Flags, Migration and Music Education

As some of you might know, I've been working with the Stringcredibles since 2024, going to many schools around the West Midlands presenting a show called 'The Butterfly Lands'.

As you can imagine, recently these shows have taken on a different meaning. Over the past few weeks across the West Midlands, there has been an increase in St.George and British flags in shop fronts, on lampposts, roundabouts and residential buildings. We've heard Robert Jenrick talk about not seeing 'white faces' in Handsworth, accusing the area of being one of the worst integrated places he's been to, while conversations around immigration, British values and Islam are all pointing to a Reform government come the next general election. Nevertheless, it has been an incredible experience to talk and perform infront of hundreds of children, showing them that as we learn about the people around us, ourselves and our communities become more colourful.

Sparkle got more colours because the more she [experienced] different cultures the more she [learned], So that's why Sparkle turned rainbow (anon KS2 child)

England Flags

There is nothing inherently wrong with the St George's or British flags. A flag represents a country, in the same way that a logo represents a brand - it is not the thing itself. I think one of the issues we have, is that people don't want to acknowledge the fact that symbols themselves can be corrupted. I'll give you an example.

Blackface was a practise which emerged in the early 19th century in the United States, and was used by White performers to mock and dehumanise Black people to White audiences. While Black folks took offence at this from the outset, it took a long time for mainstream White performers and media to stop utilising Blackface as a source of entertainment.

In defense of Blackface, some have claimed that since it is a North American practise, it's use in UK media is taken out of context. In a similar vain, others have suggested that traditions such as the Dutch/Belgian 'Zwarte Piet' or tradition of blackening ones face in English Morris dancing have nothing to do with racist ideology. The point is this: whether or not these traditions superseded the racism in 19th century America, the widespread use of Blackface to mock Black people, means that the very idea of blackening ones face will forever be linked to anti-Black racism. The symbol/tradition has been tainted. Those who insist on the harmlessness of blackface are wilfully ignoring the harm it has caused Black people for hundreds of years.

The same goes for the swastika. It's a symbol which archaeologists have found in numerous cultures all over the world, thousands of years before the Nazis used it as a symbol of anti-semitism. We understand the harm that symbol has brought on Jewish communities, and avoid it. We understand that this symbol, which originally had nothing to do with hatred, has been corrupted.

Are all people who hang the flag under the auspices of 'taking back our country' virulent and hate filled racists, ready to verbally or physically abuse Muslims, migrants and people of colour? I don't believe so. However, displaying the flag in this current political moment, standing side by side next to people who express explicitly racist and white supremacist views, combined with the historic use of the flag by the EDL and the BNP (not to mention British colonialism under the same flag), means that these symbols have unfortunately been corrupted. It is sad that people do not care about the pain these symbols may have caused in the past or in the present, and are wilfully unwilling to empathise with people from groups who they may work with, live next to, or even buy a curry from. With many choosing not to understand history and repeat talking points and lies they've heard from certain news outlets and politicans, the phrase 'racist adjacent' comes to mind.

It's good that people are not all the same because if all of the people in the world are the same, we would do the same things, have the same culture and everything will be the exact same - everything will be boring... So it's good that everyone is different and especially unique! (anon KS2 child)

Music Education

Children are being exposed to these conversations, and the fear is that we, in music education aren't doing enough to help children understand how important migration has been to this country. Many EDI/DEI/IDEA initiatives helped us to generate conversations, but we now have an opportunity as a sector to show children through music, powerful stories of migration, of cultural fusion and mutual respect. These topics are rarely (if ever) broached at regional/nationwide conferences, even though we are all being affected by what we are all coming into contact with constantly. If we recognise that education is a political act, why are we so hesitant to broach these subjects in the classroom and organisational level? What was the point of all the EDI training, work and initiatives, if not for such a time as this?

What was the point of all the EDI training, work and initiatives, if not for such a time as this?

How can we move from implicit representation, to more explicit forms of combatting mis-information, racist adjacent behaviours and embracing those children coming from communities who are increasingly living in fear? What music can we play, talk about and perform to help children make sense of migration, Anti-Semitism and Islamophobia in 2025? It's not that all music education needs to be geared towards this, but the silence and avoidance surely cannot be the answer.

The butterfly got more colours because of it's journey and everything it learned about migration and culture (anon KS2 child).