In 2015, the British Columbia (BC) Ministry of Education mandated that local Indigenous knowledge, pedagogy, and worldviews be embedded in all K-12 curricula, but most BC music teachers have been unable to fulfill this directive because they are unfamiliar with Indigenous cultural practices. We designed this multiple case study, informed by Indigenous Protocols and worldviews, to address this gap of knowledge and understanding, so educators might learn how to enact the new curriculum 'in a good way' (i.e. in a way that aligns with Indigenous peoples' ways of knowing). We used document analysis and surveys to identify music educators and Indigenous community members who together had already been successful in embedding local Indigenous knowledge in music classes. We interviewed 51 music teachers, culture bearers, cultural workers, and students to learn how they had done this, and whether they found that such embedding had contributed to fostering cross-cultural understanding and respect. Participants reported that singing and drumming, taught orally in tandem with related stories, were the most prevalent forms of cultural practice, and that establishing relationships and following local Protocols led to greater cross-cultural understanding and respect.

Recent curriculum policy changes in British Columbia (BC) require that educators in all subject areas—including music—embed local Indigenous knowledge, pedagogies, and worldviews in their classes. Yet facilitating such decolonizing cross-cultural music education activities requires knowledge that music educators may not currently possess. We use four models created by an Indigenous Arts scholar to examine the interface of Indigenous and Western art musics in performing arts settings: (a) integration, (b) nation-to-nation music trading and reciprocal presentation, (c) a combination of the first two models, and (d) non-integrative encounters that are in relationship but have irreconcilable elements. We consider the applicability of these models in music education settings, using them to analyze our findings from a study in which we explored the ways teachers have embedded local First Nations songs and drumming in classes in a single metropolitan school district in BC.

Masewal (Indigenous people who live in the Huasteca region, Mexico) associate Chikomexochitl (seven flower or corn-child) to a ritual practice and also with the five stages of the development of corn, from seed until the harvest is completed. Just as corn grows, the five stages of the development of corn provides us with a framework to centre the importance of building relationships of trust that grow over time when doing research with Indigenous communities. First, we provide a description of the Huasteca region. We then engage in a critical discussion to challenge the dominant western positivist approach in research, which has historically served to undermine Indigenous perspectives as less valid forms of knowledge. Masewal people’s narratives give meaningful insight into the Masewal worldview and the importance of corn and the corn plant. Finally, we propose the use of Chikomexochitl as an Indigenous research methodology rooted in the Masewal worldview.