Honouring My Teachers & De-Colonizing My Teaching Practice
I believe that our beautiful world is full of music! Our collective diversity in musical styles, traditions and influences is something to be celebrated and cherished. There is so much richness and beauty we can learn from each other.
As a white woman of settler ancestry (Celtic & Germanic) born and raised in Canada, I recognize that I may hold biases I am unaware of and see some things through a privileged lens of whiteness, due to being immersed in a culture of colonization.
So I am writing this to:
a) acknowledge and honour the teachers who have guided my path
b) share the specific steps that I take and have taken on my journey towards decolonization in my music and teaching.
It feels intimidating and vulnerable to speak about my de-colonization journey this way, and yet I have learned that it is important to use our voices to declare what we stand for and what we believe in, in the name of hosting safe and brave spaces, and co-creating a better world for BIPOC, also known as people of the Global Majority.
(Of course, I ALSO stand for LGBTQ+ equality, respect, rights and freedoms! It’s not the focus of this particular post but it is another aspect of my aim to hold a safe and brave space for all people to discover and express their authentic voice.)
In the world of music education, I have learned that there can be a fine line between enrichment and appropriation.
When we learn music that originates outside our own culture, and these songs and practices are sourced ethically and shared with the consent of the creators, this is important enrichment of our musical awareness, vocabulary and education.
But when music - especially sacred music - is shared or taught without the consent (implicit or explicit) of the creators or the culture it comes from, this is appropriation. When cultural music is taught outside of the context it was intended for, or shared without credit to the creators, these are also forms of appropriation. These types of practices can be perceived as “stealing” music, and as benefitting
(financially or otherwise) from it when it doesn’t belong to you.
I used to think that if I found a song I liked on the internet, or learned a little bit about a cultural practice I found fascinating, that I was automatically allowed to teach it to my community (because it exists publicly). Not so. Some cultural songs are actually “closed” to people not of that culture, and others are sacred, designed to be used by specific people in specific contexts only.
In my groups and private sessions, I always share about the importance of not appropriating songs or practices that are “closed” - not meant to be shared or taught by people outside of the community. I share openly about the sources of songs that I teach, and where permission was implicit or explicit.
With all of that in mind, there is SO much inter-cultural musical richness that HAS been shared with the western world by diverse musical teachers, that we can learn, sing, share and teach with a clear conscience.
I am infinitely grateful for having had the privilege of studying singing and vocal expression with many amazing teachers, both formally and informally. My work is highly influenced by Rhiannon’s Vocal River improvisation methods (“All the Way In” alumni of 25+ years), Laurel Murphy’s innovations in improvisation, sound healing and vocal looping, Bobby McFerrin’s Circle Singing method, Chloe Goodchild’s Naked Voice, and most recently, Ayla Nereo’s Living Song.
In my teaching method, these influences are woven together with sound healing traditions with roots in India that have been given to Westerners, holistic vocal pedagogy and technique, expressive arts therapy, divine feminine wisdom, Celtic earth-based spiritual worldviews (of my ancestors), plus original music and the infinite inspiration of the Muse.
As noted above, I aim to hold space that is inclusive and safe for all, and intends the highest good for all beings. I am committed to working towards de-colonizing myself as an educator. I recognize that because of my privileges as a white person, it is a lifelong journey of learning and unlearning, and I welcome questions and feedback.
Some examples of what this de-colonization process looks like for me:
Restoring my personal relationship with nature and living into reciprocity through place-based creative inquiry, deep listening, and artistic expression. Sometimes this is referred to as “re-indigenization,” because we are all indigenous to Earth.
Attending workshops from teachers in the Global Majority (BIPOC) to keep learning more and attend to unexplored areas. I highly recommend Emily Anne Brant’s trainings for white facilitators on Decolonizing Your Coaching Practice, Asha Frost’s teachings, Emergence Magazine’s Leadership Course, and Selam Deb’s free Anti-Racism Guide about micro-agressions.
Ensuring that any cultural songs I share are collected from ethical sources, given freely with consent, and meant to be shared with others, to the best of my knowledge.
Learning about cultural music traditions and appropriate use from respected artist-eductors such as Ysaye Barnwell, Linda Tillery, Krishna Das, Neeraja Aptikar, and Christine Stevens.
Integrating place-based and Indigenous ways of knowing as an integral part of my creative practice through my Masters degree at SFU.
Inviting others to cultivate their own restorative relationship with the Earth through singing and Celtic mythology.
Actively reclaiming knowledge about my own ancestral healing traditions, which take many forms, such as Celtic land-based spiritual practices and Irish folklore, Norse mythology, German fairy tales, Goddess wisdom, and women’s ancient drumming traditions from the Mediterranean (a la Layne Redmond).
Supporting local and international artisans when possible, by purchasing traditional instruments that are hand made rather than mass-produced.
“Giving back” to charities that support women’s & girls’ rights and healing with music.
Art has the power to create ripples of positive change throughout the world, and I believe that when women sing together, we rise together.Let’s pay attention so that the music we are learning, expressing and sharing will help to heal the world and benefit everyone through the joy of expression, community and connection.
Feel free to send me a message to share your thoughts, questions, and concerns.