A round a decade ago, I attended a primary music education conference in which delegates were treated to a superb Gospel choir from London. As their music took my atheist soul to the heavens, something remarkable dawned on me: the entire choir was black, apart from one member, and almost everyone in the audience was white – and in 1930s Alabama there would have been signs up enforcing this.
So, in modern Britain, how had this come to pass? I was keen to find answers, and attended one of Nate Holder's lectures on Critical Race Theory (CRT).
At that time, Nate's work was uncontroversial. It was widely accepted that there were enormous issues with under-representation of Britain's diverse communities in many areas of musical life, for performers and educators alike.
Register now to continue reading
Register to the Music Teacher website today to read more of the latest news and developments from the world of music education.
You’ll receive:
-
Free access to 4 subscriber-only articles per month
-
Email newsletter providing advice and guidance across the sector
Already have an account? Sign in here
