My interest in partnerships between the MENC: The National Association for Music Educators and major corporations such as Disney dates back to 1 996 when I was invited to attend a free premiere screening of the movie Mr. Holland's Opus.1 Never one to turn down anything free, in January of that year I joined more than twenty-five thousand music educators, administrators, and friends of the arts, who gathered at fiftyone locations across the nation to watch the movie. Sponsored and promoted by the National Coalition for Music Education, of which MENC is a member, in cooperation with the National Academy of Recording Arts and Sciences Foundation, the American Music Conference, and Hollywood Pictures (a Disney subsidiary), the promotional screening was the result of an education/business partnership. I did not like the film much even though I agreed with its message that public schools and public school music should be adequately funded, and I was sorry that MENC had entered into a partnership to promote it. Part of the problem may have been timing. I had recently returned from a parental leave during which I had suffered serious postpartum complications and had struggled for nearly a year with poor health. January 1996 found me trying to figure out how I would manage a full-blown academic career, my still fragile health, and a lively child. I bristled at the visions of professionalism fostered by Mr. Holland 's Opus, recognizing that I would never again have the luxury he did of indulging myself uninterruptedly in my career; I knew that I might never again be seen as a real professional even though I was more exhausted and working harder than I ever had. From my perspective the film's images of teachers, teaching, and professionalism were profoundly masculinist; I also knew that a popular film can play a powerful role in shaping public imaginaries. Who tends to benefit from the perpetuation of these images of teachers, teaching, and professionalism, I wondered? Who tends to be harmed? So my first step on this journey was to write a critique of Mr. Holland's Opus. I soon discovered that the film itself was but one small part of a much larger story about MENC's deepening involvement in education/business partnerships. One of the main themes of Mr. Holland 's Opus is that budget cuts can have devastating effects on music programs. The education/business partnership forged to promote Opus and the manner in which the film was promoted suggested that the corporate world is socially responsible and genuinely concerned both about the quality of American education and the demise of music education. In no way did they intimate that corporate practices may be at least partially responsible for any declines in the quality of public schooling. I was also aware, however, of a corpus of scholarship suggesting that recent trends toward corporate partnerships and philanthropy are window-dressing at a time when corporations are sneaking out the back door carrying everything else in the store. Critics contend that on the one hand, corporations engage in much publicized acts of gift-giving or school partnership, which cost the corporations relatively little (or in the case of Opus, result in considerable financial profit for the corporation), while on the other hand, they chisel away at the financial infrastructure of
Read full abstract