Changing the tune through student voices
When Georgia Wallace noticed her music students switching off last year, the Wainuiomata High School Head of Music knew something had to change. With many of the same students returning to her classroom in 2026, she wanted to do more than repeat the same programme - she wanted to re‑ignite their passion.
Her solution was ambitious: a year‑long project that puts students in the driver’s seat. Across the year, they compose and write their own original songs, working towards the ultimate reward - recording, performing and releasing their music at the end of the year.
The idea came to Georgia over the 2025 Christmas break, following her first year at Wainuiomata High School.
“It came to me over Christmas because a teacher’s brain never stops,” she laughs. “I usually start the year with a research project or a Māori music concept, but being new to Wellington and the community, I really wanted to boost the mana of our school and our music. I thought - let’s make it all about them.”
Georgia teaches Music across both Mainstream and Wharekura and includes Māori Performing Arts within her classes. Five years into her teaching career, she undertook a Postgraduate Diploma in Psychology to deepen her knowledge of her ākonga. Now teaching in Wainuiomata, she says that understanding how her students learn is central to everything she does.
“I teach students across different pathways, and senior music requires lots of different standards,” she says. “I know my students well enough to know who should be doing what. Some are composers, some are songwriters. Some struggle working alone, some struggle in groups. It’s all about understanding the dynamics of the classroom.”
That focus on belonging and identity is deeply connected to culturally responsive practice. When learners see themselves, their culture, and their community reflected in the classroom, they are better positioned to engage, learn, and succeed.
Georgia’s students have creative freedom, with clear guidance to support their learning.
“I’m absolutely adamant that everyone builds literacy skills,” Georgia explains. “Research is the way I hone in on language and musical terminology and give them the foundation they need for composition and songwriting later on. It helps me understand the level of the class before we move into the fun stuff - songwriting, performance and group work.”
That thoughtful approach is shaped by Georgia’s own journey into music. Despite majoring in composition and songwriting, she grew up without much musical influence at home and relied heavily on her teachers for support.
“I always wanted to be a music teacher - I knew that when I was 13,” she says. “No one in my family is musical at all, but my mum was incredibly supportive and made sure I could access lessons and the right opportunities.”
While high school had its challenges - including having a different music teacher every year - there were a few who left a lasting impression.
“I had two or three teachers who really stood out. One even paid for my lessons, and another is still a mentor to me today. That support made all the difference.”
Now in the classroom herself, Georgia is determined to offer that same level of care and opportunity. A key part of the programme focuses on motivation.
“Getting them involved is huge,” she says. “Bringing in visitors and guests, taking them to shows, tours and recording studios, and having lots of whānau involvement too - not just in school events, but in the wider community.”
Thanks to funding from NZ Arts Festival and strong community support, students have been able to access experiences many had never had before.
“For some of our students, they’d never been to the theatre, the ballet, or the Michael Fowler Centre,” Georgia says. “So that was massive for them.”
So far this year, four visiting musicians have worked with the class, each bringing unexpected but meaningful connections.
“Every single one of them had some link to the class that I didn’t even know about beforehand,” Georgia says. “The first was a local Lower Hutt woman. The students were in awe of her story because she started where they started - and they could actually see that pathway for themselves.”
Having relatable role models, she says, is critical. “Having a wide range of people and real connections to the kids is hugely important.”
While the programme has boosted engagement, Georgia believes its biggest impact has been on classroom culture.
“It’s made me think deeply about the culture of our classroom,” she says. “It’s different from anywhere else in the school. It’s totally authentic - it’s all on them, not me. But if I don’t give them my all, they won’t either.”
Neuroscience educator Kathryn Berkett says this balance of safety and autonomy enhances learning.
“Georgia is allowing her students to take ownership and have a sense of autonomy and control over their space. When students have a sense of safety and control, they can push further, take bigger risks,” she says. “Georgia is creating an anchor, a ballast for her class to leap from, to grow, to create.
This structure enables students to be active participants in their learning - developing agency, collaboration skills, self‑reflection, and confidence, while contributing to a shared goal.
Not every student is a performer, and that’s by design, says Georgia. “Some students are doing tech - learning how to balance sound, supporting others. Everyone has a role.”
Although the year is still getting underway, Georgia says the shift is already visible.
“I know them well enough now, and they’re working together as a team in a safe classroom environment. We’re seeing real breakthroughs.”
As students take risks, support one another and begin to believe in their own voices, Georgia says that’s where the real learning happens - and where the magic starts.
Written by Jenni Guzman.