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Indigenous peoples around the world have resisted and survived colonisation and systems of oppression. Yet, in many nations, Indigenous peoples continue to experience the negative effects of settler and exploitative forms of colonisation, such as discrimination, inequality and exclusion. These effects are often reflected in the current music education polices, pedagogies, and curriculum (explicit and hidden) of those nations. The purpose of the ISME Decolonising and Indigenising Music Education (DIME) special interest group is to scrutinise, interrogate and theorise current colonising music education practices, and counter them by offering alternative approaches that support music education informed by Indigenous perspectives.


The mission of the ISME Decolonising and Indigenising Music Education (DIME) SIG is to promote music education research, practice, and partnerships for and with Indigenous communities. The SIG provides an international forum to engage with research, practice and discussion with all who share an interest in this topic. The network contributes to the advancement of the discourse concerning decolonisation and Indigenisation in music education by stimulating discussion about theoretical, philosophical, methodological, policy, and applied issues. Fundamental to this mission is the meaningful inclusion of Indigenous peoples’ voices and approaches for change at the intersection of music and education.


The aims of DIME are to:

  1. Establish and maintain an international community of music education scholars, researchers and practitioners with a particular interest in promoting decolonisation and Indigenisation of music education in their respective contexts
  2. Provide an international forum for individuals to consider the diverse meanings and manifestations of decolonisation and Indigenisation globally
  3. Develop, share, and disseminate innovations in the theory and practice of music education that champion decolonial and Indigenous perspectives
  4. Facilitate regional and global interactions and collaborations in research, teaching and music practice, providing resources to stimulate local action
  5. Promote music teaching, learning and teacher preparation that are informed by decolonising and Indigenising perspectives
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