & Karlsen, 2020), cultural partnerships and heritage (Mabingo, 2020; Prest, 2020), and methodological responsibility in research (Kallio, 2020). The July 2021 issue similarly had many articles focussing on issues of inclusion, including those associated with disability (Pickard, 2021), mental health (Koops & Kuebel, 2021), and social awareness (Grant & Low-Choy, 2021).…”