In What Ways Do Teachers Support Immigrant and

Refugee Learners; A Literature Review

Andrew Foote

Introduction Results Baker, Day, Jones

In the ever-evolving and diversifying experience of Baily, Collyer - Role of music in healthcare is perceived differently by
citizens today, global connections and interactions are - Fusing musical ideas can be effective different cultures
commonplace. Human migration is increasing rapidly, - Sensitivity to accurate representations - Music as healing agent for trauma in refugees
and individuals displaced from their home face many Campbell Marsh
challenges and opportunities. Whether through conflict, - Can be used for social and emotional healing
- Collaboration between ethnomusicology and music
economic need, ethnic persecution, or religious
education is crucial, and growing - Fusing styles can help students engage at their level
oppression, many people flee their homes (voluntary or
- Continuing this collaboration is vital to success in both - Utilizing methods and performance opportunities as a
not) to seek safety and security in the United States.
fields means of connection between new and old students
Like Irish settlers in the mid 19th century, one part of
Trimillos - Engagement with the community
their old lives that many cherish are their stories and
- Six strategies used by Filipinos in America Butler, Lind, McCoy
songs. These individuals each bring different musical
- Traditional ensembles; fusion groups;
perspective and tradition which serve as a connection
neotraditional styles; mass media; promoting
back to their homeland. Maintaining these cultural
performers; exponents of Euro-American music
specificities in a foreign place can be difficult and trying,
Gleadhill
but it does not have to be a task for the individuals
- Fusing music from students ethnic backgrounds with
alone. The role of music educators is not limited to
local music styles
classroom walls and school hours; community music
serves as an additional avenue through which teachers - Can be used to solve conflicts of values and beliefs

can affect change. For many teachers, including songs Lenette, Sunderland

from other nations or cultures (to a varying degree) has - Music can create social inclusion in groups

become standard components of a well-rounded - Can help connect ‘locals’ and refugees
curriculum. Accurately reflecting the cultures and - Conceptual model for music education
traditions of the students is one of the key components
- Awareness of our own culture, bias, etc..
to a relevant music education curriculum, yet there
appears to be little research done into authentic refugee
and immigrant musicking in the United States. As the
communities around us grow, new faces and identities
present themselves, and with these come new songs
resources can diffuse family tensions as described by
and ways of sharing stories. This topic serves as a Conclusions
Gleadhill in Bristol UK, and was also addressed by
starting point for further research into authenticity, We owe it to our students to meet them where they Trimillos, Marsh, and Baker, Day, & Jones.
multicultural music education, assimilation and
are and find ways to incorporate their music Consulting with ethnomusicologists and resources
cultural preservation, music populations, cultural
knowledge and background into our shared can help inform our choices in materials to better
representation, and many other avenues for potential
experience. The information necessary should be avoid conflict and to best represent our classrooms,
research. How has research addressed the question “In
acquired directly through discussion and research, as Campbell describes. Encouraging attendance of
what ways do teachers support immigrant and refugee
and indirectly by observing and adapting to their cultural performances, promoting cultures through
learners?”
behaviors during musical activities. Providing an mass media, including traditional and neotraditional
open and welcoming environment for students facing music and ensemble opportunities, and providing
migration pressures, as described by Baily & Collyer, examples of notable performers of different cultural
can create an open space where families and heritage are all directly applicable to a music class,
students can connect with the community through and require little adaptation (Trimillos). All the
Materials and methods music. As Baker, Day, & Jones found, the decisions we make should be informed and
A brief recount of the information is included in incorporation of authentic material can unlock evaluated with our own biases, gender, age, and
the “Results” section, with more descriptive student participation and foster group connections. culture in mind, with or without the model provided
ideas discussed in the “Conclusions” section. Developing a group identity that includes the new by Butler, Lind, & McCoy. Awareness, informed
For more information on any of the resources, students and their heritage, while still maintaining decision making, sensitivity, and openness are the
consult the “Literature Cited” as well as Andrew their agency promotes improved social and required tools to creating this space where students
emotional health for trauma victims in classrooms from all areas are represented, encouraged, and
Foote’s paper entitled “In what ways do teachers
(Lenette & Sunderland). Forming this blended group welcome to participate.
support immigrant and refugee learners: a
identity by incorporating whole songs and song
literature review.”
elements into our preexisting structures and

Jones, C., Baker, F., & Day, T. (2004). From healing rituals to music therapy: Bridging
Literature cited the cultural divide between therapist and young Sudanese refugees. The Arts in Acknowledgments
Psychotherapy. doi:10.1016/s0197-4556(04)00024-3
Baily, J., & Collyer, M. (2006). Introduction: Music and Migration. Journal of Ethnic and
I would like to thank Jesse Rathgeber
Migration Studies, 32(2), 167-182. doi:10.1080/13691830500487266 Lenette, C., Sunderland, N. (2016) “Will there be music for us?” Mapping the health and
well-being potential of participatory music practice with asylum seekers and for his constant help and direction
Butler, A., Lind, V., & McKoy, C. (2007) Equity and access in music education:
refugees across contexts of conflict and refuge, Arts & Health, 8:1, 32-49, DOI:
conceptualizing culture as barriers to and supports for music learning, Music
during this semester, and the previous
10.1080/17533015.2014.961943
Education Research, 9:2, 241-253, DOI: 10.1080/14613800701384375 two years. I would not have found my
Marsh, K. (2012). “The beat will make you be courage”: The role of a secondary school
Campbell, P. S. (2003). Ethnomusicology and Music Education: Crossroads for knowing
music program in supporting young refugees and newly arrived immigrants in
areas of interest in music without his
music, education, and culture. Research Studies in Music Education, 21(1), 16-30.
Australia. Research Studies in Music Education, 34(2), 93-111. guidance. I also would like to thank my
doi:10.1177/1321103x030210010201
doi:10.1177/1321103x12466138
family and friends for their support
Gleadhill, A. (2014). Tradition empowering the cutting edge Inspiring students by fusing
Trimillos, R. D. (1986). Music and Ethnic Identity: Strategies among Overseas Filipino
music from around the world with popular culture. In Popular culture, pedagogy throughout my college career.
Youth. Yearbook for Traditional Music, 18, 9-20. doi:10.2307/768515
and teacher education: International perspectives (pp. 122-111). Abingdon, Oxon: © Copyright 2018
Routledge.