The Music and Drama Education Expo was a fantastic opportunity to connect with educators who are passionate about the power of performing arts to shape young minds. One common theme in my conversations was the growing desire to embed cultural diversity in music and drama curricula.
Yet, despite this enthusiasm, I also encountered some familiar myths, concerns and misconceptions about diversity in performing arts education. These myths, often unspoken, can create barriers to real change. In this article, I want to debunk a few of these myths and offer practical strategies to ensure that all students feel seen, valued, and represented in the arts.
Myth 1: Cultural Diversity Means Lowering Standards
One concern I hear is that incorporating diverse musical and theatrical traditions means compromising on quality. This couldn’t be further from the truth.
“Inclusion is not about diluting excellence—it’s about expanding what excellence looks like.”
Many classical composers and playwrights whom we revere today were once considered “outsiders” in their time. Take Lin-Manuel Miranda’s Hamilton, which redefined musical theatre by integrating hip-hop and a diverse cast. Or look at contemporary classical composers like Chineke! Foundation artists, who are reshaping the classical music space.
Rather than lowering standards, cultural diversity raises the bar by challenging students to engage with new techniques, new rhythms, and new storytelling traditions.
Actions:
Authentically Include global perspectives in music and drama curricula and the full historical context, for example, don’t just explore West African polyrhythms, Indian classical ragas, Japanese Noh theatre, or Indigenous storytelling traditions discuss the high level of technical skill and excellence required to perform it.
Teach analysis and appreciation of diverse art forms alongside Western traditions, not as an optional extra. Explore what was happening in the world or to particular groups. What was the world like for women, people of colour during Beethovan’s time? Talk about why they were missing for so long and the role of the patriarchy and of colonisation.
Myth 2: “Diverse Repertoire Isn’t Relevant to Formal Education”
Some educators worry that incorporating diverse musical and theatrical traditions may not align with formal assessment frameworks or exam board requirements.
“If the curriculum doesn’t reflect the world our students live in, then we’re failing them.”
The reality is that many exam boards are starting to recognize the importance of diverse repertoire. Initiatives like the ABRSM’s new syllabi, which include more composers from underrepresented backgrounds, show that change is happening.
Actions:
Review different exam board requirements as many now allow more flexibility in repertoire choices.
Advocate for curriculum reform in your school or institution to ensure that students can study a broad range of works.
Encourage student-led projects where young people explore and present performances from their own cultural backgrounds.
Myth 3: “If We Acknowledge Diversity, We Have to Get It Perfect and be mindful of appropriation”
Many educators fear “getting it wrong” when incorporating cultural diversity into their lessons or being accused of cultural appropriation. But avoiding the conversation entirely is the real mistake.
“Progress is better than perfection. Students don’t need us to be experts in every culture—they need us to be open and willing to learn.”
No one expects music and drama teachers to master every cultural tradition overnight. What matters most is a willingness to engage with diverse voices, consult with experts, and listen to students.
Teachers should also not confuse cultural appropriation with engaging and teaching different traditions. The key difference lies in respect, context, and intent.
Appropriation occurs when cultural elements are used without understanding, credit, or proper acknowledgment, often reducing rich traditions to mere aesthetics or stereotypes. In contrast, inclusive teaching involves thoughtful engagement, where educators respectfully study, credit, and contextualize cultural traditions while ensuring they are taught with authenticity and consultation. The goal is not to borrow or imitate but to honour, explore, and celebrate diverse cultures in ways that empower and educate students.
Actions:
Invite guest artists and cultural practitioners into your school to share their expertise.
Be transparent with students: If you’re teaching a tradition you’re less familiar with, acknowledge it and invite students to co-learn with you.
Encourage dialogue: Create safe spaces for students to share their own cultural influences and experiences.
Do your research: Learn about the historical and cultural significance of a tradition before introducing it into the classroom.
Acknowledge and credit sources: When teaching music, theatre, or dance from a particular culture, name the origin, its creators, and its meaning rather than presenting it as a general or exoticized concept.
Cultural diversity is not a trend, it’s the future of music and drama education. When we embrace multiple perspectives, we prepare students not just for the stage, but for the world beyond it.
By debunking outdated myths and taking meaningful steps toward inclusion, we can create classrooms where every student sees themselves reflected, not just in the syllabus, but in the very fabric of music and drama education.
What are some of the challenges you’ve faced in making your curriculum more inclusive? Share your thoughts below!
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This blog post was written by Samantha Stimpson, CEO at SLS 360.
love this Sam. My favourite quote: The goal is not to borrow or imitate but to honour, explore, and celebrate diverse cultures in ways that empower and educate students.
We try and do this in the units of work we create for Sing Up Music, providing context and exploring aspects of social justice. Then there are seemingly small things like fully writing out composers names/ and not only shortening the western classical composers - 'equal billing'. We also carefully consider the provenance of songs and the accuracy of words, translations for the teaching notes. I've seen a few times now at expo facilitators using repertoire without the appropriate respect for the context within which it was created.