Show Notes
What happens when a researcher brings together music education and criminology to advocate for the rights of some of society's most marginalised young people? In this episode, I speak with Dr Alexis Kallio, an interdisciplinary researcher whose work sits at a unique and important intersection—one that is challenging how institutions think about music, punishment, and what young people truly need to thrive. Alexis shares how her background in both music education and criminology led her to focus on music programs in youth justice settings, and what she has learned from collaborating with Western Australian hip-hop artist Optimus (Scott Griffiths) on the Banksia Beats program at Banksia Hill Youth Detention Centre. She reflects on what it means to meet young people as musicians rather than as students, why ownership and trust are so transformative in carceral settings, and why trauma-informed practice is relevant for every musician working with young people, not just those in detention. Throughout, Alexis makes a compelling case that music is not a luxury or a reward—it is a fundamental right for every child. Key Topics Discussed
How Alexis's degrees in both music education and criminology shaped her research focus on youth justice settings The Banksia Beats program at Banksia Hill Youth Detention Centre and what makes it effective Why meeting young people as musicians—rather than as teacher and student—is central to building trust The importance of agency, ownership, and strengths-based approaches in music programs for incarcerated youth Trauma-informed practice and why it matters across all music education contexts Why there is no one-size-fits-all pedagogical approach: responding to the individual in the room The concept of "hungry listening" (Dylan Robinson) and what it means for musicians working in community settings Alexis's national symposium on music, crime and social change and the community it has created The Policing Australian Popular Music project and its work with Queensland Police Service The case for music and music education as a fundamental right for every child
Notable Quotes "At the end of the day, these are children." "In a space where young people have ownership over literally nothing—they can't even choose the temperature of their shower—to have ownership over something with expensive music equipment, and have that as yours, can be a really powerful sense of pride." "There is no one right way, because there's no one child." "Music is all about connection. And connection is all about music." "I'd like music and music education to be a right for every child, regardless of their background or circumstance—something that is seen as essential to their lives now, but also their growth." "Young people's voices are sometimes articulated more clearly through their music than through any words they'll say to a social worker or a psychologist." Resources Mentioned
Hungry Listening by Dylan Robinson
About Guest Dr Alexis Kallio is an interdisciplinary researcher at Griffith University whose work explores how music education and creative practices create opportunities for equity and justice, particularly for young people experiencing vulnerability or marginalisation. Drawing on expertise in both music education and criminology, Alexis examines how educators and musicians navigate questions of power, values, and meaning in their work. Her research bridges grassroots community practice with institutional frameworks, asking critical questions about how creative spaces can be structured to support positive youth development. She has taught across studio, school, university, and community settings in both Australia and Finland. Connect with Alexis Episode Highlights
05:00 Why Alexis sees all young people—regardless of setting—as deserving the same child-centred approach to music 13:30 What makes the Banksia Beats program so effective, and why musical expertise matters 15:45 The profound impact of ownership
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