Critical literacy in secondary band education: navigating tradition and transformation through educator narratives
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Abstract
Hate crimes, bigotry, and racism in the United States continue to reach new heights, signaling a contemporary hegemonic crisis that demands educational response (Meyerhoffer, 2023). Although scholars call for educators to actively combat systemic oppression (Villavicencio et al., 2023), teachers face increasing scrutiny from restrictive legislation concerning discussions of race, sexuality, and gender (Bylica et al., 2024). Music educators are uniquely positioned to facilitate critical examination of social justice issues through curriculum that challenges dominant narratives and amplifies marginalized voices (Hess, 2017b). Band educators, however, often resist change due to deeply rooted traditions and reproductive pedagogical models (Allsup & Benedict, 2008). The authoritarian traditions prevalent in band education, including prescriptive methods, linear curricula, competition, and performance-based outcomes, can constrain opportunities for critical work and student voice (Allsup & Benedict, 2008). Through a narrative inquiry methodology (Clandinin & Connelly, 2000) I explored how three secondary band educators across the United States implemented Critical Literacy (Freire, 1970/2000) practices in their classrooms. Findings revealed that critical literacy implementation exists along a spectrum, from subtle to explicit engagement. Participants employed activities aligned with Lewison et al.'s (2002) four dimensions of Critical Literacy: disrupting the commonplace, interrogating multiple viewpoints, focusing on sociopolitical issues, and taking action to promote social justice. Examples included engaging with diverse repertoire, modifying routines, integrating popular music, challenging traditions, promoting representation, facilitating dialogue, implementing cross-curricular models, and engaging in activism through composition and performance. Participants identified educational experiences, lived experiences with marginalization, and a desire for students to become principled citizens as motivations, identifying benefits such as enhanced musicianship through increased empathy and vulnerability, and development of student agency. Barriers included competition pressures, band director fragility, community values and politics, resistant colleagues, restrictive legislation, the inherent nature of band education itself, and the persistence of the "Good Old Boys Club.” Within increasingly restrictive political environments, participants developed what I termed permeative teaching practices, a reframing of subversive teaching (Portelli & Eizadirad, 2018), that flow through and transform education rather than opposing it externally. The study demonstrated that critical literacy and musical excellence function as complementary rather than competing forces. This study suggests that the survival of band education may depend on its willingness to embrace critical engagement rather than retreat into traditional practices that no longer serve all students effectively. Keywords: Critical Literacy, Critical Pedagogy, band education, narrative inquiry, social justice, permeative teaching, secondary education, Freire, systemic oppression
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2026