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Research Report

Accordingly, they coined the term “culturally sustain- An Exemplar Study Exploring Culturally
ing pedagogy” (CSP) to describe teaching that “seeks to Sustaining Music Pedagogy
perpetuate and foster—to sustain—linguistic, literate, Emily Good-Perkins used culturally sustaining peda-
and cultural pluralism as part of schooling for positive gogy as a framework for exploring students’ experiences
social transformation.” 27 in two music classrooms in which teachers took marked-

Paris and Alim observed that asset-based pedagogies ly different approaches to facilitating singing experienc-

fall short when they rely on fixed, static, stereotypical, es. One disquieting finding was that when a Eurocentric

or essentialist views of culture. They caution educators musical epistemology was upheld as the single “appro-
not to assume neat correspondences between facets of priate” way to sing, students reported experiences of be-
students’ complex cultural identities and curricular con- ing “inhibited” and “silenced.” This silencing included
tent. They further warn against focusing CSP on histor- not only a reluctance to sing, but a deeper experience
ical, longstanding, or “heritage” elements of students’ of exclusion as students recognized that their cultural-

cultures (implying fixed, static notions of culture) with- ly informed ways of knowing, being, and engaging with
out also engaging with the ways in which individuals music were not valued within this classroom. Such a “si-
contemporarily enact their cultural identities. They also lencing” of student culture in order to prioritize a single,
encourage educators to recognize and sustain youth cul- dominant cultural perspective (in this case, a Eurocentric
ture as an important culture in its own right. approach to music education and singing) is precisely
what culturally sustaining pedagogy seeks to counter.

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54 CHORAL JOURNAL October 2022 Volume 63 Number 3