belonging

Is there such a thing as a “Generation Alpha” melody?

In Nancy Fraser’s framework, social justice requires both redistribution (economic resources) and recognition (cultural and symbolic status). Symbolic recognition is the validation of one’s identity, dignity, and self-worth within a broader socio-cultural context. And in 1990s Medellín—our time—young people faced material deprivation and severe symbolic misrecognition, viewed solely through the lens of urban violence, stigma, and invisibility. 

One of our longest-standing members asked a question at a meeting this year that I still cannot answer well. He had rehearsed four or five pieces for our concert last December. On the afternoon itself, he participated in playing only one of them. He wanted to know how that had come about. He put his question to everyone in the room.

When you walk down the halls of OrKidstra, you’ll hear the universal language of music around every corner. Laughter as the kids rush to the snack table during their break. And you’ll hear something distinctly Canadian: the beautiful sounds of a community composed of 62 different cultural and linguistic backgrounds. A community of belonging.

Ask any Bogotano about their perception of Colombia’s Chocó Region, and you’ll likely hear that it is a dangerous and remote place, visited primarily for whale-watching. These inter-regional biases are not uncommon—decades of armed conflict have disrupted networks of community and social cohesion, fragmenting them and threatening the practices that sustain communal life. And though a shared sense of Colombian identity exists, each of the country’s regions maintains a distinct cultural character that is often rooted in music.

Before traveling to Chocó, my perception of Colombia’s outer territories was similarly close-minded.

When Lotus Centre for Special Music Education opened its doors in Ottawa, Canada in 2012, we thought our mission was clear: provide access to high-quality music instruction for students with exceptionalities and disabilities who were being left out of traditional lessons. What we didn’t yet realize was that our students were about to become our greatest teachers, shifting our organization from a provider of services to a learning community shaped directly by their needs and strengths.

Music & Arts in Action has released their latest online issue, “Music Education Among Refugee and Migrant Youths: Sharing, Belonging, Including.”

It’s 3:30 on a Wednesday afternoon at the Neutral Zone, a creative arts and leadership center for teenagers in downtown Ann Arbor, Michigan. Twenty-four young people and six staff gather in a circle of chairs in the B-Side Venue (a multi-purpose program space that also serves as a 400-person concert venue). As a disco ball glimmers overhead, Ash, a teen participant and high school sophomore, volunteers with an opening question: “What did you like to do at recess when you were a kid in school?”