Abstract:
In community music and music education, there is a notable resurgence in the commitment to
advance social justice. This focus underscores the importance of making music accessible to
all and, thus, ensuring inclusivity. Community musicians and music educationists are
encouraged not only to contemplate but to support social justice causes actively and to
integrate these principles into music education curricula. Unfortunately, many learners and
students have been excluded from praxial music making opportunities because of historical
neglect and unfair practices. Musicking is a practical, human action, central to Community
Music and Music Education, and gravitates towards community (Small, 1998). The argument
stands that musicking can therefore be a practical vehicle for community musicians and
music educators through which social justice principles can be advanced. Underpinned by
Elliot’s (1995) praxial theory, Freire’s (2000) critical theory, and Ebersöhn’s (2012) flocking
theory, in this qualitative study we used narrative inquiry to explore social justice in
musicking through the lived stories of 18 musicians, from South Africa, Uganda, and Israel,
who were involved in Community Music projects. We describe how community musicians
have upheld inclusion, accessibility, lifelong learning, and transformation in musicking as
fundamental principles in the fight for social justice.
