MacPhail Center for Music’s Post

Why It Matters

Imagine a music-centred school. Music as foundation subject. But also driving cognitive growth, peer relationships, school spirit, community engagement. Learn more about the government's vision for music with the #NPME https://ow.ly/o6gn50Qc43X

History #The2030Agenda for #SustainableDevelopment, adopted by all United Nations Member States in 2015, provides a shared blueprint for peace and prosperity for people and the planet, now and into the future. At its heart are the #17SustainableDevelopmentGoals (#SDGs), which are an urgent call for action by all #countries - #developedanddeveloping - in a #globalpartnership. They recognize that ending poverty and other deprivations must go hand-in-hand with strategies that improve health and education, reduce inequality, and spur economic growth – all while tackling climate change and working to preserve our oceans and forests. #IPBES10, the #InvasiveAlienSpecies #2030 #WorldBankGroup and the #InternationalMonetaryFund (#IMF) #centralbankers, #ministersoffinance and #development, #privatesectorexecutives, #civilsociety, #media, and #academics to discuss issues of #globalconcern, including the #worldeconomicoutlook, #globalfinancialstability, #povertyeradication, #inclusiveeconomicgrowth and #jobcreation, #climatechange, and others”, #IISD’s #SDG #KnowledgeHub “What is one positive you can say you learned or gained from what is going on ? I will go first . Mine is who will stand beside me when I'm down.” LM

Just finished reading Prof. Nathan Holder’s book, ‘If I were a racist’ - Exploring racism in music teaching’. What a great tool for self and systematic reflection. This book encourages critical thinking and invites the reader to step back from ideology and ‘the way things have always been done’ in music education, to contemplate how some of those things at best could be non-inclusive and at worst could be causing harm. I love how the book isn’t designed to give all the answers but to pose questions that provoke the reader to rethink & challenge the status quo and perhaps begin or continue further a journey towards social justice, anti-racism and decolonisation. In short towards a truly inclusive music education where Black children can feel safe and like they belong and therefore thrive. I’m here for that. Big 👍🏽

all areas society needs but are not very profitable

Giving back: always important, especially when it aligns with your organisation's values. Coxswain Alliance sponsors a critical learning and development program with the Sydney Symphony Orchestra; the Fellows. This is about nurturing the talent of the future, building capability. Have a listen to how the seasoned players David and Matthew talk about mentoring young and talented players. It is a nuanced approach that offers multiple avenues for building capability. And Matthew's comment goes to the heart of it. It's not just about being a good player; it's also about being a good colleague. Isn't that the truth!

We could not let this month pass without wishing the incredible Vaughnette Bigford a Happy Black Music Month!!! In case you didn't know, June is the month to celebrate Black musicians' enduring impact and legacy and their creativity on music, culture, and history. We love you Vaughette!! Thank you so much for all your support and for gracing the world with your talent!! __________________________________________________________________________________ Want a way to keep up with all these special dates and occasions, DM and ask about getting your very own copy of the 2024 Caribbean CEO Publicity Calendar

“Quote from Loren Kajikawa’s “Leaders of the New School? Music Departments, Hip-Hop, and the Challenge of Significant Difference,” published in Twentieth-Century Music 18/1, 45-64, 2020 (emphasis added): ‘Personally, I find it pretty wild that engaging Black culture too often involves strategically navigating whiteness. We operate in a system where white gatekeepers present Black culture for the white gaze. Black cultural spaces exist in isolation until they produce something that white people desire. White people rarely enter them until there is something they want to enjoy and eventually control. They exploit structural inequalities by using their capital, connections and other resources (like our grants/philanthropic culture) to control artists and art forms. They become gatekeepers. Sometimes they're scholars, experts, agents, managers, documentarians or non-profit heads. Access goes through them. They create organizations for these traditions and then only hire other white people. Imagine being Black and having to navigate white folks to engage something that emerged from your community. Imagine some white guy vetting you for access to your kinfolk. This is a process of cultural extraction. White gatekeepers use their resources to present these Black traditions to monied white audiences. They present performances, showcases and symposium in spaces far removed from the Black community. And, it's not that there's a lack of spaces in the Black community. It's because the cultural sector is dependent on the white gaze. The goal is to bring the margins to the mainstream because the mainstream won't go to the margins. The processes of white gatekeeping and cultural extraction perpetuate severe inequalities. Sure, these white-led organizations may have diverse programming, but it means very little to me if Black folks (and other people of color) have little access to it. Black-led organizations are resilient, but 'bending but not breaking' is woefully unhealthy. Black culture workers struggle to find any sort of balance between cultural respect, personal fulfillment and financial stability. It is a dirty structure that needs to be destroyed and rebuilt.’ ~Langston Collin Wilkins”

On this episode of Here and Now, we go inside the fight for tenure among Black orchestral musicians.

Every photo tells a story, and with Kylie, the story is all about music and dreams 🎵📖 Check out my blog post #newblogpost