ABSTRACT
Concluding this section, Juliet Hess locates contemporary music teaching and learning within an overarching, international political climate of hate and white supremacy. Examining the potentials of music to both unify and divide, she argues that music education is uniquely positioned to resist toxic patriotism through communal musicking, the facilitating of critical conversations, the textual analysis of music, activist songwriting, and the purposeful fostering of dissent as engaged citizenship. Hess invites music educators to engage with the oppressive discourses of hate through music making and critique, and actively living in the ‘anti-’.
