Article Critique: The Invisible Student: Understanding Social Identity Construction within Performing Ensembles by Ryan M.

Hourigan Critical Pedagogy II Drew Michael Brennan

The invisible Student: Understanding Social Identity Construction within Performing Ensembles by Ryan M. Hourigan discusses the ongoing issue of the invisible student and how in the context of a performing based ensemble one may address it. An invisible student can be a new student, a student with special needs, or a student who is awkward or shy. This article uses an example of a special needs student named Jason. Jason is a child who suffered from traumatic brain injury syndrome. Jason is also a member of his school's band program. This article used this case study as the cornerstone of their argument.

This article was incredibly interesting. Upon reading, I began to critically think about the topic of an invisible student. The second paragraph of this article talks a bit more about Jason and the researcher's interaction with him. He says, "The fact that he did not fit in caused him to be secluded from the group. This contributed to his lack of self-worth within the ensemble." (Hourigan. Pg 35). The connection made between Jason's social situation and his self-worth is an important one that educators need to take notice of. I have personally seen many peers of mine who felt that they could not, or did not fit in have a misleading self image. In these sorts of situations responsibility is put upon the teacher. The article puts a huge emphasis on the role of the teacher as a model. Hourigan suggests that it is key that teachers be a model of appropriate behavior. He has found that what is tolerated by the teacher is most certainly tolerated by their students in the classroom. While this point is certainly valid, I do question its effectiveness for every student. I have been in classes where the teacher was an excellent model of acceptable and appropriate behavior and either a student of a group of students continued in their inappropriate behavior. I do understand that it is stupidity to say that one way will work for everyone. That is why there are different learning styles. I would like to know how one would deal with those who are not reflecting the behavior modeled by the teacher.

"Music Educators should be concerned with these students and should foster an atmosphere that is welcoming and promotes acceptance." (Hourigan. Pg. 37) the beginning of the year is the time where students begin to develop connections with their peers and with their teachers. Hourigan believes that this is an opportune time for setting a great foundation for the year. He believes that if one sets up a good foundation for the classroom, you have created an environment that is truly accepting and supportive. Hourigan quotes researches Ted Bovey and Phil Strain saying "By teaching children appropriate social skills, providing them with willing and accepting peers to use these skills with, and creating opportunities for children to practice these skills, teacher can improve all children's social behaviors. (Bovey and Strain Pg 35)" he continues to say that it is our job to assist our students in creating an inclusive social atmosphere.

When I read this section of the article it made me think back to my high school choir program. Although our choirs were not very good, my choir director worked towards and inclusive community. Parallels appear between her pedagogical approach and those that are suggested in this article. However the most important element of her approach is not mentioned in this article. That is being completely honest with your ensemble. She created an honest, open, and almost vulnerable atmosphere by being those things (we go back to the idea of modeling). While it is important for one to uphold their professionalism it is also important to have a lasting positive effect on your class. She opened the floor for her students to openly discuss how they were feeling about something in class whether it be a piece of music or about their lives. The reward of this was two-fold. You had students being able to talk about music in a way that makes it significant tp their own lives and you had dialogue among the class. No more, in that atmosphere, were there students who felt they couldn't speak or be heard. Hourigan says "Remember, information promotes acceptance." 1 could not agree more with this statement, and I have a hunch neither could my choir director. That is why she opened the floor so often. Because dialogue inspires information, information inspires acceptance, and acceptance inspires

relation and connection. This was a crucial step in ridding the class of hierarchy and creating a community that is supportive and truly understanding. Now that's quite a lesson plan!

Later in the article he begins to make practical suggestions that may aid a student who feels invisible create connections with other students. He suggests a sort of buddy system that is selected based on personality (more specifically extrovert to introvert), and grade (senior to freshman). This strategy was implemented in my concert choir class. The wonderful thing about it is it certainly does generate dialogue and relation. Of course there is initial awkwardness because of the contrast of personality and life experience, but that fades away as these 'buddies' get to know each other. I believe that this approach has the potential to create lasting connections between students that are diverse. Naturally this will create a more open and accepting classroom. However, it is the teacher's responsibility to keep this going. I do not believe we reap the benefits of this approach if we stop using it after the first week. Students outside of the choral rehearsal may have established social groups and might not naturally be inclined to cultivating a relationship or connection with a peer that is not in their group. This is why I believe it is helpful to make this sort of thing on going in the classroom.

The last element this article I want to talk about is what Hourigan calls critical social issues. What he means by this term is harassment, bullying, or any form of abuse. He quotes Michael Thompson and Lawrence Cohen saying "Victims of chronic harassment are at serious risk for poor mental and physical health, as well as academic achievement." (Pg. 37) He insists that if one suspects such behavior do not hesitate to act. If outside assistance is required, get it as soon as possible. Students, he says, even the best of them can fall into poor choice making if everyone makes this sort of behavior seem acceptable.

My only issue with the last subject is that situations can become very uncomfortable if they are addressed by outside services. For example, I had a friend in high school who was dealing with a lot so a

teacher had guidance (school counselors) get involved. The student did not feel comfortable with the situation and therefore lied to guidance, and did not get the help that was needed. Unfortunately that is the case with a lot of students that are put in this situation. I do agree that if our students being abused or there is evidence of abuse we must take action. However I am not entirely convinced that guidance is the answer.

Bibliography

Hourigan , R. M. (2009). The invisible student: understanding social identity construction within performing ensembles . Music Educators Journal, 35(4), 34-38.