This project examines the work of four elementary music educators who strive to challenge the dominant paradigm of music education. I employed the methodology of a multiple case study (Merriam, 1998; Yin, 2009) to consider the discourses, practices, and philosophies of these four educators. I observed in each school for an eight-week period for two full days each week, conducting semi-structured interviews at the beginning, middle, and end of each observation process. At each school, I followed an observation protocol, in addition to completing three interviews, and keeping a journal. In this work, I mobilize a tri-faceted lens that combines the theoretical frameworks of anti-colonialism, anti-racism, and anti-racist feminism toward counterhegemonic goals. The teachers' diverse practices include critically engaging with issues of social justice, studying a broad range of musics, introducing multiple musical epistemologies, creating space for students to own the means of cultural production, contextualizing musics, considering differential privilege, and subverting hegemonic practices. In many ways, these four individuals interrupt the traditional Eurocentric focus on Western classical music to explore different possibilities with their students. However, within this work to subvert, there were moments in each classroom where the dominant paradigm was reinscribed. These subversions and reinscriptions are instructive to music education and carry broader implications for the discipline. Ultimately, this thesis argues that a truly radical music education involves shifting from a liberal to a critical paradigm. Many values and strategies traditionally found in liberal education can be reread radically, and doing so puts forward tenets of a radical music education. Within these four classrooms, there were myriad examples of this shift from a liberal to a critical orientation. However, this work also raises questions of positionality and asks explicitly which bodies are able to do radical anti-oppressive work in music education, acknowledging that it is possible to unintentionally reinscribe dominant power relations while working to subvert them.

This project examines the work of four elementary music educators who strive to challenge the dominant paradigm of music education. I employed the methodology of a multiple case study (Merriam, 1998; Yin, 2009) to consider the discourses, practices, and philosophies of these four educators. I observed in each school for an eight-week period for two full days each week, conducting semi-structured interviews at the beginning, middle, and end of each observation process. At each school, I followed an observation protocol, in addition to completing three interviews, and keeping a journal. In this work, I mobilize a tri-faceted lens that combines the theoretical frameworks of anti-colonialism, anti-racism, and anti-racist feminism toward counterhegemonic goals. The teachers' diverse practices include critically engaging with issues of social justice, studying a broad range of musics, introducing multiple musical epistemologies, creating space for students to own the means of cultural production, contextualizing musics, considering differential privilege, and subverting hegemonic practices. In many ways, these four individuals interrupt the traditional Eurocentric focus on Western classical music to explore different possibilities with their students. However, within this work to subvert, there were moments in each classroom where the dominant paradigm was reinscribed. These subversions and reinscriptions are instructive to music education and carry broader implications for the discipline. Ultimately, this thesis argues that a truly radical music education involves shifting from a liberal to a critical paradigm. Many values and strategies traditionally found in liberal education can be reread radically, and doing so puts forward tenets of a radical music education. Within these four classrooms, there were myriad examples of this shift from a liberal to a critical orientation. However, this work also raises questions of positionality and asks explicitly which bodies are able to do radical anti-oppressive work in music education, acknowledging that it is possible to unintentionally reinscribe dominant power relations while working to subvert them.

The study examines how Aboriginal workers and workers of colour experience union solidarity and explores the necessary conditions for the remaking of solidarity and the renewal of the labour movement. Grounded in anti-colonial discursive framework, the study analyzes the cultures and practices of labour solidarity through the lived experiences of Aboriginal activist and activists of colour within the Canadian labour movement. Utilizing the research methodologies of participatory action research, arts-informed research and critical autobiography, the research draws on the richness of the participants’ collective experiences and visual images co-created during the inquiry. The study also relies on the researcher’s self-narrative as a long time labour activist as a key part of the embodied knowledge production and sense making of a movement that is under enormous challenges and internal competing tension exacerbated by the neoliberal agenda. The findings reveal sense of profound gap between what participants experience as daily practices of solidarity and what they envisioned. Through the research process, the study explores and demonstrates the importance and potential of a more holistic and integrative critical education approach on anti-racism and decolonization. The study proposes a pedagogical framework on solidarity building with four interlinking components – rediscovering, restoring, reimagining and reclaiming – as a way to make whole for many Aboriginal activists and activists of colour within the labour movement. The pedagogy of solidarity offers a transformative process for activists to build solidarity across constituencies in the pursuit of labour renewal and social justice movement building.

The study examines how Aboriginal workers and workers of colour experience union solidarity and explores the necessary conditions for the remaking of solidarity and the renewal of the labour movement. Grounded in anti-colonial discursive framework, the study analyzes the cultures and practices of labour solidarity through the lived experiences of Aboriginal activist and activists of colour within the Canadian labour movement. Utilizing the research methodologies of participatory action research, arts-informed research and critical autobiography, the research draws on the richness of the participants’ collective experiences and visual images co-created during the inquiry. The study also relies on the researcher’s self-narrative as a long time labour activist as a key part of the embodied knowledge production and sense making of a movement that is under enormous challenges and internal competing tension exacerbated by the neoliberal agenda. The findings reveal sense of profound gap between what participants experience as daily practices of solidarity and what they envisioned. Through the research process, the study explores and demonstrates the importance and potential of a more holistic and integrative critical education approach on anti-racism and decolonization. The study proposes a pedagogical framework on solidarity building with four interlinking components – rediscovering, restoring, reimagining and reclaiming – as a way to make whole for many Aboriginal activists and activists of colour within the labour movement. The pedagogy of solidarity offers a transformative process for activists to build solidarity across constituencies in the pursuit of labour renewal and social justice movement building.

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