Smaller steps into longer journeys : experiencing African music and expressing culture

This paper outlines an exploratory research project that draws on survey data from both primary and secondary school music teachers in Victoria. The research stems from a study that I undertook in 2002-2003 with final year Deakin University undergraduate students. That project investigated the potential of African music to enhance the generic musical experiences, learning, motivation, interest, confidence and competence of non-specialist primary teacher education students. The research project being reported in this paper is an extension of the previous study to focus on practising music teachers at both primary and secondary school levels. The research addresses the significance and contribution of African music and culture as a cross-cultural experience for music teachers, their students and the wider community. It further considers my role as an African music practitioner in terms of transformation and acculturation. This paper outlines the progress of, and provides preliminary data about, the emergence of an innovative area of teaching and learning based on African music in Victorian schools. It also explores the notion of why cross-cultural and multi-cultural engagement matters in the contemporary context of educational change.

Empowering Australian students in African music: experiential education in primary teacher training

Luckman (1996) defines experiential education as a "process through which a learner constructs knowledge, skill and value from direct experience" (p. 7). The core of such learning is practical engagement, contextualised by concepts and skills in guided experiences. This process, to be most effective, should be supported by reflection. This paper considers an experiential program in African music that is part of pre-service primary teacher education for generalist teacher trainees. As part of the Bachelor of Primary Education degree, offered by Deakin University (Australia) students can select an elective subject on African music in the final year of their four-year course. In this subject students learn African music experientially, by playing, singing and moving. These students completed a questionnaire and were interviewed at the conclusion of the unit in 2003. Data collected showed the effectiveness of using an unknown music to explore musical concepts and understandings in an Australian educational setting.

Celebrating the use of African music : change in motion

I undertook a research project regarding the use of African music at both primary and secondary school level with Victorian teachers in Melbourne in 2004. This study grew out of my first project, which examined the effectiveness of using African music with non-specialist primary teacher education students at Deakin University, Melbourne (see Joseph, 2002, 2003). In this paper the concept of 'change' in relation to teaching and learning is explored regarding practising teachers’ teaching and learning of African music in Australian schools. According to Campbell (2004), a guiding principle for shaping educational experiences designed to promote students’ musical and cultural understanding is for teachers to make music both meaningful and useful in their lives. She further contends that such an experience can 'come alive' for students if teachers promote active involvement for them as music listeners as well as makers of music. This paper discusses some of the findings in relation to why and how teachers are engaging with African music and what their students are learning from it. It may be argued that both students (Deakin University student project) and teachers (Victorian music project) perceived African music to be an effective way to transmit and engage with a 'new music and culture'.

Tonic Sol-fa in contemporary choral music practice : a South African case study

The Tonic Sol-fa method of teaching choral singing was propagated throughout Britain during the nineteenth century with the dual objectives of enhancing Christian worship and achieving social reform. It was then imported to South Africa where it was introduced to indigenous people principally through Christian missionary activity and government schools. Although entirely of foreign origin, Tonic Sol-fa was so fully assimilated into African culture that it became effectively 'indigenised'. Due to its widespread use, it became the mainstay of community choral singing and may now be said to represent a significant exogenous aspect of present-day South African musical identity. However, there is little documentation regarding the type and extent of its use in contemporary choral music practice.

This paper will report on the use of Tonic Sol-fa in representative present-day choral music settings. Interview data collected from choir directors, trainers and teachers in Cape Town indicate that there is far from unanimous agreement on several aspects - in particular, the future of Tonic Sol-fa as a pedagogy and notational system. Improving educational opportunities for indigenous South Africans to undertake professional training in music are now threatening the traditional dominance of Tonic Sol-fa in indigenous culture. Nevertheless this research represents a useful case study of the continuing relevance of Tonic Sol-fa to an indigenous population who have 'made it their own' and developed a vibrant choral tradition which continues to both enrich and sustain their lives.

Migrants getting fat in Australia: acculturation and its effects on the nutrition and physical activity of African migrants to developed countries

Obesity is a significant health problem in Australia and other developed countries and acculturation is one fo the many risk factors. This new book summarizes acculturation and anthropometric outcomes among sub-Saharan African migrants in Australia. The book further examines the relationship between acculturation and food, energy and nutrient intake and physical activity. Some policy recommendations are proposed.

Recounting a difficult past : a South African accounting firm's "experiences in transformation"

This article examines the role of oral history in the social construction of collective memory and forgetting. The article presents a case study of a South African public accounting firm's attempt to document the history of race relations within the firm through the publication of a collection of oral histories. The research draws from the sociology of memory and recent scholarship on individual and collective memory in South Africa to analyze the firm's account of its experiences in making the transition from Apartheid to a multiracial democracy. The analysis finds that the firm's portrayal of its history reflects a narrative of reconciliation and redemption that minimizes the deep social and economic divisions that characterize South Africa's past, their relevance to accounting history, and the continuing salience of race to employment in public accounting.

Sharing and speaking about African music : professional development with Swaziland primary school teachers

The teaching and learning of Indigenous African music is characterised as a holistic integrated experience where music, dance and theatre are inseparable, seen as an integral part of culture. The transmission of this experience is absorbed through participation in cultural activities from childhood in the community. In African societies, both traditional and contemporary, musical arts education and the understanding of culture are fundamental to life, community and society. It is through musical arts, that Africans embrace spiritual, emotional, material and intellectual aspects and knowledge of both the individual and the community. This paper reports on an in-service program (August 2006) offered at the Centre for Indigenous African Instrumental Music and Dance Practices (CIIMDA), Pretoria, South Africa. For the purpose of this paper, the one week professional development course undertaken by generalist primary school teachers from Swaziland is highlighted and proves worthy for these teachers to implement what they learnt in the classroom. As a position paper, I contend that the understanding and participation in indigenous cultural musical arts practices, enlightens learners about their cultural heritage and further enriches their understanding of African music and dance that can be adopted, adapted and applied to primary schools in Swaziland. This paper summaries some key findings of interview data from ten participants in relation to the intensive program. By offering such in-service professional development programs, teachers are able to reach their wider communities where they will continue to share and speak about African music, dance and culture.

Reflections of teacher education students learning of rhythm: Orff to an African beat

This article reports on students' reflections, gathered from questionnaire and interview data, on their learning of rhythm and on their attitudes and  motivation from having engaged with African music as non-music specialists using the Orff approach. The "traditional" Orff approach to classroom music was supplemented with African repertoire which builds on the nexus, identified by Amoaku (1 982), between the Orff method and the traditional way of music learning in African cultures. This article describes my experience as a South African working with Australian non-specialist primary teacher students of predominantly Anglo-Celtic background within the context of a music education unit at Deakin University's Melbourne (Burwood) Campus. As Nketia (1988) points out, I - like many expatriate music educators - have selected music from my own country of origin as the foundation to develop curriculum materials teaching rhythm through non-Western music. The results demonstrate worthwhile experiences and outcomes for both the students and myself.