In times of rapid production and spread of (mis)information through social media and streaming platforms, critical thinking is essential as resistance to fake news and distorted facts. Thus, processes of learning and teaching that promote what Freire (1994) defended as a dialogical, liberating, and humanising education, can be an inspiration for the development of critical consciouness (conscientization) leading to social and political responsibilities and decisions. Such responsibilities are often related to understandings of citizenship. Advocating for the political in education, Freire argues that teachers and the act of teaching are never neutral. Musical (teaching) choices imply adherence to a certain political project and, consequently, disregard to others. By extension, choices of musical repertoire and teaching approaches reflect teachers' openness (or not) to a diversity of genres and music-making practices.

This research paper will explore and discuss how citizenship is enacted in music-making and music teaching across different music school contexts. Aware that the notion of citizenship is complex and contested (Yuval-Davis, 2011; McCowan, 2012; Bradley, 2018), this paper will share findings from a qualitative study with music teachers from various musical backgrounds across a variety of teaching contexts in Munster, Ireland. Implications for a more diverse and inclusive music education whilst exercising (artistic) citizenship will be explored to facilitate critical reflection on music teaching practices, developing conscientization. This, we argue, can be achieved through dialogical teaching approaches in which the richness and diversity of ideas, ideals and musics shared in the learning and teaching contexts are valued. We will conclude by situating and problematising practices which call for critical awareness of the choices and music teaching contexts where our artistic citizenship can be enacted.

Secondary school music classrooms often reproduce dynamics that render certain student identities invisible, leading to disengagement and limited participation. Addressing this challenge requires approaches that not only acknowledge cultural diversity but also transform it into a shared pedagogical resource (Campbell, 2018; Hess, 2019).

This paper reports on an action research project in a Catalan secondary school, where a Moroccan musician (culture bearer) collaborated in co-teaching music classes (Escoda, 2023). Over several weeks, students engaged in collective performance, improvisation, and critical dialogue about repertoire and its meanings. The culture bearer was not presented merely as someone who “brought” a culture into the classroom, but as a living example whose personal trajectory and musical practice made visible the cultural diversity already present among the students. His role went beyond demonstration: it included co-leading rehearsals, sharing life experiences, and inviting students to connect their own identities with the music.

Findings show that the project reduced prejudices, enhanced intercultural empathy, and encouraged inclusive classroom practices oriented toward coexistence. Observable changes included increased participation in group singing and instrumental activities, more frequent collaboration across cultural groups, and a stronger sense of pride among Moroccan-background students. At the same time, the process challenged the teacher to adopt a more musically responsive stance, redistributing authority and integrating students’ cultural resources into the learning process (Hess, 2019; O’Flynn, 2005; Olcina-Sempere et al., 2020).

The paper argues that the figure of the culture bearer can act as an agent for democratization, legitimizing diverse voices and transforming diversity into a driver of participation and social cohesion. This practical case offers transferable insights for European schools seeking to foster democratic values and build inclusive communities through music (Campbell & Higgins, 2015).

Background. In Denmark, school singing is culturally celebrated yet increasingly marginalised as a pedagogical domain—a “singing paradox” (Borčak & Baunvig 2023). Across the Nordic region, a band-oriented and digital classroom logic has gradually displaced vocal work (Holgersen & Holst 2020; Schei & Balsnes 2022; Horwitz et al. 2023). This development contrasts with research showing that guided vocal learning supports children’s sense of belonging, confidence, and inclusion (Welch et al. 2014; Papageorgi et al. 2022; Dalla Bella 2019), suggesting that pedagogical neglect may undermine singing’s democratic and formative potential.

Aims. This paper presents findings from the first national survey of singing in Danish primary schools. It maps how singing features in both school life and music lessons, identifies implementation gaps between cultural ideals and classroom realities, and situates the Danish case within a Scandinavian context.

Method. A nationwide online questionnaire to current music teachers (N = 500) examined school-wide singing (e.g. assemblies), lesson content and priorities, and the time devoted to singing, vocal technique, and other activities. Additional sections addressed repertoire choices, technology use, barriers (time, confidence, motivation, facilities), and teachers’ attitudes toward singing in school and society. Respondents also provided open reflections on local conditions (Borčak et al. forthcoming).

Results. Teachers express strong symbolic support for singing but report clear implementation gaps. Instrumental work dominates lessons, and vocal pedagogy is uneven. Barriers include limited time, institutional prioritisation, and teacher confidence. Open comments reveal ambivalence toward communal singing’s cultural or national undertones, echoing Nordic debates (Kertz-Welzel 2020, 2021; Johnson 2021).

Conclusion. The Danish case exemplifies how singing, though culturally valued, can become pedagogically marginalised, thereby constraining its democratic potential. Re-centring voice as a learnable domain may help foster participation and inclusion in schools.