Midori Samson: I have one more question: As a music lover, how would you want to see musicians using a social justice approach and a critical lens in our field?

Seungmi Cho: Well, it’s hard to answer. When I go to a performance, it’s something I enjoy!

M: I tend to forget that some people feel that way.

S: Yes! I go to a concert and I just enjoy it. It makes me feel good. It helps energize my mind. But the performances that stick with me are the ones where I see an orchestra and I can sense respect between the musicians, the conductor, and the audience. For example,

Midori Samson: You said social justice, and I want to know what that means…

Seungmi Cho: When I was a young 20-year-old on this campus, I first began learning about social justice as a conversation about access, not just about diversity. So, in the topic of international adoption, a social justice conversation is not just about increasing awareness of the adopted child’s racial difference;

Seungmi Cho: Can you tell me more about the nature of voice as a musician? I ask because empirical research tries to be voice-neutral. I think music allows for a distinct voice; it really does destabilize the idea that truth is discovered. I think appreciating voice could make a case for knowledge as translation of voice versus knowledge as discovery of something that didn’t exist as knowledge prior to its discovery by the researcher.

Midori Samson: I actually think that music and the way music education operates—at least the way I was brought up in it—totally eliminates voice and oppresses individuality, having opinions, and talking about truth.

Seungmi Cho: (with a chuckle) So, can you tell me again… what is this? What role are you in?

Midori Samson: I feel like I always want to talk to you when I need a social justice booster or check up! I think I’ve told you about my organization, Trade Winds Ensemble. Sometimes I think we feel insecure—like, we’re musicians, so we must not know anything other than music. Which isn’t true of course…