12 Deep Harmony: A Model for an Arts-Based Anti-Racism Program in Australian Schools
Rachael Jacobs
School of Education, Western Sydney University, Australia
Abstract
Racism occurs regularly in schools, manifesting in discriminatory practices, unequal access to resources, peer-to-peer racism, and biased treatment of students based on their race or ethnicity. Conversely, schools can also be spaces where anti-racism initiatives can be effective at addressing racial discrimination in children and young people’s formative years. This chapter presents a model for Deep Harmony, an arts-based anti-racism education program in Australian schools. It begins with an exploration of the unique position of schools as a site for challenging racism, as well as a discussion of anti-racism education. The key features of Deep Harmony will be discussed, examining its origins, then presenting the model with a discussion of its theoretical underpinnings. The chapter concludes by affirming the importance of robust theoretical models for anti-oppression work, relating the epistemological rationale for Deep Harmony to Southern knowledges.
Keywords
anti-racism education, arts education, racism, dance education, drama education.
The Need for Anti-Racism Education
As long as there has been racial discrimination, there have been efforts to eliminate, dismantle and eradicate racial oppression. Numerous approaches – including activism, public awareness campaigns, and educational interventions – play a role in the journey towards racial justice. Schools are a site for both racism and pro-social learning that can address racism. We know that racism occurs regularly in schools, manifesting in discriminatory practices, unequal access to resources, peer-to-peer racism and biased treatment of students based on their race or ethnicity. Conversely, schools can also be spaces where anti-racism initiatives can be effective at addressing racial discrimination in children and young people’s formative years. This chapter presents a model for Deep Harmony, an arts-based anti-racism education program in Australian schools. It begins with an exploration of the unique position of schools as sites for challenging racism, as well as a discussion of anti-racism education. The key features of Deep Harmony will be discussed, examining its origins, then presenting the model with a discussion of its theoretical underpinnings. The chapter concludes by affirming the importance of robust theoretical models for anti-oppression work, relating the epistemological rationale for Deep Harmony to Southern knowledges.
In Australia, racism is present in schools, overtly or subtly present in the actions and attitudes of students, teachers, support staff, parents and community members. As students spend so many of their waking hours at school, it is the predominant location for interpersonal racism to occur among children and young people, with most perpetrators being other students (Centre for Multicultural Youth, 2014). Approximately 1 in 5 students experience racism every day, most commonly in the form of verbal abuse, teasing or exclusion (All Together Now, 2023). The impact is greater for Aboriginal and Torres Strait Islander students, as well as African‒Australian students, with studies reporting that up to 90% of children from these groups have experienced racism in educational settings (All Together Now, 2023; Griffith University, 2022). In studies conducted in the Australian states of Victoria and NSW, 12% of students also reported racism from teachers, and nearly 60% of students had witnessed racism among classmates (Global Citizen, 2021; Victoria State Government, 2024).
An Australian Human Rights Commission (2024) report recommended that racism and anti-racism are addressed in schools “to ensure victims do not leave education facing lifelong disadvantage, and perpetrators do not enter adulthood believing racist behaviours are acceptable and do not attract accountability” (p. 5). We know that education can be a powerful force to counter racist behaviours and expressions (Arneback & Jämte, 2022). Education interventions that embrace anti-racism as an active process are more effective than other more passive approaches, such as diversity programs, which tend to speak to generic diversity issues using neutral language. Less effective methods of eliminating racism include celebration activities that celebrate visible cultural differences without engaging in truth-telling, or examinations of historical power imbalances or engaging in activities that activate deep understandings of racism. Hage (2016) outlines 6 typologies of anti-racism education which work to 1) reduce incidents of racism, 2) foster a non-racist culture, 3) support targets of racism, 4) empower racialised groups, 5) transform race relations, and 6) foster an anti-racist culture. Hage (2016) acknowledges the overlap of typologies, so rather than seeing these as distinct goals of anti-racism education, approaches can be strongest when each of these can serve to strengthen the others. Regardless of the approach, the underpinning principle of anti-racist education is that it inspires an active approach from all participants. As the quote attributed to Angela Davis states, “In a racist society, it is not enough to be non-racist, we must be anti-racist” (in Rutherford, 2020).
Arts-based pedagogies can be powerful and effective mediums for addressing racism. The arts are often praised for their ability to foster empathy and promote critical reflection in educational settings. As the arts are inherently tied to culture, through understanding art, we can increase racial literacy and intercultural understanding. Numerous anti-racism programs have experienced success using arts engagement or arts-based pedagogies. The medical education program, Can We Talk About Race? (CWTAR) used artworks as catalysts for dialogue, with 48% of participants reporting increased comfort discussing race, and 44% said they began viewing people from alternative perspectives (Godley, Dayal, Manekin, & Estroff, 2020). In an Australian schooling context, one program involved Year 9 students engaging in role-play, rap, poster-making and other arts activities inspired by anti-racist principles. The evaluation demonstrated the arts’ capacity to deepen both understanding and involvement in anti-racism education (Keast, Sonn, Jayawardana, & Paredes Castro, 2025). Initiatives such as these build a case for the arts to be used in education to create a reflective and emotionally engaging learning environment, enabling meaningful anti-racism experiences through embodied, creative, and empathetic modes of learning.
Deep Harmony
In 2021, the Australia Council for the Arts (now Creative Australia) funded a pilot of an anti-racism program for schools that used dance and drama as the primary vehicles for learning. The program combines storytelling and guided practical modules to approach challenging discussions about racism. A large component of the program is devoted to strategies that combat racism in everyday life. However, structural, institutional and internalised racism are also addressed, as is the historical context of racism in Australia. Deep Harmony is a 5-week program and can be adapted for students in Years 3 to 11. Over the 5-week intervention, students learn about the following:
- First Nations histories
- Politics and policies of the past and present, including assimilation and integration
- Migrant and refugee experiences
- Media influence and leadership in Australia
- Power and privilege
- Bystander action
- Culture, heritage and communication through the arts.
Two teaching artists facilitate the 5-week program. Each session is 90 minutes, comprising approximately 60 minutes of drama-based activities around the aforementioned topics. All sessions begin with a drama-based warm-up to prepare students to work in collective and embodied ways. Drama is used as a pedagogy, and these topics are explored through carefully structured role-plays in which students enact responses to racism (but not the racism itself). Other key activities also include freeze frames (also called tableaux or still images), forum theatre, which transforms passive audience members into active participants, process drama in which both students and the teachers work in and out of role, as well as moments of performance. This chapter does not engage in a discussion of specific activities, but they have been documented through the research process and an activity guide has been created for teachers to support those who would like to integrate the activities into their own repertoire.
One of the main features of Deep Harmony is engagement in a cultural artform. Facilitators are required to be people from racialised backgrounds who are experienced anti-racism educators, as well as being artists with expertise in a cultural artform. In the last 30 minutes of each session, a facilitator guides the students in their cultural art form. For example, Deep Harmony facilitators have engaged students in Bollywood dancing, Indonesian dance, spoken word poetry, rap and street dancing. Using their cultural expertise, the facilitator explains the history of their artform, which sometimes contains references to colonisation, colonial resistance, preservation of cultures and histories, with adjacent stories that often intersect with gender, class and identity issues. Through cultural engagement, students learn how to respectfully engage in a cultural experience, how to listen deeply, how to avoid cultural appropriation, and ways to respect cultural protocols. Students learn the artform in embodied and practical ways, at times being enabled to create their own choreography, poetry or rap battles. Deep Harmony culminates in an assembly or presentation event for an audience of either their peers or parents and families. This assembly ritually allows students to conclude the program and farewell facilitators, with an understanding that anti-racism learning continues throughout their lives. At this assembly, students summarise what they learned, demonstrate some of the key activities, perform their dance, poetry or rap battles, and present a collaborative artwork to the school that contains their commitments to anti-racist actions.
The nomenclature of the program stems from its positionality in response to the challenges of anti-racism education in Australia. The program name, Deep Harmony, is a by-product of the Australian annual event, Harmony Week (once called Harmony Day), which takes place in March each year with celebrations of Australia’s cultural diversity. This event is held in mid-March because it centres around 21 March, which is the International Day for the Elimination of Racial Discrimination. This UN-sanctioned day marks a dark event in 1960 when police shot at and killed 69 people at a peaceful anti-apartheid demonstration in Sharpeville, South Africa. The United Nations General Assembly declared that this would become a day to challenge the international community to do better at eliminating racism. All Together Now (2014) details the history and political agendas that led to the creation of Harmony Week in Australia. In summary, Australia’s Howard Government made the choice to focus on “harmony”, rather than challenge the root causes of discrimination and prejudice. The Australian Human Rights Commission (2025) proposes that Harmony Day hides structural and systemic racism, implying that Australia has achieved a post-race utopia in which racism doesn’t need to be discussed (Jacobs & Dwyer, 2024). Harmony Week is typically characterised by fashion parades, cultural performances and the sharing of food, which offers a comfortable and safe version of multiculturalism, described by Watkins and Noble (2019) as “lazy multiculturalism” (p. 295). However, while challenged by this tension, many Australian schools remain committed to celebrations during Harmony Week as they provide opportunities for performance from minority groups who often have limited opportunities to celebrate their cultural expertise, as well as learning outside of the formal classroom. Deep Harmony was designed as a program that could be engaged in the lead up to Harmony Week, so that a true day of celebration could reward the school community for having engaged in challenging work that confronts the root causes of racism. Deep Harmony is now completed throughout the year, mostly programmed in Terms 1 and 4, outside of peak assessment periods. The pilot phase has concluded, with 14 primary and high schools having completed a version of the program, engaging over 900 students. Each term of Deep Harmony is accompanied by a teacher professional learning session for all staff at the participating school. Over 300 teachers have completed the professional learning session, and approximately 80 teachers have been directly involved in sessions as supervising teachers and co-facilitators.
The Deep Harmony Model of Arts-Based Anti-Racism Education
Evaluation of the pilot revealed several factors contributing to success, including facilitators’ pedagogical expertise, engaging activities, and a robust theoretical model guiding planning and pedagogical refinement.
Figure 12.1
Deep Harmony Model
The model integrates three main intersecting theories, realised through arts practice in anti-racism education. The concept of brave spaces has been conceptualised by many, but Deep Harmony draws on the conceptualisation of Arao and Clemens (2013), who were writing in the field of social justice education. Establishing ground rules and ways of accessible engagement is foundational in socially just learning spaces. Arao and Clemens (2013) explain that it is common to describe environments as safe spaces to reassure participants who are anxious to speak on controversial or sensitive matters. However, they question this approach as they argue that there has been a conflation of safety with comfort, which may have arisen from society’s “defensive tendency to discount, deflect or retreat from challenge” (p. 135). They further problematise the propensity to risk from social justice dialogues, as it is simply impossible. Falcon et al. (2014) add:
It is impossible to make a space safe when you are talking about colonialism, racism, patriarchy, and injustice, as well as the complicated and intertwined nature of our lives and the blurry lines of oppressor and oppressed. In addition, you do not grow politically and intellectually from being safe ‒ you grow from discomfort, dissent, and being challenged. (p. 275)
Arao and Clemens (2013) propose shifting language away from safety to emphasise bravery to help participants better engage in challenging dialogue. Eizadirad and Campbell (2021) add that within brave spaces, storytelling is enacted as critical pedagogy to share pain, suffering, and trauma to disrupt the norm with intentionality, encouraging truth-telling from multiple perspectives. Campbell and Eizadirad (2023) go on to describe some of the challenges inherent in brave spaces. They involve navigating tensions, drama and some unexpected teachable moments that can come about in a diverse classroom with differences in opinions and lived experiences (Freire, 1970). Deep Harmony most certainly leans into some of this risk, particularly as the activities encourage students to work through the nuances of racism in embodied ways using drama pedagogy. The program does not propose to upset participants or re-traumatise people from racialised backgrounds, but it does call on all students to actively participate to better understand power, privilege and systemic oppression in various contexts. At various times, students grapple with dilemmas that encourage them to ditch neutrality and engage in anti-racist interventions, from bystander action to making ongoing commitments to anti-racism. Brave spaces “insists on historical and contextual analyses” (Dixson & Rousseau, 2005, p. 22), which is why Deep Harmony includes content addressing injustices to First Nations peoples in the past and present, as well as the White Australia Policy, and ongoing analyses of systemic and institutional racial oppression in Australian society. It is critically important that Deep Harmony does not avoid tension, jumping forward to harmony narratives that maintain students’ “comfort bubbles” (Campbell & Eizadirad, 2023 p. 24). Instead, the program engages in calculated risk-taking where norms and hegemonic structures are questioned to gain a better understanding of the interconnection between power, privilege, and profit in perpetuating inequities and social injustice (Arao & Clemens, 2013; Campbell & Watson, 2022).
Hanna (2019) goes so far as to say that “discomfort should be encouraged because in order to dismantle invisible hierarchies of privilege, we must acknowledge their existence” (p. 233), which is uncomfortable work. This has resonance with the pedagogy of discomfort (Boler, 1999; Nadan & Stark, 2016), which can open spaces for internal dialogue and new realisations in relation to racial justice. Boler (1999) discusses a pedagogy of discomfort as a necessary shifting force, which moves educators and students beyond their comfort zones to recognise and interrogate hegemonic assumptions and hopefully move towards transformation. The discomfort is productive, as it encourages critical inquiry and reflection, all skills necessary for meaningful anti-racism education to take place. The pedagogy of discomfort guides Deep Harmony facilitators to lean into difficult conversations and questions that students may have when confronting privilege, whiteness, colonisation and other historical contexts of inequality.
Discomfort is also present when examining internalised racism and lateral violence, which is commonly present in migrant, First Nations and communities of colour’s experiences. However, these experiences of discomfort are mediated by other feelings that occur when students engage in cultural engagement activities such as Bollywood dancing, street dance or rap battles. Students and teachers feel a level of unsettlement when invited to participate in cultural art forms that are unfamiliar to them, but with the guidance of the facilitating artist, they generally are willing to participate in this cultural exchange, albeit hesitantly at times. As their confidence with cultural engagement grows, so does their willingness to have challenging conversations about racism, express thoughts and ask questions. The arts have also been celebrated for their ability to embrace discomfort, making them useful as a catalyst for reflection, growth and social critique. Dolan (2005) argues that engaging in the arts, particularly drama, pushes people beyond comfort into deeper empathy and critical engagement, and Rancière (2004) highlights how disruptions in perception unsettle habitual ways of seeing and feeling, creating conditions for new political and ethical awareness. Using drama, dance and poetry to see the world from others’ perspectives forms part of this unsettling process that has been scaffolded into Deep Harmony activities. Similarly, anti-racism education is embedded in the human experience, which is contextual, nuanced and rarely has a correct set of definitive answers. The arts have also been recognised for developing comfort with ambiguity (Bentwich & Gilbey, 2017; Meltzer, 2015) that holds space for participants to explore and choose their next action or inaction and understand the consequences (Nolan, 2025).
Freire’s (1970) work on critical consciousness (conscientização) emphasises the importance of developing an individual’s capacity to critically understand social, political, and economic contexts and contradictions, and act against oppressive forces. In the context of anti-racism education, critical consciousness guides the development of Deep Harmony so that there is a developmental process of increasing knowledge, analytic skills and emotional faculties that can lead to pro-social actions. Critical consciousness is particularly important for participants from racialised backgrounds, as Freire (1970) suggested that minority groups can work towards their own liberation via a critical understanding of sociopolitical systems. Elaborating on the developmental continuum, Hope et al. (2020) summarise the ways that analysis of structural oppression (critical reflection) can lead to self-beliefs in the ability to affect change (critical agency), which then results in pro-social action to redress systems of oppression (critical action). Deep Harmony programs are structured around this theory of change. Early learning experiences in the program build knowledge and understanding of structural racism and the historical reasons for its existence. This knowledge empowers participants to feel agency, leaving them primed for the action-oriented lessons that are structured into the latter half of the program. Critical consciousness also helps to ensure that both white students and students from racialised backgrounds see their responsibilities as anti-racist actors. Blame is reduced, as are feelings of shame and guilt, which can sometimes be a by-product of discussions about racism. Instead, critical consciousness can create the self-awareness and self-actualisation required so that students do not perpetuate the trauma of racial oppression.
Brave spaces, the pedagogy of discomfort and critical consciousness are encased in arts practice in Deep Harmony. Arts practice is used as pedagogy to engage students in anti-racist learning, and as a content base which becomes a vehicle to explore key components of anti-racism education, such as intercultural dialogue, bystander action, challenging biases and stereotypes, avoiding cultural appropriation and committing to ongoing action. Griffith and Semlow (2020) argue that the arts can facilitate the processing of information that is foundational in the anti-racism space and help build a connection to the newly built knowledge. Furthermore, the arts can subvert the darkness and heaviness of racism by providing a joyful portal through which students walk towards greater understanding of racial justice. The act of moving, dancing, singing or making art collectively also helps participants feel connected to the community, reducing feelings of isolation while discussing challenging concepts.
Implications for Southern Knowledges
This chapter has used the lens of Deep Harmony to discuss a model for anti-racism education, opening spaces for further discussion on the place of the arts in such spaces. There are concurrently other analyses of the pilot in progress, and initial findings and their implications will be discussed in subsequent publications. The implication for Southern knowledges lies in the urgent need for education to address the challenges of racism in explicit ways, leaning into challenging conversations that centre critical, pluralistic and decolonial perspectives, rather than hiding the existence of racism behind a shroud of comfort and safety. The struggles of the Global South created by colonialism, dispossession and white supremacy, exacerbated by intersectional oppressive forces such as patriarchy and capitalism, have implications in Australian schools and schools around the world. However, engaging in programs that have strong anti-oppressive theoretical structures can help to address these struggles, while also challenging the epistemic erasure of global majority knowledges.
In the context of Deep Harmony, a foundation of arts practice, used for pedagogy and content, can amplify the effectiveness of brave spaces, the pedagogy of discomfort and critical consciousness. When working interconnectedly, the key elements of this model guide facilitators to create a collective space in which students develop deeper understandings of anti-racism action, witness cultural sovereignty and experience joy through engaging embodied experiences.
Author Note
Rachael Jacobs 
https://orcid.org/0000-0002-4742-368X
Correspondence concerning this article should be addressed to Rachael Jacobs. Email: r.jacobs@westernsydney.edu.au.
Acknowledgments
Deep Harmony has been supported by the Australia Council for the Arts and the NSW Department of Education.
SDG Alignment
Goal 4: Quality education
Goal 10: Reduced inequalities
Cite This Chapter
Attribution
Research Integrity Statement
This publication reports research involving human participants. Ethics approval was granted by the Western Sydney University Human Ethics Committee (approval number: H13737). Informed consent was obtained from all participants.
The author declares no known competing financial or non-financial interests that could have influenced the content of this publication.
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