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The invisible Student: Understanding Social Identity Construction within Performing Ensembles

by Ryan M . Hourigan d i s c u s s e s th e ongoing i ssue of the invisible student and how in the context of a

performing based ensemble one may a d d re s s 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 spec ia l needs

s tu d e n t 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 articlewas 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

r e s e a r c h e r ' s interaction with him. He says, "The fact that he did not f i t in caused h im to be secluded from

th e group. This contributed to his lack of self-worth within th e ensemble." (Hourigan. Pg 35). The

connection made between Jason ' s social situation and his self-worth is an important one that educators

n e e d to take notice of. I have personal ly s e e n many pe e rs 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.

Th e article puts a huge emphas is on the role of the teacher as a model. Hourigan suggests that i t is key

that t eachers 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 iscertainly valid, I do

question it s effectiveness fo r every student. I have been in c lasses where th e t e a c h e r was an excellent

model of acceptableand 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 hat one way will work for

e ve r yo n e . That i s why there are different learning sty les. I would l ike to know how one would d e a l with

those who are not reflecting the behavior modeled by the teacher.



"Music Educators should be concerned with these students a nd should foster an atmosphere that

is welcoming and promotes acceptance." (Hourigan. Pg. 37) the beginning of the ye a r is the time where

students begin to develop connections with their peers and with their t eac hers . Hou r igan bel ieves that

this is an opportune t ime for sett ing a great foun da tion for the year. He believes that if one sets up a

good foundation for the classroom, you have created anenvironment that is truly accepting and

supportive. Hourigan quotes resea rches Ted Bovey and Phil Strain saying "By teaching children

approp riate social skills, providing them with willing and accepting peers to use these skills with, and

creating oppo rtunities for children to practice these skills, teache r can improve all children's social

behaviors. (Bovey and Strain Pg 35)" he continues to sa y that it is our job to assist our stud ents in

creat ing an inclusive sociala tmo sp h e r e .

W h e n I read this section of the art ic le i t m ad e me think back to my high school choir progr am .

Although our choi rs were not very good, my choir d i rector wo rked towar ds a nd inclusive commu nity.

Parallels appear between her pedagogica l approa ch and those that a re 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. Shecreated an honest, open, and almos t 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 w ere feel ing a bou t something in class

whether it be a piece of music or about their lives. The r e wa r d of this was two-fo ld. You had s tuden ts

being able to ta lk about music in a way that makes it signif icant tp their own l ives and you had dialogue

among th e class. No more, in that a tmo sphere, were there students who fe l t they couldn't speak or be

heard. Hourigan says "Remem ber, information promotes a cceptance." 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 accepta nce nspires



re lat ion and connect ion. This was a crucia l step in ridding th e class of hierarchy and creat ing a

communi ty that is support ive and truly understanding. Now that's quite a lesson plan!

Later in the a rt ic le he begins to ma ke pract ica l suggest ions that may aid a student who fee ls

invisib le create connect ions with other stude nts. He suggests a sort of buddy system that i s se lected

based on pe rsona l i t y (more sp ec i f ica l ly ext rover t to introvert), and grad e (sen io r to f reshman ) . Th is

strategy w as imp lemented in my concert choir class. The wonderful thing about it is it cer ta in ly does

generate dia logue and re lat ion. Of course there is initial aw kw ardn ess because o f the con t rast o f

personal i ty and life experience, but that fades aw ay as these 'budd ies ' get to know each other. I bel ieve

that th is approach has the potential to create last ing connect ions between students that are diverse.

Natura l ly this will create a more open and accept ing c lass room . However , it is the teacher 's

responsib i l i ty to keep this going. I do not believe w e reap th e benef i ts of th is approach i f we stop using it

af ter th e f irst w eek . Studen ts outside of the chora l rehearsa l m ay have establ ish ed socia l groups and

might not na tu ra l ly be inclined to cult ivat ing a re la t ionsh ip or connect ion with a peer that is not in their

group. Th is is why I believe it is helpful to m ake this sort of thing on going in the classroom.

T he last e leme nt th is art ic le I w a n t to ta lk about is what Hour igan cal ls cr i t ica l soc ia l issues.

W h a t he me a n s by this term is harassment , bullying, or any form of abuse. He quotes Michae l

Thompson and Law rence Cohen say ing "Victims of chronic harassment are at serious risk fo r poor

mental and physical health, as well as academic achievement." (Pg. 37 ) He insists that i f one susp ects

such behavior do not hesitate to act . If outside assistance is required, get it as soon as possib le.

Students, he says, even th e best o f them can fa l l into poor cho ice making if every one m akes th is sort o f

behav io r seem acceptab le .

M y only issue with th e last subject is that situat ions can become very unc omfor tab le if they are

addressed by outside services. For e xa mp le , I had a friend in high school who was dea l ing with a lot so a



teacher hadguidance (school counselors) get involved. The student did not feel comfortable with the

situation and therefore l ied to guidance, and did not get the help that was needed. U nfortunately that is

the case with a lot of students that are put in this situation. I do agre e tha t if our stud ents 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 inv is ible stude nt: und erstanding socia l identity construct ion within

performing ensembles . Music Educators Journal, 35(4), 34-38.

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