Quviasuliqpunga

3. Alianaittuqaqpuqinuunialirama There is joy. I will be living ulluqsulitauva The day is still there. Ajjajaajaajaaajjajaajaajaa ajjajaa, ajjajaaja Akuttujuukangutivuuk The Akuttujuukhave caught up. ulluqsulitauva The day is still there. ajjajaajaajaajjajaajaajaa ajjajaajaaja Quviasuliqpungainuunialirama. I am feeling happy. I will be living. ulluqsulitauva The day is still there. ajjajaajaajaajjajaajaajaa ajjajaajaaja Quviasuliqpunga

4. Weaving musical worlds Lori-Anne Dolloff University of Toronto

5. Multiculturalism is not a curriculum unit, a special program, a new faculty hire, a weekend workshop or a silkscreened t-shirt — it’s one of the great joys of life. . (Warren Senders & Lyle Davidson, 2000) “Multi-Culturalism”

7. Lori-Anne Dolloff University of Toronto

9. Singing and agility games

10. Alianaittuqaqpuqinuunialirama There is joy. I will be living ulluqsulitauva The day is still there. Ajjajaajaajaaajjajaajaajaa ajjajaa, ajjajaaja Akuttujuukangutivuuk The Akuttujuukhave caught up. ulluqsulitauva The day is still there. ajjajaajaajaajjajaajaajaa ajjajaajaaja Quviasuliqpungainuunialirama. I am feeling happy. I will be living. ulluqsulitauva The day is still there. ajjajaajaajaajjajaajaajaa ajjajaajaaja Quviasuliqpunga

11. Songs do not exist independently of the people who make them and sing them Every music has a back story, a social context Include our own story of learning, coming to that music as model. As we allow the children to create their story of experiencing a song the music expands, “his-story” becomes “my-story” and “our-story”. The World of Song

12. Used with permission GrammaH Easter’s Lullaby

13. How did you learn it? Who Taught it to you? Were you given permission to share it? In what circumstances? Guidelines for sharing music

14. Candlefish, staple of society and family life Harvest a community event Only share if in spirit of celebration must include the movement/dance My story of Oolichan on the land of the Salish people makes it a living, ongoing tradition “Oolichan” arr. Stephen Hatfield

15. What are your stories of songs and music making from your childhood? What stories are we allowing our children to create as they weave their own relationships with music and people a world away? Music education as story making

16. …a Samoan colleague describes the role of song in her childhood years as follows: Reflecting back on my childhood memories, waking up in the morning to the singing of songbirds in the trees, crawling from a mosquito net to join family hymn singing for lotu (devotion), or listening to my parents singing in the kitchen as they prepared our lunches for school, have influenced my own love for music and song. (L. Sauni, 10 October 2010, personal communication) Trinick, Sauni, & Allen, 2010, p. 4). storied musical encounters

17. All music education is “multicultural” All music is has embedded cultural values about sharing the stories of people from different traditions as embedded in their music. Joan Russell(2006) “What’s to be Done with the Fox” Meeting ourselves in Shared Song

18. The fusion of music and language in both Māori and Samoan cultures is steeped in tradition, and it is crucial to provide an historical and cultural context in order to recognise the significance of song from these two cultural perspectives for today’s children. (Trinick, Sauni, & Allen, 2010, p. 4). Recognizing voices in shared song

19. What’s missing when we encounter a song on a single sheet of paper without notes or recordings? Thula Baba

20. Thula Baba

21. Whose musical experiences are devalued, silenced, ignored by the musical choices we make. How do we create a spirit of openness to stories of the experience of others? So…..Whose Story is it?

22. Tokenism/patronizing/ re-colonizing Repertoire is culturally loaded In North America songs tend to anthropomorphize our animals--further from the food production—A hunting we will go: “and then we let him go? We would eat him” Example whale song—cute and cuddly Who is this “we?” Assume everyone holds the dominant culture values. Re-colonizing cultural voices

23. Recognize our own musical stories and the cultural values embedded in them Acknowledge experience, honour traditions Where possible include additional activities derived from first hand experience with a culture bearer Hegemony of dominant culture means that it will absorb all others it contacts—Inuksuk for 2010 Canadian Olympics, ensure informed permission, or a clear sense of right use Uphold the potential of music education to restore silenced and underrepresented voices and musics Decolonizing Musical Education

24. If we wish our students to shed their ethnocentrisms and xenophobias, we teachers, parents, administrators and community members must actively seek delight in cultural variety, finding as many different and ongoing ways as we can to bring it into our schools, our homes, our towns, and our lives. (Senders & Davidson, 2000) Our Part to Play

25. Qujannamik Kia Ora Thank you

26. Pura Fe Grammah Easter’s Lullaby www.youtube.com/watch?v=VJgXEOHM3nU Russell, J. (2006). “What’s to be done with the fox”. Curriculum Inquiry, 36, Senders, W. & Davidson, L. (2000). “Music and multiculturalism: Dimensions, difficulties & delights.” Journal for Learning Through Music, Summer. Trinik, R.M. (2011). “Sound and sight. The use of song to promote language learning”. General Music Today, 25(2), 5-10. References

27. Quviasuliqpunga from the singing of the Inuksuk Drum Dancers Grammah Easter’s Lullaby, used with permissionm taught by Pura Fe Oolichan arr. Stephen Hatfield, published by Boosey and Hawkes Thula Baba, this edition retrieved from cpdl.org Songs